As a budding cinematographer, I find myself deeply inspired by the extraordinary journeys of two talented artists in the field – Adam Soffer and Rina Yang.
Cinematographers play a far more significant role than just being the person behind the camera. They serve as confidants, spokespeople, sounding boards, supporters, and translators of ideas to directors. This could explain why adaptability is considered a crucial quality for cinematographers, as highlighted by several rising cinematographers on EbMaster’s 2024 list. You’ve already witnessed their work in films, television, music videos, and advertisements; read below about how each of this year’s honorees has developed a unique and distinct perspective that doesn’t simply carry out a director’s vision, but rather amplifies and enhances it – Todd Gilchrist.
Ayana Baraka (“In the Arena: Serena Williams)
As a movie reviewer, I’d say it this way: “Baraka, the skilled cinematographer behind captivating projects like ‘In the Arena: Serena Williams’, ‘Boys in Blue’, and Alicia Keys’ documentary ‘Uncharted’, shares his creative vision. He aspires to craft compelling tales that challenge perspectives, stand the test of time, and resonate with truth. His goal is for viewers to depart from these stories with a fresh outlook on life and the world around them.
After obtaining her college degree, Baraka embarked on a healthcare career, yet soon felt dissatisfied. To seek fulfillment, she joined the USC School of Cinematic Arts. There, two documentaries she collaborated on were Emmy-nominated. Additionally, her own short documentary, “Jihad in Hollywood,” was purchased by Al Jazeera and expanded into a full-length feature. This experience served as a creative awakening for Baraka, who has since continued her journey as a cinematographer.
Baraka mentioned that this is what ignited his passion for illuminating individuals of color. He noted that paying close attention to highlighting and deliberately enhancing skin tones was not commonly considered before.
Looking forward to delve into scripted content in the upcoming stages of her career, Baraka believes her experience in documentaries provides a solid base for this shift. She highlights the flexibility she acquired when dealing with issues during the production of “In the Arena: Serena Williams” as ideal preparation.
Currently, Baraka stands among just six black female Directors of Photography members within the IATSE Local 600 union. She emphasizes that this unique position offers her an exceptional vantage point to amplify the perspectives – and representations – of people of color through her cinematography work.
According to Baraka, it’s crucial for them to be involved in tasks focused on African-American women. He emphasizes that having a creator with an understanding of their unique experiences is essential. – Andres Buenahora
Reps: Agency: Alexander Creatives; Stephanie Pfingsten, Lumos PR
Influences: Tobias Schliessler, Rodrigo Prieto
Veronica Bouza (“The Gutter”)
Bouza, the cinematographer responsible for works such as ‘Grassland’, ‘The Always Sunny Podcast’ and the forthcoming comedy movie ‘The Gutter’, expresses a deep affinity for the art of storytelling. He finds enchantment in transforming a script into a tangible medium,” he says.
Originally from Los Angeles, this individual attended DePaul University in Chicago to study film. Afterward, they gained experience working in camera and electrical departments on TV shows such as “Jane the Virgin,” “Brooklyn Nine-Nine,” and “Chicago P.D.
Bouza mentions that she reached a stage where she yearned to be creative once more, which prompted her shift towards a career in cinematography. She gradually climbed the ladder, taking on larger projects, eventually returning to the union tier.
Bouza views cinematography as a profession that requires adaptability, due to the continuous advancements in camera and lighting technology. She expresses her desire to continue filming movies across various genres, using Spike Lee and Ernest Dickerson, the Coen brothers and Roger Deakins, and Barry Jenkins and James Laxton as examples of influential director-cinematographer pairs who motivate her work.
For every tale, it’s a fresh chance for me to strive to make the story feel real and genuine,” Bouza explains. “My profession unfolds like a chain reaction, where each role paves the way for the next. It may take some time, but I’m determined to reach my destination.
In a recent statement, filmmaker Bouza describes her latest work, “The Gutter,” which debuted at South By Southwest in 2024, as a fusion of “Talladega Nights: The Ballad of Ricky Bobby” and “Kingpin.” Bouza emphasizes that creativity thrives on collaboration and the ability to adapt one’s visual style from project to project. Despite being an absurd comedy, Bouza acknowledges that good-looking comedies do exist, citing Paul Thomas Anderson and Robert Elswit’s work on ‘Boogie Nights’ as one of their main visual inspirations for “The Gutter.” – A.B.
Reps: Agency: Worldwide Production Agency
Influences: Rodrigo Prieto, Janusz Kaminski and Lawrence Sher
Lauren Guiteras (“Dandelion”)
Following the success of “Ma Belle, My Beauty” at Sundance 2021 and several episodes of “Ziwe” Season 2, I’m thrilled to share that my latest project, “Dandelion,” premiered at South by Southwest in March 2024. This film, directed by the talented Nicole Riegel, takes us on a journey of a disenchanted singer-songwriter who finds herself caught up with a guitarist who walked away from his music career years ago.
Guiteras stated that this project was unlike any other films he’d worked on before. It marked his debut in filmmaking and only his second feature role overall, making it an incredibly thrilling chance for him.
Since her teenage years, Lauren Guiteras had a clear ambition to become a cinematographer. Raised on the outskirts of South Florida, she was deeply fascinated with photography and frequently borrowed her mother’s Canon Rebel T3-I camera to capture various subjects. Following her graduation from Northwestern, Guiteras pursued higher education at AFI in New York City. She chose to stay in the city, establishing a routine that often included trips to the Brooklyn Academy of Music and Lincoln Center’s Walter Reade Theater to immerse herself in international films.
According to Guiteras, world cinema deeply inspires him, particularly works that challenge conventional boundaries. Even when working on a more conventionally story-driven project, he intentionally seeks inspiration from unconventional sources to foster original ideas. – Jack Dunn
Reps: Agency: Artistry
Influences: Still Photography, World Cinema, Experimental Film
Ryoma Kohari (“Sunny”)
Ryoma Kohari’s passion for filmmaking took root during his time in Los Angeles, attending school and spending weekends working on independent film sets as a volunteer. His fascination with cinematography deepened when he worked with 16mm film. Upon returning to his homeland, Japan, he spent an additional nine years serving as an assistant camera (AC) before transitioning into a full-time cinematographer. Over the years, he has captured projects for brands such as Shiseido and Lexus, and in 2019, he filmed the feature “Fake Plastic Planet.” More recently, he imbued an episode of Apple TV+’s series “Sunny” with the vibrant aesthetic of a Japanese game show.
During his career, Kohari was significantly influenced by Steve Annis, often known as “The Crow” or “I’m a Virgo.” Early in his own journey, Kohari worked alongside Annis. At that time, Kohari didn’t envision himself becoming a Director of Photography, but Annis, who had previously worked as an Assistant Camera operator, shared his path to becoming a cinematographer with him. Kohari recalled this conversation and how it inspired him. He also noted that he shares a similar preference for lenses with Annis, and this influence has steered him towards adopting a handheld shooting style.
J.D. notes that Kohari consistently focuses on commercial advertising projects, such as Ikea, Subaru, and Pokemon Unite promos. No matter the task at hand, Kohari aims to “seize poignant emotions,” whether it’s a particular expression or action. In his view, consistently focusing on these emotionally resonant moments is what makes the subject truly shine.
Reps: Agency: Kiramecki Inc.
Influences: Steve Annis, human emotion
Xiaolong Liu (“Uglies”)
2024 ASC (American Society of Cinematographers) honoree, Liu, gained a nomination for best cinematography at CAMERIMAGE in 2019 for Goldlink’s music video “Joke Ting.” He has collaborated with artists like The Weeknd, SZA, and Travis Scott, and most recently, he shot the project “Not Like Us” for Dave Free, alongside Kendrick Lamar, who co-directed.
Originally from China but raised in Germany, Liu later relocated to America to follow his dream in filmmaking. “I’ve always found it challenging to fully embrace a single culture,” he admits. “Throughout my life, I’ve been on a quest for my unique artistic identity. In retrospect, however, I’ve come to understand that this sense of not belonging has significantly influenced my perspectives and creative expressions, which frequently manifest in my work.
Liu’s passion for movies originated from his dad, who fell in love with his mom at a Chinese theater in Dandong while working as a film projectionist. Despite giving up his own dreams of cinema to open a restaurant in Germany after moving there when Liu was six, Liu’s father always inspired his son to walk the path he himself couldn’t.
More recently, Liu’s second film titled “Uglies” was unveiled on Netflix. In an industry that’s always evolving with technology, Liu attributes the power of human intuition in capturing the perfect shot: “For me, technology plays a secondary role during my creative journey – the concept is paramount, and the tools are merely followers,” he explains. “In essence, it’s the discerning eye and the light manipulation behind the camera that define the image’s depth and atmosphere.” — Emiliana Betancourt
Reps: Agency: CAA
Influences: Lucas Zal, Adam Arkapaw and Jarin Blaschke
Galo Olivares (“Alien: Romulus”)
In both “Roma” and “Alien: Romulus,” Olivares, a crucial partner, has proven himself not only as a skilled cinematographer but also as someone with an uncanny knack for being in the perfect spot at the ideal moment. When the usual collaborators of the directors were absent, he stepped up to the plate, contributing significantly to the production of genuine, indelible visuals. As Olivares puts it, “You need to be flexible because you are essentially the director’s eyes.
Originally hailing from Uruapan, Mexico (often referred to as the global hub for avocados), Olivares felt compelled to depart his birthplace and pursue a creative journey following the impact of Alejandro González Iñárritu’s “Amores Perros.” Subsequently, he pursued communication studies in Guadalajara before relocating to Mexico City to work at rental houses for film equipment while simultaneously applying to the same film schools that nurtured Alfonso Cuarón, Emmanuel “Chivo” Lubezki, and Rodrigo Prieto. Unfortunately, despite being accepted, his circumstances required him to withdraw after a few years. “I was nearing my 30s and I was struggling to make ends meet,” he recalls.
He shares that it was fortunate for him to create his debut feature, ‘El Vigilante,’ and a turning point occurred when Alfonso and Chivo introduced him to ‘Roma.’ This experience significantly altered the course of his life.
In the movie “Romulus,” Olivares and director Fede Álvarez tackled the task of modernizing the visual aesthetic of the first two “Alien” films while staying true to their original feel. As he shares, the film primarily used three lenses, a choice that proved effective as no additional equipment was required during filming. The movie grossed over $347 million globally (and continues to do so), equipping him with an unmatched blend of creativity and efficiency for future endeavors. For now, he’s keeping his fingers crossed for a potential collaboration with an ideal partner that he can’t disclose just yet. In the meantime, he’s busy working on commercial projects and cherishing time with his three-year-old twins. — Todd Gilchrist
Reps: Agency: CAA
Influences: Harris Savides, Roger Deakins, Edward Lachman
Giovanni Ribisi (“Strange Darling”)
Prior to “Strange Darling” by JT Mollner, actor Ribisi was primarily recognized for his roles in various Hollywood films. However, this project signifies a unique shift as it marks his debut as a cinematographer in a feature film. Moreover, it serves as a platform for Ribisi to express his diverse and uncontainable creative instincts. As he puts it, “The succinct explanation is that I couldn’t resist. I simply followed an urge, because I am captivated by the potency of an image.
Having spent his childhood on movie sets, Ribisi recalls that his classmates were frequently the individuals from the camera crew. Before delving into cinematography, he established and eventually sold a visual effects company named Stereo D. He admits to feeling drawn towards being behind the camera. “I felt the urge,” he says, “and I knew that I had to earn my stripes.” He attributes his diverse perspective as a storyteller to experimenting with various disciplines over the years: “After four decades of acting, this is simply how I process a script – where should I position the camera now?
Ribisi shares that he had been acquainted with Mollner for a span of three years before they embarked on the “Strange Darling” project. Fueled by mutual interests, it required another five years to breathe life into this venture. As an actor, he has upcoming projects like “Avatar” and “Horizon” sequels, but his dream is to direct smaller, independent films. He expresses a fondness for the British New Wave and Italian Neorealists, stating that they were creating works out of necessity to express their voices.
I’d like to take on a project that goes beyond merely managing an iTunes library, if you catch my drift.
Representation: The agency is CAA, the management company is Linden, and the legal team consists of Hansen, Jacobson, Teller, Hoberman, Newman, Warren, Richman, Rush, Kaller, Gellman, Meigs & Fox (HJTH)
Influences: Dante Spinotti, Stephen Burum, Salvatore Totino, Andrew Lesnie
Ava Benjamin Shorr (“Omni Loop”)
35-year-old Shorr had completed three full-length films prior to working on “Omni Loop,” but she claims that this sci-fi comedy was by far the most significant project she’s ever undertaken. Shorr describes the experience as “absolutely fantastic,” and can’t say enough positive things about it. The film, featuring Mary-Louise Parker and Ayo Edebiri, tells the story of a woman from Florida who employs time travel in an effort to improve herself.
Fresh from film school, Shorr made her industry debut by co-directing music videos alongside her closest friend. Initially, they received invitations to join forces professionally, but as the jobs piled up, the director’s chair began feeling more like a burden for Shorr, who hails from Portland. Consequently, she decided to explore cinematography instead, describing it as an excellent match for her abilities.
In her filmmaking, being a trans woman significantly influences her perspective, yet she doesn’t limit her artistic interests to solely “queer or gender-related” themes; Shorr draws inspiration from various sources such as fine art, skateboarding, and the collectible card game Magic: The Gathering. She hopes that her project ‘Omni Loop’ will serve as a stepping stone towards more opportunities in independent and art house films, as she has encountered setbacks in the independent scene where even minor issues can delay projects for years. — J.D.
Reps: Legal: Dattner Dispoto and Associates
Influences: Art, Skateboarding, Magic the Gathering
Oren Soffer (“The Creator”)
Soffer counted a pair of Chappell Roan music videos (including “her first ever,” he notes), a few dozen short films and two features under his belt when Gareth Edwards and Oscar-winning cinematographer Greig Fraser hand-picked him as a partner to shoot the sci-fi opus “The Creator” at a third of the cost of a movie its size. It gave him an opportunity not only to level up, but learn from two experts at once. “Greig had worked with Gareth before,” he says. “He was like, really be a collaborator as a cinematographer, and set ego aside … exist to support a director and help understand their vision.”
A lifelong cinephile, Soffer discovered cinematography as a way to combine his education in fine art and photography. He says the appendices on the special-edition DVDs for “Lord of the Rings” proved invaluable to his introduction to the art form: “there’s 10 hours for each film, and there’s whole segments about lighting approach and color theory.” As he’s moved on to bigger and bigger projects, he says he still enjoys using commercials as a training ground for new equipment, but also to cultivate his discernible style. “I always try to use a different lens set on every commercial that I shoot,” Soffer says. “What separates different cinematographers from one another is the summary of all of our aesthetic tastes, as well as past experiences.”
Following the completion of a Duracell advertisement, Soffer’s next project will be Adam Wingard’s “Onslaught”. According to him, it’s crucial that the director and I share the same taste. If we have similar creative approaches and styles, then everything else seems straightforward. – T.G.
Reps: Agency: UTA
Influences: Darius Khondji, Harris Savides, James Vanderbilt
Rina Yang (“Mother Mary”)
As a movie enthusiast, I’d rephrase it like this:
Yang developed a passion for cinematography organically after her dad gifted her a Sony digital camera as a child. “It had a stop motion animation function, which I discovered by playing with it,” she remembers. “So I started making my own. I was like, wow, my dolls are moving! And then I would show the finished project to my family and they would comment on it.”
Through her father’s gift, she journeyed far. Not long ago, she wrapped up working on David Lowery’s latest heart-wrenching film, “Mother Mary,” featuring Anne Hathaway. She expressed, “I aspire to create films that strike the perfect harmony between art and profit, ones that are engaging yet evoke strong emotions.
E.B shares that she often finds herself inspired by the rural Japanese landscapes she knew as a child. “Growing up, I was always roaming around the fields. As a kid, I didn’t realize the sunset was beautiful; it was just the signal it was time to go home, making it a bit sad for me. However, looking back now, those sunsets were truly breathtaking. The small memories of things I witnessed growing up have an impact on how I perceive the world.” — E.B.
Reps: Agency: Management: Legal:
Influences: Edward Lachman
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2024-10-17 19:23