Lensers on the Cusp

On Saturday, April 28, 10 young cinematographers will be honored at the Newport Beach Film Festival in Newport Beach, Calif. For this annual event, Variety identifies some of the world’s most promising DPs. Members of the class of 2018 — picked for their recent breakthrough projects — reflect the profession’s inherent versatility and growing diversity. It includes women and men; multiple races and ethnicities; practitioners of film, television, commercials and music videos; lenser who shoot on both film and digital media; and a wide assortment of countries of origin, including Norway, Denmark, the U.K., Mexico, Netherlands, Australia and the U.S. But despite their various origins, all these DPs share a love for their craft, an expertise with the technology of filmmaking, and a passion for creating the right pictures to tell the story.

Ole Bratt Birkeland

“American Animals”

The Norwegian DP, based in London, is both prolific and versatile, with some 60 credits already under his belt, including current project “Judy,” the Renee Zellweger-starring Judy Garland biopic, which he’s shooting in London for director Rupert Goold. Prior to that, he collaborated with Lenny Abrahamson on the upcoming horror mystery “The Little Stranger,” the director’s follow-up to his Oscar-nominated drama “Room”; and shot crime drama “American Animals,” directed by Bart Layton for Film4, which premiered at Sundance and releases in June. “That was my first American production and it was so exciting to be shooting in the States,” says Birkeland, who’s mainly worked in the U.K. “I really like variety and all the challenges you face dealing with different genres.”

After studying at the London Film School, Birkeland began working as a focus puller, “then I did loads of shorts before eventually getting a few long projects.” One of those, BAFTA-nominated documentary “The Arbor,” raised his profile. His big break came with the 2013 Emmy-winning series “Utopia.” “The director, Marc Munden, was brilliant, and he allowed me total freedom to do the lighting I wanted to do, and it got talked about a lot,” Birkeland says.

Since then, his TV credits have included the BAFTA-, Emmy- and Golden Globe-nominated BBC drama “The Missing,” directed by Tom Shankland; the Channel 4 drama “National Treasure,” where he re-teamed with director Munden; and season one of “The Crown.” “I like to get into directors’ heads and then support their goals and vision,” says Birkeland. “I want to tell the story in the most interesting visual way possible.”

— Iain Blair

Representation: WME

Nadim Carlsen

“What Will People Say”

Carlsen’s work on Isabella Eklöf’s acclaimed debut feature, “Holiday,” which premiered at Sundance in January, is as visually clean and bright as a Carnival Cruise line commercial. But the mood his shot selection evokes is as dark and unsentimental as the film’s plot, which follows a young woman who gets more than she bargained for when she goes on vacation with her drug lord boyfriend on the Turkish Riviera. “We wanted the film to be detached in a way,” says Carlsen. “I think we only have three real close-ups. There’s a lot of space surrounding the characters, a lot of wide shots.”

Carlsen cites Austrian director Ulrich Seidl (the “Paradise” trilogy) as his primary visual reference for “Holiday,” but he says what most influenced him as a cinematographer are meditative Russian films from the 1970s such as Andrei Tarkovsky’s “The Mirror” (1975). A graduate the National Film School of Denmark (Eklöf was a classmate), Carlsen since 2009 has shot numerous commercials and music videos and nearly two dozen shorts, documentaries and features, including last year’s “What Will People Say,” directed by Iram Haq, which won the Audience Award at the AFI Fest. He’s in post-production on “Border,” his second feature-length collaboration with director Ali Abbasi following the 2016 horror film “Shelley.”

Although Carlsen’s work has largely been confined to projects originating in his native Denmark, he has a long list of U.S. directors he’d like to work with, including David Lowery, Benny & Josh Safdie, Harmony Korine, Sean Baker, David Robert Mitchell, Darren Aronofsky and Chloe Zhao.

— Todd Longwell

Representation:  ICM

John Guleserian

“Love, Simon”

When Guleserian set out to shoot the acclaimed comedy “Love, Simon,” about a closeted high school student (Nick Robinson) dealing with romantic entanglements and a blackmailer threatening to out him, he and director Greg Berlanti wanted the movie to feel timeless, similar to a John Hughes movie, but also to be a product of its time. “We didn’t want to imitate anything, but we wanted to be inspired by it,” says Guleserian. “All of our visual choices grew out of this.”

Subtly skewed romance has been a recurring theme in Guleserian’s career, epitomized by his collaboration with director Drake Doremus, which has spanned six features, including the largely improvised Sundance Grand Jury Prize-winning “Like Crazy” (2011) and the upcoming sci-fi “Zoe,” which will world premiere as the centerpiece screening at this year’s Tribeca Film Festival. They pair met while students together at the American Film Institute and first collaborated post-graduation on the short film “The Shirt,” which had a budget of $200. “Storytelling isn’t about how big your camera and lighting package is. It’s much bigger than that, and great things can happen at any budget,” says Guleserian.

The DP has also worked in series television, shooting two seasons of Hulu’s “Casual” and Netflix’s “Friends From College.” No matter what the medium, Guleserian prefers to err on the side of visual simplicity. “I try to approach everything from the point of view of what’s best for the story we’re telling,” says Guleserian, who just wrapped Ed Zwick’s “Trial by Fire.” “If the audience notices me, I am probably doing the wrong thing.”

— Todd Longwell

Representation: Innovative Artists

Paula Huidobro

“Barry”

Huidobro has been all over the map, both geographically and artistically. Born in Mexico City, she studied at the London Intl. Film School and the American Film Institute in Los Angeles. After making her feature film debut as a cinematographer with Damian Harris’ “Gardens of the Night” in 2008, she went on to work as a camera operator for three-time Oscar-winning DP (and fellow Mexican) Emmanuel Lubezki on 2010’s “Morning.” As a DP she worked on films shot in such locations as New York (Paul Bettany’s “Shelter,” starring Jennifer Lawrence; and Harris’ “The Wilde Wedding,” starring Glenn Close and John Malkovich); Virginia (“Permanent,” starring Patricia Arquette and Rainn Wilson); and Tokyo (Atsuko Hirayanagi’s “Oh Lucy”).

More recently, Huidobro served as DP on two new L.A.-shot TV series, the “Black-ish” spin-off “Grown-ish” (Freeform) and co-creator/star Bill Hader’s dark hitman comedy “Barry” (HBO). For “Barry,” “[Hader] was really specific that he wanted frames to be composed and we were careful with blocking of the actors,” says Huidobro, whose credits also include Sian Heder’s “Tallulah,” starring Ellen Page and Allison Janney, and an episode of PBS’ “American Masters.” “We tried to do longer takes where the camera movement would bring you closer to the actors or we started with a master [shot] and it sort of developed into something else, and that was really fun for me.”

Huidobro recently lensed NBC pilot “Guess Who Died,” co-created by Norman Lear and Peter Tolan, and she’s shooting episodes of HBO series “Insecure.”

— Todd Longwell

Representation: UTA

Shabier Kirchner

“Skate Kitchen”

Born and raised in the Caribbean nation of Antigua and Barbuda — a place, he says, “where there’s no film industry” — Kirchner was inspired by his father’s work as an underwater photographer. After a brief stint at film school in Vancouver, learning only “the basics about shooting and editing,” Kirchner and some classmates decided that hands-on practical experience was needed, and they headed to the Caribbean to shoot their own film, 2011’s “Memoirs of the Blue.”

“It was so bad and it ended up in the drawer,” he says. “But it taught me how to navigate the film industry, even though it was a baptism by fire — everything that could go wrong went wrong.” Taking another leap of faith, Kirchner moved to New York, shot some indies, and got lucky when director Thomas Woodrow hired him to shoot his 2016 sci-fi drama “We’ve Forgotten More Than We Ever Knew.” “That led other people to trust me and to shooting ‘Sollers Point’ for [director] Matthew Porterfield, which did well on the festival circuit.” The film releases in May.

Since then, Kirchner has shot the ultra-kinetic “Skate Kitchen,” with its “mostly low, hand-held style,” for Crystal Moselles (it screened at this year’s Sundance); lensed the love story “Only You” for Harry Wootliff, in Scotland; and served as the 2nd unit DP on Benh Zeitlin’s “Wendy,” in Louisiana and around the Caribbean. Currently living in Brooklyn, Kirchner is now prepping “Bull,” a film about black rodeo riders. “I always like the simplest avenue to capturing images, but all the new technology makes it an exciting time.”

— Iain Blair

Representation: WME

Paul Ozgur

“The Wound”

“I always knew I wanted to become a DP,” says the Dutch cinematographer, who got his start at the Netherlands Film School, where his graduation project, “Magnesium,” made quite a splash, premiering at Sundance 2013 and winning the cinematography prize at the Camerimage festival in Poland. After graduating, Ozgur attended the master’s program in cinematography at Britain’s National Film and Television School, and his first feature film, “Prince,” opened the Generation section at Berlinale 2015 and won him a nomination for cinematography at the Dutch Film Festival.

Ozgur’s  short career recently got turbocharged with the release of the controversial coming-of-age tale “The Wound,” directed by John Trengrove. It was selected as South Africa’s Oscar entry this year. Balancing both epic landscapes and intimate close-ups to underscore the unsettling story, Ozgur’s poetic visuals helped propel the film to international acclaim — it received 19 awards at 44 festivals worldwide and won best first feature at the BFI London Film Festival.

“I very much believe in attraction and repulsion when it comes down to working with a director. I’m attracted to stories that deal with human struggle, and cultural conflicts on an emotional, social and spiritual level,” says Ozgur. He adds that he likes to work with a crew that’s “as calm and grounded as possible,” and also favors an unflashy technical approach. “Sometimes you need a technocrane to achieve the shot but you want the equipment to work with you and not be in the way of the artistic vision.” Now based in L.A., he most recently shot a music video in London, directed by Salomon Ligthelm, on 35mm.

— Iain Blair

Representation: Artistry

Daniel Patterson

“She’s Gotta Have It”

In a few short years, the New York-bred and -based cinematographer has made a name for himself with his acclaimed work in features, television, shorts, documentaries, music videos and commercials. “I want to keep doing it all,” he says.  With an MFA in film production from New York University and a B.A. in theater from Morehouse College, he cut his teeth as a camera operator under DP Ellen Kuras, and cites DP Bradford Young (“Selma,” “Arrival”) as “a big influence. His advice? Focus on DP’ing.”

Patterson shot his first feature, “Gun Hill Road,” in 2011, lensed director Shaka King’s “Newlyweeds” in 2013, and first collaborated with Spike Lee on the director’s “Da Sweet Blood of Jesus,” where he went for what he calls “a very naturalistic look, full of color.”

Patterson reteamed with Lee on Netflix’s “She’s Gotta Have It” and Roger Guenveur Smith’s one-man show “Rodney King.” “Spike’s another huge influence,” says Patterson. “He has this incredible work ethic, energy, discipline and total mastery of the whole craft of cinema — and he’s taught me so much.”

Patterson, whose credits include the short “Dirt,” which premiered at Sundance in 2016 and was nominated for the Short Film Grand Jury Prize, also teamed with Oscar-nominated actress Gabourey Sidibe on her 2016 directorial debut, “The Tale of Four.” “Another super-talent. I’d never have guessed it was her first film,” notes Patterson, who’s currently prepping season two of “She’s Gotta Have It.” He’s also an avid fan of new camera and lighting technology. “It’s a lot to keep up with but I embrace it all.”

— Iain Blair

Representation: Dattner Dispoto

Alan Poon

“Kodachrome”

Poon studied new media at Ryerson U. School of Image Arts, and his mindset as a working cinematographer is flavored by that background in gallery- and installation-based work. He assisted for esteemed cinematographer Torben Johnke, and later gained experience at the William F. White Intl. rental house in Toronto. “Having an interdisciplinary background, I’m often trying to think of a new way to approach a scene or a story, a new way to shoot it,” says Poon. “I didn’t study film history in school, and perhaps drawing from other sources of inspiration helps free one up. I’m always trying to challenge the medium a little bit.”

Poon’s work can be seen in “Copenhagen,” which won the audience award at Slamdance, and “Kodachrome” — both features directed by Mark Raso. In the latter film, Ed Harris plays an irascible, dying still photographer who insists on shooting film emulsion. Poon shot on 35mm film for the project, which Netflix acquired after it did well on the festival circuit. Poon’s resume also includes a significant number of documentaries, such as “The People of the Kattawapiskak River,” “Life After Digital,” “Transforming Gender” and the forthcoming “Ride for Promise.”

“I’m getting more opportunities in narrative, which I love, but I don’t think I’ll ever give up working on documentaries,” Poon says. “It’s an amazing form that allows me to travel and learn about people and life. When I’m working in the scripted medium, having the documentary background gives me confidence, knowing that I can work nimble and light, and finding the best scenario regardless of what’s thrown my way. And hopefully, my narrative experience empowers me to bring a more cinematic vision to the documentary arena.”

— David Heuring

Representation: Gersh

Andrew Shulkind

“The Ritual”

NYU grad Shulkind’s career thus far illustrates the ideal melding of art and technology at the heart of the cinematographer’s role. During a summer internship at Panavision, he gained fluency with a then-cutting-edge color tool called the PreView System, serving as a go-between for cinematographers and film labs. That led to work on the crews of big-name DPs including Darius Khondji and Emmanuel Lubezki.

Today, Shulkind divides his time between narrative work such as “The Ritual” — after positive buzz at its Toronto festival premiere, it was quickly picked up by Netflix, reportedly for about $4.75 million — and high-end VR projects, where he designs camera arrays and consults with advertisers, brands, studios and the U.S. military on mixed reality capture.

Commercial clients have included McDonald’s, Google, Budweiser, Adidas and Netflix — and Shulkind has twice won the Studio Daily Prime Award for Technology. “With today’s highly sensitive sensors, superfast lenses and low light levels, we must still apply all the tenets of cinematography and production design and storytelling that we’ve used for 100 years,” he says. “Over the next 10 years, I think the process of cinematography will change completely. With interactivity, we’re giving some control over to the user. But in some ways, the cinematographer will be more important than ever, in order to imprint a consistent vision on the waterfall of deliverables that will come out of the same source.” He adds: “In the data business, the experiential business and the content business, I see many opportunities for keeping our storytelling legacy alive and thriving.”

— David Heuring

Representation: APA

Zoë White

“The Handmaid’s Tale”

White recently wrapped season two of Hulu’s “The Handmaid’s Tale,” on which she alternated episodes with DP Colin Watkinson. Originally from Sydney, White studied at the Australian Film, Television and Radio School, and at the U. of North Carolina’s School of the Arts. Also a musician, she finds parallels between the emotional connections created through music and moving images, and between the collaboration of music ensembles and film crews. Her training also included stints with DPs Vilmos Zsigmond and Newton Thomas Sigel. “Tom Sigel is at the top of his game, but is still a bit of a rebel. He stays curious and is always looking for new ways to see and shoot,” says White. “That’s been very influential for me.” White’s credits also include “In the Radiant City,” “Catfight” and Christina Choe’s “Nancy,” which screened in the U.S. Dramatic Competition at the 2018 Sundance Fest. “Josie,” a feature starring Dylan McDermott and Sophie Turner, premiered in spring. She’s photographed spots for Under Armour, McDonald’s and Bose, among others.

White found the experience on “The Handmaid’s Tale” scintillating. “Working with incredible actors, really solid scripts, a beautiful crew and great resources made it a special experience,” she says. “The producers wanted bold, strong work that takes risks. I was encouraged to use what I had inside me, and that comes through on the show.” She’s as tech-savvy as any cinematographer must be, but values her on-set time as fully creative. “The prep process is for working with your team to figure out the technical needs,” she says. “Once you’re on the set, that can’t be in front. You must truly be in the storytelling mindset.”

— David Heuring

Representation: WPA