Colin Beaton in a scene from "The Whale"
Josh Spires, from the University of Texas, is the Americas Region Winner for the 2011 Kodak Film School Cinematography Competition.
Spires' film, The Whale, follows a young boy who lives in an ephemeral fantasy to try and escape the cycle of paternal abuse.
"Cinematography is all about storytelling. All the way, 100%. If telling a story is your one true goal as cinematographer, everything else will follow. The light and glass and stock one uses are only means to an end, which should be a story worth telling."
Scene from OPFER (Submerged)
Johannes Praus, from the University of Film & Television "Konrad Wolf" Potsdam, is the Europe-Africa-Middle East Region Winner for the 2011 Kodak Film School Cinematography Competition.
Submerged / Opfer Synopsis
Thomas has a new house, a grilfriend and a baby. He’s hosting a party for some friends. But then his girlfriend’s daughter brings her new boyfriend home. And he seems to be just the kind of guy this gated community was designed to be protected from.
We will be away from our desks next week, so we thought we'd leave you with some highlights to remember the year that was.
We announced the regional and 35mm winners last month and wanted to showcase and congratulate all of the KODAK Film School Cinematography Competition country winners as well!
Comprised of student crews, films from more than 25 countries were selected to move on to the next round of judging by John Bailey, ASC (The Big Miracle, Ordinary People). Of those, three regional winners and one 35mm winner were selected.
Wes Bentley and Ana Seradilla (Photo: Christopher Chomyn)
Hidden Moon is Chris Chomyn’s second feature with director-writer-producer Jose “Pepe” Bojorquez. The two previously collaborated on Sea of Dreams in 2006.
“Our collaboration begins early in the project,” says Chomyn. “Often, I am privileged to read several early drafts of the script, and to discuss the themes and characters with Pepe as he is polishing the details. This affords me the opportunity to begin thinking in visual terms very early in the process. By the time we are ready to officially begin pre-production, we have established a working shorthand, and an understanding of the material as well as of the subtext.”