Being that it is less romantic than other vital aspects of being a great film producer, some people may not see a background in finance as the typical jumping off point for a successful career based in creative expression. However, Mike Gut understands the value of striking a balance between his two seemingly contrary skill sets. He is comfortable and effective in his dual roles of both storyteller and money manager because he understands how producing successful films absolutely requires merging technical knowledge of the craft with real-life business experience.

When Gut made the decision to leave Canada and his lucrative job in the telecom industry to realize his dream of producing feature films, he began to realize just how much of an advantage his business sector experience actually gave him in his new endeavor.

 “My financial background definitely serves me well with my investors,” he explains. “I’m good with people and good with money. Producing is very entrepreneurial in the sense that each film is like setting up a small company every time.”

Armed with his solid background in finance and an inner calling to become a filmmaker, Gut originally left Montreal for Los Angeles when he was accepted to the prestigious Peter Stark Producing Program at the University of Southern California, where he earned his MFA.  With an acceptance rate of only 13%, the Peter Stark Program is extremely selective, admitting only twenty-five applicants every year.

Gut remembers, “It was really the perfect program for me--- it really set the wheels in motion.”


His Masters in Fine Arts allowed him to continue honing his passion for filmmaking, something he had reserved as a weekend hobby prior to leaving the telecom industry, while also building on his expertise in finance.  Finding investors and arranging for his films to have the funding they really need and deserve can be difficult for producers who only have pure love of the cinema and no real knack for the sometimes harsh business realities that require close attention. True, being a great producer is undoubtedly about being able to tell a story artfully and supervising an array of creative counterparts-- but it is also about being able to secure serious investors, managing a feasible budget, and ultimately being able to sell the finished product as profitable in an ever-changing media marketplace. 

For Gut, the fact that the producer is the one who gets the last word on everything from the soundtrack to what ends up on the editing room floor is both a blessing and a curse. The producer’s key role in selling the film and arranging subsequent distribution rights means that even the smallest decision can make a world of difference.

Soon after completing his MFA, Gut was thrilled to be working on films alongside the likes of Harvey Weinstein and other heavyweight names in the world of film producers; he even had the pleasure of producing and directing the film Unfair & Imbalanced.

Gut says he loves to produce original features because the discovery stage can be a make-or-break moment for the success of the film. Sifting through the endless material to find a gem that is promising, both artistically and financially, is no small or easy task. Gut explains that when a film isn’t based on an original script, films often begin with just ideas, and no script; once a producer believes they have uncovered a novel idea, they must begin the search for the perfect screenwriter to bring it to life.  

Gut’s work as a producer is more than just the supervision of its construction; his role requires him to prepare the finished product to present to various financing entities or film distributors. This final step is undoubtedly one of the most challenging, as it entails deep collaboration with the creative production team as well as the film’s accounting personnel.    

As the producer and director of the original feature film Hollywood Hick, which he produced though his production company aptly named GellyGut, his efforts paid off as the film gained national attention being screened across North America. For Gut, the release of the film was a turning point in his career.

Today Mike Gut is a producer with Oracle Film Group, and with several upcoming projects still on the horizon and the release of Timber the Treasure Dog set for this year, he has attained his dream of producing features with worldwide theatrical release.

On Timber the Treasure Dog where Gut worked alongside director Ari Novak, he solidified his commitment to being the kind of producer that can turn out “quality feature films that cater to a specific market while getting a suitable return for the investors involved.” Something that separates the good producers from the really great ones, this kind of thinking is what facilitates the best possible films actually making it to the screen.

Although his keen financial background helps foster investor relationships and responsible decision-making, Gut never forgets his vision for a production, or the joy he gets from being a filmmaker.  “Nothing makes me happier than when I’m on set. When I used to make films as a hobby on the weekends, I remember thinking - If I could get paid to do this, it would just be icing on the cake,” Gut recalls.

Gut is clearly dedicated to each project he takes on, as he is responsible for the production of his films from conception to completion. He takes pride in his involvement in the early stages of a script's production all the way until the concluding stages, with special attention given to post-production efforts in order seal in the finishing touches. He is one of those rare producers that truly understands the “big picture” fate of a film, and with all the subpar films that hit the market on a daily basis, audiences can take comfort knowing that he will continue to produce captivating films with engaging for years to come.

 

 

As children we are often times told that if we want to reach a level of greatness in anything, we most fully devote ourselves to that one thing; but, Australian performer Adam Pedicini, who has excelled as an actor, dancer, model and television host, is proof that this advice doesn't hold true for everyone.

While Adam holds his career as an actor as the area in which he is most passionate, he attributes his ability to say "yes" as something that has helped him succeed as an all around performer. Similar to the way Jim Carry's character in the film Yes Man experiences positive life-changing transformations after he learns to say "yes" to everything, Adam has seen his career takeoff in astonishing directions since adopting this philosophy.

When asked if he had always known that he would someday have a successful career on camera, he says, " I believe that it chose me. I’m always looking to keep my life happy and fulfilling. Having this career has given me that quality of life all because I was willing to say yes."

As an actor Adam has played leading roles in a variety of films and television shows, but one role that pushed him to go darker and deeper than ever before came when he took on the role of Ethan in the film Exposure. In this chilling film viewers get an opportunity to see just how far this actor can go as he brings Ethan, a corrupt and immoral photographer, to life in a manner that is so seamless it begs us to question what Adam is really like. Thankfully, that is why it is called acting; Ethan bares absolutely no connection to Adam's personality outside of the screen, something that serves as a testament to his skill as an actor.

In the film, Ethan appears to be a professional photographer with innocent intentions, but after he lures a young woman back to his place and seduces her with alcohol, the audience quickly realizes his only intention is to capture naked photos of her while she is passed out.

Adam explains, "This is one of those roles that I had to dig really deep and find a dark place, as I had to portray a seemingly charming and charismatic photographer when my intentions were nothing but sinister and sexually violent. This type of role is always challenging and it required me to draw on lots of technique."

Adam is an incredible actor when it comes to drama, but comedy is above all, his true love. He loves to bring his audiences the joy of laughter, and laugh they did during his performance as Bob in the theater production of Darren Menachemson's "Conversations At A Urinal." Directed by Craig Delahoy, the production was one of the most successful at the Short + Sweet festival of plays in Sydney, Australia in 2013.

A theatrical play that pokes fun at the idea that, while in today's world most of us humans suit up in our work garb during the 9 to 5, in reality, our work overflows into every area of our lives forcing us to spend most of our time outside the office continuing to work for "the man" in an effort to be successful.  

Adam and his co-star Brian Teo (Winter, Spring… Winter, Don’t Love Thy Neighbor) bring their brainwashed characters to life in this hilarious comedy in away that is, unfortunately for most of us, easily relatable.

The vast range of roles he's portrayed prove that although Adam Pedicini is undeniably good looking, his dynamic acting talents are what casting directors are really after when casting him for a role.

 To get a glimpse of Adam's abilities as a dramatic actor, watch a scene he did below with co-star Charlotte Hazzard from the films Deceitful, Smitten, Bonsai and Options, and the television shows Packed to the Rafters and Anzac Girls.

Adam's captivating looks and ease on-camera have also made him a go-to talent for several commercials for leading brands including Norsca deodorant, Freedom Furniture, Red Rooster, Rebel Sport-- the largest sporting equipment and apparel company in New Zealand, Stihil, automaker Holden's Barina compact automobile, Footlocker and Hungry Jack's-- Burger King's Australian fast food franchise.

You can check out one of his commercials for Choosi Life Insurance, which aired across Australia on TVC, below.

By looking at Adam's collective commercial work, a concurrent theme of him being cast for the typically attractive, athletic and manly roles becomes rather obvious; but what makes him so unique is his ability to morph into whatever character the job requires. 

His background as a professional dancer has bolstered his appeal in the industry because it has given him the unparalleled ability to be in tune with his movements adding elements to the characters he brings to life.  It has also allowed him to take on various roles as both an actor and a dancer that many others simply could not accomplish. 

He has been featured in several high profile music videos including Matchbox 20's  "Put Your Hands Up," which currently has over one million views on YouTube, Josh Winks "Higher State of Consciousness," which also has over one million views on YouTube, as well as "Rain Down Love" by the Freemasons featuring Siedah Garrett, and "You & Me" by Blue Ray feat. Jimmy Somerville where he is the focus of pretty much the entire video as scantily clad women dance around and fawn over his jaw dropping physique.

A sought after talent across continents in the world of editing, Estefania Sequeira has become one of the most talented individuals working as a film and video editor in the entertainment industry today.

For Sequeira, the past few years have not only been incredibly busy, but astonishingly successful, as her work in a variety of formats has gained worldwide attention. Most recently Sequeira worked as the editor on the music video for songstress Katie Burden's "My Blind Eye," the award-winning film Nothing Funny About a Clown in Love, as well as the assistant editor on the multi-award winning feature film East Side Sushi. Sequeira also work as an editor with Oct28 Productions where she edited a long list of promotional videos for Rams Gate Winery, Magnolia Brewery, Off The Grid and others.

Originally from Costa Rica, Sequeira discovered her love for editing, often referred to as the "invisible art," in her youth. She recalls, "When I was 13 I saw a video my brother had put together with iMovie and I was so amazed by the whole process of how he made it that I couldn’t wait to make one of my own. Ever since that glorious day when I discovered iMovie I’ve been in love with editing and I continue to be amazed at the vast possibilities of the medium."

After spending her youth shooting and editing her own videos, Estefania Sequeira took her skillset to the next level several years ago when she attended San Francisco's Academy of Art University where she received a BFA in Motion Pictures and Television.

Sequeira says, "One of the most valuable things I think an education can offer is it can provide you with a strong foundation to have the flexibility to adapt to any of the tools available."

Estefania Sequeira's flexibility as an editor provides her with the ability to bring captivating stories to life regardless of the genre and, it is this flexibility that separates her from most other editors in Hollywood. While many editors get pigeonholed into working in a specific genre early on in their careers, Sequeira has made it a point to take on projects that add diversity to her repertoire.

A few years ago when Sequeira was living in San Francisco, she shot, edited and produced a documentary on a local black and white photography magazine entitled Dust.  The documentary, which screened during an art exhibition at San Francisco's Book & Job Gallery, captured the edgy nature of the photography included in the magazine as well as the magazine's creators' passion for black and white film. Combining the footage she shot of the magazine's photography with commentary from the creators, Sequeira did a brilliant job of creating an engaging story that takes viewers into the process of taking an issue from the beginning stages to completion.

Her work on Dust opened her eyes to a new genre of filmmaking. She explains, "My experience producing that documentary was what sparked my love for documentary filmmaking. I had so much fun filming it, I got invited into a world that was different and unfamiliar to me and I got a behind the scenes look into people's life and work."

Further diversifying her portfolio, Sequeira recently worked as the assistant editor on Anthony Lucero's multi-award winning feature film East Side Sushi.

"It was very fun to work with Anthony Lucero on this film, he wasn’t your typical director since he actually works as a VFX editor at Lucasfilm. I felt I was able to connect with him more as an editor and able to learn a lot from him," explains Sequeira.

East Side Sushi brings to life the story of Juana, a single mother who, through her years of experience working as a fruit-stand vendor, learned how to slice, dice and carve food at record speed. Needing a more stable job than the fruit-stand, Juana takes a job in the kitchen of a local Japanese restaurant where she is exposed to the magical world of sushi. Setting her sites on becoming a professional sushi chef, Juana is challenged by the fact that she is the wrong race and gender, which forces her to work even harder to attain her goal.

A testament to Sequeira's work and the rest of the team responsible for bringing the film to the screen, East Side Sushi did astonishingly well on the 2014 festival circuit taking home the Best Screenplay Award at the Napa Valley Film Festival, the Audience Award for Best Narrative at the San Francisco International Asian American Film Festival, the Audience Choice Award at CAAMFest and the Audience Favorite Choice Award at the Cinequest San Jose Film Festival. It is clear from the film's collective awards that audiences across America universally agree that "East Side Sushi" is one of the best films to have been released on the festival circuit in 2014.

To find out more about Estefania Sequeira's captivating work check out her website http://stefsequeira.com/ as well as her documentary Dust below.

Originally from Montreal, Canada, Jonathan Bensimon has been taking the entertainment industry by storm on an international level, as he continues to wow audiences with his impeccable work as both a director and cinematographer.

Bensimon first rose to success in the film industry over a decade ago after working as the cinematographer on a commercial for telecommunications giant Nokia.

About the commercial Bensimon says, "We created an operatic piece where we blew up TVs, Cameras and stereos and we would get beautiful highlights and light glimmers as all these pieces flew through the air, and at the end the footage would play backwards to create the phone. It was a mix of artistry and technology blending."

One of the perks of being sought after by clients of this caliber is that Bensimon is always privy to using the industry's most cutting edge technology. Bensimon shot the footage for this particular commercial in super-slow motion, using a prototype digital camera that could record 1500fps, something he says at the time, "Was a new frontier for digital cinema."

Eventually, Bensimon's unique visual style as a cinematographer grabbed the attention of an executive producer who, to make a long story short, put the talented young filmmaker on a path towards directing in 2006. Since then, Bensimon has gone on to work as the director and cinematographer on an impressive list of films, music videos and commercials.

In 2014 Bensimon received several awards for his work, including a Gold, a Merit, and two Silver Awards at the Advertising and Design Club Of Canada (ADCC) for the film Zombie, which also took home three awards at the Applied Arts Advertising & Interactive Awards and made it onto the Cannes Lions' Shortlist. The film also received the Gold Pro Bessie Award at the 2015 Bessie Awards, one of the biggest awards shows in Canada.

Zombie follows Antoine Zombé, a Canadian actor and zombie who struggles to break into the American film industry, which doesn't flock to his easy-going Canadian nature, that is, until he lets go of his niceness and becomes the kind of rabid angry zombie audiences have come to expect.

"I took the film in a biopic direction where we follow this zombie actor's career. We start with his struggles and go on a journey that leads us to the eventual breakthrough into the business," explains Jonathan Bensimon. "I worked very closely with the lead actor (Ian Matthews) to create a comical tone, that was simultaneously absurd and relatable."

Prior to creating the film Zombie to promote the Canadian Film Festival (CFF) in 2014, Bensimon worked as both the cinematographer and director on several other projects for the festival including the short film Canadian Sin, which garnered a Silver Award at the 2013 London International Film Festival and the Gold Award in the cinema category at the 2013 ADCC. Bensimon also worked as the director and cinematographer on Canadian Mafia for CFF, which took home the Silver Award at the 2013 ADCC, and two awards at the Applied Arts Advertising & Interactive Awards.

Even in the early stages of his career, Jonathan Bensimon was widely recognized throughout the industry as someone destined for greatness, something proven by the fact that several management and production companies across Canada vied for the chance to represent him for his work. Prior to finding representation for his music videos with The Field, Spy Films (Toronto) and Les Enfants (Montreal), Bensimon was represented by Industry Films.

While working with Industry Films, Jonathan Bensimon worked as the cinematographer and director on several high-profile commercials for global brands including "Passion," "All You Want," "Relief Worker" and "Father of the Bride" for Tylenol, "His and Hers," "Test Drive," "Trade In," "Checkered Flag" and "Silence" for Honda, as well as Nissan's "Choosing," Villagio's "Everyone's Favorite," Advil's "Advil Air," Honey Bunches of Oats' "Multiple Mouths" and countless others.

Although Bensimon has become a highly sought after director and cinematographer for commercials, his talents in the field extend far beyond commercials alone. In 2010 he directed, as well as worked as the cinematographer on the film Tokyo/Glow, which received the Bronze Award in the film category at the Telly Awards. Upon his first visit to Tokyo, Bensimon was not only mesmerized by the beauty of the city, but was also drawn to one of the city's unique features-- a cross-walk sign, which ultimately led him to create the film Tokyo/Glow.

Bensimon recalls, "I was in awe of the entire city, but something really simple caught my attention: the cross walk sign, rather than being a stick figure like every other crosswalk sign in the world this one had a suit and a fedora. I wanted to bring him to life and see him journey through the city."

Incorporating stop-motion animation, Bensimon's film captures the beauty of the city's nightscape alive with movement as one man, who is literally lit up like a light bulb, moseys through the busy streets.

Bensimon explains, "Our lead actor was wrapped in a 100 meters of LED rope light as he walked at a snails pace in order for the world around him to move at rapid speed."

Aside from receiving a Telly Award, Tokyo/Glow reached incredible success in Canada where it aired nationwide on Bravo!, in addition to being featured on several blogs including Style.com, Tokyomango.com, Madewithjapan.com, and many more.

About the way his work as both a cinematographer and director affect his overall approach to a project Bensimon says, "Being a director/cinematographer allows me to see things in a very unique way, it makes my preparation very intense and makes me develop a special relationship with the actors and the crew because I constantly look at things from multiple angles. Also, it allows me to have a very clear idea of the direction of the mood that will be in the final piece."

Over the past decade Jonathan Bensimon has created an unparalleled reputation as an artist who is able to not only morph his creativity to the fit needs of his vast range of commercial clients, but one who is able to continually create groundbreaking work and frankly, we can't wait to see what he comes up with next!

Make sure to check out Jonathan Bensimon's "Social Innovation" commercial for Hitachi below, where he was both the cinematographer and director, and if you would like to see more of this talented filmmaker's work you can check out his profile on Spy Films, Les Enfants and The Field , the production companies currently representing him.

The work of a film producer includes a staggering range of responsibilities keeping them busy from the time they first pick up a screenplay and decide it is something worth bringing to the silver screen. In addition to being an integral counterpart in a project from the first phases of pre-production all the way through post-production, the most important asset a producer brings to a film lays in their ability to raise funds, for without this key function, a film will never see the light of day.  

Originally from Istanbul, Turkey, producer Meric Aydin is a genius when it comes to making a production appeal to financiers; something he says comes down to how the production is packaged. 

"My role is especially crucial during the packaging of the project, what I do is I pull out the most commercial elements out of the script, and combine them together to make it more attractive to a financier. To clarify; packaging in the film industry means turning the script into a sellable product. This is right after the script is fully developed and right before you get the financing, as this is how you get the financing," explains producer Meric Aydin.

Aydin is currently working on a variety of projects as a producer, but the majority of his work this year will be taken up with projects being produced by Eclectic Pictures where Aydin holds the title of Jr. Development Executive.  

He explains, "I’m working closely with Heidi Jo Markel of Eclectic Pictures; we have two upcoming features this year. The first one is Septembers Of Shiraz… and the latter one is Frankenstein… Our previous work includes Olympus Has Fallen with Gerard Butler and Morgan Freeman and Lovelace with Amanda Seyfried."

Directed by multi-award winning director Wayne Blair who is best known as the director of the films Black Talk, The Sapphires and The Djarn Djarns, the film Septembers of Shiraz is a thriller backed by an all-star cast. Based on Dalia Sofer's New York Times bestseller, the film brings to life the story of a wealthy Jewish family caught in the aftermath of the Iranian revolution in the early 80s and the struggles they face living in Tehran after the fall of the shah. The film stars Oscar nominated actress Salma Hayek (Frida, Desperado, Once Upon a Time in Mexico), Oscar Award winner Adrien Brody (The Pianist, King Kong, The Grand Budapest Hotel) and Oscar nominated actress Shoreh Aghdashloo (House of Sand and Fog, The Lake House, X-Men: The Last Stand).

As a development executive at Eclectic Pictures, Meric Aydin was an integral counterpart in the efforts to launch the film Septembers of Shiraz into production. He recalls, "In Septembers of Shiraz I created marketing materials that we sent out to make the project achieve production, which included the project's logline and synopsis."

Aydin also worked with Eclectic Pictures on the highly anticipated upcoming film Frankenstein. Written and directed by acclaimed filmmaker Bernard Rose who is known for the films Candyman, Immortal Beloved, The Devil's Violinist and others, Frankenstein is a contemporary take on Mary Shelley's classic horror novel told from the perspective of Adam, Frankenstein's monster. Set in present day Los Angeles, the film stars multi-award winning actress Carrie-Anne Moss from the films Memento, The Matrix, Chocolat and Disturbia, Golden Globe nominated actor Danny Huston from the films 21 Grams, The Aviator, Children of Men and Hitchcock, and Xavier Samuel from Fury, The Twilight Saga: Eclipse, The Twilight Saga: Breaking Dawn- Part 2, Healing, Adore and others.

Bringing in a well-known and marketable cast is another key function of a producer as an A-list cast is paramount in guaranteeing financers will make a profit on their investment in a film. Meric Aydin's ability to sift through the thousands of talented actors currently working in the American entertainment industry and select the ones who can bring a story to life on screen while driving profits came as a huge asset to the production of the upcoming film Frankenstein.

Aydin says, "I helped create cast lists, and provided my notes for the screenplay during pre-production and for the screening while the project was in post-production."

In the world of producers there are various roles one fulfills throughout each phase of production, which means taking on a wide scope of responsibilities; however, there are variations on a producer's title, for example: executive producer, associate producer, etc., which note an individual's most focused efforts and contributions to a production.

About the role of an associate producer, Aydin says, "That person does what needs to be done from pre-production to release. While sometimes it might mean creating PR material, sometimes it may extend to making a phone call and getting the actor attached to the project."

Meric Aydin is working as an associate producer on the upcoming films The Census Taker, Du Cap and Without Apparent Motive. With the films Frankenstein and Septembers of Shiraz both set for release this year, and three other features underway, Meric Aydin undoubtedly has a busy road ahead.

One cannot overstate the integral role of the cinematographer in bringing a director's vision to the screen. Often referred to as the director of photography (DP), it is one of the most challenging jobs in the film industry. Not only do these individuals set the film’s tone by carefully crafting images to create a visual language, but they also serve as chief of the film's camera department and lighting crew. The role of DP befits a person who is able to use both their right brain and their left brain, as this work inevitably requires the creative capacity to infuse images with life and emotion in addition to vast knowledge concerning technical aspects of illumination and effective use of camera techniques.

Celebrated English cinematographer Guy Pooles says, "It is the job of the cinematographer to tell the story visually. I collaborate with the director to devise and build a visual language that ties into their vision for the film, then I move forward and manage the Lighting, Grip and Camera departments to ensure that every creative and logistical choice made is in keeping with the execution of that vision. It is my job to hone each visual element, be it lighting, color or composition, to a place where it complements and elevates the drama of the narrative."

Pooles discovered his desire to work in film in his youth, but it wasn't until several years ago, while attending Royal Holloway, University of London, that he realized cinematography was his true calling. Though incredibly demanding, Pooles sees cinematography as an avenue for endless exploration into the way images transcend verbal language.

"In a way, the emotive power of cinematography is an infinite mystery. I’m not entirely sure why a certain lens on a certain camera in a certain place can make me feel safe and comforted, or why a particular quality of light raking across a wall can fill me with sadness, all I know is that they do. There’s a humanity encoded within imagery that transcends language or definition, and the exploration of this is forever surprising and enjoyable," he explains. "It is an unquenchable curiosity that draws me towards cinematography."

Pooles has fulfilled his dream of working internationally as a professional cinematographer, and he has been honored with numerous awards for his work, including the American Society of Cinematographers’ Linwood Dunn Heritage Award, which he received last year for his work as cinematographer on the film Dirty Laundry. 

Over the years, Pooles has amassed an a impressive repertoire of work as a cinematographer, including films like Wake, Happenstance, What Must Be Done, You're a Little Late, Martha, and a documentary entitled Best of The Pacific Northwest.

One of Pooles' most recent projects as a cinematographer is the film Open 24 Hours, a dark comedy directed by Henry Chaisson. According to Pooles, "Our goal for the film was to take an utterly mundane setting --a secluded, small town, gas station-- and construct a visual language for the film to suggest that a sinister and unusual energy existed beneath the surface of this seemingly-harmless world."  

After testing several lens systems to achieve the aesthetic goal, Pooles and his team selected Cineovision Anamorphic Lenses from Old School Cameras, as well as a RED Epic Dragon camera body with a 6K sensor. Pooles explains, "For me, the joy of the Cineovision lenses was that they possessed all of the visual characteristics of an anamorphic lens that I enjoy -- softness, flaring and fogging, slight breathing/distortion -- but with a subtlety that allowed the lenses to still be easy to work with on set." 

A testament to the film's powerful imagery and the quirky story it portrays, Open 24 Hours was recently chosen as an Official Selection of the 2015 Hollywood Reel Independent Film Festival where it will screen in February. Guy Pooles’s work has demonstrated that he has the kind of adaptable creative vision that can endure the test of time, and film is not his only area of expertise.

Last year Pooles was asked to work as both director and cinematographer for Bryarly Bishop’s music video for the song "In the Bright Daylight." The indie musician's budget for the video paled in comparison to Pooles' recent projects, but because he loves a good challenge, he brainstormed until he devised a concept that would fit both the song and the musician's budget. Pooles says, "The key to keeping the budget so low was the utilization of natural light."

Pooles turned to the Sony a7S using a native ISO of 3200 and a S-Log 2 curve, which he says possesses incredible latitude and very high sensitivity, making a large and expensive lighting package unnecessary. "I needed only to utilize the overcast ambient daylight coming through the window of the location as my key light, and then shape it to my desired look with plenty of negative fill," he explains. "For a low-budget music video such as this, the minimalist approach worked perfectly, allowing the shoot to be not just cheap, but also fast."

Looking to the future, Pooles is slated to travel to China later this year where he will work as the cinematographer on an upcoming film. He says, "My wish is to keep moving forward and to try new things. I think the mark of a good cinematographer is the ability to move from genre to genre and from medium to medium whilst leaving their own personal style at the door."