Navigating the Industry with Eunicet Pamela Los Angeles based Director of Photography
As part of the UNOFEX Talent Series starring outstanding talent from around the world, we introduce to you the Los Angels based Director of Photography Eunicet Pamela. Let's get started:
Eunicet Pamela is a Director of Photography based in Los Angeles, her career started back in Mexico City where she did several documentaries, commercials, photography and more. Her unique style has led her to work with Directors such as Fernanda Belmar, Emma Bell, Amy Nigro and more.
Also her work has been featured in different Film Festivals like BELIFF in London, Catalina Film Festival in Los Angeles and People and the Environment in Russia.
Also, she was one of the 30 people selected from more than 7,000 applicants to be part of the Academy Gold Production Track from The Academy of Motion Pictures Art and Science where she had first hand experience in the Film Industry and now she is still part of the Mentoring program.
We talk with her about her work and how she’s been navigating the industry.
How do you communicate with a director to design a visual strategy for a film?
At the beginning I have extensive conversations with them, I always try to understand the script and what are the motives of the Director to tell the story. I have to understand this to do my own research, find visual references, textures and colors. Something very important is to keep the people interested in the film with camera movements and color so I always try to achieve a certain look that is specific to the story.
What was your most challenging film and why?
"Cain Rose Up" has been one of the most challenging but also most rewarding project I’ve been, we got the right of a Stephen King short story and we did an adaptation, we prepared for 6 months and the production was incredible but it was challening in the way that we had different location, a lot of actor and I had to develop a very specific look. It's a psychological thriller so I choose a lot of complex camera movements using the Chapman Peewee Dolly. It was very complex because I had to communicate effectively with the Dolly Grip and Camera Operator to achieve the motion I was looking for. But in the end it turned out great and currently that project is getting a lot of recognition in the Film Festivals.
What do you think the relationship between a director and a Director of Photography should be?
There has to always be mutual respect, you have to allow each other to do their own job.
The Director always gives me the creative freedom to develop a look but also I have to respect their ideas and the vision that they have since the beginning.
Also I like to have the room to experiment and try new techniques. So we both have to be on the same page.
What do you think of the current state of cinematography in mainstream and world cinema? (good or bad trends, digital vs film, low budget vs high budget, creativity, innovation, etc.)
I believe that the Film Industry keeps growing every day in an exponential way. There is so much Content Creation for different platforms, that translates that as a Cinematographer I have to keep up with the trends, being updated in the latest technology in camera and lighting and know how to apply them at my work, creativity is infinite so is my job to keep bringing something new to the table in each project and not be scared of the industry change.
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