Bicoastal production studio Greenpoint Pictures has signed Peruvian director Alex Fischman Cárdenas for commercials and branded content in the U.S. This marks the director’s first career representation in the American advertising market.
Born and raised in Lima, Perú, Fischman Cárdenas started making movies at a young age and received international recognition for his award-winning narrative short film La Vieja Quinta, starring Peruvian acting legend Enrique Victoria. The popular filmmaking blog, No Film School, praised the film, with a headline that read: “This 17 Year Old Director Made One of the Best Short Films That You Will See This Year.”
After moving to the U.S. to study film, Fischman Cárdenas continued directing award winning short form content, including the narrative short Alienación which premiered in the Aesthetica Short Film Festival, dance short Neptune’s Dreams (a collaboration with Jacob Jonas The Company), and the short documentaries Teeth and Starr, both of which received Vimeo Staff Picks, along with the former receiving a Young Directors Award nomination and a Berlin Commercial Top 10.
In 2021, Fischman Cárdenas directed three spots for Uber’s Global Earners campaign. And this year, he will direct five spots for T-Mobile’s Magenta Edge campaign. Both campaigns employ his ability to meld documentary and narrative to create beautifully authentic portraits of people thriving at their jobs.
Fischman Cárdenas said of Greenpoint, “Their work speaks for itself: pushing filmmaking boundaries while telling deeply human stories is exactly the type of work I want to pursue. Since the moment I stepped into their office, I felt a sense of family and a collaborative spirit that makes me unbelievably excited about the projects to come.”
Greenpoint founder Michael Kuhn said, “Beautiful, raw and emotional are three words that describe Alex’s work perfectly, Alex has made waves already in the film community. He shot his first film at the age of 17 and has never looked back. The day we met him we coincidentally saw an agency pitch deck with his work being referenced. His work ethos couldn’t fit more perfectly to Greenpoint. He is a natural extension of what the company has been doing since day one.”
From Restoring To Hopefully Preserving Multi-Camera Categories At The Emmys
When Gary Baum, ASC won his fourth career Emmy Award earlier this month, it was especially gratifying in that the honor came in a category--Outstanding Cinematography for a Multi-Camera Half-Hour Series--that had been restored thanks in part to a grass-roots initiative among cinematographers to drum up entries. Last year the category fell by the wayside when not enough multi-camera entries materialized.
In his acceptance speech, Baum appealed to the Television Academy to keep multi-camera categories alive. He later noted to SHOOT that editors also got their multi-camera recognition back in the Emmy competition this year. Baum hopes that after resurrecting multi-camera categories in 2024, such recognition will be preserved for 2025 and beyond.
A major factor in the decline of multi-camera submissions in 2023 was the move of certain children’s and family programming from the primetime Emmy competition to the National Academy of Television Arts and Sciences’ (NATAS) Emmy ceremony. For DPs this meant that multi-camera programs last year were reduced to vying for just one primetime nomination slot in the more general Outstanding Cinematography for a Series (Half-Hour) category. It turned out that this single slot was filled in ‘23 by a Baum-lensed episode of How I Met Your Father (Hulu).
Fast forward to this year’s competition and Baum won for another installment of How I Met Your Father--”Okay Fine, It’s A Hurricane,” which turned out to be the series finale. Two of Baum’s Emmy wins over the years have been for How I Met Your Father, and there’s a certain symmetry to them. His initial win for How I Met Your Father was for the pilot in 2022. So he won Emmys for the very first and last... Read More