There’s both inspiration and exasperation to be found in the search for emerging talent. Consider last month’s International Cinematographers Guild’s (ICG) Emerging Cinematographer Awards (ECA) which represent in many respects the sheer joy of discovery and providing opportunity, giving a boost to promising, aspiring cinematographers.
Dejan Georgevich, ASC–who a couple of days earlier during an ICG luncheon had earned the Deluxe “Bud Stone” Award for Outstanding Educational Contributions to the Art and Craft of Cinematography–encapsulated that spirit in his remarks just prior to presenting an ECA trophy to Brian O’Carroll. Georgevich recalled during the prior Friday’s luncheon being tapped on the shoulder by John Barr, another 2012 ECA honoree. Barr re-introduced himself to Georgevich, noting that back in 1999 he served as his best boy on a project. “Thirteen years later, he’s an [ECA] honoree,” related Georgevich. “That sums up what this awards show is all about–giving exposure to that next generation of cinematographers.”
However, conspicuous by their absence from that next generation honored at the 16th annual ECA proceedings were female cinematographers. Of the eight ECA honorees and two honorable mentions, there was no woman to be found.
Still, there was a significant female discovery to be had in that ECA winner Daron Keet lensed a short, Ripple Effect, that was written and directed by Velvet A. Smith, who’s covered in our ongoing Up-and-Coming Directors Series (see feature story in this issue).
Ripple Effect shows how circumstances connect an Afghan lad with a U.S. Special Forces soldier in wartime. The story is moving, disturbing and powerful. Smith said her experience as an assistant director over the years on features (Mission: Impossible III, Next, Crank) and episodic TV (The X-Files, Joan of Arcadia, Robbery Homicide Division) helped her to effectively team with Keet and crew to make Ripple Effect a reality on a tight timetable.
Thankfully Smith is benefiting from her own positive ripple effect created by earning inclusion into programs aiming to create opportunities for women filmmakers. She was one of eight chosen for the American Film Institute’s Directing Workshop for Women. The AFI was drawn to her script for Ripple Effect, providing her with professional critiques along with a camera package for its lensing.
Furthermore, earlier this year, Smith was selected to participate in a diversity directing program established jointly by the DGA and ABC-TV. She will get the chance over the next two years to shadow television directors on ABC episodic series. “It’s an opportunity to learn the tone, style and process of these shows while building connections within episodic TV,” she explained.
In this issue, SHOOT kicks off a three-part series delving into women and minorities in production. We hope to share with our readership some fascinating personal journeys, including professional frustrations, triumphs and comical moments along the way. SHOOT searches out the realities and challenges of being female and/or being of color in today’s world of production, and what the outlook is for the future. Check out part one in this issue, which focuses on women.
Utah Leaders and Locals Rally To Keep Sundance Film Festival In The State
With the 2025 Sundance Film Festival underway, Utah leaders, locals and longtime attendees are making a final push — one that could include paying millions of dollars — to keep the world-renowned film festival as its directors consider uprooting.
Thousands of festivalgoers affixed bright yellow stickers to their winter coats that read "Keep Sundance in Utah" in a last-ditch effort to convince festival leadership and state officials to keep it in Park City, its home of 41 years.
Gov. Spencer Cox said previously that Utah would not throw as much money at the festival as other states hoping to lure it away. Now his office is urging the Legislature to carve out $3 million for Sundance in the state budget, weeks before the independent film festival is expected to pick a home for the next decade.
It could retain a small presence in picturesque Park City and center itself in nearby Salt Lake City, or move to another finalist — Cincinnati, Ohio, or Boulder, Colorado — beginning in 2027.
"Sundance is Utah, and Utah is Sundance. You can't really separate those two," Cox said. "This is your home, and we desperately hope it will be your home forever."
Last year's festival generated about $132 million for the state of Utah, according to Sundance's 2024 economic impact report.
Festival Director Eugene Hernandez told reporters last week that they had not made a final decision. An announcement is expected this year by early spring.
Colorado is trying to further sweeten its offer. The state is considering legislation giving up to $34 million in tax incentives to film festivals like Sundance through 2036 — on top of the $1.5 million in funds already approved to lure the Utah festival to its neighboring... Read More