2017 Honorees and Honorable Mentions

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Honorees

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A collection of highlights from all of the 2017 honorees.

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David Auerbach

1st Assistant Camera
Red Lopez

David Auerbach was born in Paris and grew up in Salzburg, Austria. In 1993, David moved to Los Angeles to attend the L.A. City College Film School. After graduation, David worked at Clairmont Camera for two years before starting work as a freelance Camera Assistant and joining the Local 600 Union.

David notes that his experience as a cameraman on documentaries has taught him to think fast and how to best utilize or recreate natural light in any given situation.

In 2007, David lensed the documentary Zen & Zero which garnered over 30 International Film Festival Awards, including Best Camera Awards at Festivals in Brazil and Chile.

Red Lopez was shot on an Arri Alexa in 4:3 anamorphic mode with a set of four vintage Hawk lenses (provided by Otto Nemenz Int.) The stunning Uinta mountains near Park City, Utah formed the backdrop to the outdoor scenes in the film.  The indoor scene was shot during a single night shoot in a period true building that functions as a museum during the day time.

David recently finished his first documentary 52-The Trolleybus serving as both cameraman and director.  The documentary, which premiered at the 2017 Mammoth Lakes Film Festival, was awarded the Jury Prize for Best Short Documentary.

David’s mentors in the business are fellow ICG members, Eric Treml and Heimo Ritzinger, with whom he has been friends since his childhood days in Austria.

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George Billinger

Operator
The Gate

George Billinger grew up at the beach in Ventura, California. He started surfing at a young age and with his friends, his adolescent exploits became the story and setting for the book, Pier Rats. Having access to his dad’s Kodak M30 Instamatic Super 8 movie camera, George filmed their surfing adventures. When there was no surf, they would dream up ideas to shoot something entertaining and funny. George learned a lot from that camera, without knowing it.

George attended Loyola Marymount University in Los Angeles, graduating with a BA in Film Production. Before film school, George lived a very different life as a Ventura firefighter, until he made the decision to begin a new life. He withdrew his saved retirement money to pay for film school.

Upon graduation, George was awarded the Academy of Television Arts and Sciences internship in Cinematography at the Warner Brothers Studios. That was a dream come true. George’s first “real” camera job in Hollywood working for Robert Keslow as a prep tech at Cine Pro.

He eventually went on to be hired by the commercial production Film Fair as their staff camera assistant. That became his entry into the ICG and George was proud to be in the company of the legacy cameraman he had studied about in film school.

The Gate was George’s second collaboration with director Kellie Madison. They previously worked together on another short. “She is a true visionary with directing action and a passionate accomplished storyteller and writer.”  The Gate tells the story of martial arts master turned superhero, Cassie Weston, who must battle her equally matched rival to save her sister’s soul. The project was shot on Alexa Mini with Zeiss Ultra Prime Lenses and recorded in Apple ProRes 4444.

The Gate presented Interesting lighting challenges. “We needed the camera to follow the action in 360 degrees, while accommodating the long, continuous fluid takes and incorporating a natural lighting style with multiple sources,” said Billinger.

The Gate was honored with awards for Best Feature Narrative Short Film and Best Cinematography Short Film at the 2017 Wide Screen Film Festival Miami.

George has been inspired and mentored by creative relationships with Janusz Kaminski, Elliot Davis and Steven Spielberg.

“I would like to thank Peter Deming ASC, for allowing me time away to shoot The Gate. Rufus Burnham at The Camera Division, Technicolor and Tony Dustin, their support was everything. My brilliant crew, John Woodward, Jeff Murrell and Richard Mall. James Glennon, ASC the man who taught me how to really become an operator. Not a day goes by that I don't think about that. My beautiful daughter Amelia for always encouraging me. And to Kellie Madison for trusting me with her brilliant vision,” said Billinger. 

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Kristen Correll

2nd Assistant Camera
La Sirena

Kristen “K2” Correll, a Los Angeles native, has been a member of Local 600 since 2010. She started her career as a production assistant working on the (U.S.) East Coast, after receiving a bachelor’s degree in filmmaking from Emerson College. Kristen has assisted some of the most talented Directors of Photography including Dan Mindel and Hoyte Van Hoytema, as well as 1st Assistants Serge ‘Roxtedi’ Nofield and the family known as GDPz.

After working on a number of films, Kristen enrolled at the American Film Institute, where she shot two thesis films. The first, Benny Got Shot, directed by Malcolm Washington, was screened at the Emerging Filmmakers Showcase in the American Pavilion at the Cannes Film Festival. Also at Cannes, Kristen spoke on the panel “The Female Lens: Cinematic Agency and Perspective."

The second film, La Sirena, directed by Rosita Lama Muvdi, won best short at the Dances With Films Festival. La Sirena was shot on Alexa XT, with Leica Summilux lenses. The lighting was a delicate mix of Mole LED space lights, tungsten units and most importantly the Litegear light mats.

Kristen says, “Ideas build over the course of prep, discussions, hanging out, location scouting, etc. One of my favorite parts is building a strong visual style and then watching it evolve from the first talk with the Director, through the last day of color correction.”

Kristen believes strongly in collaboration. Her collaboration expands from the visual story into the crew she chooses.

It is her crew-centric background, formal education, and curious nature that gives her a well-rounded approach to cinematography. Kristen wants to thank her family, friends, gaffer Justin Stroh, operator James Goldman and everyone that gave their time and encouragement to her projects and her career.

“Being a DP is awesome,” Kristen beams, “because you get to bring people's dreams to life, through my dream, while also exposing the amazing artistic talents of everyone you surround yourself with. It is truly where I am the happiest.”

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Daniel Friedberg

2nd Assistant Camera
LoveBird

Born and raised in New York, Daniel Friedberg was exposed to a rich diversity of artistic venues, traditions and cultures. At a young age, he became fascinated with the history and art of cinema and developed a passion for telling stories through moving images.

During his teenage years, Daniel studied photography and began shooting short experimental films. His intense interest in film, photography and the visual arts led him to begin his formal education at Rockport College (Maine Media College). During his two years in Maine, Daniel explored the artistic elements of visual storytelling and received a comprehensive overview of the core principles of cinematography. After graduating from Rockport with an Associate of Arts Degree in Filmmaking, Daniel continued his education in film at Savannah College of Art and Design (SCAD).

At SCAD, Daniel was awarded the Francis Larkin McCommon Scholarship and entered the Film and Television Program with a focus on Cinematography. Recognizing the importance of lighting and set design in creating a film’s visual mood and feel. Daniel decided to double major in Production Design. He graduated from SCAD in 2009, with a BFA in Film and a BFA in Production Design.

He received his MA in Cinematography from SCAD, while shooting numerous student projects and working in the industry as a camera assistant. He became a member of the ICG, Local 600, in 2011.

Daniel moved to Atlanta and worked as a camera assistant on several films and television shows while continuing to practice his craft as a cinematographer. Over the past several years, he has worked on a variety of projects and has gained experience shooting television shows, commercials and music videos.

Today, Daniel continues to follow his passion of using cinematic means to visually and effectively tell a story in a way that will capture life in all its emotional facets.  Daniel would like to acknowledge the director of the film, Parvaneh Mireille, for the opportunity to bring her story to the screen, and the amazing cast and crew that helped bring this vision to life.

He would also like to thank Local 600 and Steven Poster for their support and for this incredible honor.

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Michael Lockridge

Operator
(le) Rebound

Michael Lockridge is a Los Angeles based Director of Photography and has been a member of the ICG since 2014.  Born and raised in Minneapolis, Minnesota he attended Florida State University’s School of Motion Picture and Recording Arts. 

Michael has worked as a DP on commercials, music videos, documentaries and features.  Commercial clients include: Toyota, American Express, Google, Wells Fargo, Yahoo and ESPN. His work on the feature film Autumn Wanderer earned him an award for Best Cinematography at the Edinburgh Film Festival. Buddymoonwhich was released in theaters last year, won the audience award at the 2016 Slamdance Film Festival.

White Walls Say Nothing, a documentary about street art and activism in Buenos Aries, recently premiered at the HotDocs Documentary Festival in Toronto. Michael recently wrapped work on the film Get Out If You Can with Ed Harris and is excited to begin production on a feature film this winter.

The ECA selection, (le) Rebound, premiered at Aspen Shortfest in April and has shown at Achtung Berlin and the Palm Springs International Shortfest. (le) Rebound was directed by Laura Beckner and shot in Normandy, France and Los Angeles. Michael filmed on the Red Epic coupled with Canon K35’s and Canon C300 MKii with Zeiss ZE primes.

Michael said, “Listening is one of the most important things a DP can do. Whether the project is narrative or commercial, listening to the people around me, to the story, to the environment, by being present, only then can I respond and create the composition and lighting that compliments and informs the story.”  

Michael would like to acknowledge a few mentors that have inspired and encouraged him along the way. Craig Kief, is an incredibly talented DP that Michael was fortunate enough to have worked with after graduating. Richard Avalon, is an incredible first AC that Michael met on his very first set in Los Angeles as a camera intern. He would also like to thank his wife, Whitney, who constantly inspires and supports him.

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Jeff Powers

Operator
Will Wilson

Jeff Powers comes from southeast Pennsylvania. Growing up, his first love was music and he spent a lot of his formative years touring and recording with bands. During this period, Jeff began filming live performances and music videos for friends and artists.

After working as an electric on a low budget indie feature, he decided to get more training in cinematography and applied to the American Film Institute (AFI) in Los Angeles where he studied under Stephen Lighthill and Amy Vincent.

Jeff went on to collaborate with several AFI graduates on independent films and music videos.  Eventually he decided it was time to join the ICG as a camera operator in 2014.

On Will Wilson, Jeff teamed up with director David Herman to craft a moody psychological thriller. About to propose marriage, Will (Josh Pence) witnesses a suicide. Details surrounding the tragedy and mysterious dark forces threaten to overtake his life. The film was shot in Herman’s hometown of Albuquerque, New Mexico, on Arri Alexa Mini and Cooke S4 Primes.

Jeff resides in Los Angeles. His recent work includes music videos for artists such as Big Sean (2015 MTV VMA winner) as well as various commercials. His narrative work has screened at festivals such as Sundance, SXSW and the Claremont-Ferrand International Film Festival.

If you are lucky, you may occasionally catch him playing drums around town.

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Roham Rahmanian

Digital Imaging Technician
Break the Will

Born in Tehran and raised in Vancouver, Roham has always viewed life through the lens of a camera. After graduating from University of Southern California School of Cinematic Arts, his background with cameras allowed him to find work as a Digital Imaging Technician for film, TV, and commercials. 

Roham’s passion for adventure as a dive master and a pilot have led him to shoot and operate in the air, underwater, and everywhere in between. With his two colleagues, he founded the Astronaut's Guild, a visionary company shooting stereoscopic and virtual reality for clients like Mercedes, Golden State Warriors, and Sony.

Currently, he is in preproduction as cinematographer for a feature film set in Philadelphia this summer as well as doing Underwater work for the likes of Lorde, Natalie Portman and the 2024 Olympics.

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Jen Schneider

Operator
Unbound

Jen Schneider is an East Coast-based cinematographer whose narrative and documentary work has been screened at Cannes, Sundance, Doxa, and other international film festivals.

Jen is honored with the International Camera Guild's Emerging Cinematographer Award (ECA) for her work on Unbound, written and directed by Maggie Mahrt at AFI’s Directing Workshop for Women. The film was shot entirely in studio using an Arri Alexa EV with Cooke S4s, and a Sony F55 with Sony Primes for the vfx material.

Jen joined ICG Local 600 in 2012 as a camera assistant, and was mentored by cinematographers Martin Ahlgren, Chris Blauvelt, Adrian Correia and Danny Vecchione.

Jen’s debut as cinematographer was on the documentary Anderson Monarchs, which was singled out by Variety for “bestow[ing] a gritty grandeur on South Philly."

Her first narrative project was The Source, an interactive web series created by Marc D’Agostino. The Source won “Best Drama” at ITVF Festival, “Best Drama” at NYTV Festival and “Best Drama” and “Best In Fest” at the Los Angeles TV Festival.

Her second feature documentary, Shored Up, directed by Ben Kalina, won the Sundance Hilton Lightstay Sustainability Award in 2014.  Jen’s work was again praised by Variety for the “…handsome camerawork” and Village Voice for ”its depiction of the perils of short-term solutions to sea-level rise, …beautifully illustrated by the film’s cinematography.”

Jen earned her bachelor’s degree from the photography program at Bard College, working under photographers Stephen Shore, Larry Fink and Barbara Ess. After college, she worked as a large format photo printer in New York, while studio assisting for photographer David Levinthal. She served as an arts educator for several years, teaching media literacy and media production in NYC public schools, before relocating to Philadelphia to earn her M.F.A. from Temple University’s Film & Media Arts program.

Recent DP credits include: Pinky, written and directed by Roja Gashtili and Julia Lerman; Ordinal (SW/NE), a 2017 experimental documentary film directed and produced by Rini Yun Keagy in collaboration with visual artist Miljohn Ruperto, which premiered at RedCat Gallery (Los Angeles); and Now Return Us To Normal, a feature documentary in-progress directed by Leslie Koren about secretive therapeutic boarding schools for problem teens.

Jen is a member of the film collectives Cinematographers XX and International Collective of Female Cinematographers (ICFC).

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