Short additional info for my application to the Fulbright scholarship in 2008

 

As a professional cinematographer I have to admit that significant opportunities for practising my skills in Greece are very rare, since Greek cinema is heavily dependent on state subsidies and private enterpize is still reluctant to invest in young Greek filmmakers. 

As a result, numerous talented people who se specialisation is directly related to filmmaking (directors„ screenwriters, editors, directors of photography etc), are forced either to pursue their art in the television medium by working for television programs and commercials or they decide to withdraw altogether and pursue other more efficient carters. 

Cinema apart from being an art is also an industry and this fact poses many obstacles particularly for small countries who cannot compete equally with more developed cinema industries.Unfortunately, modern Greek cinema cannot find the way to communicate with a mass audience apart from one or two exceptions and the limited audience as well as the fact that Greek language is not widely spoken around the world make the situation even worse and the prospects not very promising. 

New digital technology has been making quite an impact worldwide, by introducing low cost tools that have already revolutionised filmmaking and this trend for low budget accessible productions, in my opinion can certainly be applied in Greek cinema in order to give a boost to new films and save many filmmakers from the dilemma of earning their living from television or quitting their life long dreams.

 My specialisation as a key member of a film crew dictates some considerations regarding moving image acquisition methods, which in the light of new digital cameras and post production equipment may contribute 'rumen* in rejuvenating Greek cinema production and offer new opportunities for artistic expression. 

In 2005 1 founded KINOGLAZ , (facebook page) an audiovisual services company based in Athens, aiming to provide affordable solutions to any moving image or multimedia project by combining my expertise with specialised skills that I have acquired so far, during my studies and on the field work. 

I have never stopped updating my knowledge and skills by attending various seminars and workshops while keeping pace of current artistic trends in world cinema through specialised journals such as "American cinematographer" and "Sight and sound" as well as through online forums which provide me with the opportunity to contact colleagues around the world and learn from their experience. It was during one of these online sessions that I came accross Mr Caporale who is an expert in digital cinematography in USA and was eager to become my affiliate. 

Digital cinema is already making its impact in US film industry and independent filmmaking community and a lot of pioneering work in terms of research and development is being carried out by American cinematographers. It was my prime intention to collaborate with such a cinematographer in order to expose Greek filmmaking practice from my point of view to a more sophisticated environment and benefit from this mutual exchange of ideas and practicing procedures. 

As Vittorio Storaro, whose work I admire, pointed out cinematography, even though it is a personal inner journey, must be seen as a collective cinematic experience. Cinematography cannot exist alone; it must be part of a collective creative process coordinated by the main author of the film: the director." 

I must admit that I have not been lucky enough to collaborate with a great number of inspired film makers so far, and this internship program may assist me to develop as a cinematographer and researcher, mostly through the exchange of ideas with expert and valued collaborators.