Stephen M. Harris
Other
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My Contact Number:
845-758-9309
Links
Credits
Year | Job Title Project Type |
Project Name Director / Company |
Location |
---|---|---|---|
2009 |
DP
Event |
Racing Daylight Nicole Quinn / Racing Daylight LLP |
Education
Year | Qualification | Where |
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Equipment
My Equipment/Kit:
I can use:
About me
I fell in love with film at the art-movie theater near my college and headed back to NYC, where I got a job as an apprentice editor on movie trailers, and took film courses at night. I worked my way up to assistant editor, and learned a lot, but I was ready to move on, editing wasn’t going to be it for me. The guys holding slates on the dailies I was syncing up looked a lot like me, and I headed west too LA, to see if I could become one off them.I started again as a PA, quickly gravitated to the camera, and knew this was going to be it.
I had the great good fortune to work with and learn from Vilmos Zsigmond, Conrad Hall and Haskell Wexler on commercials, still taking cinematography courses at night, and devouring all two of the books on cinematography I could find at the H’wood Library.* I began shooting small jobs, and then got offered an LBF back in New York. It was called Deja View (don’t think it ever was, Deja or not.) Then I did another, called The Jackson Whites. They were both very interesting movies and great l experiences, but seemed not to be headed for the screen. And at the time, I was catching on in TV commercials, where the top crews and equipment I couldn’t access on LBF’s were available to me, pushing the envelope in cinematography was very much in vogue, and, the money was not only pretty good, but actually had this amazing habit of showing up at the end of the week.
I continued in commercials, filmed them in all over the world. The years went by quickly, and one day I realized my son was growing up without me. So, we moved to a farm in the Hudson Valley, where I shot a film called Racing Daylight, commuted to places like Japan and LA shooting commercials, and eventually retired.
I started a much-needed location service for films coming to the area, thinking it would be a nice, easy, low stress retirement job. (I know, but that’s how it looked from my POV as a cameraman:) And in the course of doing location work, I became more and more excited by the way LBF film making was (and is) evolving along with digital technology.
Time to un-retire!
* Those two books in the Hollywood Library were The Five C’s of Cinematography and The Light On Her Face.
Referees:
Commercials: Air France, Ford, Sprint, MCI, Newspaper Association,
etc- see commercial reels.
Features: Several LBF's including Racing Daylight
vimeo.com/smhcine
References upon request!
Additional information:
Unfortunately, FilmandTVPro's website is structured for relative newcomers to the business, and will not list credits that are self-evident from my reels unless they can verify them employers, a bit difficult for decades of work, so please see my reels at vimeo.com/smhcine
Skills
Secondary Job Title | Cinematographer |
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Job Titles | Cinematographer, Director of Photography (DOP) |
Years in industry | 6+ years |