DOP: Cesar Salmeron
“Cesar Salmeron is an award winning Cinematographer and is a master at this art. Working alongside Cesar for many years now, I can say, his work speaks for itself. Passionate and driven, Cesar creates visual masterpieces across the fields of TVC, Music Video, Documentary and other high end TV content. You can find Cesar in his cargo shorts down at the pump track with his son Kaspar.”
FOR THOSE WHO DON’T KNOW YOU AND YOUR WORK, CAN YOU TELL US A BRIEF HISTORY OF HOW YOU GOT INTO THE BUSINESS AND WHAT MADE YOU WANT TO DECIDE TO BE A CINEMATOGRAPHER?
I actually started out as a translator / interpreter, thanks to my multilingual euro upbringing. In my early 20’s, I decided to pack up shop and make Australia my new home. The first permanent gig I landed was as a pool technician. Australia, the lucky country! I worked my way up from cleaning pools to managing the company, but one day, I had this epiphany: "Is this what I really want to do forever?" So, I said goodbye to the pool life, enrolled in film school, and took a chance.
Luckily, one of my early short films earned me a documentary scholarship with Lonely Planet, which was my ‘sliding doors moment’. From thereon, I landed a full time gig as a jr cameraman/ editor at a small production house. Cut my teeth for 2 years and decided I wanted to specialise in just camera work.
Dark rooms are not my thing. I've been behind the camera ever since. Somehow I’ve gone back to how it all began… just now instead of translating languages…
I translate a vision from script to screen. Same same but different.
HOW WOULD YOU DESCRIBE YOUR APPROACH TO CINEMA?
I'd describe my approach to cinema as immersive storytelling. I believe in capturing genuine emotions and creating a connection with the audience. I love working with a talented team of guns who share the same passion for making…cool stuff. We bounce ideas off each other, experiment, and push creative boundaries to deliver something that resonates. After all, we’re not here to make love to spiders ;)
WHAT PIECE OF WORK ARE YOU MOST PROUD OF AND WHY?
You know, it's tough to pick a favourite project because each one has its own special moments and highlights. I've been lucky to work with some amazing collaborators and faced unique challenges that we've conquered together. Sometimes it's about nailing a tricky technical aspect, and other times, it's bringing a tough scene to life visually. It's like each project is its own kid with its quirks, and you just gotta love 'em all for what makes them special.
WHAT ELEMENTS OF THE FILM INDUSTRY DO YOU FIND MOST CHALLENGING TO NAVIGATE?
One of the most significant challenges I’d say is the financial aspect. Sometimes finding funding for projects, especially if they're not a Hollywood blockbuster, can be a puzzle. Breathing life into indie projects can be a constant hustle to secure budgets and make sure everyone gets paid and still have the resources to create something everyone is proud of.
Australia is probably one of the only countries where a lot of DP’s own their own gear. Ever-evolving technology, staying up to date with the latest equipment and having shiny toys for directors to play with can also cost quite a few dollar bucks.
WHAT IS YOUR FAVOURITE FILM, AND WHY?
Oh, man, picking a single favourite film is like having to convince every Aussie that chips should come with mayo not dead horse – near imposs!
But if I had to name a few that really left a mark on me, I'd say 'Le Haine' from the '90s is right up there. It's a gritty French B/W urban gangster film. The performances, the raw cinematography, and of course DJ Cut Killer setting the scene for what some say started the drone cinematography revolution.
Then there's 'The Fall' by Tarsem Singh. The film is a cinematographer's dream come true. I mean, when a location recce takes 17 years, you know you're in for something visually stunning. And more recently, I caught 'Athena,' which felt a lot like 'Le Haine' but on steroids, in the best way possible.
So yeah, I can't pick just one favourite, but these films will definitely make a rainy night on the couch worthwhile!
AS A CINEMATOGRAPHER, IS THERE A SPECIFIC GENRE YOU HAVEN’T DABBLED IN THAT YOU’D LIKE TO WORK ON IN THE FUTURE?
Absolutely! While I've had the opportunity to work across various genres, I’m always excited to dive head first into visually mixing them up. Making a Comedy look like an intense Drama, making a Love Story look like a Horror. Having fun with blindsiding the audience visually so the story has a ‘mic drop’ moment. Another obvious one would be sci-fi. There's something about the limitless possibilities and what rules should apply. What if you had three moons or 4 suns to play with? Endless fun and a few head scratchers along the way.
DO YOU HAVE A FAVOURITE CAMERA AND LENS SET UP?
I’ve taken quite the liking to the Canon FD’s. Beautiful softness and falloff. Being a full frame vintage lens opens up possibilities of what camera to chose. Another good pair I came across is the Mini LF & Canon rangefinders. It will be love at first flare and wide open your Focus Puller will ask you “Which eyelash would you like sharp?!” You’ll certainly get some characteristics with this marriage of old and new. It won’t be suitable for every project…but for the right one, it will make every frame count!
THE MOST EXOTIC LOCATION YOU’VE FILMED IN?
Early on in my career, I was sent to Kenya for a documentary project. I ended up in this tiny town that was a solid five hours away from what we'd call the "civilised world." It was an eye-opener, to say the least. Seeing how people dealt with everyday challenges really put my own "first world problems" in perspective.
When it comes to shooting in such a remote location, it's a whole different ballgame. Our equipment got pushed to its limits, no doubt about it. And the accommodations? Well, picture this: I'm sleeping in a tent, and there are monkeys trying to play detective with the zipper, and crocodiles lurking around for any leftover snacks. But you know what? All those wild adventures and coming back home in one piece…that sometimes is a big fat bonus in this line of work!
WHAT WOULD YOUR DREAM PROJECT BE?
That's a tough one because there are so many incredible stories to tell. But if I had to pick, I'd say my dream project would be a gig where I’d get to work with my close friends. Sharing experiences and collaborating with experts in their field, for me - is the best part of my job. I’m sure working with a bunch of mates and having a crack at an OK-GO video would def bring on the feels.
DO YOU HAVE ANY FUTURE PROJECTS LINED UP WHICH YOU’D LIKE TO SHARE WITH US?
I’ve got a couple of projects on the cooker but as they say…show not tell.
WHAT PIECE OF ADVICE COULD YOU SHARE TO BUDDING CINEMATOGRAPHERS?
Never stop learning and experimenting (MAKING MISTAKES).
Tech is constantly evolving, new techniques are developed, new styles are created.
Stay hungry.
Some of the most iconic shots in cinema came from “F#*k it, let’s just try it!”
Never be too good to sweep the floor at the end of a long day.
So collaborate, experiment and work hard.
You can be as talented as you want, but without a Kobe Bryant work ethic…it’s just a V8 sitting in the driveway without juice in the tank.
Get in touch and
view his work here.
