Director of Photography Evgeny Kolskiy performs this role masterfully. He has worked on hundreds of diverse projects in various countries. We asked him to share his experience.

Evgeny, you have had a rich professional journey. Specifically, you have worked on well-known projects such as the series “Kitchen” and “Londongrad,” the show “The Voice,” and the reality show “Star Factory.” Was it difficult to join such top-notch teams?

I participated in these projects while working for federal TV channels – Channel One and MTV Russia, as well as with companies like Yellow Black and White Group and Good Story Media, which produce content for STS and TNT. It’s gratifying that my professionalism was valued and I was trusted with such responsible tasks.

Working with each of these formats was interesting in its own way. For example, when shooting a series, you artificially fill the frame: you can direct the actor where to stand, light them, place the camera as needed. Your task is to think through the visuals and make them as effective as possible. When shooting a TV program, especially if it’s live, there’s no room for error – everything happens in real time. Therefore, filming such projects requires special professional skills and the ability to quickly adapt to the situation.

When discussing a successful video project, the director’s achievements are often highlighted first. But it’s through the eyes of the director of photography that we see the action in the frame. How do you make a video interesting for the viewer?

Indeed, the quality of the work by the director and the DoP plays a crucial role in the project’s success. However, we each have our own tasks. The director is responsible for implementing the script, the action in the frame, and the actors’ performances. The DoP works with artists, operators, and lighting technicians, determining the color palette, lighting, and frame composition.

The DoP determines how the viewer perceives the visuals. A dark, dull, or unsaturated frame can be turned bright and colorful, and vice versa. The operator can make the viewer feel dizzy with shaky frames or create a tense atmosphere that keeps the viewer glued to the screen.

In my work, I strive to make the frames diverse. I use unusual angles, control light and shadow, and create dynamics. My signature technique is seamless single-shot filming, which allows viewers to feel like participants in the events. This method allows me to quickly create expressive videos that can hold the audience’s attention for a long time.

I know you filmed the 24 Hours of Le Mans race. This is a highly dynamic and complex project requiring high technical skills. What challenges did you face there, and how did you overcome them?

In fact, 24 Hours of Le Mans is not the only such project. I have collaborated for many years with Cross Production, a studio specializing in content production for car manufacturers. Given my expertise, they often invited me to shoot advertising projects for global car brands and large-scale car races. My videos for BMW, Mercedes-Benz, Toyota, Porsche were published on their websites and social media, and featured in the media. Hundreds of thousands of viewers watched the broadcasts and various content from the FIA World Endurance Championship and Nurburgring Car Race.

Any sporting event involves continuous movement. The main task for the film crew is not to miss important moments. Le Mans is a tense and unpredictable race where cars constantly overtake each other and get into accidents. Hundreds of thousands of viewers watch Le Mans every year, and even more people view the videos prepared by the organizers and racing teams. This places a great responsibility on the DoP. To cope with this task, I had to quickly capture frames and make instant decisions.

Additionally, the filming itself takes place under challenging conditions. The race lasts 24 hours, and the film crew continuously monitors the process. Operators take short shifts to rest. However, despite this, everyone remains tense and focused on the events.

In the USA, your high professionalism and unique recognizable style are highly valued, and you are regularly invited to large and famous projects such as New York Fashion Week and the Tommy Hilfiger show. You have also created content for Bulgari and Swarovski. Can you provide an example of a challenging task you faced and how you resolved it?

I actively collaborate with Fashion2Max, known for its partnerships with global brands such as Valentino, Prada, Bvlgari, Alexandre Birman, Dolce & Gabbana, Tommy Hilfiger, Ralph Lauren, Fendi, and Alberta Ferretti. In 2022, they invited me as a DoP for the Tommy Hilfiger Fall Fashion Show in New York. The event was attended by celebrities like Shawn Mendes, John Legend, Travis Barker, and Kourtney Kardashian. I also filmed New York Fashion Week for Fashion2Max in 2022.

Regarding New York Fashion Week, my task was to create a creative shoot that conveyed the show’s atmosphere. This event is considered one of the three most important fashion events globally, alongside fashion weeks in Paris and Milan. It attracts special attention from the professional industry, stars, and fashion enthusiasts. Here, new season trends are determined, and young talents are revealed.

Therefore, there are always many participants, viewers, and film crews at the event – making it difficult to set up angles and lighting for the shoot. When you need to capture a star participant or a short interview with them, you have only a few minutes – you have to act very quickly. Additionally, special treatment is required for people of such status.

I also filmed the Bulgari “Show 50 years in America” video, which was later posted on the company’s official social media account.

I can note that working with brands is not an easy task. It’s necessary to present the product correctly, considering its specifics, and choose lighting and frames to convey the designer’s idea. When working on advertising projects and campaigns, many details related to the model’s appearance and the venue must be agreed upon. It’s not always possible to reach a compromise immediately. Therefore, the DoP must not only perform their primary tasks well but also be a good negotiator.

Tell us about other major and interesting projects you’ve been involved in over the past years. Which ones have been the most significant for you?

In recent years, I’ve had many projects. Specifically, I work with Media Monsters Production, related to the music industry. With them, I’ve filmed well-known rap artists like SnoopDogg, 50 Cent, and A$AP Rocky. I’ve worked on major music events. I also shot a report from the Maxim Party during the Super Bowl – an event watched by all of America.

I have several awards for a music video – the clip for singer POLINA’s song “Faena,” where I served as both director and DoP. We made it with Hoodyakov Production. The work was recognized at the Europe Music Awards in the Best Pop Music Video category, we received the World Film Carnival Singapore award, and won the Prague Music Video Awards.

I not only work with leading content production companies but also successfully manage my own, KEO Production. We collaborated with Swarovski, filming the opening ceremony of their store in Miami. We work a lot with the well-known suitcase and backpack manufacturer Swiss Gear, regularly shooting commercials for their social media.

How does your television experience help you in your current American projects?

With Media Monsters Production, we recently filmed a documentary featuring Donald Trump. My task was to quickly and discreetly set up lighting in one of the rooms in his residence so that he looked good from any angle. And I succeeded.

Perhaps the main thing I learned while working on television projects is to adapt quickly to the situation. Now, regardless of the content format I’m working with, I create frames that require minimal editing and set up lighting so that minimal adjustments are needed. For example, if shooting a series, music video, or commercial, and during a scene the director decides to change the actors’ positions, the DoP will need to adjust the lighting, which requires time.

I always try to use universal solutions that simplify the work of the director, actor, producer, and thus save time and money. From my experience, production companies are always interested in working with people who possess these skills.

My television experience also helped me in my expert activities. I have been invited twice to judge the Miami Film Festival Follow Your Heart. There, I evaluated the cinematography work of the contestants and helped choose the best of the best.

The profession of a director of photography is quite challenging. Given that you are entrusted with very responsible tasks and projects, you seem to successfully meet these challenges. Share how a DoP can remain a leader in their field.

It’s essential to continually improve your knowledge and skills, keep up with trends and technology changes, and actively communicate with colleagues while analyzing how modern projects are created. The popularity of TikTok and Instagram Reels definitely influences our industry – we adopt some approaches. The most significant change is that more and more videos are now shot vertically. It might seem that you just need to turn the camera, but there are many technical nuances to consider on set. Over the past three years, more than 80% of works have been shot vertically.

Another current trend for DoPs is the development of artificial intelligence (AI). It helps solve tasks faster, simplifies processes, and offers new ideas. At the same time, new editing technologies, lighting equipment, and technical devices are emerging. To remain a sought-after specialist in the market, you need to have extensive experience, professional curiosity, and be aware of the latest trends.

#FeatureByEllaHopkins