American Cinematographer - February 2018 - 15

Carolina Costa frames a shot for
Crystal Swan.

a cinematographer."
Costa was mentored by the late Sue
Gibson, BSC, who was the first female
member - and later the first female president - of the British Society of Cinematographers. "She moved from being a
clapper-loader right into being a cinematographer," Costa recounts. "She told
me to go after what I wanted, and that's
what I did. I stopped answering the phone
calls to second AC."
She shot music videos and short
films but felt like she was "hitting a wall"
in her career until she applied and was
accepted to the American Film Institute. "I
was reborn in a way," Costa says of her
time at AFI. "Technically, I extended my bag
of tools tremendously, which is so important. It also made me trust my instincts, and
that is the tool I use the most."
Contrapelo, an award-winning
short she photographed right after AFI, led
to The Chosen Ones, a sex-trafficking
drama that was directed by David Pablos
and shot on location in Tijuana, Mexico. "I
had six weeks of prep to spend in Tijuana,"
says Costa. "I shot-listed in every single
location with the director, and built the
lighting style based on my experience
there. It was made in the right way."
Since shooting The Chosen Ones,
Costa has photographed the features
Flower, They, Crystal Swan, Icebox and
Hala in quick succession, in locations ranging from Chicago to Minsk. On her docket
are a Brazilian miniseries and two more
features in Mexico, including Pablos' next
film.
"I feel extremely lucky that I can


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Table of Contents for the Digital Edition of American Cinematographer - February 2018

Contents
American Cinematographer - February 2018 - Sponsor
American Cinematographer - February 2018 - Cover1
American Cinematographer - February 2018 - Cover2
American Cinematographer - February 2018 - 1
American Cinematographer - February 2018 - 2
American Cinematographer - February 2018 - Contents
American Cinematographer - February 2018 - 4
American Cinematographer - February 2018 - 5
American Cinematographer - February 2018 - 6
American Cinematographer - February 2018 - 7
American Cinematographer - February 2018 - 8
American Cinematographer - February 2018 - 9
American Cinematographer - February 2018 - 10
American Cinematographer - February 2018 - 11
American Cinematographer - February 2018 - 12
American Cinematographer - February 2018 - 13
American Cinematographer - February 2018 - 14
American Cinematographer - February 2018 - 15
American Cinematographer - February 2018 - 16
American Cinematographer - February 2018 - 17
American Cinematographer - February 2018 - 18
American Cinematographer - February 2018 - 19
American Cinematographer - February 2018 - 20
American Cinematographer - February 2018 - 21
American Cinematographer - February 2018 - 22
American Cinematographer - February 2018 - 23
American Cinematographer - February 2018 - 24
American Cinematographer - February 2018 - 25
American Cinematographer - February 2018 - 26
American Cinematographer - February 2018 - 27
American Cinematographer - February 2018 - 28
American Cinematographer - February 2018 - 29
American Cinematographer - February 2018 - 30
American Cinematographer - February 2018 - 31
American Cinematographer - February 2018 - 32
American Cinematographer - February 2018 - 32a
American Cinematographer - February 2018 - 32b
American Cinematographer - February 2018 - 33
American Cinematographer - February 2018 - 34
American Cinematographer - February 2018 - 35
American Cinematographer - February 2018 - 36
American Cinematographer - February 2018 - 37
American Cinematographer - February 2018 - 38
American Cinematographer - February 2018 - 39
American Cinematographer - February 2018 - 40
American Cinematographer - February 2018 - 41
American Cinematographer - February 2018 - 42
American Cinematographer - February 2018 - 43
American Cinematographer - February 2018 - 44
American Cinematographer - February 2018 - 45
American Cinematographer - February 2018 - 46
American Cinematographer - February 2018 - 47
American Cinematographer - February 2018 - 48
American Cinematographer - February 2018 - 49
American Cinematographer - February 2018 - 50
American Cinematographer - February 2018 - 50a
American Cinematographer - February 2018 - 50b
American Cinematographer - February 2018 - 51
American Cinematographer - February 2018 - 52
American Cinematographer - February 2018 - 53
American Cinematographer - February 2018 - 54
American Cinematographer - February 2018 - 55
American Cinematographer - February 2018 - 56
American Cinematographer - February 2018 - 57
American Cinematographer - February 2018 - 58
American Cinematographer - February 2018 - 59
American Cinematographer - February 2018 - 60
American Cinematographer - February 2018 - 61
American Cinematographer - February 2018 - 62
American Cinematographer - February 2018 - 63
American Cinematographer - February 2018 - 64
American Cinematographer - February 2018 - 65
American Cinematographer - February 2018 - 66
American Cinematographer - February 2018 - 67
American Cinematographer - February 2018 - 68
American Cinematographer - February 2018 - 69
American Cinematographer - February 2018 - 70
American Cinematographer - February 2018 - 71
American Cinematographer - February 2018 - 72
American Cinematographer - February 2018 - 73
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American Cinematographer - February 2018 - 76
American Cinematographer - February 2018 - 77
American Cinematographer - February 2018 - 78
American Cinematographer - February 2018 - 79
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American Cinematographer - February 2018 - 81
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American Cinematographer - February 2018 - 83
American Cinematographer - February 2018 - 84
American Cinematographer - February 2018 - 85
American Cinematographer - February 2018 - 86
American Cinematographer - February 2018 - 87
American Cinematographer - February 2018 - 88
American Cinematographer - February 2018 - Cover3
American Cinematographer - February 2018 - Cover4
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