American Cinematographer - August 2021 - 39

AMERICAN CINEMATOGRAPHER ASCMAG.COM
TOBIA SEMPI, AIC
Key credits: One Way, Aventura (short film); " Mercedes SUV, " " Genesis
Stunt " and " HLN Promo " commercials
Awards/Honors: Various honors for commercials, including a D&AD
Award; 2017 Best Daytime Cinematography Award for the short No Place
to Fall; Fresh Future Carbon Awards for the commercials " Sea Goddess "
and " Spaceship Byton "
Training and education: " I had my first go at filmmaking in Italy at the
Scuola d'Arte Cinematografica in Genova, and then I enrolled in a Masters
program at the London Film School, where I really discovered and
fell in love with cinematography. Up to that moment I thought I would
be a director. The London Film School was highly practical, and we got
to work in every role during the term assignments. That gave me invaluable
knowledge of how every department works on a film shoot, and
how to communicate with all the heads of departments. "
First break: " I remember early on always being turned down by [commercial]
clients and agencies because my reel didn't have any cars in it,
so I decided to take things into my own hands. Together with a director
friend of mine, I bought a small model of a Jaguar XK, and with a little
camera we filmed a spec commercial for Jaguar. We used tiny fluorescent
tubes to create moving-light effects on the model car. We didn't tell anybody
that it was a model car, and nobody guessed it. That little film was
very well received and led me to sign with my first agent in the U.K. and
then my first agent in the U.S. To this day I still see that film from time to
time as a reference in agencies and client briefs. "
Recent accomplishments: " During the pandemic year, I shot the feature
film One Way with director Andrew Baird, and the short Aventura with
director Chloë de Carvalho, both of which are in postproduction now.
Since then, I've been shooting commercials. "
Artistic influences: " I draw some of my inspiration from still photographers.
For some projects, I might go to Saul Leiter for his framing and
colors, and for something else it could be Daido Moriyama for the texture
of his work, or Elliott Erwitt for the ability to capture spontaneity. "
Looking to the future: " I'm looking forward to more narrative work, in
film or TV. My dream is to be doing a few narrative projects a year and
commercials in between. "
AUGUST 2021 / 39

http://www.ASCMAG.COM

American Cinematographer - August 2021

Table of Contents for the Digital Edition of American Cinematographer - August 2021

Contents
American Cinematographer - August 2021 - Intro
American Cinematographer - August 2021 - Cover1
American Cinematographer - August 2021 - Cover2
American Cinematographer - August 2021 - 1
American Cinematographer - August 2021 - Contents
American Cinematographer - August 2021 - 3
American Cinematographer - August 2021 - 4
American Cinematographer - August 2021 - 5
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American Cinematographer - August 2021 - Cover3
American Cinematographer - August 2021 - Cover4
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