Cinematographer/DOP and owner of fancy tree films
How did you get into film? What particularly attracted you to become part of this industry?
The camera was always my passion and was therefore present at every event. After media school, I did my community service in El Salvador/Central America and was able to work with various directors there. From then on, the professional path into the film world formed. Since 2013 I have been self-employed with fancy tree films, co-founded Filmbase, am chairman of the Mountain Film City Innsbruck association and have been involved in numerous projects at home and abroad.
What distinguishes Tirol as film region for you?
To be honest – Tirol doesn’t have a very big film scene. But that’s exactly what makes it one, in my opinion. The filmmakers give everything to get the perfect output. No matter what time of day, whether in a rock face or at – 25°C on a glacier. The people here are pretty tough and show incredible motivation.
We are curious: Tell us your favourite location in Tirol!
Our Filmbase – a film location where more than 20 independent filmmakers are bundled in one house – and work together on a project basis. With a view of the surrounding mountains, we mainly chat about upcoming film productions, Netflix series, the last ride on skis or bikes – and of course about the latest tech rumours in the film industry.
And now: The stage is yours! Please introduce yourself and your field of activity.
I mainly work behind the camera – as a cameraman, DOP or director of photography. I prefer small or mobile sets that can effectively produce professional output. Team spirit is very important to me. I put a lot of emphasis on making work fun – especially when the camera is off. I am very proud of the fact that we have been able to win many film awards with our productions, some of which are very quirky.
I focus on 3 genres in which I do my film work:
From the outdoor or sports area, I can cover a very wide range of sports. I know where and how to move and, above all, how best to capture the respective sport.
By now I have been able to shoot well over 20 documentaries. I like to anticipate. What could happen next? Where do I have to position myself and how, just in case? What technique do I have to have at hand and how? The quick grab of the camera is much more important to me than a long staged image. Because who knows if there will be a second chance to capture the emotion.
Commissioned productions, in contrast to outdoor productions, bring more predictability. Campaign shootings, business or image films, TV spots, etc. round off my range. The demand for perfect lighting or perfect framing complement each other wonderfully with the other genres.
Well, that’s me. Johannes Aitzetmüller.