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Artur, genre cinema often demands sustained tension—sometimes without a break. How do you maintain that pressure while avoiding cluttered or overly exaggerated visuals?

If I understood the question correctly, I try to build the tension or the film’s dynamic through rhythm and light, making sure not to overload the frame and still achieving the result we’re aiming for.

“The Headless Horseman” is a film where the frames create the atmosphere. What is your contribution to that atmosphere—what was your primary tool: light, movement, or framing precision?

You’ve partly answered the question yourself—yes, light was one of the key tools in The Headless Horseman through which we were able to build the film’s atmosphere and mood. If we succeeded, it’s thanks to the collaborative work of the director, cinematographer, production designer, and the rest of the team.

The film contains a number of visual metaphors. How did you communicate the theme of absence through visual language—without words or overt meaning? What was the collaboration with Ovsanna (the director) like?

Everything was done with great subtlety—shadows, empty spaces, slow movement—to convey that sequence of visual metaphors on screen. Working with Ovsanna was a free and trust-based process.

What were the most technically demanding moments in this film? Was there a scene that, for you personally, felt like a duel—with the frame, the conditions, or even with yourself?

I remember a scene where the camera had to follow the protagonist in a single take—from the building entrance to the living room—without showing any faces, even though it was a crowded scene. That made things technically complex. A similarly challenging setup was inside a bus.

What do you seek in short films that perhaps isn’t present in features? Do you feel freer in this format, or are you more critical of every detail?

Short films offer more freedom for creative self-expression, which is often more limited in the commercial feature films I’ve worked on. But I’ve also made auteur feature films where that creative freedom is much broader—similar to short films. I wish there were more such opportunities.

What do you see as the weak points in cinematography education today? What do beginners tend to overlook the most?

From my experience, film schools should be better equipped with the technical tools used in today’s film industry, and they should create more opportunities for students to gain hands-on experience on actual film sets.

And now that you’ve received the Guild award for a short film, what do you see as your next step?
Regardless of awards, a cinematographer must constantly evolve throughout their entire career.

Today, with the rapid development of digital technologies in the world of cinema, the role of editing has become more important than ever. Mkhitar Serobyan ACG, founder of Kelvin Film Lab LLC, presents a new editing course titled “From Set to Cinema”, offering an accessible and practical approach—covering everything from the work of a Digital Imaging Technician (DIT) to the delivery of a DCP file to cinemas.

– Mkhitar, thank you for joining us today. What inspired you to organize this editing course, and how does it relate to your personal experience?
– Thank you for the interview. After years of working in the Armenian film industry, education and continuous development have become top priorities for me. I firmly believe that sharing knowledge and experience not only supports beginners but also helps us grow as professionals. That’s my motivation—to help newcomers shorten the path they must take. I also want to contribute to the development of skilled DIT professionals, who will become our colleagues and support cinematographers and editors, filling a crucial gap in Armenian film production.

– The course title “From Set to Cinema” is indeed intriguing. How would you describe the editor’s journey from the film set to the movie screen?
– The title itself suggests a broad scope of work. The editor’s journey is filled with challenges, and for the content to be properly delivered to the audience, the editor must do their job correctly. In the course, I will cover this journey in detail so that students are more protected from making mistakes and are better equipped to overcome difficulties that may arise.

– How does the course balance the technical and creative aspects of editing? Are storytelling and creative decisions just as important as technical details?
– Preserving the footage filmed on set and extracting the necessary information from it is critical. We will address both the technical and creative aspects of editing. That’s why we cover everything from DIT work to delivering the DCP file to cinemas, symbolizing the process of presenting the crew’s work to the audience.

Course Structure and Methodology

– As the founder of Kelvin Film Lab, can you tell us about the stages of the course? Could you speak about its focus on practical work?
– The course includes both theoretical and practical parts. We’ll be working on real films—either previously released or preparing for release.

– The course also includes training in the role of a Digital Imaging Technician (DIT). How is DIT connected to the editing process?
– The importance of the DIT role becomes evident on set—from safeguarding materials and managing proper backups to quality control and monitoring light and color ranges, which helps the cinematographer work accurately. In Armenia, this role is often confused with that of a data wrangler, but it’s much broader and more integral.

Editing as an Art Form

– Editing is often referred to as an “invisible” art. How can we appreciate it as an independent art form, not limited to its technical aspects?
– For me, editing begins with the Kuleshov Effect, when he juxtaposed the same shot with three different images, proving how editing can shape the perception of a film. It’s still the same today—the story is what matters most, and how you build it.

– As an editor, do you focus purely on the technical side, or do you also engage in creatively developing the story?
– Not at all. I first try to understand what story the creative team wants to tell, and only then do I start editing—enriching the narrative with my approach. Once, Peleshyan said, “Editing is a French word meaning to attach, but when I edit, I separate the shots; I can’t say whether this is editing or not.” That thought really stayed with me. One thing is clear to me: editing is about separation—removing shots that don’t serve your story, and through that, helping the audience connect more deeply with it.

– What kind of challenges do beginner editors usually face, and what advice would you give them to stay both effective and creative in their work?
– I started learning editing at a very young age—back when there were no YouTube tutorials or platforms for learning. You either discovered things on your own or found someone who would help. Today, the volume of available information is massive, but you must navigate it wisely: what to learn, where from, and why. It’s also crucial now to apply what you’ve learned effectively.

– Have you prepared specific assignments or exercises for the course?
– Yes. During the course, we’ll edit a complete film and create a DCP. This not only helps students learn but also allows them to see the real-world outcome of their work. Once, we almost lost a film due to a poorly prepared file. That experience proved just how important the small details are.

Future Plans and Vision

– What can you share about future plans for the course? Are you planning to continue it, involve more participants, or expand the topics?
– Everything depends on the level of interest from our students. If we see that there’s strong demand, we’ll continue to expand and improve the course, making it more relevant and timely with each iteration. Are you interested in this unique journey of editing—from set to screen? The new Kelvin Film Lab course could be your starting step.

For more information and to register, email: kelvinfilmlab@gmail.com

Dear friends,
Today the ACG annual meeting was held. We would like to inform you that we have already become a public organization, which will operate under the amended charter and is ready to implement new partnerships and multifaceted programs.
During the meeting, Arman Ordyan became an ACG member.
Elections of the ACG president, vice president and members of the guild council took place.
The new president was elected Mko Malkhasyan ACG, vice president Vahagn Ter-Hakobyan ACG and 3 members of the guild council: Anna Ter-Gabrielyan ACG, Mkhitar Serobyan ACG, and Suren Tadevosyan ACG.

The Armenia Cinematographers Guild, focusing on education and the exchange of experiences as part of its future goals, has initiated a series of meetings for its members. The first meeting was led by the President of the Guild, Мко Малхасян Miko Malkhasyan ACG.

The topic of discussion centered on American education and the unique aspects of the work of image creators. The second part of the meeting involved a practical demonstration of the new TIFFEN Black Soft Glows and TIFFEN Golden Glows filters. The technical setup for the meeting featured high-quality equipment, including the ARRI Alexa 35 and Cooke Anamorphic lenses, generously provided by our partner, Kinotech Rental.

Additionally, Nar Levoni brought the RED Komodo Monochrome camera equipped with Atlas Anamorphic lenses for testing purposes.

P.S. The series of master classes is taking an exciting new direction, so stay tuned for updates!

SPEAKERS

Evgenia Alexandrova, AFC, completed her cinematography studies at the French school La Fémis. She works as a cinematographer in both fiction and documentary gemes. She has lit Noemie Merlant’s “The Balconettes” (Cannes Film Festival 2024), “Mi lubita Mon Amour” (Cannes 2021), and Nara Normande’s and Tiao’s “Heartless” (Venice Film Festival 2023). Additionally, she contributed to the documentary “Machtat” by Sonia Ben Slama (Cannes 2023). Since January 2023, she has been a member of the French Cinematographer’s Association (AFC). Currently, she is preparing for the new feature by Kleber Mondonça Filho.

Alejandro Mejía (Jano), AMC is a Mexican-born, Emmy-nominated and award winning cinematographer who recently shot the feature film ln The Summers, which won the jury award in the U.S. Dramatic Competition at the 2024 Sundance Film Festival. He will share his experience using the Arri Alexa 35 in combination with the exclusive Arri Lenses Moviecam and the use of the texture soft nostalgic on this project as well as the workflow from the camera test and LUT creation to the final color correction.

Art Adams has worked as a director of photography for over two decades, focusing on commercials,branded content, visual effects and much more. He also served as a technology consultant for companies including Sony, Canon, Element Labs, Sound Devices and more, He is a longtime contributor for publications such as ProVideo Coalition and DVlnfo, in addition to authoring articles for American Cinematographer, Australian Cinematographer, Camera Operator Magazine, Film and Digital Times, and HD Video Pro. As a trainer for the ARRI Academy, he instructed classes on ARRI camera systems including the ALEXA LF. Art Adams as representative of the manufacturer will tells us about the Alexa 35.

Alfonso Parra, AEC, ADFC, is a cinematographer with over 40 years of experience, having built his professional career around fiction feature films, documentaries, and TV series. Alongside his extensive work in these areas, he conducts research in cinematographic technology, with a particular focus on cameras and lenses. He collaborates with manufacturers and distributors in this pursuit. Additionally, he is a member of the IMAGO Technical and Master Class committees. He recently conducted exhaustive tests with the ARRI Alexa 35. Alfonso Parra will be our IMAGO Moderator.

The International Federation of Cinematographers (IMAGO) held its Annual General Assembly (IAGA) in London on the 14th and 15th of February, hosted by The British Society of Cinematographers (BSC). The event was hybrid to ensure participation by all member societies. Representatives from more than 30 countries attended the assembly in person, and those who couldn’t join in person participated online. The Armenian Cinematographers Guild (ACG), which became a full member of IMAGO last year, was represented by its member and General Secretary, Anna Ter-Gabrielyan.

The first part of the day of IAGA was devoted to practical matters, discussions on amendments to the statutes, budget, sponsors, etc.. Voting for the new Honorary Member and proposals to host IAGA 2025 were also on the agenda. Paul René Roestad FNF was appointed an IMAGO Honorary Member. IMAGO President Mustapha Barat ABC proposed São3 Paulo, Brazil, as the location for IAGA 2025, and the delegates adopted the proposal with their votes. This decision was groundbreaking for IMAGO, as it will travel across oceans for the first time. Delegates attending IAGA 2024 opened a discussion about planning further ahead of time and suggested voting for the hosts of IAGA 2026. Astrid Heubrandtner AAC proposed that the Austrian Association of Cinematographers host the IMAGO Annual General Assembly in 2026 in Vienna, Austria, and it was approved by the vote. The first day concluded with the formation of the Preservation and Restoration Committee and a presentation of the Horizontal Communication Project, aiming to connect in one platform societies and their members globally.

The second day kicked off with ARRI’s presentation on color science, followed by NunLux’s presentation. Then the IMAGO committees, often referred to as “the heart of IMAGO,” presented their work and future proposals, followed by discussions. The topics ranged from more technical themes, as presented by the Technical Committee and the Preservation and Restoration Committee, to education, with the Education Committee aiming to connect teachers and professors globally, and the Master Class Committee planning online and offline workshops. The Working Conditions Committee addressed issues surrounding unfair working conditions, including long hours and their consequences on health, aiming to conduct a large-scale survey, while the Diversity and Inclusion Committee talked about projects aiming to minimize discrimination in the industry, including the ‘I OF THE LENS’ exhibition that opened in Berlin a few days after the IAGA. The topic of AI, inspiration, and plagiarism was brought up by the Authorship Committee, with a call to action to work on regulations. This was only a few days before OpenAI released a preview test of its new product generating moving images, which just proved the subject to be the pressing one. The IAGA concluded with an invitation to the BSC expo, where participants had the opportunity to roam around, test, and acquaint themselves with the new equipment and technology.

The Armenian Cinematographers Guild highly values the opportunity to be present at IAGA 2024 and is thankful to everyone who put their effort to bring this event to life. The experience gained and the connections made at the event were inspiring to say the least and brought greater motivation to work inside ACG to provoke positive changes that we hope will also impact the overall industry in Armenia. ACG is motivated to be active in IMAGO’s undertakings and initiatives and is interested to take part in the activities of IMAGO Committees.

The Armenian Cinematographers Guild (ACG) has taken a significant step by becoming a member of IMAGO, the International Federation of Cinematographers. ACG, a relatively young society with limited experience, seeks to embark on a journey of learning and collaboration with IMAGO’s seasoned members.

Miko Malkhasyan, Vice President of ACG, expressed their eagerness to learn from IMAGO’s experienced members, emphasizing their ambition to understand how to operate cinematographer societies effectively. ACG is also introducing a dedicated platform for its members to share, discuss, and engage with cinematographers worldwide, fostering a global community.

Armenia, a nation with a rich history in visual arts and music, aims to bring a unique cultural perspective to IMAGO. Although many ACG members come from documentary and music video backgrounds, they have also successfully ventured into feature films, shorts, and TV shows worldwide, contributing diverse experiences to the IMAGO network.

Over the next 2-3 years, ACG plans to play a pivotal role in advancing professional film guilds in Armenia. One of their primary objectives is to invite Armenian Diaspora cinematographers to join ACG, and they are actively researching and collecting information to facilitate this. Additionally, ACG is working on developing cinematography education programs in Armenian universities to nurture the next generation of cinematographers.

The inclusion of the Armenian Cinematographers Guild in IMAGO is a remarkable step for both organizations, promising to enrich the global cinematography community with fresh perspectives and learning opportunities. As ACG continues to evolve, it will undoubtedly become a significant asset within the IMAGO federation, furthering the art and craft of cinematography worldwide.

BY International Federation of Cinematographers (IMAGO)

Long before I moved to America, I had heard about AFI (American Film Institute) and specifically the cinematography department, how many famous cinematographers had made it and what was most important to me in terms of education was who taught there.
So when I moved to live in Los Angeles, the question of whether or not to study and where, disappeared and moved to the field of more time and opportunities. 2 years of the pandemic became a wonderful opportunity to realize my dream.
Of course, the first and most shocking difference was the difference in education processes. Especially when I graduated from Makavarzhakan’s film faculty 20 years ago, and I could not even imagine what complications I had to go through. If I put it very differently, the big differences I noted were the following.

1. The most important thing to do is to write down your thoughts and be able to present them correctly.
2. Practice shooting took the 2nd most time (at least 3 days a week).
3. Most of the filming was done on tape and after you’re done you feel more confident on that medium than on digital.
4. The professional education of a cinematographer is not grade-based. Although you have to take 3 exams each of Chemistry and Physics in a year, apart from deep professional ones.
5. The lessons of listening to and doing criticism, which directly revolutionized my consciousness, were worthy of special attention.
6. And most importantly, having and asking questions is one of the keys to success, and communicating with people and being open to new things is victory.

The attitude and vast experience of the professors should also be appreciated. Our chair was Stephen Lighthill ASC, who was also the president of ASC (The American Society of Cinematographers). It was the reason that in 2021 I was invited to participate in the ISC (International Cinematography Summit) and to represent the Armenia Cinematographers Guild (ACG), of which I was a member.
There I had the opportunity to get acquainted with the management of IMAGO (International Federation Of Cinematographers) and received an invitation to join that organization.
I just joined AFI and I hope it will open new doors for me in our arena. But one thing is clear, that education has already fundamentally changed both my scientific and why not my human qualities.

I hope that soon I will have the opportunity to use my knowledge in Armenian cinema and, what seems most important to me, to the creation of new educational programs for cinematographers. By the way, we at ACG are soon starting to deal with this issue and have recently created a committee headed by Vahagn Ter Hakobyan, our president. I think we have a difficult but important task to do, everything is still ahead.

On October 30, 2021, the first award ceremony of the Professional Guilds of Armenia was held. On that festive day, was also the ceremonial opening of the main entrance of the Cinema House, the opening of the cinema museum area, which is part of the “National Cinematech Concept” creative educational-cultural-tourist” environment and the first award ceremony of the Professional Guilds, which took place in an extremely warm and exciting atmosphere.


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