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Home , Cherry Lips, Dave Meyers (director), Moby, One Minute, Steve Barron, Sum 41

Rushing is also a musician and a sci- Karsten “Crash” Gopinath ence buff. “It’s very satisfying how elements l clip art l l l A of music, like tempo, rhythm and crescendo, A

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engaged, both creatively and intellectually,” . M M M M he says. D Video Killed the Radio Star Missy “Misdemeanor” Elliot with & • Best Cinematography nominees for the 2002 MTV Video Music Awards “” Cinematographer: Karsten “Crash” Gopinath

moving into commercials and music videos. arsten “Crash” Gopinath was raised His other recent video credits include in the New York area and started out usic videos have made an incalculable impact on the art of rendering moving images onto film since the birth of the genre “Without Me” by , “Motivation” by Kin the motion picture business at age 19 as a grip. After working his way up to during the early 1980s. It all began with the so-called “MTV look,” which has been constantly evolving. Some 20 years Sum 41, “Freeek!” by and gaffer, he attended the American Film later, music videos still provide fertile ground for experimentation by cinematographers who are charged with the chal- “Cherry Lips (Go Baby Go)” by Garbage. Institute and graduated in 1993. He has pho- “My background in independent fea- lenging task of augmenting the artistic intentions of the composers, musicians and performers. The 2002 MTV Video tographed dozens of commercials for tures taught me to work quickly,” says Music Award for Best Cinematography went to cinematographer Brad Rushing for his work on the clip “We Are All national clients, including Target, Fanta and Rushing. “The ability to improvise and MMade Of Stars.” The other nominees were Karsten “Crash” Gopinath, Pascal Lebegue, and John Perez. Fox Sports, in addition to hundreds of adapt to any situation is invaluable in music The nominees were feted at a luncheon where Martin Coppen was the recipient of the 2002 Kodak Vision Lifetime Achievement Award videos, many with director . in Cinematography from the Production Association (MVPA). The award is presented annually to a cinematographer who has made video photography, where the emphasis is “One Minute Man” features Missy important and enduring contributions to advancing the art form. Kodak has been the sponsor since 1997. placed on fresh visuals. I often get my inspi- “Misdemeanor” Elliott in a variety of unusu- “Cinematographers make huge artistic contributions to this art form,” says Kathy Mazza, Kodak’s Hollywood region manager of ration from sources other than videos or al and often surreal situations. In one portion Commercials and Music Videos. “They have to interpret the music and render it as images that grab and hold the audiences every time the video films. Some of my best ideas have come of the clip, she is seen in a Salvador Dali- airs. Our sponsorship of these activities is part of a commitment we have made to see that cinematographers are properly recognized as artists.” from observing nature, watching people, lis- inspired room complete with melting clocks. tening to music or simply letting my imagi- In another, gravity seems to pull towards the nation wander. I believe you have to avoid camera, while Elliot floats in the foreground. Martin Coppen earned his first MTV Video Music Award , as well as rock musicians getting bogged down in the logistics, In a third room, she takes off her own head nomination for that project. He subsequent- and . The video because that’s when you start limiting your- while continuing to perform the song. Kodak Vision Lifetime ly compiled more than 500 cinematography won the 2002 MTV Award for Best self.” “We worked very closely with Billy B, Achievement Award music video credits and has earned five Cinematography. The clip was shot in the Super 35 for- who is an incredible makeup artist,” says additional MTV Video Music Award nomi- Rushing is a native of Houston, Texas mat. Many of the shots include medium Gopinath. “He used a lot of shading and nations. Coppen took top honors for Marilyn who brings a background in fine art to his speed camera moves that pan past and push sculpting with different color tones on artin Coppen was born and raised Manson’s The Dope Show in 1999. He is work as a cinematographer. He began his into a scene. Rushing calls this technique Missy’s face. The art direction included lots in England. When he was 16, he currently following a parallel career path in career shooting independent features before “making a postcard or a portrait” of a scene. of saturated colors, so in telecine we went a set off for to study graph- M shooting cutting-edge music videos and For night shots and interiors shots done on little further in that direction. We used a wide ic design and art. He subsequently worked at commercials. location, Rushing used Kodak Vision 500T variety of effects including green screen the Rainbow Theatre, where he learned to film 5279 rated at 320 ASA, which he feels composites to convey Missy’s crazy per- light live rock shows. Some of the cast and yields a more versatile negative. For day sona.” crew organized a group called Rainbow Moby • interiors and on sets, Rushing used Kodak Gopinath recorded the clip on Kodak Productions, which went on the road with Vision 200T film 5274. “It’s good at captur- Vision 200T film 5274. “It is my favorite rock shows featuring such legendary per- “” ing details in the shadows without being too stock,” he says. “It has very tight grain, a fast formers as and Paul Cinematographer: Brad Rushing low in contrast,” he says. speed, and I like the color rendition and con- McCartney. Coppen was initially a gaffer for One thing Rushing learned studying trast. I can use it to get a nice thick negative.” videos directed by Russell Mulcahey, Bryan e Are All Made of Stars” fine art, which remains a vital part of his phi- Gopinath says that many of the shots Grant, , who are all icons of the sets the musician Moby losophy, is the importance of making the required layer after layer of elements that MTV revolution. He played a role in pro- “Wagainst a range of real first mark on the page. “It may not even mat- would be composited later. For the scene ducing the first video aired on MTV—The Hollywood locations, including Grauman’s ter what the mark is, especially if you are where Elliott removes her own head, the Buggles performing “Video Killed the Chinese Theater, Pink’s Hot Dog Stand and stuck for ideas,” he says. “Once you’re done, photographic elements included locked-off Radio Star.” Hollywood Boulevard’s Walk of Fame. The For Moby’s "We Are All Made Of Stars," cinematographer that mark is either going to work or not. If it shots of Elliott with a green stocking over Brad Rushing set the musician against a range of real Coppen migrated to the gritty locations are often recognizably doesn’t work, you’ll have an idea why not. her head while she held a mannequin head Hollywood locations, including Grauman’s Chinese Theater, to work on a Genesis . Director Pink’s Hot Dog Stand and Hollywood Boulevard’s Walk Of reflected on the visor of a spacesuit worn by Either way you’ve started, and given your- built to emulate her own. In the final com- gave him an opportunity to Moby. Cameo appearances are made in the Fame. Many of the shots include medium camera moves that Brad Rushing self the first rung on a ladder.” posite the head she is holding appears to be pan past and push into a scene, which Rushing calls "making shoot ’s Enter Sandman. Coppen clip by actors , and a postcard or a portrait" of a scene.

50 ICG Magazine • www.cameraguild.com October 2002 October 2002 www.cameraguild.com • ICG Magazine 51