Today we’d like to introduce you to Kristin Mendez.
Kristin, please share your story with us. How did you get to where you are today?
I grew up experimenting with cameras in my hometown of Huntington Beach, CA before moving to NYC to study at the New York Film Academy. While there, I dove into the world of cinematography. I worked under experienced Directors of Photography on a wide range of films and learned the technical aspects of camera and lighting over the course of five years. In 2013, I returned to the Los Angeles area to pursue cinematography full time. Since then, I’ve worked to establish myself as a Director of Photography on the west coast and have shot a myriad of projects. I’ve been able to take my experience with narrative filmmaking and cinematic lighting and apply it to several documentaries, music videos, and commercial projects. I served as a cinematographer on several sports and fitness documentary productions including the Hurt Business, CT Fletcher: My Magnificent Obsession, Generation Iron 2, and Ronnie Coleman: The King. I went on to shoot commercials for Dell, Pantene Pro-V, Lululemon, Progressive, Alienware, Adidas, Lights Out, Bud Light, and Budweiser. During my time shooting with Anheuser-Busch, I shot branded content with several professional sports teams including the Dodgers, Chargers, Rams, Lakers, Broncos, Giants, Padres, Kings, Raiders, Warriors, 49ers, and Diamondbacks. Music video and music content experience include collaborations with Miguel, DJ Premier, Cherub, Joe Budden, Nicki Minaj, T-Pain, and others. It’s been a wild ride so far and I’m excited to see where this journey takes me.
Has it been a smooth road?
I’ve often felt overlooked by people in the industry who repeatedly hire male cinematographers. Many times I’ve been asked to work on a project and bring out my camera only to find out that their plan was to actually hire a male cinematographer to shoot with my equipment while I work as their assistant. I had my first child last year which resulted in me having to take multiple months off because my job is so physical. After having my son, so many people I had worked with before stopped reaching out to me for projects. I ran into one director I’ve worked with for years and he asked me, “So do you even work in film anymore?”
We’d love to hear more about your work and what you are currently focused on. What else should we know?
Over the years, I have always made a point to set aside money to update my arsenal of equipment. I sell my cinematography services and have a stockpile of camera and lighting equipment that I rent out to productions. I think what sets me out is that my lighting ability and how I use it to shape my shots. I love taking on documentary and social impact projects that have deep emotional value. These kinds of projects are typically point and shoot, but I pride myself in taking time to use lighting to make them more cinematic. Knowing that I’m contributing to an important cause inspires me to work twice as hard. I recently shot a short documentary with Gabourey Sidibe for the Children’s Defense Fund that showcased a young Mexican immigrant who started high school in LA not speaking a word of English. By the end of high school, she was fluent in English, had straight A’s, and received multiple scholarships. Being a documentary cinematographer takes more than composition and technical knowledge. You need to be emotionally disarming and gain trust with your subjects in order to document their most intimate moments. I love being able to build connections with people and get access into their lives to tell their stories.
Is our city a good place to do what you do?
For what I do, Los Angeles is the best possible place to be. Other than New York, there aren’t many cities that offer exciting projects for cinematographers. I did five years in New York and actually left because I knew there were bigger and better things here in LA. To anyone starting out in the industry here in Los Angeles, you’re in the right place. My advice is to strive to be the hardest working person on set. Always be looking for solutions rather than accepting defeat. There are thousands of cinematographers in this city, so you need to go above and beyond to stand out. Treat every project with the same attitude, no matter how big or small. When you operate like that, people start to notice and the jobs start rolling in.
Contact Info:
- Website: www.kristinmendez.com
- Email: info@kristinmendez.com
- Instagram: https://www.instagram.com/mendezkristin/
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