Mauro Fiore

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Mauro Fiore (* 1964 in Marzi , Province of Cosenza ) is an Italian - American cameraman and Oscar winner.

Life

Mauro Fiore was born in Calabria , but moved to the United States with his family as a child in 1971. He studied camera at Columbia College in Chicago and graduated in 1987 with a BA. He then traveled through Europe, but then followed his friend and fellow student Janusz Kamiński to Hollywood . At this time, Kamiński continued his education at the AFI Conservatory of the American Film Institute and worked in parallel in the nearby studios of Roger Cormans Concorde Pictures in Venice . Kamiński initially worked there as a gaffer , the later camera Oscar winner Wally Pfister (also an AFI student) as a lighting technician and soon as a second-unit cameraman. Mauro Fiore joined them and worked as a key grip for cameramen like Levie Isaacks and Phedon Papamichael . When Kamiński was promoted to Director of Photography (DoP), Fiore was his gaffer and camera operator. In 1993, Steven Spielberg made Kamiński his new permanent DoP. Fiore followed Kamiński and worked on several Spielberg-Kamiński productions as a gaffer ( Schindler's List , 1993) and second-unit cameraman ( Jurassic Park 2 and Amistad , both 1997). He gained additional experience as a second unit cameraman under DoP John Schwartzman in the Michael Bay projects The Rock (1996) and Armageddon (1998).

Fiore has been the Director of Photography since 1995 . After a few smaller productions, his breakthrough came here too, after Janusz Kamiński (who has since received a camera Oscar ) hired him as DoP for his directorial debut Lost Souls (shot in 1998). Subsequently, Fioret shot with directors such as Renny Harlin and Michael Bay on high-budget Hollywood productions. Several times he stood for Antoine Fuqua (including Training Day , Tears of the Sun and the Pirelli commercial The Call ) and Joe Carnahan (first in the BMW Z4 commercial ticker and the series pilot film Faceless , then in Smokin 'Aces and The A- Team ) behind the camera.

Fiore's most technically demanding job to date has been the live-action camera work for James Cameron's Avatar . Fiore shot the live-action sequences from October 2007 to February 2008 in the Wellington , New Zealand studio . At the beginning of Fiore's work, Cameron had completed the performance capture and facial capture sequences in Playa Vista , California for six months ; the studio footage shot by Fiore ended up making up an estimated 30% of the film. The film was recorded with the Pace Fusion 3D camera system developed by Vince Pace and was thus (after The Center of the World , which was filmed on DigiBeta, and The Kingdom, which was partly digitally produced ), Fiores’s first large-scale project that was completely digitally filmed, as well as his first work in 3-D . For Avatar , Fiore received the Oscar and the BFCA Award for Best Camera in 2010 and was also nominated for the BAFTA Award and the ASC Award.

In 2000, Mauro Fiore married the costume designer Christine Vollmer. They have three children together.

Filmography

Individual evidence

  1. Archived copy ( Memento of the original from September 9, 2012 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / cms.colum.edu
  2. Archived copy ( Memento of the original from April 14, 2008 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.cameraguild.com
  3. Archived copy ( memento of the original dated November 30, 2010 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.moviemaker.com
  4. Archived copy ( Memento of the original from September 21, 2010 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.moviemaker.com
  5. Archived copy ( memento of the original dated August 29, 2008 in the Internet Archive ) Info: The archive link was inserted automatically and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.cameraguild.com
  6. Archived copy ( memento of the original from July 19, 2008 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.cameraguild.com
  7. Archived copy ( Memento of the original from April 14, 2008 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.cameraguild.com
  8. Archived copy ( Memento of the original dated February 9, 2010 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.btlnews.com
  9. Archived copy ( memento of the original from March 1, 2010 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.btlnews.com
  10. Jay Holben: Conquering New Worlds . In: American Cinematographer , Jan 2010, pp. 32-47.
  11. http://www.vanityfair.com/online/oscars/2010/02/avatars-cinematographer-on-lighting-a-nonexistent-world-in-3-d.html

Web links