Today we’d like to introduce you to Christopher Lind.
Hi Christopher, please kick things off for us with an introduction to yourself and your story.
I started working in film while I was attending college. I went to William Patterson University in Wayne where I was Studying Media Production and Fine art. At the time, I actually wanted to be a special effects makeup artist, but I never really got down the skills. But through making some movies with friends and really picking up the camera in school, I kinda shifted towards making films instead.
I started out working for a film festival and a production company for barely any pay. It was fun for a while, but when I met a friend, whom I’d also consider my mentor Terrence L Burke on a small film one day. He kinda took me and my other friend I was working with, Justin Lamarca, under his wing and brought us onto some bigger and better shoots. Eventually, when I really felt like I was starting to grasp things, I took out a small loan and I picked up my first real cinema camera for cheap off eBay. It was An OG Red Scarlet MX, some cheap lenses, and some old lighting gear, and started to shoot stuff for myself. As a DP, I relied on Craigslist for alot of my early work, took on gigs that were way underpaid so i could practice cinematography and build a reel. As I shot more and more projects, I would start buying more and more gear, took on bigger jobs as an electric, grip, gaffer, cam op and etc, and eventually just built out my contacts and networked enough to get to the point that I’m at now. Most of my work comes by word of mouth these days, and it took about 13 years in the industry to really build that. But I’m happy to say I’ve been able to fully support myself as a filmmaker for over 10 years now.
Can you talk to us a bit about the challenges and lessons you’ve learned along the way. Looking back would you say it’s been easy or smooth in retrospect?
It’s been bumpy. When you enter the film industry, no one really tells you what you’re getting yourself into. 1) Gear is expensive, and whether your new to the industry, a seasoned veteran, or an in between, it feels more and more like you get alot of your jobs based on what gear you own on top of the skills and background you have. The goal is really to get to a point that you can step onto a set and have anything you want at your fingertips, even now, I’m not at that level. I took out alot of loans and spent thousands on buying and maintaining gear, but it kept me competitive for a while. If i had any advice on it, i’d say focus on only getting what you feel you really need, and don’t be afraid to ask productions to rent.
2) The hours are rough. When your on set, most of the time, your looking at a 12 hour day minimum, with early start times and overnight shoots happening all the time. Sometimes in the same week. It does alot of damage to the body, and adapting to that kind of schedule took me years to get used to., I’ve truly learned the value of sleep working in this business.
3) As an independent contractor, you are in charge of your own taxes, health insurance, and most importantly, getting the work. Competition is always fierce, winters are slow, and you can go weeks to months without a single job coming through. I’ve had some good years and bad years, and anyone that freelances can tell you that. It’s one of the hardest parts of the job. But I persevere in these times and try to tell myself, the work will come again. Patience and self care is key during the downtimes and sometimes that’s the hardest part of all.
Great, so let’s talk business. Can you tell our readers more about what you do and what you think sets you apart from others?
CSL Cinematography LLC is all about bringing the highest quality cinematography to any and all clients of all shapes and sizes. From Commercial work to narrative film, I’ve done it all. I’m a cinematographer for narrative film first. I’ve been shooting independent short films and features for years, and as a DP its my job to bring a directors vision to life while running a tight crew on set. While I love Horror, Drama and Art house films, it’s important to be adaptable to the story first and foremost and create the right visual language of the project. Film is a team art, and as the DP you need to be able to communicate and collaborate with every department effectively, while also being a bit of an ambassador of sorts when it comes to communication and protection of the crew
Between the above the line and below the line positions. I’ve worked on projects at many levels over the years, and I always want to make sure the work I do reflects the voice and vision of the director, looks the best possible and is the smoothest experience possible for my crew.
Alright, so to wrap up, is there anything else you’d like to share with us?
Some fun facts and info about me and my career highlights. As a cinematographer, I’ve shot over 30 Award winning short films and 4 feature films. Most notably the upcoming feature film “Lupo” which was shot all over lodi and the surrounding areas in new jersey. It is a feature film starring Kevin Interdono and Nick Stahl about the real life Boxer turned Gangster Joe Lupo. Directed by Amanda Clayton.
As a Gaffer, I’ve worked on several great projects including Troma’s Shakespears Shitstorm dir by LLyod Kauffman. and the film “I fell in love with a z grade director in Brooklyn” Which is making its debut and full theatrical run in Japan starting February 13th!
You can always keep up with me and my work by following my instagrams @CSL_Cinematography and can always find my contact info, reels, gear lists and more on my website www.ChristopherSLind.com
Contact Info:
- Website: https://www.ChristopherSLind.com
- Instagram: @CSL_Cinematography
