Confessions of a cinematographer
Cinematographer Amandi Wong can work for two weeks straight, 14 to 18 hours a day with just short meal breaks
Asked to describe his job, cinematographer Amandi Wong said it is akin to creating an alternate reality.
The 21-year veteran, who has shot local films such as 1965 and Ah Boys To Men I and II, said directors share with him research materials such as scenes from other films, photographs or paintings.
"I will combine this research with my own interpretation of the film and establish an overall camera language for it," Mr Wong, 45, told The New Paper.
Memorable moments so far include working with local director Jack Neo in the Wonderful! Liang Xi Mei The Movie.
"A lot of the comedy was improvised, so the set itself was like a comedy show.
"It was especially funny to see Jack in his full make-up as Liang Xi Mei giving instructions as the director," said Mr Wong, who is married to a visual artist.
He agreed that many of Neo's films are more "slapstick", and he believes that such local blockbuster films are important to attract more Singaporeans to support the local film industry.
"Without a local audience, it is difficult for made-in-Singapore films to be funded."
He spends half his time working on commercial projects for brands such as Pedro and Charles & Keith and the remainder on feature films, which can take up to three months, said Mr Wong, who graduated from the then Lasalle-SIA College of the Arts in 1994.
One downside of the job is the long working hours. For a project, he can work for 14 days straight, 14 to 18 hours a day with only 30-minute breaks for meals.
"But I do not feel like I am working when I am on set. Time passes quickly when you are absorbed in your work," he said.
His most recent project was with director Jacen Tan on his first feature film, Zombiepura, and is set to hit screens later this year.
Mr Wong was also the former president of the Singapore Society of Cinematographers, which was formally registered as a society last year.
One of the aims of the society is to promote the craft of cinematography in Singapore, said Mr Wong.
Ultimately, it is this particular medium to tell a story that keeps him going.
"I am constantly learning and hope to be like many of the established cinematographers still shooting in their 70s.
"I always tell myself to learn, unlearn and relearn," he said.
Secrets of the trade
- Do not be fixated on one style. Be flexible to adapt to what the director needs.
- Plan everything before a shoot begins. This is to avoid unnecessary delays on set.
- Develop both artistic and technical skills. A visual sense is as important as one's skill in operating a camera.
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