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Oscar winner Claudio Miranda shares his film wisdom

At the beginning of Term 1, All Saints’ multimedia students seized a rare chance to learn from the best in the business.

Acclaimed cinematographer Claudio Miranda led an exclusive workshop for students, detailing some of the key techniques and processes behind his work.

Claudio’s film credits include The Life of Pi, for which he won an Academy Award, Oblivion, TRON: Legacy and The Curious Case of Benjamin Button.

Director of Multimedia Steve Lewis and VET student attendee Isaac Detsikas said Claudio’s session was invaluable in terms of learning about the film industry, as well as technical skills behind capturing the perfect shot.

“Having just started my qualification, I don’t yet know much about how film or cameras work, so I definitely picked up a lot of industry secrets which I think will be very helpful down the track,” says Isaac.

“It was a highlight to listen to the life story of somebody that’s internationally famous, but went through a pathway that was sort of unusual in terms of not going straight to film school,” adds Mr Lewis.

Claudio began his journey as a stage manager. He then moved on to gaffing for music videos and eventually film which introduced him to Dariusz Wolski, the renowned director of photography (DP) behind many Ridley Scott classics including The Martian and Prometheus.

From there, Claudio’s portfolio burgeoned until one day in 2007, when long-time friend and colleague David Fincher hired him as DP for Benjamin Button. The rest, as they say, is history.

“Some of my conversations with the students during our session were about being in the right place and around the right situation,” says Claudio.

“In one way I kind of got my career through osmosis, but I also steered it by intense homework and appearing to have strength – even if I was fearful about failing at times.”

During his session, Claudio left many key pieces of advice for students. The big one? Always find new ways to stand out.

“I always try to look for something different in a shot,” says Claudio.

“If I see something new in the way something is lit, or a shot is bound with the story in some greater way, I get really excited about that. It’s something that not all people pay attention to.”

“Steering the eye to look at what’s important, or maybe even steering away from something that is a mystery or surprise – when you truly see someone who can manipulate the audience using different techniques, that is the goal.”