VINCENT DE PAULA, CSC IS AN AWARD-WINNING CINEMATOGRAPHER BASED MAINLY BETWEEN LOS ANGELES, VANCOUVER AND LONDON.

ORIGINALLY FROM SPAIN, HE MOVED EARLY ON TO LONDON TO BECOME A CINEMATOGRAPHER. WHILE IN THE UK HE RAPIDLY STARTED FILMING HUNDREDS OF

COMMERCIALS, MUSIC VIDEOS AND DOCUMENTARIES.

THE DOCUMENTARY WORLD WAS A GREAT SCHOOL, AS HE QUICKLY LEARNT TO ADJUST TO THE ENVIRONMENTS HE WAS FILMING AND USING NATURAL LIGHT

AND AVAILABLE SPACE TO BEST SERVE THE STORY, AN APPROACH HE STILL USES TODAY WHILE WORKING ON BIGGER FEATURE FILMS AND

EPISODIC TV. THE COMMERCIALS AND MUSIC VIDEO WORLD ALLOWED HIM TO EXPERIMENT AND STAY IN CLOSE TOUCH WITH ADVANCES IN TECHNOLOGY.

EARLY ON THIS BRITISH PERIOD HE LENSED MUSIC VIDEOS FOR THE LIKES OF AMY WINEHOUSE OR BRIAN ENO, AMONGST MANY UP AND COMING BRITISH BANDS

AT THE TIME. HE WAS ALSO VERY BUSY FILMING SPOTS FOR SONY, VODAFONE, MCLAREN, KODAK, ETC.

HE QUICKLY GAINED A REPUTATION FOR BEING VERY FAST ON SET AND STARTED FILMING INDEPENDENT BRITISH FILMS SUCH AS THE CULT CLASSIC

‘DON’T LET HIM IN’ (featured in the American Cinematographer Magazine, Feb 2012) OR THE DANISH FEATURE ‘THE WILL’.

NOW WORKING MAINLY IN NORTH AMERICA, HE HAS LATELY BEEN THE CINEMATOGRAPHER ON FEATURE FILMS SUCH AS ‘2 HEARTS’ (UNIVERSAL) OR

‘THE INHERITANCE’ (NETFLIX/VERTICAL), BOTH WITH THEATRICAL RELEASES, AND HAVE JUST WRAPPED THE LATEST ‘CAMP ROCK 3’ MUSICAL DISNEY

FILM, WHICH HE ENJOYED FILMING DUE TO HIS LOVE FOR MUSIC, HIS OTHER PASSION.

HE MANAGED TO ELEVATE THE LOOK OF THE FILM WITH HIS CINEMATIC APPROACH.

ALWAYS AIMING TO JUMP BACK AND FORTH BETWEEN FEATURES AND EPISODIC TV, HE HAS BEEN THE CINEMATOGRAPHER ON TV SERIES SUCH AS ‘MAID’

(NETFLIX), ‘FIREFLY LANE’ (NETFLIX), ‘THE IRRATIONAL’ (NBC), ‘ZOEY’S EXTRAORDINARY PLAYLIST’ (NBC), ‘REBOOT’ (NETFLIX), ‘UPLOAD’ (AMAZON), ‘THE GOOD

DOCTOR’ (ABC), ‘SECOND CHANCE’ (FOX), ‘THE MAN IN THE HIGH CASTLE’ (AMAZON), ‘PROJECT MC2’ (NETFLIX), OR THE LAST SEASON OF ‘THE FLASH’

(WARNER BROS) FOR WHICH HE WAS HIRED TO BRING A MORE CINEMATIC STYLE FOR THE VERY LAST SEASON OF THE ICONIC SERIES.

VINCENT HAS WON AWARDS AND NOMINATIONS FOR HIS CINEMATOGRAPHY AND HIS WORK HAS BEEN SEEN WORLDWIDE. HE IS ALSO VERY BUSY ON PODCASTS

ON THE SUBJECT OF CINEMATOGRAPHY AND FILMMAKING AS WELL AS FEATURED IN MANY MAGAZINES AND PUBLICATIONS OF THE TRADE, SUCH AS THE

AMERICAN CINEMATOGRAPHER MAGAZINE OR THE CANADIAN CINEMATOGRAPHER MAGAZINE.

‘I ALWAYS TRY TO BRING A VERY PASSIONATE AND POSITIVE ATTITUDE TO EVERY PROJECT I AM INVOLVED. I LOVE COLLABORATING WITH THE DIRECTOR AND MY

CREW TO FIND THE PICTURES THAT DESCRIBE THE STORY FROM AN EMOTIONAL PERSPECTIVE. STORY IS VERY IMPORTANT TO ME AND I NEED TO ALWAYS HAVE A

CONNECTION WITH IT.

I LIKE TO GIVE THE ACTORS AND THE DIRECTOR AS MUCH TIME AS POSSIBLE, FOR THAT REASON I REALLY ENJOY MOVING FAST.

I DEVELOPED A LOVE FOR PAINTING WHEN I WAS A KID, I DISCOVERED THE MASTERLY TREATMENT OF LIGHT BY VERMEER, THE USE OF COLOR AND PERSPECTIVE

BY THE LIKES OF DE HOOCH, THE CHIAROSCURO OF CARAVAGGIO OR MONET AND THE IMPRESSIONIST STYLE.

THIS LED ME TO A STUDY OF PAINTING AND SOON AFTER MY LOVE FOR PHOTOGRAPHY, WHICH I CONSIDER MY PASSION, STUDYING THE WORK OF SAUL LEITER,

GORDON PARKS, STEPHEN SHORE, TODD HIDO, ALEX WEBB, WILLIAM EGGLESTONE, ERNEST HAAS, AND MANY MANY MORE!!

WITH ALL THESE INFLUENCES I SOON DISCOVERED THE IMPORTANCE OF AN IMAGE, AND HOW MUCH I COULD ’SPEAK’ WITH THE USE OF LIGHT, CONTRAST,

COLOR AND COMPOSITION, AND DECIDED THEN THAT I WANTED TO BE A CINEMATOGRAPHER.

INSPIRED BY THE LIKES OF CONRAD HALL, GORDON WILLIS, HARRIS SAVIDES, VILMOS ZSIGMOND, ROBBY MULLER, MY NOW FRIEND AND MENTOR ERNEST

DICKERSON (ASC Sponsor), I PACKED IT ALL UP AND LEFT SPAIN ON MY OWN PERSONAL JOURNEY.’

VINCENT IS AVAILABLE WORLDWIDE AND REPRESENTED BY UTA (UNITED TALENT AGENCY) IN LOS ANGELES.