Amelia Hazlerigg's interest in cinematography evolved after finishing a degree in Art History. She formed the video team at London-based concept store LN-CC, and then followed her passion to Brazil to work on a documentary around the 2014 World Cup. Travel and photography still have a huge impact on her work, and have allowed her to develop a distinct filming aesthetic suited to clients such as REDValentino, Wallpaper*, Serpentine, Vogue and Frieze. We grabbed five minutes with Amelia to discuss the Pre-Fall Autumn/Winter ’17 campaign.
Can you describe the creative process behind the REDValentino campaign?
“It’s always a pleasure to work with like-minded people, so collaborating with Nicole Maria Winkler, who photographed the campaign, and Amy Stickland, the set designer, was fantastic. We aimed to achieve a different look for each of the three short films, so lighting and set design were our main focus.
“For the first short, we created a dream-like mood with soft lighting and satin fabrics. I used a fig rig to hold the camera so I could capture aerial footage of the models and give a floating sensation to the cinematography. In contrast, the second short had very dramatic lighting and a red wash as the backdrop. Amy hung a set of cables from the ceiling and placed an unmade bed in the corner to suggest a late night in New York’s Chelsea Hotel, which the collection is inspired by. The final short was intended to be theatrical, so we used big lighting shapes and shadows to contrast the velvet curtains and colored carpets on set.”
What did you enjoy most about working on the REDValentino campaign?
“The mood on set was great! It was fast-paced as we had a lot to shoot in one day, but really high energy. I had worked with Nicole and Greg, from my team at Pundersons Gardens, before, but meeting and collaborating with a new group of people was a lot of fun.”
What's always in your kit bag?
“I always have a dual lock and lots of different spigots (camera pegs), as I need them when rigging equipment to my filming set up.”