SHORT BIO
Andreea Ștefănescu is 24 years old, born in Piatra Neamț, Romania. With a background of directing short films and studying film and directing in Cluj Napoca, Romania and in Warsaw, Poland, she then graduated in Cinematography department with a three years course at the National University of Theatre and Film in Bucharest, Romania. At the moment she is a 1st year student at the Cinematography Master Programe at UNATC, Bucharest, Romania.
What personality or character traits are necessary to excel in being a cinematographer/DP?
I believe you observe, you interpret and you commit. The rest stays invisible, but it’s there in the frame.
In terms of cinematographers, who do you like?
I’m drawn to cinematographers who balance instinct with control. Let’s say Roger Deakins, for the quiet precision in every frame, and Christopher Doyle for the raw energy and life he finds in the moment. These are just a few examples of the work that inspires me, I’m constantly discovering new voices that expand how I see the camera and the world.
What makes good cinematography?
Every image has value. But there is a wrong way to approach it if you only remember the frame and forget the story. The script and the visuals have to work together, the camera should serve the emotion and the narrative.
What makes a good camera? And what has been your favorite camera to use?
I don’t think there’s a good or bad camera, it’s really about whether it serves the story. For this film, I used the Sony FX9 because I had the chance and I enjoyed working with it, but I think I need to try more cameras before forming a real opinion. In the end and the ideal way of looking at this, it’s always the story that guides the choice, not the tool itself.
Do you think that cinematographer’s work has changed when movies went from film to digital?
I had the chance to shoot on film and I would love to do it again. I think I had the feeling for the first time looking through the viewfinder that there is something more in there, more alive. And I think it can teach more discipline in the cinematographer’s workflow, when you have limited time to shoot. Digital is just easier to use because it is everywhere, but both have their ups and downs. I think if I had the budget, I would shoot more on film, but I am also very curious about all the things you can do with digital that I have not yet experienced.
Now that people watch films on TV, computers and even their phones, do you think about that end experience when you are shooting?
I don’t think we should let that dictate how we shoot. My focus is always on the story and the moment in front of the camera.
If the images are honest and serve the narrative, they can reach the audience on any screen. I wish to believe that the way people experience it will always be shaped by the story, not the device.
Which one is more important: light or shadow?
Both.
What is the cinematographer’s involvement in pre-production, production and post-production?
In my case, since I was also the screenwriter and the producer for my bachelor film, I had to be present 100% and more at every stage. From pre-production to post, every little detail mattered. It wasn’t just about light or operating the camera, it was about understanding the story from every angle, protecting it and making sure every choice supported it.
What involvement in the production budget does the cinematographer/DP have?
In film school, we often have to work with what we have. If something is missing and I feel it’s essential for the story, we can find some other ways or make a compromise. I think you can learn to be resourceful and present at every step.
What is your most valuable advice for being a Cinematographer/DP? I’m still figuring out what to follow.
Maybe trying to learn something new with every project.
