Director of Photography based out of Los Angeles. I love creating meaningful images with cool people. Let’s shoot something together!
(2)
Welcome to my production company's official page! I started Hellmuth Arts as a means to handle some of the larger productions I've been taking on lately. Through this production company I'm able to produce any kind of material, whether it's a marketing campaign for your business, a commercial, music video, you name it. Hellmuth Arts is setup to handle all aspects of production from start to finish.
DIXIELAND - now available on YouTube!
This short film I directed has been in the festival circuit for the past year, and after winning multiple awards, it's finally finished its run.
Take the time to give it a watch and leave a comment. Let me know what you think! I'm very proud of what we accomplished, and the story holds a lot of meaning for me.
Link is in the comments!
Very excited for the premiere of this awesome short film I shot! This was a fun one, and I can’t wait for it to get out into the world.
Nominated for a total of 10 awards at the Idyllwild International Festival of Cinema, including best featurette and best director of a featurette.
More details to come!
Working with on was a privilege. Every moment he was on camera, I was captivated. What was amazing to me, was that he was at least as engaging between his dialogue as he was during it. Tony is an actor who listens intently to his scene partner. Always giving everything.
It was awesome using the .lighting 4ft Infinibar, with my custom-made fire setting, to key him throughout this entire scene. Fire is a tricky effect to nail, thanks to the shifting shadows it creates, but this light delivered in every way. Aside from his key, I used another Infinibar above him, cooler color temp, to lift the shadows and give his silhouette some shape. We had a small flex light raking across the cave wall behind him. Special shoutout to my 1st AD for standing in a bit!
This was shot on the Alexa 35 and Mercuries. I fell in love with the Mercuries on this shoot. Their unique characteristics and sharpness were perfect. Thank you .rentals for the incredible camera package and support on this project!
Producer: & me
Director: ✌️
DP: 🤙
Production Designer:
Art Director:
Cam Op: .end
1st AC:
2nd AC: .vanwerkhoven &
DIT:
Gaffer: Hunter Rodgers
Key Grip:
HMU: .the.look
Colorist:
Wardrobe:
PA’s: .the.dp
DPing Dixieland was a challenging and rewarding experience. Almost the entire movie takes place inside an abandoned mine around a small campfire. I wanted to give it an oppressive atmosphere, creating an intimidating presence in the character of William (beautifully played by ) that would gradually transform to a sense of pity.
Given the importance of the campfire, and the fact that we couldn’t have an actual fire in the studio, I wanted to make sure the fire light effect was 100% convincing all the way through. I wanted to capture the random shifting shadows of a real fire place. To do this, I turned to the .lighting 4ft Infinibars. Individually programming all 32 pixels within the .link app, I created my own custom fire place effect, so that as each individual pixel lit up across the 4ft span, the direction of the light also changed. I loved the results. The shifting shadows on the actor’s faces was such a cool effect and totally sold the campfire as being present.
This was shot on the Alexa 35 and Mercuries. I fell in love with the Mercuries on this shoot. Their unique characteristics and sharpness were perfect. Thank you .rentals for the incredible camera package and support on this project!
Producer: & me
Director: ✌️
DP: 🤙
Production Designer:
Art Director:
Cam Op: .end
1st AC:
2nd AC: .vanwerkhoven &
DIT:
Gaffer: Hunter Rodgers
Key Grip:
HMU: .the.look
Colorist:
Wardrobe:
PA’s: .the.dp
Review excerpt from The Independent Critic.
I’m stoked to have a screening coming up at Idyllwild International Festival Of Cinema!
Classic Couple Academy was kind enough to interview me about my new film, Dixieland. If you want to get some of the inside scoop: check it out!
In short film Dixieland, Tony Todd plays a Union physician seeking mutual understanding with a Confederate soldier hiding in a cave.
So awesome getting this mention in the New York Times for the sci-fi I directed a few years ago. It was a special project. Thanks for being a part of this ! And thank you for trusting me with your script! And ALSO thank you for being such a great producer!
The good news keeps rolling in. I am thrilled to announce Dixieland's next festival appearance! Dixieland is an official selection at the prestigious, Oscar qualifying, film festival. This is a favorite fest of mine and I'm excited to screen at the Chinese Theater.
Our screening takes place August 14th at 5pm. Hope to see you there!
It was so awesome last night seeing the crew of my short film and celebrating all who worked so hard on this short film at our world premiere. Seeing it on the big screen in a packed theater was so special. It was a privilege directing and making this movie with such a wonderful group of people.
Thank you for hosting us, and thank you to all who came out to show your support!
TONIGHT!
If you find yourself looking for something to do tonight, come on out to LA Shorts film festival and watch my new short film, Dixieland! This is our world premiere, and I’m so excited to show it at this Oscar Qualifying festival.
There’s a link for tickets in the comments!
I so stoked to announce the next project I’m working on: Forsaken Mercenary. On this one, I’m partnering with the incredible duo Jonathan and Jynafer Rose Yanez to co-direct and DP this sci-fi/action short. I think it’s going to turn out pretty impressive.
Our Kickstarter pitches it better than I could, so head over there to check it out, but this is an original story by Jonathan with an already huge audience.
Within the first 24hrs of fundraising, we’ve already exceeded $20k!
Excited to share progress as it happens.
https://www.kickstarter.com/projects/wolf-pack/forsaken-mercenary-a-sci-fi-thriller-short-film
One of the highlight shoots of the year for me, so far, was when I helped my old friend and frequent creative collaborator shoot his short film.
Getting to shoot a Western, shooting it in such a cool location, and having a great cast all worked together to make this a film that will standout.
Always take the chance to make cool things with friends.
It’s official! My short film, Dixieland, has been accepted to and that is where we will be making our world premiere. June 30th, 7:45pm. Watch for ticketing info.
I had an outstanding cast on this one, who gave all they had during every moment, and a crew that put in so much hard work. Collaborating the brilliant with writer/producer was a gift, as always. I’m so grateful to everyone involved.
An excellent start to our festival run!
On the set of “Dixieland,” my new short film (director/DP). Keep an eye out for festival news!
📸:
Every frame from my new short film, Dixieland.
The film is officially finished and will be hitting festivals soon. Follow for updates!
To every single amazing crew member who jumped on board: thank you. This film wouldn’t exist without you!
STRANDED 3. Watch it on YouTube now!
This set was super fun to light. To cast a non-directional warm soft light everywhere, we built a massive soft box over the set. We used four .lighting Nova 300C’s pushing through a 12x12 of unbleached muslin. Once they were in place, we could dial in color exactly where we wanted it, and brightness for each individual shot. We also had a single Nova 300c with a soft box over the sarcophagus, to lift it even more from the rest of the room. And finally, we used a 6x6 unbleached muslin rag and 600c to create a cove light on the floor that we moved around to key talent. I’m so happy with how it came out!
Shot on 12K from with Silver Editions. Thanks .rentals for the awesome camera package and support!
Producer:
Director:
Writer:
Editor/Colorist:
1st AD:
FDP: me!
1st AC: .end
2nd AC: .asse
Drone/Gimbal:
Gaffer: Mark Lopez
Key Grip: Hunter Rodgers
G&E Swing:
HMU:
Production sound:
Wardrobe/Costumes:
A couple more from Stranded 2!
No BTS on this one because we were scrambling so much to get exposure right. Zach was in broad daylight while Nate was in the hull of the ship. There wasn’t a lot of room for modifiers either. In the end, I believe we had a floppy to cut light on Zach, a rainbow, and two 2x1 Geminis to get exposure on Nate’s face. Then a 650W for the background. On Zach’s CU, we had the rainbow right next to his face.
Aside from the lighting, I love the character that he Orion Silver Editions brought to these shots. This was shot on the 12K. Camera package was provided by .rentals.
Fun times shooting Stranded 2 with !
I had such a great time playing in this genre and collaborating with director . We spent a lot of time shooting in this stellar cave set, built by production designer . Because we had so much material to get through, including a big action scene (action directed by ), I knew my team and I would have to pre-light the set to look good from every angle. This way we could move the camera around without worrying about adjusting lights.
My gaffer, Mark Lopez, and I lit this exclusively with .lighting units. Mostly 600D’s suspended above the walls to create shafts of light, as if there were holes in the roof of a cave, and even 300D’s with lantern attachments to dial in ambient just right. One of the ways I was able to make this work was by rehearsing all of the blocking with Josh weeks before the shoot, so I already knew what “zones” the actors would be playing in. After that, all we needed was one soft light on the ground to move around If actors ever needed a little kick of light.
I shot this on the Ursa Mini Pro 12k (now at .rentals), and Silver Edition Anamorphics. I love the character and quality these lenses gave the entire movie. The rest of the camera support was also from Bokeh.
To top out all off, came through with an awesome grade!
Some more stuff from a super fun project I shot earlier this year with director .
The scene centered around a hostage situation, and a man brought in to visit the hostage. I really wanted to give this a gritty, “underground” feel. Corry and I wanted to imply nighttime, but still leave the time of day ambiguous. To accomplish all of this, we ended up gelling the windows with a CTO/Green cocktail (it was too windy to tent and push light through them). For the interior, we kept it very simple. I decided to use Home Depot work lights, because they could play as practicals, and they give off such a yellow, kind of gross color. We used these to light the room, and then a panel light to wrap the light around the actor’s face just a bit.
The final piece that really completed the look here, were the Blackwing lenses. I got T Tuned lenses for this project. I felt their aggressive flares and overall character lent to the tension. Other than that, it was a pretty simple Amira shoulder mount setup. Thanks .rentals for hooking us up!
Producer:
Director:
Prod Coordinator:
1st AC: .end
Gaffer:
Key Grip: Hunter Rodgers
G&E Swing:
Art Direction: .dixen
Colorist:
BTS:
Throwback to a super fun project I shot earlier this year with director .
The scene centered around a hostage situation, and a man brought in to visit the hostage. I really wanted to give this a gritty, “underground” feel. Corry and I wanted to imply nighttime, but still leave the time of day ambiguous. To accomplish all of this, we ended up gelling the windows with a CTO/Green cocktail (it was too windy to tent and push light through them). For the interior, we kept it very simple. I decided to use Home Depot work lights, because they could play as practicals, and they give off such a yellow, kind of gross color. These wides were lit exclusively with those lights.
The final piece that really completed the look here, were the Blackwing lenses. I got T Tuned lenses for this project. I felt their aggressive flares and overall character lent to the tension. Other than that, it was a pretty simple Amira shoulder mount setup. Thanks .rentals for hooking us up!
Producer:
Director:
Prod Coordinator:
1st AC: .end
Gaffer:
Key Grip: Hunter Rodgers
G&E Swing:
Art Direction: .dixen
Colorist:
BTS:
Throwback to a super fun project I shot earlier this year with director .
The scene centered around a hostage situation, and a man brought in to visit the hostage. I really wanted to give this a gritty, “underground” feel. Corry and I wanted to imply nighttime, but still leave the time of day ambiguous. To accomplish all of this, we ended up gelling the windows with a CTO/Green cocktail (it was too windy to tent and push light through them). For the interior, we kept it very simple. I decided to use Home Depot work lights, because they could play as practicals, and they give off such a yellow, kind of gross color. We used these to light the room, and then a panel light to wrap the light around the actor’s face just a bit.
The final piece that really completed the look here, were the Blackwing lenses. I got T Tuned lenses for this project. I felt their aggressive flares and overall character lent to the tension. Other than that, it was a pretty simple Amira shoulder mount setup. Thanks .rentals for hooking us up!
Producer:
Director:
Prod Coordinator:
1st AC: .end
Gaffer:
Key Grip: Hunter Rodgers
G&E Swing:
Art Direction: .dixen
Colorist:
“Infinity System”
I love these things. This is the color pallet for . It’s very cool seeing something you planned laid out so clearly like this. This project was one on the most fulfilling of the year for me so far. Thanks again for having me on board Matthew Charles Hall] and Jonathan Yanez]!
Director: Matthew Charles Hall]
Producers: Jonathan Yanez] and , .co
1st AC:
2nd AC:
DIT: .j.brewster
Gaffer:
Key Grip: Hunter Rodgers
G&E Swing:
Colorist:
Camera support: .rentals
BTS: .rollins
INFINITY SYSTEM
Mirrors and shiny boards again! I love using mirrors for real punchy backlight like this. It really gives characters a chiseled look against great background. Aside from the mirror, we had an .lighting 600D with a spotlight attachment to lift the talent’s face a bit. Really liked the results!
Another big part of getting these sorts of medium/cowboy angles right is framing. I try to make sure the actor’s head is framed above the horizon, and all of the lines are leading towards him.
INFINITY SYSTEM
This was the final shot we captured during production, as well as the final shot of the film. What I love about shooting outdoors in the winters, is that the sun is always low and that nice golden light lasts for a long time. No bad times to shoot. We used no lighting modifiers here.
This was shot on the 12K and Orion Silver Editions anamorphic lenses. I fell in love with this combo on this shoot. The clarity of the 12K’s image, combined with the character/sharpness on the SE’s and flexibility of BRaw made for some instantly distinct imagery.
Director:
Producers: and , .co
1st AC:
2nd AC:
DIT: .j.brewster
Gaffer:
Key Grip: Hunter Rodgers
G&E Swing:
Colorist:
Camera support: .rentals
BTS: .rollins
![INFINITY SYSTEMOne of my favorite aspects of filmmaking and production is discovery. Director Matthew Charles Hall] and ...](https://img4.medioq.com/208/668/2180800292086687.jpg)
INFINITY SYSTEM
One of my favorite aspects of filmmaking and production is discovery. Director Matthew Charles Hall] and I had storyboarded and planned on ending this scene with an epic wide shot, displaying a high level of destruction and carnage. But, after one take of this closeup of actress , we knew the look on her face said all that needed to be said. It ended up being more powerful than any other moment we could have staged. It’s capturing these moments that reminds me what filmmaking is all about.
As far as lighting goes, Mark Lopez] and I went very minimal with this shot. The sun is backlighting her while we used a white card to bounce a little into her face. The long lens is doing a lot of the heavy lifting in this shot.
This was shot on the 12K and Orion Silver Editions anamorphic lenses. I fell in love with this combo on this shoot. The clarity of the 12K’s image, combined with the character/sharpness on the SE’s and flexibility of BRaw made for some instantly distinct imagery.
Director: Matthew Charles Hall]
Producers: and , .co
1st AC:
2nd AC:
DIT: .j.brewster
Gaffer: Mark Lopez]
Key Grip: Hunter Rodgers
G&E Swing:
Colorist:
Camera support: .rentals
INFINITY SYSTEM
Layered beneath my classic Western inspiration for this pilot project, was visual inspiration from video games. While I didn’t want to be cartoony, or too obvious with it, I wanted to give a slightly artificial look to everything due to the story. I found leaning into lighting that didn’t necessarily feel motivated, but still felt good (so subjective), was a great way to accomplish this. So often times I’d end up lighting actors with harsh, directional light that wasn’t necessarily coming from the same direction as the sun. Making them pop and have sort of an artificial edge or halo.
This was shot on the 12K and Orion Silver Editions anamorphic lenses. I fell in love with this combo on this shoot. The clarity of the 12K’s image, combined with the character/sharpness on the SE’s and flexibility of BRaw made for some instantly distinct imagery.
Director:
Producers: and , .co
1st AC:
2nd AC:
DIT: .j.brewster
Gaffer:
Key Grip: Hunter Rodgers
G&E Swing:
Colorist:
Camera support: .rentals
A frame from INFINITY SYSTEM.
100mm lens, back way up, place talent on horizon (maybe add vfx)… my favorite kind of wide. When I composed this shot, it was a direct nod to the closing shot of my favorite Western (perhaps my favorite film), “Unforgiven” by Clint Eastwood. Swipe to see the reference frame.
This was shot on the 12K and Orion Silver Editions anamorphic lenses. I fell in love with this combo on this shoot. The clarity of the 12K’s image, combined with the character/sharpness on the SE’s and flexibility of BRaw made for some instantly distinct imagery.
Director:
Producers: and , .co
1st AC:
2nd AC:
DIT: .j.brewster
Gaffer:
Key Grip: Hunter Rodgers
G&E Swing:
Colorist:
Camera support: .rentals
INFINITY SYSTEM
This was such a fun project to shoot and I’m so excited to see it finished and hitting festivals.
My gaffer () and I decided early on to lean into classic Western vibes. I’m a big fan of the Western genre, so it was lots of fun to play in this space. Lots of low angles, extreme closeups, and harsh lighting. We didn’t use any diffusion in these scenes. We used a 4K HMI as a backlight on some of the shots, and carefully placed shiny boards bouncing the sunlight on to the talent’s faces. Eventually, to save time, we started using our .lighting 600D on the closeups for that harsh directional light.
This was shot on the 12K and Orion Silver Editions anamorphic lenses. I fell in love with this combo on this shoot. The clarity of the 12K’s image, combined with the character/sharpness on the SE’s and flexibility of BRaw made for some instantly distinct imagery.
Director:
Producers: and , .co
1st AC:
2nd AC:
DIT: .j.brewster
Gaffer:
Key Grip: Hunter Rodgers
G&E Swing:
Colorist:
Camera support: .rentals
First look/teaser for Infinity System. A project I shot this January that I am very excited about!
Shot on the 12K with Orion Silver Editions. Camera support provided by .rentals. Lit by .lighting.
Director -
Producers - and
Prod Co - .co
DP - me!
Gaffer -
Key Grip - Hunter Rodgers
Grips - and
1st AC -
2nd AC -
DIT - .j.brewster
Fullerton, CA
92835
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Send a message to William Hellmuth - DP:
First look/teaser for Infinity System. A project I shot this January that I am very excited about! . . Shot on the @ursamini 12K with @atlaslensco Orion Silver Editions. Camera support provided by @bokeh.rentals. Lit by @aputure.lighting. . . Director - @matthewcharleshall Producers - @jynafer_rose and @author_jonathan_yanez Prod Co - @wolfpackentertainment.co DP - me! Gaffer - @dutch_clt Key Grip - Hunter Rodgers Grips - @savvyshowrunner and @burkewurke 1st AC - @bbcoin 2nd AC - @jesse_thefocuspuller DIT - @andy.j.brewster
