Cinematographer Svetlana Cvetko has lent her expert visual talents to numerous documentaries, including the Oscar-winning Inside Job, Inequality for All and the Oscar-nominated short subject Facing Fear. Cvetko also works on narrative features, most recently The Architect and Daddy. Whether documentary or narrative, all her projects have one thing in common: camera support by OConnor.
Cvetko shot The Architect for Jonathan Parker, her second collaboration with the director. The comedic drama stars Eric McCormack and Parker Posey as a couple struggling with relationship issues who hire a zany architect, played by James Frain, to build their dream house.
“Even though this film falls into the edge of a comedy,” Cvetko says, “I wanted it to feel a little more naturalistic and moody. We took a lot of inspiration from the films of Woody Allen.”
The production filmed over 24 days in the Pacific Northwest. “The moody lighting and sneaky clouds gave The Architect a spellbinding feeling,” she notes.
Cvetko and the camera department were armed with two ARRI Alexas and Cooke S4 lenses, along with an Angenieux Optimo 24-290mm zoom. Supporting the Alexas were two OConnor 2575 heads. “I care a lot about my support gear, and OConnor gives me a confidence that no other system can match,” she says. “OConnor has never failed to support my frames. I have been using the 2575 on all of my shoots, both documentaries and narratives. It is my ‘go to,’ even when I am on a slider, because it gives me full control over the movement. Documentary or feature, handheld or mounted, OConnor always makes it easy for me to get the shot.”
Parker Film Company is targeting a late 2014 release for The Architect.