Although he first made a name in the field of advertising, Zach Sycip is fast becoming one of the country’s most sought-after cinematographers.
Following a stint as director of photography of two episodes of the GMA drama series “Wagas,” Sycip started his work for film with Star Cinema’s production of Mae Czarina Cruz’s “Everyday I Love You” starring Vilma Santos.
This was followed by Dondon S. Santos’ “Northern Lights: A Journey to Love” starring and produced by Piolo Pascual, and another Mae Cruz vehicle, “Can’t Help Falling in Love” starring Kathryn Bernardo and Daniel Padilla.
His most recent work is another Star Cinema vehicle, Topel Lee’s “Bloody Crayons.” Now on its second week, the teen thriller continues to hold its own in the box office despite mixed reviews and competition from Hollywood heavyweights like “Dunkirk,” “Spider-Man: Homecoming,” “War for the Planet of the Apes” and the local indie sleeper hit, “Kita Kita.”
During a recent interview with InterAksyon following the recent launch of Panasonic’s latest OLED 4K HDTV lineup, Sycip said his engineering background helped him a lot in his career as director of photography for both films and television commercials.
“Engineering teaches problem-solving so that definitely helped. Advertising and film, however, are two different monsters. Each requires a different skill-set other than just the skill of cinematography,” he pointed out.
“It was actually quite an adjustment to get into filmmaking from an advertising background. You’re talking a shift from 30 seconds to 90 minutes. Doing films is a major commitment. You’re in it for the long haul. Advertising is grueling, super meticulous, but you’re at it for a few days and the output is so short.”
Asked what qualities his directors look for him as cinematographer, Sycip says flexibility is particularly important as it is instrumental in helping a filmmaker execute his vision.
“Some directors already know my style and tell me to make it look like a certain project or shot they’ve seen. Most directors, however, will look for your working style, since that’s really important, the synergy. It’s a balance between getting the shots fast, and doing it well,” he added.
Sycip admits that having shot romantic comedies, glossy TV commercials and gritty music videos, he doesn’t think he has a particular style.
“I guess what’s important to me is that the film looks good and the director is happy. Style needs to be flexible since you aren’t the director, you just help move the story forward with the imagery.”
Talking about “Bloody Crayons,” Sycip said the feel he had for the horror film was completely different from the other films he shot.
“The director is a cinematographer as well, so that helped the process. He knew and understood the language and the conflict of wanting to do it fast, but wanting to make it look good. It was interesting for me to visualize suspense and fear,” he further noted.
As one of the very few cinematographers to have his own endorsement deal, Sycip said being a brand ambassador for Panasonic LED TV has allowed him to visualize how his films would translate for home viewing.
“Watching films on a Panasonic OLED TV, I didn’t feel I was just home. I felt like me and my family are having a real cinematic experience. Also, watching my work on it was amazing. It was like how we meant for it to look,” he enthused.
As for the touted 4K technology that is also now being used in multiplex cinemas, Sycip is quick to concede that it is certainly no gimmick.
“We’re already shooting with 4K Cameras, so it’s just a matter of transitioning in the households,” he concluded.
