AGENDA NEWS
Post production Jonny Lewis gave up his work delivering mail and is now Pro Moviemaker’s Filmmaker of the Year
It’s a contemporary way of reaching a global audience for a gallery that sells contemporary art. But it’s something the owners of the gallery, father Mike and son Jay, have been doing for almost 20 years, building up a unique archive of interviews with artists. Finding a skilled and sympathetic filmmaker to join director Jay, as well as a presenter to head up the filming staff, was where Lewis came in. He’s a perfect fit. It’s a long way from where he started, working as a postman in his native South Wales. “I carried on doing that part- time for a few years while I was taking a documentary film course at Newport University,” he reveals. “I ended up in Swansea making videos for museums and galleries. When I saw this job, it sounded more my thing, doing documentary work. I moved here eight years ago!” As you might expect, lots of artists work in interesting studio spaces. Lewis loves
When asked for advice he would give to emerging professionals, Pro Moviemaker ’s Filmmaker of the Year 2024 Jonny Lewis is clear: “It’s all about learning how to tell stories, much more than the technical side of the camera and sound,” he says. “Keep practising, keep filming and doing your own storytelling. The gear isn’t quite so important since most cameras are amazing now.” What makes Lewis such a successful commercial filmmaker is that he produces sensitive documentary films which are stylish yet natural, and ultimately engage with the audience. He creates intimate portraits of some of the most creative artists on the planet, shot on location in their own studios. It’s very obvious he has a love for people and telling their tales. The films are not obvious sales pitches for the gallery which employs him – the Goldmark Gallery in Uppingham on the edge of Britain’s smallest county, Rutland.
Filmmaker of the Year honours independent filmmaking companies and individuals who show incredible creativity without massive budgets – but with masses of passion. Each January, we launch the contest for long-form or short-form content in commercial categories including promotional films, documentaries, music videos, social media and more. Watch out for it in 2025 – you’ve got to be in it to win it! ARE YOU OUR NEXT WINNER? to film there using the natural light, with help from LED soft panels for talking-head interview pieces. The most important thing is capturing the moment and the stories – and there is no chance for a retake. Lewis’ primary camera is a Sony A7S III used with either a Sony 24-70mm f/2.8 G Master zoom or one of Fujifilm’s MK Series cinema zoom lenses. These were bought for use on the team’s Sony FS7, but that’s been sold to make way for a full-frame FX6. To capture audio, Lewis has a Sennheiser lapel mic and wireless transmission system. On top of the camera sits a shotgun mic, capturing a scratch track or second recording in case of any wireless issues. The camera outputs ProRes to an Atomos Ninja V monitor-recorder and is edited on Mac Studio computers running Final Cut Pro X, DaVinci Resolve and Premiere Pro – depending on who’s doing the editing. But Lewis is not fixated on the kit. “I just like to tell good stories. The art is amazing – and seeing artists do their thing is incredible. I love to tell how these people have struggled and become world famous,” he says.
TROPHY TIME Jonny Lewis is presented with his award by Pro Moviemaker’s Adam Duckworth at the Goldmark Gallery
“What makes Lewis such a successful commercial filmmaker is that he produces sensitive documentary films which are stylish yet natural”
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