Award-nominated cinematographer Zheng Yu has established himself as anessential player in the world of movie making. Hailing from China, Zheng was born into the entertainment industry. His father serves as a producer and manager at China’s earliest cinema theater, and his mother, was once a make-up artist for stage shows. Growing up surrounded by this rich filmmaking background inspired him to embark on his own cinematic journey.
After years of training and hard work, rolling up his sleeves on set as a production assistant and script supervisor, and then venturing into the realm of cinematography as a grip and electric swing on smaller productions, Zheng has mastered his craft, and the bright lights of Hollywood is welcoming his talent.
Welcome Zheng. Thank you for taking time to talk with us. Before we talk about your work on “Masterplan” and “Folder”What was your first ever Cinematography gig?
My first gig experience as a director of photography involved shooting a reel for an actor who had recently arrived in Los Angeles, aiming to establish his career. Given our shared status as newcomers to the industry, both starting from the ground up, I felt a connection and agreed to take on the project. Admittedly, the undertaking was challenging. I found myself as the sole crew member, handling both camera work and grip and electric responsibilities. The battle against the sun for exposure was a constant struggle, compounded by the fact that many scenes were shot in his compact apartment. This project entailed over 60 shots, spanning a grueling 18-hour shoot. The script itself covered four distinct genres, serving as a showcase for the actor’s versatility in different roles. From portraying the head of a Mafia-run Italian bar to a grieving husband in a small bedroom, a scene of escalating madness in a bathroom with shattered mirrors, to a lengthy monologue outside his apartment – the scope was demanding. Despite the difficulties, we persevered, often resorting to creative angles to compensate for the lack of authenticity in the settings. Ultimately, the actor was pleased with the outcome. Regrettably, the video never saw the light of day, as the actor left Los Angeles upon securing a full-time position in a media company. The exhaustive process left me disheartened, realizing that our efforts had been consigned to obscurity. Yet, such is the nature of indie filmmaking, and I anticipate encountering similar situations in the coming years. While passion is the driving force behind filmmaking, it is not the sole determinant of success in this industry. Considerations such as budget, storytelling, logic, and, most importantly, unwavering dedication come into play. Projects may not always unfold as anticipated, but we should always move forward to the next project.
Tell us about“Colomars Intro & Allure”,“Masterplan” and “Folder.”
These are three upcoming music video projects that features a three-part storyline. In the first part “Colomars Intro & Allure”, Diana is taken captive by the Devil following a bizarre dream and a party night with her friends.
In “Masterplan”, the second music video – Diana is rescued by Bernard, who brings her to a mansion, and they have a very romantic day until, in the evening, Bernard proposes to Diana, who discovers that he is the Devil all along and eventually defeats him.
In “Folder”, our last act: Diana now lives in a nowhere town and barely gets by working double shifts as a waitress and motel maid. One day she meets Isabella, who looks exactly like her, yet has a luxurious life that she could have, that she could steal. The story ultimately portrays a hero’s journey and a fight against materialism, both externally and within oneself.
What was this experience like for you, working on a music video rather than a movie?
Working on my first music video with a budget in the hundreds of thousands of dollars was an exhilarating experience. With a maximum crew size of 30 members and 20 extras on any given day, the production covered a range of expensive locations across the Los Angeles area. Notably, we shot at a magnificent mansion overlooking Malibu valued at $100,000,000 and the iconic Pink Motel, recognized for its appearances in films like “Drive” and “Westworld.”
The extensive 5-day shoot demanded meticulous planning during our nearly two months of pre-production, which included thorough location scouts. This venture provided valuable insights into the complexities and scale of high-budget music video productions, offering both challenges and opportunities for creative expression.
How did you find filming as the main Cinematographer?
Managing a high-budget music video shoot comes with its own set of challenges. While the resources at our disposal may be more abundant compared to other productions, a significant portion of the budget is allocated to securing expensive locations. The pressure intensifies with the need to coordinate dozens of extras for each scene, all within the constraints of a tight schedule. Executing nearly 30 shots daily, each involving substantial camera movements and intricate blocking, adds to the complexity. The challenge is heightened by the necessity to limit our footprint to protect valuable locations. To address these challenges during pre-production, meticulous planning is essential. I undertake detailed shot visualization and create comprehensive floorplans, enabling my Grip and Electric (G&E) team to split into two units—one on standby at the set and the other pre-lighting the next location. Precision is key in planning both lighting and camera movements. The intricacy of each shot requires a meticulous approach, as once extras and talent are on set, there is minimal room for adjustments. The goal is to ensure that the visual quality remains high, even in the face of demanding constraints. It is a big shout-out to my gaffer Donald Nam and Michael Gilmore for executing the plan with great professionalism and quality.
Can you share any fun Behind the Scenes stories?
Shooting the music videos presented a unique challenge as the lyrics of the two songs were still incomplete during production. Consequently, our shot list had to be crafted based on the tempo and beat of the songs, which were also not finalized at that point. This posed a considerable challenge for shot design, as the synchronization of the action and editing with the song’s beat and tempo is crucial for a successful music video. It was my first experience working on a music video where the music itself was not completed. This added an extra layer of complexity on set, as the team, including the director and myself, faced inquiries from everyone wondering why the music wasn’t playing during filming. The response had to be straightforward— “we don’t have the music yet.” Navigating the creative process without the finalized music underscored the importance of adaptability and quick decision-making to ensure the visual elements aligned seamlessly with the eventual musical compositions.
Which actors / directors would you like to collaborate with in future?
I don’t have specific actors or directors in mind that I aspire to collaborate with. Many of the directors I’ve had the opportunity to work with are long-time friends, and our professional relationships have developed over the years. The trust they place in me, entrusting the visual elements to my expertise, is something I highly value. The collaborations with these directors are not just about the projects; they are experiences I genuinely enjoy. Given my emphasis on caring about the stories and personal connections, developing a bond with the people I work with is crucial for fostering a creative and collaborative environment. Working with individuals I know well allows for a deeper understanding of their vision and a more meaningful contribution to the storytelling process.
What is up next for you?
I have a short in December that I have been prepping with the director and production team for a while. I am also going to shoot a short in China in March and it is aiming for the Busan International Film Festival. It is a big project and I have been working on it with the director for a couple of months.
We cannot wait to see what you do next!
Thank you, Zheng Yu, for the incredible interview. Follow him on Instagram and IMDb
