Today we’d like to introduce you to David Allen.
Hi David, thanks for sharing your story with us. To start, maybe you can tell our readers some of your backstory.
I first got my start filming skateboarding as a 14 year old. I fell in love with the process and became the de-facto videographer in my skate crew. I produced 3 films before I was 18 and sold the last one in stores throughout New York and New Jersey. This was in 2004 before YouTube was created, so my distribution model involved driving to skate shops and selling DVDs to shop owners.
After graduating university with a film degree I immediately started working and taking every kind of work possible. Coming from a skateboarding background, I was drawn to documentary production. I spent a couple years freelancing before my wife and I left the US and moved to Tokyo, Japan. It was in Tokyo where I came of age as a DP and fell in love with lighting & cinematography. I had amazing work opportunities and got into shooting more commercials in addition to doc & narrative work. We spent six years in Japan and moved to Florida during the pandemic.
We have been pleasantly surprised with living in Florida. There are amazing film crews and plenty of work, especially in commercial & documentary production. I never would have thought I could work in film while being based in Ormond Beach. I usually find myself working in Orlando, Tampa, and Miami, working for clients & outlets such as NFL Films, The New York Times, Publix, Marriott, and more.
Can you talk to us a bit about the challenges and lessons you’ve learned along the way. Looking back would you say it’s been easy or smooth in retrospect?
Working as a freelancer is never a smooth road. There are constant ups and downs. There is always a belief in the back of your mind that work will suddenly stop one day; that all of your clients will simultaneously agree that they are done with you and blacklist you for life. This sounds ridiculous but it’s true of every small business owner & freelancer I’ve talked to about this. I always tell people the best way for me to enjoy time off or a low season is to have guaranteed work when I come back, usually in the form of advanced bookings. If this doesn’t happen, it’s hard for me to switch out of work mode and truly be present during time spent with my family. I’ve spoken of this before but it makes me wonder who the “real me” is– is it the guy who is busy and providing for his family, or is it the one who is insecure about the future and scared of the work stopping? I haven’t figured out the answer yet, but what I can say is good things come to those who stick through the hard times. Not all of your competitors will have skin thick enough to push through a slow month or two. Great opportunities present themselves about once or twice a year for me, and I believe that persistence results in good fortune.
Alright, so let’s switch gears a bit and talk business. What should we know about your work?
I love shooting good stories with strong characters. This manifests in different ways – short films, documentaries, and even branded content. There are so many approaches to each story, and that’s what I love about my job. Some days I’m in a studio, other days I’m in the field, and I enjoy them all.
I’m known for a cinematic approach in my work. Once a director told me I shoot “pretty” and I’ve put a lot of thought into that. These days I don’t think every shot should be pretty, but rather, the shot should fit the story. I’m fine with using an old Super 16mm lens on a nice camera, or adding some grain textures, or using the cleanest lens possible at high resolution. In my lighting approach I take story into the highest consideration in how our talent should look and how the space should feel. There is no one size fits all approach to cinematography and I can’t say that I carry a certain aesthetic across all of my work other than what’s appropriate for that specific piece. I’m known for my attention to detail across departments. I work with amazing crew and trust them entirely, but I know as DP that the quality of the picture ultimately falls on me, so I like things to be buttoned up and as good as they can be.
Do you have any advice for those just starting out?
Push through the hard times, don’t be afraid to ask questions, and show up on time.
When you’re first starting out there’s this sense of urgency, like, I want to DP or art direct or direct films, right now. This path is not impossible – some people are lucky out of the gate. But most people have to follow some kind of path and the benefit of this is the growth & lessons you learn along the way. It really does take 10 years for most people to master their craft. I am nowhere near a master but I do feel a major difference in confidence and demeanor from who I was 10 years ago.
The PAs and mentees I work with are often people who randomly approach me at the right time. A cold email, cold call, or just saying hi while I’m at work. And out of these people who I become connected with, the most successful ones are those who ask questions – about the industry, career paths, or technical questions.
And lastly, always be the first person on set if you’re just starting out! Be at least 15 minutes early to every call time. This is the most basic job security and the foundation of a reliable worker.
Contact Info:
- Website: https://www.davidallenfilms.com
- Instagram: @davidallenfilms
