Kelly Moore is a cinematographer based in Los Angeles, CA specializing in commercial content. Throughout his career, Kelly has shot for clients including Coca-Cola, Target, and Oreo.
A lot of your work is known for your table top and studio cinematography. How did that work begin?
My first tabletop job was with my friend Adi for the candy company, Peeps. We had a budget in the hundreds-of-dollars range, and had no idea. It was made in her old echo park apartment.
There’s a lot of fun, poppy, pastel colors in your work. Is this the color aesthetic you are drawn to the most?
I carry no prejudice or preference for certain color palettes. Most often, I’m working with a palette that has been created before I’ve entered the process. I know what you mean though. I’ve definitely found myself in a niche that has leaned pretty hard on pastels. This kinda stuff is just fashion though, and hopefully, is consistently evolving.
What’s the lighting process like for studio and table top? How does it differ from the other projects you have done?
There’s usually no logical source like a window or campfire to motivate the light. Because of this, we don’t have to be too concerned with the logic of the light. We’re basically just using light to accentuate nice qualities in an object. The light also helps set a basic mood. Hard shadows are cool, especially when we’re shooting a top/down, Birdseye perspective. With this lighting approach, you can use the light to build a sense of visual depth that contrasts the flatness of the actual set.
What has been your favorite project to shoot thus far into your career?
I’m not sure I have a favorite job, but I am most proud of the feature I shot in Toas, New Mexico with Director Cheryl Nichols. The movie is called Cortez. We established a cool approach to the camera coverage, lighting, and blocking that would allow for long takes and loose marks for the actors. That job really showed me the effect of opening a room up for actors to work in comfortably. Thanks Cheryl.
What’s the process like shooting food? Is it a delicate process that takes a lot of finessing?
Shooting food is fun! I’m pretty much the opposite of a foodie so it’s kinda funny that I shoot a considerable amount of it.
We really like your ad done for Wish. How did the creative process for that come about? Was it a technically difficult shoot to pull off?
Wish wasn’t technically difficult as much as it was a logistical challenge. We had 3 continuously working sets on a soundstage. One of the sets was dedicated stop motion animation because it can take a considerable amount of time. The directors, Tony and PJ, are meticulous with prep, literally down to the frame for the most part. Both of them come from a strong post background. A lot of my favorite directors to work with are great editors.
What do want to accomplish by the end of your career?
I hope I enjoy a set when I quit/die as I do now. I also hope I don’t grow bored, or fall into too much of a stagnated rhythm.