(BA, Film Studies and Production, '01)
Q & A:
- What was your favorite class, who was your favorite professor, or what is your fondest memory of Hofstra?
There was a film class that was offered every semester in which the genre would change. It was sci-fi the semester I took it, and it was so fun. I also minored in fine arts and took a pottery class that was a great creative experience.
Phil Katzman was my favorite professor. He's amazing. He is a no bs kind of person and so knowledgeable of how the industry truly works. I could not begin to count the fond memories at Hofstra. I was lucky to have been in a great fraternity in which I made so many lifelong friends and have a great group of academic friends as well.
- What was your first job after graduating from Hofstra, and what was the most valuable thing you learned there?
My first job out of college was in the shipping department at a company called Nice Shoes. It was a reality check to experience how the industry works and how much work I would need to put in to make it.
- What is your field of specialty, and how did you come to work in the industry?
I am in the feature film and television post-production industry. I fell into it, to be honest. I started working in the shipping department of a post facility. Once I realized the kind of work and, more important, work atmosphere, I was hooked. It's a very fast-paced, creative environment.
- What advice would you give to Hofstra students?
Don't be in a rush. Some of the best moments of my life were during the first years of my career. And paying your dues is more important than you think. It's a badge of honor in every profession and you're looked at differently if you never have.
- In one word, how would you describe Hofstra?
I've never been one for rules so .... life-changing..
- What is a typical day like for a colorist?
Usually I spend 8-12 hours in a dark room or theater with one to six clients going over the cut of the film. We watch and make adjustments on every shot in the film. There is a great deal of collaboration and discussion about storytelling and how the work we are doing translates to the overall theme of the film or TV show.
- What is your favorite part of your job?
I get to be creative. Imagine if someone paid you to put Instagram filters on cool pictures all day... obviously it's slightly more complicated.
- What is the single most rewarding/exciting experience in your career thus far?
I recently worked with Vittorio Storaro, who is considered to be one of the most influential cinematographers of all time. We worked on Woody Allen's Café Society, and we are working on Woody's next film as well. It's been an honor to work with two amazingly talented legends.
Anthony Raffaele joined Technicolor-PostWorks in 2014, bringing with him broad credits in independent film and episodic television, and work with a number of top cinematographers. He began his career with Nice Shoes in 2001 and joined Deluxe in 2009. He earned his first credit as a DI (digital intermediate) colorist on the 2011 horror thriller Silent House, where he collaborated with cinematographer Igor Martinovic. He went on to work with Martinovic on the indie drama Sunlight Jr. starring Matt Dillon and Naomi Watts, as well as with famed cinematographer Dean Cundey on Freedom starring Cuba Gooding Jr. and with Rachel Morrison on the feature Little Accidents. His recent feature credits include Café Society directed by Woody Allen and lensed by legendary cinematographer Vittorio Storaro.
Raffaele has extensive experience working on episodic television. He graded four seasons of the CBS cop drama Blue Bloods. His current list of shows include Younger, Difficult People, Odd Mom Out, and Years of Living Dangerously.