Element Filters & Indie Film Cinematography
The path of a modern cinematographer is rarely straightforward. It demands technical skill, artistic vision, relentless hustle, and often, an entrepreneurial spirit. Young, versatile DP Tucker K Anderson embodies this multifaceted approach. His work spans high-energy action sports docs, slick commercials for global brands like Sonos and Yves Saint Laurent, and the narrative depth of feature films. Beyond the lens, he’s the founder of Element Filters, a company born from a desire to create high-quality tools for fellow filmmakers.
Recently featured on Filmmakers Academy’s Finding the Frame podcast (S2 E7), Tucker shared candid insights into his journey. Moreover, he explains his process and navigating the demanding yet rewarding landscape of the film industry.
This episode is proudly lit exclusively by Nanlux-Nanlite Lights and sponsored by B&H and Hollyland.
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FROM SNOWY SLOPES TO LA SETS
Like many filmmakers, Tucker’s journey began simply by picking up a camera. Growing up in the mountains of Canada, he started filming friends performing “gnarly ski tricks.”
“Rather than risking breaking my own bones, I just picked up a camera,” he shared on the podcast.
Starting with a GoPro Hero 2 and progressing through the Panasonic GH series, shooting everything in slow motion, he cut his teeth in the demanding world of action sports.
This fast-paced environment proved invaluable.
“I became a really good camera operator that way because that’s such a fast-paced world,” Tucker explained. “You inherently have to be a good camera operator to work in that space.”
This foundation in operating became crucial as his interests evolved towards lighting and narrative work. Contacts led him to Los Angeles, where the “infectious energy” propelled him into the commercial and fashion worlds.
THE DP’S CRAFT: COMMERCIAL PACE VS. FEATURE DEPTH
Tucker navigates the distinct rhythms of commercial and feature filmmaking. Commercials, he notes, are often a “fly by the seat of your pants approach,” sometimes booked just days before shooting. They demand quick thinking and adaptability.
He recounted shooting a complex one-take spot for Sonos on a motion control arm, landing the job partly due to his experience with the tech and a portfolio showcasing the desired “black void look.”
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Similarly, a Yves Saint Laurent shoot involved capturing product shots both in the dramatic, built-in production design of an old mine north of Vancouver and during a dedicated “play day” in the studio.
Feature films offer a different challenge — the luxury and necessity of deeper preparation. Discussing his upcoming second feature, tentatively titled “17,” Tucker contrasted it with his first feature, a Lifetime movie shot in a blazing 12 days. The new project, however, allows for more extensive prep.
“If it’s something that you’re passionate about… I’m just pouring all the time that I have into prep and having conversations with the director to make it as good as it can possibly be.”
PRE-PRODUCTION AND ON-SET PHILOSOPHY
How does he prepare? Tucker adopts Shane Hurlbut, ASC’s method of multiple script reads, each with a different lens — first for story, then through the DP’s eyes. Crucially, he engages in extensive dialogue with the director.
“Ultimately your job as the DP is to serve the director’s vision,” he states.
This involves translating their ideas technically, bouncing ideas back and forth, and asking endless questions to understand the motivation behind each scene.
For “17,” described as a visceral, handheld film following characters through a city over one day (akin to the Before Sunrise trilogy), these conversations are vital. They explore how character emotions drive camera choices — using handheld for chaos or specific framing to convey a feeling of entrapment.
Tucker cherishes being hands-on…
“Being on the camera is the best job on set, in my opinion,” he declares, valuing the intimate connection it provides. “Especially when you’re right there with the actors, like you’re a sort of a third actor in a way… that sort of dance that happens is the most magical thing.”
He stresses the importance of professionalism when working with celebrity talent, focusing on making them feel comfortable and supported, acting as a calming presence rather than a fangirl.
BUILDING A CAREER: HUSTLE, HEART AND SIDE HUSTLES
Tucker is refreshingly honest about career building. While acknowledging he’s “done a lot and also done absolutely nothing at all,” he emphasizes the significance of relationships.
“It’s really a who you know business,” he admits, noting many opportunities arise from being in the right place at the right time. He advocates for reaching out, networking, and being patient, recognizing that developing artistic taste takes time and experience.
He also lives by the mantra “one for the reel, one for the meal,” balancing passion projects with work that pays the bills. This pragmatic approach became particularly relevant during the pandemic.
ELEMENT FILTERS: INNOVATION BORN FROM NECESSITY
When COVID-19 halted productions, Tucker, like many freelancers, found himself jobless and antsy. Needing new ND filters but hesitant to invest during uncertain times, he researched the market. Seeing a gap between cost and quality, he “dove down the rabbit hole enough to figure out a way to do that better.”
This led to the creation of Element Filters. The goal: “to make these filters that were more accessible cost-wise, but maintain the same quality as some of the legacy brands.”
What began as a personal project evolved into a full-fledged company. He spent years developing the initial ND filters and later expanded to include clear protective filters and a unique Opaline diffusion filter, created to achieve a distinct look.
Recently, Element Filters partnered with Kondor Blue to offer versions with lightweight, protective metal frames.
Managing the company as a “side hustle” while prioritizing his DP career is a balancing act, achieved by outsourcing operations. It provides a creative outlet and stability during the inevitable ebbs and flows of freelance life.
LOOKING FORWARD
Despite industry challenges, Tucker remains hopeful, inspired by the success of indie films and the “infectious energy” of the LA creative community. He believes strongly in the enduring power of “real human-made art.”
Whether behind the camera crafting narratives or developing tools for other filmmakers, Tucker K Anderson exemplifies the passion, adaptability, and entrepreneurial drive shaping the future of cinematography.
THE BOTTOM LINE
Tucker K Anderson’s career trajectory offers a compelling blueprint for the modern filmmaker navigating today’s complex industry. His story demonstrates a potent blend of artistic sensibility, technical proficiency, and entrepreneurial drive. From capturing fast-paced action sports — honing crucial operating skills — to meticulously crafting feature film narratives through deep collaboration and thoughtful prep, his journey highlights adaptability and a relentless pursuit of growth.
Simultaneously, his creation of Element Filters, born from identifying a need and driven by a desire for accessible quality, speaks volumes about his commitment not only to refining his own toolkit but also to empowering fellow creatives. He navigates the often-discussed “who you know” nature of the industry and the practical “one for the reel, one for the meal” reality with transparency and an enduring passion for the craft.
FINDING THE FRAME PODCAST AND FILMMAKERS ACADEMY: A RESOURCE FOR ASPIRING FILMMAKERS
This article is based on an interview with Tucker K Anderson on the Finding the Frame Podcast, a valuable resource for filmmakers seeking insights from industry professionals. The podcast, hosted by Chris Haigh, provides a platform for in-depth conversations with cinematographers, directors, production designers, and other key figures in the film industry.
Filmmakers Academy offers a comprehensive online learning platform for aspiring and established filmmakers. Filmmakers Academy provides the knowledge and skills needed to succeed in the industry with courses covering all aspects of filmmaking, from cinematography and lighting to editing and sound design.
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This episode is proudly lit exclusively by Nanlux-Nanlite Lights and sponsored by B&H and Hollyland.
