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Bruce Dorn has been a top tier photographer, filmmaker, and educator for over forty years. After an early start in the fashion and photojournalism ranks, Dorn worked his way to Hollywood where he became a successful Director and Cameraman. In the motion picture industry, Dorn is known for his theatrical lighting, state-of-the-art Visual Effects, and high-risk Cinematography.
An Emmy-nominated member of the Directors Guild of America, Bruce has won the Kodak Innovators Award, earned multiple Gold Medals from the Mobius Awards, the New York Film and Video Festivals, the New York, London, Los Angeles, Chicago, and Dallas Art Directors’ Clubs, the Clio Awards, and a Bronze Lion from the Cannes Commercial Film Festival.
In 2001, Bruce walked away from full-time Hollywood production to investigate the worlds of indie and documentary filmmaking. When not developing his graphic novel or chasing hare-brained schemes, Bruce captures compelling documentary stories around the world. Bruce is a Canon Explorer of Light, an ARRI Ambassador, a WD Creative Master, a Sandisk Extreme Pro, a Westcott Top Pro Elite, a Tiffen Steadicam Pro, a Light & Motion Luminaire, a Corel Painter Master, and a member of the Adobe Dream Team.
For my work, I have been using
SanDisk Extreme Pro CFexpress cards
exclusively as they allow state of the
art cameras to capture video
at its highest data rate.
__________________
Bruce Dorn
Explore Bruce Dorn's Work
Behind the Scenes with Bruce Dorn
Over the years I’ve pursued multiple specialties, including Food & Beverage, Automotive, Tech, Lifestyle, and Fashion. When one specialty is on a downturn another is ascending.
I’m good at it. I can quickly understand a challenge and find a solution even faster. It’s a gift.
I’m aware of what’s going on around me but historically I’ve been more if a trend-setter than a trend follower.
Although often inarticulate, my clients understand their product inside and out. My job is to distill their message and to do that I must fully understand it. I listen. Once I understand a challenge, I can reliably find new ways of communicating its uniqueness.
Lighting is my hook. In the very beginning I had one camera and one lens. My third ever professional tool was a 3200K incandescent flood light. After learning the basics by years of sometimes painful trial-and-error I was blessed with the opportunity of working with many of the world’s greatest cinematographers as their director. I can’t imagine a greater education. My lighting toolbox is deep and wide. I use anything and everything in pursuit of a specific look.
Sometimes concept sketches —sometimes fully resolved storyboards or digital previz clips. I can comfortably pre-visualize finis imagery in my mind’s eye so the sketches and boards aren’t for me. They’re primarily useful to assuage client concerns or answer my crews’ shot prep questions in a clear, concise, and actionable manner.
