David Auner, aac is a cinematographer based in Los Angeles, CA. He was born and raised in Graz, Austria. His grandfather, a retired photographer, started teaching him the “Art of Seeing” and film photography at a very early age.
After graduating from high school he moved to Vienna. During that time David started working as a photographer and in film. He began as a sound recordist and camera assistant for TV news and corporate and industrial films. Subsequently, over the next 15 years, he shot many such projects and spent hundreds of hours behind the camera. Meanwhile, he worked as an electrician, grip and 2nd assistant camera on narrative projects. Later on he gaffed and key gripped several music videos and shorts. David started to photograph short films and music videos. He found his true passion in narrative feature and episodic television and long form documentary projects.
He graduated from Middlesex University, London, with a BA in Digital Film Arts and an MFA in Cinematography from the American Film Institute Conservatory in Los Angeles. David is a proud member of the Austrian Association of Cinematographers since 2015.
“Cinematography, the writing with motion and light is my favorite form of storytelling, it is a nexus where technology, creativity, craftsmanship and teamwork come together. Cinematography is a discipline that requires constant learning, adaptation, experimentation, improvisation and, above all, a very conscious, deliberate form of seeing, seeing and seeking light, color, depth, form and mood.
Cinema is a medium, subtle and yet powerful, that has no equal in its ability to evoke emotion, carry expression and move an audience. In doing so, it penetrates deep into our subconscious and may thus have the ability to change the world.
Certainly, cinematography is the craft and the art of translating a director’s vision of a story onto the screen. However, that task is impossible to do alone. Therefore, it is a task shared with the director, the production designer, the colorist and the other departments. It is a complex and demanding undertaking that must, above all, remain in the service of the story to be told and within the scope of the production’s budget.
From the first magical experience in childhood, seeing an image materialize on a piece of paper in developer, to my introduction to this industry over 15 years ago and all my subsequent work in still and motion pictures, all these experiences have created and augmented a desire for more, to learn, to create, to experiment, to tell stories with moving images.”