Cinematography in Canada Since 1957

@scott_mcclellan, #AAScottMcClellanCSC, #ScottMcClellanCSC

TALES FROM THE VOID/

I thought I would start with my most recent project to be released. I shot half of this series, alternating with fellow DP, Martin Wojtunik. My 3 episodes were/ Carry (Directed by Maritte Lee Go martygo), Plastic Smile (directed by Toby Poser & John Adams @adams.family.films ) and Starlight (directed by Francesco Loschiavo @fl.film ). This is a 6 part series, inspired by Tales From the Crypt and Cabinet of Curiosities. These stories are based on Reddit’s No Sleep community which has over 18 million members. Six of the top voted stories were adapted for the screen by Francesco Loschiavo and John Kelly @jthomaskelley . A clever model for optioning work that already has a large fan base.

@cinepapa_ suggested me for this project which we shot in Sault Saint Marie, in August of 2023. A wonderful exemption from the strikes that were happening at the time. Grateful to have been a part of these and to connect with some fantastic people. This was released around Halloween of this year.

It’s normal for me to wait about a year for new work to be released. Often projects like this take a long time to complete and regularly do a festival run before being distributed elsewhere. It’s sometimes frustrating to sit on new work for so long but it does help to teach you to be patient. A big part of this job.

For Tales From The Void I was originally slated to shoot a different story for my first episode, but due to a tight budget and short prep schedule, one of those scripts was swapped out for a completely new-to-me eps: Starlight (Loschiavo directing). 4 days prep on an all new film which was presented to me upon arriving in Sault Saint Marie. A tough decision for production to make so close to principal, but ultimately I believe it was the right choice.

Starlight was a story that we could get up more quickly. Simpler to pull off in terms of logistics. Francesco and the entire production team did an awful lot with very little on this project which I must commend them for. All three projects were a lot of fun to shoot and all the directors were joys to work with.

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@scott_mcclellan, #AAScottMcClellanCSC, #ScottMcClellanCSC

They gave me the keys! It’s very exciting to be your host here for the next two weeks. To share with you my work, and to talk about cinematography, art, light, life and making a career in this wonderfully insane business. Feels daunting as I write this. So many incredibly talented people have come before me. So many more waiting in the wings. I am just one of many, but like all of us, I’m just a human trying to reflect my experiences in life through my work, in a way that maybe people can relate to. So much I want to tell you and show you. I’ll probably only scratch the surface. Hopefully a little more than that...

My name is Andrew Adam Scott McClellan. I go by Scott because that is my father’s name. Professionally I use my full initials because when I was starting out I was getting out-ranked on Google by the Whitehouse Press Secretary at the time. He spells his name the same as me. Scott McClellan. I was page 9 in the search results so I needed a way to claim my name as my own. Thus the A A.

I was born in St. John’s, Newfoundland but left when I was one. We moved around a bit when I was young; Detroit, Upstate New York, Nova Scotia and eventually back to Newfoundland by the end of Junior High. There I stayed until after high school. Then some time in the Rocky Mountains before I did a fine art degree at NSCAD University in Halifax, NS. Now Toronto for the last twenty years. I came here only for the summer on my way to Montreal, but never left.

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#BradleyStuckel #AssociateMemberCSC @bradleystuckel_dp

It’s been great sharing my journey here over the past two weeks. Looking back at these projects, I’m reminded of the experiences and people who’ve shaped my path. From experimenting with short films to shooting in places like India, each project has taught me something new about telling a story visually.

For me, cinematography is about capturing those honest, human moments. It’s about using light, shadow, and movement to draw people into a story and let them feel something real. Collaboration is at the heart of it all, and I’m grateful for the directors, crews, and friends who have been part of this journey.

Thank you to the CSC community for this opportunity, and to everyone who’s followed along.

#cinematography #csc #canadiancinematographer #cinematographylife

#BradleyStuckel #AssociateMemberCSC @bradleystuckel_dp

Short films have been a big part of my journey as a cinematographer. They’re where you can really get creative and push ideas to the edge without the pressure of a feature-length production. Every shot, every cut has to count, and that challenge has taught me a lot about storytelling.

Working on these projects with Jesse Foster ( @jesse.mcrae.foster ) as director and Kyle Sanborn (@kysansan ) as editor has been a rewarding process from start to finish. There’s something about building each film from scratch with the same core team that makes every project feel like an exploration. Short films give us the chance to try different visual styles, test out ideas, and see what really resonates.

For anyone starting out, I’d say short films are more than a stepping stone… they’re a space to find your style, take risks, and keep growing in ways you can carry into every project afterward.

#cinematography #csc #canadiancinematographer #shortfilm #findyourstyle #aspiringcinematographer

#BradleyStuckel #AssociateMemberCSC @bradleystuckel_dp

I want to jump back to where I started with experimental film and experimental formats.

I don’t have any shots, but my first film as a cinematographer, Graveyard Shift, holds a special place for me. It was the first time I worked on a film project with friends from film school. What made it unforgettable was that it was shot on Super 16mm, introducing me to the world of film in the most hands-on way possible. I fell in love with the process… using a light meter, setting exposures, and making creative decisions with just the knowledge I’d gained from school… guided by my incredible teacher @philip.letourneau . The film was nominated for the CSC Best Student Cinematography Award.

The most memorable part when first shooting on film was the blend of excitement and uncertainty… making choices without knowing exactly how they’d turn out. That experience taught me not only the technical aspects but also the importance of leaning into your instincts and embracing feeling.

Let’s go back to some early experimental films I shot. After film school, I continued exploring film on a few projects featured above, “The Balance” (shot on Super 16) and “Pick” (on Super 8), each carrying its own unique challenges. The other project featured is “Sugar Skull Man” which wasn’t shot on film, but rather GoPro 3D… which was a challenge unto itself.

It’s moments like these that remind me of the thrill of experimenting, making art with friends, and finding joy in the unknown. To aspiring cinematographers: take the time to experiment, play around with different formats, and push your creative limits. These projects are where I learnt the most.

“The Balance” directed by Joshua Whitford
“Pick” directed by Benjamin Hayden
“Sugar Skull Man” directed by Spencer Estabrooks


#cinematography #csc #canadiancinematographer #16mm #super8mm #experimentalfilm #shotonkodak #gopro3d

#BradleyStuckel #AssociateMemberCSC @bradleystuckel_dp

JL-50 stands out as one of the most enriching experiences in my career, allowing me to work at the intersection of sci-fi, mythology, and the cultural heritage of India. It was an adventure in every sense, not only in filmmaking but in experiencing India’s richness firsthand. People often ask me what India is like, and I always say, if magic exists anywhere, it’s in India. There’s an energy in the culture, landscapes, and people that’s unlike anything else.

One of the most rewarding aspects was discovering how Indian audiences emotionally connect with themes on a more introspective level, where storytelling isn’t always driven by spectacle but by subtle layers and historical depth. This was my fourth project working with director Shailender Vyas ( @shailender.vyas ). Shail’s vision for JL-50 was to create a film that bridged past and present, a story that brought mythology into a modern context, yet kept the sense of adventure alive. My goal was to craft visuals for Shail that honoured India’s cultural roots while capturing the thrill of discovery that comes with sci-fi.

JL-50 wasn’t just a film for me, it was a journey. The people we worked with, talented actors and dedicated crew members, made this project unforgettable. Their warmth and openness made every challenge feel lighter and every moment more inspiring. JL-50 reminded me of how powerful cinema can be when it’s rooted in the beauty and complexity of a place. India has a magic all its own, and it’s a privilege to have captured even a piece of it through this film.

#cinematography #csc #canadiancinematographer #scifi #india #timetravel

#BradleyStuckel #AssociateMemberCSC @bradleystuckel_dp

As filmmakers, selecting the right genre and tone is one of the most crucial decisions you make. Horror, in particular, is a powerful tool for exploring complex themes through a visceral experience that resonates with audiences. While some might view horror as formulaic or less artistically challenging than drama, working in horror has shown me how much depth and creative potential it holds. In my experience, horror is an art form that allows cinematographers to explore universal fears and provoke powerful, often raw responses from the audience.

In projects like Spiral @kurtisdavidharder , Still Born & Z @thebrandonchristensen each film’s unique approach pushed me to create atmospheres and visuals that reflect everything from psychological terror to societal anxieties. For Still/Born, we emphasized the psychological horror of postpartum experiences, using shadows and tight framing to make Mary’s isolation feel both real and terrifying. Z transformed familiar spaces into haunting territories, showing that horror can make even the mundane feel dangerous. Spiral used horror to tackle social themes, using tension to explore prejudice and isolation in seemingly safe suburban spaces. All of these films can be found on IFC Shudder.

Through horror, I’ve learned that genre isn’t a limitation but a canvas… sometimes the unseen evokes more fear than the visible. For aspiring cinematographers, horror is a genre that requires subtle choices that let the audience feel tension well before anything overtly frightening happens. This is what makes horror an artful, challenging space: its capacity to connect deeply with audiences, not just through scares but through the themes and fears that lie beneath.

#cinematography #csc #canadiancinematographer #horrormovies #shadows #genre