Cinematography Reel
Hi I’m Wolfie.
I’m a director of photography.
Erik “Wolfie” Wolford has worked in the film buisness since 1990. As a Director of Photography, Wolfie is known for excellent beauty lighting, an eye for color and composition, quick lighting setups, and a deep roster of “A Game” crew members whom he has worked with for years.
He has shot commercials for the Transformers Franchise, commercials for Disney, NFL spots (go vikings!), independent features, and several documentaries including Artists in Kazakstan, Moscow, and St Petersburg. He has spent a lot of time doing special effects shoots with green screen and various comping elements with Engine Room Hollywood.
Wolfie is often hired on to shoot the motion portion of combined motion/stills campaigns with Milk Studios - a top tier stills studio in Los Angeles and New York. Some of the campaigns he lit were for Paul Mitchell, Celine Dion’s album cover, and many others the NDA won’t let him list.
“I learned a ton from working with stills photographers. When I shoot motion for them, I had to use just a few film lights to match very complex still lighting set ups. It was a fun challenge! The Motion footage had to match exactly the still images. On a film set I rarely get the luxury of spending all day setting up one shot, but in the stills world you do. It taught me a lot about framing, and beauty lighting that has served me incredibly well as a cinematographer.”]
Wolfie came up through the lighting department ranks in the 90’s, lighting features, music videos and commercials with such legendary directors like Spike Jonze, Michel Gaundry, Francis Lawrence, Mc G, and even several rap videos for the infamous Death Row Records.
Wolfie has spent time in the lighting department on big budget features such as Shane Black’s Iron Man 3, JJ Abrams Star Trek: Into Darkness, and Christopher Nolan’s Interstellar (Wolfie was brought in to do specialized miniature set lighting).
Wolfie started out with technology at a young age. At 16, he was recruited by NASA as a white hat hacker, given a security clearance and broke into dozens of NASA computers with a team of other teen age hackers, and then showed them how they did it. His ability to understand technology and quickly get machinery to do things it was never designed to do has served him very well as a cinematographer.
“My hacker days taught me how to understand technology, and then push it to the limits. As for cameras, I have a sharp eye, but thats not enough these days. I stay on top of the new tech. To get beautiful shots one has to understand the post process now more than ever. Its so important to know the latest breakthroughs in technology, and understand how to apply it on set.”