A work in constant progress (and occasional regress).
Alias:
Mikaela Addison
Mikaela Supulski is a German-born, Texas-raised cinematographer working in Dallas and Los Angeles. She started her film career working as a producer, camera operator, and editor for the feature documentary, Sweethearts of the Gridiron. After the film’s completion, she became co-owner of Overton Films where she shot and edited over a dozen short form projects, including the short documentary, Everyday Heroes. Her love of visual storytelling led her to USC’s School of Cinematic Arts MFA film production program, where she focused on cinematography. Inspired by the camera lens, Mikaela aims to facilitate a global scale of personal reflection through capturing the complexities of life with powerful imagery. Her work on the short film, Callback, has been featured in WomenCinemakers magazine, as well as BBC’s 2018 Oscar coverage. She stands behind gender diversity and equality in the film industry, specifically in traditionally male dominated areas, like camera, grip and electric. Mikaela has had the pleasure of working alongside female cinematographers Alice Brooks (Jem and the Holograms), Nicola Marsh (20 Feet from Stardom), and Jenna Rosher (Robin Williams: Come Inside My Mind).
Cinematography:
2019 Callback
2020 In the Pink
Gaffer:
2018 Lost Children: Kate & Bill
2019 Callback
2019 Instant Crush
2019 Spoiled Milk
2020 In the Pink
Second Assistant Camera:
2018 Lost Children: Kate & Bill
2019 Callback
2019 Instant Crush
2019 Spoiled Milk
2020 In the Pink
2021 Untold: Caitlyn Jenner
Most data and links to images for the Movies section come from TheMovieDB (TMDB).
Additional data for Film Titles come from The Open Movie Database (OMDb).
At least one plug-in comes from IMDb.
Data are -- hey, it's a plural -- subject to the limitations of their sources. (For example, TMDB search results currently max out at 20.) I am limiting myself to free data sources for now. (No, a "free trial" is not free.)
While much of the above data are retrieved directly from outside APIs and other such sources, data from American Film Institute (AFI) and British Film Institute (BFI) were manually entered the old fashioned way into a MySQL database. Re BFI I took the following liberties:
Regarding profile removals and data corrections:
Filtering is applied here to film projects flagged as "adult" by TheMovieDB. Pending "popular demand" I am contemplating a login and profile system with preferences (such as whether to allow adult images to appear) and permissions (such as data entry).
Whereas the overall purpose of this website is to serve as a personal demo/portfolio/workshop of web and data skills, this Movies section is not meant to compete with or substitute for far more definitive movie websites.
Whether or not he still clings to an award which he won in 1986 as a film critic for his college's newspaper, Jeffrey Hartmann is not responsible for the texts of overviews and biographies supplied by external data sources.