Each year, the American Society of Cinematographers (ASC) shines a spotlight on the next generation of talented cinematographers, celebrating their skill and artistry through its prestigious Student Heritage Awards. At this year’s ceremony, held at the ASC Clubhouse in Hollywood, LMU’s Simon Blaustein won the George Spiro Dibie ASC Award for his innovative thesis film “Pit.” Fellow alum Adam Goldstick ’25 was also nominated in the documentary category for the Haskell Wexler ASC Award with his film “The Art of Perception.” Both were joined by their professor and mentor – SFTV Distinguished Artist in Residence Amy Vincent, ASC.
A recent graduate of the LMU Film and Television Production program, Blaustein has had a banner year, training as a camera production assistant on the Emmy Award-winning series “Survivor” and being selected for the Television Academy’s summer internship program where he worked on the CBS drama “Matlock,” starring Oscar winner Kathy Bates. We spoke with him about discovering his passion for cinematography, what it means to be recognized by the ASC for “Pit,” and the integral training and mentorship he received at LMU.
When Blaustein began exploring film schools, the pandemic made campus visits nearly impossible. Instead, he relied on in-depth conversations, and what he heard about LMU left a lasting impression. “Whenever I spoke to someone at LMU, they were just so positive about their experience and the people they were meeting,” he observed, “The community here is just so important and that really spoke to me.”
Initially drawn to both directing and cinematography, Blaustein entered LMU School of Film and Television eager to explore both paths, but it didn’t take long for cinematography to capture his full attention. As a Director of Photography, he discovered a deep sense of purpose in working with directors to translate their ideas into a visual medium: “I found that helping other people achieve their vision and that collaborative effort was what really inspired me and kept me going,” he said.
One his most creatively fulfilling collaborations to date has been with LMU director Severin Wessel ’25, whom Blaustein described as a “day one friend.” The two worked on back-to-back projects together, and it was during the production of their short film “Bad Insect” that Wessel first pitched Blaustein the concept for their senior thesis film, “Pit.” The idea for an unconventional love triangle between a couple and a mysterious pit in their basement immediately piqued his interest.
During production, the team developed a unique vantage point called the “pit view.” Using the Sony Venice camera, they captured shots as low and wide as possible to create a voyeuristic perspective, almost as if the pit itself was observing the characters. Their visual aesthetic was informed by a range of cinematic influences, including Toshio Matsumoto’s experimental Japanese New Wave film “Ecstasis,” Gilbert Taylor’s striking compositions and camera movements in “Repulsion,” and Lars von Trier’s 1980 short film “Nocturne,” which featured a similar tense and eerie atmosphere.
Blaustein credits LMU faculty, including Amy Vincent and former professor Scott Cunningham, for shaping his perspective as an up-and-coming cinematographer. In his first class with Vincent, he learned the importance of “being vulnerable and opening up on a human level,” which reinforced that idea that cinematography is more than just a technical craft, but also an expressive art form. Cunningham, meanwhile, taught him the lifestyle and practical realities of the profession.
Reflecting on his win at this year’s ASC Student Heritage Awards, Blaustein shared, “It’s incredible. I was very happy and honored even to be nominated.” He also credited the film’s director, crew, and LMU professors for helping bring the project to life. Additionally, he praised fellow ASC nominee Adam Goldstick and expressed admiration for his journey, noting, “Adam’s always been a really positive force. It’s been cool to see him grow as well.”
Looking ahead, Blaustein plans to use this achievement, and the resources that come with it, as a springboard for new creative ventures. Up next is a wide range of projects including music videos and short films, but the one he’s most excited about is a new feature he’s developing with Wessel. “We’re hoping to use the support we’ve received from the ASC Award to make it happen,” he added.
That support includes significant backing with Cinelease providing $10,000 worth of rental equipment, Sony offering a week-long loan of the Venice 2 camera, and Nanlux contributing one of their new lights. “We’re in the early stages now,” Blaustein revealed, “but the goal is to start shooting within the year.”
For Blaustein, the future isn’t just about individual success; it’s about developing as an emerging cinematographer alongside artistic collaborators who have been with him from the start of his journey at LMU. “In an ideal world, I’d love to grow with my friends and the people I came up with,” he reflected. “I like meeting new people in the industry, but it also reminds me how important it is to nurture those relationships that have been building for years.”