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If we look back at the previ-ous years, this festival, with its training, introduction of new equipment and technologies, will make a great con-tribution to the development of Georgian cinematography. My role in the festival, along with other jury members, was to evaluate the works that were presented at the festival. The main thing, in my opinion, is the mastery of lighting: “light-writing,” this is what the operator should know first.

eorgia is a country where film and music festivals should be held, because culture is what characterizes us; it is our “national curren-cy”. Holding the international festival of camera operators is undoubtedly a very good thing, giving a great incen-tive not only to operators but to the industry as a whole.

My memo-ries of it are made up of friendly people. I made new friends and ate good food and enjoyed great sightseeing. Georgia is culturally stimulating. The technology is stimu-lating. Yep, they were fun times.

he cinematographer pre-sents their technical expertise, aesthetic sensibility, and the director’s vision in their work. It also heightens the viewer’s reaction to the images in a way that words cannot describe. Light and shadow are, in a sense, the language of the operator or cinematographer. All operators develop their own approaches based on unique personal experience. Georgia is rich in culture and history. It has made a significant contribution to world cinema.

I have fond memories of my work with the people in Georgia, and I still have friends there. When I was asked to participate at Golden Eye, I was thrilled, and jumped at the chance to educate the new younger production crew people coming up in the business.