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Sven Lippold always strives for the unusual and new, finding beauty in minimalism and bold ideas.

Born in leipzig 1977 in former east germany, studied media design at the TV/Film Academy Leipzig and went straight onto the field to work on set. He likes to produce music at home and has a vast array of hobbies and that plays a big part in his life. Music and Art are definitely his energy carriers.

His move to asia in 2006 brought him closer to the world of advertising, he soon discovered a broader audience and a tremendous network of people.

Stark industrial aesthetics, simple lines and the love for textures are major influences. He seeks to explore more and his background allows him to appreciate a world without borders.

Sven Lippold won several awards E.g. Cannes silver in 2011 and gold at one show, plus many more.

Sven also worked as a DOP on all the campaigns we've shot so far for Garnier since 2020, together with Julien Carlier as proxy director.


A few words from Sven...

Just like out of a Ghibli- movie - self-illuminating squid and other sea creatures and a gigantic moon above my head – right in front of me, I was waiting for Ponyo to arrive. Im on the upper deck a wooden boat and its midnight and im surrounded by deadly animals close to the shore of the main island Komodo: β€œRinca” - Amazing, Jurassic Park? Yes it is – ancient – this trip transformed my inner alignment to the earth.

I remember being extremely tired and exhausted - but happy – its the last station of our commercial shoot for an important indonesian bank. A trip to remember – I met my wife on this shoot - so we'll forever cherish thoses moments we had on our trip.

Anyway, Indonesia is a vast land, unpredictable and also dangerous to people who do not want to obey the law of the 17.508 islands and their inhabitants and culture – you must come with compassion and love and be patient sometimes – just watch :)

Im Sven Lippold, a freelance DP based in bali and berlin, depends on the season and the gigs.
I grew up in former east germany in a town called Leipzig, we were not allowed to travel beyond the iron curtain, thats why I got the travel bug and wanted to explore the world.

I have stepped foot onto asia in 2006 and im connected this part of the world in a very special way - spiritually and professionally and culturally it runs deep.
Spent 2,5 years in Vietnam, another incredible place to explore and fell in love with its people, landscape, culture and FOOD!
If you have never tried any streetfood in vietnam, you dont know what you are missing out – its mind-blowing, I could write an essay about south-east asian streetfood – another time.

In HCMC 2006, all new – all exciting, commercial shoots were new to me – I started out in featurefilm production and documentaries. It was all still on 35mm Cellulloid, a good playground for me to find myself and to develop a style of my own.
The company I was associated with in HCMC purchased a HDW F900R + PS-Adaptor for 35mm PL Lenses plus I got a Angenieux HP 25-250mm Zoom Lens ( the camera size was ridiculous )– it was huge - we were the kings and started shooting digital, it was hard to convey to other producers but eventually people started to get interested.

2008 RedOne happened and it changed everything – things immediately became more transparent in terms of image pipelines and we had to deal with LUTs and all sorts of cyphers, it was fun.

2009 – I moved to jakarta , wow what a city - now we are talking - a massive melting-pot of everything, full-on cultural impact- needed some time to adapt and thanks to some trustworthy people in the industry I got my first gig on a commercial shoot and it was on RedONe which had just taken off in Indonesia.
People in the industry were reluctant to shoot digital, mostly because they didnt know the medium and its power.
Associated with production + post production ( did I mention I have a postproduction background?) + rental company, I had a perfect sandbox to play and I got the jobs with loads of post involved of course.

Red Dragon came into the game, Latitude and new Color Science, love it.
I sat in through many dark room grading sessions, tried to learn as much as possible but also we were still able to shoot 35mm and 16mm at the same time because jakarta had very experienced film labs.

Back then we got a brand new DFT Spirit 2k scanner and it was gold, all those tools right in front of me and enough time to absorb all this knowledge which is now manifested in my production DNA.

Arri Alexa, things evolved quickly – it converted a lot of people and thats because Arri has got the experience, the color science is very different from all the other manufacturers, the Looks and latitude ( the blacks !), more film-like, the richness, the gamut.
Its Arri's filtering system, the way the sensor renders subtle nuances, you could not compare the black levels nor the gamma to any other system on the market. It was done for a while.
We're now in 2020 – we got Red Helium/Weapon, Alexa Mini, LF, Sony Venice ( another incredible system ), we got Phantom Flex 4k and we are back to shooting anamorphic and in 8k. wow yes.

Indonesia got quickly on the tech train, there's a handful of rental houses and they got anything you want from underwater housing to massive bolt motion control systems and its brilliant operators.
I got into tabletop a while ago and been exploring different techniques, my team is fantastic and very flexible. They can build anything you want – if you are a nice person :)

People make the world go 'round, thats the true spirit of Asia, you gotta to dig into the culture to understand how things work, you respect the system and it works for you – you talk to gods of the sea and the mountains to make your shoot go smoothly, all this is part of the journey and has enlighten me to be a better person professionally and personally.

I have shot on incredible volcano slopes with minor tremors and earthquakes, with lava flowing down the hills, I have seen the fauna of Gili and Sumba islands, shot in very hostile places – with the help of the people nothing is impossible, as long you have your team.

The gear evolves every day, every year there is a new sensor – a better gimbal or drone, or a new camera body coming out, yes it is important to keep up with technology but don't let it be an obstacle to make great picture.
The craft is important, the technical aspect as well – but you can surround yourself with the right people who can help out to get the best image in that moment.

If there's any project with a lot of explosions, animations, motion capture + tricky tabletop shots – please call me :)

I'm Sven Lippold, Thank you for reading and stay safe.
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