PhD in Communication Studies by Lusofona University 2022. Master’s degree in film studies since 2014. Tony Costa is both a professional cinematographer and a teacher at Lusofona University where he is the head of the cinematography department. He is an award winner cinematographer. He got the Golden Prize in Tblisi Georgia in 2014 with his work on «Lapis Azul». He has also directed documentaries and a short film «My Grand Father» he was awarded with best script writing in Troia Film Festival (2012). He also got the NOS prize in 2014 for his short «Mutter». Since 2004 he has been teaching in The Lusofona University in Lisbon by maintaining his professional assignments as cinematographer. He is one of the founders of the Portuguese Film Academy and of the Portuguese Society of Cinematographers where he keeps a seat in the board of directories. Tony was also involved as a board member with IMAGO (The European Federation of Cinematographers) for several years. As cinematographer I am an academic, so I am quite open to apply and understand any aesthetics to be placed in the film. Also, technically knowledge of equipment and rental houses locally along with the rest of the crew. I am also very good at framing classic shots according to the rules along with tracking shots. I am very much at ease with long takes but I do not use Steadicam or gimble techniques. I don’t use the geared head. I am very much into classical shooting and not so much into the kinetic use of cameras. I like crane, dolly shots, and handheld also. I do love to use handheld when the scene demands such an approach. I like to respect the rules of composition, but I also love to break them and to find bold framing to give identity to the film. In terms of lighting, I am in the mood for pictorial lighting. I am not a fan of natural documentary style. I like to see the lighting come through windows or have a soft light on the characters coming from a practical. I love to work with foreign crews. They know what they want and where to go. Shoots are well prepared in advance and during shooting it is only a matter to apply what was agreed in pre-production. It doesn’t stop by improvising though when the situation demands. We should be open to it.