Est. 2012
The Big Picture
Katie Eleneke, ICFC, is an award winning Cinematographer based in Los Angeles. She is known for her work on; The Tattoo Witch directed by Lindsay Nyman, Here and There Directed by Krista Amigone and Powerpuff Girls: The Long Way Back directed by Steven Lamorte. Having spent the last 10 years predominantly in narrative, she has, as of late, been taken with documentary; recently having traveled to Malaysia, Thailand and Vietnam.
Fade In
My journey with photography began when my mom gave me a camera—it wasn’t just a gift, it was an opening. That camera became my way of observing the world, and before long, I turned that curiosity into a career. I spent five years capturing real moments as a photojournalist, chasing the action as a sports photographer, and shaping stories through print marketing.
Everything shifted when I saw Michael Slovis’ cinematography on Breaking Bad. The way he used light and composition to deepen the narrative completely hooked me. In 2014, I packed my things and moved to LA, chasing that spark. I earned my degree in film at Cal State Northridge, focusing on cinematography, while working hands-on in the industry as a 1st AC and camera operator.
Now, I bring that same sense of storytelling—rooted in still images and shaped by movement—into every frame I shoot.
Rolling With Purpose
Since 2017, I’ve had the privilege of working with Sony out of the Digital Media Production Center as a camera ambassador. What began as a technical partnership quickly grew into something much more meaningful—a chance to help bridge the gap between cutting-edge tools and the creatives who use them.
Working alongside the Sony team, I help create videos that demystify the cameras—from the essentials to the subtleties—always with accessibility and transparency in mind. I’ve collaborated with guilds and industry professionals to lead workshops, train teams, and create space for curiosity and learning. Whether I’m presenting at CineGear, speaking at NAB, or working one-on-one with a fellow DP or camera assistant, my goal is always the same: to make the gear feel intuitive, not intimidating.
Through this work, I’ve developed a deep, hands-on understanding of Sony’s ecosystem. Because I know these cameras better than I know myself, I’m able to move faster, adapt more intuitively, and make decisions with clarity—all without sacrificing the visual integrity of the story. It’s not just about knowing the gear; it’s about letting that fluency create more space for creativity and collaboration.
