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IDA Member Spotlight: Andrey Negrón

By Anisa Hosseinnezhad

A man sitting in front of a color grading suite looks at the camera. He has short black hair and brown eyes and is wearing a black T-shirt.

Headshot of Andrey Negrón.

Born in Bogotá, Colombia, my passion for video production was ignited in childhood while accompanying my father, a national public network announcer, to TV studios. Enrolling in Visual Arts at a prestigious local university, I simultaneously pursued language education in French, English, and Italian while honing videography and photography skills. Further studies in Video Design and Filmmaking at the European Institute of Design in Rome enriched my knowledge. Returning to Colombia, I delved into the advertising industry, contributing to projects for renowned brands. A documentary filmmaking course at the University of Southern California in 2013 led to directing VFX State, which explores challenges in the LA visual effects industry. My involvement in Juan Manuel Santos's presidential re-election campaign marked a pivotal moment. Collaborations with global brands and non-profits ensued, capturing the joy of underprivileged children. Holding a senior video director position in 2017, I relocated to the U.S. in 2022, founding Beyond Clever in Los Angeles in 2023. Currently serving as Chief Creative and Video Production Director, I also contributed to narrative short films in various roles. Finding satisfaction in the intersection of artistic expression and technical precision, especially in color grading, I eagerly anticipate continuing my filmmaking journey.


IDA: Please tell us a little about yourself and your profession or passion.

As a filmmaker, I am passionate about the power of beautifully crafted visuals and their impact on our perceptions of the world. I believe that cinematography and the art of color grading can help us find beauty in unexpected places. I approach storytelling with a sense of optimism, always striving to reflect reality in a way that is constructive and promotes a positive vision for the future. Even when exploring darker or tragic subjects, I believe that captivating visuals can effectively communicate complex emotions and ideas.

IDA: When did you first start working in the documentary field?

In 2013, I had the incredible opportunity to take a Documentary Filmmaking course at USC under the guidance of the late Wendy Apple. During that course, I directed and produced a short documentary called VFX State. This project delved into the issues plaguing the visual effects industry in Los Angeles following the bankruptcy filing of the company responsible for the VFX of the Oscar-winning film The Life of Pi and the protests held outside the Oscars and online by thousands of VFX artists around the world.

IDA: We were so happy to be able to work with you as the Motion Graphics Designer for the 39th International Documentary Awards. Tell us a little about the process and the importance of resources like IDA membership directory!

I thoroughly enjoyed my involvement in crafting the motion graphics for the 39th International Documentary Awards. It all began when Zaferhan Yumru, IDA's Director of Marketing, Communications, and Design, reached out to me via email back in September. He discovered my contact details in the IDA Membership directory while seeking an animator for the Awards project.

In the end, I was genuinely pleased with the collective outcome of our collaborative efforts.

This experience underscored the importance of being listed in the directory. It served as an invaluable platform for connecting with a diverse range of talented individuals and fostering collaborative opportunities on noteworthy projects like this one.

IDA: Do you have any advice for young professionals in the field?

My advice to someone who is starting out in the world of documentary filmmaking is to keep an open mind and try to absorb and learn as much as possible from each situation and each person you interact with daily. The best stories are sometimes right in front of us. Trying to see the world without prejudices and preconceptions is essential. And remember, cinema is a collective effort, so try to meet as many colleagues as possible to create a network of talented people who can collaborate with you and help you make your projects a reality.

IDA: What are you working on right now, and what are you excited about for this year?

For 2024, many new projects are on the horizon, particularly a documentary I'm working on about underdevelopment in Latin America and other parts of the world. The documentary aims to showcase the tremendous progress driven by technology and the democratization of information. It intends to highlight the outdated notion of industrial development held by the wealthiest countries while offering a more realistic view that replaces the archaic stereotypes of the 'third world,' a term often used pejoratively and lightly by many to normalize war and poverty in certain parts of the planet. This project excites me greatly, and I hope it sees the light in 2025.