Soos speaks passionately about his work, ready to experiment at the drop of a hat to delve into the depths of cinematographic creativity. "I really dig spontaneity on a shoot," reveals Soos. "Sometimes I go out of my way not to prepare for a job, and I have to say that I have shot some really good work this way." Soos has graced the music video and commercial world with an expansive résumé of memorable images. Recent directors/clients have included Floria

Sigismondi on Target and Jake Scott on Coca-Cola, No Doubt's "Go" (which received the 2000 CSC Award for Best Cinematography) and Sony Mini Disc.

Presently based in LA, Canadian-born Soos graduated from Film Studies at Ryerson University in Toronto before shaping his demo reel in an effort to sidestep the production assistant route following graduation. The young cinematographer sent his reel to a few directors, paid his dues for a few years then commenced working on top-notch projects with music directors.

"I was caught in the whole music video thing in the early '90s," says Soos of his early work. "I was riding on the crest of the wave and really took advantage of working with some really innovative directors."

Creative license is an essential ingredient in any cinematographer's province and Soos is no exception. He plays with film stock to better convey a director's creative vision and the essence of a project.

"I definitely like changing the characteristics of film," says Soos. "There's the skip bleach and ENR process that has been widely popular, but lately I've been push-processing film for a more cinematic feel; it has a jewel-like quality."

A favorite push-processed film has been the Kodak Vision 200T Color Negative Film, capable of capturing attractive images under a wide variety of conditions. "It's my favorite film of late," says Soos. "It holds up to push-processing incredibly well and is, purely for my own aesthetic reasons, perfect on a number of jobs. If you're lighting properly you never have to worry about its grain structure."

Soos is a strong proponent of capturing as much visual quality as possible in-camera and rightfully mocks flat imagery fixed in post, belying the true power of cinematography.

"You're looking for a physical characteristic that's on the negative and that -- in relation to good telecine work, good post-production and a clean editorial process -- can give you something new. When everyone gets used to flat, ugly images it will become a norm, and my type of experimentation with the image will becomes less and less likely later on down the road."

Yet knowing that his capabilities are strong with regard to capturing imagery with an essential edge, Soos also realizes that nothing is capable on set without unity and collaboration from all parties involved.

"If you want a certain look it's a collective definition. You can make all the decisions, but if everyone's not on board it doesn't mean jack shit. You can talk to everyone about the technical subtleties, but in the grand scheme of things it doesn't mean anything."

Being one with an industry constantly changing and transforming, Soos naturally welcomes innovative technology such as the improved digital image, but doesn't envision parting from the beauty of film:

"Let's face it: film is big, heavy, expensive, a pain in the ass and very physical, and digital is the easier way out. But let me say that I love the air of experimentation today because this offers the possibility of taking over and replacing the cost of film with inexpensive, digital equipment."

Soos also has his eye on features. "The film industry is the other reason I'm in LA," says Soos. "It's a road to travel down in the near future. There are a few projects I'm looking at. I'm in love with cinema; it's my first love so

I'm waiting for something exceptional." Soos is repped in Canada and the US by 10th House at the Geller Agency.