On March 3, 1979, Charles Libin, ASC and Paul Cameron, ASC gathered fellow film students from SUNY Purchase and shot the B-52s’ now legendary performance of Rock Lobster at the Hurrah nightclub in NYC. Libin+Cameron’s filming of the B-52s kicked off a series of live performances they captured, including The Cure's first NYC appearance, Gang of Four, Suicide, Polyrock, James White (aka James Chance) & The Blacks, Debbie Harry, Defunkt, Lizzy Mercier Descloux, Kid Creole & The Coconuts, The Plastics, and other ground-breaking bands. Libin+Cameron designed and programmed an immersive video experience with monitors throughout Hurrah.  “A fair-haired, soft spoken 22-year old named Charles Libin is credited as the first veejay.” –  Daily News, Sept 4, 1981

Located on West 62nd & Broadway, Hurrah was reinvented in 1979 by visionary cultural icon Jim Fouratt. He conceived of Hurrah as the first rock and roll dance club to feature punk, new-wave, no-wave, post-punk and industrial music. Fouratt booked the bands and selected the DJs, soon moving on to Danceteria, he was followed at Hurrah by Ruth Polsky. In the late 70s and early 80s NYC, Hurrah, along with CBGB, Mudd Club, Tier 3, Jefferson, Berlin, Club 82, Roxy, Peppermint Lounge, Danceteria and Area were go-to music clubs and venues. Alt-spaces included Club-57, The Kitchen, Franklin Furnace, and A-Space. Behind the turntables at Hurrah is where David Bowie took inspiration for the song DJ. Soon after the ‘79 filming of the B-52s, Libin+Cameron founded HVM (Hurrah Video Music). Libin+Cameron curated programs of music videos and films they made as well as mash-ups that they and friends created. Their work influenced the NYC club scene with veejays soon appearing at other venues. One year later  MTV was launched, taking inspiration from HVM’s concept and logo. Charles Libin and Paul Cameron left Hurrah late in 1980 to pursue making more conceptual music videos and independent films. Hurrah closed in late 1980.

Charles Libin, ASC - Recent work includes cinematography for Jim McKay’s En el Séptimo Día, a 2019 Independent Spirit John Cassavetes Award winner and one of both Hollywood Reporter’s and ArtForum’s 10 Best Films of the year. “Breathtakingly beautiful widescreen cinematography that deserves to be seen on a big screen”, Sight & Sound Magazine, describes Libin’s photography on Byamba Sakhya’s dramatic feature debut Remote Control, a 2014 Camerimage Selection and winner of the 2013 Busan Film Festival New Currents Award. Coming soon is Amy Miller Gross’s dramedy Sister of the Groom, starring Alicia Silverstone. Libin’s documentary cinematography includes The Gift: The Journey of Johnny Cash, directed by Thom Zimny and Jonathan Demme’s What’s Motivating Hayes. Over the years Libin has done camerawork on many other Jonathan Demme films including his Neil Young Trilogy. Libin’s love of music has led him to work on numerous performance films including David Byrne’s American Utopia, directed by Spike Lee, Julian Schnabel’s Lou Reed: Berlin, Thom Zimny’s Bruce Springsteen on Broadway and Western Stars. Libin directed the 2006 experimental thriller American Combatant. Coming soon is the documentary B-52’s Cosmic Things directed by Craig Johnson

Paul Cameron, ASC - Cameron has worked on some of the most visually groundbreaking feature films of the past decade. Cameron recently directed an episode of Westworld, having lensed the pilot for the critically acclaimed HBO series, earning him a 2017 Emmy Award nomination for Outstanding Cinematography for a Single-Camera Series, and a 2017 ASC Award nomination for outstanding achievement in a TV, Movie, Miniseries or Pilot. It also featured in the 2016 Camerimage First Look TV Pilots competition. In 2017 he shot the action thriller The Commuter, starring Liam Neeson and directed by Jaume Collet-Serran. Cameron has lensed for directors: Tony Scott (Man on Fire, Déjà Vu), Michael Mann (Collateral), Niels Arden Oplev (Dead Man Down), Len Wiseman (Total Recall), and Dominic Sena (Swordfish, Gone in Sixty Seconds) among others. His cinematography for director Michael Mann’s Collateral earned him a British Academy of Film and Television Arts (BAFTA) Award and the Los Angeles Critics Award for Best Cinematography. In 2003, his masterful lensing caught the eye of the Clio and AICP awards. His photography on the BMW featurette Beat the Devil with director Scott took top cinematography honors at both events and is now part of the NYC Museum of Modern Art’s permanent collection. He won another Clio in 2008 for the VW Golf Night Drive spot with director Noam Murro – his third Clio to date.