Eric Lawrence Schmidt is an internationally experienced cinematographer whose commercial work includes some of the most recognizable campaigns of the past two decades. His credits include Dos Equis’ “The World’s Most Interesting Man” (Cannes Silver Lion), KIA’s “Robo Dog” (2022 Super Bowl highlight), Nissan’s “Heisman House,” Mercedes’ “Scrooge,” Busch Beer’s “What Beer Is That?” (Cannes Bronze Lion), GEICO’s “Alien,” Land Rover’s “Roam Free” (Cannes Bronze Lion), MoneySuperMarket’s “Epic Builder” (Campaign Magazine's Campaign of the Year), and the Emmy Award–winning NASCAR on NBC Super Bowl campaign.

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His work emphasizes emotionally driven visual storytelling, marked by strong graphic composition and a flexible, chameleon-like approach to lighting and design. Rather than imposing a signature look, Schmidt tailors each project to the director’s vision, adapting seamlessly across styles and genres. While rooted in an extensive lighting background, he is equally adept with natural light and known for working efficiently to maximize schedule and budget. His on-set presence is collaborative, relaxed, and grounded.

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Schmidt has maintained long-standing creative relationships with directors including Noam Murro (Biscuit Filmworks), Steve Miller (Radical Media), Erich Joiner (Tool of North America), Dave Laden (Hungry Man), and Guy Shelmerdine (Smuggler), among others.  He received an ASC nomination for Best Cinematography in a Television Series for Jerry Bruckheimer’s Cold Case, directed by Mark Pellington, with whom he has shared a long creative partnership.

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He began his career as a lighting technician and gaffer on over 200 music videos for artists such as The Rolling Stones, R.E.M., Pearl Jam, Madonna, Red Hot Chili Peppers, and Public Enemy, working alongside filmmakers including Darius Khondji, Harris Savides, and Sam Bayer. He later became a sought-after music video cinematographer for Foo Fighters, Adele, Beck, Flaming Lips, and Mumford & Sons.

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His feature work includes I Melt With You, The Mechanic, additional cinematography on The Wolverine and The Last Thing He Wanted, and as gaffer/technician on indie films including Bad Lieutenant and Little Odessa. 

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Schmidt has worked extensively across North America, Europe, Asia, and Africa, with strong crew bases in Los Angeles, New York, Toronto, Vancouver, and Mexico City. He is based in Silver Lake, Los Angeles, and available locally in New York City.