About Coral Hunter Coad 

I am a recent film graduate eager to carve my path in the film industry, driven by a deep passion for storytelling and a love for visual artistry. From the get-go, I was determined to make the most of my time at Syracuse University by immersing myself in learning how to be a total filmmaker. In my first year, I gained comprehensive experience working in nearly every on-set role, including the G&E (Gripping, Gaffing, & Electric) departments, script supervising, assistant directing, and various camera department positions (DP, 1st & 2nd AC, Camera Operator, Steadicam, Dolly grip), as well as Production Design, Sets, and Costume & Makeup departments.

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 I devoted myself to working every weekend on my upperclassmen's senior set films, fueled by my passion and dedication to the long days and the camaraderie that the on-set experience provided. During the weekdays, I attended classes and worked as an assistant to the art director on American High’s films, Big Time Adolescence (2019) &  Sid is Dead (2023) while also working at our university-run film gear cage, where I  became well-versed in industry-level equipment. 

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 Ultimately, it was the influence of experimental film and the stop motion genre, introduced to me by my professors, that would forever impact my art-making practice. One such influential figure was Professor

Mišo Suchý, a Czech documentarian filmmaker. He introduced me to the worlds of Czech filmmaker, Jan Svankmajer through his feature film Alice (1988) - an adaptation of Lewis Caroll’s beloved “Alice’s Adventures in Wonderland ''(1865). This experience later influenced the trajectory of my senior thesis film: “Goldy: An Unbearably Tragic Tale” (2023) …(read more here)

 

 Vasilios Papaioannu, a Greek filmmaker, photographer, and mixed media artist, inspired me to incorporate my love of creative writing and poetry into my passion for visual arts. It was through his mentorship I found solace in sharing my stories using experimental editing techniques he taught me. 

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During the pandemic, when the industry came to a halt, I turned to stop-motion animation as a way to continue creating. Puppetry became a powerful medium for me, offering a way to tell stories when actors were inaccessible and opening doors to a tactile, hands-on form of filmmaking. Through animating inanimate objects, I found not only a new form of expression but also a way to process personal experiences, portraying trauma and healing in a visually palpable and creatively cathartic way. 

 

The following two years of university were marked by Covid-19. It was during this time that I felt film school was not challenging me artistically, and I sought a way to reconnect with my passion and work within the industry. Ultimately, I decided to take a gap year to start my production company based in New York City, allowing me to fine-tune my skills in directing, producing, and editing commercial and short-form work for social-media brand campaigns. 

 

During my completion of my degree, I continued to learn and practice my cinematography as DP on multiple student shorts, while also honing my natural abilities in the art department. I excelled in production design and art department roles, and I enjoyed researching, sourcing, & creating props, lookbooks, and pitch decks. 

My senior thesis, Goldy: An Unbearably Tragic Tale a twenty-minute stop-motion adaptation of  Joseph Cundall’s “The Story of the Three Bears”, showcases my abilities as a total filmmaker and animator. It demonstrates my eye for historical detail, my passion for creating miniature sets, and my ability to tell a story that bridges metaphor and narrative. I am equally excited about pursuing projects like Petite Coquille, an experimental stop-motion film that explores mental health and childhood trauma. By coupling live-action with stop-motion, I animate the protagonist’s toys as manifestations of her spiraling memories, creating a bridge between metaphor and feasibility, and creating a layered, emotionally rich narrative.

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My work is deeply influenced by my background in production design, historical research, and fine arts. Growing up, I developed a strong understanding in aesthetic movements and an instinct for transforming spaces into environments that speak volumes about character and story. I believe that a well-designed set is one of the most powerful visual languages in filmmaking, carrying meaning that goes far beyond the script.

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At its core, my artistic practice is about using animation and design to navigate and communicate complex emotions. Whether through stop-motion, production design, or filmmaking, I strive to create work that is raw, resonant, and profoundly human. Through my perseverance, creativity, and passion for storytelling, I aim to leave a meaningful mark on the industry, one frame at a time.