Justin Bellucci
Director & Photographer
Freelance
For over 10 years, Justin has worked as a freelancer, bringing creative ideas to life and telling stories for a variety of companies and artists.
Elon Graduation Year
2013
Live Oak Communications Involvement
Account Executive
Justin's Collaborations
A Q&A with Justin Bellucci
What role did you have in Live Oak Communications? How did your experience in Live Oak Communications shape your college or post-graduate career?
I was an Account Executive at Live Oak during my time at Elon. One of the most valuable things it taught me was how the relationship between agency, client, and production company actually works.
That understanding became incredibly useful once I moved to New York and started working on commercial sets. I was suddenly seeing those same dynamics play out in real time. Having that foundation helped me navigate set environments, communicate more effectively, and understand the bigger picture beyond just the creative work.
You have had a lot of different roles in the industry:
What position has been your favorite - director,
cinematographer, photographer, editor, etc. and why?
While I have only begun to dip my feet into the role,
my favorite role on set is directing.
It’s a balance of creativity, leadership, and collaboration that
requires you to be fully present at all times. You’re constantly working
with every department, shaping the project
while also staying open to what others bring into it.
One of the biggest lessons I’ve learned is that being a
good director has very little to do with being the sole creator.
In fact, the opposite is usually true. The best directors aren’t afraid to engage with other people’s ideas and set aside their ego. You’re surrounded by talented collaborators for a reason, and your job is to recognize strong ideas, support them, and bring everything together into a cohesive vision.
That shift in mindset was huge for me. It makes the process more collaborative, more enjoyable, and ultimately leads to better work.
What has been the most impactful campaign you have worked on? Why?
One of the most impactful campaigns I’ve worked on is a current project with recording artist Sean Mason, where we’re creating a range of content to support his upcoming album.
While it’s not a traditional commercial campaign, it’s been incredibly influential for me on a philosophical level. Sean’s approach is rooted in rejecting overanalysis and creating from instinct. The focus is on making work that feels honest and immediate, without second-guessing or trying to shape it for algorithms or trends.
That mindset is rare right now, especially in a creative landscape driven by virality and constant output. Working on this project has made me re-evaluate my own habits as a creative, my relationship to technology, and how much I trust my instincts when making work. It’s been a strong reminder that authenticity often leads to more meaningful results than perfection.
The focus is on making work that feels honest and immediate, without second-guessing or trying to shape it for algorithms or trends.
You have traveled a lot throughout your career.
How does the location you are in change the way you film/photograph/interpret your surroundings? Does location influence the cameras you use or artistic vision you have?
When I’m in a new place, I try to approach it with as much objectivity as possible.
I make a conscious effort not to arrive with a fixed idea of what the place should look like or how I should capture it. Instead, I try to stay open and respond to what’s actually there.
I’ve found that if you show up with the right mindset, meaning curiosity, respect for the people and environment, and a willingness to observe before acting, you can create meaningful work almost anywhere. It’s less about chasing a specific aesthetic and more about being present and receptive.
Over time, I’ve also tried to place less importance on the equipment itself. The camera matters, but your perspective matters more. Whether I’m shooting in New York, Norway, or somewhere completely new, the goal stays the same: approach it honestly and let the place reveal itself rather than forcing an idea onto it.
You have an exhibition currently going on in New Jersey entitled SIGNS OF OCCUPANCY. What was your inspiration for this collection? How did you come about this concept?
This project came out of reflection.
Over the past decade, I’ve spent a lot of time moving between places for work and personal life. As I looked back through my photos, I noticed a pattern. I was consistently drawn to homes, buildings, and spaces people leave behind.
I became interested in how much you can learn about a person or a place just by observing their environment. The images sit somewhere between portraiture, street photography, and architectural documentation. People are sometimes present, but often only implied.
The project is really about reading spaces as stories. What do these places say about the people who live there, or used to live there? It also reminded me how important reflection is. Looking back at your work can be just as valuable as creating something new.
You are also currently working on a film in Norway. What can you tell us about it?
I’m currently working on a feature documentary that I first became involved with in 2024, produced by a Seattle-based production company.
The film explores the world of Arctic exploration, focusing on two well-known polar explorers. It looks at their relationship, the broader history of exploration, and the tension between pursuing extreme, high-risk goals and maintaining a grounded life with family and responsibilities in the modern world.
The project is still in production and has not yet secured distribution, so I can’t share too many specifics at this stage.
What are the biggest challenges you face working as a freelancer?
The biggest challenge is uncertainty.
There are periods where work is steady, and others where it’s not. That can affect your finances, your confidence, and your personal life. It’s easy to tie your self-worth to how much you’re working, which isn’t always healthy.
I’ve learned the importance of protecting time for things outside of work. Family, relationships, and interests that have nothing to do with your career. It’s also important to be selective. Not every job is worth the trade-offs.
What are the highlights of working as a freelancer?
​
The best part of freelancing is the variety of experiences.
You get to work with new people, in new places, on different kinds of projects. There’s something special about building something together with a group of people over a short, intense period of time.
What advice would you give to aspiring filmmakers (or photographers, directors, etc.) who want to communicate powerful stories visually?
Don’t let perfect be the enemy of good.
You will have a long career and you won’t get better if you don’t make things and fail. That’s a necessary part of the process. The sooner you accept that, the faster you’ll grow.
I spent a lot of my 20s working on other people’s sets and waiting for the “right time” to step into the roles I actually wanted. That time doesn’t really arrive on its own. You have to create it.
The industry has changed a lot. The traditional path isn’t the only path anymore. You can go out and make your own work now, even on a small scale.
Start with stories that are close to you. What do you actually care about? What feels a little uncomfortable or scary to share? That’s usually a good place to start.
Also, don’t get too caught up in equipment. Use what you have. Borrow what you can. The work matters more than the gear.
That said, if you ever get the chance, try shooting something on film. It forces you to slow down and be intentional, and it can completely change how you think about image-making.