Romy Vitug Has Died at 86
Legendary lensman Romeo “Romy” Vitug, acclaimed for his notable contributions to Philippine cinema, has died. He was 86.
According to an ABS-CBN report, Vitug lost his battle to blood cancer at the City of Imus Doctors Hospital on Thursday. His passing was also confirmed by Vitug’s daughter, Dana Vitug-Taylor, in a Facebook post.
The highly regarded cinematographer has worked on numerous acclaimed films featuring some of the country’s most prominent actors like Nora Aunor (Atsay, Mga Uod at Rosas), Vilma Santos (Paano Ba Ang Mangarap? Sinasamba Kita), Christopher de Leon (Ang Alamat ni Julian Makabayan), Sharon Cuneta (Bituing Walang Ningning, Sa Hirap at Ginhawa), Maricel Soriano (Inagaw Mo Ang Lahat Sa Akin), Aga Muhlach (Sana Maulit Muli, Sa Aking Mga Kamay), Lorna Tolentino (Init Sa Magdamag, Pusong Mamon), and many more.
He has also collaborated with several esteemed directors including Carlitos Siguion-Reyna, Celso Ad Castillo, Lino Brocka, Laurice Guillen, and Olivia Lamasan.
Vitug’s exceptional talent has garnered recognition from prestigious award-giving bodies including a lifetime achievement award from the Cinemanila International Filmfest in 2000, a Natatanging Gawad Urian in 2016, and a Hall of Fame award from the Metro Manila Film Festival in 2019.
Before venturing into film production, Vitug's initial passion was photography, a natural inclination given that his father, Honesto Vitug, was hailed as the dean of Philippine photojournalism.
But later on, a stint as a newsreel cameraman for Channel 5 steered his interest towards filmmaking. “Nung lumipat ako sa TV, wala pang video,” Vitug shared in an interview with ABS-CBN’s Sagip Pelikula. “Ang ginagamit ko totoong 16mm film camera, ang tawag ay Bolex.”
He started out as a stillman in Brocka’s “Tatlo, Dalawa, Isa,” and later got his big break as a cinematographer in film producer Armida Siguion-Reyna’s period drama, Mga Bilanggong Birhen. This film would establish him as a sought-after cinematographer.
Proficiency in lighting and composition marked Vitug's distinct style, apparent in films like Pagputi ng Uwak, Pag-itim ng Tagak, Salome, Haplos, Paradise Inn, Kung Mahawi Man Ang Ulap, and Saan Nagtatago ang Pag-ibig?
Vitug was a firm believer that great cinematography should look natural. “Noong nasa diyaryo pa ako, available light ang lighting. Hindi put-on ang mga ilaw, natural. Nung nalipat ako sa film, gusto ko ganoon din ang itsura ng lighting sa still photography at yun din ang mangyayari sa pelikula,” he said in the same interview. “Yung inilawan mo ang eksena pero hindi halatang inilawan.”
Even in an era with modern tools for enhancing images, the seasoned cinematographer remained committed to maintaining the highest shooting standards. “Kailangan gawin mo nang tama [ang trabaho mo],” he advised aspiring cinematographers. “Wag kang mag-expect na maaayos nila sa computer editing. Gawin mo sa shooting, gawin mo sa lighting [ang nararapat]. Pag-aralan mo lahat,” Vitug says.
