Armando Avallone, SOC, filming Jason Isaacs in Thailand for Season 3 of
Photo by Fabio Lovino / HBO
Immersed in a Location
A Conversation with Frank Larson, SOC; Armando Avallone, SOC & Mike White By David Daut
Filming a Revolution
A Conversation with Brett Hurd, SOC & Sarah Mulholland, SOC
Hosted by David Daut
New Look, New Techniques, New Avengers
A Conversation with Paul Sanchez & Matthew A. Petrosky, SOC By David Daut
Chuck Zlotnick
Fabio
Letter from the President
Dear Members:
Please join me in welcoming four fantastic SOC operators to our Board of Governors: Shanele Alvarez, Scott Dropkin, Simon Jayes, and Lisa Sene. It is my honor to begin my second term as SOC President, alongside 1st Vice President Dave Emmerichs, 2nd Vice President Simon Jayes, Secretary Dan Gold, Treasurer John “Buzz” Moyer, and Sergeant-at-Arms Gretchen Warthen. We are joined by re-elected Governors George Billinger, Mitch Dubin, Geoff Haley, Rachel Levine, Sarah Levy, and Jim McConkey. This is an outstanding group of people and I am both excited and humbled to be among them, leading the SOC into the future.
Of course, the state of our industry hasn’t made leadership easy. Many of our members are still either under-employed or out of work entirely and our longtime sponsors are feeling the squeeze as well. In response, we have adjusted our education efforts to emphasize low-cost and/or free events, and we’re staging as many of them as we can, all across the country, staffed by the top camera operators in the business. As always, information about our upcoming events can be found at SOC.org.
So hang in there and remember you’re not alone. We are doing everything we can to inspire you, to remind you why you love what you do and, most importantly, to help you become the best storyteller you can possibly be.
All the best,
Matthew Moriarty
Matthew Moriarty SOC President
2025 SOC Board of Governors
George Billinger, SOC
Shanele Alvarez, SOC Scott Dropkin, SOC
David Emmerichs, SOC
Jim McConkey, SOC
Rachael Levine, SOC
Matthew Moriarty, SOC
Simon Jayes, SOC Geoffrey Haley, SOC
Sarah Levy, SOC
Lisa Sene, SOC
Gretchen Warthen, SOC
Dan Gold, SOC
John “Buzz” Moyer, SOC
Mitch Dubin, SOC
Society of Camera Operators
Board of Governors
OFFICERS
President Matthew Moriarty
1st Vice President Dave Emmerichs
2nd Vice President Simon Jayes
Secretary Dan Gold
Treasurer John “Buzz” Moyer
Sergeant-at-Arms Gretchen Warthen
BOARD MEMBERS
Shanele Alvarez
George Billinger
Scott Dropkin
Mitch Dubin
David Emmerichs
Dan Gold
Geoffrey Haley
Simon Jayes
Rachael Levine
Sarah Levy
Jim McConkey
Matthew Moriarty
John “Buzz” Moyer
Lisa Sene
Gretchen Warthen
COMMITTEES
Education
Mitch Dubin (Co-chair), Geoff Haley (Co-chair), Jan Ruona (Co-chair), Colin Anderson, Francois Archambault, Craig Bauer, Lukasz Bielan, Deborah Brozina, Dave Chameides, Gilles Corbeil, Don Devine, Sam Ellison, Dave Emmerichs, Ian Fox, Mick Froelich, Chris Haarhoff, Daryl Hartwell, Simon Jayes, Sarah Levy, Megan Masur, Jim McConkey, Larry McConkey, Andrew Mitchell, Matt Moriarty, John "Buzz" Moyer, Jeff Muhlstock, Brian Osmond, Ari Robbins, Peter Rosenfeld, Scott Sakamoto, Paul Sanchez, Dave Thompson, Chris Wittenborn
CAMERA OPERATOR MAGAZINE
Publishing & Executive Editor
Kristin Petrovich
Features Writer & Producer
David Daut
Art Director & Copy Editor
Cyndi Wood
Video Editors
Alex Hemingway
Andrew Michel
Studio Liaison & Clearances
Kim Fischer
Social Media Producer
Ashlie Sotelo, Your Voice Social
Editorial Assistant
Madison Matuszewski
Advertising
Kristin Petrovich & Jeff Victor
Finances
Angela Delgado
CONTRIBUTORS
Armando Avallone, SOC
David Daut
Dan Hammond
Brett Hurd, SOC
Frank Larson, SOC
Sarah Mullholland, SOC
Matthew A. Petrosky, SOC
Kristin Petrovich
Paul Sanchez
Ashlie Sotelo
Mike White
PHOTOGRAPHY
Armando Avallone, SOC
Courtesy of Dan Hammond
Courtesy Walt Disney Studios/MARVEL
Fabio Lovino / HBO
Matthew A. Petrosky, SOC
DJ Phillips
Steve Swisher
Steve Wilkie
Chuck Zlotnick
ADVERTISING & SUBSCRIPTIONS
Advertising
Membership@SOC.org
Digital Subscriptions
SOC.org/co
Newsletters
SOC.org
Camera Operator is a quarterly publication of the Society of Camera Operators
The White Lotus
Immersed in a Location
A Conversation with Frank Larson, SOC; Armando Avallone, SOC & Mike White
By David Daut
In the midst of the world shutting down and people being forced to isolate during the Covid-19 pandemic, The White Lotus emerged, serving both as an escapist travelogue and a sardonic glimpse into the lives of the very wealthy.
Frank Larson, SOC, filming Leslie Bibb for Season 3 of THE WHITE LOTUS
Armando Avallone
WATCH THE TRAILER
Now in its third season, the anthology series continues with yet another set of characters and stories, a whole new backdrop, and a scale that far surpasses the pandemic restrictions set upon the first season. Even so, some restrictions have morphed into traditions as the cast and crew still live and work in the hotels where they’re shooting for the duration of production.
TECH ON SET
• Sony VENICE 1 Camera & Rialto Extension System • ARRI Moviecam, LAOWA, ZERØ OPTIK, Leica Noctilux, Zeiss Super Speed, Canon FD & ARRI HEROES Lenses • Tiffen M-2 Steadicam • See the Story for More Tech
Camera Operator had a chance to sit down with A camera operator Frank Larson, SOC; B camera and Steadicam operator Armando Avallone, SOC; and series creator Mike White to talk about what made Season 3 of The White Lotus different from what has come before and which aspects of the production felt like coming home.
Season 3 of The White Lotus moves to the jungles of Thailand where we meet up with a whole new cast of characters having their own crises amidst the decadent luxury of the White Lotus resort. The White Lotus is created by Mike White and stars Leslie Bibb, Carrie Coon, Scott Glenn, Walton Goggins, Jon Gries, Sarah Catherine Hook, Jason Isaacs, Lalisa Manobal, Michelle Monaghan, Sam Nivola, Lek Patravadi, Parker Posey, Sam Rockwell, Natasha Rothwell, Patrick Swarzenegger, Tayme Thapthimthong, and Aimee Lou Wood.
Frank Larson, SOC, with Jason Isaacs & Parker Posey
Frank Larson, SOC (right) at the big stage at the pool
Armando Avellone
Fabio Lovino / HBO
Frank Larson, SOC, on the yacht with Patrick Swarzenegger & Charlotte Le Bon
Armando Avellone, SOC (left) shooting a lagoon scene with Nicholas Duvernay
Armando
Avellone
The Handmaid's Tale
Filming a Revolution
A Conversation with Brett Hurd, SOC & Sarah Mulholland, SOC Hosted by David Daut
Nearly a decade after it began production, the television adaptation of Margaret Atwood’s The Handmaid’s Tale has reached its conclusion with a sixth season that is—true to form—morally murky and bubbling over with righteous anger.
Scene from THE HANDMAID'S TALE. Photo by Steve Wilkie
Multimedia Feature
Camera Operator spoke with camera operators Brett Hurd, SOC, and Sarah Mulholland, SOC, about seeing this series, which has been so impactful and influential, through to its final moments—from honoring and evolving the series’ cinematic language to shooting slow-burn tension as well as the moments where that tension gives way to explosive action.
As Season 6 opens, revolutionary and former Handmaid June Osborne finds herself escaping Gilead with an unlikely companion—her former tormentor, Serena Joy Waterford. After a riot breaks out on the train and the two of them are separated, June joins up with the growing revolutionary movement in Alaska to plan for a final attack against Gilead’s leadership. Meanwhile, Serena finds herself recruited to be the public face of New Bethlehem, Gilead’s supposedly liberalized new settlement, aimed to diffuse international outcry against Gilead’s history of abuses. The Handmaid’s Tale is created by Bruce Miller and stars Elisabeth Moss, Yvonne Strahovski, Madeline Brewer, Amanda Brugel, Ever Carradine, Ann Dowd, O-T Fagbenle, Sam Jaeger, Max Minghella, Samira Wiley, and Bradley Whitford.
Sarah Mullholand, SOC, shooting THE HANDMAID'S TALE
Steve Wilkie
Josh Charles in THE HANDMAID'S TALE
Steve Wilkie
Sarah Mullholand, SOC, shooting THE HANDMAID'S TALE
Kenzyn Hoffman & Elisabeth Moss in THE HANDMAID'S TALE
Steve Wilkie
Steve Wilkie
Thunderbolts*
New Look, New Techniques, New Avengers
A Conversation with Paul Sanchez & Matthew A. Petrosky, SOC
By David Daut
With 36 feature films since 2008 (not to mention numerous shorts, mini-series, and TV movies), it’s safe to say that the Marvel Cinematic Universe has been something of a cultural force for the past decade-and-a-half. The downside, however, of such a successful run is that there is increasing risk of the product becoming stale.
Operators Paul Sanchez (left) & Matthew A. Petrosky, SOC, filming a scene for THUNDERBOLTS* with Florence Pugh
Chuck Zlotnick
WATCH THE TRAILER
TECH ON SET
• ARRI ALEXA 35 • Panavision
Thunderbolts* is something of a departure and a refresh for Marvel Studios’ brand of superhero films, centering around a group of anti-heroes—painting them in slightly darker tones and dealing with heavier subject matter, and eschewing some of the VFX-heavy style of earlier films in favor of a more grounded aesthetic. To talk about balancing these new elements against the tried-and-true Marvel formula, Camera Operator spoke with Thunderbolts* A camera operator Paul Sanchez and B camera and Steadicam operator Matthew A. Petrosky, SOC.
Ultra Panatar II Anamorphic Prime Lenses • ARRIHEAD Geared Heads • Steadicam • Chapman/Leonard M7
Evo Remote Heads • Filmotechnic Flight Head Colibri • See the Story for More Tech
After being “blipped” back from five years of oblivion, former assassin Yelena Belova finds herself understandably questioning her place in the universe. She agrees to do one last job for Valentina Allegra de Fontaine, the shady director of the CIA, ending up with trapped in an incinerator with Valentina’s other loose ends, including the disgraced ex-Captain America and some guy named Bob. Together, they have to work together to survive, take down Valentina, and maybe do some good in the process. Thunderbolts* is directed by Jake Schreier from a screenplay by Eric Pearson and Joanna Calo and stars Florence Pugh, Sebastian Stan, Wyatt Russell, Olga Kurylenko, Lewis Pullman, Geraldine Viswanathan, David Harbour, Hannah John-Kamen, and Julia Louis-Dreyfus.
PAUL SANCHEZ
Jamie Pair (A 2nd AC) & Paul Sanchez on the set of THUNDERBOLTS*
Matthew A. Petrosky
Matthew A. Petrosky, SOC, shooting Lewis Pullman & Julia Louis-Dreyfus for THUNDERBOLTS*
Chuck Zlotnick
Matthew A. Petrosky, SOC, on the set of THUNDERBOLTS*
Florence Pugh on the set of THUNDERBOLTS*
Steve Swisher, courtesy Walt Disney
DJ Phillips
2025 SOC Events
This has been a landmark year for the Society of Camera Operators, with a record-breaking lineup of events—and the energy shows no signs of slowing down.
In response to the evolving needs of its members and the shifting landscape of the industry, the Education Committee made a bold and thoughtful pivot: moving away from multi-day, technically heavy workshops—often costly for both organizers and attendees— in favor of dynamic one-day and half-day sessions.
These focused gatherings offer accessible, high-impact learning and connection opportunities, ensuring members and the wider community stay inspired and equipped to advance their craft.
SOC at NAB CineCentral
The SOC hosted seven workshops over four days, featuring more than 20 instructors and crew and providing hands-on education to over 110 attendees.
True to its mission of elevating the art and craft of camera operating, the SOC also brought its presence to marquee industry events like CineGear and the J.L. Fisher Industry Mixer, hosting lively panel discussions that sparked conversation and creativity.
So, let’s take a moment to look back at the highlights—and get ready for what’s next. With more events on the horizon for 2025, now’s the time to stay connected. Log on to SOC.org and be part of the momentum.
Clockwise from above: David Frederick, SOC (right), "Action Shots"; Shanele Alvarez, SOC (right), "Women Camera Operating"; Dawn Fleischman, SOC (left), "Handheld Camera Operating"
J.L. Fisher Panel
The SOC took part in J.L. Fisher’s Industry Mixer in Los Angeles, where a panel of Active members shared clips, discussed their careers, and fielded audience questions.
THE STUDIO Panel
The SOC hosted “The Making of THE STUDIO,” a behind-thescenes look at one of today’s most innovative new shows presented to a standing-room-only audience.
Panel, from left: Moderator Michael Bravin; Daniel Gold, SOC; Janice Ruona, SOC; Lisa Stacilauskas, SOC & Peter Rosenfeld, SOC
Panel, from left: Moderator Michael Bravin, Mark Goellnicht, SOC (A Camera Operator), Jesse Cain (Ronan Camera Operator), Lucas Deans (1st AC) & Christopher Thrasher (Dolly Grip)
Operator to Operator / New York
David Emmerichs, SOC, and John “Buzz” Moyer, SOC, launched the first Operator to Operator event, hosted at ARRI Rental in New York.
Speed Mentoring / Los Angeles
Forty SOC members gathered at Canon Los Angeles for an engaging and insightful mentoring event.
David Emmerichs, SOC (left) & John “Buzz” Moyer, SOC
Clockwise from upper left: Mentors Mitch Dubin, SOC (center); Simon Jayes, SOC (center); Bonnie Blake, SOC (left)
So You Want to Be An A Camera Operator / Atlanta
Speed Mentoring / New York
At Adorama Rental New York, more than 60 attendees joined this popular event, engaging with 10 mentors for an afternoon of insight and connection.
Hosted at Chapman/Leonard Atlanta and led by Dave Chameides, SOC, top A camera operators explored the skills and insights essential for success in the role in an afternoon of panels and mentoring.
Dave Chameides, SOC, kicked off the day with an interactive discussion before the group broke into smaller work groups. Bottom left: Mathew A. Petrosky, SOC (center) with atendees
Mentors & attendees at Adorama New York. Upper right, John "Buzz" Moyer (center)
Industry Memories
All in All, It’s Just Another Brick in the Wall
by Dan Hammond
At Cine Gear Expo Los Angeles 2025, the J.L. Fisher booth featured something far beyond the usual equipment showcase: a piece of music and film history. The Panavision Panaflex 35mm motion picture camera, serial number 57GII, was on display.
A LEGENDARY CAMERA, A NEW CHAPTER
This wasn’t just any camera. It was the A camera used to shoot Pink Floyd: The Wall, the 1982 cinematic adaptation of the band’s iconic concept album. The film was directed by Alan Parker, with cinematography by Peter Biziou and camera operation artfully executed by John Stanier, BSC.
On the first morning of the Cine Gear Expo show, Jake Stanier, John’s son, stopped by our booth. I told him we had something special to show him. As I removed the camera cover, I explained that this was the exact camera his father had operated decades earlier. The moment the cloth came off, Jake’s face lit up.
The camera had been transformed. Its body, magazine, and eyepiece were engraved and painted with custom artwork inspired by The Wall’s distinctive visuals. This is the story of how that transformation came to be and how it led to an emotional reunion between a legendary camera operator and his camera.
TRACING THE PAST
Back in March 2021, while serving as Vice President and General Manager at Panavision Hollywood, I learned that Pink Floyd: Their Mortal Remains, a large-scale immersive exhibition, was opening that fall at the Vogue Theatre. The venue was just a block from our office.
The exhibition featured a treasure trove of rare Floyd memorabilia. Items included Nick Mason’s 1968 diary, a 1975 tour rider, tour inflatables, the original masks from the 1980–81 Wall concerts, vintage instruments and recording gear. I thought it would be a perfect opportunity to contribute something special and tie it in to the Hollywood community. What if we added the actual camera used to shoot The Wall film?
After researching Panavision’s archives, I identified the camera as PFX-57-GII. At the time, it was on loan to a film school. I contacted the owner of the Vogue Theatre, who liked the idea and connected me with the exhibit’s curators. While waiting for their decision, I searched for behind-the-scenes photos and found a great one: Pink Floyd vocalist and bassist Roger Waters looking through the same camera eyepiece in an MGM press kit photo.
Then came the response I was hoping for. The curators were interested, and I was surprised to see Aubrey “Po” Powell, co-founder of the legendary album cover art design firm Hipgnosis, copied on the thread.
I sent over documentation confirming the serial number, the Waters photo, and images of the camera.
Po’s reply was short and enthusiastic. “Incredible. Yes! How do we make this work?”
We moved quickly. I coordinated the loan agreement and logistics, and Po shared his vision: the camera and the Waters image would be displayed in the “Wall” section of the exhibit, an immersive recreation of the stage production complete with props and visuals from the concerts and film.
THE PINK FLOYD CAMERA IS BORN
Once the camera returned from the film school, a new idea emerged. What if the camera was customized to reflect the visual style of The Wall, something that would instantly tie the piece to the film and album.
I began designing the artwork digitally, drawing from the brick motif that defines both the album and the film’s iconic imagery. On the film door, it felt only right to feature “Pink,” the story’s central character, crouched at the base of the wall exactly as he appears in the original artwork.
Once the layout was finalized, I printed the designs and carefully taped them onto the camera system. From there, our precision engraver Eddy Vasquez laser engraved the artwork into place. Wally Yenez, our skilled in-house painter, then brought it to life by hand painting the bricks, the logo, and the “Pinky” character with meticulous attention to detail.
When I delivered the finished piece to the Vogue, I unveiled it to Po Powell in person. His reaction was immediate. “It’s amazing,” he said, pulling out his phone. He took a photo and texted it to Roger Waters on the spot.
The camera was installed in the “Wall” section of the exhibit, where it remained for the full duration of the Hollywood run.
CINE GEAR 2025: FULL CIRCLE
After the exhibition, the Pink Floyd camera returned to Panavision Hollywood, and later moved to the Woodland Hills facility. Then came Cine Gear 2025, where the camera made a new appearance in our J.L. Fisher booth.
Director Alan Parker (seated) & John Stanier, BSC (laying down for the Inclining Prism shot) on the film PINK FLOYD: THE WALL
When Jake Stanier saw it, he was visibly moved. He FaceTimed his father, John, and showed him the display. On screen, John’s eyes began to well up. “That’s the camera I used to make the movie,” he said.
Seeing how much it meant to John, I looked at Jake and said,“Let’s take it to him. Let him look through it again.”
Jake agreed immediately.
FATHER’S DAY WEEKEND: A CAMERA OPERATOR REUNITES
On Saturday, June 14, 2025, which was Father’s Day weekend, Jake and I met at J.L. Fisher to load the Pink Floyd camera package into my truck. We took a two-hour road trip to deliver the camera to John Stanier, BSC. I hadn’t seen him since 2007.
When he opened the door, he greeted us with a warm hug.
“Thank you,” he repeated, again and again. “Getting to see my camera again means the world to me.”
After spending time catching up, we set up the camera outside in his garden. John chose the spot. As Jake and I pulled cases from the truck and began assembling the system, John watched with a huge smile. Each piece brought back memories. You could see the anticipation building in his eyes. That unmistakable look of a cinematographer preparing to bring the frame to life.
Once the camera was fully built and mounted on the PanaHead, I called out,“Camera’s ready!”
John stepped up, placed his hands on the wheels, and leaned into the eyepiece, just like he had done during the production of The Wall. After a moment, he looked up and said, “Thank you, Dan, for making this happen.”
Of course, he couldn’t resist. His hands instinctively began to roll the wheels, rehearsing his signature figure-eight camera moves. Jake smiled and said,“Dad, you still got it.”
THE FINAL FRAME
Returning a camera to the person who once used it to help shape one of the most surreal and powerful films of the 1980s was a true honor. Watching John reconnect with the craft he loves in such a personal and meaningful way was a powerful reminder of the lasting impact this industry can have.
This was not just a piece of cinematic equipment. It was a symbol of legacy, collaboration, and memory. For John. For Jake. For me.
All in all, it’s just another brick in the wall.
Behind the scenes of PINK FLOYD: THE WALL.
John Stanier operating PFX-57-GII handheld.
John Stanier operating PFX-57-GII in the trenches on the film.
From left, Jake Stanier, John Stanier, BSC & Dan Hammond
John Stanier, BSC
The Society offers different levels of membership for individuals and manufacturers in the production community – Active, Associate, Educator, Student and Corporate.
ITS: Insights,Tips & Stories
Video excerpts from SOC Active members sharing personal insights into camera operating, tips learned during their careers, and stories from the set.
From Film Loader to Steadicam
Camera operator Neal Bryant, SOC, delves into his journey through the camera department and how it led him to pursue his true passion: Steadicam.
Her Story: Getting Started in Reality TV
Camera operator Sarah Levy, SOC, revisits how working in reality television opened doors for her and led to building a strong, supportive community of women behind the camera.
Handheld Meets Technocrane
Camera operator Mick Froehlich, SOC, shares the story of his first experience operating in mimic mode—handheld on a technocrane—and how mastering its unique feel prepared him for using the tool years later on Hawkeye .
The Rewards and Challenges of Camera Operating
Camera operator Lisa Stacilauskas, SOC, reflects on how the most rewarding and challenging aspects of camera operating often go hand in hand.
“Each episode is captured in one shot, creating a seamlessly immersive experience for the viewer. IT WILL LEAVE YOUR JAW ON THE FLOOR.”