OPERATE OUTSIDE THE LINES WITH OUR NEW TRX OFF ROAD TRUCK
Dear Member:
What is the SOC? It’s a group of dedicated volunteers and a tiny (but mighty) staff devoted to celebrating, teaching, and inspiring camera operators, even when times get tough. I am so honored to serve an organization in which my fellow leaders so eagerly welcome that challenge, no matter what the state of our industry might be.
Speaking of teaching and inspiring, just this past month our Education Committee, led by Mitch Dubin and Geoff Haley, pulled off yet another wildly successful hands-on crane workshop (and a Member Mix-up) at Cinemoves in Los Angeles. Students learned from the finest operators, using the finest gear, and—with help from Jeff and Anna Saplis and the Dale Myrand–Quiet Angel Educational Scholarship Fund—built their skills at a hugely discounted price while, in doing so, becoming the first 24 Myrand Scholars in SOC history! As always, the best way to stay abreast of upcoming events is to watch for emails from SOC.org.
On the “celebrating” front, please mark February 14th and 15th on your calendars with the words “2025 SOC Awards Weekend.” The Saturday Awards event will return to the black-tie format in the ballroom at Loews Hollywood Hotel, with a twist: What used to be the Friday night VIP Party will now be a kickoff party open to any member in good standing, allowing us to combine the breadth of last year’s event with the SOC’s black-tie tradition. Yes, the 14th is Valentine’s Day and we’re embracing it, so … please spend it with us!
In another Awards first, we will now poll the membership on who the nominees should be, meaning you will see two separate ballots. You’ll see the first ballot in early January that will allow you to vote for five nominees in each category (Film and TV). Then, in early February, you will receive the final ballot, where you’ll vote for one entry in each category to determine the 2025 recipients. Remember, submissions are currently open and anyone can submit at socawards. com/nominations-for-camera-operator-of-the-year-2025. Just know that any nominee must have been employed as a full-time camera operator on that show, and any entry on which the DP operated the A camera is therefore ineligible.
We know these are hard times. We feel it just like you do. But, again, our mission is to make you feel celebrated and inspired and we will keep doing it, no matter what.
So hang in there. You’re not alone.
Fraternally,
Matt Moriarty
Accompanying and matching ARRI Signature Primes, the new Signature Zoom lenses render the most natural and beautiful images ever seen from a cine zoom. Designed for any large-format or Super 35 camera, the four lenses are uniformly fast at T2.8 and, with the dedicated extender, offer an unrivalled focal length range of 16 mm to 510 mm.
ARRI SIGNATURE ZOOM LENSES. TRULY CINEMATIC.
President Matt Moriarty
1st Vice President Mitch Dubin
2nd Vice President David Emmerichs
Secretary Dan Gold
Treasurer John “Buzz” Moyer
Sergeant-at-Arms Gretchen Warthen
BOARD MEMBERS
George Billinger
Don Devine
Mitch Dubin
David Emmerichs
Michael Frediani
Dan Gold
Geoffrey Haley
Nikk Hearn-Sutton
Rachael Levine
Sarah Levy
Jim McConkey
Matt Moriarty
John “Buzz” Moyer
Sharra Romany
Gretchen Warthen
Awards
Matthew Moriarty (Chair), Phil Anderson, Craig Cockerill, Pauline Edwards, Mick Froelich, Dan Gold, Rachael Levine, Janice Min, Jan Ruona, Ben Speck, Mande Whitaker, Rob Vuona
Charities
Brian Taylor, Ryan Campbell
Historical
Mike Frediani
Membership
Dan Gold, Dan Turrett, Gretchen Warthen
Corporate Members
Craig Bauer, George Billinger, Mitch Dubin, Dave Frederick, Simon Jayes, Sarah Levy, Bill McClelland, Jim McConkey, Matt Moriarty, Dan Turrett, David Sammons
Education
Mitch Dubin (Chair), Geoff Haley (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
Technical Standards & Technology
Simon Jayes (Chair), Colin Anderson, Andrew Ansnick, Will Arnot, Christopher Flurry, Steve Fracol, David Frederick, Daniel Gold, Chris Herr, Jamie Hitchcock, Lawrence Karman, Rocker
Meadows, Matthew Moriarty, Manolo Rojas, Lisa Stacilauskas, Gretchen Warthen
Inclusion
Sharra Romany (Co-chair), Nikk HearnSutton (Co-chair), Olivia Abousaid, Shanele Alvarez, Alfeo Dixon, Pauline Edwards, Alexandra Menapace, Jeremiah Smith, Lisa Stacilauskas, Gretchen Warthen, Mande Whitaker
Executive Director Kristin Petrovich
Finances Angela Delgado
Calligrapher Carrie Imai
CAMERA OPERATOR MAGAZINE
Publishing & Executive Editor
Kristin Petrovich
Art Director Cyndi Wood
Studio Liaison & Clearances
Kim Fischer
Features Writer & Producer
David Daut
Copy Editor Cyndi Wood
Social Media Producer
Ashlie Sotelo, Your Voice Social
Advertising Jeff Victor
Video Editor Alex Hemingway
CONTRIBUTORS
Chris Dame
David Daut
Angela Delgado
John Densmore, SOC
Mitch Dubin, SOC
Mikael Levin, SOC
Sarah Levy, SOC
Gary Malouf
Logan C. Miller
Matthew Moriarty, SOC
Jason Reitman
Ashlie Sotelo
Eric Steelberg
Theresa Vitale, SOC Gretchen Warthen, SOC
PHOTOGRAPHY
Michael Becker
Courtesy of Chris Dame
Courtesy of FX Networks
Chuck Hodes/FX Networks
Hopper Stone
Advertising: Membership@SOC.org
Digital subscriptions: SOC.org/co
Newsletters: SOC.org
Camera Operator is a quarterly publication of the Society of Camera Operators
Angela Delgado Accountant
Meet the Crew introduces you to the SOC team, like Angela Delgado, Accountant.
My role with the SOC is . . .
As the Society of Camera Operators in-house accountant, I have the honor of working with and supporting our various teams to ensure the financial health and transparency of the organization. I have the pleasure of working on the annual awards show and meeting all the members who make up our community.
What about your involvement in the SOC is the most gratifying for you?
Being part of a team that creates content that can move and inspire is a powerful motivator. The blend of creativity, technical skill, collaboration, and the opportunity to be part of something larger makes working for the SOC and the camera operators especially gratifying.
What do you find inspiring about the SOC?
Camera operators bring a high level of craftsmanship and precision to their work. Their ability to frame a shot perfectly, capture the right light and angle, and move the camera in sync with the action are skills that combine both technical and expertise and artistic intuition.
I am in awe that camera operators can see the world through a lens, both literally and metaphorically. Their ability to find beauty, drama, and meaning in the mundane and the extraordinary alike is truly inspiring.
What might surprise members about you?
Due to an accident and way too much downtime on my hands, I became obsessed with crafting. Crafting has allowed me to use the other side of my brain that promotes my creativity, which is a total contrast with my analytical nature. I’ve even ventured into creating some set designs, props, and costumes in the last few years.
This year, we are once again proud to honor significant advances in filmmaking technology with the SOC Technical Achievement Awards.
This award is given to recognize the development of new technologies and techniques, essential innovations, and significant improvements to existing equipment. These technical achievements push our industry forward, removing hurdles for camera operators and allowing us to tell stories in new and unique ways.
The SOC received a number of submissions, and the qualifying entrants have been invited to show off their innovations at a juried demo day on Sunday, November 17, 2024. This year, the judges for the Technical Achievement Awards will be Simon Jayes, SOC (Technical Committee Chair); Colin Anderson, SOC; Andrew Ansnick, SOC; Will Arnot; Christopher Flurry, SOC; Steven Fracol; David Frederick, SOC; Daniel Gold, SOC; Chris Herr, SOC; Jamie Hitchcock, SOC; Lawrence Karman, SOC; Rocker Meadows, SOC; Matthew Moriarty, SOC; Manolo Rojas, SOC; Lisa Stacilauskas, SOC; and Gretchen Warthen, SOC.
This do-it-yourself upgrade allows the user to harness the power of the Ronin 2 TB50 batteries with an upgraded Tilt Stage module.
This upgrade supplies 21-26v so that higher voltage cameras can be powered through the Ronin cage (Alexa 35, ARRI 416, ARRI 235, Raptor XL, and other 24v camera systems).
The upgrade can be taken on and off at the user’s discretion.
1a.tools/shop-gimbal-accessories/ronin-2-24v-tilt-stage-diy-upgrade-version-2
The ARRI TRINITY 2 Ecosystem offers unparalleled camera stabilization with advanced gimbal and body control features, enabling dynamic, smooth, and versatile shots. Designed for professional cinematography, it combines the power of the TRINITY 2 and ARTEMIS 2 systems, supporting a wide range of setups and workflows. The system integrates seamlessly with ARRI’s other products, making it a highly adaptable tool for any film production environment. With precise control, robust build quality, and flexible movement, it’s ideal for capturing complex scenes on any scale.
arri.com/en/camera-systems/camera-stabilizer-systems/trinity-2-and-artemis-2
The Blackbird Mantis brings elastic isolation to the full breadth of camera operating scenarios for the first time. It is a modular isolator that works across vest mounts and hard mounts, working as a singular unit or in multiples, providing isolation comparable to other professional isolators. The Mantis is a self-contained circuit of elastic line that remains in line with the system’s 5+ pulleys on a pivoting mount, ensuring ideal isolation at all angles with single-handed tensioning while operating. The system is extensible, providing more isolation and usable range or the opportunity to reduce overall size.
blkbrd.film
The Canon EOS C400 Cinema Camera is designed for film and live production with a native RF mount, internal ND filters, onboard RAW recording, and a newly developed 6K Full-Frame, back-illuminated stacked CMOS sensor. This sensor’s Triple Base ISO is a big leap forward, allowing the camera to deliver stunning imagery in a wide range of lighting conditions. Setting the base ISO at 800, 3200, or 12,800 resets the full dynamic range around those ISO values, providing more creative choices than ever for the cinematographer and camera team.
usa.canon.com/shop/p/eos-c400
The DJI Ronin 4D-8K is the newest iteration of the Ronin 4D professional cinema camera platform. This all-in-one 8K cinema camera combines 4-axis stabilization, nine stops of built-in ND, built-in video transmission and remote camera control, a LiDAR focus system, and interchangeable lens mounts into one comprehensive solution. With fullframe 8K/60fps and 4K/120fps capabilities, this camera ensures exceptional image quality, providing filmmakers with extraordinary versatility. The 800/4000 Dual-Native ISO enhances performance across various lighting conditions, complemented by a maximum 14.7 stops of dynamic range, offering cinematic depth and rich color grades in any scenario.
dji.com/ronin-4d
Technoscope telescopic cranes F17, F27 and F32 are the lightest telescopic camera cranes in the world. Designed for use with all popular lightweight, stabilized camera heads, Technoscope cranes feature a high-performance carbon fiber structure, ensuring both strength and reduced weight. This innovative design offers an impressive operational experience and allows for the use of telescopic camera cranes in challenging locations where other cranes would be impractical, such as rooftops, balconies, high-rise floors, mountains, boats, pontoons, and interiors. With Technoscope, cameras can be precisely moved in and out, navigating around objects in tight spaces and hard-to-reach areas.
filmo.tech
U-Crane 6 Telescopic and U-crane Dynamic robotic camera arms paired with high performance camera cars represent a groundbreaking advancement in filmmaking technology. In combination with Filmotechnic’s latest generation of stabilized remote heads (Flight Head), the equipment offers unparalleled image stability and precision in capturing dynamic shots. The innovative design allows for smooth, fluid camera movements around the car and quick arm length adjustments, enabling filmmakers to achieve breathtaking angles and perspectives while on the move. Filmmakers can capture a broader array of tracking shots than ever before, providing greater freedom of camera mobility, creativity in storytelling, and more impressive visuals.
filmo.tech
FUJINON DuvoTM HZK24-300mm Portable PL Mount Zoom Lens combines the best of two worlds: a cinematic lens that delivers stunning bokeh from a maximum T2.9 aperture and high-end optical quality to seamlessly intercut with any cinema lens while retaining a lightweight build and simple broadcast operability. At 6.5 lbs. and 10.6 inches long, it’s well suited to everything from handheld use to balanced remote-head mounting. While the newly designed attached S10 servo drive negates the need for accessories in certain workflows, Duvo 24-300mm offers all the compatibility any professional could need. fujinon.com/duvo
Cyclo 1 is a modular stabilized head that supports various Steadicam systems. Infinite roll, joystick, and many advanced features available via touchscreen interface will allow you to create inspiring shots. Great accessories, e.g. monitor stabilizer, make Cyclo 1 head a joy to use. Cyclo 1 allows precise, organic frames and a powerful and easy-touse stabilizing system. Cyclo 1 pairs seamlessly with NODO wheels and drone-style controllers for remote roll control. Apart from Steadicam, Cyclo 1 is very fast to mount on other rigs. Operators use it on dollies, tripods, sliders, cranes, or as an additional rolling ring in heads.
hdairstudio.com/cyclo-steadicam-head
The new Solidcom C1 Pro Roaming Hub offers easy-to-set-up, high-quality wireless communication supporting up to 20 users across a range of 1600 feet. With larger teams, users can now move up to 3200 feet when pairing two hubs, making it ideal for filmmaking, video production, and live events. The hub supports six communication channels, providing flexibility and elevating communication to new heights. Operating on the interference-free 1.9GHz frequency band, it ensures reliable performance. Additionally, the Roaming Hub is FCC-approved, meeting U.S. regulatory standards for safe and efficient wireless operation, making it a dependable solution for professional applications. hollyland.com/product/solidcom-c1-pro-roaming-hub
NODO Film Systems’ Inertia Wheels MAX elevates precision and control for camera operators. Built on patented motorized Mass and Drag, MAX utilizes powerful PCB Stator Motors to deliver real-time, tactile, selectable weight for smoothness without latency. Seamlessly integrating with gimbals and remote heads like Ronin 2/4D, Inspire 3, MōVI, Flight Heads, Matrix, Evo7, and others, it provides unparalleled adaptability. Operator-driven features such as shake/handheld effects, single-press limits, and adaptive dampening make the Inertia Wheels MAX an essential tool, setting a new benchmark for professional camera control. max.nodo.film
By David Daut
Despite being categorized as a “comedy series” for the purposes of awards by the Academy of Television Arts and Sciences, watching The Bear can often feel like having a panic attack. Between stellar performances from the series’ principal cast, bold direction, and ambitious camera work, the visceral thrill and white-knuckle terror of working in a busy kitchen during the dinner rush breaks through the barrier of the screen and pulls you in.
Now in its third season, the critically acclaimed, award-winning series continues to innovate and push its visual style in new directions. Camera Operator had an opportunity to speak with A camera operator Gary Malouf and B camera operator Chris Dame about their experience working on the show from the beginning, from having the trust and freedom to be truly collaborative in the shooting of each episode to breaking down the process behind pulling off a 17-minute oner in only three takes.
After inheriting a cash-strapped roast beef sandwich shop from his deceased brother, Carmy Berzatto dreams of transforming The Beef into a Michelin-starred fine dining establishment. The process of doing so, however, is far from straightforward. With debt and deadlines looming large, Carmy’s personal demons take their toll as he wrestles with how much personal happiness has to be sacrificed in the pursuit of professional success. The Bear is created by Christopher Storer and stars Jeremy Allen White, Ebon Moss-Bacharach, Ayo Edebiri, Lionel Boyce, Liza Colón-Zayas, Abby Elliott, and Matty Matheson.
A Conversation with Matthew Moriarty, SOC, Jason Reitman & Eric Steelberg
Hosted by David Daut
In the year 2024, Saturday Night Live is an institution—culturally ubiquitous and perpetually known for “not being as good as it was when I was in college.” Fifty seasons on from its debut, it’s hard to imagine a time when NBC’s late night variety show was seen as such a risky gamble that the network was, in fact, counting on it to fail.
This is the reality audiences are thrust into with Saturday Night. A frantic, frenetic, in-real-time race to get the show prepped and ready for an 11:30pm premiere. Camera Operator had a chance to talk to A camera and Steadicam operator Matthew Moriarty, SOC, along with Director Jason Reitman and Director of Photography Eric Steelberg, about bringing this story to the screen, from finding the film’s voice to working with a massive ensemble cast while having only 33 days to shoot the picture.
It is ten o’clock on Saturday night, October 11, 1975, and the first episode of Lorne Michaels’ sketch comedy show goes live in just 90 minutes. There’s just one problem: the show is not ready. There are too many sketches, the credits are not locked, the stage isn’t finished, the cast is on the verge of mutiny, and the network—all things being equal—would rather be airing reruns of Johnny Carson. It’s a mad dash to the finish line as things spiral out of control, and the show that would become a cultural institution threatens to collapse under its own weight before it even has a chance to start. Saturday Night is directed by Jason Reitman from a screenplay by Gil Kenan and Reitman. It stars Gabriel LaBelle, Rachel Sennott, Cory Michael Smith, Ella Hunt, Dylan O’Brien, Emily Fairn, Matt Wood, Lamorne Morris, Kim Matula, Finn Wolfhard, Nicholas Braun, Cooper Hoffman, Andrew Barth Feldman, Kaia Gerber, Tommy Dewey, Willem Dafoe, Matthew Rhys, and J.K. Simmons.
A scene from SATURDAY NIGHT
A Conversation with Mikael Levin, SOC
Hosted by David Daut
Blending the worlds of chemistry and cooking, TV production and education, and women’s rights and civil rights, Lessons in Chemistry shows both the connections and the tensions between these things as protagonist Elizabeth Zott fights to make space for herself in a world that would prefer her to be just a pretty face.
In telling this story, four different sets of directors lent their creative voices to the project—each bringing their own ideas and aesthetics to bear. In our conversation with A camera and Steadicam operator Mikael Levin, SOC, we talked about what it was like adapting to those different styles while also combining them into a cohesive visual language for the series.
TECH ON SET
• ALEXA Mini LF • Canon
K35 Lenses • ARRI SRH-360
Remote Stabilized Head • Chapman/Leonard MiniScope
As a chemist fighting for recognition in a field dominated by men, Elizabeth Zott finally finds a partner in the acclaimed, but burnt-out chemist Calvin Evans, who recognizes her exceptional scientific skills. As Zott and Evans’ professional partnership develops, so too does an unorthodox romance, until both are cut short by tragedy. Without Evans to champion her work, Zott is promptly let go from the institution where she’s been working, while her work is stolen by other, less talented chemists. Struggling to find a new path forward, Zott ends up turning to an unconventional place—a televised cooking show—to teach fundamentals of chemistry while also inspiring her viewers to pursue their passions even as the world tells them they can’t. Based on the novel by Bonnie Garmus, Lessons in Chemistry is created by Lee Eisenberg and stars Brie Larson, Lewis Pullman, Aja Naomi King, Stephanie Koenig, and Patrick Walker.
After dedicating 18 years to the camera department, I recently marked my 20th year in the television industry this summer. It is truly special to commemorate this milestone by being featured in the SOC magazine, so thank you!
What is your most memorable day in the industry?
One of the most memorable moments I’ve experienced on set was being A camera for a Jane Fonda shoot. Not only did she live up to her legendary status, but she also took the time to express her appreciaton to me and two female camera assistants, emphasizing the significance of having a diverse camera team. Her humor, gratitude, and undeniable badassery left a lasting impression on all of us.
Who has helped you most in your career?
The person who helped me the most in my career was the late and GREAT Catherine “Cat” Cummings. She was an incredible mentor who believed in the importance of female representation in the camera department. She took me under her wing, advocated for me, and taught me invaluable camera knowledge. I will be forever grateful for her guidance and impact on my career.
Credits: Love is Blind (Season 8), Netflix; Master Class with Amy Poehler; Selling the OC (Seasons 2 & 3), Netflix; Project Runway (Seasons 10–13), Lifetime; Baking It (Seasons 1& 2), Peacock
I’ve been handling cameras since I was 10 years old, but I started my professional career in 2014.
What is your most memorable day in the industry?
Having Chuck Norris in front of my camera. It’s not every day that a legend comes out of retirement to do a feature film.
What is the job you have yet to do, but most want to do?
I’ve done them before but, as a part 107 licensed pilot, I would like to do more drone operator jobs.
Credits: Agent Recon (feature film); The Lost Century and How to Reclaim It (feature film); In My Breathe (music video)
Video excerpts from SOC Active members sharing personal insights into camera operating, tips learned during their careers, and stories from the set.
Camera operator John Densmore, SOC, has important tips for new and aspiring Steadicam operators.
Camera operator Sarah Levy, SOC, reveals how she prepares emotionally, physically, and technically for a project.
Camera operator Mitch Dubin, SOC, shares his thoughts on the sensitive topic of cinematographers operating the camera.
Camera operator Gretchen Warthen, SOC, explains all the reasons she loves shooting unscripted.
Saturday, February 15, 2025 | Loews Hollywood Hotel
Honoree & Nominee Reception | Friday, February 14, 2025
The Society of Camera Operators Awards return to the Loews Hollywood Hotel, for the banquet style ceremony, including a hosted pre reception and after party on Saturday February 15, 2025. New for 2025, the Honoree & Nominee Reception, hosted on Friday, February 14. This evening celebration honors the Nominees, Recipients and the work of our industry in 2025 within a more causal setting.
PURCHASE FRIDAY RECEPTION TICKETS
The SOC offers online and in person workshops and learning for members in all categories.
LOG ON TO SOC.ORG FOR EDUCATION OFFERINGS.
The Society offers different levels of membership for individuals and manufacturers in the production community – Active, Associate, Educator, Student and Corporate.
We are grateful to the Television Academy and the Engineering, Science & Technology Emmy® Awards for recognizing the contribution of the Steadicam® Volt™ to the industry.
This award is made possible by our entire team at Tiffen and the thousands of operators worldwide who choose to tell stories with the Steadicam Volt.
