Camera Operator: Spring 2019

SOC.ORG · SPRING 2019

VOL. 28, NO.2

SOCIETY OF CAMERA OPERATORS . SPRING 2019

LEGION

THE HANDMAID’S TALE NCIS: LOS ANGELES

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CONTENTS 6

DEPARTMENTS

FEATURES

4 LETTER FROM THE PRESIDENT 6 NEWS & NOTES

14 THE HANDMAID'S TALE

SOC @ NAB and Other Events Around the Industry

8 ESTABLISHING SHOT "Right Place at the Right Time" David Emmerichs, SOC

32 TECH TALK As Seen @ NAB - 8 Top Tech

"From Moodbook to Screen" Mike Heathcote, SOC

20 LEGION "His Shots Are Legion" with Mitch Dubin, SOC an interview by Derek Stettler

26 NCIS: LOS ANGELES "A Journey from Clapper Loader to Focus Puller to Operator to Director" Terence Nightingall, SOC and Kate Martin

35 SMOOTH OPERATOR "Dancing with the Stars" Hector Ramirez, SOC

38 SOC FOUNDERS SPOTLIGHT

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ON THE COVER: Mitch Dubin on the set of LEGION. Photo by Jeff Webster

"Owen Marsh, SOC" Michael Frediani, SOC

40 INSIGHT Meet the Members

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41 SOC ROSTER 43 AD INDEX 44 SOCIAL SOC

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Society of Camera Operators OFFICERS President George Billinger

Board of Governors 1st Vice President Mitch Dubin 2nd Vice President Dan Turrett Secretary Lisa Stacilauskas Treasurer Bill McClelland Sergeant-at-Arms Dan Gold

BOARD MEMBERS Bonnie Blake David Emmerichs Eric Fletcher Michael Frediani Chris Haarhoff Geoffrey Haley David Sammons Dave Thompson Gretchen Warthen

COMMITTEE CHAIRS

Michael Frediani, SOC

Awards George Billinger, Mitch Dubin, Dan Gold, Bill McClelland, Dave Thompson, Dan Turrett, Geoffrey Haley, Will Arnot, Rob Vuona Charities Alicia Robbins Membership Drive Lisa Stacilauskas

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Historical Mike Frediani Membership Dan Gold, Dan Turrett Technical Standards Eric Fletcher Education David Sammons

STAFF AND CONSULTANTS Membership Services & Operations Coordinator John Bosson Bookkeeper Angela Delgado Calligrapher Carrie Imai Business Consultant Kristin Petrovich and Createasphere

CAMERA OPERATOR MAGAZINE Publishing Consultant Kristin Petrovich Managing Editor Kate McCallum Layout & Production Stephanie Cameron Advertising Derek Stettler

CONTRIBUTORS Tim Bellen, SOC Jeffrey Carolan, SOC Mitch Dubin, SOC David Emmerichs, SOC Eric Fletcher, SOC Michael Frediani, SOC

Mike Heathcote, SOC Adam Marschall, SOC Kate Martin Terence Nightingall, SOC Hector Ramirez, SOC Derek Stettler Ian S. Takahashi, SOC

PHOTOGRAPHY Claudette Barius Gabriel DeCunto Mitch Dubin, SOC Manny Duran Aristotle Dreher Michael Frediani, SOC Bego Gerhart Derek Hoffman Ron P. Jaffe Adria Marschall George Kraychyk Jay Nefey, SOC Ralph Nelson Kristin Petrovich Alma Ramirez Hector Ramirez, SOC Jessica Ramos Brian Smith F. Carter Smith Suzanne Tenner Randy Tepper

Erik Voake Jeff Webster Robert Zuckerman

TRIVIA Source imdb.com

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Letter from the President Dear SOC Members and Camera Operator Readers: Throughout this year, we’ll be celebrating the SOC’s 40th Anniversary with features or photos that recall our early beginnings.

This quarter the SOC is busy! We’ve several events and panels planned throughout the year ahead. The SOC participated at this year’s NAB by holding interviews on the floor with camera operators at the Tiffen booth, we presented an SOC panel called Production Tips for Camera Operating, and we celebrated at the SOC NAB party held at Gordon Ramsey’s, sponsored by Chapman/ Leonard. Other upcoming events the SOC will be participating in are; the J.L. Fisher Annual Mixer, the Cine Gear Expo at Paramount Studios, a two-day workshop at Drexel University in Philadelphia, and in June we’ll participate at IFP by hosting a panel. In the fall we’re presenting an Underwater Operating Workshop with Hydroflex in an extensive 3-day workshop.

In this issue of the magazine we’re featuring several SOC Award winners or nominees sharing their experiences as camera opertors. Our 2019 SOC Lifetime Achievement Award recipient, David Emmerichs, SOC writes about his career in this issue’s Establishing Shot, Mitch Dubin, SOC, and Michael Heathcote, SOC, SOC COY – TELVISION nominees share their experiences as operators on the television series Legion and The Handmaid's Tale, and in Smooth Operator, SOC Lifetime Achievement Award Camera Operator, Live Action & Non-Scripted, Hector Ramirez, SOC recounts the evolution of his career and experiences operating.

Please continue to help support our membership growth by encouraging your peers and colleagues to apply for SOC membership.

For more information visit the events page on the SOC website: SOC.org/events Sincerely,

George Billinger, SOC Society of Camera Operators, President

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SOC @ 2019 NAB This year at NAB the SOC hosted camera operator conversations at the Tiffen booth, and a panel called Production Tips for Camera Operating to a packed room. Special thank-yous go to SOC members: George Billinger, SOC for his interview, and to Eric Fletcher, SOC, Bill McClelland, SOC, and David Sammons, SOC for both participating on the panel and at the Tiffen Booth. Camera Operator magazine managing editor, Kate McCallum served as moderator.

News & Notes SOC @ J.L. FISHER ANNUAL INDUSTRY MIXER Please join us on Saturday, May 18 for the 13th Annual J.L. Fisher Industry Mixer! SOC will be hosting a panel discussion from 10:30am - 12:00pm on the communication and relationship between the operator and dolly grip, free for all event attendees.

SOC @ CINE GEAR EXPO

After the panel, SOC members and colleagues shared fun, food, drinks and conversation at the SOC NAB Mixer, hosted by Chapman/Leonard at Gordon Ramsay's Pub & Grill. Thank you to Chapman/Leonard for once again sponsoring this annual event!

Cine Gear Expo takes place May 30 - June 2 @ The Studios at Paramount in Los Angeles. Come visit the SOC at booth #60! We’ll be hosting SOC mentoring in-booth sessions, and presenting an SOC panel on Friday, May 31.

Additionally, SOC hosted interviews in partnership with LIVEU that were streamed live, and also can be viewed on the SOC.org site and the Society’s YouTube channel.

SOC @ DREXEL UNIVERSITY The SOC will present a two-day workshop at Drexel University in Philadelphia on May 31 - June 1. The two-day workshop will include hands-on operating assignments, lectures and screenings. Details and a registration link will be distributed shortly.

SOC @ IFP On Tuesday, June 18 the SOC will be presenting a panel at Film Independent. Check the website for details and the registration link.

SAVE THE DATE - SOC UNDERWATER WORKSHOP Please join us September 27 - 29 for an SOC Underwater Operating Workshop. We're partnering with Hydroflex to bring you an extensive 3-day workshop with programs to fit all levels of proficiency.

SOC SPEED MENTORING EVENT @ CANON The SOC held another successful mentoring event on Sunday, April 14 from 10-3pm. The event was hosted by Canon at their Burbank location. Camera operators were given one-on-one time with veteran operators to ask questions related to the craft of camera operating such as; aspects of working as a camera operator in the industry, techniques for getting that perfect shot, or advice on handling relationships on set. Thank you to the following SOC members who served as mentors; John Boyd, SOC; Richard W. Davis, SOC; David Emmerichs, SOC; Eric Fletcher, SOC; Mike Frediani, SOC; Jamie Hitchcock, SOC, Hector Ramirez, SOC, and Mande Whitaker, SOC.

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Left: SOC president, George Billinger, SOC interviewed by Kate McCallum @ NAB Tiffen Booth. Above: Mentor David Emmerichs, SOC speaks with Associate member Adam Hamer.

SOCIETY OF CAMERA OPERATORS · SOC.ORG

CAMERA OPERATOR · SPRING 2019

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Establishing Shot

by David Emmerichs, SOC

Right Place at the Right Time

Filming Tom Hanks on THE GREEN MILE with focus puller, Heather Page and DP, David Tattersall. Photo by Ralph Nelson

In reflecting upon my recent 2019 SOC Lifetime Achievement Award, I’ve done a lot of thinking about what led me here. As is the case with any milestone achieved over time, it’s a complex combination of circumstances, timing, choices, opportunities, accomplishments, risks, and mistakes. I’ll touch on some of the highs and lows that are the signposts for the direction my career, and life, have taken.

I saw Star Wars as a wide-eyed 10-year-old, and wanted to work in visual effects. I made animated movies in my basement, went to NYU to study animation, and began a career in animation while still in school, but after spending 26 hours animating small trees and a brick-letter B in the background of a music video I began having doubts. I tried on a Steadicam at a trade show and discovered that I loved moving cameras around, which I’d always done in my animated films, but the Steadicam provided instant gratification and was just so

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cool! I knew from the moment I put the contraption on that I wanted to make it my career, but I had no idea how to proceed. A teacher showed me Ted Churchill’s famous Steadicam ad in American Cinematographer magazine: a photo of Ted’s beat-up vest with the word “Experience” at the top, and Ted’s phone number at the bottom. I called him. It was good timing; Ted was looking to pass along what he’d learned so far, and I had the right combination of desire, resolve, and willingness to get Ted coffee, and carry heavy things.

My first lesson in moviemaking, delivered on a freezing cold morning in the windy canyons of Wall Street, was how to dress for the cold.

Ted took pity on me and opened his cold-weather bag to reveal the wonders of GoreTex. I repaid him by tripping him with the leg of his stand the first time he asked me to pick it up and follow him to set.

I almost sent him sprawling to the ground, rig and all, and the cold

SOCIETY OF CAMERA OPERATORS · SOC.ORG

"Steadicam Boot Camp:" Filming vampire cyborgs on the low-budget feature, KNIGHTS. Photo by Bego Gerhart

look he shot me rivaled the chill of the sub-zero wind. I assumed my career was over before it had even begun, but I was saved by the 1st AD calling Ted to number one. In the rush of activity that goes into shooting a scene, the moment was forgotten…by Ted, but not by me. I vowed to look around more carefully before moving anything, including myself, and it has served me well ever since.

Will Smith rapping Summertime, and The Rolling Stones Steel Wheels Tour, where I knocked my matte box off on Mick Jagger’s guitar, and surreptitiously pulled my own focus because my ancient wireless focus system gave out and I didn’t have a backup. My assistant pretended to pull focus to keep up the illusion we were a well-oiled team. It was the lowest stress job he’d ever had. Not so for me!

I borrowed enough money (from friends and family—the bank manager laughed in my face when I asked about loans) to buy a used Model II Steadicam. It was cheap because it didn’t work. Sparks shot out of the 50-pound quick charger, and the monitor fritzed out as I wrote the check. The seller knocked $1,000.00 off the price and begged me to get it out of his sight. Ted had enough spare parts to get me up and running and I was in business. I posted ads all over NYU: “Willing to work on serious student films for free.” I put an ad in the New York Production Guide and let everyone I’d ever met on set know that I was now a professional Steadicam operator! And the work absolutely failed to come pouring in. It did start to trickle in a little though.

I moved to Los Angeles and continued working my way up. I went through what I refer to as "Steadicam Boot Camp" on two low-budget movies called Knights and Brainsmasher: A Love Story. Look them up if you want a laugh. Cyborgs, ninjas, spectacular locations in Monument Valley, and nights in the rain in Portland. I learned a lot in the 10 weeks it took to make both movies.

Every job provided lessons and experience. I worked on dozens of music videos and a few low-budget features—and I mean very low, like working for deferred payment (translation: free)—in hopes of getting something for my reel. I worked for some recognizable artists, such as

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I joined the union, and thanks to Jimmy Muro I found myself in Canada (well-prepared thanks to Ted’s lessons in winter-wear!) backing up a bobsled run wearing ice cleats on Cool Runnings. I finished that movie sweating, and sunburnt in Jamaica, and sold my rig to our second AC. When I returned to Los Angeles, I took delivery of GPI PRO sled number 003. My collaboration with George Paddock, Chris Haarhoff, and Mark O’Kane had resulted in a rig that didn’t require constant expensive repairs and the occasional beating to keep it functioning. The gear side of the job has been simpler ever since.

SOCIETY OF CAMERA OPERATORS · SOC.ORG

When it comes to NDs Christopher Probst, ASC doesn’t mess around. He likes to be in control of his images, leaving little up to chance.

“Building in your intent and vision, in-camera, and having consistency and control where you’re placing exposure and color is paramount in maintaining the integrity of the digital negative.

Regardless of camera, NDs are going be part of the equation. They are a staple of my toolkit. As sensors become faster, having the RHOdium FSNDs help control exposure and manipulate the F-stop to control depth of field — is more important than ever.

When using the RHOdiums, you start off with a neutral palette that doesn’t affect the image as you're photographing it. I was amazed that we could go all the way up to an ND 3 without any color shifting whatsoever. With RHOdiums you’re actually using your time more effectively making artistic choices. Being able to deliver consistency in my work, shot to shot, exposure to exposure, scene to scene regardless of the scenario, or the crew, is how I maintain control.”

Christopher Probst, ASC

In Control with RHOdium FSND Christopher Probst, ASC is a 2018 ASC Award nominee for his work on the Netflix series Mindhunter, directed by David Fincher. He has shot feature films including Beyond Skyline, Fire With Fire and Detention, commercials for Lexus, Mercedes, Infiniti, BMW, Ford, Lincoln, Apple, Samsung, McDonalds, LG, Johnnie Walker and Adidas and music videos for artists like Taylor Swift, Jay-Z, Eminem, Katy Perry and Ariana Grande.

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A few DPs took a risk on a young operator with more energy and enthusiasm than experience. Theo Van De Sande hired me for On Deadly Ground, where I began the “filming-things-crashing-and-exploding” portion of my career. David Tattersall continued that with Con Air, and John Schwartzman introduced me to the world of blowing things up the Michael Bay way on Armageddon. In between the carnage I worked with Oliver Stone, Tony Scott, and did what is still some of my best work for David Fincher on Seven. I love a challenge and Fincher pushed me harder than any other director.

I didn’t always succeed, of course. I fell flat on my back in front of Angelina Jolie my first day on Tomb Raider. I made gaffes with cast and crew as I struggled to master on-set politics and learned that communication is the most important skill for an operator to develop. Occasionally I failed to get the shot, which was embarrassing and resulted in understanding chats or public humiliation, but the experiences all went in the “don’t-do-that-again” file.

Mostly, however, I spent my days behind the camera having a great time. I moved up to A camera on The Green Mile. I met my wife, the actress and writer Liz Vassey, on a movie I’d never have done if I hadn’t said no to operating for Conrad Hall. That was the toughest decision of my career, but I absolutely wouldn’t change it because of where it led. I worked with Stephen Spielberg on Catch Me If You Can, James Cameron on Avatar, and I did three more movies with Michael Bay, each with a plethora of insane stories. More recently I began what I hope will be a long relationship with the talented DP, Seamus McGarvey, on several rewarding films that involve fewer explosions than usual. On Bad Times at the El Royale, photographed by Seamus, I finally achieved the goal of getting a long unbroken take on screen. Ironically, after more than 30 years of Steadicam experience, the four-minute shot was done with a dolly.

Chasing giant robots with focus puller, Todd Schlopy on TRANSFORMERS. Photo by Robert Zuckerman

Trying to cram all those years into this brief recap has shown me how much I have experienced. Certainly not a lifetime’s worth yet, but I do look forward to passing along what I’ve learned to the next generation of camera operators.

DAVID EMMERICHS, SOC David Emmerichs, SOC bought his first Steadicam in 1988.

Three rigs and three decades later he has worked on everything from dishwasher commercials to Guns n’ Roses videos, to Star Trek TV shows to, Hollywood blockbusters like Avatar and Transformers. He’s been an SOC member since 1995, and is currently working on the Avatar sequels. He lives under the Hollywood sign with his fantastic wife, Liz Vassey.

Operating my very first Steadicam shot using Jim Muro’s rig on an NYU student film.

Photo courtesey of David Emmerichs

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Photo courtesey of David Emmerichs

SOCIETY OF CAMERA OPERATORS · SOC.ORG

CAMERA OPERATOR · SPRING 2019

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SOCIETY OF CAMERA OPERATORS · SOC.ORG

The Handmaid's Tale From Moodbook to Screen

by Mike Heathcote, SOC

Based on the best-selling novel by Margaret Atwood, this series is set in Gilead, a totalitarian society in what used to be part of the United States. Gilead is ruled by a fundamentalist regime that treats women as property of the state. In a desperate attempt to repopulate a devastated world, the few remaining fertile women are forced into sexual servitude. One of these women, Offred, played by Elisabeth Moss, is determined to survive the terrifying world she lives in, and find the daughter that was taken from her.

TRIVIA: Bradley Cooper said that Lady Gaga was the one who convinced him they should sing live. Gaga said she hated watching movies where the actors were not lip-syncing correctly to the songs, and to avoid this and get it right they needed to sing live for the film. This was what caused Cooper to get more extensive vocal training.

Elizabeth Moss as Offred in THE HANDMAID'S TALE. Photo courtesey of HULU

CAMERA OPERATOR ¡ SPRING 2019

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GETTING THE JOB I was recommended to our cinematographer, Colin Watkinson, ASC and director, Reed Morano, ASC by Phedon Papamichael, ASC. I remember Phedon put my name forward while we were still finishing principle photography on the film Downsizing. I was a huge fan of both Colin and Reed’s work and the opportunity to work with both of them on a project was very exciting! I immediately picked up the closest copy of The Handmaid’s Tale, the novel by Margaret Atwood, and reread it cover to cover. I was able to get copies of the first three scripts before I met with Colin. I was blown away! Bruce Miller (the writer/producer) did such a great job that I found myself finishing the first script, and couldn’t wait to read the next. My interview with Colin went very well, this was going to be his first time working with Reed as well. A couple weeks later I was excited to get the call from Colin to come aboard as the A camera/Steadicam operator.

THE APPROACH Both Reed and Colin were incredibly prepared. Before we started filming Reed had given Colin, Michael Carr (our B camera operator on Season 1) and myself, a beautiful and detailed moodbook. It was a 60-pluspage document full of images, with quotes and lines from the script that went into detail about the characters, story, and what the audience should feel and experience. When you finished reading it you knew exactly what Reed was going for and it got everyone on the same page. Reed was directing the first three episodes of Season 1 and wanted to make sure we started the show off right. Colin and I then had several conversations before filming.

I think communication is so important and I try to have as many conversations about the project as I can to make sure I understand exactly what the director and DP are going for visually. Colin sent me some more references and we talked about the script in detail and how to bring Reed’s vision to life.

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TRIVIA: The first show produced by Hulu to win a major award, as well as the first show produced by a subscription streaming site to win an Emmy for Outstanding Series—in this case, the drama category.

OFFRED’S LENS From the beginning, Reed wanted to make sure the audience would experience the story through the eyes of our protagonist Offred (played by Elisabeth Moss). She wanted the audience to be immersed into the story and feel like they were there watching and experiencing her every move. We would shoot Offred’s coverage very close and intimate with either hand-held or Steadicam using lenses that were primarily Canon K35s (18mm to 85mm), Canon LD Lenses (100mm & 135mm), Canon 200mm, but most importantly, a Zeiss 28mm. It became what we called “Offred's lens” and we only used it when we were with her to give our visual language a unique identifier that the audience would subconsciously feel. Over the course of the first season this lens became a very special tool to help place the audience right into the scene with Offred.

HAND-HELD WORK Most of the hand-held work was on the shoulder when possible, which both Colin and Reed preferred aesthetically. For handheld wide shots I created a small platform that mounted into a C stand that I could rest my elbows on. It allowed me to really lock in the frame while keeping just a little bit of life in the shot. A lot of our wide shots were incredibly symmetrical and had strong lines so it was important that the frame wasn’t shaking around too much.

For certain shots that required us to get the lens lower, or to float the camera over or into tricky camera positions. we would use the Walter Klassen Slingshot. It’s a support system similar to the Easy rig but instead of a fixed line, the Slingshot uses elastics. You can interchange the elastics depending on the camera weight. The Slingshot fits similar to the Easyrig with a vest, and can be used

with a single adjustable arm or two above the operator’s shoulders. The great thing about it is the elastics provide an incredibly smooth boom range versus a fixed string that can cause a wobble or error in the frame because you’re fighting the tension of the line. It’s also more helpful to absorb vertical movements from the operator’s body.

SEASONS 1 TO 2 For Season 1 Colin Watkinson, ASC was our main cinematographer for all 10 episodes.

On Season 2 we welcomed Zoe White, ACS to the team to alternate with Colin. Zoe is incredibly talented and it was a pleasure to work with her. She came very prepared, had studied Season 1, and knew exactly what we were going for aesthetically. Television is one of those unique formats where the A camera operator and camera team are the constant as others members of the team will come and go, episode to episode. For Season 2 every episode alternated cinematographer, 1st AD, and a new director. Part of my job is to bridge the visual language over every episode while maintaining a consistent shorthand with the actors so they can feel comfortable doing their best work. We always stayed true to the vision we had set up from Episode 1 while leaving room for new directors to bring their unique voice.

FINAL ONE-SHOT There were a lot of Steadicam shots I enjoyed in both Season 1 and 2, but there was one single take shot that stands out for me from the final episode of Season 1. It begins in Offred’s bedroom, which is at the top of the Waterford House. Kari Skogland was our director for this episode and wanted to keep it a single take shot where we stay with Offred the entire walk. We follow Offred down the hall and down a flight of stairs, at the base of the stairs a guardian opens the door for her, and we push past Offred to Serena

SOCIETY OF CAMERA OPERATORS · SOC.ORG

Mike Heathcote, SOC on the set of THE HANDMAIDS TALE. Photos by George Kraychyk

CAMERA OPERATOR · SPRING 2019

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Joy (played by Yvonne Strahovski). Serena is at the top of another flight of stairs leading to the main floor, I slowly push in on Serena, and then pan over to find Offred. We lead Offred down the main flight of stairs to the entranceway where a confrontation takes place. The shot continues to follow Offred outside down the flight of stairs in front of the house, to the street, and then into a vehicle. It is the last time we see Offred closing Season 1. It was a very special shot, and a lot of fun coordinating and operating. Our A camera focus puller, Gottfried Pflugbeil is incredible, and always kept it in focus even when shooting wide open. This was all made possible with the collaboration of our incredible lead actress, Elisabeth Moss. She is so pre-

pared, talented, and brings her best every day.

It inspired me to always bring my best as well.

THANK YOU The Handmaid’s Tale has been one of the most creatively rewarding projects I have had the pleasure to work on. Reed, Colin, and Zoe are incredibly collaborative, and encouraged me from the beginning to express any ideas I might have, as well as allowing me the freedom to really explore a shot. They really pushed me to go against conventional TV framing in fresh and exciting ways, exploring more unique compositions that help shape and create the world of Gilead. I was honored to be nominated by the SOC for

TRIVIA: Margaret Atwood has said that pretty much everything that happens in the novel has happened somewhere in history: The Bible, the Iranian revolution of 1978-79, the backlash against 1980s feminism, etc.

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TECH ON SET:

CAMERAS (all 4KUHD – 4444XQ form at); ARRI Min i; Steadicam; Can on K35 Lenses (18mm to 85m m); Canon LD Lenses (100m m & 135mm); Canon 200mm ; Zeiss 28mm

Camera Operator of the Year - Television for my work on The Handmaid’s Tale. Being a camera operator has always been a dream job and I feel it is the best job in the world.

Behind the scenes, Mike Heathcote operating in low mode with Elisabeth Moss.

Photo by George Kraychyk

SOCIETY OF CAMERA OPERATORS · SOC.ORG

MIKE HEATHCOTE, SOC Mike Heathcote, SOC is a camera/Steadicam operator based in Toronto, Canada. He is a member of I.A.T.S.E 667 and 669 in Canada, and 600 in the US. He was the A camera/Steadicam operator on the feature films Creed 2 and Just Mercy, coming out later this year. Mike is currently preparing and excited for his next feature film The Many Saints of Newark a Sopranos prequel being directed by Alan Taylor and cinematographer, Kramer Morgenthau, ASC. Photo by George Kraychyk

On set with Mike Heathcote and Elisabeth Moss. Photo by George Kraychyk

TRIVIA: The actresses have said that the head coverings they wear when they go outside are like blinders, completely cutting off their peripheral vision. The actresses can't see each other unless they're looking directly at each other. They have to act largely based on what they can hear.

On set with Mike Heathcote and Elisabeth Moss. Photo by George Kraychyk Photo by Niko Tavernise

CAMERA OPERATOR ¡ SPRING 2019

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Legion His Shots Are Legion with Mitch Dubin, SOC an interview by Derek Stettler

Photo by Anne Marie Fox

LEGION: "Chapter 10" - Season 2, Episode 2. Pictured: Dan Stevens as David Haller. Photo by Suzanne Tenner/FX

Legion is trippy and surreal. There’s just no better way to describe it. Since 2017, the series has enthralled and perplexed viewers with its often mesmerizing and inventive storytelling. Taking place in the world of the X-Men, the series follows David Hawler, a young man diagnosed with schizophrenia who faces the very real possibility that his visions are real when he discovers he is, in fact, a mutant. In a world with a secret government agency hunting him, a mysterious orb that captures him, and where many others have psychic abilities, David must journey into his own mind and unravel his shrouded memories to expose a dangerous adversary and unleash his full power.

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SOCIETY OF CAMERA OPERATORS ¡ SOC.ORG

Mitch Dubin, SOC on the set of LEGION. Photo by Manny Duran

Camera Operator was graciously invited to the Legion set at Paramount Studios during the filming of the show’s third and final season to meet the crew, see the show’s A camera operator, Mitch Dubin, SOC at work, and catch a glimpse of how this mind-bending series comes to life.

Camera Operator: Legion is your first TV series. So tell me, how did you get involved with this series as A camera operator?

Mitch Dubin: Legion is created and produced by the same people behind the Fargo TV series, and Dana Gonzalez, who is the principal cinematographer for Legion, and was likewise the principal cinematographer for Fargo. He had reached out to me a number of times for projects that I wasn't available for, but during the third season of Fargo, they did one episode that took place in Los Angeles. He called me up again and I said yes because I really liked the show; it has great visuals and interesting storytelling. We shot for about a week and I had a great experience.

CAMERA OPERATOR · SPRING 2019

Then, when Legion was being developed shortly after that, Dana reached out to me again to ask if I was interested in working on it, and I really liked the idea. So much about it made sense, including that it was with the same group of people from Fargo and it would be filmed here in town, the first job I’ve done in Los Angeles in over seven years.

So I said yes, and I haven’t regretted it, it’s been a really wonderful experience. The first season of Legion was shot in Vancouver, and then I came on board for Season 2 and this final third season, which were both shot here in Los Angeles. The entire experience working on Legion was a very creative endeavor, so I feel very privileged to have worked on it.

We had a great crew. We never worked very long hours, and as I mentioned, it was here in LA; it’s always nice to be able to go back home after work.

movie than I would have expected. Television is so cinematic these days, and Legion is a very visually-motivated show. But one thing that I didn’t expect was how central the camera department becomes on a TV series.

I don't know how this works on most TV shows, but every episode of Legion had a different director, and they alternated DPs and first ADs. So it’s a very interesting experience being a camera operator on a show like this, because the camera crew is the one constant through every episode. I’ve never experienced anything like that, and it was great.

I often found myself collaborating with the directors, guiding them through the language of what Legion is; because it definitely has its own language.

CO: As your first TV series, what’s the experience been like compared to film?

Dubin: You just have to watch the show. It’s a very interesting show, really worth watching. Legion is definitely unique in its style

Dubin: Well, it certainly felt more like a

CO: Very interesting, I love that! And what can you say about the language of Legion?

How would you describe it?

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LEGION: "Chapter 18" - Season 2, Episode 10. Pictured: Jemaine Clement as Oliver Bird, Dan Stevens as David Haller. Photo by Suzanne Tenner/FX

and its look and storytelling. It’s certainly not traditional storytelling, which is what makes it so much fun to do. You have to abandon your ideas of traditional linear narrative, and learn to accept that what you're watching on your television is something you've never really seen before. For example, some of the characters time travel. There are alternate realities and there are scenes that take place in the astral plane. One of the questions the series brings up is whether the astral plane is a universal place, or in the minds of the characters. Sometimes the astral plane would be all white sets, or sometimes it would be all black sets. The traditional rules of continuity or matching action just don’t apply in this show.

We had a saying on set: “Hey man, it’s the

astral plane, dude! You can do whatever you want.”

Legion is visually challenging. It's a very surreal show that doesn't always make sense immediately, but hopefully by the end of the the series it all comes together.

CO: Very cool. And going back to your comment about the camera crew being the common thread through every episode, who did you work most closely with?

Dubin: Beyond the brilliant creator of the show, Noah Hawley, there was John Cameron, who directed a number of episodes.

They were both really wonderful to work with. On the crew side there was of course the two main DPs, Dana Gonzalez, ASC and Polly Morgan, ASC. Dana is a dream to work

with! Polly is lovely and actually shot a couple episodes of Season 3 while very pregnant.

It was a great experience for the crew to see Polly out there working on set, even just a couple weeks before she gave birth!

There were other DPs and directors involved at various points, including Erik Messerschmidt, who shot a couple episodes, and Amy Vincent, ASC the DP on the splinter units. They were all great to work with.

But the core camera crew stayed the same throughout, and they were a great crew. John Connor [2018 SOC Camera Technician Lifetime Achievement Award winner] was the B camera operator during Season 2 and Brian Bernstein was the B camera operator during Season 3, both wonderful collaborators and partners. Legion is a very cinematically-shot

TRIVIA: The color red (in varying shades) figures predominantly in virtually every scene, either on a character's clothing or in the set itself. This is reminiscent of the same thing in the film The Sixth Sense. Photo by Stephane Malenfant

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SOCIETY OF CAMERA OPERATORS · SOC.ORG

show, and we rarely used two cameras, so a lot of times the B camera would go off and shoot the splinter unit or the double-up days. Dave Edsall was the 1st AC throughout both seasons I worked on, as was 2nd AC Jason Alegre. They are a great crew to work with and always had my back. The key grip, Manny Duran is just lovely, an absolute pleasure to work with, as was my dolly grip, Matt Horochowski. Matt was there every day with me throughout all the complicated moves we did. The whole crew was very professional and it was a privilege to work with them.

I’ve said it before: in this business, it's not just being able to perform your job professionally. As a camera operator, it's not just about panning and tilting the camera. That's the easiest part of the job. What distinguishes you in your job is your ability to do the work and still be a great collaborator, and a nice person. To be able to stand next to all the men and women of the cast and crew for 12-plus hours a day, and be civil and nice, and have fun. And we had a lot of fun on Legion, as demanding as it was. Everybody had a great collaborative spirit. There were no huge egos, no petty arguments, no polarization and taking sides. There was just a unity of effort into making a special show. We all enjoyed working with each other and I really looked forward to coming to work. I’m now really sad that it’s over. This has been one of the highlight jobs of my career.

CO: And speaking of that, can you tell me about the locations Legion was shot in?

The majority was shot in the Los Angeles area, with the exception of some key scenes in each season that needed to be desert locations, which were shot in the Santa Clarita and Palmdale area. The majority of the show is actually shot on stage. We went to Paramount Studios for Season 3 and for Season 2 we shot at The Lot in West Hollywood. As for the local locations we chose, we found more generic and non-descript neighborhoods that you wouldn’t be able to identify as being anywhere in particular. Whenever we shot on a city street, the cars that were chosen were always these uncommon obscure cars from Eastern Europe; Soviet-era vehicles that were crazy-looking, but that you couldn’t place in any specific time or region.

CO: Legion is so rich and unusual, visually. So how was it actually shot from a camera perspective, in terms of gear and techniques?

CO: And local.

Dubin: Because the show is so mental, even in the literal sense, to visually tell the story we used a lot of different formats. We would go from 1.78:1 to 2.40:1, in the middle of an episode and even in the middle of a scene.

And sometimes we shot 2.40:1 spherical and other times in traditional anamorphic.

When you work on a show, you get used to what certain lenses mean, both visually and emotionally. Each lens tells a different story.

But because we kept changing formats so much, a given lens means something totally different depending on the scenario. And on this final season, we used the Alexa LF, which has a sensor twice as big as the regular Alexa, so ultimately we got to a point where the lenses just became a part of the language and lost their traditional meaning. We had to choose lenses based on how they looked and felt once we put them on the camera.

Dubin: Yeah, and local.

In terms of gear, we had a lot of toys to play

CO: Wow. Well that’s a powerful statement given your career!

Dubin: [Laughs] Well, yeah. When you've done it as long as I've done it, it's not often you get a project that is so uniquely different than anything you've ever done before. And then on top of that, the people that you're doing it with are all lovely people that are creative and collaborative, and kind.

TECH ON SET

Alexa and A lexa LF cam eras; Phantom; H igh Speed C a m e ra; DJI Ronin 2; Ch apman/Leon a rd dollies; Chapman H ydroscope; Chapman M head; Cable 7 Cam; Techn ocrane; Tech dolly; Cinem n ooves Matrix h e a d ; Li bra Head; Hot G ears; Arri Ge ared Head; O’Con nor Fluid He ad

with. But we relied heavily upon the DJI Ronin 2, which I’d say I used 70-80 percent of the time on a dolly, with me operating the Master Wheels. Occasionally we’d bring in a big telescoping crane with a Matrix or Libra stabilized head. We were always moving the camera on this show, and the Ronin really suited us because it gave us a tremendous amount of freedom. You don’t have to put down dolly track or dance floor. You can just be inspired by whatever the scene presents and be flexible with how you move the camera. The limitations only become your imagination.

As an operator, it’s fun. I remember one day, I was sitting at my Ronin wheels controller, we did one shot and they’d pull that away, then they’d roll in the Matrix head controller on a 50’ Technocrane, roll that away and then bring in the controller for the Technodolly, which is a motion control device. They just kept rolling in different devices. We did use the Technodolly quite a bit, however, as there are several scenes where characters have to play multiple versions of themselves in the scene, which required motion control. The Technodolly is a great device for doing motion control easily.

We used very little Steadicam or hand-held on Legion. Most shows traditionally carry a full-time Steadicam operator, but we didn’t do that. I can count the number of Steadicam shots we did on one hand. If it wasn’t

TRIVIA: The show is part of the X-Men cinematic universe as it connects to its future films while acting as a standalone series. However, it's hinted that it exists in its own universe and not part of the X-Men universe.

CAMERA OPERATOR · SPRING 2019

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on the Ronin 2 or a crane, the camera was on an O’Connor fluid head or an ARRI geared head, depending on shot.

Legion is the only show I have ever done that required (frequently) turning the camera upside down in the middle of shots. Depending on the scene, we often, without notice, needed to improvise methods to rotate the camera 360 degrees, top to bottom. It was easy to do if we had the Matrix head. It was a creative challenge if we didn't. It usually involved somehow rigging the camera sideways on a motorized Lambda head.

One of the other interesting things about Legion is the musical numbers that show up a few times. And they were really fun to do.

When you add music to camera movement, they work together so well. It’s inspirational.

When they play back music on set and I’m

operating the camera, it just makes so much more sense.

was Lucy in the Sky, from writer-director

CO: Sounds like, even with your incredible career, there are still things you learn which surprise you in your work.

gion. He is really a genius, and he's amazing

Dubin: Oh yes, it’s part of why I love this job. Doing this as long as I have, I still learn things every day, and every experience is still unique. I would say the biggest thing that I learned from Legion is that there are still different ways of telling stories visually. You just have to think outside of the box.

Noah Hawley, the creator of Fargo and Leto work with. That was a fun experience and an opportunity to play with some interesting storytelling. The DP on that film was Polly Morgan, ASC, who worked on Legion as well.

It’s funny because the lead character in Legion is played by Dan Stevens, a wonderful actor and very kind man. He was also in Call of the Wild and Lucy in the Sky. We joked that I was in his contract; we worked togeth-

CO: That’s good to hear, sometimes it seems like everything’s been done. So what’s next for you?

er every day for over a year. Coming up next

Dubin: Actually, in between Season 2 and 3, I worked on two films. There was Call of the Wild, with Janusz Kaminski, and there

done a full musical before, and given my ex-

will be West Side Story, with Janusz Kaminski and, of course, Steven Spielberg. I’ve never perience with music and camerawork so far, I’m very excited.

TRIVIA: The character of Syd Barrett, who is played by Rachel Keller, is named after Syd Barrett of the rock band Pink Floyd, whose music was an important influence on the series for Noah Hawley. Barrett left Pink Floyd in 1968 due to mental illness issues.

On the set of LEGION. Photo by Derek Hoffman

MITCH DUBIN, SOC Mitch Dubin, SOC, started his career working as a post-production PA on Apocalypse Now at Zoetrope Studios in San Francisco. During the additional photography of The Black Stallion and Apocalypse Now, he realized working on the set behind the camera was where he wanted to be. Over 30 years later, he has been the camera operator on more than 80 feature films, including sixteen films as the A camera operator for Steven Spielberg. Mitch has been fortunate to have worked on many great films with exceptionally talented crews including such films as: Saving Private Ryan, Lincoln, Jerry Maguire, Any Given Sunday, and Heathers.

Photo by Claudette Barius

DEREK STETTLER An Associate Member of the SOC since 2015, Derek Stettler is a filmmaker who also contributes to the ASC's American Cinematographer magazine. Derek discovered filmmaking as his life's passion after graduating high school in 2010, having since developed his sensibilities through short films, music videos, and commercials. He currently works as a freelance camera operator, video editor, and writer, as he works toward his dream of directing films and television.

Top: On the set of LEGION. Photo by Gabriel De Cunto. Bottom: Photo by Mitch Dubin.

Photo by F. Carter Smith

NCIS: Los Angeles A Journey from Clapper Loader to Focus Puller to Operator to Director

by Terence Nightingall, SOC and Kate Martin

Pictured: Daniela Ruah, LL COOL J, Chris O'Donnell, and Eric Christian Olsen. Photo by Erik Voake/CBS

NCIS: Los Angeles is an American television action series combining elements of the military drama and police procedural genres, which premiered on CBS on September 22, 2009, and stars Chris O'Donnell and LL Cool J. The series follows the exploits of the Los Angeles–based Office of Special Projects (OSP), an elite division of the Naval Criminal Investigative Service that specializes in undercover assignments. NCIS: Los Angeles is the first spin-off of the successful series NCIS. 26

SOCIETY OF CAMERA OPERATORS · SOC.ORG

MY EARLY YEARS I was born in London, England and raised in the entertainment business. My father was a boom operator and worked on many big pictures including several James Bond and Star Wars films. By the age of 22, I started working at Cinefocus, a rental company under Tony Covell. I learned the trade from the ground up, making tea, learning about cameras, delivering, and repairing equipment.

After a few years I moved to assistant cameraman on documentaries for ITV and the BBC. I quickly moved up to feature films as a clapper loader on films such as Princess Bride, Aliens, Willow, and Little Shop of Horrors as well as many others. I was learning the trade under focus puller, Martin Hume.

I had the honor of making tea for the great Freddy Young. I also had the great fortune to work under some of the best DP’s in the UK, including Arthur Ibbetson, Gil Taylor, Paul Beason, Alan Hume, and Adrian Biddle.

Fortunately, I learned camera set professionalism and etiquette from people who many consider to be the best in the business. After a few years I moved on from clapper loading to focus pulling. My break as a focus puller came from Ken Withers and Brian West. I went with Ken to Africa to work on Shadow of the Sun. I was introduced to Steve Yaconelli, a Hollywood DP. Steve and I got along really well and he said if I ever came to the States he would love to work with me.

WORKING IN LOS ANGELES My opportunity to work in the States started on a film, Blue Sky, focus pulling for Steve Bridges, A camera operator, and Steve Yaconelli the DP. This allowed me to join the local 600 after getting enough days on that movie. From there I worked on sever-

al other films with Steve. When I finished with Steve I met Tom Del Ruth. I worked on films with Tom Del Ruth and this led me to ER as a focus puller.

After about six seasons on ER as focus puller I started practicing with the Steadicam rig during lunch, or in the evenings. I also took the Garret Brown one week intensive Steadicam course in Malibu, California. I began to do a shot a day, and then increased to three to four days a week. The operator, Dave Chameides, moved on and I moved up to A Steadicam operator.

Richard Thorpe was a very involved, handson DP on ER. He also believed in the “work it out” school of hard knocks that allowed me to become more involved in the set-up of the scenes.

THE ENGLISH SYSTEM The English system in which I was raised is different than the American system. This, combined with my years of experience on ER, helped me work with a different director on each episode. I was able to guide them through the complex language and technical set-ups of each shot. Basically the choreography of each shot is determined by where I need to have the camera to cover all the action and dialogue.

Some directors are very artistic—heavy on composition—that’s when it gets more interesting, spending more time choreographing the shots, actually composing them. That’s something from feature films that I missed, painting and composing shots. TV can sometimes be more about shooting the script, and dealing with scheduling limitations than just making a nice piece of art. When I get involved with certain directors I can be a bit more creative in terms of composition, it makes it so much more fun and exciting.

TECH ON S E T:

Alexa mini; Steadicam P ro Rig; Short Zoom s Angenieux ; Zoom Ang-24-290 ; Cooke S4 P rime Lenses; Rem ote Head m ini Scorpio; Cra ne Chapman Lenny Arm

FROM ER TO NCIS: LOS ANGELES After 15 years on ER I moved around to several shows. Much of filming was being done in other cites and I worked in Louisiana on The Gates and then in Atlanta on Vampire Diaries. I had several friends and colleagues on NCIS: Los Angeles and I had day played for them over a few seasons. A freak stunt accident sent the A Steadicam operator, Russell McElhatton, to the hospital and he was in recovery for several months. Victor Hammer, the DP on NCIS: Los Angeles called me in Atlanta and asked if I could take over in LA. My wife was dealing with a serious health issue and I was anxious to get back home. Luckily for me the producers of Vampire Diaries were very supportive of my relocation and wished me well.

I finished the rest of the season on NCIS: Los Angeles while Russ rehabilitated himself. Russ decided after the summer hiatus that he wanted to come back to work and the show wanted me to stay on as well. As an operator I requested to still be classified as an A camera Steadicam operator. NCIS: Los Angeles made the decision to keep us both as A Steadicam operators. This meant the show was breaking new ground by using two Steadicams, and achieving its

TRIVIA: Chris O'Donnell and Linda Hunt have both worked with other members of Miguel Ferrer's family. O'Donnell appeared with his cousin George Clooney in Batman & Robin (1997). Hunt appeared with his father Jose Ferrer in Dune (1984).

CAMERA OPERATOR · SPRING 2019

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Behind the Scenes: Daniela Ruah (Special Agent Kensi Blye). Deputy Director Ochoa (Esai Morales). NCIS: LOS ANGELES . Photo by Ron P. Jaffe/CBS

signature look. Russ stayed for one year and then retired. So I was lead A camera and we brought on board the amazing Tim Beavers to fill the B Steadicam spot.

THE LOOK OF THE SHOW The look of the show has evolved and has benefitted from having two Steadicams. It gives us freedom as operators to help guide the different directors with complex stunt scenes. Victor Hammer, the DP also uses the British system, which allows the operator to coordinate with the director for a more intimate and collaborative result.

Our camera team is tremendously talented and professional. Keith Banks and Ritchie Hughes are our focus pullers. They can anticipate what my next moves are and prepare sharp shots all the time. The team would not be complete without the support and expertise of Pete Caronia and Jaqueline Nivens, our seconds.

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FROM OPERATOR TO DIRECTOR The similarities between ER and NCIS: Los Angelesas an A Steadicam operator have allowed me to be intimately involved with many different directors. I have been able to direct two episodes of ER and four episodes of NCIS: Los Angeles so far.

As an operator I am as close to the actors as one can be. I can relate to them and help with their physical positions in relation to where the lens is to achieve the best shot.

As an operator I am intimately involved in every shot, and with all of the actors.

Chris O'Donnell is very detail-oriented when it comes to specific eyelines between other actors both on and off camera. LL Cool J is very specific to how the action works in realism in time with the camera.

Eric Christian Olsen, and Daniella Ruah are very free-flowing when it comes to the camera and the lens. As a team they are

always very professional, prepared, and yet lighthearted.

I am able to listen and watch some of the best directors relate and work with actors.

Over the years this has been essential for my move into directing.

I very much enjoy operating and hope to finish my career as a director for television.

I understand what is required to make a good television show. This is a passion that has evolved over my many years in camera.

To all you people who are interested in operating or directing, I would like to say— “Go paint your pictures the world is there for you to compose.”

TRIVIA: The series was "introduced" in 2009, in the original NCIS series, Season 6, Episode 22 (Legend).

SOCIETY OF CAMERA OPERATORS · SOC.ORG

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CAMERA OPERATOR · SPRING 2019

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Terence Nightingall, SOC working with the edge system, Ritchie Hughes, focus puller in background. Photo by Brian Smith

TRIVIA: Due to the several crossovers between them, the series is set in the same universe that JAG (1995), NCIS (2003), Hawaii Five-0 (2010), NCIS: New Orleans (2014), and Scorpion (2014).

TERENCE NIGHTINGALL, SOC Terence Nightingall, SOC has been operating Steadicam since 2000. Born in London, UK, he began his career as a clapper loader on Superman III with Robert Painter in 1983. Early in his career he was privileged to work with and learn from Arthur Ibbetson, Alan Hume, and Adrian Biddle. All of these cameramen showed incredible professionalism and vision. This led to working on feature films with other talented cinematographers such as; Bernard Lutic, on Revolution, Brian West, on 84 Charing Cross Road, John Bailey on The Accidental Tourist, and Dean Cundry on Who Framed Roger Rabbit. His move to television was with Tom Del Ruth and Later Richard Thorpe on ER where he worked for 15 years. Post ER he moved on to several shows including; Vampire Diaries, The Gates, and is currently working on NCIS: Los Angeles.

Photo by Brian Smith

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SOCIETY OF CAMERA OPERATORS ¡ SOC.ORG

CINE GEAR EXPO LOS ANGELES 2019

FILM COMPETITION EXHIBITS MASTER CLASSES

EXHIBITS FOR

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CAMERA OPERATOR · SPRING 2019

MAY 30 MAY 31 - JUNE 1 JUNE 2

| DEMONSTRATIONS DETAILS GO

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NETWORKING TO

| SPECIAL EVENTS WWW.CINEGEAREXPO.COM 31

Tech Talk As Seen @ NAB - 8 Top Tech

by Eric Fletcher, SOC

L-R: George Billinger, SOC, Eric Fletcher, SOC, and Jason Aron at NAB. Photo by Kristin Petrovich

Each year, the NAB offers the industry one of the world’s largest showcases of the latest and greatest in broadcasting and production technologies. This year, was no exception. Along with the tools of our trade; cameras, lighting, grip, drones, accessories, drones, etc. there were those classic standouts and the new and unusual—all hopefully designed to help support us, as camera operators, to create and “tell better stories.”

These were a few of the top special technologies that stood out for me this year:

1. ALEXA MINI LF ARRI launched its new ALEXA Mini LF camera at NAB. Combining the compact size and low weight of the popular ALEXA Mini with the large-format ALEXA LF sensor, ALEXA Mini LF brings new creative possibilities to ARRI’s large-format camera system. Robust and reliable, it provides the best overall image quality for large-format shooting, and features three internal motorized FSND filters, 12 V power input, extra power outputs, a new Codex Compact Drive, and a new MVF-2 high-contrast HD viewfinder. arri.com/en/camera-systems/cameras/alexa-mini-lf

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SOCIETY OF CAMERA OPERATORS · SOC.ORG

2. BEBOB bebob engineers developed the B-Mount—a new battery mount system that fulfills the power demands of today’s equipment while providing maximum flexibility at the same time. ARRI will be using the B-Mount for all its future cameras. The new B-Mount provides 24 Volt high-power but is also equipped to support multi-voltage use (both 12 Volt and 24 Volt). This adaptability to the respective needs of compatible devices makes it possible to supply all devices on set with a single B-Mount battery system. bebob.de/en/cine

3. ARRI SBR-1 ARRI’s new studio bridge plate changes the paradigm for the much better, gone are the days of trying to line up the sliding baseplate and sliding onto it from the front or rear. Now you just drop the plate on from the top and you are locked into the sliding baseplate. This will make AC’s MUCH happier! arri.com/en/company/press/press-releases-2019

4. CANON SUMIRE PRIMES Canon goes all in on their PL mount Primes and it seems that we want them, they are sold out (at present capacity) for the next two years. 11 iris blades, next to no focus breathing and beautiful creamy highlights all for reasonable money, no wonder they are sold out. usa.canon.com

5. CHILIPEPPER LABS DREAM HD Transmitters done right. Amazing robust transmission technology, on-screen transmission strength meters to help diagnose transmission issues. Ultra-fast reconnect time. chilipepperlabs.com/dream

6. TERADEK BOLT 4K 4K transmission for the masses, wireless HDR transmission so you can see what you are actually shooting. This adds to their already impressive line of transmitters, receivers and receiver monitor combinations making the operator, first AC, utility, DP and directors’ job easier with zero delay. teradek.com/collections/bolt4k

7. NIKON Z6 FILMMAKERS KIT Nikons new Z6 camera with the Nikon Z 24-70mm lens and the FTZ Full frame lens adapter paired with a Atomos Ninja V, Moza air 3 axis gimbal and a Rode Videomic Pro+ Shotgun mic for an insanely low price. Can you say previz kit that can double as an additional camera? Fun fact, Nikon's Neutral color profile for all their video capable cameras since the D810 is a match for the Arri Alexa native colorspace, meaning you can intercut footage no problem...You can thank Dexter for that! nikonusa.com/en/nikon-products

8. ATOMOS NINJA V, SHOGUN INFERNO AND SUMO19 PRO-RES RAW Remember the old Reese Peanut butter spots? You got peanut butter in my chocolate, you got chocolate in my peanut butter! Well, now it’s you got RAW in my Pro-Res! You got PRO-RES in my Raw! Now you can have all the advantages of RAW in an easy-to-edit codec and workflow. atomos.com/proresraw ERIC FLETCHER, SOC Eric Fletcher, SOC a native of St. Louis, Missouri started in the film industry in the early 80s as a camera assistant then moved up to operator. Eric DP’d over 4,000 political commercials, along with operating on many TV movies, features and TV series. During his career Eric has been at the bleeding edge of the move to HD production and beyond, participating in the first live demo of analog HDTV transmitted via fiber optics. Presently, Eric is a full-time camera operator/Steadicam operator, and is honored to be on the Board of Governors for the SOC where he serves as the Chair of the Technical Standards Committee. Photo by Randy Tepper

CAMERA OPERATOR · SPRING 2019

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It’s time to see media and entertainment from all angles.

Visit NABShowNY.com to learn more.

Smooth Operator Dancing with the Stars

by Hector Ramirez, SOC

Hector Ramirez, SOC captures the tango on ABC's DANCING WITH THE STARS. Photo courtesy of Hector Ramirez

Working in live television has its own special demands, and because

In contrast to the system we’re used to where the director plans the

of my experience in working in live television, I was asked to work

shots and then calls the shots as we go, the English use the beats and

on a series that was going to be a brand new Dancing With The Stars.

bars like a music score and plans the shots accordingly. It was a new

The production team was English and had been producing the show

learning experience for the entire crew. The technical team consisted

for a few years in England. They were not familiar with Los Ange-

of lighting director, Simon Niles, technical director, Charles Ciup, and

les-based technical personnel, so they hired an American produc-

14 cameramen. As the Steadicam operator, I worked very close with the

tion manager, Linda Giambroni, who was familiar with my work. I

director and the choreographer, Mandy Moore, to plan the shots. Once

was interviewed by the director, Alex Rudzinski, and met with the

the shots were set, it was important to then run the shots by the lighting

executive producer, Conrad Green. Per the director, the show had

director in order to minimize shadows, or any other problems.

many challenges—one being that it was going to be shot predomi-

For the rehearsals with the talent, since I was in very close proximity

nantly utilizing the Steadicam, which I was hired to operate.

to the performers, I worked closely with the choreographer for cre-

In our first camera meeting, I realized they had a totally different sys-

ative and safety reasons. During the live show, unlike the American

tem of how they approached the shooting of all the musical numbers.

directors, the English directors do not call the shots. Once the show

CAMERA OPERATOR · SPRING 2019

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Top left, clockwise: On set with Ann Margaret, George Clooney, and Bob Hope.

Photos courtesy of Hector Ramirez.

starts the A.D., Kate Moran, started the count and like an orchestra, we commence the “symphony.”

The producers and director had a specific stylistic signature for the show. They wanted it to feel that the viewer was part of the dancing.

As a Steadicam operator, I wanted to be almost as one with the dancers and performers in order to give the viewer a sense of intimacy with the performance. To achieve this, I used a wireless Steadicam and two lenses; a Fujinon wide angle 14 x (4.5mm-59mm) F18, and a Fujinon long angle 20 x (7mm-140mm) F4.

This show gave me the opportunity to push myself both creatively and physically. The director decided to shoot several numbers using only the Steadicam. He called and asked if I was up to the challenge and after a brief pause, I accepted. There are two numbers that come to mind of which I am most proud of—Nick and Lena Kosovich’s Tango, and Lindsey Stirling’s Crystallize.

Working with the talent consisting of the professional dancers, celebrities, and the host was a real pleasure. They were all appreciative, and were always willing to adjust and work with me to achieve the look that we all wanted.

After 50 years of working as a cameraman, I have the satisfaction of having fulfilled a gratifying career that has also given me recognition among my peers. I will continue to work, as long as I can, to hopefully be an inspiration to other cameramen.

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HECTOR RAMIREZ, SOC Hector’s television career began in 1968 at KLXA channel 40, a Spanish station and then KTLA where he first became aware of the SOC. After about a year he worked with independent producers and did a brief stay at ABC. In 1973 he landed a job at CBS Television City. During the 8 years at CBS, he had developed relationships with various directors like Dwight Hemion, Walter Miller, Louis J Horvitz, and producers like Marty Pasetta, and Pierre Cossette who began seeking him out to work for them in the freelance arena.

Among his Emmy Awards and Nominations, this year he was honored with the 2019 SOC Lifetime Achievement Award.

Photo by Alma Ramirez

SOCIETY OF CAMERA OPERATORS · SOC.ORG

SOCIETY OF CAMERA OPERATORS EDUCATIONAL WORKSHOPS

Join the SOC in 2019 for Camera Operating Workshops taught by working professionals.

These workshops are designed to sharpen your skills, teach techniques for operating, better understanding of the roles and responsibilities on set, and to elevate the craft of camera operating.

• Underwater Camera Operating Workshop • Operating in the 4th Dimension - Working with Telescopic Cranes • Camera Operating for Cinema & TV • Camera Operating for Live & Sports Production • Running the Set – the Role of the Operator

SOC members will receive details via emails in addition to priority registration and discounts.

Workshops will be noted if non SOC members are able to register.

CAMERA OPERATOR · SPRING 2019

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SOC Founders Spotlight Owen Marsh, SOC

by Michael Frediani, SOC SOC Heritage Chair Owen continues to grow bonsai plants, currently raising about 200 of them. “You can make a bonsai from almost any plant except succulents by trimming the roots down by about 50%, and constant pruning.” When it comes to the pots he makes his own. “The first one my wife bought for me years ago cost $80 which was outrageous, so I make and fire my own at the local community college.” He even grows them in rock crevices and tree stumps “…because people told me I couldn’t.”

Owen Marsh at a recent book signing in Florence, Oregon. Photo by Jay Nefcy, SOC

As the SOC celebrates our 40th this year, we’d like to highlight one of the SOC’s founders. Owen Marsh, SOC lives happily with his wife Evelyn in Florence, Oregon along the Siuslaw River. Owen experienced a varied and lively career, from his childhood appearance in the Clark Gable movie San Francisco (MGM 1936), to his retirement as a camera operator in 1990. A prolific poet and writer Owen penned the popular industry book Parking Lots I’ve Eaten In, a thread of tales that could only be woven by someone who personally witnessed the in-front-of and behind-the-lens drama, laughter, and hijinks that existed so many years ago.

Now 89 years old and still as witty as ever, Owen enjoys going to the movies—“When there’s a good one to be seen”—at his local cinema with Evelyn. The recent one they very much enjoyed was Green Book, “Really outstanding work in front of and behind the camera by everybody.” As for current TV viewing they count The Big Bang Theory amongst their favorites. Three to four days a week they work out at the gym near the housing estate he helped develop many years ago, doing chair exercise classes, “core, balance, everything.”

The Marsh’s still love driving up and down the Oregon coast, “The most beautiful coastline in the world,” while listening to books on tape because Owen developed dyslexia a few years back, “Which really pisses me off.” So, with all of that plus occasional computer gaming and a daily nap Owen has a very happy life and wishes all of his SOC brothers and sisters a career as rich and full as he experienced over the years.

Owen’s book can be found at Lulu.com and amazon.com by searching the site for Parking Lots I’ve Eaten In (And haven’t we all eaten breakfast, lunch and dinners in parking lots?).

MICHAEL FREDIANI, SOC Michael Frediani, SOC has been an SOC member since the mid-1980s, first as an associate member, then an active member since the early 1990s.

He was elected president in 1995 and again in 2011 contributing articles and serving as editor of this magazine in the interim. Frediani is currently a 20-year member of the Board of Governors.

Photo courtsey of Michael Frediani, SOC

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SOCIETY OF CAMERA OPERATORS · SOC.ORG

The Society offers different levels of membership for individuals and manufacturers in the production community – Active, Associate, Educator, Student and Corporate.

CAMERA OPERATOR · SPRING 2019

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Insight TIM BELLEN, SOC What was one of your most challenging day on set? During the 1994 Commonwealth Games there was only one working Skycam in the world—and I crashed it. Also, successfully operating a 7-page Steadicam "oner" on the series The Night Shift.

What is your most memorable day in the industry? For the HBO/ Phillip Kaufman movie Hemingway and Gelhorn, I operated a shot starting on a close-up of Tony Shaloub, then to Robert Duvall, David Strathairn, Nicole Kidman, and Clive Owen. I was a nervous wreck.

What job do you want to do that you haven’t? Produce a WWII aviator’s story.

Photo by Jessica Ramos

ADAM MARSCHALL, SOC

Credits: Good Girls Season 2, Rise, VEEP Season 5, Masters of Sex Seasons 1 & 2, Pushing Daisies Photo by Adria Marschall

Most challenging day on set? As a PA I was tasked with picking up five different rental vans and parking each at short-term airport parking prior to meeting the crew and gear at baggage claim. If you’re lucky, you start from the bottom and work your way up.

What is your most memorable day in the industry? Getting my first camera job with the Cleveland Cavaliers. I nervously sat through an hour long "welcome back" crew meeting before realizing that I had already been hired. I was totally expecting an interview.

What is the job you have yet to do but most want to do? I would love to be a DP and/or an operator for feature films. I have yet to delve into longer format shorts and features, but have a feeling it’s right around the corner.

Credits: Big Brother, Hidden Heroes, Phil Plait’s Bad Universe

JEFFREY CAROLAN, SOC Most challenging day on set?

My first set-up on the wheels was a 50’ dolly following an actor in on a moped with a 150mm lens.

What is your most memorable day in the industry?

Getting to operate beside a true master of their craft David Frederick, SOC, who’s a consummate professional and ace behind the lens!

I learned so much sharing a set with him.

What is the job you have yet to do but most want to do?

A big action film with a lot of car work. I really enjoy high energy sets Photo courtesy of Aristotle Dreher

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and racing/cars so if you put them together I’m smiling ear to ear!

Credits: Timeless, Vida, Better Things, Heather’s, Red Sky

SOCIETY OF CAMERA OPERATORS · SOC.ORG

SOC Roster CHARTER MEMBERS Lou Barlia Parker Bartlett Paul Basta Michael Benson * Stephanie Benson Rupert Benson Jr. Bob Bergdahl Howard Block Donald R. Burch Jerry G. Callaway David Calloway Philip Caplan Mike Chevalier Bill Clark * Dick Colean Steve Conant Jim Connell Rick Cosko Jack Courtland Elliot Davis Sam Drummy Joe Epperson Michael Ferra Ron Francis William Jay Gahret Jim Glennon Ray Gonzales Jerry Good Jack Green, ASC Gil Haimson Peter Hapke Lutz Hapke Bill Hines Jim Hoover Bill Howard John Huneck Wayne Kennan, ASC Bob Keys Gary Kibbe David Kurland Norm Langley Thomas Laughridge * Steve Lydecker Brice Mack III Joe Marquette Jr. Owen Marsh * Bob Marta * Bob McBride Ed Morey Tom Munshower Fred Murphy Al Myers Lee Nakahara Jay Nefcy Rik Nervik Leigh Nicholson King Nicholson John G. Nogle Dan Norris Skip Norton David B. Nowell, ASC Wayne Orr Richard Price Ernie Reed Arnold Rich

Randall Robinson * Parker Roe Sam Rosen Peter Salim Lou Schwartz Chris Schwiebert Michael Scott Bob Seaman Hal Shiffman Roger Smith Fred Smith Michael St. Hilaire Ray Stella Joe Steuben John C. Stevens Carol Sunflower Bill Swearingen Joseph F. Valentine Ron Vidor Sven Walnum

ACTIVE MEMBERS Peter Abraham Jonathan S. Abrams Steve Acheson, Jr. Grant Lindsay Adams Danny Alaniz Michael Alba Jeffrey Alberts Bret Allen Shanele Alvarez Colin Anderson Philip Anderson Kevin W. Andrews Andrew Ansnick Mariana Antunano Christopher Arata Francois Archambault Joseph Arena Robert Eugene Arnold Will Arnot Ted Ashton Jr. Kjetil Astrup Mark August * Andrei Austin Grayson Grant Austin Jacob Avignone Daniel Ayers Jesse Bactat Christopher Baffa Lonn Bailey Scott Baker James Baldanza David Baldwin Jr. Jerry Banales Christopher Banting Jeff Barklage Angel Barroeta John James Beattie Jonathan Beattie Jonathan Beck Tim Bellen Garrett Benson Brian Bernstein Justin Besser Corey Besteder George M. Bianchini

CAMERA OPERATOR · SPRING 2019

George Billinger * Howard H. Bingham Maceo Bishop Bonnie S. Blake Jason Blount Jeff Bollman John Boyd Katie Boyum Kevin D. Braband Hilaire Brosio Garrett Brown Kenny Brown Pete Brown Scott Browner Neal Bryant Stephen Buckingham Robin Buerki Gary Bush Rod Calarco Stephen S. Campanelli J. Christopher Campbell JR D. Campbell Susan A. Campbell Jeffrey Canfield Stewart Cantrell Jose A. Cardenas Robert Carlson Jeffrey Carolan Michael Carstensen Peter Cavaciuti Dave Chameides Lou Chanatry Joe Chess Jr. John Christopher Cuthbert Anthony Cobbs Craig Cockerill Steven Cohen Marcis Cole Keith Colodny Kris A. Conde Andrew Glenn Conder Brown Cooper Dan Coplan Gilles Daniel Corbeil Luke Cormack Ross Coscia Javier A. Costa Richard J. Cottrell Tom Cox Jeff Cree Rod Crombie Bradley Crosbie Richard Crow Jeff L. Crumbley Grant Culwell Francois Daignault Nicholas Davidoff Markus Davids Rick Davidson Collin Davis Richard W. Davis Roberto De Angelis Andrew A. Dean Michael S. Dean Anthony Deemer William Demeritt

Kris Andrew Denton Kevin Descheemaeker Joel Deutsch Don Devine Kenny Dezendorf Twojay Dhillon David E. Diano * Troy Dick Jim van Dijk Alfeo Dixon Matthew I. Doll Rick Drapkin Scott C. Dropkin David Drzewiecki Mitch Dubin Simon Duggan, ACS Mark Duncan Jeffrey Dutemple Allen D. Easton Pauline Edwards William Eichler David Elkins Jason Ellson David Emmerichs Kevin J. Emmons Ramon Engle Ezra Epwell Alex Escarpanter Steve Essig Brant S. Fagan Diane L. Farrell Dianne Teresa Farrington Gregory Faysash Jesse Michael Feldman Ellie Ann Fenton Michael Ferris George Feucht James Anthony Firios Andrew Fisher Lance Fisher Dawn Fleischman Torquil Fleming-Boyd Michael-Ryan Fletchall Eric Fletcher Christopher Flores Michael Flueck Houman Forough Felix Forrest Ian Forsyth Justin Foster Steve G. Fracol Keith Francis Tom “Frisby” Fraser James Frater David J. Frederick * Michael Frediani * Brian Freesh Steven French Dan Frenkel Guido Frenzel Mick Froehlich Jeff Fry Michael Fuchs Paul M. Gardner David Gasperik Rusty Geller Eric Gerber Michael Germond William Gierhart

George R. Gifford Laurie K. Gilbert William Spencer Gillis Christopher Glasgow Mark Goellnicht Daniel Gold James Goldman Allen Gonzales Robert Gorelick Roger Grange Afton M. Grant Chad Griepentrog Ric Griffith James Gucciardo Robert Guernsey Pedro Guimaraes John Gunselman Craig Haagensen Chris C. Haarhoff Jess Haas Kevin Haggerty Geoffrey K. Haley John Hankammer Simon Harding Tim Harland Joshua Harrison Matt Harshbarger Daryl Hartwell Kent Harvey Chris Hayes David Haylock Nikk Hearn-Sutton Mike Heathcote David Heide Dawn J. Henry Alan Hereford Steven F. Heuer Kevin Hewitt Brandon Hickman David Hirschmann Jamie Hitchcock Petr Hlinomaz Abe Holtz Jerry Holway Paul Horn Casey Hotchkiss William Howell II Bradley Hruboska Colin Hudson Ashley Hughes Christian Hurley Philip Hurn Matthew Hutchens Spencer Hutchins Alexa Ihrt Dave Isern Christopher Ivins Eugene W. Jackson III Jerry Jacob Francis James Alec Jarnagin Gary Jay Simon Jayes Andrew “AJ” Johnson Christopher D. Jones Quenell Jones Steven Jones Jacques Jouffret Sven Joukes

John H. Joyce David Judy Mark Jungjohann David Kanehann Mark Karavite Lawrence Karman Dan Kavanaugh Jason Kay Derek Keener Adam T. Keith Brian Kelly David Kimelman Dan Kneece * Rory Robert Knepp David T. Knox Beth Kochendorfer Robert Kositchek Bryan Koss Bud Kremp Kris Krosskove Mark LaBonge Thomas Lappin Per Larsson Jeff Latonero Kristian Dane Lawing Sergio Leandro da Silva Richard Leible Alan Lennox Rachael Levine Ilan Levin Mikael Levin Sarah Levy David Liebling Jimmy Lindsey, ASC Abigail Linne Hugh C. Litfin John Lizzio Christopher Lobreglio Patrick Longman George Loomis Benjamin Lowell Greg Lundsgaard Kenji Luster Guido Lux Rob Macey Vincent C. Mack Paul S. Magee Giuseppe Malpasso Kim Marks Justin Marx Jared G. Marshall Cedric Martin Adam Marschall Philip J. Martinez Daniele Massaccesi J. Steven Matzinger Nathan Maulorico Brennan Jakob Maxwell Parris Mayhew Peter McCaffrey Bill McClelland Jim McConkey David B. McGill Ian McGlocklin Michael P. McGowan Christopher T.J. McGuire Ossie McLean Aaron Medick Alan Mehlbrech

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Hilda Mercado Olivier Merckx Matias Mesa Jack Messitt Mark J. Meyers Mike Mickens Duane Mieliwocki Mike Milia Darryl Miller Marc A. Miller Phillip Miller Thomas Miller Ethan Mills Andrew Mitchell William Mitchell William Molina Mitch Mommaerts Mark Emery Moore K. Neil Moore Matthew Moriarty Josiah Morgan Dana Morris Josh Morton Manolo Rojas Moscopulos John “Buzz” Moyer Jeff Muhlstock Michael James Mulvey Scott T. Mumford Peter Munson, Jr. Keith Murphy Sean Murray Saade Mustafa Dale Myrand Leo J. Napolitano Marco Naylor Robert Newcomb Julye Newlin George Niedson William Nielsen Kenny Niernberg Terence Nightingall Kurt Nolen Randy Nolen Austin Nordell Casey Norton William O’Drobinak Mark D. O’Kane Gery O’Malley Michael D. Off Andrew William Oliver John Orland Brian Osmond Kako Oyarzun Georgia Tornai Packard * Heather Page Nick Paige Curtis E. Pair Victor J. Pancerev Noah Pankow Andrew Parke Patrick J. Pask Micah Pastore Al “Tiko” Pavoni Matthew Pebler Paul C. Peddinghaus Douglas Pellegrino Karin Pelloni Andre Perron John Perry George Peters Matthew A. Petrosky Jonathan F. Phillips Alan Pierce

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Theo Pingarelli John Pingry Jens Piotrowski Joseph Piscitelli David Plakos Adrian Pruett James Puli Louis Puli Kelly Pun Ryan Purcell Yavir Ramawtar Hector Ramirez Juan M. Ramos James B. Reid John Rhode Dax Rhorer Selene Richholt Alicia Robbins Ari Robbins Peter Robertson Brent Robinson Brooks Robinson Dale Rodkin Eric Roizman Sharra Romany John Romeo Peter Rosenfeld Jesse Roth Dave Rutherford Rafael Sahade James Sainthill P. Scott Sakamoto Sanjay Sami David M. Sammons Joel San Juan Juanjo Sanchez Bry Thomas Sanders Milton A. Santiago Ricardo Sarmiento Daniel Sauvé Gerard Sava Sean Savage Martin Schaer Ron Schlaeger Michael Scherlis Mark Schlicher Mark Schmidt Job Scholtze Vadim Schulz David Jean Schweitzer Fabrizio Sciarra Brian Scott Ian Seabrook Dave Selle Benjamin Semanoff Barry Seybert Barnaby Shapiro David Shawl Chelsea Lee Shepherd Osvaldo Silvera Jr. Gregory Smith Marques Smith Needham B. Smith III Teddy Smith Vanessa Smith Dean Robert Smollar John Sosenko Andy Sparaco Mark Sparrough Benjamin Xavier Spek William Spencer Gills Francis Spieldenner Sandy Spooner

Lisa L. Stacilauskas Robert Starling Meagan Stockemer Thomas N Stork Michael R. Stumpf David L. Svenson David Taicher Ian S. Takahashi Yousheng Tang Jaron Tauch Gregor Tavenner Brian Taylor Christopher Taylor Peter Taylor Paige Thomas David James Thompson Henry Tirl John Toll, ASC Eduardo Torres Remi Tournois Neil C. Toussaint Jamie Trent Bryan Trieb Bela Trutz Michael Tsimperopoulos Chris Tufty * Dan Turrett Brian Tweedt Joseph Urbanczyk Matt Valentine Dale Vance, Jr. Paul D. Varrieur Leandro Vaz Da Silva Ron Veto Adi Visser Stefan von Bjorn Rob Vuona Bill Waldman Michael J. Walker Timothy N. Walker Gareth Ward Gretchen Warthen Mic Waugh Raney “Bo” Webb Aiken Weiss Drew Welker Dale A. West Clay Westervelt Des Whelan Robert Whitaker Mande Whitaker Kit Whitmore Parker Whittemore Peter Wilke Jeffrey Wilkins Ken Willinger Tom Wills Chad Wilson David A. Wolf Ian D. Woolston-Smith Peter C. Xiques Santiago Yniguez Brian Young Lohengrin Zapiain Chad Zellmer Brenda Zuniga * Past SOC President

ASSOCIATE MEMBERS Christine Adams Jeechul Ahn

Brian Aichlmayr Colin Akoon Jamie Alac Tyler Allison Ana M. Amortegui Greg Arch Fernando Arguelles Michael Artsis Joshua Ausley Richard Avalon John Bailie Blaine Baker Denson Baker Ryan Vogel Baker Scott Gene Baker Thomas Bango Tyson Banks Michael Barron Craig Bauer Adam Wayne Beck Adriatik Berdaku Justin Berrios Nicholas Bianchi Alicia Blair Stas Bondarenko Peter Bonilla Jean-Paul Bonneau David Boyd Warren Brace Mary Brown Rochelle Brown Donald Brownlow Clyde E. Bryan Sasha D. Burdett Leslie McCarty Chip Byrd Eusebio Cabrera Yi Cai Anthony Q. Caldwell Calvin Callaway Ryan Campbell Jordan Cantu Jack Carpenter David John Carroll Marc Casey Quaid Cde Baca Kirsten Celo Johanna Cerati Libor Cevelik Ian Chilcote Damian Church Kerry Clemens Mark Cohen Gregory Paul Collier Antoine Combelles Nathan J. Conant Shannon Connally Chad Cooper Gabriel Paul Copeland Gareth Paul Cox Richard P. Crudo, ASC Jack Cummings Chad Daring Farhad Ahmed Dehlvi Enrique Xavier Del Rio Galindo James DeMello John Densmore Johnny Derango Caleb Des Cognets Ronald E. Deveaux Vincent DeVries Lance Dickinson

Eric Druker Matthew Duclos Orlando Duguay Adam Duke Keith Dunkerley Colin Duran Brian James Dzyak Robert Eagle Edward Endres Andre Ennis David T. Eubank Allen Farst Nicholas A. Federoff Ellie Ann Fenton Kristin Fieldhouse Stephanie Fiorante Jessica Fisher Tom Fletcher John Flinn III, ASC Isiah Flores Mark Forman Mike Fortin Tammy Fouts Chuck France Michael A. Freeman Fred M. Frintrup Hiroyuki Fukuda Dmitry Fursov Sandra Garcia Benjamin Gaskell Geoffrey George Hannah Getz Hank Gifford Daniel Godar Michael Goi, ASC Wayne Goldwyn Al Gonzalez John M. Goodner Noble Gray John Greenwood Adam Gregory Phil Gries Ryan Grosjean Tomasz Gryz Lauren Guiteras Josef “Joe” Gunawan Shelly Gurzi Marco Gutierrez Jason Hafer Bob Hall Adam Hamer Mufeng “Derek” Han Tobias Winde Harbo James Hart John Hart Kyle Hartman Jason Hawkins Adam Heim Andres Hernandez Orlando Herrera Daniel Hertzog Anthony P. Hettinger John M. Hill, Jr. Andrew Hoehn Scott Hoffman Chris Horvath Nichole Huenergardt Brett Hurd Jake Iesu Toshiyuki Imai Andrew A. Irvine Gregory Irwin Michael Izquierdo

Mark Jacobs Neeraj Jain Jennie Jeddry Keith Jefferies Lacey Joy Henry Bourne Joy IV Jessica S. Jurges Timothy Kane Brandon Kapelow Ray Karwel Frank Kay April Kelley Alan G. Kelly Mark H. Killian Douglas Kirkland Sean Kisch Christian Kitscha Michael Klaric Michael Klimchak Nick Kolias Mark Knudson Robert Kraetsch Brian Kronenberg Robert La Bonge Laurence Langton Jose-Pablo Larrea Barbie Leung Alan Levi Mark Levin Ilya Jo Lie-Nielsen Jun Li Tian Liu Niels Lindelien Marius Lobont Eamon Long Gordon Lonsdale Jasmine Lord Carl Nenzen Loven Christopher Lymberis Dominik Mainl Steven Mangurten Aaron Marquette Jose del Carmen Martinez Nicole Jannai Martinez Jim R. Matlosz Joshua Mayes Brett Mayfield Ray McCort David William McDonald Mike McEveety Josh McKague Nathan Meade Rocker Meadows Marcel Melanson Mengmeng “Allen” Men Alexandra Menapace Sophia Meneses Christopher Metcalf John Paul J. Meyer Jonathan Miller Andrew R. Mitchell K. Adriana ModlinLiebrecht Michael Monar Kenneth R. Montgomery Autumn Moran Dean Morin Mark Morris Evan Morton Matthew C. Mosher Damon Mosier Jekaterina Most Nick Muller

SOCIETY OF CAMERA OPERATORS · SOC.ORG

David Mun Nicholas Matthew Musco Hassan Nadji Sam Naiman Navid John Namazi Zach Nasits Jimmy Negron Michael Nelson Benjamin Kirk Nielsen Dennis Noack Chastin Noblett Jose Maria Noriega Louis Normandin Crescenzo G.P. Notarile, ASC Jorel O’Dell Adrien Oneiga Bodie Orman Pascal Orrego Jarrod Oswald Paul Overacker Justin Painter Larry Mole Parker Steven D. Parker Art Parnitudom Andrew Parrotte Florencia Perez Cardenal Angelica Perez-Castro Anthony Perrella, Jr. Mark W. Petersen Jon Philion Mark Phillips Tyler Phillips W. S. Pivetta Ted Polmanski Robert Primes, ASC Joe Prudente Delia Quinonez David Rakoczy Jem Rayner Marcia Reed Brice Reid Claudio Rietti Nathan Rigaud Ken Robings Mario Rodriguez Tyler Rocheleau Andy Romero Tim Rook Peter J. Rooney Daria Rountree Sam Rosenthal Jordi Ruiz Maso Jan Ruona Dylan Rush Kish Sadhvani Christian Salas-Martos Danny Salazar William Tanner Sampson Sean Sanchez Christian Satrazemis Chris Sattlberger Nick Savander Steve Saxon Ryan Schultz Christian Sebaldt, ASC Christopher Seehase Brian Sergott Alexander Seyum Sathish Shankutty Haley Shepard Yael Shulman Stephen Siegel

Peter Sikkens Karina Maria Silva Anil Singh Michael Skor Jan Sluchak Robert F. Smith Tyson Smith John Snedden Laurent Soriano David Speck Don Spiro Owen Stephens Derek Stettler Michael Stine Darren Stone Scott Stone Skyler Stone Joshua Stringer Aymae Sulick Jeremy Sultan Andy Sydney Tiffany Taira Fabian Tehrani Matthew Thorp John Twesten Thomas “Joe” Tyler Justin Uchendu Gary Ushino Daniel Urbain Sandra Valde Thomas Valko Aimee Vasquez Christopher Vasquez Michael Velitis Nick Vera Benjamin Verhulst Marshall Victory Jesse Vielleux Breanna Villani Miguel Angel Vinas Terry Wall W. Thomas Wall Louis-Pascal Walsh William Walsh Neil Watson Alex White Jared Wilson Ryan Wood Tim Wu Watcharawit “Koon” Ya-Inta Tim Yoder Scot Zimmerman

CORPORATE Abel Cine Adorama Anton Bauer Arri, Inc. Atomos B&H Foto & Electronics Corp.

Band Pro Film & Video Blackmagic Design Brother International Corporation Canon, USA Inc. Carl Zeiss Microimaging, Inc. Chapman/Leonard Studio Equipment CineDrones Cinema Devices

CAMERA OPERATOR · SPRING 2019

Cinemoves Inc. Codex Cooke Optics Limited Core SWX CW Sonderoptic Duclos Lenses Freefly Systems Fujifilm/Fujinon Filmtools, Inc. Geo Film Group, Inc. Helinet Aviation Services History For Hire Imagecraft Productions, Inc. JL Fisher, Inc. Keslow Camera Litepanels Manios Digital & Film Matthews Studio Equipment Monster Remotes Other World Computing Panasonic Cinema Panavision Preston Cinema Systems Pursuit Aviation RED Digital Cinema Schneider Optics Sigma Sim International Sony Electronics That Cat Camera Support Tiffen Transvideo Ver Wooden Camera Zacuto USA

RETIRED MEMBERS

John M. Grace Ron McPherson Mauricio Vega Ralph W. Watkins

Aldo Antonelli Paul Babin Tom Barron Al Bettcher James Blanford Bruce Catlin Ivan Craig Richard A. Cullis George Spiro Dibie, ASC Robert M. Feller Jerry Fuller Dick Fisher Anthony Gaudioz Wynn Hammer Ken Hilmer Gary Holt Robert C. Horne Douglas H. Knapp Michael Little Heather MacKenzie James Mann Stan McClain * Michael McClary Ron McManus Mike Meinardus Emmanuel Metaxas Robert "Bob" Moore Sol Negrin, ASC David L. Parrish Aaron Pazanti Richard Rawlings Jr., ASC Andy Romanoff Frank Ruttencutter Carl Schumaker Sr. Chuck Schuman Philip D. Schwartz Guy Skinner George B. Stephenson Gene Talvin Joseph N. Tawil Adam S. Ward

HONORARY

STUDENTS

EDUCATORS

John Bailey, ASC Tilman Buettner James Burrows Alexander Calzatti Trevor Coop Roger Corman Dean Cundey, ASC Bruce Doering Clint Eastwood Tom Hatten Ron Howard Gale Anne Hurd Sarah Jones Michael Keaton Ron Kelley Kathleen Kennedy-Marshall Jerry Lewis Gary Lucchesi Larry McConkey A. Linn Murphree M.D. Diana Penilla Steven Spielberg Robert A. Torres George Toscas Roy H. Wagner, ASC Alfre Woodard

Jack Armstrong Jamie Araki Reynaldo Aquino Sammy Avgi Nathan James Bachmann Melissa Baltierra Zakrey Barisione Bedik Bedikian Daniela Bornstein Ziryab Ben Brahem Emmett Bright Caitlin Brown Jiayao Chen Petr Cikhart Autumn Collins Richard Colman Andrea Damuding John Darian William Dauel Dakota Diel Annor Doeman Michael A. Garcia Sam Gilbert Badra Alois Haidra Christian T. Hall Tyler Harmon-Townsend Marisa Harris Myles Anthony Holt

LaKisha Renee Hughes Carolyn Scott Hunt Piankhi Iknaton Daniel James Crystal Kelley KC Kennicutt John P. Lansdale Eric Liberacki Guilherme Costa Ari Linn Vincent Lomascolo Jose Lora Bali Majji Jeff-Steven Arevalo Mojica Fabian Montes Joshua Montiel Rome Imari Mubarak Takuya Nagayabu James Nagel Lucien Night Rui Jiang Ong Ruben Palacios Vishal Parmar Weerapat "Art" Parnitudom Ryan Petrolo Connor Pollard Karina Prieto Macias Cheng Qian Ryan Richard Matthew Richter Jackson Rife Marco Rivera Edgar Santamaria Esther Santamaria

Emil Schonstrom Alexandria Shepherd Simon Sidell Jennifer St. HilaireSanchez Grace Thomas Joshua Thomas Kendra Tidrick William Torres Romas Usakovas Anna Vialova Anthony Worley Peiqi Wu Watcharawit "Koon" Ya-inta Linxuan "Stanley" Yu Lucia Zavarcikova Yiyao Zhu

Current as of May 1, 2019.

AD INDEX ARRI 3 arri.com Blackmagic Design 5 blackmagicdesign.com Chapman/Leonard Studio Equipment C2 chapmanleonard.com Cine Gear Expo 31 cinegearexpo.com Cinemoves Back Cover cinemoves.com J. L. Fisher 9 jlfisher.com Leitz Cine Wetzlar 29 leitz-cine.com NAB Show NYC 31 nabshowny.com Schneider Optics 11 schneideroptics.com Sigma 13 sigmacine.com That Cat Camera Support 7 cameraslider.com Tiffen C3 tiffen.com

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Social SOC

Curated by Ian S. Takahashi, SOC society_of_camera_operators

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society_of_camera_operators The SOC is proud to have James Frater SOC (@steadicam_sa ) hosting our IG for the next week!

His work includes SIX, Black Sails, and The Crown.

Here he is With 1stAC james Blyth and Key grip JP Ridgeway, on amazons “the widow” returning to 1’s after a riot scene oner. DOP Stuart Howell and John Lee ———————————————————————— #bestJobEver #thesoc #cameraOperator #Photographer #Camera #Lens #DirectorOfPhotography #Cinematography #Cinematographer #Videography #Photography #Videography #PhotographyIsLife #CameraSupport #CameraAccessories #SOC #bts #movies #film #TheSOC

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society_of_camera_operators @peter.rosenfeld - Peter Rosenfeld, SOC with Mango & John Connor @jst4shw - “some movie somewhere” ———————————————————————— #TheSoc #bestJobEver #thesoc #cameraOperator #Photographer #Camera #Lens #DirectorOfPhotography #Cinematography #Cinematographer #Videography #Photography #Videography #PhotographyIsLife #CameraSupport #CameraAccessories #SOC #bts #movies #film ————————————————————————jst4shw Good times, great people!

nerdyguy29 I think the camera operator needs a comfy seat pad.

Photo by Jake Koenig

Follow the SOC membership on Instagram. See iconic photos from behind-the-scenes, on-set backstories, and images that inspire. Join in the conversation! @ Society_of_Camera_Operators 44

SOCIETY OF CAMERA OPERATORS · SOC.ORG

W H AT W I L L Y O U C R E AT E ?

INTELLIGENT HORIZON ASSIST AVAIABLE NOW FOR STEADICAM M-1, ARCHER 2, SHADOW, SHADOW V, ULTRA 2, CLIPPER 3, & GPI PRO SYSTEMS tiffen.com/steadicam/voltsystem The TIffen Company, LLC. 90 Oser Avenue • Hauppauge, NY 11788

Image of Steadicam Operator Rey Reyes using the Steadicam Volt System for M-1 ©2019 The Tiffen Company. All trademarks or registered trademarks are property of their respective owners.

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