Camera Operator: Summer 2020

SOC.ORG · SUMMER 2020

VOL. 29, NO.3

SUMMER 2020

THE MANDALORIAN

POSE · SUCCESSION OKAVANGO: RIVER OF DREAMS MAKING THE TRANSITION FROM UNSCRIPTED TO NARRATIVE

CAMERA OPERATOR · SUMMER 2020

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SOCIETY OF CAMERA OPERATORS · SOC.ORG

CONTENTS DEPARTMENTS

FEATURES

4 LETTER FROM THE PRESIDENT 6 NEWS & NOTES

14 THE MANDALORIAN

SOC Member Resources Portal and Introduction to Inclusion Committee

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10 ESTABLISHING SHOT an interview with Alfeo Dixon, SOC by David Daut

56 SMOOTH OPERATOR "Operator as Storyteller"

by Matthew Moriarty, SOC

57 WHAT'S YOUR STORY...?

by Janice Arthur

60 INSIGHT Meet the Members

61 SOC ROSTER 64 SOCIAL SOC

"Star Wars Meets Disney+" an interview with Craig Cockerill, SOC and Karina Silva by Kate McCallum

24 POSE "Having a Ball" an interview with Peter Vietro-Hannum and Wylda Baron by Kate McCallum

32 SUCCESSION "Challenge and Reward" an interview with Rachael Levine, SOC and Francis Spieldenner, SOC

by David Daut

40 OKAVANGO: RIVER OF DREAMS "Dreams and Nightmares Filming in the Okavango Delta Botswana"

by Luke Cormack, SOC

44 SPECIAL: MAKING THE TRANSITION FROM UNSCRIPTED TO NARRATIVE curated by Kenny Niernberg, SOC and Gretchen Warthen, SOC with interviews from: Stephen Coleman, Pauline Edwards, Kenny Niernberg, Gretchen Warthen, Sarah Levy, Lauren Peele, Tommy Maddox-Upshaw, Alan Pierce, Vanessa Joy Smith, Matt Valentine, Mande Whitaker

24 44 32 CAMERA OPERATOR · SUMMER 2020

ON THE COVER: Pauline Edwards, SOC on the set of ON MY BLOCK Season 2. Photo by Alexi Gonzalez

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Society of Camera Operators Technology Andrew Ansnick, Luke Cormack, Rich Davis, David Emmerichs, Eric Fletcher, Steve Fracol, Dave Fredericks, Chris Haarhoff, Mike Heathcote, Jamie Hitchcock, Simon Jayes, Doc Karmen, Mark LaBonge, Bill McClelland, Rocker Meadows, John Perry, Manolo Rojas, Sanjay Sami, David Sammons, Job Schotz, Gretchen Warthen Inclusion Sharra Romany, Nikk Hearn-Sutton, Olivia Abousaid, Shanele Alvarez, Alfeo Dixon, Pauline Edwards, Alexandra Menapace, Jeremiah Smith, Lisa Stacilauskas, Gretchen Warthen, Mande Whitaker

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

BOARD MEMBERS Colin Anderson David Emmerichs Eric Fletcher Michael Frediani Geoffrey Haley Matthew Moriarty David Sammons Dave Thompson Gretchen Warthen

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

Janice Arthur Wylda Baron George Billinger, SOC Craig Cockerill, SOC Steven Coleman, SOC Luke Cormack, SOC David Daut Alfeo Dixon, SOC Pauline Edwards, SOC David Elkins, SOC Kevin J. Emmons, SOC Rachel Levine, SOC Sarah Levy, SOC Tommy Maddox-Upshaw, SOC Kate McCallum Janice Min, SOC Matthew Moriarty, SOC Kenny Niernberg, SOC Alan Pierce, SOC Peter Vietro-Hannum Vanessa Joy Smith, SOC Francis Spieldenner, SOC Nikk Hearn-Sutton, SOC Matt Valentine, SOC Gretchen Warthen, SOC Mande Whitaker, SOC Sharra Romany, SOC

CAMERA OPERATOR MAGAZINE

PHOTOGRAPHY

Publishing & Executive Editor Kristin Petrovich Managing Editor Kate McCallum Art Director Stephanie Cameron Advertising Jeff Victor

Jaswinder “Jazz” Bedi Luke Cormack, SOC François Duhamel Alexi Gonzales Jane Goodall Melinda Sue Gordon

STAFF AND CONSULTANTS

COMMITTEE CHAIRS Awards George Billinger, Mitch Dubin, Dan Gold, Geoff Haley, Bill McClelland, John “Buzz” Moyer, Dale Myrand, Benjamin Spek, Dave Thompson, Dan Turrett, Rob Vuona Charities Brian Taylor Membership Drive Lisa Stacilauskas Historical Mike Frediani Membership Dan Gold, Dan Turrett Technical Standards Eric Fletcher Education Mitch Dubin

CONTRIBUTORS

Mark Hill Peter Kramer John Le Blanc Cara Pastore Macall Polay Nicole Rivelli Ramy Romany Parker Schultz Karina Silva Lara Solanki T. Turner

TRIVIA Source imdb.com

TO SUBSCRIBE or for subscription information questions: SOC.org or 818-563-9110

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Letter from the President Welcome to the 2020 summer edition of the SOC Camera Operator magazine. This is our second publication in the all new digital format. Incredible effort and design go into the magazine in this format. I hope you enjoy it.

So here we are in August with a definite feeling of mixed emotions. As the pandemic continues on its relentless path, I hope and pray that you and all of your families, friends, and communities are safe and healthy.

There is urgency, undoubtedly, with where we stand as nation, and as individuals in defeating this crippling and destructive virus. In spite the challenges and uncertainties we face, our organization has made tremendous growth. We have definitely used the circumstances and the time to our advantage.

Let’s take a look at where we stand and what lies ahead.

We have a glimmer of hope as our industry is starting to slowly recover from its state of suspended animation after five months. Albeit very slowly in size and scope, there has been movement forward.

That is encouraging even on the smallest level.

The SOC has made a significant impact in the virtual realm. We now have a new Member Portal, and along with that a new digital archive of incredible online learning experiences from the Education Committee.

The Mentorship Program continues to see success. The ability to connect with and learn from the “best of the best” has become a hugely important part of engaging and giving back to the membership.

We have also recently formed a new Inclusion Committee. We are in the process of learning and listening to our members. We look outward and believe in humanity, and not a demographic. With the power and ambition of our members to promote diversity, equity, and inclusion.

The SOC, ASC, and Local 600 have now formed a joint effort Inclusion and Diversity Group. I am very proud of this moment for our entire industry and the efforts it took to be able to participate collectively. You could not ask for a finer group of passionate individuals. There will be further information coming very soon on the newest developments as things move forward with the group. I hope we can craft a change for forever.

I want to sincerely thank the all the committees and the individuals participating for their unyielding commitment and dedication to the SOC. It’s important to remember that without all of their tremendous efforts we would not be where we are today.

I want you to know during these unprecedented times and events our membership is made up of the truly the greatest people. We have integrity, talent, and tradition as our foundation. We have seen a complete upending of our daily lives, yet we are always true to form and continue to march on.

I wish you all a summer that greets you with strength and resilience—and destiny for good things to come.

With gratitude,

George Billinger, SOC Society of Camera Operators, President

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SOCIETY OF CAMERA OPERATORS · SOC.ORG

CAMERA OPERATOR · SUMMER 2020

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SOC MEMBER RESOURCES PORTAL The SOC is proud to announce its Member Resources Portal is open to all SOC members.

SOC members will be able to access over 60 hours of educational content including past recordings of the Inspirational Roundtables, Making the Transition to Narrative Series, Camera Operating Lecture Series, and more with new content being made available as soon as its ready.

If you are an SOC member in any category, you should have received an email from the SOC office with details on how to create your own unique username and password so that you can access the SOC Member Resources Portal.

If you are not a current member and would like to join, membership information can be found SOC.org/Membership.

CALENDAR OF EVENTS Sunday, August 9, 11am PT Back to Work During the COVID 19 Pandemic As the industry starts back to work and with so many unanswered questions, the SOC presents a two-hour Zoom session addressing the experiences of operators and crew working during this new era. ** Session will be recorded an in the memebrship portal.

News & Notes Thursday, August 13 & August 20 SOC Educational Series – Health & Well-Being In these challenging times, the SOC seeks to present tools and techniques to use for many of the challenges we may be facing— physically and mentally, on the job, or during the "in-between” times.

We are proud to present two experts focused upon training, healing, mindfulness, and well-being. This is a unique opportunity to improve your well-being while learning about different approaches and methods, and potentially gain insights into a more fulfilling career and life.

Thursday, August 13, 11am PT Liz Cash, Founder of Liz Cash Strength & Conditioning Thursday, August 20, 11am PT Mitra Manesh, Founder, Innermap, Host of Lights On, Mindful Thought Leader ** Sessions will be recorded an in the memebrship portal.

Check SOC.Org for updated listing of all upcoming gatherings and virtual events.

NEW Membership Portal As an SOC member you gain access to the membership portal with over 70+ hours of content including:

• • • • • •

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Camera Operating Series, in partnership with AFI Getting Back to Work During the COVID 19 Pandemic Health & Well Being Series Inspirational Roundtables Making the Transition from NonScriped to Narrative The Secret Life of the Camera Head

SOCIETY OF CAMERA OPERATORS · SOC.ORG

INTRODUCING THE SOCIETY OF CAMERA OPERATOR INCLUSION COMMITTEE The SOC has created a newly formed Inclusion Committee which is answering the call of many members and the society at large to address inclusion and diversity within our corner of the industry. The Inclusion Committee will take an intersectional approach to addressing systemic biases and will further work to amplify the voices of those who have not previously been given a platform to do so. The SOCIC hopes to accomplish this goal through education, events, partnerships, outreach, support, exposure, and creating best practices, amongst others.

The SOC Inclusion Committee welcomes the voices of the SOC membership and invites input and ideas. As the SOC Inclusion Committee crescendos its nascent efforts into a progressive task force in the coming months, members are welcome and encouraged to participate, to offer support, and to be part of the solution with us.

MISSION STATEMENT The Inclusion Committee is dedicated to facilitating an inclusive and equitable atmosphere for all SOC members.

CO-CHAIRS OF THE INCLUSION COMMITTEE

Nikk Hearn-Sutton, SOC Photo courtesy of Nikk Hearn-Sutton Sharra Romany, SOC Photo by Ramy Romany Sharra Romany, SOC is an award-winning commercial/branded DP and camera operator in unscripted television. She is co-founder of Los Angeles/Cairo based production company, Romany Films and is currently the co-chair of the Inclusion Committee for the Society of Camera Operators (SOC) where she has been a member since 2018.

She has traveled the world in search of monsters on SyFy Channel’s Destination Truth and helped create one of the most popular shows on teeny cooking, Tiny Kitchen. No adventure has been greater though, than homeschooling and traveling around the globe with her three children in search of mummies, pirates, and Disney Parks.

Sharra’s mission is to use the entertainment platform to bring awareness of social and cultural issues and the human experience, and looks forward to working with the amazing members of the SOC’s Inclusion Committee on advancing that agenda.

CAMERA OPERATOR · SUMMER 2020

Nikk “2K” Hearn-Sutton is a camera/Steadicam operator for 22 years, based out of Cincinnati, Ohio, and has been an active member of the SOC since 2014, and the SOA (Steadicam Operators Association) since 1998. He was highlighted in the Summer 2018 edition of Camera Operator magazine in the Smooth Operator article. Nikk is a part of the Mentor/Mentee Program for the SOC, and is a Local 600 operator. He’s very proud of his accomplishments, being one of very few Black camera operators and Steadicam operators in Local 600, and one of the first Black operators in his home state and surrounding states in the Northern Central Region. Nikk gives back to his community through volunteering his time to teaching and showing those starting out what he has experienced from his humble beginnings to success in the field of his craft. He is also a co-founder of the College Movie Festival in the Southwestern region of Ohio, a college film competition going on its 16th year for the schools with an e-media or film program.

Some of Nikk’s notable credits include Anastasia: Once Upon a Time, 10 Minutes Gone, The Strangers: Prey at Night, and most recently The Big Ugly, and Say I Do on Netflix.

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ADDITIONAL INCLUSION COMMITTEE MEMBERS

Please feel free to contact us for more information at Inclusion@SOC.org.

Olivia Abousaid Photo courtesy of Olivia Abousaid

Shanele Alvarez, SOC Photo by Parker Schultz

Alfeo Dixson, SOC Photo courtesy of Alfeo Dixson

Pauline Edwards, SOC Photo courtesy of Pauline Edwards

Allie Menaspace Photo by Erika Doss

Jeremiah Smith Photo courtesy of Jeremiah Smith

Lisa Stacilauskas, SOC SOC Board of Governors Secretary Photo by Jaswinder “Jazz” Bedi

Gretchen Warthen, SOC SOC Board of Governors Photo by Lara Solanki

Mande Whitaker, SOC Photo courtesy of Mande Whitaker

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SOCIETY OF CAMERA OPERATORS · SOC.ORG

CAMERA OPERATOR · SUMMER 2020

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Establishing Shot an interview with Alfeo Dixon, SOC by David Daut

On the set of SPECTACULAR NOW, 2nd Unit. Photo courtesy of Alfeo Dixon

Alfeo Dixon, SOC has worked as an operator in film and television for

rapher. I worked in that capacity for about five or six years and then

a number of years with credits on The Walking Dead, Mixed-ish, and

switched my card over to operator.

Being Mary Jane. Alfeo has recently joined the SOC’s newly-formed

CO: How was that transition?

Inclusion Committee as well as sitting on the Executive Board of the ICG Local 600 and co-chairing the Diversity Committee for the Central Region. We spoke with Alfeo to get some insight into his career as an operator and his role in advocacy for Black people and people of color in the industry.

Camera Operator: So, first off, how did you get started as a camera operator?

Alfeo Dixon: I actually transitioned from being a unit stills photog-

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Dixon: It was a little tough not coming up the ladder exactly how they want you to “move up” and transition from being a camera assistant to loading to second, to first, to operating. I did use that opportunity while I was shooting stills—I saw a trend happening where most of the B cameras and A cameras were Steadicam operators—so, I decided to go ahead and invest in a rig and also take the Steadicam courses. I did all that while I was still working as a still photographer, I actually had all of my gear delivered to the studio where I was on set

SOCIETY OF CAMERA OPERATORS · SOC.ORG

On the set of MIXED-ISH, Season 1 with B camera 2nd, Julius Graham. Photo courtesy of Alfeo Dixon

working. All of these big cases from Tiffen and Preston are coming in, so all of my huge investment was just landing at the studio while we were still in production.

CO: [Laughs] Definitely a bit different from the traditional path.

A lot of that work you were doing at the time was on Tyler Perry sets, correct?

Dixon: Right! Actually before I did stills, I was a location scout and a location assistant manager, so when Tyler was doing his very first feature, Diary of a Mad Black Woman, I showed him my book, and he loved it, and I got the job. So, I just left my desk at the locations office and went on set as his still photographer. I was there until I decided to become a camera operator.

CO: What was it like working with Tyler Perry?

Dixon: Oh, it was great back then! He was very jovial and a jokester and, you know...really nice. He enjoyed what he was doing and really pushed the envelope, asking, “Why can’t we do something quicker?” or sometimes cheaper. I don’t think he ever went with the cheaper route just to save money, but if something could be done faster, that’s always going to be cheaper for him. And I think the advantage was that he was the head honcho, so there was no other person to have to send it up the ladder and wait for everyone to put their two cents on it. He’d just say, “No, I want that changed,” and it would happen.

While I was there, I used the opportunity as a stills man to actually study and understand why the A camera was moving and transitioning from shot to shot. If they were shooting wide, then I would shoot in wide and take the opportunity to get the wide shot, and then I knew that we were going to punch in and get tighter shots later. I

CAMERA OPERATOR · SUMMER 2020

learned really quickly that DPs don’t like you to jump in there and get that extreme close-up shot when they’re not lit for it. [Laughs] It’s like, “What lens are you on? Why are you doing that?” or, “Why are you over there when we’re over here?” So, it was kind of my training on set to make my transition. A good couple of years being able to study why things were being done as an operator.

CO: Absolutely! And more recently, one of the next projects you have coming up is the Coming to America sequel. Is there anything you can tell us about working on that film?

Dixon: I can say that all of the original cast is back. It was really great! Initially, I was offered the C camera days, but I also got the opportunity to go out to Los Angeles and work on Mixed-ish as the B Steadicam. That was full time and I needed the boost for the pocket, so I decided to opt out and take that. Although I later heard that C camera worked almost every day on Coming 2 America; I was like, “Darn!” [Laughs] Later, Will Arnot was leaving the show to go do another feature, so I took a call from Jody [Joe Williams] to work on Coming 2 America on B camera and Steadicam. I was like, “Hell yes, but let me clear it with my boss now.” I asked Troy [Smith] if he wouldn’t mind if I left and he said, “You’d be stupid not to.” So, you know, I packed it up and went back to Atlanta and finished up.

CO: You mentioned Mixed-ish. In addition to features, you’ve done a fair amount of television work. The Walking Dead and a couple episodes of Ozark among other things. How different is it operating for a TV shoot versus on a feature?

Dixon: Of course the big difference for TV shooting is schedule. At times it can be a lot of, “Hurry up, hurry up, hurry up!” We had a lot of that on Mixed-ish because of the kids, trying to shoot the kids

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Alfeo Dixon (right) on Vitas Ft. Nappy Roots ROLL WITH THE BEAT music video with camera assistant, Sho Dixon (left). Photo by Cara Pastore

and then all of a sudden we’d come to a halt and be like, “What are we doing?” [Laughs] You’re so used to this fast pace and then the kids are gone and you only have a couple more shots on the schedule and it just grinds to a halt. Walking Dead could be a really hard show sometimes because of different locations and everything. You know, it was funny seeing Scott Gimple looking like he went to REI and bought all of the new gear—boots and long pants and shirt buttoned all the way up with ascot and scarf just to keep the bugs off. I was always a big soccer player, so I’d take my soccer socks and yank them all the way up. You know, there’s the deer ticks and the chiggers and the mosquitos—we were in some pretty rough places a lot of times.

The jail was a dream. But it was all really great. Rohn Schmidt was the DP when I got offered to come out, and I think I did two-and-a-half seasons with him as his day player, C camera. It was really great that he supported me coming out.

CO: You also sit on the Executive Board of the ICG Local 600 and co-chair the Diversity Committee for the Central Region. Could you talk a bit about what you do in those roles?

Dixon: It’s been interesting—it's a contemporary issue right now with everything that’s been happening—there’s been a lot of enlightenment for some of our cohorts in terms of people recognizing and understanding. Sort of, “Oh, I didn’t know this,” but this is nothing new, it’s just that you’re finally seeing it with your own eyes. By the time we got to Rayshard [Brooks], for some it hit that this is a regular

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occurrence, but I’ve been living with this for 45 years since the first time I was called the N-word.

Recently I’ve been helping to put together something that started back in 2017—just a listing of camera folks of color so that we can find and identify each other because our union did not have any type of statistics. We did have a diversity directory that started in 2005, but that’s gone away.

To that point, I want to quote my colleague, Baird Steptoe, Sr., who said, “There are several ways we can pursue outreach to help others who may be excluded and who are being diminished while at work.

Diminish is an interesting term. I’ll define it meaning you do not experience the same level of respect from certain individuals that you are working with, and that they may feel you may not have the same ability as themselves, and that you have received your position on production through what they consider an unfair opportunity.”

CO: Pursuing that outreach is crucial. Recently we’ve paid a lot of attention to diversity in front of the camera—be it calls for more diverse representation or in the “Oscars So White” conversation—but diversity is just as important behind the camera. What would you say are the biggest challenges for Black people and people of color entering these fields?

Dixon: I don’t think it’s a problem as much as it used to be in terms of entering these fields because there are so many different programs

SOCIETY OF CAMERA OPERATORS · SOC.ORG

to help people from the entry level. But in terms of supporting the members that are already there—I know when I did Brockmire, I was day played as Steadicam, and I remember Maurice L. Marable mandated that we were going to be diverse throughout all departments from the top down. That’s the way it has to be. There have to be opportunities created that are inclusive and supportive. DPs have to want to look outside of their circle and find people that are underrepresented. I’m not going to just say “diverse.” There was a Twitter account I came across called “Camera So White”—a play on “Oscars So White”—and there was a picture of the #BlackAF camera crew and it was “diverse,” but there wasn’t a single Black person on that camera crew. It’s a bit of irony, but it’s also something we see all the time. I’ve been on a lot of crews where I was the only person of color for shows that were primarily Black cast, story, producers, but when you get down to the camera crew, it’s six to eight white men.

Maybe one or two women at a lower entry level. That’s pretty much what all of the camera departments would look like.

CO: It’s making sure those opportunities are there in the first place, but also supporting people and making sure they have the avenues to succeed and to thrive. It can’t just be tokenism.

Dixon: Unfortunately, it’s not like corporate America where there’s hiring practices to make sure that things are on the level; we have none. There’s also obstacles in terms of just not knowing someone, where people don’t know outside of their circles. I blame them for not reaching outside of their circles and not knowing people— that’s on them—but in the same sense it’s kind of bad form when the C camera day comes along and all of a sudden it’s a Black operator, a Black first, and a Black dolly grip. Oh! You guys are finally thinking about diversity now. I joke sometimes and call it the “Colored camera.”

CO: Yeah, there’s definitely a lot more work we need to do in confronting the biases that very much remain pervasive within the industry.

Dixon: A good friend of mine—and I’m not sure if you know much about soccer culture—there’s a position they call a capo. You’ll see them in the supporter sections going crazy. LAFC has a lot of them; their north wall is nuts, I love it! But there are these people called capos, and the capos are there to help lead the chants and keep everybody in sync. I was a capo for Atlanta United during its first two seasons, and I encouraged a good friend of mine to be a capo.

Her name is Angel, she’s a white woman. She finally got the courage about halfway through a season and she’s up there still, she’s great. I ran into her the other day and she put it very simple. She said, “This is our problem that we created, it’s up to us to fix it.” You know, in terms of what’s going on—the systemic racism, the economic oppression, and everything else. And I was like, wow, that’s pretty simple and said well. And that really translates over into how we hire in our film industry. We didn’t create this system, we just want to work, and we’d like to work with everybody else.

CAMERA OPERATOR · SUMMER 2020

ALFEO DIXON, SOC Alfeo entered the film industry in 1994. By October 1995, Alfeo directed three music videos with DP Matthew Libatique (Iron Man). He studied photography at Portfolio Center, published by 1998, and was a set photographer from 2001-2009.

He has studied Steadicam, master DP, and 3D cinematography in Maine.

Alfeo has worked with Eddie Murphy, George Clooney, Janet Jackson, Kathy Bates, Angela Bassett, Paula Abdul, Cybill Shepherd, Erik Estrada and with directors, directors such as Robert Rodriquez, Ron Underwood (Tremors), Michael Schultz (Car Wash), Debbie Allen (FAME), Michael Lange (The Fall Guy) and Craig Brewer (Hustle & Flow) to name a few.

Alfeo has worked in Kenya, Trinidad and Tobago, Curaçao, and Brazil. Projects have shown in FESPACO, Pan African, Bronze Lens, Rome, and the Dixie and Atlanta Film Festivals.

Photo by courtesy of Alfeo Dixon, SOC

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The Mandalorian Star Wars Meets Disney+ an interview with Craig Cockerill, SOC and Karina Silva

by Kate McCallum

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SOCIETY OF CAMERA OPERATORS · SOC.ORG

 WATCH TRAILER NOW Craig Cockerill, SOC operates on the set of THE MANDALORIAN. Photo by Melinda Sue Gordon

CAMERA OPERATOR · SUMMER 2020

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The Mandalorian is an original American space Western television series created by Jon Favreau and released on Disney+. It’s the first live action series in the Star Wars franchise. The narrative follows the title character, a Mandalorian bounty hunter named Din Djarin. The Mandalorian is set after the fall of the Empire and before the emergence of the First Order. We follow the travails of a long gunfighter in the outer reaches of the galaxy, far from the authority of the New Republic. Favreau also serves as showrunner, as well as executive producer alongside Dave Filoni, Kathleen Kennedy, and Colin Wilson.

As of May 2020, just eight months after launching, Disney+ reported over 54 million subscribers which generate nearly $3.5 billion annually and Forbes predicts the service could be worth $30 billion in five years. It’s difficult to quantify The Mandalorian’s role in those numbers and the success of Disney+, but it’s definitely been a hit. According to Parrot Analytics it was the “Most In-Demand Series Debut of 2019.” Camera Operator had the opportunity to interview SOC member, Craig Cockerill, SOC camera operator, and B camera operator, Karina Silva about their experience working on this fantastic series. The Madalorian also recently received 15 Emmy nominations including Outstanding Drama Series and Outstanding Cinematography for Single-Camera (Half-Hour).

Camera Operator: Craig, how did you get involved in this highly regarded Star Wars series?

Craig Cockerill, SOC: What an honor to be involved with The Mandalorian! Sometimes jobs just land in your lap and I couldn’t be happier about this one. Directors of photography, Greig Fraser ASC, ACS; and Barry “Baz” Idoine were involved with The Mandalorian long before I arrived. They had worked together on Rogue One. I knew Baz from Blue Lagoon 2 in Fiji, but lost touch with him as he moved into the feature world and worked on such movies as Michael Clayton, There Will Be Blood, and Vice. Before the show started Baz asked his long-time friend, focus puller, Cheli Clayton (also my long-time friend), if she knew any TV operators that might be a

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Cockerill: Because I spent 15 years in commercials I'm definitely on board with the importance of every shot and find it second nature to dress frames to maximize their potential. Well placed foreground and crosses can greatly enhance a frame, strengthen composition and even direct the viewer’s eye toward the action, especially when shallow depth of field is in play, which it definitely was on this show.

Cockerill: First let me say, when all is said and done, behind all the equipment and technology, people are what get shows made—it’s as simple as that. With the right talent in place we get to witness the magic that happens in film and that is one of the many things I love about our industry. Credit must go to Disney+ for choosing this project to spearhead the launch of their streaming service. Jon Favreau has done very well for Disney. He has said that he has been interested in the Star Wars universe beforehand and, having directed Ironman and Lion King, he has an in-depth understanding of visual effects and technical processes. Favreau’s knowledge in this arena culminated, in alliance with Greig and Baz, ILM, Magnopus, Epic Games, Profile Studios, and Lux Machina, in the invention and implementation of a real-time interactive LED screen/stage/environment called “The Volume” which was key in achieving the stunning final result. In its simplest form, The Volume provides a photo real background that interacts with camera position and movement. It’s quite something to look through the camera and be transported into another world—The Volume’s real-time rendering of 3D backgrounds played out perfectly and made that possible. In addition to implementing this dazzling technology, J.F. and Dave Filoni, who is one of the foremost authorities on the Star Wars universe, had the foresight to take this series in the direction they did.

CO: Can you speak to the new technologies that were incorporated into the creation of the series?

CO: How much do you think the cinematic style of Star Wars influenced the look and feel of this series?

good fit for the operator position, given the show criteria. She recommended me and Karina Silva. Grieg and Baz liked the reels I had on my website and after some conversations and an on-set interview of sorts I joined the team. Karina operated B Camera.

CO: I can imagine how exciting it was to be involved with the storyworld of such an incredible franchise like STAR WARS. Classic! How was it working with Greig?

Cockerill: The first thing I noticed was Greig’s focus and attention to detail. He’s always calm and approachable, and at the same time aware of everything around him.

He’s the kind of DP who leaves no stone unturned. On my first day he really emphasized the importance of maximizing every frame for story and cinematography.

CO: I’m aware that you’ve a background in commercials. How does that effect the way you work in scripted drama?

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Operators Craig Cockerill, SOC and Karina Silva line up shots over THE MANDALORIAN. Photo by François Duhamel

CAMERA OPERATOR · SUMMER 2020

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THE MANDALORIAN. © 2018 Lucasfilm Ltd. & ™. All Rights Reserved.

Cockerill: The cinematic imagery from 40 plus years of Star Wars has left an impression! Young or old, at the mention of those two words, most conjure up a familiar image, whether a downtrodden ship gliding through a remote galactic spacescape or dynamic light saber battle at the edge of some perilous drop off, the images stick with us. Bringing Greig and Baz onto this project, therefore, was a real coup in my opinion. Certainly, all Star Wars films are stellar cinematic achievements and Rogue One is no exception—a marriage of modern camera and lighting, and the core cinematic principles of the original trilogy. According to Fraser, Jon Favreau’s desire to borrow from classic Sergio Leone and John Ford Westerns as visual references for The Mandalorian ac-

tually helped keep the look in the original Star Wars realm. Other than some of the action sequences the look would rely on more “grounded cameras” with slower non-aggressive movement. Lucas himself was reportedly influenced by Westerns of the 50s and 60s and incorporated corresponding filmic elements into his 1977 blockbuster.

CO: The cockpit scenes in the series have such a visceral experience. Can you speak to the stylistic approach and any tech that you used?

Cockerill: Early on Greig and I had a conversation about the cockpit scenes. I recall him explaining that cockpit shots, when you are with the character, need to be from

TRIVIA: According to Dave Filoni, there was one scene that required a large number of stormtroopers, but they didn't have enough costumes. He ended up drafting members of the 501st Legion fan club, who specialize in making their own Storm/Clone trooper cosplays.

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inside the cockpit. With modern car work we constantly shoot through windshields and play the reflections etc. so why not in space? Greig noted that being inside with the character is part of Star Wars visual style.

In keeping with the style we would always be inside with the characters and cut those sequences against the wide shots of the Razor Crest sliding through space. There were times when ship architecture prevented the camera from achieving the angle we originally wanted but we would always work to get the shot and not be outside the ship.

Greig and Baz continued to hone the look and we spent a lot of time making sure cockpit scenes had the right degree of movement.

Karina and I also worked to sync our camera movement so that banking and jolts would intercut seamlessly. The more aggressive cockpit work was performed hand-held. But for the bulk of the scenes, we opted for fluid heads as the cameras were often stacked Photo by Stephane Malenfant or nestled into Razor Crest architecture.

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Craig and Karina synchronize banking movements while the Mandalorian pilots the Razor Crest within The Volume.Photo by François Duhamel

Struggling a little to find the right “floaty” movement, we tried a variety of techniques that weren’t quite right. That’s when my dolly grip, George Santo Pietro, introduced us to Modern Studio Equipment’s Super Mitchell Shaky Cam which he custom dampened into more of a “floaty cam.” George installed these between the dolly and O’Connor 25/75s then adjusted the amount of float to work for story, lens size, and feel. For banking we would either use Cartoni Dutch Heads or custom shot bags atop the fluid heads. Extensive cues were organized between the cameras, director, and ADs so that both cameras matched the action.

CO: Who else was on your team?

Cockerill: I was blessed to work with a super solid camera crew. My first focus puller was Paul Metcalf who had worked recently with Greig and Baz on Vice. I had never worked with Paul but his quiet confidence and focused work ethic really struck me. He left the

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show at the Christmas break to be present for the birth of his second boy and David Parson took his place. David is just a great guy to be around with a personality well-suited for running the department. Both, of course, are rock solid focus pullers and technically very capable, skills the show required. The backbone of the department, our A camera 2nd AC was Amanda Levy and she was always busy crewing up and organizing gear for a multitude of special equipment considerations and additional units. The B camera crew was made up of fellow UCLA Bruin Karina Silva (operator), Niranjan Martin (focus puller), and Jeremy Cannon (2nd AC). Robby Marino was our Digital Utility and our DIT was Eduardo Eguia. Still photographers were Francois Duhamel and Melinda Sue Gordon. Because there were multiple units, we were able to bring in additional operators such as Kenny Brown, SOC, Chris Murphy, and Simon Jayes, SOC, who operated Steadicam on Episode 6 flying the fully loaded LF while tethered for shots

on The Volume. On additional units, mostly shot by 2nd Unit DP Ryley Brown, we were fortunate to have operators Greg Daniels, Collin Davis, SOC; Dave Anglin, Cedric Martin, SOC; and Eric Zimmerman join us among others.

CO: How many different directors were on the series?

Cockerill: Unlike past Star Wars films where a single director runs the show, this was a TV series helmed by five different directors and overseen by its showrunner Jon Favreau. When working on a TV show with different directors an operator needs to quickly gauge their needs and idiosyncrasies regarding camera operating and communication. Getting to know your director is an important part of the job and the more you know about the way they work the more useful you are in telling their story. I was fortunate enough to have worked previously with two of the directors, Deborah Chow and

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Dolly grip, George Santo Pietro and operator, Craig Cockerill, SOC push in on the Mythrol Bounty. Photo by François Duhamel

Rick Famuyiwa who each directed two episodes. Deborah and I were in the trenches on a couple episodes of Fear The Walking Dead over two seasons in Mexico, and Rick directed one of the biggest commercials I ever had the pleasure of working on, a five-minute Nike commercial that traveled across the country shooting about every NBA star you can think of. Bryce Dallas Howard and Taika Waititi both directed an episode, and Dave Filoni directed two. I got to work one-onone with Filoni quite a bit on some additional units and was so impressed with his calm demeanor and in-depth knowledge of the Star Wars Universe. If you are a fan, make sure to watch Episode 3 of Gallery on Disney+ where he takes us right down the rabbit hole.

It’s a sight to see and right away you Harold. Image courtesy of CBS Films

understand why this guy should forever be involved in anything Star Wars.

CO: Here’s one of our standard questions—what equipment was used?

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Cockerill: Greig and Baz chose to go with the ARRI LF to keep the depth of field shallow and stay in the realm of large format work prevalent on Star Wars movies. Dan Sasaki, at Panavision, worked with Greig to design the Panavision Full Frame Ultra Vista 1.65X Anamorphic lenses that we used. We started with one set and eventually had a second delivered. The 1.65x squeeze mathematically works better with the LF’s 1.44:1 open gate than other anamorphic squeeze ratios. Shooting a TV show in 2.39 was a treat and definitely not something you get to do every day. We shot Season 1 of The Mandalorian before the Mini LF was released so cameras were on the heavy side. Dave Parson told me our heaviest setup weighed 72 pounds.

CO: Can you share a bit more insight about The Volume tech?

Cockerill: One of the many things that makes The Mandalorian a game changer is

the new technology that was created for and utilized on the show. One of the most rewarding aspects of working on the series was being the first to use this technology.

Drawing on previous experiences and more limited use of LED backgrounds and interactive technologies, Jon and Greig endeavored to make a wraparound stage out of LED video panels that could play photoreal backgrounds in proper camera perspective in real time. A lot of thought, technology, partnering, and testing went into this project and there are in-depth articles for those interested in both ICG Magazine and American Cinematographer. The technology that resulted from this immense collaboration, in short, is an LED video background on stage that looks completely real through lens. Let’s say you have a four-sided column in the distance and you are looking at the front edge—you cannot see the sides. But if you take a couple steps left or right you now see the sides. With a two-dimensional matte painting as your

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Karina Silva discusses her frame with director, Deborah Chow. Photo by Melinda Sue Gordon

background you can step sideways all day long and you will never see sides. With green screen as your background you, or the actor(s), don’t even know where the column is and any column added later in post needs to move and change as the camera moves to remain believable. How does post know exactly where the camera moved? There are big concerns and costs associated with green screen compositing and I can’t tell you how many times I’ve been told not to move a camera shooting against green screen due to budget considerations. But with a camera shooting in The Volume, the column is there for everyone to see and when you take a step left or right the side of the column appears. It appears because sensors attached

to the camera tell the background to change perspective as the camera moves. Additionally, because The Volume wraps around 270 degrees (up to 360 with additional panels), reflections in Mando’s armor are captured as if there is an entire world behind camera. It even gets better because The Volume’s LEDs emit light, thereby illuminating the set in a natural way. Well, it’s not that simple, the lighting requires enhancement in many situations, but the broad strokes are built in.

Next, the DP has the advantage of adding different size white or negative shapes to the LED background which can be used in a variety of ways to model the light, etc.

As mentioned, The Volume's background imagery interacts with the camera, which

might be the single most important aspect of the technology. Using a series of cameras around the perimeter of The Volume and a sensor array on the camera dubbed the "sputnik" precise positional data is sent to and processed by Industrial Light & Magic's StageCraft system to adjust the background in proper perspective. The positional data is used in conjunction with lens size to calculate the field of view at the LED screen. The computer then renders only the "fustrum" in photo-realistic high definition. The rest of The Volume imagery remains lower resolution to aid processing speed. The "fustrum" is the 2D height and width the camera takes in at the video wall plus the 3D information and parallax that corresponds to any element

TRIVIA: The Child, well known by fans as 'Baby Yoda,' quickly became an internet sensation over the months after the release of The Mandalorian (2019), but toys weren't available for the character because of that secrecy.

Favreau has said the intention was to not spoil the series ahead of the premiere. "The way the cat usually gets out of the bag with that stuff is merchandising and toy catalogs and things like that," he told Entertainment Tonight.

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TRIVIA: According to Dave Filoni, there was one scene that required a large number of stormtroopers, but they didn't have enough costumes.

He ended up drafting members of the 501st Legion fan club, who specialize in making their own Storm/Clone trooper cosplays.

TECH ON SET ARRI LF (open gate, 4.5K; Panavision Full Frame Ultra Vista;1.65X Anamorphic Lenses; Cinemoves Oculus; ARRI Gear Head; O’Connor 25/75; Easyrig w/9” Arm

Rachel Brosnanhan with Jim McConkey, 1st AC, Anthony Cappello, (B) Camera dolly grip, Joe Wannemacher, and set stills photographer, Nicole Rivelli. Photo by Philippe Antonello

CRAIG COCKERILL, SOC

Operator, Craig Cockerill, SOC takes in the immense moving star field in The Volume.

Photo by Melinda Sue Gordon

in that field of view out to infinity. To handle such immense data, many processors are utilized, and a team of ILM Artists, referred to as the "Brain Bar," are on standby to manipulate every minute detail. The result is an awe-inspiring photo-realistic world that appears through the lens and draws you right into the scene.

Through the lens, the only place on stage that is in perfect alignment with the LED background, it's magic and you are one hundred percent captivated by that suspension of disbelief—amazing! Moreover, you can lock in a time of day—say sunrise or twilight—for as long as you like. No more panic hour! The possibilities are fun to consider.

CO: Okay, I know I know…but have to ask—one of my favorite characters in the series is Baby Yoda. What’s the inside story on that loveable, magical being?

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Cockerill: The introduction of “The Child” was another exciting part of The Mandalorian. It’s no accident that The Child is so adorable on screen. Baz, Greig and Jon meticulously sought the right angles and lighting to achieve maximum impact, and the puppeteer team led by John Rosengrant was top notch. We worked together to ensure that camera positions accommodated their needs so that the puppeteering was seamless and VFX cleanup was minimized to the extent possible. When needed I will gladly operate from the opposite side of the camera (or wherever) to help puppeteers in these situations.

Craig Cockerill, SOC, made the move to operator on commercials in 2007. Prior to that, he graduated from UCLA’s MPTV program and worked as a commercial focus puller learning from some of the world’s best short form DPs and directors. “I truly enjoyed my commercial upbringing because jobs were intense, super creative, widely different, and short so I was never away from the little ones for very long. I also got to travel quite a bit with spots being filmed all over the world.”

Early TV operating work included House, True Blood, and Dexter. Cockerill’s operating skills include underwater work, Russian Arm using joysticks, and Steadicam and he has worked on movies such as G-Force, Terminator 4, Pirates 4, and Little Children.

Photo by François Duhamel

I feel very fortunate to have been involved with such a talented cast and crew who all worked to make this TV series what it is!

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B camera operator, Karina Silva on set. Photo by François Duhamel

KARINA SILVA B CAMERA OPERATOR Camera Operator: Karina, what was it like for you working on the series as B camera?

I still remember the day my dear friend Cheli (Clayton-Samras) called me and said she gave my name to Greig Fraser and Baz Idoine because they were looking for a B camera operator for a new Star Wars show.

I am such a fan of Greig’s work, and after working alongside him, I am now an even bigger fan. Being the B camera operator on the show was truly an honor. It was not the standard B camera position. The idea was to have two great shots that served the story and the cinematography. Most of the time, both shots were a priority so Craig and I developed a process and understanding of what we needed from each other to achieve the best shots possible. Craig was amazing to work with and although it was our first

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time working together, we quickly formed a wonderful working relationship. Craig and I would almost “choreograph” our operating, being as though the show was mostly hand-held, we had to be very aware of each other in order to make both shots work. There was definitely a true sense of collaboration between us which made the experience really fun and exciting!

I was also very fortunate to have a firstclass team of assistants; with Niranjan Martin on focus and Jeremy Canon as the 2nd we were able to execute flawlessly, often times on the fly.

As Craig mentioned, the build was definitely on the heavier side (72 pounds at its heaviest) which for me was a bit of a challenge as I’m 5’4” and 115 pounds. And—as a Hispanic and female operator, I felt very fortunate to be a part of such a diverse and inclusive set, as it is not always the case.

From directors, producers to cast and crew, Disney gathered the best of the best to be

a part of this show. There was a true sense of cooperation with the crew and we were all focused on working to get our DP and directors the best shots possible.

KARINA SILVA Karina Silva moved from Madrid, Spain to Los Angeles after receiving a full diving scholarship to UCLA where she graduated from the school of Theater, Film and Television in 2012. After graduating, she began working in the camera department as a PA then as a digital utility. In 2013, she started operating on commercials alongside Tobias Schliessler, ASC. In 2014, she got the opportunity to operate on HBO’s series, Ballers; lensed by Schliessler, and directed by Peter Berg.

Later that year, Karina operated on Bill Condon’s film, Mr. Holmes filmed in London. Some of Karina’s operating credits include: Terminator: Dark Fate, Disney’s Beauty and the Beast, Patriots Day, Deepwater Horizon, and Megan Leavey.

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Pose Having a Ball

an interview with Peter Vietro-Hannum and Wylda Baron by Kate McCallum

POSE:"Acting Up" Season 2, Episode.Pictured (L–R): Ryan Jamaal Swain as Damon, Mj Rodriguez as Blanca, Indya Moore as Angel. Photo by Macall Polay/FX

Pose is an American drama television series about New York City's Black and Latino LGBTQ, and gender-nonconforming ballroom culture scene in the 1980s and, in the second season, early 1990s. Featured characters are dancers and models who compete for trophies and recognition in this underground culture, and who support one another in a network of chosen families known as “Houses.”

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 WATCH TRAILER NOW Created by Ryan Murphy, Brad Falchuk, and Steven Canals, the series premiered on June 3, 2018, on FX. The series stars an ensemble cast including Evan Peters, Kate Mara, James Van Der Beek, Mj Rodriguez, Dominique Jackson, Billy Porter, Indya Moore, Ryan Jamaal Swain, Charlayne Woodard, Hailie Sahar, Angelica Ross, Angel Bismark Curiel, Dyllón Burnside, and Sandra Bernhard.

The first season was met with critical acclaim and subsequently received numerous award and Season 2 was nominated for an Emmy for Best Drama Series.

Pose is FX’s history-making dramatic series inspired by Jennie Livingston’s classic ballroom documentary Paris is Burning that has achieved many firsts both in front of and behind the camera. Pose made history for hiring five trans actresses–all of color–as series regulars. The series has had a major impact behind-the-camera too, with Janet Mock becoming the first trans woman of color to be hired as a writer, producer, and director on a television series. Pose gives the audience an inside look and feel for the “Ball” culture of New York, through characters and stories that many may not be familiar with and addresses the topics of HIV, diversity and gender through engaging and entertaining storytelling and musical sequences.

Peter Vietro-Hannum: When I was offered the A / Steadicam operator position on Pose, Season 2, I said yes immediately.

Cut to: One year earlier.

At the time I was the B / Steadi operator in the fourth season of a great CBS show called Madam Secretary. Madam Secretary was a primetime, 22 episodes, extremely well produced network TV show. The cast are all seasoned professionals, the directors all savvy and the AD team was tight. In many ways it was the best show I’ve ever been on. The only bummer was that as a camera operator it wasn’t the most creative outlet. So when an old contact asked me to come work for two days on a wild promo for a new show about the trans community in the 80s and 90s, inspired by the groundbreaking documentary, Paris is Burning, I jumped at the opportunity. The promo was for the FX show Pose and I absolutely fell in love with the energy. I said to myself, how do I get on a show like this?

INTERVIEW WITH PETER VIETRO-HANNUM

Well, a year later when they were crewing up for Season 2 of Pose I got the call. But strangely the call from the show was totally unrelated to the promo. The producers had already hired Wylda Bayron as the B operator and 2nd unit DP. Wylda is a visionary camerawoman, with an incredible eye and one of the most talented photographers I have ever seen. It was she who suggested me as the A camera operator and I was flattered that she did. We have always had a very collaborative relationship on set and I have the greatest respect for her opinion.

Camera Operator: I’ve been binge-watching Pose and just love it. Such great dramatic storytelling at the same time it’s very enlightening about what was going on in the 80’s in the LQBT communities at a very personal level. Can you give us a bit of background on your career as a camera operator and how you got hired to work on the series Pose?

The A / Steadicam operator on Season 1 of Pose was a very experienced guy named Mark Schmidt, so the first thing I did was to give him a call to see why he wasn’t returning for the second season. He was already booked on another job and decided to move on. I feel strongly about open communication with other operators and all fellow technicians. We should all share

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our rates and working experiences with each other. Sharing information creates a common bond and that is the best way we can protect and respect one another.

CO: I was not familiar with the history of Ball culture and the “House” lifestyle.

The series was really educational for me.

In Season 1 the series kicks off following one of the main characters; Damon, a young aspiring dancer who finds himself homeless in New York City after being kicked out of his home for being gay. He is given refuge by Blanca, a trans woman who’s a “mother” in the Ball scene. The story of a trans woman saving a young boy’s life set up series with so much heart. How authentically was this history portrayed from your perspective?

Vietro-Hannum: The experience of being involved with Pose was one of the most rewarding things I have ever done. The show is truly groundbreaking in its content.

Telling the stories of the Black and Latino LGBTQ community in the late 80s and 90s. Shining a spotlight on the world of Ballroom and the devastation that AIDS had on this vibrant group of strong and beautiful people.

The Balls were an unbelievable experience in and of themselves. I’m not even talking about shooting them, just being on set was amazing.

The set was a fantastic re-creation of a community center theater on the Lower East Side of Manhattan, with a stage, a bar and a full wraparound balcony. Filled with 150 of the most extravagantly dressed background actors wearing a rainbow of sequins, feathers, spandex and anything you can imagine. The hardest working department on the set was without a doubt the wardrobe department. The costume department was truly genius! Words cannot express how impressive the costumes are on this show. If for no other reason, everyone should watch the show for the costume design and their collaboration with the hair and the makeup departments.

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POSE:"Acting Up" Season 2. Pictured (L–R): Camera operator, Peter Vietro Hannum, Billy Porter as Pray Tell. Photo by Macall Polay/FX

CO: What tech did you use to achieve the look and feel of the series and was it difficult to shoot all the music and dance Ball scenes which are the signature of each episode and so creative. Curious if these were shot each episode or if you shot a few of them consecutively?

Vietro-Hannum: Balls were big contests of thematic inspired costumes with models walking the floor, Voguing and dancing, and sometimes even Shakespeare. Style was everything, so we had to shoot it with style.

There was a four-foot disco ball spinning in the middle of the room at all times, three electricians with moving spotlights on the balcony, and a ring of Astera tubes around the place. Each Ball had a different color scheme. The Balls were always shot with three cameras and they would take about a day each to shoot.

All of the action of the main characters

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would be covered both on Steadicam and with several passes on a 30-foot Technocrane with a Libra head. The B and C cameras would simultaneously be covering the principle action and the background with zooms from various dolly positions. It was truly a party. Sometimes 200 people, between cast and crew, stuffed into a ballroom with wild dancing, loud music, and lots and lots of sweat. It was clearly a preCOVID environment.

No lens was too wide, no camera angle was too “off” and no idea was too “out there.”

This is what made the camera work on Pose so much fun. For one scene we literally dragged the camera slowly across the floor on a 10mm so we could see from the ceiling light fixtures to wood grain in the floor.

All the sets were built with hard ceilings because we shot on such wide lenses. Another memorable scene was a fight between two characters at a Ball, one with a ham-

mer, and one with a knife. We had a 12mm on the Steadicam and we were all moving around so fast that I had one hand on the rig and the other on the actress so we could control our distance.

CO: Mj Rodriguez, in the lead role of Blanca, is just fantastic, and then there is the amazing Patti Lupone who plays her mean-spirited landlord, Billy Porter as Pray Tell, and the other fab talent. Any great moments to share from set about your work with the talent?

Vietro-Hannum: The real reason I was interested in participating in this article about Pose, strangely has nothing to do with the camera work, or the fun and creative look of the show. It’s the cast! I can’t say enough about the absolutely unbelievable quality of the cast. Except for “The Legendary” Billy Porter most of the cast were completely new to a production this size. But don’t think

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POSE:"Acting Up," Season 2. Pictured (L–R): Mj Rodriguez as Blanca, camera operator, Peter Vietro Hannum, director, Gwyneth Horder-Payton. Photo by Macall Polay/FX

for a second that their lack of resume makes these young hard working performers any less professional. I have never worked with a cast that was more dedicated to the story or more willing to do the emotional work.

The characters became very personal to the cast and in many cases their onscreen arcs reflect the hard realities of these actors and actress’s real life. Their laughs are real and their tears are real and their emotions came through the camera unlike anything I have ever photographed. There were several times that I was moved to tears during the shooting of a scene (it’s difficult to give focus notes when your eyepiece is soaked with tears).

her phenomenal beauty. Dominique Jackson is a soft-spoken lioness that commands respect simply with her presence. Angel Curiel has a smile and willingness to share love that is unmatched. Angelica Ross is a true force of nature whose honesty brought me to tears. And then there is Billy Porter, who is literally in a league of his own. He’s the rock on which the show is built. He is a mentor to the rest of the cast and a pillar of professionalism. If you ever get a chance to work with him, say YES.

Mj Rodriguez is an eternal ray of sunshine and always brings her best self to set. Indya Moore has incredible natural instincts for how to play a scene in the most real and interesting way. Her raw emotional depth gives her an edge that is only matched by

Vietro-Hannum: The camera crew on Pose Season 2 really did a great job of never letting the constantly changing schedule and long hours get us down. As much as I truly believe that having fun on set and always remembering that we are all lucky to be

CAMERA OPERATOR · SUMMER 2020

CO: What tech did you use to achieve the look and feel of the series and was it difficult to shoot all the music and dance?

working in such a great business, I credit a lot of our positive energy to our A 1st, Damon LeMay. He is not only a very talented focus puller and a level-headed manager of the department, he may be the funniest person I have ever met and I consider him a great friend. And we should never under estimate how important it is to be able to work side by side with people we like. I appreciate the relationship between all the hardworking members of the crew and how shared positive energy and a good laugh can affect our work. We all need to treat each other with kindness and support each other’s creativity. The subject matter of Pose is very heavy and needs to be treated with great sensitivity and respect and that’s what I love about this business. I can fill my eyepiece with tears from a heart-wrenching scene and then turn to friend on set and also share a smile and laugh taking a beat from the crazy world we live in.

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POSE: "Worth It," Season 2. (L–R): Angelica Ross as Candy, camera operator, Wylda Bayron. Photo by Nicole Rivelli /FX

INTERVIEW WITH WYLDA BARON Camera Operator: Wylda, you served as B camera operator on the series. How did you get hired and how was it working together with Peter on the show?

Wylda Baron: I came to the second season of Pose prior to Peter because I was hired as 2nd unit DP several months before, while I was working on Fosse/Verdon, which happened to have the same producers.

Part of my contribution at the time was to recommend an A camera operator. I said if I was to DP this show I would hire Peter, because he is not only a great technician, but I knew he had the right sensibility to work with our amazing cast of raw talent. Since they had less on set experience, I wanted to make sure that the person behind the camera made them feel comfortable and wouldn’t get exasperated by their potential

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lack of practical on set knowledge. Thankfully our actors are fabulous and diverse and all brought transparent and unvarnished performances that moved us all, and they were open to learning and being guided by us on the technical aspects that we needed from them at camera.

working at a high level, we’re just both happy to be doing the work. I always want an A camera operator that I can collaborate with, and can have a camaraderie that makes for better images and storytelling. For me, Pete was that guy and thankfully production agreed.

Another reason for my choice is that I’ve never seen Pete upset and he’s the kind of guy who always sees the glass half full and is looking for ways to make something better. Pete and I had worked on Madam Secretary and we really connected. I was lucky to have him A camera operate a short I DP’d just before Pose, so I knew we would collaborate well and saw eye-to-eye. He always tries to serve the story and he’s not self-indulgent with his operating.

On set we would watch rehearsals together and even across the room look at each other and already started plotting the camera placement and movement. We had a lot of freedom as operators to create shots and could suggest blocking changes that would enhance coverage.

Like me, he likes to keep the mood lite and have fun and make the set feel like a family and not a job. That’s not to say we’re not

I personally had the fortune, as it’s often the case on B camera, to create and offer up my own shots particularly the scene openers and closers. The scenes at the Ball were a very fluid and creative discovery of images. My dolly grip as well as my stellar focus puller, Ro Rizzo danced along with

SOCIETY OF CAMERA OPERATORS · SOC.ORG

TRIVIA: POSE features the largest cast of trans actresses of any scripted series in history.

POSE:"Love’s In Need Of Love Today" Season 2 (L-R): Billy Porter as Pray Tell, Mj Rodriguez as Blanca. Photo by Michael Parmelee/FX

me, chasing the dynamic performances in a very spontaneous yet targeted way. I was always on a zoom for these and would feel safe chasing a crazy last second shot because I knew that Ro would catch it. We’ve worked together for a long time and she is exceptional at figuring out when I indicate a transition to a new “off the cuff” shot live on set and nail it. All this without saying a word, just watching my operating and imagining where I’m going with the shot.

One fun example of this was on Never Knew Love Like This Before. The scene is a huge pivotal dance number with hundreds of extras, some of whom are holding lighters. There are just a few seconds of an instrumental part at the beginning of the song before the singing starts. I noticed I could get a close-up of a lighter flame and pan over to a close up of Angelica Ross as she was standing up for her dance number.

I had just seconds to find the right person

CAMERA OPERATOR · SUMMER 2020

holding a lighter in the crowd and let Ro know we were going to attempt this. It was a huge focus pull that needed a perfect timing transition. We nailed it on take one and it made the intro of that scene.

CO: This series broke ground on so many levels. Do you have any thoughts about the narrative you’d like to share?

Baron: As a queer LatinX person this show is supremely important to me. It’s about my people and for the whole world to see us represented for the first time ever. It’s also created, written and directed by Black and Latino LGBTQ people and it’s the first time in my life we were the majority on a film set. There was a unique sense of community and connection unlike anything I’ve participated in before and the topics covered, such as the HIV crisis, were supremely relevant and important this season.

Episode 4 was a personal favorite. Angelica Ross’s character Candy has an encounter with her family; it’s just gut wrenching and beautiful at the same time. I was operating and crying like a baby the entire scene. The cast and I even had to hug it out at some point, because we were all having the same reaction watching art imitate life back and forth. We had all been there at one point having similar conversations with our own parents. It was powerful to watch Angelica and the actors playing the parents really bring the depth of pain, vulnerability, love and respect the scene needed.

CO: Do you have any advice for women operators coming up in the business?

Baron: I always feel weird giving advice, but if I had to I would say to observe quietly, read the room, be professional and be confident that you are hired for a reason.

Whether you are male or female, no two

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humans have the same skills, sensibilities, talent, care and personality. Each one of us bring something unique to the table and we should stand proud on that fact. For example, there’s a lot of hubris around being A camera. I was A camera in Season 4 of Orange Is the New Black and personally don’t feel the need to do that again. I rather DP or be B camera. To answer your original question: I don’t believe B camera serves A camera; B camera serves the story. It’s also

not just training ground to be A camera.

It’s its own planet and it’s a very creative and free one to be in, especially if you have proven to the DP and director that you have the best interest of the story, character and style. Carve out a place for yourself in the storytelling and you’ll always find a great shot to serve the narrative, regardless of what letter the camera you’re behind is.

with my dolly grip and my ACs. Our jobs

Lastly, for me is supremely important to have fun when I work. I encourage that

because we bring a sense of pride to our

are quite challenging as B camera. We are often given less direction, less time to set up and get called in the last second to achieve the same kind of results that A camera has been setting up and rehearsing for half an hour. Having the ability to enjoy yourself with your team really engages us all in producing good work even under that pressure, shots that’s based on joy and not fear.

TECH ON SET:

ARRI Alexa Minis ; Panavision; Prim o lenses; Steadicam; Primo 15-40 compact zoom; 30 ’ Techno with Libra head ; 50’ Techno for Exterio rs

Photo by Jane Goodall

PETER VIETRO-HANNUM

WYLDA BARON

Peter Vietro-Hannum started his career as a grip over 25 years ago and was the key grip on several independent movies. In 1999 he joined Local 52 and became the dolly grip on Law & Order SVU where he met his camera mentor, the DP Geoff Erb, ASC. While there, he joined Local 600 and became a Steadicam Operator. He has spent most of the last 18 years as an A or B / Steadi Op. on New York based television shows. His credits include: L&O Special Victims Unit, Ugly Betty, Royal Pains, Gossip Girl, Blue Bloods, and Madam Secretary.

Wylda is a Puerto Rican DP, camera operator, and fine art travel photographer. She calls NYC home now and her credits include: Fosse/Verdon, Orange is the New Black, Girls, Billions, and the upcoming The Boys In the Band and Stephen King’s Lisey’s Story.

Photo by Mike Parmale

TRIVIA: POSE is created by Ryan Murphy. He is also well known for American Horror Story. Billy Porter, Evan Peters, Kate Mara, and Christine Ebersole all have appeared in both of his shows.

TRIVIA: Paris is Burning director Jennie Livingston is credited as consulting producer. The film was a critically acclaimed documentary about the Ball Culture in New York fictionalized in POSE.

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SOCIETY OF CAMERA OPERATORS · SOC.ORG

CAMERA OPERATOR · SUMMER 2020

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Succession Challenge and Reward

an interview with Rachael Levine, SOC and Francis Spieldenner, SOC by David Daut

 WATCH TRAILER NOW

Pictured (L-R) Jeremy Strong as Kendall Roy and Sarah Snook as “Shiv” Roy on the set of SUCCESSION. Photo by Peter Kramer/HBO

HBO’s acclaimed and award-winning series, Succession, follows the story of billionaire mogul Logan Roy (Brian Cox) and his children as they fight, scheme, and betray one another in their efforts to maintain or usurp control of the media monolith that bears the family’s name. The series is created by Jesse Armstrong and stars Jeremy Strong, Sarah Snook, Kieran Culkin, Matthew Macfayden, and Nicholas Braun.

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SOCIETY OF CAMERA OPERATORS · SOC.ORG

Camera Operator: Adam McKay directed the pilot of Succession as well as executive producing the series. Previously, you’d worked with McKay as an operator on his film The Other Guys. What was it like working with him again?

Rachael Levine: I worked on 2nd Unit of The Other Guys so I didn't really come in contact with McKay on that one. We did all these amazing stunts on that movie. I had a great time filming two guys jump off a building in New York City. They were attached to these descending rigs on these huge construction cranes. It was very exciting and probably some of the best stunts I’ve filmed to date. We also crashed a car into a set of the Trump building twice because the first time the car didn't hit at the right angle. Later I met McKay on the pilot of Succession and we laughed about that stunt. He knows what he wants and it’s a pleasure to work with someone who is so decisive and who doesn't over shoot anything. He’s like, “We have it, let’s move on.” I’m like, “Wow, I was just getting into the flow of the scene.” It keeps things fresh and the energy moving along.

CO: Following the pilot, on which you were B camera operator, you moved up to A camera operator for the remainder of the first season. How did that change come about?

Levine: Our DP, Andrij Parekh, operated A camera for the pilot, so when the show was picked up and Andrij wasn't going to DP the whole series (only the first three episodes), I was the likely choice. It is a goal of mine to operate more A camera. I am most happy with the challenge and leadership of A camera. I want to be a well-respected A camera operator in the industry. I really have to request for that now during my job interviews. It is a struggle though. DPs really have to push for me to be A camera.

Most Steadicam guys expect to be A, so I have to fight for that position every time.

Since Succession, my next jobs have been A camera so that is encouraging. If you stand up for something and you’re lucky you’ll eventually get there.

CAMERA OPERATOR · SUMMER 2020

CO: For this issue’s Establishing Shot article, I spoke with Alfeo Dixon, and he expressed some similar frustrations being a Black man working in the industry and the struggles of trying to establish himself as an operator without rising through the ranks in the “traditional” way. What are some of the unique challenges you face as a woman in this industry?

The minute there’s someone who’s not really on your game or not really on board with who you are, everything will be questioned.

Those are the kind of situations that I’m sure happen in any job, whoever you are, but I’ve had to overcome that a lot. I imagine as a Black man that’s even more true, because I think there are even fewer Black operators than women operators.

Levine: You know, it’s funny, I struggle with that question because you want to be honest but you also don’t want to talk bad about anybody in the industry or put out the dirty laundry. It was funny because in the SOC Roundtables—I remember when they were talking to Colin Anderson, someone brought up a question: “Have you ever been fired and, if so, why?” And, of course, he had never really been fired. But personally, I have been fired a few times. It’s devastating.

I’m not sure if I really want to share all of that because someone reading it might say, “Oh, well why was she fired? Is it because she doesn’t know what she’s doing or she’s not good?” I’ve found it’s a matter of being taken seriously or having your ideas and opinions seen as equal to people that are your bosses.

I really learned how to present myself and answer definitively. That’s a big lesson I’ve learned as an operator, to speak definitively.

CO: It’s definitely a catch-22; you need to be seen in the job to get hired, and you need to get hired to be seen.

It’s been an uphill road to establish myself, and taken me twice the time to get there as my male counterparts, but what does not quit will eventually prevail. I am working towards doing more A camera work. There’s a certain kind of gravitas you have to have and people have to see you in that role. The last job I did—called Monsterland on Hulu—it was all women: a woman show runner, two female DPs, and with the support on that show, I just thrived. They loved me and my work was great and I went off and shot second unit for them. It’s amazing how under different circumstances and different leaders how you are perceived.

CO: Right, when people just trust you to succeed.

Levine: Yes! That’s exactly right! They believe you can do it and trust you to do it.

Levine: I think that’s really been the main struggle for me. But now I’m in a situation, at least in New York, where I feel like my reputation is pretty good, and I’m getting hired a lot more. Before COVID, it felt kind of like the right time for women; like, finally I’m in the right time where my experience meets what the world and the industry are ready for.

What I realized when I was working with all women, I didn’t feel insecure about speaking up or saying anything. I’m not sure that men feel that pressure. When they’re around other men, they say their opinion. But for me, I’m very aware of when I can say something and when I should not say something.

In my last job, with the leaders I had, I felt like I could say anything because I had the support of the upper echelon. It is freeing and I really excelled. The right environment is everything towards success.

CO: Succession is kind of equal parts social satire and Shakespearian tragedy, features a cast of characters that can vacillate wildly between sympathetic and despicable—often within the same scene. What sort of choices did you make in terms of framing these characters to reinforce this love-hate relationship the audience is meant to have?

Levine: The choices I made were always ones from the gut. Andrij would quote the line in Episode 1, “Feel it,” when giving me operating notes. He trusted me to find the moments and “feel” the frame. We would place the camera on the character that was having

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Operator, Rachael Levine, SOC sets up a shot for SUCCESSION, Season 1 while on location in New Mexico with Alan Ruck, as Connor Roy, on horseback.

Photo courtesy of Rachel Levine

the emotional evolution in the scene. Who does this scene circulate around and how should the frame reveal that.

CO: To that end, the series has an almost documentary style in the way it was shot with lots of hand-held filming punctuated by snap zooms and quick pans. Can you talk a little bit about the creative decisions that led to shooting the show in this style?

Levine: There is an ensemble of characters in this show all going through their own struggles, which character was suffering versus who was dominating. Camera placement was very calculated. We were either on long lenses or hand-held. Adam and Andrij wanted it to feel a bit documentary style with a bit more grace. We would triangulate the cameras on long lenses and dolly track and find the flow of the emotion of each scene, panning from one character to the next, giving it that documentary feel like in The

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Big Short. Hand-held cameras were outfitted with zooms and I would have the zoom control hooked up on the left side and we were allowed to do these pop zooms when we felt an emotional trigger. Andrij would say zoom in when you would lean in on a conversation. Edit the scene in the camera.

We had some great focus pullers; Toshiro Yamaguchi on A and Corey Stambler on B who would always go with the flow with humor and grace. Being a focus puller is never easy under those reactive improvised conditions.

It felt so fresh and creative for us operators to be given the reins to feel and react to the story. It was very satisfying. Gregor (the Steadi B op) and I always felt like we were really contributing to the emotion of the story in our creative way and accomplishing each shot with the help of our great team.

CO: What kind of equipment did you use while shooting the first season?

Levine: We shot film! Adam Mckay is a strong proponent of shooting film and it was so cool to have a film mag on your shoulder (also with the limit of either four-minute or 11-minute takes). We went to Europe to film and the producers wanted to switch to digital for budgetary reasons but in the end film prevailed!

CO: Were there other challenges you faced shooting Succession? Any part of it that was particularly rewarding?

Levine: All challenges come with reward.

The most challenging episodes were the last three when we went to the castle in England to shoot the wedding and finale scenes. I am really proud of the end of Season 1. Jesse and his writing team were just incredible. We had a top notch crew just coming off the biggest movies and shows in Europe, so we were in good hands. The most challenging days were the wedding party scenes and when Kendall

SOCIETY OF CAMERA OPERATORS ¡ SOC.ORG

TRIVIA: Co-writer Jesse Armstrong has categorically stated that the show is not about the Murdochs.

Sarah Snook as Shive Roy and Kieran Culkin as Roman Roy. Photo by Peter Kramer/HBO

crashes the car and walks home through the swamps with fireworks in the background.

It was just so physically demanding wearing waders in the swamp holding cameras on our shoulders all day and night. Other than the exhaustion coming from the end of a long shoot, being in another country, I found that sometimes I didn't have the support of certain people. I felt some bias towards me as a woman A operator and I know it would have been different if I was a man. That was draining for me to feel not respected in the role of A camera. I really struggled with that. I find that as a woman I am either there because of my ideas and perspective or questioned because of them.

er you see that this story is also populated by women who are each navigating this world of aggressive, overblown masculinity and ego in their own unique ways.

How would you say the experience of the women in Succession compares to women working in the film industry?

Levine: That’s very interesting because I think in Season 1, it was very much all about the dudes. I do think, though, that Jesse Armstrong had that in his mind and in Season 2 it is very much about the girls in power roles.

When I’m on set, in those roles, everyone always comes up to me and says, “Oh my God, it’s so nice to see you here!” Actors, producers, extras come up to me and are pleasantly surprised that I’m there. On Succession, when I CO: In terms of those power dynamics, at was shooting second unit, Sarah Snook said, a glance, the story of Succession appears to “Oh that’s cool! I’m glad you were there with be predominantly about men. It’s the stome,” during an intimate scene. I always find ry of a wealthy, powerful man and his sons Frank Sheeran De Niro) Russell Bufalino that in women actors feel comfortable having wrestling for(Robert control over and a major media (Joe Pesci) THE IRISHMAN. Photo courtesy of Netflix me there during those intimate scenes. company. But when you look a little clos-

CAMERA OPERATOR · SUMMER 2020

But like I said, for that first season when I was there, the story still was about the boys’ club. Mark Mylod, one of the other executive producers and directors who directed a lot of the episodes, loved that guy as a director, we got along smashingly.

He recognized my talents and I felt fully supported about my creative decisions under his direction. You find that people are either going to be on your side and respect your sensitivity or not. But in terms of how all that relates to being a woman in the industry, you have to play the game like the boys. You have to be clear, definitive, strong, and skilled. Just like anyone really, I believe women and men both face these challenges. On Monsterland, having a woman showrunner and a woman DP was tremendous because I felt strong. I felt supported, and I did really well in that situation. It’s amazing when your bosses believe in you.

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Season 1. Pictured: Hiam Abbass as Marcia Roy, Brian Cox as Logan Roy, Jeremy Strong as Kendall Roy, and Rachael Levine operating. Photo by Peter Kramer/HBO

CO: I’m shamelessly stealing this question from the podcast My Brother, My Brother and Me, but in the midst of the current coronavirus pandemic as film and television sets continue to be shut down for the indefinite future, what are some of the ways you’re remaining creative during this time? How do you keep that flame alive when there’s not the same day-to-day work to be done?

Levine: Ah, the most difficult to answer.

Well after we wrapped Season 1, I ended up getting pregnant and was due to give birth in the first month of filming Season 2, which is why I didn't do that second season. That was painful to turn that show down when it was so good and creativitly fulfilling, but that is the struggle; family versus career or career versus family. So now I have an infant and a 5-year-old. Going from being a creative, hardworking camera operator on the rise to becoming a mother, a housekeeper, a home

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schooler has been difficult. My sense of self revolved a lot around my work and now it’s not there, or at least its dormant. I don't have much time to be really creative photographically speaking because my little ones demand all of my time and when they finally go to bed I collapse. I have attended many SOC Zoom roundtables that have been extremely inspirational, and I love “meeting” the other operators. I am also trying to keep up my physical strength with HIIT workouts and yoga, but cannot wait to go back to work. Working 14 hours on a film set is easier than being a stay at home mom for sure!

CO: Obviously we’re living through an unprecedented, once-in-a-century, moment in time, and I imagine the challenges of being a mother are only amplified by the situation we’re currently in, but I wonder if you could speak a little bit more to the challenges of balancing a career in film with having children and raising a family.

How much support do you feel like you’re given there, and what are ways that the industry can improve?

Levine: I worked up until eight months into my pregnancies with both of my kids, one was on a show with Andrij called Show Me a Hero, and the next I was working on Billions while I was a billion pregnant—I was huge!

I did SMILF a little bit before that, earlier in my pregnancy, and that was all hand-held.

That was very hard because it was in the beginning months of my pregnancy, and you’re very tired then, meanwhile I’m holding a camera on my shoulder in the summer in Boston the whole time. That was super, super challenging, but as the only breadwinner, I felt like I had to keep working. I worked until almost the last day to bank health insurance hours and income. The challenge is that our industry doesn’t give any family/ maternity leave. As an NEB member I wanted that to be my cause. Some sort of family

SOCIETY OF CAMERA OPERATORS · SOC.ORG

TRIVIA: Jerry Hall, the 4th wife of Rupert Murdoch, is a very strong fan of the show. Elizabeth Murdoch, Rupert's daughter, also watches the show and is reported to relate to the character of Siobhan Roy. Nicolas Braun as Greg Hirsch and camera operator, Rachael Levine thinking, “Must stay out of the window reflection." Photo by Peter Kramer/HBO

leave assistance program, but then all the industry shut downs happened and we had bigger problems to deal with.

When I started working again last summer on a show called Little Voice that’s going to be out on Apple TV+. Again, I pushed to be A camera; I knew the DP from ages ago, my friend Jim Frohna. That was one of those things where he was DP, he was calling me, but they has already hired someone else before him, so he had to fight really hard for me to be the A operator. And I had to fight as well. And that was all about six months after I had had the baby, so I was still pumping breast milk. I would pump at lunch, I would pump in the truck, and one time—they actually have these hand-held pumps that you can wear in your back pocket that go up to your bra, and so I hand-held the camera while pumping! It was one of those things where we’d missed lunch and were running late, so I pumped while shooting. [Laughs]

CAMERA OPERATOR · SUMMER 2020

You know, that’s modern day filmmaking. I probably could have left, but I was into it.

We were in, like, the third take, and I knew we were going to break after that, so I said, “let’s just do this.” Motherhood and operating, We can do it!

So, those are the tangible challenge, but there’s also just being away from your kid that early because you feel like you have to work. You know, I had to say no to Succession Season 2 because they were starting up right during the month I was supposed to give birth, and that was hard! That show was so good and these are the opportunities I want and have to push for, but I had to say no. But something else came up and you just do what you have to do. It’s hard, but sometimes things are hard, but if you like both things, you just have to try and manage both the best you can. Of course it’d be great if we had family leave and always had the support of our bosses, but that’s life in the real world.

There will always be challenges that must be overcome in all industries and that is what makes us stronger. I want a career. I want a family. You just do what you have to do to get the job done!

Eight months pregnant and need the help of an apple box to get on that dolly on BILLIONS, Season 4.

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TECH ON SET:

Arricam LT; Kodak 5219 500T; Angeneuix 24-290 long zooms; Angeneuix 27-76 and 45-120 short zooms; Leica Summilux C series primes

Camera operator, Francis Spieldenner, SOC with Keith Bunting, A dolly grip, Local 52. Season 2. Photo by Peter Kramer/HBO

FRANCIS SPIELDENNER, SOC, CAMERA OPERATOR, SUCCESSION, SEASON 2 Camera Operator: With Succession, you came on as A camera operator for the show’s second season. Were you already familiar with the series before you got the offer?

Francis Spieldenner: I was already a fan of the show, when DP Patrick Capone called me to gauge my interest in joining, I quickly said yes to keeping my name in the mix, and went back and looked at a few of the episodes again. The show had a visual style of trying to tell the story behind the story, especially through different peoples’ reactions, by changing lens zoom sizes, and quick pans.

CO: You were new to the team for Season 2, but Patrick Capone and Christopher Norr returned as DPs. How much latitude

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were you given to influence the look and shooting style over what have been done on the first season?

Spieldenner: Both DPs Patrick Capone and Chris Norr were excellent to work with and for.

Both gave you the chance to audition ideas during second team rehearsals, and that would help formulate the plan with fellow operator Alan Pierce, because, with many scenes being more than three pages, and with multiple characters, you were always going to go where the scene takes you eventually. But, in the beginning of the season, especially because DP Pat Capone had more of the first few episodes, we were trying to emulate the camera style of the first season.

CO: What kind of equipment did you use to shoot Season 2? I know on Season 1 they shot on film. Did that continue for the second season?

Spieldenner: We continued to shoot on film with three-perf Arriflex cameras, Leica prime lenses, and Angenieux Zooms. Film is so valuable on a show like Succession because, with all of the great locations you shoot at, film is able to hold onto such a wide range of details from interior to the exterior, so you can see the amazing places you’re shooting. And there’s a soft and gentle quality film gives to the actors' faces, many times we would be right at minimum focus distance with the lenses.

CO: How would you say the look of the show evolved from Season 1?

Spieldenner: We may have used more prime lenses in Season 2, and varied the sizes by getting in closer to the action than Season 1, but just tried to continue telling the story behind the story, especially through peoples’ reactions.

CO: Any moments in particular shooting

SOCIETY OF CAMERA OPERATORS · SOC.ORG

Season 2 that stand out as being especially challenging or particularly rewarding?

Spieldenner: Thinking through what pieces of coverage to get, while you’re shooting 10 pages of dialogue with 10 actors in the room, with talented operators, Alan Pierce

and Gregor Tavenner, is part of the challenge of the show, but the personal moments, like doing car driving scenes with the actor Brian Cox, in his native Dundee, Scotland, and regaling us with stories of his past is something I’ll treasure forever.

FRANCIS SPIELDENNER, SOC Francis Spieldenner, SOC graduated San Francisco State 1995. He entered Local 600 in New York in 1999 as camera assistant, loader, then changed to operator/Steadicam in 2009. His credits include Steadicam/operator on jobs like CW’s Gossip Girl (three seasons), HBO's Girls (two seasons), Netflix's Punisher (two seasons), and HBO's Succession (one season).

Photo by Peter Kramer

RACHAEL LEVINE, SOC

Photo courtesy of Chris Cafaro

Rachael Levine was born and raised in the New York Metropolitian area. Introduced to photography in high school, she knew aspects of photography would always be part of her life. Rachael continued to study photography and communications while attending the University of Delaware. Once back in New York Rachael tried her hand in advertising soon realizing the confines of a 9-to-5 job didn’t fulfill her creative spirit.

In 1995 she began as an intern with a producer and found her true passion, the art of filmmaking. Subsequently Rachael decided to pursue a career in cinematography.

Rachael began her career as a focus puller and has been operating the camera on many commercials and independent features in addition to shooting interesting projects. Some of her latest operating credits include; The Zookeepers Wife, Succession Season 1, Billions Season 4, Little Voice, and the upcoming Monsterland.

Rachael received honors for her cinematography as part of the 2004 ICG Film Showcase for a short she shot entitled Home. Rachael continues to passionately pursue still photography while bringing her creative insight in cinematography to new and aspiring filmmakers.

CAMERA OPERATOR · SUMMER 2020

DAVID DAUT A writer and film critic for close to ten years, David Daut specializes in analysis of genre cinema and immersive media with bylines at Lewton Bus, No Proscenium, and Heroic Hollywood.

David studied at the USC School of Cinematic Arts and currently works as a freelance writer based out of Orange County, California.

Photo courtesy of David Daut

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Okavango: River of Dreams Dreams and Nightmares Filming in the Okavango Delta Botswana

by Luke Cormack, SOC

A female leopard snarls at her cub ‘Stay behind its time to hunt.’ Photo Luke Cormack, SOC

This stunning documentary miniseries features the power and beauty of the Okavango Delta in Southern Africa whose source comes from the highlands of Angola. The natural oasis and the incredible abundance and diversity of African wildlife in the timeless drama of survival, are featured in this three-part, blue-chip series by award-winning filmmakers, Dereck and Beverly Joubert (Nature: Soul of the Elephant), who present a unique ecosystem at its finest and most beautiful. Narrated by F. Murray Abraham.

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SOCIETY OF CAMERA OPERATORS · SOC.ORG

 WATCH TRAILER NOW My journey into the Okavango Delta began three years ago when I got a call from Dereck and Beverly Joubert from their home in South Africa. I’d been wanting to work with the Joubert’s for over a decade. They are some of the world’s very best wildlife filmmakers and they have access to some of Africa’s best-kept secret locations.

The Okavango, in southwest Africa, is a very special river. It is born deep in the highlands of Angola—but instead of flowing westward to the Atlantic Ocean, the Okavango runs inland, to the East. There, in Botswana, its waters create a huge river delta before they eventually disappear in the Kalahari Desert. The Okavango Delta is a true natural wonder—an unlikely oasis, a lush paradise in the middle of a hostile desert, which harbors, supports, and feeds an incredible abundance of wildlife.

THE CALL The Joubert’s were looking for a Phantom camera operator that knew animal behavior—particularly predators—and could operate in places most couldn’t. Before becoming a cameraman I’d worked as a game ranger in South Africa, then studied film and television for 4 years at college in Durban.

Today, I work on a wide variety of productions, features, commercials, and documentaries above and below the water Snap seed 17.JPG. I love the change of pace, its keeps me sharp and creative. Trusting your instincts and an ability to predict human and animal behavior, as well as being present, are all skills I constantly try to improve on.

The Okavango Delta is beautiful, but man, it’s not an easy place to work! First, its underwater for most of the year. So every morning you’d have to drive in your Land Cruiser up to your waist through the river, and there are plenty of crocodiles and hippos there, I promise you that! Then your daily search begins…the sublime story the Joubert’s were telling was about Fekeetsa, a lioness who had broken her leg during an attempted buffalo

CAMERA OPERATOR · SUMMER 2020

kill, and how she had overcome insurmountable odds to survive and raise a family. Her name came from part of a phrase in Botswana: Fekeetsa di gkwetho which means “overcoming a handicap, a challenge.” And— against all odds, Fekeetsa is truly a survivor.

This was not the last time a buffalo would wreak havoc in our lives.

CAPTURING THE STORY My day always starts before first light. I love the crisp mornings in Botswana, when the mist is still low on the water. I’d operate where I’d seen the lioness last, or any local updates, and try and find her in the dark so I could get her first moments as the sun rose.

Along the way, I’d be present and aware as to what beautiful moments the Delta would give me. Alarm calls from birds, monkeys, and deer are usually what motivates my explorations. And once you find a predator on the hunt, you let your infinite patience and anticipation take over. There are no retakes here, if you don’t get it, you miss it.

The Lechwe kill we captured on camera took over three years to get…just that single shot.

When you are preparing for that kind of shot there are a multitude of factors to be aware of, and there is nobody on the walkie! Where will the kill happen, where should I place myself so that I don’t interfere with the animal behavior, but still where I can see the action unfold…this side of the river or the far side…do I have time to get through the mud and into position? Why is that tree right in the way? Is that herd of elephants coming directly for me…seriously, now? And be prepared…as soon as that lioness takes off, 10 flies will try get into your nose and eyes at the same time—guaranteed!

Every day is unique and you’re at the mercy of Mother Nature. Your set is ever-changing, from perfectly lit and gorgeous…to a thunderstorm, flash floods, a charging hip-

po and a stuck vehicle. You have to keep on flowing!

TECH ON LOCATION The Phantom Flex 4K and the Canon 501000mm lens was my weapon of choice for this project. We also used a few RED’s, mounted on Shotovers, Ronins and in underwater housings, Sony A7R3 for time-lapses and a multitude of GoPros… some of which got stepped on by elephants or chewed by hyenas and crocs, never to be recovered. Power and storage were my constant challenges. On busy days with lion fights and buffalo hunts I could easily roll +70 clips of raw footage…which makes for a very long download and backup copy. And you can’t just leave something to copy…baboons love breaking into tents and destroying everything. Baboons know how to party and once they’ve done it in your tent you never ever want them back!

DANTE’S DIVINE COMEDY The sublime series Okavango River of Dreams is divided into three parts, and is based on Dante’s Divine Comedy; Paradise, Limbo and Inferno. There is a fourth behind-the-scenes episode, too, called Divine Journey.

Each episode echoes a “world” in Dante’s poem — the first part being Paradise, where the deep water flows followed by Purgatory, the middle area with an abundance of wild animals, and then the Inferno as the river ends its journey in the extreme heat of the Kalahari Desert.

CATASTROPHIC DANGER On March 3, Dereck and Beverly were walking to dinner from their tent in the evening. A wounded buffalo was hiding below the deck and charged, running over Dereck and cracking his pelvis. The buffalo then scooped up Beverly and impaled her with one of his horns. The horn entered below

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Top: Fekeetsa crosses the Okavango River trying to keep her broken paw high and out the water.. Bottom: A leopardess scans the horizon for prey. Photos by Luke Cormack

her ribs and after piercing her collar bone, the horn then went further up, through her throat, the back of her mouth and into her cheek bone, shattering that into 21 pieces, missing the esophagus, vocal chords, jugular, carotid artery and carotid sinus passage, then it stopped just a millimeter away from the optic nerve and her eye orbit. Dereck managed to get up and run into the night after the buffalo, kicking it repeatedly until he landed a kick on its wound, and it shook Beverly off.

The helicopter could only take off at dawn so Dereck looked after his wife the entire night, and he had to bring her back to life twice before they got to a hospital. Since then, both Jouberts have made complete re-

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coveries and have more fire in their veins to aid conservation than ever before!

ELUSIVE SOLITARY PREDATOR The image above of Fig, the leopard, was taken on March 17, 2020. We had been following this heavily pregnant leopard for 28 days, and every day we were given new insights into the meaning of the words ‘elusive solitary predator.’ Sometimes, if we were lucky we would get 20 minutes with her doing something interesting, other times we would spend 12 hours a day to eventually find her asleep in a tree, and sometimes we wouldn’t find her at all.

This afternoon was different…she walked straight down the trail, pausing and blink-

ing greetings politely as usual, and then walked under our vehicle, her tail passing inches from my bare feet. Then she jumped on top of this termite mound, and had a little catnap in the warm rain. She got up and stretched, glistening in the last rays of sunlight. She posed perfectly and said good-bye to me, and hello to a whole new world. The next day we had to evacuate Kenya as the president announced the borders would be closing. Fig has probably had her cubs in the quietest Mara she has ever known. Not a single vehicle to disturb her, a return to paradise. I think about her often and how I’d be on the first plane to Kenya to meet her new family as soon as possible…

SOCIETY OF CAMERA OPERATORS · SOC.ORG

T: TECH ONFSleEx 4K;

Phantom o; Canon nstr RED Mo ho0mm; S 50-100 ; Gopro tover F1 Hero8

Left, clockwise: Up close on the hunt with Fekeetsa…thinking about car doors…photo T.Turner. Top right: Where I spend most of my time, doors taken off to help mobility and keep the heart beating, photo T. Turner. Bottom right: Lions, photo by Luke Cormack.

This labor of love has been well received, and won several awards and nominations including; nominated at the Jackson Hole Wildlife Film Festival in the category: Best Limited Series along with Blue Planet 2 and Our Planet, and it was the New York Cinematography Awards (NYCA) 2020 winner in five categories; Best Cinemtography, Writing, Sound, Editing, and Original Score to name a few. A 90-minute “Directors Cut” was shown at the Sundance Film festival to sold out audiences.

It was an absolute honor to have been a part of this masterpiece and I could not have done it without the help and guidance of the local rangers and guides in Botswana. Hopefully this will help raise

CAMERA OPERATOR · SUMMER 2020

awareness and help us conserve the very few truly wild places we have left on the planet. The next film is being finished and due for release in November for Terra Mater and National Geographic and features three generations of leopard we have been following.

All photographs are available to purchase at lukecormackphotography.com and proceeds will go to Project Ranger and Rhinos Without Borders.

Due to Covid-19’s effect on tourism and travel it has left the wild places without protectors so if you’d like to help pay a ranger’s salary go to

LUKE CORMACK, SOC Luke Cormack was born and raised in South Africa where he worked as a game ranger before studying Film and TV and got into the industry. He has won an Emmy award for cinematography and been nominated numerous times. Luke has a passion for wildlife and conservation above and below the water. Luke chooses to work on features, commercials, and documentaries to keep things fresh and keep his creative edge. Luke has bases in Venice CA and Cape Town.

greatplainsfoundation.com/ranger

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Making the Transition from Unscripted to Narrative curated by Kenny Niernberg, SOC and Gretchen Warthen, SOC with interviews from: Stephen Coleman, Pauline Edwards, Kenny Niernberg, Gretchen Warthen, Sarah Levy, Tommy Maddox-Upshaw, Lauren Peele, Alan Pierce, Vanessa Joy Smith, Matt Valentine, Mande Whitaker This year the SOC created and are producing a number of online video series that offer insights into the role and craft of the camera operator. These videos are available to view on the SOC website (see link at bottom of article).

One of the series, Making the Transition from Unscripted to Narrative, is a four-part series that features camera operators who have successfully moved from careers in unscripted, reality and documentary to scripted episodic television and narrative feature films. Operators in the series have worked as full-time operators on Captain Marvel, Shameless, Insecure, Chicago Fire, Little Fires Everywhere, Snowfall, The Rookie, Mayans, Gotham, Succession, GLOW, Entourage, The Office, Parks & Rec, and more.

Gretchen and I worked to curate and create this article to extend on the goal of the video series—which is to explore and share information about the value that an unscripted operator can bring to a narrative setting. All of these discussions aim to offer insights and information through sharing our own personal experiences in the narrative world.

While we briefly focus on our path to narrative, our main message is to emphasize that unscripted operators have learned skills and techniques from countless hours of unscripted work that can be a major asset to any narrative production.

In addition to the videos, we also want to explain various narrative terms and share with you more of our stories. Our own successes, and our pitfalls and mistakes, so you can be aware of them when you get a scripted opportunity. We’ve also want to share thoughts on the various relationships on set and how they can differ to that of unscripted sets.

Ultimately, we feel that if a stigma of “reality operator” exists, it’s our

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commitement to simply label us all “camera operators."

In this article the series operators explain what they think unscripted operators bring to the set as well as any stories, tips or advice they have to offer. Here are their contributions below.

KENNY NIERNBERG, SOC

Photo by Merie Wallace

Unscripted Credits: Food Network: Beat Bobby Flay Lifetime: Project Runway NBC: Making It

Scripted Credits: HBO: Insecure ABC: The Rookie NBC: Better Late Than Never

Camera Operator: What does an unscripted operator bring to the narrative world?

Our instincts and our ability to follow story are some of the most valuable assets we can bring into the narrative world. I’ve found that more and more projects are allowing actors to have some free-

SOCIETY OF CAMERA OPERATORS · SOC.ORG

dom with blocking and action in the scene. There are many times in the unscripted world, when we are asked to cover a scene with one camera. We’ve learned the idea that sometimes the reaction is more important than the action, and that actions in the scene and story should motivate our operating. That experience and understanding of the bits and pieces needed to complete that particular scene are gold when you get to the narrative space.

CO: Any general tips, wisdom, insights, for being a great operator in general?

It’s important to remember that communication is key when you enter into the narrative world. In general, everyone you deal with. Understanding that you’ll need to talk to and communicate with more people than you would on an unscripted shoot. I find it’s best to figure out or establish effective ways of communication with DP’s, AC’s (1st and 2nd), camera operators, AD’s, on-set dressers, key grips, dolly grips, and gaffers. All of these individuals may have different means to effectively communicate, and if you can establish the right way early on, you’re setting yourself up for success. By doing this you’re also empowering these individuals, and in turn showing them a great deal of respect. Also, always remember to say, "please and thank you…"

Those two sentiments go a long. long way.

GRETCHEN WARTHEN, SOC

Photo by Rick Escalante

Unscripted Credits: Netflix: Circus of Books Lifetime: Project Runway Showtime: The Real L Word

Scripted Credits: ABC: Splitting Up Together BET: Kevin Hart’s Real Husbands of Hollywood Comedy Central: Another Period

CO: What does an unscripted operator bring to the scripted world?

Speaking for myself and dozens of other operators I have worked with over the years, the unscripted operator brings countless hours of practiced storytelling to the scripted world. In the unscripted world, we tend to be autonomous decision makers playing the role of director, DP and operator, while at the same time choosing the storytelling elements of coverage angles, frame sizes, composition, 180-line place-

CAMERA OPERATOR · SUMMER 2020

ment, cut-aways, inserts, who to follow and how to follow them in set-up after quickly evolving set-up.

Unscripted is a dialogue-driven genre which relies heavily on my quick decision-making abilities while in the thick of storytelling moments. I have learned to be flexible and to make corrections without thinking when a shot falls apart, or an actor blocks another actor.

And, hand-held skills, forget about it! Over the course of a single unscripted series like The Real World, I can log more hand-held footage than many narrative operators shoot in an entire career. These are key skills I bring from unscripted to narrative. These skills have served me well.

CO: What are the creative differences and similarities between shooting unscripted and scripted?

There are many differences, some awesome, some challenging and some just interesting. For me, probably the most awesome difference is the script. Anyone who has worked in reality has heard it before, “Reality isn’t real. It’s just as fake as scripted.” Anyone who has seriously worked in both genres knows this is simply not true. In narrative the script is real and everyone can read it weeks ahead of time. No crazy big surprises 10 seconds in the future like I constantly experience in documentary and reality. You will never find an actor yelling at other actors in a kitchen, running out the front door yelling at another actor walking away, then running back into the house to yell at the other actors before running out the door again to get to a taxi cab, opening the door, slapping the face of a departing actor, slamming the taxi door shut, and then running back inside screaming all the while YOU and one other operator have to cover it not knowing what is happening. Never will this happen, ever. In scripted, you will be well aware of what is happening ahead of time. In narrative, this slap scene would be broken up into at least four set-ups and would take most of a day to shoot, not the 60 seconds it took on Real World: Seattle. In narrative, I can read a real script, which will be followed and I can prepare ahead of time and shoot with intention. There is no “hosing down” scene after scene because none of us really know what’s going to happen in the next 10 minutes, let alone four weeks from now. The random moment I shoot today, which seems to mean nothing...until it comes back up again four weeks from now, at which time it turns into the conflict moment of the entire series. That will never happen, because in narrative that moment will be a known moment in the script. That moment will not be caught unaware after having the camera on your shoulder for three hours without a break. That moment will be known, planned and shot with intention.

Another great plus is that instead of one chance at a documentary or reality scene, you get multiple takes and opportunities for success at a narrative scene. Your operating can be fine-tuned and finessed because you are never in true fight-or-flight auto pilot mode. And, you will love this, most hand-held takes are less than 10 minutes! Woohoo!

There are also challenging differences. When I shoot narrative, I am not an island, alone in a house playing fly-on-the-wall with a 35-pound camera. I have an entire creative team to work with to

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make the shot the best possible shot I can imagine (within reason, or course). To make the shot a success I coordinate with many people.

The challenge is knowing everyone’s names and what their on-set job responsibilities entail. Who do I ask to help with what? This all comes with time and practice. While I have always found this to be a big challenge it is also incredibly freeing and awesome at the same time.

Partners in crime everywhere I look.

One key operating difference I have found challenging is something called “actor fixation.” Actor fixation is when a camera operator is completely focused on the actor(s) and isn’t looking at the entire frame. In unscripted, I pull my own focus, so I am usually completely “actor fixated” on the cast because it is my job to keep the subject of my frame in focus. I am trained to actor fixate. In scripted, I have a focus puller whose main job is to fixate for me so I can look at the entire frame without constantly looking for focus. While it sounds easy, this is a very hard habit to break. It’s kind of like driving and scanning the road, rear view mirror, side mirror and speedometer, repeat. If I only fixate on one of those driving tasks, I would be in a ditch in no time. In narrative I look briefly at the actor(s) to check for hair, makeup, wardrobe, boom shadows and lighting issues which I follow by scanning the rest of the frame for objects which should not be in the frame like coffee cups, water bottles, apple boxes, stands, flags as well as reflections and boom shadows. It’s really easy to get caught up in an actor’s performance but that’s their job. My job as an operator is to make sure the entire frame surrounding their performance is not only useable but the best frame it can be to support the performance.

Another important and sometimes very challenging difference is that A camera has top priority. Quite often it is the A camera operator who runs the set, not the director of photography. The DP is often focused on lighting and working with the director. The A camera is often the on-set presence which guides everyone for coverage and protecting the DP’s vision. Some are more hands on than others, but there is a hierarchy and A camera needs to be respected. In unscripted, we often all act like A camera operators with shot priority because we are all fighting for the best angle where shot importance is constantly changing. This is not the case in narrative. On a strict set, the A camera will be brought in and setup before the B camera is brought onto set. This can be frustrating when A camera is setting up a complicated move but the DP wants to see what the B camera frame will be. Communication is key to getting through these situations. The B operator communicates with the A operator on the A camera’s edge of frame, and sets the B shot accordingly. Quite often the B angle is compromised in some way—but do not take it personally if you feel squeezed out or have to accept a compromise. Keep in mind, once coverage begins to move in tighter, some of the shots you want will become easier to get. Once you have a set frame and begin to dress the set to your camera, it is very important that any changes you want to make in your frame are run past the A camera first. Moving a lamp, dealing with a reflection by opening or closing a window, or shifting a frame with reflective glass or a mirror, raising or lowering anything which

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appears in the A camera frame must be discussed with the A operator.

In my opinion, there are also some interesting differences between the unscripted and scripted camera departments, specifically the responsibilities of the camera assistants. In narrative there is no tech supervisor or tech team. The ACs handle all of the gear and interface with the rental house on everything including RF. The A camera 1st AC runs the department and delegates to all of the ACs. The A camera 1st often hires or signs off on day players, which includes operators.

This is important to know because the A camera 1st can make or break you, especially when you are a day player. The last interesting difference with the ACs is that when I roll, my focus puller is shooting right along with me. Even though we may be 20 feet apart, it’s like two people operating a single camera. It’s awesome, and magic, and stressful, and weird all at the same time.

CO: Describe your first day on the set of a scripted series.

My first day on set as a scripted operator was as a day player on Kevin Hart’s mocureality series, The Real Husbands of Hollywood, Season 1.

My call was a few hours after the main crew call, so I arrived an hour early. In scripted my call time isn’t at the parking lot, it’s not at the camera truck, it’s not walking to the set. My call time is on set, script sides in hand ready to watch the blocking rehearsal of the first scene I will be shooting. I also arrived extra early to figure out the lay of the land, meet the ACs, look at the camera I would be using that day, get my start paperwork from the ACs, and to be as comfortable as possible. Once I felt settled in, I went to the DIT tent, which is where the DP sits with the DIT to watch monitors during shooting. I introduced myself and after a bit of chit chat I got my instructions. The simple lock-off green screen shot I thought I was called for turned into a series of SFX Incredible Hulk transformation shots, both hand-held and sticks, with two actors (one transforming into the other). The camera team was very supportive filling me in on details I would need to be successful with the curve ball I’d been thrown. However, I was completely on my own to run the 2nd unit, interface with special effects, lighting, grip, and wardrobe to make the series of shots happen. Trial by fire. I had been warned one of the actors was difficult, which I was able to deal with easily after years of difficult reality cast members. Ha ha. What was really difficult was the second actor’s clothing, which was supposed to tear under flexed muscles. Turned out the fabric for the shirt and pants was stretch fabric and would not rip no matter how tight the wardrobe person made the fabric. Then it became a game of creative angles to obscure pre-torn fabric and make it seem like it was tearing on camera. Another challenge was that this footage needed to appear to match angles from a scene shot the day before as well as the footage I had just shot with the first actor. Years of competition reality shows where I shot hundreds of hours of montage footage showing the process of cast members creating for hours-on-end prepared me to go into autopilot, and be creative about the angles needed for the montage to sell the SFX. Wardrobe was very relieved, and with collaboration between everyone we pulled it off! Mission accomplished.

SOCIETY OF CAMERA OPERATORS · SOC.ORG

After everything was signed off on, I went to the DIT area to report back to the DP. He was happy everything went well. At this point, I was free to leave for the day but after my success, I wanted to stay and get to know him. We talked cameras for a bit and I asked him and the DIT a lot of questions. I stayed for lunch to chat more with the camera crew in a more relaxed environment. After lunch, the DP asked if I would want to shoot a few exterior shots of a house up the street which was a house from other scenes. Sure thing! An AC and myself walked up the street to meet the locations person at the house. I set up the camera dialing in all of the camera settings to begin shooting the exteriors. We’ve all done hundreds of transitional exteriors in reality, so I was completely in my comfort zone. When the sun was setting, I asked the locations person to ask the home owner to turn lights on and off. He was surprised by this request. I explained to really sell a transitional exterior with no outside movement, lighting needed to turn on and off inside the house. He thought this was hilarious but went along with me. We did the entire golden hour through twilight exterior routine of various lights on and off. After I was finished he said he’d never had an operator ask him to do anything with lights.

When I returned to the main location, the feeling on set had become a bit tense because the day had gotten behind schedule. Knowing I could have left hours earlier, I took this as a sign to say thank you and goodbye to the camera crew. I also thanked the grip, the electric, and the wardrobe person from earlier in the day. I drove home happy that I had met the challenge of my first day on a narrative set, and that many of the skills I had acquired on reality shows came to save the day for me. After reviewing the footage I shot, the DP called me back many times, and I was offered the C camera position the next season, and the B camera spot the last three seasons. You never know where that day play job will take you.

CO: What does an unscripted operator bring to the scripted world?

I think that the unscripted operator brings a variety of skills to the narrative set. A seasoned operator has shot thousands of hours upon his or her shoulders conditioning them into a strong, steady, reliable, smart hand-held operator that has the stamina and focus for long takes if they should happen. We pull our own focus and anticipate cast dialogue for quick, fluid camera movements, and shot compositions during a scene. Depending on the shooting situation we have the ability to take the camera off our shoulders and shoot from our hip, shoot while on our knees, from on top our knee, hand-held low to the ground or hand-held high above our heads.

Most operators can be very flexible with their bodies and at the same time be one with the camera. We also do what is called “The Dance,” meaning knowing how to cover a scene single camera or in multi-cam situations. We can quickly assess the shooting situation, and establish the camera line, camera coverage, and camera assignments either verbally or no verbal. Sometimes this helps the director / DP / field producer if the day is just moving too fast and you just have to go, go, go! We bring a lot to the table.

CO: Any general tips, insights or wisdom for being a great operator in general?

Always be willing to learn something you don’t know and understand that sometimes to move forward you must fail first.

PAULINE EDWARDS, SOC

STEPHEN COLEMAN

Photo courtesy of Pauline Edwards

Photo courtesy of Stephen Coleman

Unscripted Credits: CBS: The Amazing Race ABC: Wipeout CW: Americas’s Next Top Model

CAMERA OPERATOR · SUMMER 2020

Scripted Credits: BET: The Real Husband’s of Hollywood Tru TV: Those Who Can’t Facebook Watch: The Real Brothers of Simi Valley

Unscripted Credits: Disney+: Encore!

Netflix: Rhythm + Flow Lifetime: Bring It

Scripted Credits: FX: Snowfall, S4 Netflix: On My Block, S2 Netflix: Huge In France, S1

CO: What does an unscripted operator bring to the scripted world?

In unscripted we understand how to cover a scene. Sometimes we could be the only camera operator shooting a specific setup and we

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need to be able to get all the coverage needed to tell the story. We can find different angles to make the shot more interesting.

CO: What are the creative differences and similarities between shooting unscripted and scripted?

There can be a plan in unscripted and all of that can go out the window when the cast shows up. The cast doesn’t have a concept of where they need to stand in order for you to get your shot. In scripted there’s a collaboration between multiple departments on the best way to achieve the shot.

CO: Describe your first day on the set of a scripted series.

I was pretty confident because it was primarily a hand-held show but terrified at the same time because so many departments were waiting for me to let them know what my frame was so that they could do their jobs. I was use to zoom lenses in unscripted so I didn’t know what prime lens to ask for. Maddox, my DP told me to download Artemis Pro which is a director’s finder app and that helped me decide what lens I would need for the shot. My camera crew supported me so much that I remember having a permanent smile on my face.

CO: What was the best piece of advice that was ever given to you on set and what advice would you give? And—any general tips, insights or wisdom for being a great operator in general?

Stay off your phone and observe what’s going on between the actors and the director. I stayed close to my DP so when he was deciding on a shot, I was right there and ready. My advice is to know the script. Learn the gear. Get a mentor because it’s great to have someone to talk to that understands what you’re going thru. Be a nice person and stay humble.

SARAH LEVY, SOC

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Working in reality and documentary, you are often thrown in to a situation or location without scouting or prep. Sometimes you are working as a single camera, sometimes multiple cameras. You have to be able to tell a complete story with a beginning, middle, and end while working spontaneously, and gathering all the coverage the editor will need. You have one take to get it all: wide-angles, mediums, and close-ups.

Sometimes you are directed as to what the shot is, but more often than not, you, as a camera operator, are responsible for self-directing, knowing and getting the coverage while also finding interesting compositions, angles, and backgrounds.

All the quick thinking on your feet, and working improvisationally and organically can only help and inform how you work on a scripted set with the DP, director, and other camera operators to create great shots, find complimentary angles, to honor the DP’s lighting, and the director’s blocking.

CO: What are the creative differences and similarities between shooting unscripted and scripted?

In unscripted we are often working in a more spontaneous and improvised manner while in scripted there is pre-planning and working out the shot in collaboration with the actors, DP, director, etc.

But in both scripted and unscripted, we have the same objective: to tell a story visually, to create compelling compositions, to find camera movement that enhances the performance of the actors or the actions of the unscripted cast.

CO: What was the best piece of advice that was ever given to you on set and what advice would you give?

Photo by Colleen Hayes

Unscripted Credits: NBC: Apprentice ABC: The Bachelor CW: America’s Next Top Model

CO: What does an unscripted operator bring to the scripted world?

Scripted Credits: Feature: Captain Marvel Hulu: Little Fires Everywhere Netflix: GLOW

As an operator on a scripted set, stay by your camera and watch the set. Protect your frame. Pay attention to what the other camera is doing and what the grips and electrics are doing as the shot is set up, and develops. Watch to see what equipment might encroach your frame. While you are waiting and watching, think about how you can improve your frame. Maybe work with the AD department to have a more dynamic entrance to your shot with an extra making a foreground wipe. Make sure background extras are correctly placed and not awkwardly blocked behind the main actors. Scrutinize your frame and make it better than what the DP and the director were expecting.

CO: Any general tips, insights or wisdom for being a great operator in general?

Practice your craft. Pay attention. Know the script. Make friends and allies on set. Be a team player. Be cool and play nice.

SOCIETY OF CAMERA OPERATORS · SOC.ORG

TOMMY MADDOX-UPSHAW

LAUREN PEELE

Photo by Kat Barnette

Photo courtesy of Tommy Maddox-Upshaw

Unscripted Credits: TV One: R&B Diva LA Bravo: Queer Eye For the Straight Girl YouTube: No Budget Gourmet HBO: When The Levees Broke

Scripted DP Credits: FX: Snowfall FOX: Empire Netflix: On My Block

Unscripted Credits: Quibi: Dummy, A Cam 1st AC Tribeca: Marvelous and the Black Hole ABC: The Rookie

Scripted Credits: Travel Channel: Portals to Hell, Season 1 We TV: Marriage Bootcamp: Reality Stars, Seasons 9,10,11 Animal Planet: Crikey! It’s the Erwins!

CO: What does an unscripted operator bring to the scripted world?

An unscripted operator brings a story skill set that is beyond just capturing a planned moment because with being the only camera in the room a decision has to be made in how to best follow the story and with that comes being on their feet, moving and panning and letting things happen, while physically keeping the shot and listening to the dialogue. It’s a pool of talent I pull from for years for women, men, and people of color.

CO: What are the creative differences and similarities between shooting unscripted and scripted?

Both types of operators should be using creative judgment that best visually reflects the emotion of the moment. The hand-held skill set of the unscripted operator is where the gap widens at times and sometimes the most interesting off angle because in that unscripted space you have no choice but to react to the room and just go for it. That just go for it something I love about the cameramen and women of that space.

CO: What was the best piece of advice that was ever given to you on set and what advice would you give?

Just go for it. Lets see what happens….

CO: Any general tips, insights or wisdom for being a great operator in general?

CO: What does an unscripted operator bring to the scripted world?

As a 1st AC the biggest things I see unscripted operators bring to the table when I'm pulling focus for them is the ability to find frames and multiple variations at a quick pace. They have good instincts when it comes to figuring out what can enhance a story quickly, and how to really get the director and DP something they weren't expecting or adding an extra piece to a shot that you might not have had time to do in two set-ups. Being quick and having a good eye for a frame is definitely a strong side I see a lot of unscripted operators possess that they should really lean into more when the time is right on scripted sets.

CO: Any general tips, insights or wisdom for being a great operator in general?

Lean on your team, you are surrounded by people that want you to succeed. Be open to ideas and suggestions, but stand your ground and don't afraid to be confident. Be humble as much as possible, everyone had someone that helped them get to where they are and embrace that fact and be proud of where you came from and the lessons it taught you. You are only as good as the people who surround you, so surround yourself with people who help make you a better operator and challenge you, and in turn—you challenge them.

LISTEN LISTEN LISTEN to the story, then pitch ideas that connect with the story. Never take a side between a DP and director, if there’s a discrepancy between the two call them together and stay out of the crosshairs.

CAMERA OPERATOR · SUMMER 2020

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CO: What does an unscripted operator bring to the scripted world?

ALAN PIERCE, SOC

With so many hours of the camera being on an unscripted operator’s shoulder, they tend to have an instinct that just can't be taught. Their abilities to anticipate something is uncanny. It comes from hours and hours of filming everything and nothing.

CO: What was the best piece of advice that was ever given to you on set and what advice would you give? And—any general tips, insights or wisdom for being a great operator in general?

Photo by Cory Stambler

Unscripted Credits: CBS: Survivor A&E: Paranormal State CW: America’s Next Top Model

Scripted Credits: Feature: Winter’s Bone FOX: Gotham HBO: Succession

Best advice I've been given was to trust your instincts. All the different gear and toys can be learned, but you have to trust that the time you've spent filming real people has made you a better operator.

My advice would be to be a good human and respect every single person on set.

MATT VALENTINE, SOC

CO: What was the best piece of advice that was ever given to you on set and what advice would you give?

One of the best pieces of advice I have been given was from Jim McConkey, SOC. He said to be conscientious of every shot you line up. That each shot should have a deliberate beginning, middle, and end. Advice I would give is to make it a habit of checking in with the script supervisor. They have great insight to what the day will look like and the director's vision.

CO: Any general tips, insights or wisdom for being a great operator in general?

General tip I often give to other operators is that "please and thank yous" go a long way, and that smiles are contagious.

VANESSA JOY SMITH, SOC

Photo by Claudette Barius

Unscripted Credits: NBC: Get Out Alive w/Bear Grylls Bravo: The Real Housewives of Beverly Hills Showtime: The Circus

Scripted Credits: Showtime: Shameless NBC: Chicago Fire USA: Queen of the South

CO: What does an unscripted operator bring to the scripted world?

Phtoo courtesy of Vanessa Joy Smith

Unscripted Credits: Netflix: Dave Chappelle: The Bird Revelation MTV: Rob Dyrdek’s Fantasy Factory SyFy: Destination Truth

Scripted Credits: FX: Mayans MC NBC: Chicago Fire ABC: Stumptown

Unscripted operators know how to ‘dance.’ They shoot with two eyes open, are able to react quickly to improvisation and unexpected moments, they watch the other camera operator, they are fit and able to do sumo squats repeatedly with the camera, sprint forwards and backwards, land whip-pans, and moonwalk backwards almost as smooth as Steadicam. Unscripted operators are accustomed to wearing a Comtec and following dialogue and subtext cues. They have no problem ‘finding something’ when shooting around another camera.

Unscripted operators tend to be accustomed to a certain amount of discomfort, awkward positions, shooting in heat, humidity and cold, making due with available equipment, imperfect camera configura-

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tions, which when put in a scripted situation could save time not fussing with building the perfect apple box throne, or needing all the creature comforts of a seasoned scripted operator.

CO: What are the creative differences and similarities between shooting unscripted and scripted?

DIFFERENCES Unscripted operators are typically more self-sufficient while scripted operating requires collaboration with many departments.

Unscripted typically shoots on zoom lenses, scripted uses both zooms and primes.

Unscripted uses dollies primarily for camera repositioning and adding depth to interviews, scripted uses dollies for intricate storytelling.

Unscripted = pull your own focus. Scripted = focus puller SIMILARITIES In the film and video days the two worlds of crew and equipment would seldom mix. Technologically, now the two worlds have combined, and use similar equipment. Visiting a camera prep bay in 2020 you might not know whether it’s a feature, doc, episodic, or reality show that is being prepped. There are more similarities than differences and making the transition is as comfortable as it has ever been.

Scripted operating requires a high level of script awareness, understanding where the days’ work fits into the edited whole, and keeping track of continuity. Unscripted operators also keep track of story but typically by listening to interviews and staying sensitive to scene work as opposed to reading a script.

CO: What was the best piece of advice that was ever given to you on set and what advice would you give?

Shoot the story not the words.

Best advice would be to educate yourself and ask for what you want.

If you want to operate on scripted shows you have to ask for it. If you need a lens finder ask for it. If you need something moved out of shot, tweaked, etc. speak up!

The vast amount of free and instant information now available to learn any aspect of cinematography makes it possible to fill knowledge gaps easily.

CO: Any general tips, insights or wisdom for being a great operator in general?

Great operating starts before you arrive on set. It starts with developing good script awareness, understanding character arcs, studying the call sheet and weekly schedule so you know the days’ work and where those scenes fit into the whole. I’ve worked with operators that know the script better than the director. One of them became a director.

Malcom Gladwell was right about camera operating, you need to log a lot of hours to become an expert at it. It’s like learning the piano—a novice can make sounds and play chords, but it’s going to take practice, repetition, education, and skill to transcend the technical challenges and let the expression flow.

In order to log those hours, reality TV is a great place to start.

MANDE WHITAKER, SOC

CO: Describe your first day on the set of a scripted series.

My first day on set was on Entourage, Season 3. I was a mid-season B camera replacement. I didn’t know anyone. We were shooting on ARRI cam LT cameras using primes. One of my first challenges was learning lens focal lengths. These were the days before the Artemis app and I was insecure about asking for the lens finder which made lens selection difficult. I remember asking for a 40mm and three lenses later ending on an 18mm which really pissed off my 1st AC having to make unnecessary lens changes.

Crew was burnt out mid-season and there was no feedback from the DP so I never knew if I was doing a good or terrible job. I was never sure whether to ask for fluid head or gear head. I knew I could do a better job on a fluid head but there was pressure to use gear head because it was a ‘gear head show.’Either choice revealed a lack of experience.

I survived to the end of the season, but didn’t get asked back for the following season.

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Unscripted Credits: NBC: Fear Factor ABC: Wipeout FOX: LEGO Masters

Scripted Credits: FX: It’s Always Sunny in Philadelphia TruTV: Those Who Can’t, S3 Nickelodeon: Ryan’s Mystery Play Date

CO: What does an unscripted operator bring to the scripted world?

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The unscripted operator brings an intuition and storytelling expertise that has been honed over years of watching people and telling stories, sometimes single camera and without much direction. They are constantly tracking the shots they have and those they still need while the story is happening, prioritizing coverage that must happen in the moment and what can be picked up once the meat has been captured. They are able to adapt and react quickly to change, which is especially helpful in scripted comedy or any genre where the talent may go off script.

MORE FROM GRETCHEN WARTHEN

CO: What are the creative differences and similarities between shooting unscripted and scripted?

In unscripted the camera operator is much more autonomous. We choose our shots; we pull our focus, we set our iris, we move as needed to tell the story as it is happening. We are not dependent on anyone else to make our shots happen. In scripted you are part of a team making one shot. You have the AC pulling focus, the dolly grip partnering with you on camera movement. There may be a crane tech there as well so it’s a much larger team where many people must work together to achieve a shot. This means communication is key.

In unscripted it’s more about communicating with the other operators. I can be shooting with up to 15 other operators, and I need to know what shots they are getting so I don’t double up, but I also have to know their frame lines so I don’t put myself in their shot. We all have to move and shift with the action while maintaining the line.

We are doing all of this in real time via hand signals but mostly just with looks if we know each other well. It’s really fun when you have a great team.

The tools can be different, the team structure may change, but in the end the goal is the same in both worlds; that is telling the story. To always work as a team to tell the story and honor the project.

CO: Any general tips, insights or wisdom for being a great operator in general?

Being a great operator requires many technical skills, however, there are interpersonal skills that are just as vital. Attitude is defiantly at the top. Being someone people like to work with and of value to the team is important. Listening is key. Thinking through your shots and backgrounds, communicating with the team clearly and concisely. In unscripted you can’t prep too much because you don’t always know what’s going to happen plus you want to stay loose mentally in order to react quickly. It’s important to be ready for anything. In scripted there is a lot more prep. Reading the script, looking through the blocking for coverage, rehearsals etc. In both it’s important to work effectively with your team to do what’s best for the project. You always want to support the director and do what’s best to tell the story.

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CO: What was the best piece of advice that was ever given to me on set and what advice would I give?

FROM JOHN PURDY: Operating isn’t going to be my biggest challenge. Managing my background and what appears in my frame which shouldn’t be there, those will be my biggest challenges. I can work for an hour on the perfect shot but when the actors come to set, the frame clears, and the slate comes in...will there be a grip truck in the background which I missed? Will there be a bright orange cone in the distance? Will there be a PA doing lock-up I missed because I assumed they knew the frame and would move before we rolled? Is there still layout board or mats on the floor or a door jamb protector I missed? And, what the hell is that reflection?! Reflections will get you every day.

FROM DARYL STUDEBAKER: Everyone on the set has a job to do. Let go and let them do their jobs. If you need something moved, talk to the person who placed the object in the first place. Ask if you can move it or if they want to move it. If it’s a large object, offer to help. The on-set dresser is the person you will interact with the most.

They have a lot of responsibility for continuity. If I move an object, and don’t tell them and then in the edit it becomes an issue, they will get the reprimand not me. If I break something I move, they will get the reprimanded from the set designer, not me. This also goes for mats, layout board, wall and door jamb protectors. There are people whose job it is to protect a location from the ravages of the crew. Ask to have protection moved, don’t move it yourself. If something on location is damaged because I moved a layer of protection without telling anyone, the locations department gets reprimanded, not me.

FROM JOHN TANZER, DP: There is no failure. There is only opportunity for greatness. Each perceived failure is actually a learning moment which places another stone in the path you’re building to greatness. Or something like that, he’s way more eloquent!

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FROM STAN LATHAN, DIRECTOR: When the director or actors step on set, be quiet and watch/listen. Your respect and attention to the set is required and expected. The director may give direction to the actors and not tell anyone else and they expect camera operators and the boom operator to be paying attention. Never be seen texting or looking at your phone when they are on set because it is a sign of disrespect and disinterest. (I wear an Apple Watch to keep tabs on texts and email and only take out my phone to use Artemis Viewfinder or take reference photos for consistency. If I need to pass time, I read the script. If I need to text, I step off set nearby where I still have eyes on my camera).

CO: Any general tips, insights or wisdom for being an operator in general.

GO TO THE GEAR CHECKOUT: I can’t stress enough how important it is to go to the gear checkout before shooting begins, especially if you are shooting hand-held. Ask your 1st AC when the best time to stop by will be. I find early on the last day of prep is usually the best time. I have found that narrative camera builds tend to be overcomplicated modular builds with front weight items like handles up front, zoom, focus and iris motors on the lens. Generally, there is also a monitor mounted someplace awkward and a weird RF transmitter. Compared to unscripted camera builds the narrative camera build is usually way too front heavy with an awkward shoulder pad. I go to the checkout to get my camera built into a configuration I can use easily because the camera is the last thing I want to be struggling with on set. It’s also a great way to get to know my ACs and begin building a solid relationship. The ACs are there to help and geek out on the best build for me. They want me to be happy ahead of time so they can focus on everything else when we all roll into set to begin shooting. The first shot of the day is rushed and stressful, this is not the place and time I want to be figuring out how I want my camera rebuilt. Personally, less is more for me in a camera. I don’t like front handles or a monitor. Get those away from me! I want simple and balanced. My first day on set I want to focus on what really matters, the script, learning names and figuring out all of the interpersonal dynamics.

READ THE SCRIPT: And—read the script changes as they come out. Everyone on the set is in service to the story. The story is contained in the script. I ask whoever books me how I get on the script email list. If I am a day player, production may not share the script due to confidentiality, but often an AC will forward their copy. I read all of the scripts before the first day of shooting. Key elements, or cast in Episode 7 may begin to appear as foreshadowing in Episode 1 or 2, so it’s important for me to know what to look out for. The director and DP appreciate operators who show motivation to learn and protect the story. Asking important story questions will endear you to them. At night, before I go to sleep, I look over the call sheet for the next day and read all of the scenes we will be shooting. I look for any clues in the script which indicate something I will need to be aware of as an operator. People entering or exiting a scene, inserts, cutaways, props. If I go

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to sleep thinking about the next day, my mind is calmer in the morning and I feel more calm because I am prepared.

USE THE SIDES TO YOUR ADVANTAGE: I like to arrive on set about 30 minutes early. I take this time to get a fresh walkie battery, a full-sized call sheet, and pick up a copy of the sides for the day.

All of these items are often in a production bucket/box, on a table, or some other production determined place. If you can’t find them ask a PA or AD. Sides are a small half-page version of the script scenes to be shot for the day. The pages are identical to the script, they’re just smaller versions which are easy to fold into a pocket. Folded into thirds they fit perfectly into a cell phone pouch. The call sheet will have the character name, cast name, and stand-in name listed. Each time a character name appears on the sides to the left I write the actor’s name and the right I write the stand-in’s name. Again and again, each time the name appears it builds my memory. Writing names repeatedly also helps because if I forget in-the-moment I can refer to my sides and the names are all there. I write the director’s name on the front if I am still learning their name. While I am going over the sides, I draw a box around any indication of movement, cutaways, inserts, etc. so I remember later. During the rehearsal, I will draw directional arrows into the script at the exact line when anyone enters, exits, sits, stands, or moves. Generally, if cast moves that means I will be moving or adjusting as well. Once the rehearsal is over, if there are actor entrances or exits I will ask the DP if I my shot needs to carry anyone to or from a door. If I will be carrying the actor, I make that note so I don’t forget. (This is important information to have because it helps me to know how far my frame needs to be protected for the shot. If I carry an actor(s) to or from a door, I can pass this information on to G&E as well as my dolly grip so stands and lights won’t be in the way. Often, the scene is 90% in one place, so that’s where everyone’s attention is focused. It’s easy to get focused on that spot and forget at the beginning, one actor enters and then at the end, one actor stands and walks out of the room, which I follow). Once my shot is all dialed in, I flip my sides over and draw the scene on the back. I will use actor’s initials and numbered circles for their positions during the scene.

Then I draw the coverage camera plot I think we will be needing and create a personal shot-list. As we shoot out the scene, I cross off the various positions. This is also an easy way to keep track of the 180 line. But there is more I write on my sides! As we begin to shoot and lens sizes and distances are known, I write down that information on my sides. Next to the scene, on the left side I write the A camera lens mm and focus distance information. On the right side, I write all of the B camera info (which is usually me). This information will be important for matching shots in cross coverage, or when we turn around. It sounds like a lot of information but information is power and it helps me focus and not make mistakes.

CALL THE ACTORS BY THEIR REAL NAMES: The actors are called, “First Team.” If you heard that First Team is on their way to set, you know it’s close to rehearsal or shooting time. It is important to know an actor’s real name as well as their character name because

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quite often I am asked questions by people from other departments who refer to actors by their script/character name. Other people will use real names and may not even know the character name. I use an actor’s real name when I talk with them, or about them. However, if I am asking something from another crew member and they don’t know the real name, I need to know the character name.

WORKING WITH STAND-INS: After the rehearsal, First Team will leave and the Second Team known as the stand-ins will take over their positions for lighting and camera blocking. I take the time to know the real names of the stand-ins because they are unsung heroes on set. A good stand-in will know all of the actor’s actions and act out the scene if needed to dial in blocking, dolly movement, hand-held movement or check for exact frame edges for G&E. Respect your stand-ins and they will respect you and have your back. Generally, they will give the First Team actors any key notes on blocking changes. If they don’t, that usually falls to the A camera or myself if the director allows us to chat with the cast. It’s also VERY important to know the stand-in’s height in relation to the real actor’s height. This will help you adjust your frame correctly to keep grip and lighting out of the top of your frame.

MAKE A CHEAT SHEET OF IMPORTANT NAMES TO KNOW: At home, as soon as I have an email of the call sheet, I print a regular-sized version, get a set of scissors and two-inch packing tape, and make a two-sided names cheat sheet. On one side I have all of the names and titles of: 1st and 2nd ADs, key set PA, script supervisor, camera department, audio department, and the on-set dresser.

On the other side I have electric department, grip department, and on-set point people like the prop person, hair, make-up, and wardrobe. Once the names are in an order I like, I tape over the list with packing tape to keep it protected. Two inches is a nice size which easily fits into a pocket for discreet referencing.

USE A LISTENING DEVICE LIKE AN IFB OR COMTEK: The audio department is usually made up of only three people, so it’s easy to get to know them. I usually introduce myself to the audio department in the morning, and ask if I can have a Comtek brought to me before the first take of the day. The purpose of the Comtek is to help me hear the dialogue, and to identify any cues for movement.

Often an actor’s breathing or voice changes right before they stand up, and listening can help. Often singles are covered as “Swingles” which means I will be swinging my lens from single to single. Being able to hear clearly the audio helps me follow along instinctively like we do in unscripted. Another super important use of the Comtek is to eavesdrop for informational purposes. Often the director will quietly talk to an actor about changes and then leave set without passing this importation to camera. I don’t take this personally, it happens all the time. It is important that I am aware of any changes which will affect my shot, especially if there is a change in timing or blocking which will effect hand-held or the dolly movement.

STANDING YOUR GROUND: This is especially important in

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hand-held. During set up, I stand where I will be standing when I shoot. I only move if someone needs to get passed me, then I step back into hold my place because this is my ground to shoot from. Sometimes it’s hard not to become pinned in with grip stands. For every one lighting stand, one, two, or three grip stands will follow. I need wiggle room to move should an actor miss a mark, or the blocking is changed for some reason. My options for achieving the correct angle or frame are very limited when compared to the many options for setting lights and grip. If I am shooting from a dolly, I try to make sure my dolly isn’t in a situation to be trapped. Usually the dolly grip will stand their ground but sometimes they don’t or they may look to me for guidance or backup.

PROTECTING YOUR FRAME: This means keeping elements out of your frame which should not be seen. It’s important to stay at your camera or nearby your camera while initial set up begins. Electrics place the lighting either with stands or by hanging fixtures from the ceiling. Grips place flags and diffusion all over the place. It’s important to choose a frame and stick with the choice early so the G&E can more accurately place all of the lighting the DP has requested.

You will be asked often what is your “edge of frame.” It’s important to know and communicate what is safe and what is not safe. It’s also important not to think, “I can probably work around that stand.” Be honest about what is going to be an issue in your ability to achieve a shot. Worrying about shooting around objects is distracting and negatively effects my shot. It is better to let G&E know early if stands or diffusion are encroaching on the frame rather than waiting until it takes time and frustrated energy to move a stand. Often the technicians placing lighting and grip haven’t seen my frame and are following general orders for placement. If they tell me that I need to talk to their boss, that’s totally fine, I don’t take it personally. For lights, I find the gaffer or their best boy, for stands and flags find the key grip or their best boy to ask about working with me on the frame. Generally, they are very accommodating if I know and use their names and begin the conversation pleasantly and early. Sometimes something as easy as flipping a C-stand to the opposite side of a light will fix a stand in frame. Maybe spinning the legs of a stand I see at the bottom of my frame. I would never tell a grip to change a stand, I explain what I am seeing and ask if it can be changed. I let them take ownership of how the change will happen. Another person I to talk to about my frame is the audio boom operator. Some boom ops stay in the room the entire time lighting is working to protect their working space aka stand their ground. Others come to set closer to shooting time. This is a similar situation to talking to your audio mixer in unscripted.

The difference is doing it ahead of time and not in-the-moment. Not only am I giving them frame edges, I am also looking for shadows and reflections from the boom and their body movement. They are not seeing the shot from my angle, so they often cannot see issues which I see.

MANAGING YOUR FRAME: This is doing what it takes to make everything which appears inside my frame look like it should. This

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usually has a lot to do with set dressing. I like to chat up the onset dresser while looking at my frame with me. We both want the frame to appropriately show off the set, so we might make choices about moving furniture, pillows, tilting art, or photos which are reflecting lights, stands, the boom, and crew people. It is important to remember, if you are not the A camera, make sure your finessing is okay with them. Once I’ve chatted with the on-set dresser, I walk my background looking for anything out of place like water bottles, abandoned scripts and sides, tool kits from other departments. I take this time to also look for reflective surfaces, because they will get me every time! If there is a window I look out the window to see what I might be seeing. Do I need to chat with the greenskeeper about placing tree(s), shrub(s), or plant(s) to block issues like a grip truck which can’t be moved, stands outside the window, who knows what else. If it is an exterior scene with a street, are there orange traffic cones in the distance? If there are cars placed on the street, do they look good on camera? These can be moved. Often I enlist the help of the 2nd AD to clear large areas of people, gear and random items.

I also look to the 2nd AD when we “turn around” on a shot, or the shot has been changed and the safe areas are no longer safe. Turning to the 2nd AD for help also takes less time. So many departments are on walkie channel #1, which is where the ADs are, I often let them do the talking. While I am walking the background I also find that it is a good time to look for different angles to store in mind for later. Be warned, while you’re out walking, your frame has been left unattended, so keep tabs on lights and stands so when you get back to your camera after an especially long walk, everything is still out of frame.

PRACTICE LENS CHOICE AND SHOT CONSISTENCY IN FRAMING: Often, narratives are shot using prime lenses not zooms. However, on shows which use zooms the DP often refers to frames in prime lens sizes. It’s good to get a feel for what these sizes mean so you can choose the right lens quicker, or speak more accurately with the A camera operator and/or ACs when deciding on the lens you want to use. For example, a complete Cooke lens set would be: 12mm, 14mm, 18mm, 25mm, 32mm, 40mm, 50mm, 65mm, 75mm, 100mm, and 135mm. In unscripted, the lens size is usually shown as a zoom number in the viewfinder and you have no time while shooting to look at the lens. Assuming you are shooting using a full frame 35mm camera and lenses (IE: F55, Amira or FS9 with Cabrio or EZ zooms), write down a list of prime lens mm on a small piece of paper. Zoom to each of these mm on your zoom lens and write the zoom indication in your viewfinder on the piece of paper next to each prime number. (You will need a different conversation list for each zoom lens you use since the viewfinder number is usually the percentage of the zoom you are using). Tape this someplace you can easily see the conversion list. While you are shooting, begin to

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check the numbers against each other. These sizes are very important for two shots and singles. During an unscripted shoot, you can easily practice consistency by shooting using the same lens sizes and focal distances again and again. Quite times during scenes where cast are all sitting and/or standing and not moving much are great. Set your twoshot size and focus and then don’t touch the lens. Simply walk from frame to frame and move your body to achieve the focus match. Do this again with singles. Don’t cheat, try to be diligent. During really quiet times, when you don’t even need to role, just practice. In time you will build subconscious memory and will be able to make lens calls without thinking. Remember how difficult focus was when you began? It’s all muscle memory and now you don’t even think about it.

Same goes for practicing lens choice and shot consistency.

Artemis Pro by Chemical Wedding is an industry standard app which is very helpful in choosing lenses. I highly recommend downloading and using. Most directors and DPs will be familiar with Artemis. I use it every day on set: apps.apple.com/us/app/artemis-pro/id1164523253.

PRACTICE FRAMING COMPOSITION MATCHING: From take-to-take narrative frames generally need to match because in the edit the director will choose pieces from different takes but the shot needs to match as though the footage is from one single take.

A framed photo, a door jamb, a lamp, anything you can adjust the frame to which helps guide you. You can practice this in unscripted.

As you repeatedly pan from person to person, or come back to shots during single camera cross-coverage, look for geographical markers to help make the shots are identical. I like to choose five spots to shoot most scenes from and return to those five spots and frames repeatedly during an unscripted scene. The wide, overs and singles. This also helps in the unscripted edit because the editor has a scene which isn’t “all over the place” and can be fine-tuned much easier. If you don’t believe me, just ask an editor.

KNOW THE WHEELS AKA “THE WHEELS”: Many operators get by without knowing how to work the wheels for general coverage. However, you will be expected to know how to use the wheels for remote head shots on cranes and stabilized heads. Many gear houses will set up a head for you to practice on free of charge if you call ahead, ask nicely and set up a time. I found a cheap $2,000 head online and considered it an investment.

Black-Tek has a virtual wheels set up which plugs into a computer: black-tek.com/ghs/simulator.php?lang=en.

To view the video series visit the SOC website: soc.org/education/making-the-transition-from-unscripted-to-narrative

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Operator as Storyteller

Smooth Operator

by Matthew Moriarty, SOC

About to get splashed with fish guts on THE WRONG MISSY IN HAWAII. Photo by Tommy Tieche

I’m writing this in week 16 of our industry shutdown and, right now, it appears that while we were focused on our collective safe-reopening efforts, the virus may have developed plans of its own. As is likely the case for almost everyone reading this, it’s been four months of reflection for me. Reflection on my career, on those who taught and mentored me, reflection on the idea of storytelling itself—storytelling with a camera that has human beings in front of it, that is.

The SOC, on whose Board of Governors and Education Committee I’m honored to serve, has been a hive of activity on that front lately.

In addition to our well-attended Inspirational Roundtables and Making the Transition From Unscripted to Narrative forum, we conducted a 10-part lecture series on the craft of camera cperating for the AFI:

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American Film Institute. Those classes are currently being edited into both highlight clips, and full classes which will be available to all Associate and Active SOC members on our website. In my opinion, this series represents essentially every last concept that can be taught about our craft, short of actual hands-on experience.

I’ll apologize in advance for the piece being more theoretical than technical. It’s been so long since I’ve been on a set that I’ve mostly forgotten the technical details of my last shoot. And since I’ve been so invested in the SOC’s education mission lately, I’m rather stuck in that mode of thinking. Ironically, the scope and thoroughness of the AFI Lecture Series puts me at a loss as to what I could possibly address in this piece that wouldn’t ultimately be covered better in that series

SOCIETY OF CAMERA OPERATORS · SOC.ORG

Left: With John Bailey, ASC in Alaska on BIG MIRACLE. Photo by Darren Michaels. Right: Filming a Pilobolus show on The Wrong Missy. Photo by Tommy Tieche.

of videos, or better served in the many hands-on workshops the SOC is gearing up to orchestrate in the future. But, since one can’t really write an article without picking a topic, I hereby choose storytelling.

Anyone who lived through 2020 has a story to tell, right? Besides, that’s what interests me most about this job we all do.

An operator is a craftsperson. A great operator is a storyteller. Want to become one of those great operator/storytellers? Think like a director.

Want to put your career in high gear? Think like a director. Want to feel completely 100% confident and at home on a film set? Think like a director. A movie is not a solo. It’s a symphony, written by one person, conducted by another, with dozens of experts playing their respective instruments with great passion, in front of an audience that brings a set of expectations to the venue that is based on all of the prior symphonies they’ve heard.

That’s a lot of layers. That’s a conductor whose brain must operate in many planes simultaneously, each of which serve the ultimate purpose of the work which is, of course, emotion. A violin serves no purpose on planet Earth other than to create emotion in those who hear it.

The same is true for a moving image made with a camera and sound.

Thus, the first step in thinking like a director is to understand that your every move will have an emotional impact on the audience.

Okay, maybe it’s not the first step. The first step, obviously, is to master the technical skills of your instrument—the moving camera. You have to be able to stand actors up and sit them down and get on the

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headsets and talk your crane team through a panicked, sun-is-almostgone improv shot that is mostly useable on take one and nail your Steadicam whip pans with a level horizon and maintain an image size walking backwards hand-held. You need your 10,000 hours toward mastery and all of that good stuff. But, having that under your belt, job number one, of course, is to make the audience your top priority.

Learn not only to think is terms of them, but to actually talk—on the set, with the director, with the DP, with your dolly grip—in terms of them. Where should they be? What do they need to know or learn at this moment? What emotion do we want them to experience? Are we satisfying their expectation? Or surprising them in this shot or scene or sequence?

It may seem trivial. Trust me, it’s not. Directors need to know that the person at the camera is as invested in the audience as they are.

Step two in thinking like a director is to make the technical stuff easier, not harder. Quietly and efficiently translating story into technical is the bread and butter of your career. Nobody cares about your fancy gadget or your cool technique. Just do the shot. Nobody cares how much effort it took to get a Technocrane to perfectly push from full-figure to close-up in the exact time it took an actor to deliver the big speech. Those who are on the Comteks and in the trenches with you will know what it took—your dolly grip, your assistant and, hopefully, your DP, but the director is not required to know. So learn not to expect it. Learn to simply figure it out with your team and quietly be ready when the actors walk in.

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to understand why you’re doing that particular shot that way. Other directors not only welcome, but need input—sometimes substantial input—from the operator. Operators may find themselves in a situation where neither the director nor the DP are shot makers and where the responsibility becomes theirs alone. Most jobs involve some mixture of the two extremes and the ability of operators to navigate the expectations unique to each shoot is an essential skill. Directors don’t really care if you’re versatile. They just need you to work their way on this particular project. Your career is where versatility matters.

My recent, highly-consuming involvement in the SOC and its mission of keeping our craft both alive and vibrant during some very strange times has been a source of immense satisfaction. It has kept me connected both to the craft, and to my fellow practitioners, my brothers and sisters. My wish for our industry, and for everyone reading this, is that we make it to the other side of the pandemic—and what looks to be a long, hot remainder of 2020—not only intact, but healthy. And that when we do return to work, we can do so with a renewed enthusiasm for both our craft and for our mission as storytellers.

On set of THE FRONT RUNNER in Atlanta. Photo by Eric Steelberg, ASC

Speaking of making the technical stuff easier, be sure to hire a dolly grip who is also a storyteller. I cannot stress this enough. Great dolly grips know the sides better than the operator. Great dolly grips have at least as strong an understanding of the tone and pacing of a scene as the operator. The sensitivity with which your camera moves—sensitivity upon which the director depends for proper storytelling—that’s the dolly grip. We don’t think about it often but the truth is that your career as an operator will be a function of your dolly grips.

Step three in thinking like a director—a step that will likely do more for your career than any other—is to not only be as good as you can possibly be on take one, but to ensure that your camera team has what it needs to comfortably execute take after take. After we did Up in the Air, Jason Reitman wrote in Camera Operator magazine that “An operator needs to be perfect so the rest of us can make mistakes.” Of course, nobody is perfect. The point he was making is that when an actor does something amazing, a director needs to be able to use it in the movie. Time is precious. An actor has a finite reserve of brilliance.

The best actors are usually best on take one. On shots with 200 extras and explosions and wire gags, what’s happening in front of the camera might not come together until take eleven. Either way, operators who get invited back are usually the ones who turn in the highest percentage of usable footage.

There are more aspects to thinking like a director than I have room to cover here. The last one I want to mention is the ability to work the way a director needs you to work. Some directors know exactly what the shot is and they’ll show it to you on a video finder and your mission is to execute it cleanly and without drama, as well as

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MATTHEW MORIARTY, SOC Matthew Moriarty, SOC has spent the last 24 years in the camera department and has over 70 major credits in film and television. Matthew is grateful for the love and support of his wife, Ingrid, and their two daughters, Ella and Sydney. They live in Oregon’s Willamette Valley, where Matthew is also a farmer, a winemaker, a pilot, a drummer, a progressive activist, and a very mediocre piano player.

Photo by Dale Robinette

SOCIETY OF CAMERA OPERATORS · SOC.ORG

by Janice Arthur

What’s Your Story…? where the workshop was held. It turned out to be the third workshop they had ever given and in 1982 it was an amazing thing to do.

I thought Steadicam was a wonderful blend of the art and the mechanical; you built the thing, fixed things to your liking, and then, hopefully, were graceful and elegant in its operation.

The teachers were Garrett Brown, Ted Churchill, his brother Jack Churchill, and Jesse Garfield of Cinema Products. A real powerhouse of teachers. The comedy, quick wit and sarcasm were off the charts.

Fellow class members were Jerry Holway and Steve St. John who both went on to stellar Steadicam careers so it was an amazing class.

I bought Ted Churchill’s rig about six months later and started learning again and trying to find work. The act of buying a rig was hard because financing, especially for women back then it was very hard.

The idea that women (and maybe for men too) would go into small business was absurd at the time, and this crazy thing that no one knew about was even crazier. The leasing companies didn’t really exist then, and certainly not for motion picture gear for individuals.

Photo courtesy of Janice Arthur

My story began in Ohio, with a Radio, TV film degree at the University of Cincinnati the early 80’s. I did what most young people do after graduating which is start at the bottom—local TV station work, in medium/small markets and learned an enormous amount.

The world of “digital” effects was in its infancy and we didn’t have effects then. A box over a news anchor’s shoulder was shooting an analog monitor built into the set with the logo fed into it. If you didn’t line up the shots correctly or adjust the TV monitor well you got a very bad version of an image over an anchor’s shoulder.

Lighting was off a grid and it was flat lighting but they/we did attempt three point lighting even though the fill and the key were about the same, (big laugh). All I knew was that nose shadows were bad and shadows of the talent on the back wall were to be avoided.

I did learn a bunch and the crew members were very nice and understanding to teach everything from videotape room operations to editing to video directing and audio. It was great training ground.

After a year or so at the station a co-worker wanted to take the Steadicam class and I asked if I could also go. I thought it would be a neat thing to put on my resume and see some interesting places like Maine

CAMERA OPERATOR · SUMMER 2020

I approached banks, but they wanted cars, and boats, and houses to finance, not stuff in cases. The saving place was my credit union. I put up $7k and they loaned me $17k. I thought I was big time, but I was still in Ohio and learning and relearning all the things I thought I knew but I had no clients so that was fine.

Eventually, a year or two later, I made the move to Chicago which was a very good choice. Looking back Los Angeles would have been the smarter move, but back then there were literally seven Steadicams in all of L.A, and most of California—we all said it was full!!! Ha, ha, ha, now there are thousands. But true to form, yes it was full because no one knew what to do with Steadicam back then, it was still a stunt device, and the union was not open to letting in new operators like it is now.

So Chicago, off I went…

JANICE ARTHUR Janice Arthur was one of the first woman Steadicam operators.

During her career she had the opportunity to work in television and film on such projects as: Mallrats, Soul Food, American Experience, Bounty Hunters, and Baby On Board to name a few. Currently, Janice is teaching Steadicam workshops of her own, doing some operating on small projects and selling Steadicam weight cages periodically.

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Insight DAVID ELKINS, SOC What was one of your most challenging shot or challenging day in the industry? In 1991, I was working on a film in Portland, Oregon as 1st AC. We had a very elaborate dolly move and the shot had 17 different focus marks from start to finish. With the help of my 2nd AC I was able to pull it off in three takes.

What is your most memorable day in the industry?

While working as 1st AC on The Wonder Years television series I was asked to operate one shot for an episode. It was used as part of the opening sequence of the episode.

Credits: American Yakuza, Dark Justice, The Wonder Years, Star Trek: Photo by John Le Blanc

The Next Generation, Gabriel’s Fire

KEVIN J. EMMONS, SOC What was one of your most challenging shot or challenging day in the industry? Operating with a Ready Rig while walking around on a moving process trailer filming a car full of people.

What is your most memorable day in the industry? Back in my documentary years, filming Jimmy Buffet on his personal sailboat while heading to Cuba.

The person who helped you most in your career? When I was a very young AC the director/still photographer, Patrick Russell moved me up to DP for some commercials (fashion/beauty). I never looked back.

Credits: DP/Operator on over 1,000 commercials. National commercials for Ford, Comcast, Blue Cross, Diet Cock, Travel Channel, McDonald's, Reebok, Chevy, Visa, Walmart.

Photo courtesy of Kevin J. Emmons

JANICE MIN

Photo courtesy of Janice Min

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What is the job you have yet to do but most want to do? I'd love to camera operate a dramatic feature directed by my favorites—Paul Thomas Anderson, Bong Joon Ho, Coen Brothers, Tarantino, Sofia Coppola, Kathryn Bigelow, something lensed by Chivo...or a Marvel/ John Wick film.

What would be the most important improvement you would like to see in our industry? The biggest improvement I’d like to see is more women in key camera positions (DPs, operators, 1st ACs) and inclusion of BIPOC on set. On a show that I did with Nancy Schreiber, ASC, there were too many people who came up to me and said “I’ve never seen a woman behind the camera.”

Credits: P-Valley, Better Things, Brittany Runs a Marathon, House of Cards S6, Charm City Kings

SOCIETY OF CAMERA OPERATORS · SOC.ORG

SOC Roster CHARTER MEMBERS Charter 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 David Kurland Norm Langley Thomas Laughridge * Steve Lydecker Brice Mack III 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 Steve Acheson, Jr. Grant Lindsay Adams Jamie Alac Danny Alaniz Michael Alba Shanele Alvarez Colin Anderson Nathan Anderson Philip Anderson Kevin W. Andrews Zefred Ansaldo Andrew Ansnick Mariana Antunano Christopher Arata Francois Archambault Joseph Arena Wayne Arnold Will Arnot Eli Aronoff Ted Ashton Jr. Sébastien Audinelle Mark August * Andrei Austin Grayson Grant Austin Jacob Avignone Daniel Ayers Lonn Bailey Scott Baker James Baldanza David Baldwin Jr. James Ball Christopher Banting Jeff Barklage Angel Barroeta Vincent Bearden Jonathan Beattie Jonathan Beck Stefano Ben Justin Besser George M. Bianchini George Billinger * Paul Birman Daniel Bishop Maceo Bishop Bonnie S. Blake

CAMERA OPERATOR · SUMMER 2020

Jeff Bollman John Boyd Hilaire Brosio Garrett Brown Pete Brown Scott Browner Neal Bryant Stephen Buckingham Robin Buerki Barret Burlage Gary Bush Stephen S. Campanelli JR Campbell Susan A. Campbell Jeffrey Canfield Stewart Cantrell Jose A. Cardenas Jeffrey Carolan Michael Carstensen Peter Cavaciuti Vincent Cerone Frederic Chamberland Dave Chameides Charles Chen Joe Chess Jr. John Christopher Cuthbert Anthony Cobbs Craig Cockerill Steven Cohen Marcis Cole Kris A. Conde Andrew Glenn Conder Brown Cooper Dan Coplan Fares Corbani Gilles Daniel Corbeil Luke Cormack Javier A. Costa Richard J. Cottrell Tom Cox Rod Crombie Bradley Crosbie Jeff L. Crumbley Chris Cuevas Dani Dagher Joshua Dallera Nicholas Davidoff Markus Davids Collin Davis Richard W. Davis Roberto De Angelis Andrew A. Dean Anthony Deemer William Demeritt Kris Andrew Denton Joel Deutsch Don Devine Kenny Dezendorf David E. Diano * Troy Dick Jim van Dijk Alfeo Dixon Timothy Dolan Tetsuyuki Domae Rick Drapkin Megan Drew Scott C. Dropkin David Drzewiecki Mitch Dubin

Simon Duggan, ACS Orlando Duguay James Duhon Mark Duncan Pauline Edwards William Eichler David Elkins Sam Ellison Jason Ellson David Emmerichs Kevin J. Emmons Ramon Engle Ezra Epwell Alex Escarpanter Steve Essig Diane L. Farrell Dianne Teresa Farrington Jesse Michael Feldman Ellie Ann Fenton 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 Malkuth "Mo" Frahm Keith Francis James Frater David J. Frederick * Michael Frediani * Brian Freesh Steven French Dan Frenkel Guido Frenzel Mick Froehlich Jeff Fry Michael Fuchs Michael Fylyshtan Paul M. Gardner David Gasperik Eric Gerber Michael Germond William Spencer Gillis Christopher Glasgow Mark Goellnicht Daniel Gold James Goldman Robert Gorelick Roger Grange Afton M. Grant Chad Griepentrog Ric Griffith James Gucciardo Robert Guernsey Robert Guertin Craig Haagensen Chris C. Haarhoff Jess Haas Bob Hagerty Kevin Haggerty Geoffrey K. Haley John Hankammer

Simon Harding Tim Harland Matt Harshbarger Daryl Hartwell Kent Harvey Zack Haskell Chris Hayes Nikk Hearn-Sutton Mike Heathcote David Heide Dawn J. Henry Alan Hereford Orlando Herrera Steven F. Heuer Kevin Hewitt Brandon Hickman David Hirschmann Jamie Hitchcock Scott Hoffman Abe Holtz Jerry Holway Paul Horn Casey Hotchkiss Bradley Hruboska Colin Hudson Ashley Hughes Matthew Hutchens Alexa Ihrt Dave Isern Christopher Ivins Eugene W. Jackson III Francis James Alec Jarnagin Simon Jayes Andrew "AJ" Johnson Christopher D. Jones Quenell Jones Steven Jones Sven Joukes Henry Joy IV John H. Joyce Mark Jungjohann David Kanehann Mark Karavite Lawrence Karman Jason Kay Adam T. Keith David Kimelman Taro Kimura Dan Kneece * Rory Robert Knepp David T. Knox Beth Kochendorfer Robert Kositchek Bryan Koss Bud Kremp Kris Krosskove Jay Kulick Mark LaBonge Robert LaLonde Thomas Lappin Per Larsson Jeff Latonero Sergio Leandro da Silva Richard Leible Alan Lennox Rachael Levine Mikael Levin David Levisohn

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Sarah Levy Hugh C. Litfin John Lizzio Chris Loh Hal Long Jessica Lopez Benjamin Lowell David Luckenbach Greg Lundsgaard Kenji Luster Guido Lux Erin Lynch Rob Macey Vincent C. Mack Paul S. Magee Giuseppe Malpasso Justin Marx Jared G. Marshall Cedric Martin Adam Marschall Philip J. Martinez Daniele Massaccesi J. Steven Matzinger Brennan Jakob Maxwell Peter McCaffrey Bill McClelland Jim McConkey Calum McFarlane David B. McGill Patrick McGinley Ian McGlocklin Michael P. McGowan Christopher T.J. McGuire Ossie McLean Josh Medak Aaron Medick Alan Mehlbrech Luisa Mendoza Olivier Merckx Jack Messitt Mark J. Meyers Mike Mickens Duane Mieliwocki Darryl Miller Marc A. Miller Phillip Miller Thomas Miller Ethan Mills Andrew Mitchell William Mitchell William Molina Mike Mollica Mitch Mommaerts Christopher Moone Mark Emery Moore K. Neil Moore Matthew Moriarty Jarrett Morgan Josiah Morgan Dana Morris Josh Morton Manolo Rojas Moscopulos John "Buzz" Moyer Jeff Muhlstock Nick Müller Michael James Mulvey Scott T. Mumford Peter Munson, Jr. Keith Murphy Sean Murray Saade Mustafa Dale Myrand Yoshinobu Nagamori

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Leo J. Napolitano Sarah Natoli Marco Naylor Robert Newcomb Julye Newlin George Niedson William Nielsen Kenny Niernberg Terence Nightingall Kurt Nolen Randy Nolen Austin Nordell Loy Norrix Casey Norton Connor O'Brien William O'Drobinak Andrew William Oliver Tony O'Loughlan 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 Paul C. Peddinghaus Karin Pelloni Andre Perron John Perry Matthew A. Petrosky Jonathan F. Phillips Alan Pierce Theo Pingarelli John Pingry Jens Piotrowski Joseph Piscitelli David Plakos Matt Poynter Carl Prinzi Sasha Proctor James Puli Louis Puli Ryan Purcell Yavir Ramawtar Hector Ramirez Juan M. Ramos James B. Reid Juan Pablo Reyes Dax Rhorer Selene Richholt Alicia Robbins Ari Robbins Peter Robertson Brooks Robinson Dale Rodkin Eric Roizman Sharra Romany John Romeo Peter Rosenfeld Jesse Roth James Sainthill P. Scott Sakamoto Sanjay Sami David M. Sammons Joel San Juan Bry Thomas Sanders Ricardo Sarmiento Daniel Sauvé

Gerard Sava Sean Savage Ron Schlaeger Michael Scherlis Mark Schmidt Job Scholtze Vadim Schulz Richard Schutte David Jean Schweitzer Fabrizio Sciarra Bob Scott Brian Scott Ian Seabrook Dave Selle Lisa Sene Barry Seybert Barnaby Shapiro David Shawl Chelsea Lee Shepherd Osvaldo Silvera Jr. Jamie Silverstein Gregory Smith Kelsey Smith Marques Smith Needham B. Smith III Teddy Smith Vanessa Smith Dean Robert Smollar Andy Sparaco Mark Sparrough Benjamin Xavier Spek William Spencer Gills Francis Spieldenner Lisa L. Stacilauskas Charles Stancliff Robert Starling Thomas N Stork Timothy Sutherland David L. Svenson Kenichi Taguchi David Taicher Ian S. Takahashi Yousheng Tang Jaron Tauch Gregor Tavenner Brian Taylor Christopher Taylor Gregory Taylor Paige Thomas David James Thompson John Toll, ASC Eduardo Flores Torres Remi Tournois Neil C. Toussaint Jamie Trent Bela Trutz Michael Tsimperopoulos Chris Tufty * Dan Turrett Brian Tweedt Paula Tymchuk Joseph Urbanczyk Matt Valentine Dale Vance, Jr. Paul D. Varrieur Leandro Vaz Da Silva Ron Veto Adi Visser Stefan von Bjorn Rob Vuona Gareth Ward Gretchen Warthen Mic Waugh

Raney "Bo" Webb Aiken Weiss Drew Welker Alex Wentworth Des Whelan Robert Whitaker Mande Whitaker Jen White Parker Whittemore Peter Wilke Jeffrey Wilkins Ken Willinger Tom Wills Chad Wilson Santiago Yniguez Brian Young Lohengrin Zapiain Chad Zellmer Mirko Zlatar Brenda Zuniga * Past SOC President

ASSOCIATE Olivia Abousaid Christine Adams Justin Aguirre Jeechul Ahn Brian Aichlmayr Colin Akoon Jamie Alac Tyler Allison Ana M. Amortegui Greg Arch Fernando Arguelles Joshua Ausley Laurence Avenet-Bradley Blaine Baker Denson Baker Ryan Vogel Baker Richard Bakewell Jeffrey Ball Michael Barron Craig Bauer Trevor Beeler Andres Bermudez Nicholas Bianchi Alicia Blair Stas Bondarenko Peter Bonilla Jean-Paul Bonneau David Boyd Katherine Brennan Maksim Brenner Mary Brown Rochelle Brown Deborah Brozina Clyde E. Bryan Sasha D. Burdett Jorge Bustamante Chip Byrd Calvin Callaway Justin Cameron Ryan Campbell Jack Carpenter David John Carroll Marc Casey Katherine Castro Quaid Cde Baca Kenneth Chan Jac Cheairs Ian Chilcote Damian Church Celeste Cirillo-Penn

Gregory Paul Collier Antoine Combelles Chad Cooper Christopher "Chase" Cope Gabriel Paul Copeland Gareth Paul Cox Richard P. Crudo, ASC Jack Cummings Farhad Ahmed Dehlvi Enrique Xavier Del Rio Galindo James DeMello Johnny Derango Caleb Des Cognets Ronald E. Deveaux Sean Devine Vincent DeVries Blaga Ditrow Eric Druker Keith Dunkerley Colin Duran Brian James Dzyak Robert Eagle Richard Eldridge Edward Endres Pedro Escobar David T. Eubank Calvin Falk Allen Farst Nicholas A. Federoff Kristin Fieldhouse Stephanie Fiorante Tom Fletcher Mike Fortin Michael A. Freeman Hiroyuki Fukuda Ruixi "Royce" Gao Geoffrey George Shingo Gima Max Gleiser Daniel Godar Al Gonzalez Emily Gonzales Geoff Goodloe Adam Goral Giulia Governo Noble Gray John Greenwood Adam Gregory Phil Gries Matthew Griffith Ryan Grosjean Heather Grothues Josef "Joe" Gunawan Shelly Gurzi Marco Gutierrez Jason Hafer Badra Haidra Bob Hall Adam Hamer Tobias Winde Harbo Jason Hawkins Adam Heim Xavier Henselmann Daniel Hertzog Anthony P. Hettinger Andrew Hoehn Christopher Horne Chris Horvath Nichole Huenergardt Brett Hurd Andrew A. Irvine Gregory Irwin Michael Izquierdo

SOCIETY OF CAMERA OPERATORS · SOC.ORG

Mark Jacobs Jennie Jeddry Keith Jefferies Dean Johnson Gregory Johnson, Jr. Lacey Joy Timothy Kane Ray Karwel Frank Kay April Kelley Alan G. Kelly Mark H. Killian Dae Hyun Kim Christian Kitscha Michael Klimchak Nick Kolias Robert Kraetsch Robert La Bonge Michael Landrian Laurence Langton Tung Le Hoang Khang "Khann" Le Nguyen Barbie Leung Alan Levi Ilya Jo Lie-Nielsen Jun Li Tian Liu Niels Lindelien Gordon Lonsdale Dominic Lopez Bob Lord Jasmine Lord J'mme Love Justin Lutsky Christopher Lymberis Matthew Lyons Dominik Mainl Francesco Malandrino Max Margolin Alex Marmalichi Aaron Marquette Nicole Jannai Martinez Emma Massalone Megan Masur Joshua Mayes Brett Mayfield Nathan Meade Rocker Meadows Sophia Meneses K. Adriana Modlin-Liebrecht Madelyn Momano Michael Monar Kenneth R. Montgomery Vincent Moretto Dean Morin Mark Morris Evan Morton Jekaterina Most Matthew Murnan Nicholas Matthew Musco Hassan Nadji Sam Naiman Navid John Namazi Michael Nelson Dennis Noack Chastin Noblett Jose Maria Noriega Louis Normandin Crescenzo G.P. Notarile, ASC Tiffany Null Bodie Orman Jarrod Oswald

Paul Overacker Robin Pabello Justin Painter Larry Mole Parker Steven D. Parker Andrew Parrotte Lauren Peele Florencia Perez Cardenal Mariia Perlifonova Anthony Perrella, Jr. Jon Philion Tyler Phillips W. S. Pivetta Joe Prudente Delia Quinonez David Rakoczy Unnikrishnan Raveendranathen Jem Rayner Brice Reid Nathan Rigaud Mario Rodriguez Tim Rook Peter J. Rooney Kish Sadhvani Sean Sanchez Becky Sapp Christian Satrazemis Steve Saxon Ryan Schultz Angelia Sciulli Carolyn Scott Christopher Seehase James Shipley Yael Shulman Stephen Siegel Peter Sikkens Karina Maria Silva Pierson Silver Anil Singh Kingkan Siripiriyakul Jan Sluchak Jeremiah Smith Joshua Smith Robert F. Smith Tyson Smith Laurent Soriano David Speck Landis Stokes Aymae Sulick Jeremy Sultan Andy Sydney Tiffany Taira Julio Tardaguila Matthew Thorp Jonathan Tyler Thomas "Joe" Tyler Justin Uchendu Daniel Urbain Sandra Valde Thomas Valko Benjamin Verhulst Marshall Victory Breanna Villani Naomi Villanueva Zachariah Vincent Terry Wall Louis-Pascal Walsh William Walsh Grant Walther Jared Wilson Peiqi "Eric" Wu Daniel Wurschl Watcharawit "Koon" Ya-Inta

CAMERA OPERATOR ¡ SUMMER 2020

Tim Yoder Scot Zimmerman Evan Zissimopulos

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

Band Pro Film & Video Blackmagic Design Canon, USA Inc. Carl Zeiss Microimaging, Inc. Chapman/Leonard Studio Equipment CineDrones Cinema Devices Cinemoves Inc. Cooke Optics Limited CW Sonderoptic Duclos Lenses Fujifilm/Fujinon Filmtools, Inc. Geo Film Group, Inc. Helinet Aviation Services History For Hire JL Fisher, Inc. Litepanels Matthews Studio Equipment Monster Remotes Otto Nemenz Panasonic Cinema Panavision Preston Cinema Systems RED Digital Cinema Sigma Sony Electronics That Cat Camera Support Tiffen Wooden Camera

EDUCATOR John M. Grace Ron McPherson Rafael Nobre Ralph W. Watkins

HONORARY 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

RETIRED Aldo Antonelli Paul Babin Tom Barron James Blanford Bruce Catlin Ivan Craig Richard A. Cullis George Spiro Dibie, ASC Michael Ferris Dick Fisher Jerry Fuller Anthony Gaudioz Wynn Hammer Ken Hilmer Gary Holt Robert C. Horne Douglas H. Knapp Heather MacKenzie James Mann Stan McClain * Michael McClary Ron McManus Mike Meinardus Emmanuel Metaxas Robert "Bob" Moore 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 Ronald Veto Bill Waldman Adam S. Ward

STUDENT Reynaldo Aquino Gloria Bali Melissa Baltierra Zakrey Barisione Veronica Bouza Caitlin Brown Jian Cao Stephen Carlus

Carmen Chan Jiayao Chen Shijun "Maomao" Chen Shun Man Cheung Yongmin Choi Charissa Clark Alexei Clarke Autumn Collins Dennis Connelly John Darian William Dauel Alecia Denegar Dakota Diel Erik Eiser Michael A. Garcia Christian T. Hall Yuqiao Han Gergely Harsanyi Myles Anthony Holt Guanchun Hu Crystal Kelley Sara Kinney Sung Yen Lai John P. Lansdale Shangche Lee Yoo Seok Lee Emily Lien Bocong Lin Ari Linn Edward Haoxiang Liu Eythan Maidhof Steven Mangurten Jeff-Steven Arevalo Mojica Fabian Montes Joshua Montiel Andi Obarski Ino Yang Popper Karina Prieto Macias Edgar Santamaria Emil Schonstrom Carley Steichen Amara Stinson Grace Thomas Joshua Thomas Akina Van de Velde Gideon Watson Meg White Watcharawit "Koon" Ya-inta Kehan Yang Linxuan "Stanley" Yu Cong Zhou Yiyao Zhu Current as of July 31, 2020.

AD INDEX Blackmagic Design 3 blackmagicdesign.com Cinemoves Back Cover cinemoves.com J. L. Fisher 11 jlfisher.com OpenTec 5 opentec.tv Leitz Cine Wetzlar 9 leitz-cine.com That Cat Camera Support C2 cameraslider.com

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society_of_camera_operators

society_of_camera_operators

Repost from @nickmullersteadi Hiding facial expres-

Back at it - @dalevancejr SOC - PPE Mask & Face

sions on set might be the only gain we have from this.

Shield - Photo by @stefaniarosinistills_smpsp

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#bestJobEver #thesoc #cameraOperator #Photog-

#TheSoc #bestJobEver #thesoc #cameraOperator

rapher #Camera #Lens #DirectorOfPhotography

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steadimob I never cease to marvel at the extent to

dalevancejr If this guy can operate a Stedicam while

which I am capable of making a ridiculously stupid

wearing a mask and face shield, you can wear a mask

face while operating.

for 15 minutes while you go get groceries.

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 64

SOCIETY OF CAMERA OPERATORS · SOC.ORG

Being a member of the Society of Camera Operators gives you access to the Camera Operating Series in partnership with AFI; priority and discounts to training; invitations to events and screenings; over seventy hours of videos, members only offers; and participation in the mentorship program.

The Society offers multiple levels of membership; Active, Associate, Student, Educator, and Corporate. For a full description of benefits, costs, and qualifications visit SOC.Org/Membership.

CAMERA OPERATOR ¡ SUMMER 2020

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M AT R I X

PrimoDolly & GF-Jib CLICK HERE

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SOCIETY OF CAMERA OPERATORS · SOC.ORG