Camera Operator Summer 2023

SEVERANCE • JOHN WICK CHAPTER 4

THE MARVELOUS MRS. MAISEL

Photo by Murray Close / Lionsgate

Letter from the President

Fellow Storytellers:

I am honored to have been elected President of the SOC by my colleagues on the Board of Governors. I begin my term with a profound sense of gratitude to my predecessor, George Billinger, under whose tenure the SOC has grown by leaps and bounds, achieving great success in our mission to highlight and celebrate the craft of the camera operator. These are big shoes to fill and I am humbled by the task.

I next thank my departing colleagues on the prior board for their years of service: Treasurer Bill McClelland, and departing Board members Dave Sammons, Dave Thompson, and Daniel Turrett. These are my friends, their service to the SOC was invaluable, and I will miss them.

Of course, I ask that members give a warm welcome to your new officers: Sergeant-At-Arms Gretchen Warthen, Secretary Dan Gold, Treasurer Buzz Moyer, 2nd Vice-President Dave Emmerichs and, of course, the longtime force behind the SOC’s educational efforts, 1st Vice-President Mitch Dubin. Please also welcome your Board of Governors: Dave Chameides, Don Devine, Michael Frediani, Geoffrey Haley, Nikk Hearn-Sutton, Rachael Levine, Sarah Levy, Jim McConkey, and Sharra Romany. These outstanding camera operators will volunteer a large portion of their busy lives to the SOC over the next two years, and I am so grateful for their commitment.

Matthew Moriarty SOC President

That the SOC can function as a non-profit, all-volunteer entity with board members working in all parts of the world is due largely to the tireless work of our Executive Director Kristin Petrovich and her amazing (entirely part-time) staff. I look forward to receiving her expert guidance in the coming months.

Now, as both an incoming President and someone with extensive knowledge of our inner workings, it is equal parts satisfying and daunting to report that the SOC is currently in very good shape. Our membership has grown steadily. Our education work has not only ensured that our craft is carried into the future by the best of the best, but has brought us positive attention both within the industry and abroad. We’ve achieved increasing diversity not only among our membership, but within our leadership. We’ve also mastered our finances—building and solidifying close relationships with industry sponsors and prioritizing our expenditures for long-term sustainability.

Given this, you can expect that my term as President will be not revolutionary, but evolutionary. Two years from now, I will have succeeded if we’ve shown steady, measured growth in every area I mentioned above. This is a volunteer organization. The more you expand, the more you ask from your volunteers (and your staff). Bite off more than you can chew and it’s easy to go backwards. I will not allow the SOC to go backwards.

So my mission is balance.

If, two years from now, we’re teaching more skills to more operators while simultaneously creating an education architecture that is easier for our volunteer instructors to plug into, we will have succeeded. If we’ve expanded our footprint outside Los Angeles—to the East Coast, Canada and overseas—without breaking our budget, we will have succeeded. If we have a membership—and elect a board—that is more geographically, culturally, ethnically, and gender diverse without leaving anyone behind, we will have succeeded. If we’ve further solidified our finances without overcharging for what we do, we will have succeeded. If we can arrive at the year 2025 having navigated strikes and unemployment and generally constant national and global turmoil while being there for our members, we will have succeeded.

This is the job ahead of us. I ask all of you to join me in getting us there and I look forward to seeing you in person at the next SOC Awards in Hollywood on February 24, 2024.

Sincerely,

Matt Moriarty

2023 SOC Board of Governors

Don Devine, SOC

Dave Chameides, SOC

Mitch Dubin, SOC

David Emmerichs, SOC

Michael Frediani, SOC

Jim McConkey, SOC

Rachael Levine, SOC

Matt Moriarty, SOC

Nikk Hearn-Sutton, SOC

Geoffrey Haley, SOC

Sarah Levy, SOC

Sharra Romany SOC

Gretchen Warthen, SOC

Dan Gold, SOC

John “Buzz” Moyer, SOC

Society of Camera Operators

Board of Governors

OFFICERS

President Matt Moriarty

1st Vice President Mitch Dubin

2nd Vice President David

Emmerichs

Secretary Dan Gold

Treasurer John “Buzz” Moyer

Sergeant-at-Arms Gretchen

Warthen

BOARD MEMBERS

Dave Chameides

Don Devine

Mitch Dubin

David Emmerichs

Michael Frediani

Dan Gold

Geoffrey Haley

Nikk Hearn-Sutton

Rachael Levine

Sarah Levy

Jim McConkey

Matt Moriarty

John “Buzz” Moyer

Sharra Romany

Gretchen Warthen

COMMITTEES

Awards

Craig Bauer, George Billinger, Dan Gold, Geoff Haley, Bill McClelland, John “Buzz” Moyer, Jan Ruona, Benjamin Spek, Dave Thompson, Rob Vuona

Charities

Brian Taylor, Ryan Campbell

Historical

Mike Frediani

Membership

Dan Gold, Dan Turrett, Gretchen

Warthen

Corporate Members

Craig Bauer, George Billinger, Mitch Dubin, Dave Frederick, Simon

Jayes, Sarah Levy, Bill McClelland, Jim McConkey, Matt Moriarty, Dan Turrett, David Sammons

Education

Colin Anderson, Will Arnot, Craig Bauer, Bonnie Blake, Dave Chameides, Mitch Dubin, Dave Emmerichs, Mick Froelich, Craig Haagensen, Geoff Haley, Sarah

Levy, Simon Jayes, Jim McConkey, Larry McConkey, Matt Moriarty, Jeff Muhlstock, John “Buzz” Moyer, Jamie Silverstein, Dave Thompson, Chris Wittenborn

Technical Standards & Technology

Eric Fletcher (Chair), Andrew Ansnick, William Arnot, Luke Cormack, David Emmerichs, Steve Fracol, Dan Gold, Jamie Hitchcock, Simon Jayes, Doc Karmen, Mark LaBonge, Rocker Meadows, Matthew Moriarty, John Perry, Manolo Rojas, David Sammons, Lisa Stacilauskas, Gretchen Warthen

Inclusion

Sharra Romany (Co-chair), Nikk Hearn-Sutton (Co-chair), Olivia Abousaid, Shanele Alvarez, Alfeo Dixon, Pauline Edwards, Alexandra

Menapace, Jeremiah Smith, Lisa Stacilauskas, Gretchen Warthen, Mande Whitaker

STAFF AND CONSULTANTS

Executive Director Kristin Petrovich

Finances Angela Delgado

Calligrapher Carrie Imai

CAMERA OPERATOR MAGAZINE

Publishing & Executive Editor

Kristin Petrovich

Art Director Cyndi Wood

Studio Liaison & Clearances

Kim Fischer

Writer David Daut

Copy Editor Cyndi Wood

Social Media Producer

Ashlie Sotelo, Your Voice Social

Advertising Jeff Victor

Video Editor Alex Hemingway

CONTRIBUTORS

Justin Cameron, SOC

Vincent Cerone, SOC

David Daut

Sam Ellison, SOC

James Frater, SOC

Jacob Fountain

Kirk Gardner, SOC

Keith Gordon, DGA

Simon Jayes, SOC

Quenell Jones, SOC

Jim McConkey, SOC

Larry McConkey, SOC

Ashlie Sotelo

Dave Thompson, SOC

Gretchen Warthen, SOC

PHOTOGRAPHY

Philippe Antonello / Prime Video

Murray Close / Lionsgate

R. Cox

Courtesy of Apple

Lane Frenandez

ADVERTISING & SUBSCRIPTIONS

Advertising: Membership@SOC.org

Digital subscriptions: SOC.org/co

Newsletters: SOC.org

Camera Operator is a quarterly publication of the Society of Camera Operators

Registered trademark / All rights reserved

Take Two

SOC Instagram Takeover with Gretchen Warthen, SOC

Produced by Ashlie Sotelo

An SOC Instagram Takeover is an entire week of posts dedicated to a specific camera operator and their work.

It gives the operator a chance to connect with the SOC community and provides the SOC with an avenue to further advance the art and craft of the camera operator.

WATCH THE INSTAGRAM LIVE

Gretchen Warthen, SOC, aka @ladycameraguy, took over SOC’ s Instagram for a week in June. She shared behind-the-scenes photos from her career spanning 20+ years and 40+ countries. She wrote about the importance of putting cameras on women’s shoulders worldwide, the invaluable skills she learned in unscripted that helped her transition to narrative, and the slow but steady increase of women being hired in the camera departments around the country.

Gretchen’s takeover concluded with an Instagram LIVE where she answered questions submitted by the SOC community. She talked about operating handheld in multiple genres, preparing to shoot in extreme environments, and how to build and maintain confidence as an operator.

Check out SOC’s Instagram @societyofcameraoperators to see the full series of posts, videos, and behind-the-scenes insights and watch the Instagram LIVE

GRETCHEN WARTHEN , SOC

Gretchen began as a full time operator on MTV’s The Real World Seattle, which led to traveling the world shooting reality, documentary, and unscripted.

Eventually she moved to Los Angeles and broadened her career to include narrative mocu-mentaries like Kevin Hart’s Real Husbands of Hollywood , comedy specials for David Chapelle and Kevin Hart, documentaries including the Netflix hit Circus Of Books , and narrative series such as FOX’s Welcome to Flatch and the highly anticipated fifth season of the hit FX drama series Mayans MC.



John Wick: Chapter 4 Planning and Improvisation

A Conversation with James Frater, SOC

By David Daut

When the first John Wick film arrived in theaters in 2014, it ushered in a new style of action movie, one that allowed the action choreography to play out in long, smooth, unbroken shots in contrast with the handheld shake and rapid-fire editing that defined the decade of action movies prior.

Keanu Reeves as John Wick in JOHN WICK: CHAPTER 4

 WATCH THE TRAILER

Murray Close / Lionsgate

Over nine years and four films, the scale and scope of the John Wick series has steadily increased, culminating in this year’s John Wick: Chapter 4, a globe-trotting epic that sees the former-former assassin trying one last time to walk away from this life for good.

To learn more about what is involved in shooting the sort of spectacle seen in this film, Camera Operator had the chance to chat with Steadicam operator James Frater, SOC, about his work on John Wick: Chapter 4.

After coming out of retirement to enact revenge on the person who killed his dog and stole his car, being branded “excommunicado” for violating the rules against killing on Continental grounds, and taking his fight to the High Table itself, John Wick desires nothing more than to return to his peaceful life of retirement. But with agents of the High Table hot on his heels, his only way out may be to challenge the Marquis de Gramont for his freedom. John Wick: Chapter 4 is directed by Chad Stahelski from a screenplay by Shay Hatten and Michael Finch, and stars Keanu Reeves, Donnie Yen, Bill Skarsgård, Laurence Fishburne, Hiroyuki Sanada, Shamier Anderson, Lance Reddick, Rina Sawayama, Scott Adkins, and Ian McShane.

Donnie Yen as Caine in JOHN WICK: CHAPTER 4

Murray Close / Lionsgate

Shamier Anderson as Tracker in JOHN WICK: CHAPTER 4

Murray Close / Lionsgate

Donnie Yen as Caine in JOHN WICK: CHAPTER 4

Keanu Reeves as John Wick in JOHN WICK: CHAPTER 4

The Marvelous Mrs. Maisel

One Marvelous Shot

A Conversation with Jim McConkey, SOC; Larry McConkey, SOC & Jacob Fountain

Hosted by David Daut

Rachel Brosnahan as Midge Maisel in THE MARVELOUS MRS. MAISEL. Photo by Philippe Antonello / Prime Video

Multimedia Feature

Over the years, The Marvelous Mrs. Maisel has been no stranger to elaborate oners, but even so, one shot in Mrs. Maisel’s season finale stands apart from the rest. In a single take, the camera follows the action over a balcony, through a railing, backwards down a set of stairs, and out onto the set of The Gordon Ford Show.

In this Camera Operator video interview, we got to talk with A camera operator Jim McConkey, SOC; camera technician Larry McConkey, SOC; and A camera dolly grip Jacob Fountain about the planning, technology, and technique that went into pulling off this shot, as well as looking back on their work over the five seasons of the show that led to this point.

In the final season of The Marvelous Mrs. Maisel, Midge is hired on as a writer for a variety talk show—The Gordon Ford Show—where she has to compete for work with the entirely male writing staff. The Marvelous Mrs. Maisel is created by Amy Sherman-Palladino and stars Rachel Brosnahan, Alex Borstein, Michael Zegen, Marin Hinkle, Kevin Pollak, Caroline Aaron, Reid Scott, Alfie Fuller, Jason Ralph, and Tony Shalhoub. The Marvelous Mrs. Maisel is available on Prime Video.

. . . Watch the conversation here on SOC.org

Rachel Brosnahan and Alex Borstein in THE MARVELOUS MRS. MAISEL

Rachel Brosnahan and Reid Scott in THE MARVELOUS MRS. MAISEL

Philippe Antonello / Prime Video

Philippe Antonello / Prime Video

Marin Hinkle and Tony Shalhoub in THE MARVELOUS MRS. MAISEL

Midge Maisel in the writers' room of THE GORDON FORD SHOW

Philippe Antonello / Prime Video

Philippe Antonello / Prime Video

Severance Research and Development

By David Daut

Not content to merely coast on the merits of its clever conceit—namely a surgery that splits one’s consciousness between work and home—the first season of Severance ferociously pulled on the threads of that idea, unraveling as a twisty, existentially nightmarish, and often darkly funny reflection of our own fractured society.

Camera operator Sam Ellison, SOC, with director Ben Stiller and Adam Scott on the set of SEVERANCE

A Conversation with Sam Ellison, SOC

 WATCH THE TRAILER Courtesy of Apple

In the year since its release, Severance has gone on to garner critical acclaim and a host of accolades, including a nomination for SOC’s Camera Operator of the Year.

From whip-pans bridging different states of consciousness to creating a labyrinth of sprawling, seemingly infinite blank hallways, Camera Operator had the chance to discuss with “Blue” camera operator Sam Ellison, SOC, what it was like shooting on a show that’s meant to be deliberately disorienting and uncanny.

TECH ON SET

• Sony Venice with Rialto Mode (3 cameras most days) •

Panavision G Series Anamorphic Prime Lenses • Libra Head & Libra Mini • Chapman PeeWee & Hybrid Dollies, Custom Narrow-base Rickshaw

Taking the idea of a work/life balance to its logical extreme, Severance presents a world where a controversial new surgical procedure allows people to “sever” their consciousness, so that the version of you that goes home at 5 p.m. is unburdened by anything that happened during the work day. Meanwhile, the other half of your consciousness is trapped eternally at work with no nights, weekends, or hope of escape. The series is created by Dan Erickson and stars Adam Scott, Zach Cherry, Britt Lower, Trammel Tillman, Jen Tullock, Dichen Lachman, Michael Chernus, John Turturro, Christopher Walken, and Patricia Arquette. .

SAM ELLISON, SOC

Adam Scott in SEVERANCE Courtesy of Apple

Tramell Tillman, Adam Scott, and John Turturro in SEVERANCE Courtesy of Apple

Camera operator Stanley Fernandez, SOC, and 1st AC Mike Guthrie (holding monopod) working with Britt Lower in SEVERANCE

Dolly Grip Patrick Donahue with Adam Scott in SEVERANCE

JUSTIN W. CAMERON, SOC

What is your most memorable day in the industry?

I think for so many of us trying to work our way up to be active and consistent story tellers, the most memorable day is the first time you feel that in your heart and soul. For me, being hired to do the pilot of Winning Time for HBO was a literal dream come true. I have admired the content and storytelling of HBO and ALWAYS looked at that forum as high level storytelling.

What was one of your most challenging days in the industry?

A shot that comes to mind was in from Season 1 of Winning Time. During the scout our director saw a young woman swimming underwater with a perfect California reflection shining above her body. I attempted it multiple times only to realize it was my Raiders of the Lost Ark moment—I had to wait for the sun and understand every aspect of the shot creation. The exposure still makes my heart race a bit as the highlights from the water reflection against the deep water blues made for an educated guess. Oh, and it was high speed 70fps!

Credits: Winning Time: The Rise of the Lakers Dynasty; Most Dangerous Animal of All; What Would Diplo Do?; Just Add Magic; Kumiko, The Treasure Hunter

QUENELL JONES, SOC

What is your most memorable day in the industry?

Working on the show Killing It Season 1, we created a Category 4 hurricane with 4–5 giant wind fans and rain towers in the swamps of Louisiana, near New Orleans. Working with operators Scott Hoffman, SOC, and Patrick McGinley, SOC, we were able to coordinate under some quite intense conditions, but it was rewarding and fun.

Who has helped you most in your career?

Cinematographer Toby Oliver, ACS, trusted my visual style and embraced my documentary aesthetics on the several films. Second unit DP Anastas Michos, ASC, GSC, challenged my concepts and philosophy on operating, and Judd Overton, ACS, gave me space to paint through collaboration.

Credits: Get Out; The First Purge; Young Rock Season 3; Hustle; Happy Death Day 2U

VINCENT CERONE, SOC

What is your most challenging day in the industry?

On Below Deck Adventure, it was challenging to safely get coverage of guests and boat crew adventures, like biking on the most dangerous road in Norway—Trollsteigen Road—paragliding, canyoning, etc. Lots of camera movements and logistics on that adventure shoot.

What is your most memorable day in the industry?

At Villarrica (Volcano), Chile. The A crew couldn’t land the chopper up top, so my Soundie and I had to double-time hike up to shoot the race’s finish. We got the shots and the view was spectacular!

What is the most important improvement you would like to see in our industry?

Safety and long-term heath understanding, not just for camera ops but for the industry as a whole. TV production is a mental and physical grind!

Credits: Below Deck Adventure (Director/DP); Ultimate Cowboy Showdown (DP/Field Director); Fight to Survive (DP); The Challenge (Camera Operator/DP); Making It (Camera Operator)

R. Cox

ITS: Insights,Tips & Stories

Video excerpts from SOC Active members sharing personal insights into camera operating, tips learned during their careers, and stories from the set.

A Camera Versus B Camera

Camera operator Kirk Gardner, SOC, takes a deeper look at A Camera versus B Camera.

Tip for New Camera Operators

Camera operator Simon Jayes, SOC, gives his number one tip for new camera operators.

The Director's Perspective

Director Keith Gordon, DGA, shares his experience working with Mitch Dubin, SOC, on the series Legion.

Capturing the Actor's Performance

Camera operator Dave Thompson, SOC, speaks on the importance of capturing the actor’s performance.

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SOCIETY OF CAMERA OPERATORS EDUCATIONAL WORKSHOPS

The SOC offers online and in person workshops and learning for members in all categories.

LOG ON TO SOC.ORG FOR EDUCATION OFFERINGS.

WHY THEY USE STEADICAM VOLT

Man I love it! The more I learn how the different settings can help me with different shots the more I love it. I was shooting beside Wicklow Head lighthouse last week in high winds. My grip was doing his best with the Sunbounce wind-killer whilst nearly being blown off his feet. I just ramped up the tilt and dampener - rock solid! The Volt is a great tool, it allows me to concentrate on composition, not to worry about horizon and be more creative.

Greg McGuinness Cam/Steadicam Op

I pretty much use the Volt 100% of the time. Because of the way its set up, the rig performs better with it on. A better question might be when wouldn’t I use the Volt? I have had a comment where they ask to be ‘less smooth’ where in fact they wanted the handheld look for that shot.

Jess

Doxey

Cam/Steadicam Op

When we shot the two Enola Holmes films the Steadicam was the main camera shooting the majority of the film — great fun but exhausting! Having the Volt there when you’re constantly trying to emulate dolly moves, slider moveswell it was a terrific help.

Paul Edwards Cam/Steadicam

Op

The first time I used the Volt, I almost never looked at the monitor. It was just brilliantly adaptive to what we’ve all learned and now I can just sit there and think of composition and storytelling.

Colin Hudson, SOC

For anybody who has an eye for cinematography or composition, the number one complaint of Steadicam, is ‘these horizons angle a little bit.’ Great operators can really minimize it, but it can never totally go away. I tried the Volt, and Oh my God! Amazingly with one tiny little functionality difference—it’s fixed, it’s gone.

Geoffrey Haley, SOC

One of my favourite tools the Volt has is sticky mode, which I use a lot. This enables me to run into a close up at a high speed and stop instantly without the Steadicam rocking from the pendulum effect, I am amazed by the result.

Richmond Cam/Steadicam Op

It separates my hand from the rig dealing with the minutiae of managing horizon and position. As a result, I’m thinking much more creatively of what I can do with the shot, the blocking, and the intentions of the DP and the story. By doing this, I am creating the most beautiful shot I can and immersing the viewer.

Brian Sergott, SOC

On Willie Nelson’s 90th Birthday at the Hollywood Bowl, I was filming 8-10 minute takes walking the outside perimeter. I had to I had to be on a head to toe pushing into a cowboy on him all the way across and back while avoiding the security seated under my rig. Honestly, without the Volt it would’ve been miserable to try to just hold that shot and creep along.

Rob Vuona, SOC

https://youtu.be/su62ginHC1U www.Tiffen.com

Chunky

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