Camera Operator Magazine Winter 2022

SOC.ORG VOL. 31, NO. 1

WINTER 2022

CAMERA OPERATOR WINTER 2022

WEST SIDE STORY NIGHTMARE ALLEY • BEING THE RICARDOS 1

C I N E R GY E T V ELEC TR I C TR AC KING VEHIC L E

2

U.S. WEST COAST: 1-888-80CRANE • U.S. EAST COAST: 1-888-CRANE52 • DIRECT: (941) 492-9175 • CINEMOVES.COM •EMAIL: INFO@CINEMOVES.COM

SOCIETY OF CAMERA OPERATORS · SOC.ORG

CONTENTS DEPARTMENTS

FEATURES

4 MESSAGE

10 WEST SIDE STORY

Happy New Year from the President & the Board of Governors

6 SOC AWARDS

10

Technical Achievement Awards Submissions

22 WHAT'S YOUR STORY?

by Deborah Brozina

24 INSIGHT Meet the Members

26 ITS Insights, Tips & Stories

Musical on a Massive Scale An interview with Mitch Dubin, SOC & John "Buzz" Moyer, SOC

by David Daut

14 NIGHTMARE ALLEY Special Multimedia Feature A conversation with Gilles Corbeil, SOC, Doug Lavender & John Harper

18 BEING THE RICARDOS An Exercise in Trust An interview with Peter Rosenfeld, SOC & Lukasz Bielan

by David Daut

14

 22 18 CAMERA OPERATOR WINTER 2022

ON THE COVER: Mitch Dubin, SOC, on the set of WEST SIDE STORY. Photo by Niko Tavernise

26

 1

Society of Camera Operators Membership Dan Gold, Dan Turrett, Gretchen Warthen

Board of Governors OFFICERS

Corporate Members Craig Bauer, George Billinger, Mitch Dubin, Dave Frederick, Simon Jayes, Sarah Levy, Bill McClelland, Jim McConkey, Matt Moriarty, Dale Myrand, Dan Turrett, David Sammons

President George Billinger 1st Vice President Mitch Dubin 2nd Vice President Matthew Moriarty Secretary Daniel Turrett Treasurer Bill McClelland Sergeant-at-Arms Dan Gold

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

BOARD MEMBERS George Billinger Mitch Dubin David Emmerichs Michael Frediani Daniel Gold Geoffrey Haley Nikk Hearn-Sutton Bill McClelland Matthew Moriarty John “Buzz” Moyer Sharra Romany David Sammons David Thompson Daniel Turrett Gretchen Warthen

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

COMMITTEES Awards Craig Bauer, George Billinger, Dan Gold, Geoff Haley, April Kelley, Bill McClelland, John “Buzz” Moyer, Dale Myrand, Hector Ramirez, Jan Ruona, Benjamin Spek, Dave Thompson, Rob Vuona

Inclusion Sharra Romany (Cochair), Nikk Hearn-Sutton (Cochair), Olivia Abousaid, Shanele Alvarez, Alfeo Dixon, Pauline Edwards, Alexandra Menapace, Jeremiah Smith, Lisa Stacilauskas, Gretchen Warthen, Mande Whitaker

Charities Brian Taylor, Ryan Campbell Historical Mike Frediani

Social Media & Content Ian S. Takahashi (Chair), Sharra Romany, Gergely Harsanyi, Ryan Lewis, Brandon Hickman, Emily Lien, Agnelia Scuilli, Gloria Bali, Julio Tardaguila

STAFF AND CONSULTANTS

PHOTOGRAPHY @danielkpictures Deborah Brozina Kerry Hayes Felipe Larrondo Niko Tavernise Glen Wilson

Executive Director Kristin Petrovich Finances Angela Delgado Calligrapher Carrie Ima

ADVERTISING & SUBSCRIPTIONS

CAMERA OPERATOR MAGAZINE

Advertising: Membership@SOC.org Digital subscriptions: SOC.org/co Newsletters: SOC.org

Publishing & Executive Editor Kristin Petrovich Art Director Cyndi Wood Studio Liaison & Clearances Kate McCallum Writer David Daut Advertising Jeff Victor Video Editor Alex Hemingway

CONTRIBUTORS

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

Is a registered trademark. All rights reserved.

Lukasz Bielan Deborah Brozina Gilles Corbeil, SOC David Daut Mitch Dubin, SOC John Harper Simon Jayes, SOC Dan Kavanaugh, SOC Doug Lavender Jun li, SOC Kate McCallum Jim McConkey, SOC John "Buzz" Moyer, SOC Kristin Petrovich Peter Rosenfeld, SOC

CAMERA OPERATOR

SOCIETY OF CAMERA OPERATORS . WINTER 2018 SOCIETY OF CAMERA OPERATORS WINTER 2015 VOL. 24, NO. 1

available for free online

View issues on your desktop and mobile devices.

SOCIETY OF CAMERA OPERATORS . FALL 2017. FALL 2016 SOCIETY OF CAMERA OPERATORS

UPTO TO 10 10 DEVICES UP DEVICES

FRAME DELAY 22FRAME DELAY

WiFi WiFi

iOS APP APP iOS

SOC ad.indd 1

10/6/17 4:04 PM

VOL. 26, NO.4

Give every member of your crew the power of wireless monitoring on their iPhone or iPad.

servpro.teradek.com

2

issuu.com/cameraoperators

1

SERVice

SOC.ORG · FALL 2017

CAMERA OPERATOR · WINTER 2015

SOC.ORG · FALL 2016 VOL. 25, NO.4

SOC.ORG · WINTER 2018 VOL. 27, NO.1

SHAPE WATER Gone Girl

THE OF American Horror Story:DOWNSIZING Freak Show THE POST Birdman iOS MONITORING AT YOUR Sully Only the BraveLa La Land

DARKEST HOUR Animals Nocturnal THE DISASTER ARTISTby the Sea Manchester TechnicalWONDERSTRUCK Achievement Awards

SOCIETY OF CAMERA OPERATORS · SOC.ORG

CAMERA OPERATOR WINTER 2022

3

Happy New Year from the Society of Camera Operators  WATCH NOW

Blessings to all of you, your families, and friends. May the New Year find you with good health, prosperity, and inspiring achievements.

Let's please take a quiet moment to reflect and remember those who we have lost, and to remind ourselves how truly fortunate we are.

We are living in extraordinary times right now. There is nothing more important than your collective health and well-being. I wish you peace, love, and joy throughout 2022.

To the Board of Governors and the entirity of the SOC membership, it has been my honor and a great privilege to serve you this year. You are, without question, an extraordinary group of incredible people.

Thank you for your commitment, engagement, and unyielding passion.

Love and warmest wishes for a beautiful New Year,

George Billinger President, SOC

4

SOCIETY OF CAMERA OPERATORS · SOC.ORG

SOC Annual Awards Celebration

MARCH 5, 2022 SAVE THE DATE!

CAMERA OPERATOR WINTER 2022

5

SOC Technical Achievement Awards Each year, we are proud to honor significant advances in filmmaking technology with the SOC Technical Achievement Awards. This award is given to recognize the development of new technologies and techniques, essential innovations, and significant improvements to existing equipment. These technical achievements push our industry forward, removing hurdles for camera operators and allowing us to tell stories in new and unique ways.

This year, the SOC received a record number of submissions ranging from developments in dolly systems and Steadicam to monitors and wireless intercoms. The creators of the qualifying entries were invited to show off their innovations at a demo day on Saturday, January 15, hosted at the SOC offices and Tiffen Burbank.

Each technology was demonstrated for a panel of judges made up of notable Active SOC members with careers in all types of content creation, including cinema, live, studio, and nonscripted. All eleven technologies submitted are featured on the following pages. Winners of the SOC Technical Achievement Awards will be announced on Tuesday, February 15.

Judges for the Technical Achievement Awards, from left: Gretchen Warthen, SOC; Rocker Meadows, SOC; Technical Committee Chair Eric Fletcher, SOC; Lisa Stacilaiskas, SOC; John Perry, SOC; Mark LaBonge, SOC; David Sammons, SOC; and Jamie Hitchcock, SOC.

6

SOCIETY OF CAMERA OPERATORS · SOC.ORG

Technical Achievement Award Submissions Ergorig / Cinema Devices The Ergorig is an innovative camera support harness that has become extremely popular because of its low profile, light weight, and intuitive operation via a body conforming shoulder plate. There are no overhead tethers to connect or interfere with the shot. We just introduced the new CenterFit version designed for added female comfort. The Undersling accessory suspends the camera below the shoulder with a variable uptake shock-absorbing elastomer. The Ergorig protects the health of the operator, allows for hours of fatigue-free shooting, and the weight of the camera is no longer a discriminating factor in handheld cinematography. cinemadevices.com

ZeeGee / Cinema Devices The ZeeGee is a purely mechanical camera cradle designed to replicate the look of handheld cinematography by allowing free motion in the pan, tilt, and roll axes. It can mount directly to a standard Steadicam arm, thus providing the classic isolation of that system. The appearance of the footage is that of a shoulder-mounted camera yet without the generally undesirable footsteps and with reduced operator fatigue.

The system can also be hardmounted to any 5/8 spud and to dollies and vehicles via available adaptors, creating a unified look and feel. cinemadevices.com

Cine 13 4K High-Bright Monitor / SmallHD Cine 13 is the only professional 13" production monitor offering brilliant daylight visibility (1500+nits) and 4K clarity, designed for operators and cinematographers requiring critical-focus capability at all times. It delivers no-compromise viewing of both 4K & HD resolution with 10-bit color, operator-friendly features, and the intuitive PageOS4 operating system camera teams request. With a thin, sleek form factor and rugged unibody chassis, this versatile 6.8-lb workhorse easily works anywhere—on tight sets, in a vehicle, on location. As the industry pivots to 4K and HDR monitoring, SmallHD offers Cine 13 to expand 4K capabilities and futureproof workflows. smallhd.com/products/cine13

CAMERA OPERATOR WINTER 2022

7

Ronin 4D / DJI The DJI Ronin 4D is a new cinema camera system that combines a 35mm full-frame CMOS image sensor with 4-axis stabilization, wireless transmission, remote control, and Lidar-guided focus. Available in 6K and 8K, the Zenmuse X9 camera supports 6K/48fps or 8K/60fps in Apple ProRes RAW, 120fps in ProRes 422HQ, and H.264.

The Zenmuse X9 features 9-stops of built-in ND filters and supports interchangeable lens mounts. The Ronin 4D is fully integrated with DJI’s Pro Ecosystem, including Master Wheels and Force Pro, and its DJI O3 Pro video transmission system enables real-time 1080p visuals and remote camera/focus control up to 3.7 miles. dji.com/ronin-4d

AGITO / Motion Impossible AGITO is a hugely versatile tool that can mimic several pieces of equipment, like jibs, dollies, and tracking vehicles, whilst also being adaptable, modular, and configurable to different scenarios. The easily switchable drive ends allow it to transform for different uses, from being free roaming at speeds between 1cm/s and 27mph or running on track where a predetermined path is required. The AGITO allows the crew to focus on creativity instead of the logistics, offering immersive shots and emotion. The AGITO has often been praised for its reliability and agility in both broadcast and film, with multiple systems used at the Grammys and MTV Awards and features such as Mission Impossible and Transformers. motion-impossible.com/agito

Inertia Wheels / NODO Film Systems NODO Film Systems’ Inertia Wheels are a breakthrough in operating. For the first time, operators can leverage our patent-pending Inertia Motors to change the weight of their hand wheels at the push of a button. Adjustable mass and digital drag make this the most flexible operating device on the market. Plus, our adaptable software allows us to continue adding new features and responding to operator feedback.

Features include handheld simulation, recordable moves, adaptive dampening, wireless LOS (loss of signal) bridging, and an optional Third Axis wheel—just to name a few. nodo.film

Bolero Wireless Intercom / Riedel As an all-new wireless intercom system capable of supporting up to 250 beltpacks and 100 antennas in a single deployment, Bolero is a true game-changer.

Bolero redefines the wireless intercom category with features such as its ADR (Advanced DECT Receiver) with multi-diversity and anti-reflection technology for greater RF robustness, “Touch&Go” NFC beltpack registration, and versatile operation as a wireless beltpack, a wireless keypanel, or—in an industry first—a walkie-talkie. riedel.net/products-solutions/intercom/bolero-wireless-intercom

8

SOCIETY OF CAMERA OPERATORS · SOC.ORG

aktiv / Sachtler The revolutionary aktiv fluid head range—with SpeedLevel™ and SpeedSwap™ technology—allows camera operators to mount, level, and lock the head in seconds and to switch quickly from tripod, slider, or handheld shots in an instant to capture the widest range of shots in the shortest time. The latest 100mm additions to the aktiv range makes Sachtler’s unique SpeedLevel technology available for heavier payloads up to 16Kg (aktiv14T)—now camera operators can release, level, and lock their head tightly into the perfect position by simply lifting a lever and never miss a second of the action. sachtler.com/en/aktiv

Scorpio 45' / Servicevision Scorpio 45' is the perfect combination of experience, technology, and filming needs.

For many years, Servicevision´s team has understood the needs of the filming and has used its engineering knowledge to design one of the most beautiful and practical cranes in the world. Its success lies in having an extremely long arm with a very human maneuverability capacity and providing technological elements such as arc compensation, memory of movements, and various adjustments, giving a basic filming equipment functionality to cover a high percentage of needs. And above all, speed and smoothness of movement as the undisputed reputation of the Scorpio equipment. servicevision.es

Steadicam Volt System / Tiffen The Steadicam Volt™ System provides Steadicam operators with motor-assisted horizontal stabilization, giving them the ability to easily transition between fully manual and auto assist modes. Weighing only two pounds, the Volt System seamlessly integrates into the latest Steadicam M-Series sleds as well as numerous legacy Steadicam and third-party sleds, providing the latest in stabilization technology across the operator community. Since its inception, the Volt System has gone on to become an industry standard. Garrett Brown, inventor of the Steadicam, said, “This is the most significant advancement in operating since the invention of the Steadicam over 40 years ago.” tiffen.com/pages/volt-system

Supreme Prime Radiance­Lenses / Zeiss In 2021, ZEISS added four new lenses to the ZEISS Supreme Prime Radiance family launched in 2019. The 18mm and 135mm focal lengths add telephoto and wide-angle specialties to the original seven focal lengths. The new 40mm and 65mm lenses enhance the standard range, meaning that the ZEISS Supreme Prime Radiance family, as a self-contained series, now covers all possible applications for high-end film production. The ZEISS T* blue coating was developed exclusively for this series, allowing users to create a distinctive look with consistent, controllable flares across all focal lengths—without sacrificing contrast or light transmission. zeiss.com/consumer-products/us/cinematography/supreme-prime-radiance-lenses.html

CAMERA OPERATOR WINTER 2022

9

West Side Story Musical on a Massive Scale

An interview with Mitch Dubin, SOC & John "Buzz" Moyer, SOC

by David Daut In this dynamic retelling of the seminal musical West Side Story, Steven Spielberg takes us to the Upper West Side of Manhattan in the mid-20th century as young lovers Tony and María forge a romance amid a hotbed of racial and economic tension.

John "Buzz" Moyer, SOC, on the set of WEST SIDE STORY. Photo by Niko Tavernise

10

SOCIETY OF CAMERA OPERATORS · SOC.ORG

Principle photography on Steven Spielberg’s new adaptation of West Side Story wrapped in September of 2019. More than two years later, it finally arrived in theaters to rave reviews, praising the cast, the direction, and—in particular—the camera work. It’s a film that preserves the beating ECH ON SiuEmT Camera • T heart of the original story while at the same time pushing its n n Millen Libra Panavisio Handheld • d a e H style toward something much more bold and cinematic. e• ized ra Stabil rpio Cran Camera Operator magazine got together with A camera operator Mitch Dubin, SOC, and Steadicam operator Buzz Moyer, SOC, to talk about what went into taking on a big, classical musical like West Side Story, something Steven Spielberg has said he’s wanted to do for the better part of two decades.

Lib ot Sco r • 45-fo hapman/ Controlle Dolly • C d ri b y H rone /Leonard avy Lift D e H • Chapman y ll Do r/ ARRI PeeWee • Sachtle Leonard ra e m a C l Digita n Master with RED m • Tiffe a ic d a e t S • Artemis Exovest • Tiffen rm A s e X ri Se one VF ve 1 for Betz Wa shot

In this conversation, we talked about what went into making the film’s striking opening shot, the specific challenges of shooting elaborate dance sequences, and trying to work while fighting back tears during some of the film’s most emotionally intense scenes. ...

Read the story here on SOC.org

 WATCH NOW

MITCH DUBIN, SOC & BUZZ MOYER, SOC, INTRODUCE WEST SIDE STORY CAMERA OPERATOR WINTER 2022

11

Mitch Dubin, SOC, on the set of WEST SIDE STORY. Photo by Niko Tavernise

John "Buzz" Moyer, SOC, on the set of WEST SIDE STORY. Photo by Niko Tavernise

12

SOCIETY OF CAMERA OPERATORS · SOC.ORG

THE GO-TO CAMERA FOR DRAMA SERIES, FEATURE FILMS AND COMMERCIALS

ALEXA MINI LF. TRULY CINEMATIC.

THE ARRI LARGE-FORMAT CAMERA SYSTEM

www.arri.com/alexa-mini-lf

This product qualifies for 0% financing, contact financing@arri.com for details.

Nightmare Alley A Special SOC Video Conversation with Gilles Corbeil, SOC, Doug Lavender & John Harper In Nightmare Alley, an ambitious carny with a talent for manipulating people with a few well-chosen words hooks up with a female psychiatrist who is even more dangerous than he is.

Written and directed by Guillermo del Toro, the film stars Bradley Cooper, Cate Blanchett, Toni Collette, Willem Dafoe, Richard Jenkins, Rooney Mara, Ron Perlman, Mary Steenburgen, and David Strathairn.

Bradley Cooper in NIGHTMARE ALLEY. Photo by Kerry Hayes/20th Century Studios

14

SOCIETY OF CAMERA OPERATORS · SOC.ORG

Multimedia Feature From shooting in the pouring rain in Toronto to shooting in snow-filled gardens in the middle of the night in Buffalo, production on Nightmare Alley—Guillermo del Toro’s grim noir based on the 1946 novel by TECH ON: ASRERTI Alexa 65 & Lenses William Lindsay Gresham—was not without its challenges.

F • ARRI Cameras • ARRI L When Camera Operator had an opportunity to sit down with the film’s A camera operator, Gilles Corbeil, SOC, along with first assistant camera Doug Lavender and Matrix head tech John Harper, they talked about how these occasionally difficult conditions helped to create this beautifully ugly world of carnies and con artists.

i LF lexa Min ses • ARRI A Prime len olero Signature : Riedel B s n io t a ic ommun System On-set C Intercom Wireless s n set, plu h used o c e t e h t of ed, go to For more it was us w o h n o .org. details n on SOC io t a rs e v the con

Beyond the toils of working in wind and rain, Corbeil, Harper, and Lavender talk about what it was like returning to the set in the aftermath of the COVID shutdown, crafting new languages for working on set in conditions that called for a hushed quiet, and even overcoming challenges by creating new technology. ...

Watch the conversation here on SOC.org

 WATCH NOW GILLES CORBEIL, SOC, DOUG LAVENDER & JOHN HARPER INTRODUCE THE VIDEO INTERVIEW FOR NIGHTMARE ALLEY.

CAMERA OPERATOR WINTER 2022

15

Camera operator Gilles Corbeil, SOC, and crew.. Photo by Kerry Hayes/20th Century Studios

The crew of NIGHTMARE ALLEY “below the floor boards” on set. Photo by Kerry Hayes/20th Century Studios

16

SOCIETY OF CAMERA OPERATORS · SOC.ORG

BOLERO THE STATE-OF-THE-ART WIRELESS INTERCOM SYSTEM FOR SAFE AND EFFICIENT FILM PRODUCTION

ENHANCED WORKFLOWS FOR MOTION PICTURE PRODUCTION • Group conference & private chat • Seamless integration with walkie talkie channels • Superior coverage • Direct integration with 3rd party systems • Direct integration with production sound mixers

CAMERA OPERATOR WINTER 2022

17 www.riedel.net

Being the Ricardos An Exercise in Trust

An interview with Peter Rosenfeld, SOC & Lukasz Bielan

by David Daut

 WATCH TRAILER Nicole Kidman as Lucille Ball and Javier Bardem as Desi Arnaz in BEING THE RICARDOS. Photo by Glen Wilson/Amazon

18

SOCIETY OF CAMERA OPERATORS · SOC.ORG

During the height of Cold War paranoia, the American public heard a startling accusation: actress Lucille Ball is a member of TECH ONstSroE•T Two RED the Communist Party. Being the Ricardos is Aaron Sorkin’s ger Mon angers RED Ran third feature as writer and director, and the film stars Nicole S35 8K R m u li e H 5 8K me elium S3 H Monochro e m ro Kidman as Lucille Ball and Javier Bardem as Desi Arnaz.

• ch e scenes ne Mono As much as Being the Ricardos is a film about the lives and relationship of Lucille Ball and Desi Arnaz, it’s also an exploration of the creative process, zooming in on a particularly turbulent time in the production of I Love Lucy amid allegations of infidelity and “un-American activities.”

and o d-whit full black-an e h t r ts • One n fo u 2 o C m M L S LP D limited ed with ditional were fitt d s a ra n e a m d a l C set an Spherica selected e format rg la carefully A e t N D lon remo ur ARRI s) • A Ta set of fo m o o z o ibility ses (n dded flex a Prime len m a ic d Stea nt head and moveme to camera

Being the Ricardos follows a week in the making of an episode of I Love Lucy—from table read to filming in front of a live studio audience— as Lucille Ball, Desi Arnaz, and the creative team behind the show attempt to keep production on track while fallout from these rumors threatens both the show and the personal lives of those involved.

In talking with camera operators Peter Rosenfeld, SOC, and Lukasz Bielan, they expressed some kinship with the characters they helped to recreate.

What resulted was an extremely close working relationship between camera operators and a level of individual creative freedom seldom seen in the industry.

While writer and director Aaron Sorkin focused on dialogue and performances, he deferred much of the task of crafting the film’s visual language to director of photography Jeff Croenweth as well as Rosenfeld and Bielan. It was a totally unique way of working for them, a fact that’s reflected in the credits of the film.

In their conversation with Camera Operator, Rosenfeld and Bielan talk about their working relationship over the years, the unique way Aaron Sorkin directs, and the importance of building trust in the relationship between actors and operators. ...

CAMERA OPERATOR WINTER 2022

Read the story here on SOC.org 19

Lukasz Bielan, Peter Rosenfeld, Jeff Cronenweth, and Aaron Sorkin on the set of BEING THE RICARDOS. Photo by Glen Wilson/Amazon

Lukasz Bielan, Peter Rosenfeld, Jeff Cronenweth, and Harold Skinner on the set of BEING THE RICARDOS. Photo by Glen Wilson/Amazon

20

SOCIETY OF CAMERA OPERATORS · SOC.ORG

CINE GEAR EXPO 2 0 2 2

LA EVENT

JUNE 9-12, 2022

ATL EVENT

OCTOBER 7-8, 2022 WWW.CINEGEAREXPO.COM GO AHEAD - EXPERIENCE IT ALL LIVE EVENTS | ON AIR EVENTS | SCREENINGS | FILM COMPETITION | MASTER CLASSES

CAMERA OPERATOR WINTER 2022

21

BY DEBORAH BROZINA

What’s Your Story?

I wasn’t supposed to be a camera operator. I wasn’t supposed to be in the film business at all.

I got my first camera when I was in the fourth grade. My family’s perspective was that the arts made for great hobbies, and they encouraged all of them, but it wasn’t something you pursued professionally. As the daughter of a refugee mom and first-generation American dad, I was given two choices for my profession: engineering or medicine.

While studying Operations Research and Information Engineering, I took an elective class for fun called “The Psychology of Visual Communication.” We learned how the eye sees, how the brain perceives, and most of all, how to look—really look. We shot a roll of Tri-X every week, processing and printing our own film while learning how to tell stories in images alone. I loved every minute of it—and I was good at it.

During the first semester of my MBA program (with immigrant parents, you don’t stop at one degree), I took a class for fun on film appreciation. The first screening we had was the documentary For All Mankind. My dad had taught at the Naval Missile School during the Apollo missions and considered going to the moon a triumph of engineering and humanity. I always took space travel for granted, but Al Reinhart’s film with cinematography by the Apollo astronauts and Brian Eno’s music had me connecting to my dad in a whole new way.

And that is powerful stuff. I pointed my finger at the screen when the credits rolled and said, “I want to do THAT.” It took a while to understand what “THAT” was. I quickly started getting production assistant work in New York and asked Chris Harrington, a camera assistant, to teach me to load. Seven months and a bunch of music videos later, I was in the union and on my first feature film, Mighty Aphrodite, as the camera trainee. I wanted to learn from the best to be the best I could be.

I worked my way up as an assistant. The technology was okay, but I was more excited by capturing the magic of remarkable performances.

I remember crouching behind a desk after slating on The Insider and watching Al Pacino, Christopher Plummer, and Philip Michael Hall give something slightly different in each take. I wanted to share what I saw with an audience.

In 2005, elder care responsibilities required that I step back from the long hours our profession demands. I spent the next few years working as a producer, helping publishing houses in New York develop, create, and deploy their digital content. It was a front-row seat for the digital video revolution.

22

After my mom died in 2010, I was able to go back to camera, and I knew I wanted to move up to operating. However, other than Susan Starr, I didn’t know any women who were operators. So, I kept assisting.

It was the Women’s Committee in the Eastern Region of the union that provided the support I needed to jump into operating. Leaning into the relationships and support there, I formally changed my job classification on October 4, 2017, the day before the Harvey Weinstein scandal broke in the news.

Initially, I thought it would spell the end of my career. I doubted that anyone would take a chance hiring a woman into a leadership position if it meant that they risked getting called out for behavior that was a cultural norm in our business. I was wrong. The culture of our industry is gradually shifting, and for the better.

Best of all, I am exactly where I wanted to be when I pointed at the screen and said, “I want to do THAT.” If you see me next to a camera, I almost always have a huge smile on my face. I’m a camera operator, and I get to capture magic.

DEBORAH BROZINA Deborah Brozina was born and raised in the NYC metropolitan area and has been working in the industry for over 20 years.

She currently serves as a cochair of the Eastern Region Women’s Committee and of the Paid Family Leave Working Group for IATSE Local 600. She has also served as board secretary of New York Women in Film and Television, and is an Associate member of the SOC. Some of her operating credits include Blindspot, The Equalizer, Pose, Jessica Jones, and the upcoming Life and Beth.

Photo courtesy of Deborah Brozina

SOCIETY OF CAMERA OPERATORS · SOC.ORG

CAMERA OPERATOR WINTER 2022

23

Insight DAN KAVANAUGH, SOC How long have you been in the industry?

I've been in the industry for 20 years and a DP/camera operator for the last ten years.

What was one of your most challenging shots or day in the industry?

On a boat in South Africa, I was holding my frame for eight-plus hours, focusing on a seal decoy, waiting for a great white shark to jump entirely out of the water with only one chance to capture it.

What is your most memorable day in the industry?

My most memorable days are the days traveling the world meeting people from new cultures and connecting on a human level with them.

Who is the person who helped you most in your career?

Anthony B. Sacco, DGA, has been my mentor, my inspiration, and gave me my first opportunity in Los Angeles to establish myself. I owe him everything.

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

Work with the nature doc team of BBC and also film in Antarctica.

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

Basically everything we are fighting for in the current IATSE negotiations. For crew to get a fair shake at better pay, time off, weekends, and respect.

Photo by @danielkpictures

Credits: Starz’s The Chair, Amazon’s Making The Cut, Discovery’s Air Jaws Hunting By Moon, Own’s Operation Change, Wet Hot American Summer

JUN LI, SOC What is the most challenging part of your job?

There are always new things to learn and problems that need to be solved, but communication is the most important and challenging part for me as a camera operator.

What was your most memorable day in the industry?

I did a few day jobs on the USS Hornet aircraft carrier in 2017.

Historic place with amazing San Francisco Bay Area view. One of the best locations ever!

Who is the person who has helped you most in your career?

I was very fortunate to be taken under the wing of one of the top A camera/Steadicam operators in our industry, Mark Labonge, who now has become not only a mentor but a really close friend of mine.

Photo by Felipe Larrondo

24

Credits: Gray Elephant, Habit, Shelter in Place, The Tiger & The Buffalo

SOCIETY OF CAMERA OPERATORS · SOC.ORG

SEE THE WHOLE ECOSYSTEM. CREATE.

CONNECT.

CAPITALIZE.

All things pre-production to post.

All things distribution and delivery.

All things reach and ROI.

The 2022 NAB Show is an entirely reimagined experience where everything you could possibly imagine — and then some — is brought to life. We’re talking the entire content lifecycle. And we’re introducing INTELLIGENT CONTENT, where you’ll find industry-wide transformation enabling customized, immersive content. Come along to the most highly anticipated broadcast, media and entertainment industry event...we promise you’ll be in for a surprise!

IF YOU ARE IN THE BUSINESS OF STORYTELLING, THEN YOU BELONG HERE.

APRIL 23 - 27, 2022

LAS VEGAS CONVENTION CENTER NABSHOW.COM | #NABSHOW

IMAGINED BY NAB SHOW, POWERED BY YOU. Access exclusive curated content on NAB Amplify – an interactive digital hub that connects you to the world of media and entertainment.

Sign-up is easy and free!

CAMERA OPERATOR WINTER 2022

S I G N U P TO DAY O N N A B A M P L I F Y.CO M

25

ITS: Insights,Tips & Stories Video tutorials by SOC Active members sharing their personal insights into camera operating, tips that they have learned throughout their career, and on-set career stories.



 The Value of Rehearsal

Trust the Grip

Camera operator Jim McConkey, SOC, shares a rehearsal clip for The Marvelous Mrs. Maisel expressing the value of rehearsing the exact shot in terms of stepping, phrasing, and movement.

Camera operator Jim McConkey, SOC, talks about the importance of trusting the dolly grip and how it’s not always best to use a slider on the dolly.



 Dolly Grip US Versus UK

Shooting Stunts

Simon Jayes, SOC, highlights the stark differences between dolly grip work in the US compared to the UK.

Simon Jayes, SOC, emphasizes the importance of the dolly grip and AC understanding the storyboard and script when it comes to shooting stunts.

26

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 mentorship program. JOIN NOW

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 WINTER 2022

27