Camera Operator Fall 2022

SOC.ORG VOL. 31, NO. 4

FALL 2022

CAMERA OPERATOR FALL 2022

ELVIS • YELLOWSTONE • OBI-WAN KENOBI ANDOR • ALL QUIET ON THE WESTERN FRONT 1

MAT R I X

S TA B I L I Z E D G I M B A L 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

2 Meet the Crew

14 ELVIS Taking Care of Business

By Jason Ellson, SOC

Trent Mitchell / Warner Bros.

6 TAKE TWO SOC Instagram Takeover by Lisa Stacilauskas, SOC

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18 ALL QUIET ON THE WESTERN FRONT Going to War An SOC Creative Spotlight Conversation with Daniel Bishop, SOC & Edward Berger Hosted by David Daut

8 SOC Workshops 10 SMOOTH OPERATOR

By Joseph Arena, SOC

22 OBI-WAN KENOBI

32 Insight

Old Ben, New Tricks A Conversation with Chris Moseley & Chris Herr

By David Daut

Meet the Members

34 ITS Insights, Tips & Stories

Reiner Bajo

26 ANDOR On Location in a Galaxy Far, Far Away An SOC Creative Spotlight Conversation with Chris Bain, Sam Barnes & Adrian Stephens Hosted by David Daut

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28 YELLOWSTONE

26 CAMERA OPERATOR FALL 2022

ON THE COVER: Daniel Bishop, SOC, on location for All Quiet on the Western Front.

Photo by Reiner Bajo

Matt Kennedy / Lucasfilm Ltd.

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Cam McLeod

Courtesy of Lucasfilm Ltd.

Family on the Frontier A Conversation with Scott Dropkin, SOC

By David Daut

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Meet the Crew In our newest department, Meet the Crew, we will introduce you to the team that brings Camera Operator to life, like Kristin Petrovich, SOC Executive Director and Camera Operator’s Publisher and Executive Editor.

What brings you inspiration and creativity with your involvement with the SOC? THE MEMBERS—YOU! I have such deep respect and honor for camera operators and crew. I get to see and hear from the sidelines about all your creative, dedicated hard work. I feel so honored to be serving this organization, and that inspires me deeply.

What do you find most fulfilling when working with the SOC?

Kristin Petrovich Publisher & Executive Editor

Serving the membership, problem solving, and working on a challenging project is always fulfilling.

When a member emails or tells me that being part of the SOC has made a difference, and when something that we have executed furthered a career, connected members and/or advanced the SOC’s mission—all these things are very fulfilling.

What are some of the challenges that you face in your involvement with the SOC? I find that challenges are based in all the opportunities we have. The Society has international membership and skills and expertise that spans all types of operating. This gives the SOC such uniqueness, but also we have the varying needs of the members. Also, having the “human power” to get it all done can be challenging. We have a very small (but mighty) team that is dedicated to the membership, and sometimes we have to be clear as to our priorities to be sure that we are in alignment with the vision of the Board of Governors.

What is your special SOC moment?

Just when I think “this is it,” then a new one comes along. I think the Lifetime Achievement Awards are always on the top of the list as it is such a work of passion for myself and anyone involved. We work hard to be sure that the camera operators and recipients get their limelight, and we work hard to have an evening that is a mix of celebration and fun. Another special moment was when we moved Camera Operator magazine to the new multimedia format. That took dedication and vision from the CO team and in the process, we got to see the gifts that each member brings—their special talents.

In another fifty years, I see the SOC… I know that it will be way beyond anything I can imagine. SOC could have regional chapters internationally. The education will expand to the largest educational offerings for operators and crew, both in-person and online, and this will expand the roles and talents on set. It will advance careers and, in turn, content. The Society will impact on-set trends, both culturally and technically.

In my free time, I…

Kristin Petrovich at the recent SOC workshops with (from left) instructors Scott Howell; Henry Tirl; Geoff Haley, SOC; John "Buzz" Moyer, SOC; and Chris Haarhoff, SOC

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Love exercising and that could be a hike, nine holes of terrible but fun golf—anything that moves my body (and mind) daily. I have found that it keeps me happy. I love to entertain and have been known to host fun dinner parties and guests for the weekend. During the lockdown, I hosted a weekly Saturday night dinner for my “pod” and tried all the crazy recipes that intimidated me. And of course, looking for the next pair of cool glasses for my Zooms.

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CAMERA OPERATOR FALL 2022

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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, 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 Executive Director Kristin Petrovich Finances Angela Delgado Calligrapher Carrie Ima

CAMERA OPERATOR MAGAZINE Publishing & Executive Editor Kristin Petrovich Art Director Cyndi Wood Studio Liaison & Clearances Kim Fischer Writers David Daut & Kate McCallum Copy Editor Cyndi Wood Social Media Producer Ashlie Sotelo, Your Voice Social Advertising Jeff Victor Video Editor Alex Hemingway

CONTRIBUTORS Ashlie Sotelo Joseph Arena, SOC Chris Bain Sam Barnes Edward Berger Daniel Bishop, SOC David Daut Scott Dropkin, SOC Jason Ellson, SOC Kim Fischer Simon Firsht, SOC

Chris Herr Per Larsson, SOC Kate McCallum Chris Moseley Kristin Petrovich Adrian Stephens Tom Vannozzi, SOC

PHOTOGRAPHY Reiner Bajo Jaswinder Bedi Ruby Bell Anne Marie Fox Nicola Goode / Lucasfilm Ltd. Matt Kennedy / Lucasfilm Ltd. Eric Matthies Cam McLeod Trent Mitchell / Warner Bros.

Danno Nell Gene Page Hugh Stewart / Warner Bros.

Lacey Terrel

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

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CAMERA OPERATOR · WINTER 2015

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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

Join the SOC in celebrating the art and craft of the camera operator and crew at the Society of Camera Operators Lifetime Achievement Awards on Saturday February 25, 2023 at the Loews Hollywood Hotel.

Five hundred production professionals will gather to celebrate the best of the best operators in motion picture, television and the industry at large. The Society honors Lifetime Achievement Awards to Camera Operator, Camera Technician, Camera Operator, Live and Non-Scripted, Still Photographer, Mobile Camera Platform Operator, and Governors and President’s award.

PURCHASE A SEAT OR A TABLE TODAY! Included in your attendance is the hosted pre reception, sit down dinner, awards celebration and the hosted after party. The Awards are black tie.

FOR FURTHER DETAILS: SOCAWARDS.COM

CAMERA OPERATOR FALL 2022

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Take Two SOC Instagram Takeover with Lisa Stacilauskas, SOC Hosted 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.

Lisa Stacilauskas, SOC, took over SOC’s Instagram for a week in October.

In her posts, Lisa shared behind-the-scenes stories of The Terminal List, networking tips, and a historical look at her film school days and career as a Camera Operator.

 WATCH THE INSTAGRAM LIVE

Lisa’s takeover concluded with an Instagram LIVE where she answered questions submitted by the SOC community. She talked about industry changes over the span of her career, dayplaying as a networking opportunity, challenging locations on The Terminal List, the physicality of operating, on-set safety, and more.

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

LISA STACILAUSKAS, SOC Lisa Stacilauskas, SOC, has been a camera operator for 22 years, working primarily in scripted television. She recently operated B-camera on the action/drama series The Terminal List starring Chris Pratt, which she describes as the most challenging and most rewarding experience of her career. Lisa is currently on ABC’s Station 19. Other past credits include American Housewife, Community, Crazy Ex-Girlfriend, and Disney’s Starstruck.

She is a member of ICG Local 600 and has been an Active member of the Society of Camera Operators since 2008. Lisa has served on the SOC Board of Governors and on several SOC Committees over the years.

Photo by Jaswinder Bedi

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SOCIETY OF CAMERA OPERATORS · SOC.ORG

CAMERA OPERATOR FALL 2022

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Operating and blocking fight scenes during the Operating Action Workshop

Vehicle and gear for hands-on training exercises in the Operating Action Workshop

Operating Action Workshop section on working with firearms with emphasis, as always, on safetly

Participants practiced shooting fight scenes during the Operating Action Workshop

Mitch Dubin, SOC, gives virtual classroom instruction during the Camera Crane Workshop

Underwater Camera Operating Workshop instruction in the CineMoves on-site pool

SOCIETY OF CAMERA OPERATORS · SOC.ORG

SOC Workshops Camera Crane and Underwater Operating Workshop participants and instructors Thanks to the dedication and energy of our SOC Education Committee, staff, and volunteers, we were able to resume in-person workshops in 2022. Everyone involved was excited to be together in Atlanta in late May for our Operating Action Workshop, featuring instructors David Emmerichs, SOC; Geoffrey Haley, SOC; and Matthew Petrosky, SOC. Participants dove right in to filming fights, falls, and running/jumping, as well as practicing fully geared-out car work. On-set safety and fitness were fully integrated into the curriculum. Our hosts for that workshop, CineMoves Movie Ranch, were so enthusiastic that the SOC was invited to return for our Camera Crane and Underwater Camera Operating Workshops in late September. We were privileged to welcome Mitch Dubin, SOC (virtually); Chris Haarhoff, SOC; Geoffrey Haley, SOC; Scott Howell; John “Buzz” Moyer, SOC; and Henry Tirl as instructors for Crane, along with Jamie Alac, Braden Haggerty, Bill McClelland, SOC, and Peter Romano for Underwater. Crane workshop participants

experienced four unique “sets,” practicing skills in crane/camera manipulation and teamwork in each environment. The Underwater crew offered participants the opportunity to experience all facets of preparing for and delivering the best underwater shots while diving with the latest tech in camera housings and communication.

Geoffrey Haley, SOC, and Peter Schneider from Gotham Sound instruct during the Camera Crane Operating Workshop

Saturday night BBQ for participants to meet the Atlanta production community

CAMERA OPERATOR FALL 2022

In all, we were able to engage nearly 60 SOC members across various membership categories in truly hands-on, real-world training with instructors and production crews that are among the top in their fields. We’d like to extend our thanks to CineMoves, HydroFlex, Clear-Com, Fujinon, Keslow Camera, NODO, Otto Nemenz, Panavision, and Zeiss for their support of the workshops.

Be sure to check out @societyofcameraoperators for more photos and videos of the workshops and video highlights of the Operating Action Workshop. Look for announcements of more workshops soon!

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Smooth Operator

Gene Page

By Joseph Arena, SOC

Joseph Arena, SOC, shooting DOPESICK

I went to film school at Roberto Rossellini in Rome. I was only 19 when I graduated and started working as a PA on several projects.

Not long after, I was loading film and then worked as a camera assistant for six years. I moved to Los Angeles, California, from Italy in 2003, where I joined the ICG Local 600 union. I moved up to camera operator in 2005.

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The film industry in Italy is highly competitive. It was hard to break through, especially if you do not have someone from your family who had previous connections. I learned how to navigate my way and learn from the professionals I was working with. Every opportunity given to me was precious and gave me the knowledge and skill set I needed to succeed after I moved to the US and joined the union. It was not an easy task, but it has definitely been worth the effort.

SOCIETY OF CAMERA OPERATORS · SOC.ORG

Anne Marie Fox

Joseph Arena, SOC, on set

When I moved to LA, I did not know a single person in the industry. I started asking camera rental houses if I could spend some time during the day at their facility and meet other ACs. It was hard at the beginning but, when you are young, you have that ambition to succeed, especially coming from overseas. I needed to score some solid connections to start getting jobs. While I was working as an AC, I would shoot some smaller stuff, giving me some experience as a camera operator. In 2005, I bought my first Steadicam 3A and practiced as much as I could.

I’ve never had a sole, dedicated mentor, but I’ve had multiple operators guiding me. Andrew Rowlands has been the most influential individual in my career. I first met him on the set of Gangs of New York in Italy at the beginning of my career. I was so impressed with his work and it inspired me to strive to get to the level he was at. Ten years later, I operated a dual Steadicam with him for Angels and Demons. He guided me, giving much needed advice on how to be a successful operator.

My agent, Wendy Schneider, also helped guide me in making the best choices for my career. Working on Dopesick has been one of them.

Checco Varese, ASC, who I worked for previously on other projects, called me and said, “I think I have an interesting project about the

CAMERA OPERATOR FALL 2022

American struggle with opioid addiction from the boardroom of Perdue Pharma to a distressed Virginia Mining Community. Barry Levinson is directing, and it stars Michael Keaton.”

As soon as I read the script, I had no doubt this was going to be a once-in-a-lifetime opportunity to create something unique. I was not that far off—Dopesick got nominated for 14 Emmy Awards, including Best Cinematography. Working with Barry and Checco has been an amazing experience. I had the liberty to establish a direct link with Barry, which reflects my personal camera style that is influenced by my European background. I have also had the freedom to create elaborate shots since Checco can—and likes to—light for the camera.

Barry knows exactly how he could cut a scene and what he needed out of it for it to have the most impact. We clicked immediately and it has been a smooth ride.

We decided to divide the two parallel worlds with two distinctive looks. For the Perdue Pharma scenes, we used studio mode and Steadicam. For the mining community scenes, we established handheld as he wanted a rougher shot. The physical aspect of the show was very challenging, as we shot in real mines during the winter and COVID.

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Working with Michael Keaton was an unforgettable dream for an operator. His level of awareness and collaboration with the camera made every shot polished and meaningful. Joey Cicio was on B cam, and I was lucky to work with him. He is a brilliant operator and I have worked with him since 2009. I can say this was one of the projects I am most proud of because of the content and the message.

I felt I contributed to telling a story that needs to be shared.

Over the years I would say that obviously the technical achievement of every shot is necessary, but the most important aspect is to be able to feel and tell the story with personality. That is what differentiates your style from others, and that is why they will hire you for the next job. Try to understand the energy of the scene—is the camera more active? Or is it just a discreet observer? Find the goal of a shot you are doing.

We as operators have the responsibility to educate the audience.

When you start a project with a new director, you need to show them that you are confident about what they need from the shot.

Establish great communication with the talent, explain your shots, and trust your instinct. You will be the first person they would look to after a cut. Also, figure out your DP workflow preferences. Is he willing to have you run the set? Can you have a direct link with the director? Is he willing to light for the camera?

Anne Marie Fox

I just wrapped a miniseries for Amazon, Daisy Johns & The Six, which is a story following the rise of a band through the ’70s LA music scene. I am starting a comedy feature film for Universal and the DP is Sidney Sidell, ASC. He has great composition taste and phenomenal lighting skills, we both are in tune, and we share the same level of sensitivity when it comes to telling a story with camera.

Joseph Arena, SOC

I am excited about what the future will bring. There is so much content out there and we are all lucky to have the option of picking what is best.

JOSEPH ARENA, SOC Joseph Arena began his career as a camera production assistant in 1997. He then went on to work as a loader for a couple of years before working as a 2nd assistant cameraman, and then a focus puller in 2000.

In 2003, he relocated from Italy to Los Angeles, California, where he began operating in 2005.

Lacey Terrel

Throughout his career, he has had the opportunity to collaborate with renowned cinematographers such as Paul Cameron, ASC; Mauro Fiore, ASC; Jonathan Taylor, ASC; Amir Mokri; Dean Samler, ASC; and Enrique Chediak, ASC. Some of his credits include: Iron Man 2, Angels and Demons, Fantastic Four, Bessie, Lady and the Tramp, Westworld, Dopesick, The First Lady, and Bones.

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SOCIETY OF CAMERA OPERATORS · SOC.ORG

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Elvis Taking Care of Business

Hugh Stewart / Warner Bros.

By Jason Ellson, SOC

 WATCH THE TRAILER Austin Butler in ELVIS

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SOCIETY OF CAMERA OPERATORS · SOC.ORG

Taking a page from his earlier films Moulin Rouge! and The Great Gatsby, Baz Luhrman’s Elvis is a maximalist mythologizing of the life of “The King of Rock and Roll” told from the TECH ONanSaEvTision •P deathbed of the man who both made his career and ruined Alexa 65 orphic es Anam ri e S T & his life.

Sphero 3’ Scorpio The film stars Austin Butler, almost spookily channeling the essence of the film’s larger-than-life central figure, alongside Tom Hanks playing Presley’s business manager, Colonel Tom Parker, like a villain straight out of the Captain Marvel Jr. comics that Elvis read as a child.

45’ & 2 Lenses • Head • MATRIX Cranes • -Sys L40 ad • Mo e H s lu u Oc am • Steadic

Writing for Camera Operator magazine, A camera operator Jason Ellson talks about his experience working on the film he describes as “a hyperkinetic whirl of sound and vision.” Keeping up with this maelstrom of moviemaking meant being prepared with the right tools to provide Luhrman the ultimate flexibility to pursue his vision— whether that was shooting inside the confines of a tiny wardrobe or recreating the lavish, extravagant musical spectacles of Elvis’ Las Vegas residency. ...

Read the story here on SOC.org

JASON ELLSON, SOC Read the story for Jason's bio, and then learn more about his career and projects at IMDb.com.

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Courtesy of Warner Bros.

Courtesy of Warner Bros.

Austin Butler in ELVIS

Austin Butler as Elvis and Tom Hanks as Colonel Tom Parker

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SOCIETY OF CAMERA OPERATORS · SOC.ORG

Ruby Bell Ruby Bell

Jason Ellson on the set of ELVIS

Jason Ellson on the set of ELVIS

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Reiner Bajo

 WATCH THE TRAILER

All Quiet on the Western Front Going to War

An SOC Creative Spotlight Conversation with Daniel Bishop, SOC & Edward Berger Hosted by David Daut A seminal work in both literature and cinema, All Quiet on the Western Front remains a sobering portrait of both the senseless terror and the tragic waste of war. Now, nearly a century later, Edward Berger’s new telling of this story aims to remind us of these truths as the world once again finds itself on a precipice.

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SOCIETY OF CAMERA OPERATORS · SOC.ORG

Multimedia Feature We had the opportunity to talk with A camera operator Daniel Bishop, SOC, along with co-writer and director Edward Berger about their work on this new version of All Quiet on the Western Front, from the grueling challenges of recreating and shooting in conditions that mirrored World War I to using modern technology to tell this story in a way that wouldn’t have been possible 90 years prior.

TECH ON•SAELTEXA LF

5mm ALEXA 6 A Lenses ICE• DN N E V y n o oCrane •S s • Techn e s n e L 7 • TRIBE exatron RI on a H from AR zed in Motori All-Terra Base

All Quiet on the Western Front shows the horrors of the First World War through the eyes of Paul Bäumer, a young German soldier who enlists out of exuberant patriotic pride only to find the realities of war are far from what he imagined. Directed by Edward Berger from a screenplay

by Berger, Lesley Paterson, and Ian Stokell, the film stars Felix Krammerer, Albrecht Schuch, Aaron Hilmer, Moritz Klaus, and Daniel Brühl. ...

Watch the conversation here on SOC.org

 WATCH NOW 

CAMERA OPERATOR FALL 2022

WATCH THE SOC CREATIVE SPOTLIGHT CONVERSATION WITH DANIEL BISHOP, SOC & DIRECTOR EDWARD BERGER ABOUT ALL QUIET ON THE WESTERN FRONT 19

Reiner Bajo Reiner Bajo

Shooting ALL QUIET ON THE WESTERN FRONT

On the set of ALL QUIET ON THE WESTERN FRONT

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SOCIETY OF CAMERA OPERATORS · SOC.ORG

Reiner Bajo Reiner Bajo

Shooting ALL QUIET ON THE WESTERN FRONT

On the set of ALL QUIET ON THE WESTERN FRONT

Obi-Wan Kenobi Old Ben, New Tricks

Matt Kennedy / Lucasfilm Ltd.

A Conversation with Chris Moseley & Chris Herr

By David Daut

 WATCH THE TRAILER Camera operator Chris Herr, Vivien Lyra Blair, Jimmy Smits & camera operator Chris Moseley on the set of OBI-WAN KENOBI

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SOCIETY OF CAMERA OPERATORS · SOC.ORG

Seventeen years after Star Wars: Episode III hit theaters, TECH ONJISFEoTrce Pro •D Ewan McGregor returns to the role of Jedi Master Obi-Wan DJI Ronin System ovement M ra e m a Kenobi, now cut off from the Force and hiding from the C Head • Remote IX R T A LINK •M Empire after the fall of the Jedi Order. An urgent message WCINE G O L F • 5 Scorpio 4 evices inema D C pulls him out of his exile when the young Princess Leia is • l a b Gim evices Cinema D kidnapped by Darth Vader’s agents and Obi-Wan is forced ZeeGee • ityCam AntiGrav to confront the truth that his former apprentice still lives.

The six-episode limited series is directed by Deborah Chow and stars McGregor along with Vivien Lyra Blair, Moses Ingram, and Hayden Christiansen reprising his role as Darth Vader.

The spirit of Star Wars has always had one foot in the past and one foot in the future.

George Lucas’s original films were nostalgic throwbacks to radio serials, Saturday matinees, Westerns, and samurai movies, but they were also groundbreaking technological achievements that changed the art of filmmaking forever. Star Wars is, as ever, about balance, and that spirit of balance between old and new continues in the limited series Obi-Wan Kenobi.

Camera Operator had the opportunity to chat with A camera operator Chris Moseley and B camera/Ronin operator Chris Herr about their work on the series and about bringing a new, more modern look to this story about familiar characters. We talked extensively about Industrial Light & Magic’s StageCraft technology and the LED Volume at its heart, which can conjure up fantastical worlds rendered on set in real time, and the new challenges and opportunities for camera operators that come along with it. Also discussed were the unique shooting setup for the series that relied primarily on gimbals instead of Steadicam, working on a show that at times felt more like a movie than television, and the sheer childlike awe of seeing Darth Vader right in front of you.

On July 28, 2022, the Television Academy announced Industrial Light & Magic would be awarded an Engineering, Science & Technology Emmy Award for its StageCraft virtual production technology. ...

CAMERA OPERATOR FALL 2022

Read the story here on SOC.org 23

Matt Kennedy / Lucasfilm Ltd. Matt Kennedy / Lucasfilm Ltd.

Industrial Light & Magic’s StageCraft technology and the LED Volume

Chris Moseley shooting OBI-WAN KENOBI

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SOCIETY OF CAMERA OPERATORS · SOC.ORG

Nicola Goode / Lucasfilm Ltd. Matt Kennedy / Lucasfilm Ltd.

Industrial Light & Magic’s StageCraft technology and the LED Volume

Chris Herr on the set of OBI-WAN KENOBI

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 WATCH THE TRAILER

Andor

On Location in a Galaxy Far, Far Away An SOC Creative Spotlight Conversation with Chris Bain, Sam Barnes & Adrian Stephens Hosted by David Daut When the 2016 smash hit Rogue One ended with the entire principle cast being killed one-by-one, it seemed like the book was pretty definitively closed on these characters, yet two years later Lucasfilm announced that Diego Luna would be returning to the role of Cassian Andor for a prequel series leading up to the events of that film and exploring his life during the early days of the Rebel Alliance. Helmed by Rogue One co-writer and Michael Clayton director Tony Gilroy, the series portrays the Star Wars galaxy from a slightly different perspective—away from mythic spectacle of Jedi Knights and Evil Emperors, instead focusing on what it takes for ordinary people to survive under the thumb of a fascist regime.

Diego Luna as Cassian Andor. Photo courtesy of Luscasfilm Ltd.

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SOCIETY OF CAMERA OPERATORS · SOC.ORG

Multimedia Feature Set five years prior to Rogue One, Andor follows the man who would one day aid in destroying the Death Star as he is recruited by the fledgling rebellion to fight back against the oppressive might of the Galactic Empire. Created by Tony Gilroy, the series stars Diego Luna alongside Stellan Skarsgård, Genevieve O’Reilly, and Kyle Soller.

TECH ONNSICEET

Sony VE ion • Panavis Cameras s hic Lense Anamorp

In this Camera Operator video interview, we talk with the A camera team behind Andor Episodes 4–6, the Aldhani heist episodes: A camera operator Chris Bain—who additionally worked as tandem unit B camera operator on several of the series’ other episodes—1st AC Sam Barnes, and 2nd AC Adrian Stephens. From shooting in the Scottish highlands to massive backlot sets made to look like alien towns, Andor contrasts with other Star Wars series by primarily utilizing physical sets rather than Industrial Light & Magic’s StageCraft virtual environments. We discuss what went into shooting at these various sites and how the crew adapted to the needs of each location, as well as the partnership between operator and 1st and 2nd AC. ...

Watch the conversation here on SOC.org

 WATCH NOW WATCH THE SOC CREATIVE SPOTLIGHT



CONVERSATION WITH CHRIS BAIN, SAM BARNES & ADRIAN STEPHENS ABOUT ANDOR

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Yellowstone Family on the Frontier

A Conversation with Scott Dropkin, SOC

By David Daut

 WATCH THE TRAILER Kevin Costner as John Dutton and Luke Grimes as Kayce Dutton in YELLOWSTONE. Photo by Danno Nell

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SOCIETY OF CAMERA OPERATORS · SOC.ORG

Created by Taylor Sheridan, writer of Sicario and Hell or High Water, Yellowstone’s story of crime, corruption, and cattle ranching has grown into a gargantuan cultural institution, earning critical praise, some of the highest cable viewership numbers of the last decade, and generating an expanding tapestry of spin-offs and tie-ins.

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Camera Operator had the opportunity to sit down with series A camera operator Scott Dropkin, SOC, to talk about his role on the show. From working alongside horses, cattle, and buffalo to shooting in some of the most beautiful locations on the planet, working on Yellowstone is rife with challenges and rewards but, through it all, Dropkin emphasizes the value of seeing a film crew as its own sort of unconventional family. It was this feeling of familial bonds that carried the crew through the challenges of relocating from Utah to Montana as well as weathering the storm of the COVID-19 pandemic. ...

Read the story here on SOC.org

SCOTT DROPKIN, SOC Read the story for Scott's bio, and then learn more about his career and projects at IMDb.com.

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Cam McLeod Cam McLeod

Scott Dropkin, SOC, shooting YELLOWSTONE

On the set of YELLOWSTONE

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SOCIETY OF CAMERA OPERATORS · SOC.ORG

Cam McLeod

On the set of YELLOWSTONE

Scott Dropkin, SOC, shooting YELLOWSTONE

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Insight SIMON FIRSHT, SOC What was one of your most challenging days in the industry?

I always think the first day on a shoot is one of the most challenging, but the recent Jordan Peele movie Nope was one of the most challenging shoots for me personally, seconded by Dune Part 1.

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

Director John Moore and producer Peter Veverka helped me so very much at the start of my operating career. I will never forget them for that!

Eric Matthies

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

I think our industry has changed a lot over the last few years and for the better, but it always comes down to hours worked and safety for crew. Crews work relentlessly every day and sometimes the hours are overlooked.

Credits: Dune Part 1; Oppenheimer; Nope; Being the Ricardos; Vice

PER LARSSON, SOC What was one of your most challenging days in the industry?

Season 1 of Amazing Race. Every day was the most difficult day for a month.

We worked 24 hours/day with very little sleep running with the camera and a backpack.

What is your most memorable day in the industry?

When I won my first Emmy for best cinematography for Amazing Race.

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

I have worked on several independent films and would like to do more and bigger feature films.

Credits: Amazing Race US, China, Australia, Asia; Wahlburgers (Mark Wahlberg); Gordon Ramsey: Uncharted; America's Got Talent; Survivor

TOM VANNOZZI, SOC What was one of your most challenging days in the industry?

CBS Sport Spectacular Triathlon Zuma Beach live. We had a boat camera, helicopter camera, truck bed camera, motorcycle camera, and I was on a 30' boom. A squall came up and all cameras were disconnected except for mine. Lost P.L. and boom bucket operator went to shelter, my tally was on all the time for awhile, I was the only camera on a live feed!

What is your most memorable day in the industry?

NBC Kids Circus Show Burbank with Robert Downey Sr. directing for Brandon Tartikoff. I was DP and operator and created a Steadi shot for the opening in a box of a large forklift that could bring me up to the 5K lighting grid, forklift dropped (no crane was available). I walked off the box and across backstage to a small girl as the open of the show.

Credits: Boxing championship with Smokin’ Joe Frazier; Kool and the Gang, Aladdin Hotel; No Soap, Radio pilot; Michael Jackson: 30th Anniversary Special

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SOCIETY OF CAMERA OPERATORS · SOC.ORG

Join the SOC Demo Day on Sunday, December 4th. As an SOC member you can attend this special event and engage with the Technical Achievement Awards submitters, ask questions, and get hands on gear.

FOR DETAILS : SOCAWARDS.COM

WATCH HIGHLIGHTS FROM DEMO DAY 2022

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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.

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Rising to the Director's Challenge

Overcoming Bad Shot Geometry

Camera operator Ari Robbins, SOC, walks us through previs and rising to the director’s challenge of using the entire space for a live performance at The Bradbury in Los Angeles.

Camera operator John “Buzz” Moyer, SOC, breaks down overcoming bad shot geometry with the help of his dolly grip while operating 2013’s The Secret Life of Walter Mitty.

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The Freedom to Discover Composition

Operating Upside Down and Backwards

Camera operator Dave Thompson, SOC, talks about the freedom to discover composition in 2012’s Silver Linings Playbook.

Camera operator Dan Gold, SOC, describes operating upside down and backwards on Spider-Man.

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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 on 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.

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