Camera Operator Fall 2022

FEATURES

14 ELVIS

18 ALL QUIET ON THE WESTERN FRONT

Going to

An SOC Creative Spotlight Conversation with Daniel Bishop, SOC & Edward Berger Hosted by David Daut

22 OBI-WAN KENOBI

Old Ben, New Tricks

A Conversation with Chris Moseley & Chris Herr

By David Daut

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

28 YELLOWSTONE

Family on the Frontier

A Conversation with Scott Dropkin, SOC By David Daut

Trent Mitchell

Cam McLeod

Matt Kennedy / Lucasfilm Ltd.

Kristin Petrovich

Publisher & Executive Editor

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?

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…

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.

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

Society of Camera Operators

Board of Governors

OFFICERS

President George Billinger

1st Vice President Mitch Dubin

2nd Vice President Matthew Moriarty

Secretary Daniel Turrett

Treasurer Bill McClelland

Sergeant-at-Arms Dan Gold

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

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

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

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

Registered trademark / All rights reserved

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

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.

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.

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 opportu nity, challenging locations on The Terminal List, the physicality of oper ating, 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.

Bedi

Photo by Jaswinder

SOCIETY

OF CAMERA OPERATORS

SOC.ORG

Participants practiced shooting fight scenes during the Operating Action Workshop Operating Action Workshop section on working with firearms with emphasis, as always, on safetly

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

Operating and blocking fight scenes during the Operating Action Workshop

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

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

SOC Workshops

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.

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!

Camera Crane and Underwater Operating Workshop participants and instructors

Saturday night BBQ for participants to meet the Atlanta production community

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

Smooth Operator

By Joseph Arena, SOC

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.

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 oppor tunity 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.

Joseph Arena, SOC, shooting DOPESICK

Gene Page

When I moved to LA, I did not know a single person in the indus try. 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 oper ated 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

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 Stea dicam. 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.

Anne Marie Fox

Joseph Arena, SOC, on set

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?

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.

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.

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.

Joseph Arena, SOC

Lacey

Terrel

Anne Marie Fox

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Elvis

Taking Care of Business

By Jason Ellson, SOC

SOCIETY OF CAMERA OPERATORS

SOC.ORG

Austin Butler in ELVIS

Hugh Stewart / Warner Bros.

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 deathbed of the man who both made his career and ruined his life.

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.

TECH ON SET

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.

SOCIETY OF CAMERA OPERATORS

Austin Butler as Elvis and Tom Hanks as Colonel Tom Parker Courtesy of Warner Bros.

Austin Butler in ELVIS Courtesy of Warner Bros.

Jason Ellson on the set of ELVIS

Jason Ellson on the set of ELVIS

Ruby Bell Ruby Bell

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.

Reiner Bajo

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. 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. .

Shooting ALL QUIET ON THE WESTERN FRONT

SOCIETY OF CAMERA OPERATORS

On the set of ALL QUIET ON THE WESTERN FRONT

Reiner Bajo Reiner Bajo

On the set of ALL QUIET ON THE WESTERN FRONT

Shooting ALL QUIET ON THE WESTERN FRONT

Reiner Bajo

Reiner Bajo

Obi-Wan Kenobi

Old Ben, New Tricks

A Conversation with Chris Moseley & Chris Herr

By David Daut

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

Matt Kennedy / Lucasfilm Ltd.

Seventeen years after Star Wars: Episode III hit theaters, Ewan McGregor returns to the role of Jedi Master Obi-Wan Kenobi, now cut off from the Force and hiding from the Empire after the fall of the Jedi Order. An urgent message pulls him out of his exile when the young Princess Leia is kidnapped by Darth Vader’s agents and Obi-Wan is forced 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. . . . Read the story here on SOC.org

SOCIETY OF CAMERA OPERATORS

SOC.ORG

Chris Moseley shooting OBI-WAN KENOBI

Matt Kennedy / Lucasfilm Ltd.

Industrial Light & Magic’s StageCraft technology and the LED Volume Matt Kennedy / Lucasfilm Ltd.

Chris Herr on the set of OBI-WAN KENOBI

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

Nicola Goode / Lucasfilm Ltd.

Matt Kennedy / Lucasfilm Ltd.

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.

 WATCH THE TRAILER

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 ON SET

Sony VENICE Cameras • Panavision Anamorphic Lenses

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

Yellowstone

Family on the Frontier

A Conversation with Scott Dropkin, SOC

By David Daut

SOCIETY OF CAMERA OPERATORS

SOC.ORG

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

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.

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.

On the set of YELLOWSTONE

SOCIETY OF CAMERA OPERATORS · SOC.ORG

Scott Dropkin, SOC, shooting YELLOWSTONE Cam McLeod Cam McLeod

Scott Dropkin, SOC, shooting YELLOWSTONE

On the set of YELLOWSTONE

Cam McLeod

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!

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

Eric Matthies

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.



Rising to the Director's Challenge

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.

Overcoming Bad Shot Geometry

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

The Freedom to Discover Composition

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

Operating Upside Down and Backwards

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

Be ing a mem be r o f t he So ci ety o f Came r a O p era to rs gi ves y ou acc e ss to th e Cam era Ope rat i n g Se ries in p a rtn er s hi p wi th AFI; pri or i ty and disco unts on tra inin g; inv i tat i on s to e v ents a nd sc re e nin gs ; o v er seventy hou rs of v ide os; me mb er s only men t o rs h i p progr am . JO I N 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 FALL 2022