Issuu

EXT· wOODS - NtGIIT 147

wtoE suoT TilE MONK is wall<ing through t.hC Th ~one ource o£ light. is the mong• fit ul shadows X:t c s 15 from h

rknes•·

VAMPIRE ll You're in

wrong Lime lit.tl

man .

that, MONK If you 1.ns1.st.. THe MONK throws t.ne torch at. t.h ~rd vampire , and we folloW the spinning torch as i t hits the v mpire and he bursts into flame. THE MONK drops his robe to reveal a harness covered in weapons. 'J:hrowing kniv s , crossbows , flasks of holY water, and stakes.

He sl1.des

pair of

s>.lver J<nucl<les over h>.s r>.ght hand . MONK It lool<S l>.l<e the only th>.ng you·ll oe feed>.ng on tonight >.S my fist.

CAMERA OPER-ATOR VOLUME 17, NUMBER 1

Features:

SPECIAL AWARDS ISSUE 2008

SOC Awards Evening When and where. See you there.

Cover:

Cover photo by Fran~;oi Duhamel SMPSP from There

Will Be Blood. ÂŠ 2007 Paramount Vantage.

SOC Lifetime Achievement Awards Celebration Meet the people who are being honored th is year for Lifetime Achievement as a Camera Operator, Camera Techn ician, Mobile Platform Camera Operator, and Still Photographer, for the President's and Governors' Awards, for Outstanding Achievement in Technology, for Distinguished Service, and for the new Camera Operator of the Year Award.

Building a RED Camera

~~~a~hers

It's not enough to just buy the camera.

Departments:

4 Presidenrs Letter by Dan Kneece

soc

6 News & Notes Holiday Screening; World's Lighte t Camera; Panafest; Kodak's new film.

77 Transitions 79 Last Take; Ad Index 80 Roster of the SOC as of 1n3/08

Background photo by Fran~;ois Duhamel SMPSP: Camera technician Scott Rathner, actor Michael Peria and Steadicam operator Peter Rosenfeld SOC between takes on World Trade Center. Courtesy of Paramount Pictures.

ASC AWARD NOMINEE

BEST Cl "****路

A CROWNING ACHIEVEMENT. THERE IS NOTHING YESTERDAY ABOUT 'ATONEMENT.' IT SPEAKS IN FRESH, STARTLING WAYS TO A NEW GENERATION. Director Joe Wright, in tandem with cinematographer Seamus McGarvey, achieves a vision that will be talked about for years. Sums up a thousand of lan McEwan's words with one continuous five-minute-and-thirty second shot that catches the reality of war and its surreal components. It' s some kind of miracle." - Peter Travers, ROLLI NG STON E

WINNER

2 GOLDEN GLOBE AWARDS - - - INCI.UOING - - -

BEST! PICTURE 14 BAFTA AWARD

NOMINATIONS

- - - - INCLUDING

BEST PICTURE BEST CINEMATOGRAPHY Seamus McGarvey

:MATOGRAPHY SEAMUS McGARVEY, BSC

Austin Film Critics Las Vegas Film Critics National Society of Film Critics New York Film Critics Circle New York Film Critics Online

'ROBERT ELSWIT'S CINEMATOGRAPHY IS

MAGNIFICENT.

SPURTING OIL DERRICKS

EXPLODE INTO FLAMES

IN THIS MOVIE

AND THEY LOOK REAL.

THIS IS SOME

ACHIEVEMENT." R~r

Fri.dman, FO

'E\\' COM

www.vantageguil

.com

Letter from the President

harity, Recognition, in earch of knowledge. Join u as we celebrate thi Education-the e three leg make up the year' very worthy recipients at ourS Lifetime Achievetripod that upports our organization. ment Award pre entation on February 16, 2008. The hildren Hospital Lo Angele Vi ion It will be a magical evening with the twi t of a new award Center i the charity we have worked with ince ~ category, Camera perator of z the Year. The recipient of thi our beginning and g ;;; award wiU be revealed to all through them we help on the night of the pre entavi ually impaired children. Dan Kneece OC at the tion. The ociety of Camera 200 OC Lifetime Achievement Awards. Thi pecial award i ue of peracor Lifetime Achievement Award Camera Operator Magazine i dedicated to thi year' award recipients provide recognition for tho e in our indu try who often go unnoticed. and the member and upporter of our wonderful organization. ur many workshop educate 0 Thank you one and all for making member through acce co cop indu try the e awards our be t ever. talent and the late t technology. tudent member hip in the C provide educational acce s to to tho e

Society of Camera Operators O ffice rs

BOG Committee Chairs

Pre ident ............ Dan Kneece

President Emeritus Corporate Liaison .David J Frederi ck Ev nts ........................... David Mahlmann M mb r hip ........ . ...•........Mi ha I hambli s Magazi ne Editor ...•........ . .. .............Open Publici ty .......... . .....•.... Bud Fri , imon ]ayes harit ........•..................Georgia Pa kard Publi ation .......... . ................jack Messin M r handi & Promotion ....• . •.•.... Greg P Collier r enings ...................... . ... .David Tolsky Te hnology Standards ........ Ron Vidor, Aldo Antonelli

1st Vice President . . . . . . Jack Me itt 2nd Vi ce Pr ident. ..... Ernie Reed 3rd Vi e Pre id nt. ...... Dan Gold reta ry ........ jonathan Abrams Treasur r ............. ChrisTufty ergeant-at-Arm .... Greg P Colli r

Board of Governors Douglas Knapp Gary Baum Erwin Landau Bonnie Bl ake Allan Lum Li Dan oplan Tom M Donne! J ffre R Clark David Diana ]ens Piotrow ki Jan Dodd Philip Schwartz AI Gonzal z George B tephen on Aiken Weiss David Allan Grove Ben Wolf

0 ;

mgd"ed tc•d m"k.

Visit the SOC web site www.soc.org

Staff and Consultants Offi e Administrator . . . ............. .. . Diana P nilla Webma ter ......... ......... . . .. . ... Mark R Leins Publication Layout. ....... ............ Lynn Lanning Publishers .................... lngleDodd Publishing Memb rship Certifi ate Calligraph r . . . . . . . . arrie lmai Legal R pr ntation ... David Adel tein, Geffner & Bush

ision} the essential ingredient that we as camera operators use in our work, intrinsically bonds us to children with vision problems. Our organization contributes itsfoiL support to the Vision Center at Childrens Hospital Los Angeles.

Camera Operato r Special Award I u 2008 Editor Pro Tem .. .. . .... .Jack M Associate Editor ........ Dan Kn e Senior Editor . .. ......... ian Dodd 0 Managing Editor/Art Director/ l ayout & De ign ...... .. Lynn Lanning Post-Production . . .. .Douglas Knapp SO Cover Photo ... . Fran ~o i Duham I SMP P Produ ction ........ lngleDodd Publ i hing Contributor olin Ander on l ynn Lanning David Luckenba h 0 Gary Baum S Garrett Brown SOC David Mahlmann OC Tilman Buttner George Spiro Dibi e A Mit h Dubin SO

David Frederick jacques jouffret SOC Dan Kn Photography Aldo Anton IIi Al exander Belenkiy Phil Bray Paolo as io Andrew ooper SMPSP Fran~oi s Duhamel MP P Bob F II r Ri chard Foreman David Fred rick Melinda Sue Gordon MP P Wynn Hamm r David james imon ]ayes OC Morris P Kagan Douglas Kirkland MP P Davi d Mahlmann 0 Mark Miller SO John immon ASC Adverti ing Director - Dan Dodd For di play adverti ing information, contact: Dan Dodd (3 10) 207-4410 x236 fax: (3 10) 207 -1055 Dan@l ngleDodd.com For article ubmi ions, pl ease contact: 0 Attn Magazi ne PO Box 2006 Tolu a Lake, CA 91610 Phone (8 18)382-7070 ca mopmag® o .org Copyright © 2008 by the ociety of Camera Operators Cam ra Operator i publi hed emi-annually by th ociety of amera Operator . M agazine ub cription Rate USA $20/year Out id USA $28/y ar (U . . Fund Onl y)

News & Notes

What's going on with members and in the industry

SOC celebrates the holidays anta laus brought pre em and ded balloon animals for children at the 0 holiday creening of Fred Claus held at the Modon Picture and Televi ion Home in Woodland Hill A on December 16, 200 On behalf of the 0 , Jonathan brams and David Mahlmann of OC delivered roy to Dr Ellen Matsumoto of the Vision enter at hildren Ho piral.

New & Notes in this is ue: celebrate the holiday ... . . ... ... . .6 You want a lightweight camera? Try thi ! .. 6 ARR1 pon or Breakfast ........... . ....8 Panavi ion hold Panafe t .. . .. ...... .. .. 8

You want a lightweight camera? Try this! Get your SOC information via email from now on. Do we have your current email addre s?

What have you been doing that' noteworthy and new worthy? end information and photo to socediror@ oc.org 0 BOG member Dave Tol ky, creening committee chair, lines up a hot on hi Balloon am, which was manufactured to hi pecification at the 0 holiday I]} screening get-together at the MPTV Fund facili ty in Woodland Hill .

CAMERA OPERATOR: NEWS & NOTES

Special Awards Issue 2008

FOR YOUR CONSIDERATION

BEST CINEMATOGRAPHY ERIC GAUTIER, A.F.C. "Seldom has the call of the wild been answered by such soul-filling images thanks to cinematographer, Eric Gautier" Joe Morgenstern, WALL STREET JOURNAL

GO WITH YOUR HEART

SCREENPLAY AND DIRECTED BY

SEAN PENN

www. ..........vantageguilds.com ,_ .........__,_,__ ............

ARRI Sponsors Breakfast A r che SO General Member hip Breakfast on January 13â€˘h, .1"\.ARRJ' Bill Rus ell and rephan Uka -Bradle gave u a fir r look at che new ARRI WR -2 focu y rem, a modular wirele len and camera control compatible wich all new generation ARRlFLEX and ARRI AM camera . The WR -2' range of function automatically adapt to che camera it i used wich. The touch creen u er interface make remote-controlling faster and ea ier than ever. amera Control mode permit adju rments to peed and hurter angle. External Oi play mode emulates che display on che ide of pre-ARRI AM new-generation cameras. In Ramp Mode, it can automatically com pen are for in- hot change of peed, hurter or iri when u ing Master Prime or LD Ultra Prime (al o programmable for up to 100 non-LD encoded len es). The WR -2 is a powerful rool for aving time and providing w1precedented level of expo ure afety and preci ion. More detail are on www. oc.org. Anocher ARRI innovation wich operator in mind, che new heated Eyecup HE-5 include a sen or char open and do e che eyepiece automatically when omeone look chrough it. The 0 would like to chank ARRI for sharing che US debut of chi exciting new ystem. Once again, che OC " ee it fir r! " /J}

ARRI' tephan Ukas-Bradley hows new Active 0 member Mark August and Khallid habazz the great new feature of the WR 2 focus system (demon crated on a 4 16 camera with a 16mm rectilinear len ). Photo: Mark Miller 0

for the Gene i y tem, a new generation of anamorphic len e , a new compact zoom len , and three new video as i ts. Panavi ion also announced che formation ofPanaluxN, their new global lighting bu inc . The creening room had a nwnber of demo , including a Mazda commercial hot boch on fiLn and on Genesis. Mo t of the audience was unable to tell the difference. They were also able to view te t footage from Panavision' very wide 2-perf y tem. Hand -on equipment wa available as well. ~~~ DP Left: )arne hre san this A C and David Mahlmann SOC at Panafest. Below: David Frederick 0 check out Panavi ion' newe t front element 0-200 anamorphic zoom len .

Panavision holds Panafest

anavi ion' Panafe t took place on October 13ch, 2007, the fir t time Panavision has held uch an event. Normally, chey announce new product at how Biz Expo, che AB show or imilar venue . However, Panavi ion had o many new products read chat chey did not want to wait for one of che trade how , o chey held cheir own. Products pre ented included a lightweight olid tate recorder

CAMERA OPERATOR: LIFETIME ACHIEVEMENT AWARDS

One of the hots from the demo, showing detail.

Kodak Unveils Vision3 Negative Film By Gary Baum, SOC

n late ovember, Eastman Kodak invited indu try profeional to view a demonstration of their new Vi ion3 SOOT color negative Film 5219 I 7219. Held at the Arclight Theatre in Hollywood, the event had over 100 people in attendance, including many SOC members. In her opening remark , Mary Jane HeUyar, pre idem of Emertaimnent Imaging and executive vice pre idem of Kodak, explained that the new stock was in direct re pon e to their customer ' reque t for a new product to be integrated in

CAMERA OPERATOR: NEWS & NOTES

modern workflows. "We have re ponded with the new KODAK VISIO 3 platform, adding more workflow efficiencies to all the exi ring advantage of ftlm-in1age quality, re olur:ion, dynamic range, flexibility and archivabiliry;' he told the audience. The new Vi ion3 adopt a proprietary "Dye Layering Technology" (DLT) which proce e light more efficiently. DLT allows Kodak to decrea e the ize of the ilver halide grains while maintaining the arne film peed and recording greater highlight detail for u e in digital po t. In me lowe t layer , Vi ion 3 film u e " ub micron en or ;路 a de ign of super-small T-grains which fill in the gap between the normal grains. This allow for increased detail in the brighte t areas of me image, thereby increasing the u cable range into over expo ure. We viewed a 3Smm projected demon tration film shot by ASC President Daryn Okada. The identical scene were photographed both on 5218 and the new 5219 with ide by ide com pari on in addition to being viewed on their own. Initially, born rocks looked very imilar. When exposed at normal level and when underexpo ed by two top , me 5218 held up well in detail and grain. But under the arne condition , me 5219 w exceptional in maintaining tight grain and hadow derail. Color rendition eemed moocher in me fle h tone as well. Upon overexpo ure by two top , the 5219 maintained a higher degree of detail in me highlighrs. The extended latitude of the new Vi ion3 enable the 5219 to have a high ignal-to-noi e ratio. Kodak al o projected a demon trarion of7219 (16mm) printed up to 3Smm. hot by noted outh African cinematographer Tim Pike, the resulrs were equally as running, revealing an extremely tight grain structure and rich black in me night exterior cenes. After cl1e visual demonstration, there wa an audience que tion and an ver with members of Kodak and Daryn Okada ASC. Mr Okada was very gracious in answering many question , rating that he found at least two more top of range in the highlight , which enabled him to record more detail , getting a rich range of color and kin tone wimout aturation contamination. He also stated reduction in grain was b) "magical" wicl1out affecting color . P

Special Awards Issue 2008

PANTHER.us

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SOC 2008 Lifetime Achievement Awards Saturday, February 16, 2008 ACADEMY OF TELEVISION ARTS AND S LEONARD GOLDENSON THEATER

5220 Lankershim Blvd. (near North Hollywood, CA 916

SCHEDULE:

5:00-6:45

GET TICKETS AT:

http://www.brownpapertickets.com/event/19890 For Reservations, ticket information, and sponsorship o ortunities, call 818 382-7070 or visit www.soc.org

The 2008 SOC Awards Primer

he 2008 SOC Lifetime achievement awards on the evening of February 16th, 2008 promi e to deliver the ame rewarding feeling of purpo e that we experienced Ia t year. The 2007 Awards resonated with uch incerity and valid emotional impact. Thi year's award recipient and preenter line up how all the ign of doing the san1e and more.

Selecting the nominees The ociery has a it purpo e recognizing and awarding individual achievement in the allied craft of motion picture photography. The Camera perator, Camera Technician, rill Photographer and Mobile amera Platform Operator Lifetime Achievement nomination li ts were full of overwhelmingly accompli hed veteran of the cinematic arts. That there actually has to be only one elected per category i a near impo ible and daunting task. The care and con ideration in erring up the nomination procedure and gathering background information o the SOC active member hip can vote on the nominee befits the accompli hed profe sional tature of the honored nominee. Thi award proce tarts with a call for nominee from the entire member hip of the OC. It i not a tipulation of eligibility that the nominee be a member of the ociety; eligible nominee are encouraged to become member . To be eligible for a Lifetime Achievement Award, our by-laws tipulare that the candidate mu t have 20 or more year experience in that job clas ification. The candidate's re tune credits are checked to certain eligibility. If there i any que tion, the nominee i a ked to upport their qualification . The Board of G overnors Award recipient i elected by the ociery' officer and Board member , who collectively have a great deal of industry experience; they con ider and elect candidate from the Motion Picture indu erie who have performed in an exemplary manner. imilarly, the 0 Pre ident' Award i given to an individual for their outstanding lifetime achievements and particular upporr to the Pre idem of the ociety. The Distingui hed Service Award is given in honor of recognition of an individual' enormous contribution of time, energy and effort for the art and craft of the Motion Picture amera Operator. Thi award i decided upon by the 0 Pre idem, the officer , and the Board of Governor . The 0 Technical Achievement Awards celebrate the amazing tool box that' e get to work with every day a we do our job. ominarion again come from the full member hip of the OC and then voted on by the active member .

Balloting nee the nomination are con idered to be accurate and fully compiled, ballots are em electronically to the active member hip, compri ed of experienced camera operator who have a minimum of 5 year indu try experience as a profe ional can1era operator. They have a voting period of three week to

CAMERA OPERATOR: LIFETIMEACHI EVEMENT AWARDS

return their completed ballots to the award committee for tabulation. ur planned development and expan ion of the OC.ORG web ire in the very near future will rreamline and ecure the future voting and nominating proce even further.

New Award: Camera Operator of the Year The newe r parr of the event i the amera Operator of the Year award. This new category was developed our of the need to demon crate the uniquene of the amera Operator po irion in the creative pool of the feature film production rean1. Along with the DP, above the line po ition like Director, Writer and Producer have long been ingled our for their arti tic contribution to the ucce of a film. The 0 feel that the recognition of the Camera Operator as a key element in the production of a uccessful film ha been long overdue. It i with thi de ire that the Camera Operator of the Year award came to be.

Selecting Camera Operator of the Year The nomination and election of individual considered for thi honor i only lightly different from the Lifetime Achievement Award criteria. There i a Blue Ribbon Panel that urvey the year' offerings of films and narrow it focu on only tho e that have a camera operator do the work of a camera operator. Ineligible are tho e film where tl1e Director of Photography was the principal Can1era Operator. Thi unfortunate paradigm hifr in the traditional camera rean1 will receive no upport from the OC. We fully upporr the ignificant cultural and hi torically ucce ful traditional u e of Camera Operator in ftlm and relevi ion production . Once the OC Governor Blue Ribbon Panel ha elected the five nominee , the active member hip i called upon once again to vote, thi rime for the honoree to be known as The C amera Operator of the Year. Thi fir t year, the award will be limited to a feature film camera operator. A we develop the ability to branch out to additional categoric , we will be adding amera Operator of the Year in Televi ion as well.

Special Awards Issue Plea e enjoy reading about the honoree and nominee in thi new pecial Award Is ue of Camera Operator magazine. Special note of thanks to the SO Publication Managing Editor Lynn Lanning who, once again, has managed a miracle of artistic proportion bringing both the new award i ue of Camera Operator magazine and the 2008 Awards program tribute book. Appreciation to OC 1sr vice pre idem and Publication ommittee hair Jack Me itt for hi editorial contribution on both book as well. Thank to the OC' mighty few once again, who o uperbly pull it together in a pinch. Thanks to the credited photographer for allowing u to di play their uperb till of the honored recipients at work. We are all proud. David Fred rick, OC Producer, 2008 Lifetime Achievement Awards pccial Awards I sue 2008

This Year's Recipien ~

a ~ .J

i5 v

~ :::; (

Technical Achie

p •c 66

The anno

of Camera Operator

Year

The nominees are:

CAMERA OPERATOR: LIFETIME ACHIEVEMENT AWARDS

Special Award; Issue 2008

Dubin filming Tall Tales.

was born the second olde t of four chudren in Dalla , Texas. fy father was a doctor and my mother wa an arti t/ hou ewife. I wa rai ed to carry on in the tradition of medicine untu one ummer job in the hospital laboratory I wa in eructed to draw blood from a three hundred pound obe e woman. With nervou wear pouring down my face I wa actually ucce ful at fmding a vein on my ftr t try! I realized at that moment that the medical profe ion was not for me. To the di may of my parents I looked for new horizon . In high school, I di covered the uper 8mm movie camera and made my fir t movie of reflection in moving water with a lue Davi oundtrack. Al o in high chool, I had an internhip at the Dalla public television station doing the countdown on ewsroom, their new program anchored by local reporter Jim Lehr. When I aw Fellini' 8':11 and Truffaut's Day for ight I was hooked. I knew in orne way I wanted to be a part of it. After a short stint at Bo ton University, I found my elf at the Univer ity of Texas at Au tin. UT Austin had a large department with great facilitie but a faculty that wa le than inspiring. Luckily I found noted till photographer Garry Winogrand who taught in the Art Deparm1ent. Garry taught me important le on in art and life. He taught me the in1portance of eeing. He taught me the importance of elfle ne . He howed me the beauty of de criptive story telling. He taught me that moments live without preconception. Garry

pecial Awards Issue 2008

taught me how to view and appreciate all the fine arts. I graduated with a degree in fum from Univer ity ofTexa but pent all my time in the Art Department. I graduated with a fllm degree and moved to an Franci co, but wa completely lost in how to start a career, completely unprepared to work in the indu try. It wa the first of many cary moments in my career. I decided that film was not in the card for me and that maybe I should be a till photographer. The highlight of my photographic career was docun1enting bathroom interior for the neighborhood plun1bing supply tore. I al o learned to juggle. One day I heard from a friend of a friend of a friend that Franci Coppola's Zoetrope Srudios was looking for people. I wa there for the formative year of my career, as a po tproduction PA I learned how to make cappuccino and went to a lot of great partie . During the filming of Apocalypse ow, Francis purcha ed two Technovi ion cameras, a B CR and a modified Arri BL. When the equipment returned from the Philippine , one of my job was to inventory the gear. teve Burum (who hot second unit on Apocalypse ow) was the first person to show me what some of the piece were and how to load a magazine. When it was rime to do additional photography on Apocalypse Now and The Black tallion, I wa the only per on who knew where all the piece were, o I would go on the e shoots as the camera PA. Whue I was working at Zoetrope Studio , Wim Wender CAMERA OPERATOR: liFETIME ACHIEVEMENT AWARDS

pielberg look on as Dubin line up a hor on Indiana jones and the Kingdom oftbe Crystal kulL

wa there directing the film Hammett. Pre-production wa raking o long that Wim got impatient and decided in the meantime to make a mall film. Wim asked Franci if he could u e hi camera. The answer was ye as long as I went with it.lt was a film about the dying of ick Ray, called Lightning Over Hfzter. It was the fir t film that 1 worked on in it entirety. I tarred out as a 2nd assi tam. The film had o many tart and top becau e of ick' illness that I ended the film as focus puller. It wa there I met Ed Lachman. After Apocalypse ow Franci bought Hollywood General rudio in Lo Angele . I was a ked to move down to LA to help er up the rudio . I remember walking into the e large du ry damp rage , feeling the pre ence of ail the movie rhar were hor there. I was head of an unofficial camera deparrmenr during the filming of Onefi路om the H eart. Working with ittorio toraro and hi crew was a great learning experience for me. I was especially awed by Enrico Umerelli, toraro's camera operator. In 1980 Kim and I moved to ew York ity and I starred work a a camera a i tant with Ed Lachman and working a a freelance cameraper on. It was an exciting time for fi lmmaking in e\ York. We did

CAMERA OPERATOR: LIFETIME ACHIEVEME T AWARDS

Desperately eeking usan. Iadonna had ju t had her fir t hit and was relatively unknown. We hot her creen te t in Washington Square Park downtown and I remember her being all over the place. As a focus puller I kept aying to Ed, "God, I hope they don't cast thi person." We al o did David Bryne ' only feature True tories as well a a mov1e m olombia South America about the tango inger arlo Garde! and a movie in Beirut Lebanon called Les Petites Guerres. We were in Beirut in 1982, in the middle of the civil

J>C<IJI Awards ISSU<' 2008

war that tarred in 19 5. We filmed in We t Beirut; our extra towards me pans left." It was another moment of terror. and bodyguards were one of the local militia . I'll never forget I fini hed Matewan and thought, I had done two big feature how we never u ed any effects, only live ammunition. One fUm , my career as a camera operatOr is made. I didn't work again for almost a year. night of hooting, we did a cene where a member of the local I pounded the pavement, made phone call , went ro creenmilitia wanted to pell the name of hi girlfriend by hooting out a sign. About 2 AM the prop department hoi ted a neon ing . Very lowly I began to get work. Mo r of the job eemed to be in Lo Angeles. In 1988 Michael Lehmarm a ked me ro ign up the ide of a local apartment building. The Lebanese AD houted on hi megaphone for everyone in the building tO operate hi first feature fum Heathers. Michael and I had ray down. n "Action" the oldier fired live ammunition rid- worked together in the early days at Zoetrope Studio and had become friend . I eagerly jun1ped at the chance. It was after dling the ide of the building with machine gun fire. The last Heathers that I realized living in ew York and working in Lo letter of the ign was off the edge of the building so all tho e bullet just flew down the rreet. Ed and I were howered with Angele was a long commute. In 1990 Kim and I moved to pent hell. Lo Angele. My career rook off in Lo Angele . LA i a much e ier place I did a lot of documentaries with Ed Lachman, about go pel mu ic, fashion model , and ballet dancer . We al o pent a year tO work than ew York and one job eemed tO lead ro anothoff and on with Mother Teresa. Be ide traveling ro entral America, Europe and L1dia we al o traveled back ro Beirut. Thi time it wa 1983 and the Israeli had invaded Lebanon, urrounding West Beirut. The airport was do ed so we had ro take a freighter from Cypru , leeping on the deck with Mother Tere a and her nun . Mother Teresa wa going tO Beirut tO re cue children from an orphanage in We t Beirut. The Israeli wouldn't let u into We t Beirut with Mother Teresa because we were con idered pre . We called our friend from the previou year in We t Beirut, rowed equipment on our back and muggled our elve aero the green Line and through bombed out building , niper po ition , and Israeli and Arab checkpoints. We were met on the We t Beirut ide by the PLO who howed u the catastrophic de truction of We t Beirut before bringing u tO the orphanage Dubin between takes on World Trade Center. ro film the evacuation of the children. er. I was-all of a sudden-busy. When we returned, the Israeli hurriedly put us on a heliThere was a point in my career that I could have made the copter and evacuated u to Cypru . 1 remember itting in the airport in yprus with Mother Tere a. After spending a year, choice robe a DP. I hot one movie (Meet the Applegates) and realized that I was a better operatOr than I was a cinematograoff and on, with her it was the fir r time we had had any casual pher. I didn't m1der tand Light a well a well a I understand conver arion . he looked at Ed Lachman and me and asked if the frame and the power of the camera tO illmninate cl1e tory. ' e were acholic. We aid no. She a ked if we were of the L1 1993 1 met Janusz Kamin ki on the movie Tall Tales. Protestant per ua ion. We aid no. Then he looked at u and Fourteen movie Later, ten of tho e \vim teven pie! berg, I nodded her head in under tanding and aid ro u two Jew , till look forward tO working with the dynan1ic creative power "Well, you hould kno' Je us better than most." he gave Ed of]anu z and reven. and me pi tic glow in the dark Mary . Ed and I left Cypru Through all the year I have pent behind the can1era, the and flew directly ro Las Vega ro do a docmnentary on a tripfUm I have done with teven pielberg have been me mo t per ' convention. challenging and the most rewarding. He is a master sroryreller In 19 6 Ed wa doing Making Mr Right, u an eidelman' and a remarkable arti t with the camera. econd feature after Desperately Seeking usan> and offered me an1era operating i not a technical kill, but a completely the job of camera operatOr. I will never forget putting my eye in tinctual proce . No one taught me how to be a camera ro the eyepiece for the fir t time. I immediately felt comfortable. I could ee and under rand the frame and how tO u e the operator, but the fir t time I put my eye tO the camera I knew I four line ro illu trate the tory. 1 knew immediately cl1at I had had the ability. However, it was the les on of thirry year in the in tinct and intuition tO be a camera operator. the bu ine from all the talented people I have worked with (and drawing blood from obe e women) that opened up in me My next job was as a rand by operatOr tO Ha kell Wexler on the John a le film Jvfatewan. It wa the fir t fum where I the ability tO ee and tO under rand cl1e art of visual srory needed ro u e a geared head. The fir t hot I had tO jump on, I telling. remember aying to my elf, "left hand away pan right,

fjl!

peual Awards Issue 2008

CAMERA OPERATOR: LIFETIME ACHIEVEMENT AWARDS

Lifetime Achievement Awards from Previous Years

2004

Norm Langley, 0 amera Operator

Ra De La Motte, OC Camera Operator ._.......__._ _

2000

Lou Barlia, SOC Film Camera Operator

usan A Campbell, SOC Video Camera Operator

1996

Joseph S August, 0 Film Camera Operator

amera Operator

--l

.- .

'' •

I -

. :· \ .. .

~ '

Howard Block, SOC Film Camera Operator

Wayne Orr, SOC Video Camera Operator

Ralph Gerling, SOC Film Camera Operator

Jo eph Epper on, SOC Video Camera Operator

Vaughn Wilkin Film amera Operator

John Lee ideo Camera Operator

Bill Johnson, SOC Film Camera Operator

George Meyer Video amera Operator

CAMERA OPERATOR: LIFETIME ACHIEVEMENT AWARDS

chieve e

wards fro

-r

vious Years

' . \. \-•' f'

··~~~ Michael St HjJaire, OC amera Operator

1993 1986 David Kurland, OC FiJm amcra Operator

Film Camera Operator

Parker Roc, SOC Video Camera Operator

1983

Owen Marsh, SOC Film Camera Operator

Video Camera Operator

AI Bettcher, SOC

Film Camera Operator

Video

amcra Operator

TiJ Gabaru Film Camera Operator

Edward Rc nick Robert "Curly" Fonarow Video Camera Operator

A1Mcyer, OC FiJm Camera Operator

am Greenwald Video Camera Operator

Jimmy King, SOC Film amcra Operator

CAMERA OPERATOR: LIFETIME ACHIEVEMENT AWARDS

CAMERA OPERATOR OF THE YEAR Nominee

Colin Anderson for There Will Be Blood go ro my father who srarred our a JUI'~"""'L' C career a news phorographer

Jia!ldl.liti..,in me a love for phorography. With would go our on weekend and phorograph landpi4riJii!Qes and other montage of At night, we would et • ·•4IIIIIIIJII..~·tllll"'(cher ro develop and Jli!W·~~··lllll!~lll)~r occurred rome ro .....4j~t:r until my father ~~~~-~~lpJiei\>1

Photo of Camera Operator olin Ander on on the set of There Will Be Blood were taken by Fran~toi Duhamel MP P.

Robert EIS'Ivir. I wa lucky enough to work with him on ')'riana and then on Good ight and Good Luck. Robert embodie all the be t qualitie a D P hould have-the perfect blend of upporr, encouragement, guidance and friendship. It wasn't without a little trepidation that I tarred work on There Will Be Blood with Paul Thomas Ander on. Hearing that he was rough ro work for, I was more than a little nervous, despite being surrounded by a can1era crew. The movie out ro be one of the challenging I have ever teadicam hot though, I wouldn't azing directOr who omethingro

HOLLYWOOD i TORONTO LONDON ROME BARCELONA MADRID NEW YORK

CAMERA OPERATOR OF THE YEAR Nominee

Jacques Jouffret SOC for Into the Wl

director. a dear American fan1ily ew York Univer iry left Pari . At NYU Cinematographer working with mething for rked with Ted tO Ted, el

exactly the kind of project that really intere red me. o, I was really happy when they evenmall called me to go to Al ka (the fir t of five trip ). ean Penn really wanted to hoot in the actual locations that the character Chri went to on hi travel in the West. lr was a very demanding hoot due to very remote location , bur it was rl1e only way to capture that tory. We ' em from extreme cold in Ala ka to extreme hear in the evada and alifornia de errs. There was none of rl1e u ual accommodation there normall are for a film hoot, rarely \ ere there any horel or morel to put up the crew. The great thing about thi hoot was rhe impliciry of it. ean Penn' approach" as to trip everything to the bare minimum and to follow thi charwherever he went. o for example, when we hot in The anyon, we all lepr ou ide under rl1e open kie . It was to ju r wake up, pick up the camera and continue folcharacrer on hi travels. We never rehear ed and we until we ran our of film. During the whole proces I felt very fortunate to be parr of this project. What we were able to capture our there in the wilderness, ga e me reason ro hope for a great film in the end. l11to the Wild Director: ean Penn irector of Photography: Gautier : Emile Hir ch

MERA OPERATOR: CAMERA OPERATOR OF THE YEAR NOMINEES

MERA OPERATOR OF THE YEAR Nominee

David Luckenbach for 3:10 to Yuma

only a a teadicam operator bur as a conventional camera rator as well working on uch notable projects a Twister, Holland's Opus, The X-FiLes TV erie , Friday ight Lights, the Line and the Pirates ofthe Caribbean trilogy. _____,., ~â€˘-â€˘w to Yuma was David' fourth picture with director Jame --M~ three of them with cinematographer Phedon Papamichad. "After three pictures together m relation hip with Jim and Phedon on thi film became a lot more collaborative, which made the whole process that much more enjoyable." Thi was a very challenging hoot for everyone involved becau e it was a we tern hot in ama Fe NM in the

CAMERA OPERATOR OF THE YEAR Nominee

Jim McConkey for The Kite Runner ,. ...~n路路路~Y路 I didn't plan a career in '.:'J#:IIIIomaking; I was on m way to and re earcher. wood dating in

e ty of rhe rory-telling. The camera needed to be unobrruive to allow the actor ro portra their experience. Before hooting on The Kite Runner began in China, I thought rhat rhe greate t challenge would be fiLning in a foreign country in a language unknown to the crew. How would to the actor when I couldn't under rand what they aying? I learned that human emotion i univer al and i icated in the actor ' eye and movements. I was able ing deci ion based on the performance, and 't get in the way.

Roberto chaefer year in California, Amir return i tan to help hi old friend Hassan, ~:;

CAMERA OPERATOR OF THE YEAR Nominee

Scott Sakamoto for Michael Clayton aleb De chanel, John Toll, Tak Fujimoto, and Robert Elswit. H aving worked with Robert Elswit in the past, Scott got the call to do Michael Clayton with fir t time director Tony Gilroy. A mart cript, great cast and crew made the offer an easy one to accept. hooting Michael Clayton in ew York was a great break from Los Angele - hooting Time quare at night; hooting up 2nd treet with a sea of people on a 600mm len ; the challenge of matching multiple day of hooting at magic hour. Scott was drawn to the movie because it wasn't dependent on over the top action cquenc or pecial effects. It' a thriller with great character development and the element of urpri c.

Your vision. Our tools. Award winning results.

T E C H N I C 0 L 0 R. by THOMSON

Governors Award

Joe Dunton, MBE oe Dunton, MBÂŁ, B C began his career in the motion picture indu try more than 0 year ago as a Video Engineer with Pye London Ltd. While our repairing a ecurity camera at anmel on Film ervice in ricklewood, \! e t London, he wa offered a po ition by the then Chief ound Engineer to work in their ound department on Le Mans, an upcoming teve McQueen film. While Le {am was po tponed, a good friend of ydney amuel on wa commi ioned to photograph the upcoming motion picture mu ical Oliver! Thi friend was ie Morri , B . During pre-production 0 ie wondered ifir were po ible to fir a video can1era on a Mitchell camera looking through the reÂŁlex. Philip had just produced a one inch video recorder for industrial u e and Dunton' conver ion wa the foundation of ideo A isr as we know it today. Warching400 dancer and even choreographer for ix month while working video assi ron Oliver! reall made an impact on Joe. Thi experience fed hi fa cination of Anamorphic and Video it and in 19 6, after ten year with amuelson , he tarred hi own company, Joe Dunton Camera (JDC). ince then, Joe been relentle in encouraging cinematographer to appreciate tl1e power of anamorphic. JD ha operation in United Kingdom and North Carolina. Among hi invention to aid camera operating, Joe made the fir t heated eyepiece, the Ladderpod, the fir t ideo A isr for the Looma, the Moy Bazooka and the Mitchell Vire e geared head,\ hich was the fir t geared head to tilt up and down 90 degree each wa .

During hi year in the industry, Joe has received man award . The highlight was receiving the MBE (Member of the Order of the Briti h Empire) in the 1998 Queen's New Year' Honour List for hi ervice to the can1era and film indu try. Recipient of both the B T David Lenham Award and the B C ARlU 'John Alcott' Memorial Award, Joe wa pr ented in 1992 with the BS Bert Easey Technical Award for the development of the JD & Anan10rphic len y rem and in 2007 with a ine Gear Lifetime Ad1ievement Award. A long erving Governor of the Briti h ociery of Cinematographer and current Vice President, he was olely r pon ible for initiating the B Equipment hm , which began in 1993 on a mall stage at hepperton. Ir has now expanded and become an annual event currently held on the George Lucas Srage ar El tree. Hi pas ion for the British Film Indu rry encouraged him in 1997, a ired by the Briti h Film ouncil and the DTI, ro convey a wealth of Briti h talent and ervice companie to attend howbiz Expo in Lo Angele , within an eye catching 'Joe Dunton de igned' pavilion. Another pas ion was to en ure that today' generation of filmmaker benefit from the vast experience of their predecesors. To this end he has per i tently liai ed \vith trade as ociation , training organi arion and government departments and ha headed the Cine Guild of Great Britain for many year . 8 ~ Thi has culminated in the acqui ition of funding to launch ~ The ineMaster Academ , which will upply experienced o film p r onnel to UK training organization , thereb en uring ~ that high tandard are maintained and that the hi tory and development of cl1i great indu try i never lo t. Hi pa ion for anamorphic i legendary. An1ong other highprofile production , Dunton worked do ely with Matthew Leonetti on Poltergeist and Alan Hume B on tar H1zrs: Return ojthejedi and with car winning cinematographer

CAMERA OPERATOR: li FETIME AC HI EVEMENT AWARDS

hri Menge B Con The Mission. The e as ociation helped howcase hi ardor for the wide creen format. Dunton' long alliance with tanley Kubrick carted with Clockwork Orange in 19 1. ince canley's death in 1999, Joe has been in crwnental in illustrating canley' appreciation of the importance of the fine len e which enhanced hi motion picrure . Joe, forever keen to embrace new technology, was the founder of the B C Technical Committee. Forever inventive and ever eager to experiment co achieve the director ' and

cinematographer ' vi ion, the lace great Freddie Francis B thought thacJoe,like an Oracle, hould be "locked in a room available for consultation at all times."

British ociety ofCinematographers- Office: PO Box 258 , Gerrards Cross, SL9 WZ, UK - Club: orth Lodge, Pinewood tudios, Pinewood Rd, Iver Heath, Bucks 'LO 0 H -Ph: +44 (0)1 53 888052 Fax: +44 (0)1 53 891486 E-mail: B ine@btconnect.com. www.B cine.com

CO NORATULATIONS JOE DUNTON on your SOC Lifetime Achievement Governors Award February 16, 2008

Mu I IAN

I TERGUILD Credit Union Serong the Hollywood Commumty

pecial Awards I sue 2008

817 N. Vine Street Hollywood, CA 90038-0610 Toll Free 800/393-3833 Phone 323/462-6447 Fax 323/462-4411

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CAMERA OPERATOR: LIFET IM E ACHI EVEMENT AWA RDS

Lt~

tm Achi vement Award from Previous Years

v 2000

2007 RobcrtWi e

Kathleen Kennedy

200

James Burrow

Rog rCorman

1998

Ron Howard Sidney Poider

\ERA OPERATOR: LIFETIME ACHIEVEMENT AWARDS

1evem

rds from

ious Years

1994

1983

1 Frank tanlc:y, ASC Erne t Laszlo, ASC

1993

1981

1986 Kemp Niver

John Huston

CAMERA OPERATOR: LIFETIME ACHIEVEMENT AWARDS

obert Primes A C has been a HoUywood-ba ed Direcror of Photograph in e 19 S. Although he tudied mathematic at Reed oUege in Oregon and cl ical piano at the an Franci co on ervatory of Music, it w, hi invol ement with till photography that led ro hi be om in a filmmaker in an Franci o. uring that time, hi horr fiJm and docwnenrarie won everal award including a fir t prize at the Aclama FUm Fe rival and a Cine Golden agle. Spt.'to.tl """'' h;ut•lU08

Hi feature credits include Btllldasssss! with Mario van Peeble , Bir·d on a Wire with Mel ib on and Goldie Hawn, and The Hard H-ay with Jam Wood and Michael] Fox. Hi epi odic televi ion work include igbtstalker, 1Ds (A a\ ard), Felicity (Emmy for cinematography and A a\ ard nomination), Young Americans, Qjuznturn Leap and thirtysomething. Pilot include 1/ 4 Life, Georgetown (with Helen Mirren), Reasonable Doubts (A award nomination), Malibu.

hores, The Pastor's Wife, Golden Gate, Ali Together ow,

MERA OPERATOR: LIFETIME ACHIEVEMENT AWARDS

and Get mart. Hi television movie include My Antonia (Emmy for cinematography and Cable Ace nomination), Harrison: Cry if"the City (Emmy nomination for cinematography), Sandy Bottom Orchestra and ealed with a Kiss. Prime has done exten ive work a a director/cinematographer and director of photography on televi ion commercial and has done pecial effects photography on uch feature as Total Recall and Rumblefish. He was a director of photography on the 198 Lo Angele Olympic (;ames, directed the fir r hort fUm,

directed rhe very fir r progre ive can production, Theo Plays Chopin in 1998 and won rhe 1 r ASC award ever given to a digital production, the TV erie MDs, in 2003. He received a cinema-tography Emmy nomination for the dig:. . ~itally shot pilot for Leeper Cell in 2006. His mo r recent cred\ . it i for the feature fUm Root if" All Evil, the fir t feature fUm hot in the United rates with •• the new Sony F23. He has erved as a vice president and treasurer of the Theo Plays Chopin American ociery of Cinematographer (A ), and supervi ed the program for their meeting from 1994 through (1998) shot 2005. He erve on the national executive board of the on progres ivescan hi-def digital, International inemarographer (;uild, chaired numerous and won a Pixie guild committees and participated in contract negotiation . He ha repre ented American cinematographer in Tokyo, award nomination Bangkok and twice in Madrid, where he judged international for hi cinematogfeature fUm cinematography. raph of the fir t Bob erved on the advi ory boards of the National Film internet feature Pre ervation Board, the Art In rirute ofLo Angeles and The Q:tantum Project. Wide creen FiLn Fe rival and hold an honorary doctorate A pioneer in from Columbia ollege in Lo Angeles. He has given emidigital cinematognars or demon rrarion for the Director (;uild of An1erica, raphy, Prime the International Cinematographer (;uild, rhe Society of Camera perator , HD-Expo and the ociery of Motion Picrure and Televi ion Engineer . He de igned and teache the cinematography lab at the American Film In titute and has lectured at UCLA, alifornia In titute for the Art , the North arolina School of the Arts, the Univer iry ofTexas and · Up to6axes The International Film Work hop ·Wireless up tot mile at Rockport, Maine. •Rec/ploybock 30min/toke Primes erved on the SMPTE Solomoti Productions. Inc. 166-44 Roscoe Blvd. #34. Von Nuys. CA 91406 committee on high definition TV Tel: 818-780-2708 Fox: 818-989·5408 www.holgeo".com formatting and has been a judge for the Motion Picture Academy technical awards. He championed the rights of cinematographer and director to have their work pre ented a The Professional's Choice for Motion Picture Supplies, Tools and Equipment it wa originally created and, with Martin corsese in Washingron DC, lobbied member of Congres on Arti r ' Right i ues. He can be found at mo r 0 workshop , teaching the art and craft of cinematograph .

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CAMERA OPERATOR: LIFETIME ACHIEVEMENT AWARDS

. . 41 ~~_,,

-~~ ' ~~-

Lifetime Achievement Awards from Previ u ~

1996

1993 Bob Marta, SOC

1999

995

2001 WiUiam Hinc , SOC

1994 John Bailey, ASC

Howard Block, SOC

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SOC Award

Academy Award

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Emmy Award

Fuji Gold Medal

Cinec Award

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Distinguished Service Award

George Spiro Dibie, ASC eorge Spiro Dibie ASC earned six Emmy Awards and five additional nominations as a iruation comedy Direcror ofPhorography. He hot uch memorable comedy eries a ight Cou1路t, Growing Pains, Buffalo Bill and Mr Belvedere. A half dozen of the eries he shot ran for more than 100 episodes. That i the equivalent hour of hooting around 1SO movie . In 1985, he wa elected pre ident of Local659 and played a pivotal role in opening member hip of the Guild to new member . He initiated outreach programs for encouraging minorities and women to pur ue career behind the camera. Under hi leader hip, the Guild also made the rules for qualifying for member hip fairer ro outsiders and initiated training program and eminars which enabled member ro keep pace with new rechnologie and learn from their peers. During hi 20 year pan as President, the country's three regional organizations were merged inro the International Cinematographer Guild, Local600. Dibie was born and rai ed in Jerusalem and movies were hi link ro the outside world. It wasn't unusual for him to pend 10 hours a day in a cinema on holiday . George al o rook rill

pecoal Awards Issue 2008

picture of cla mates at school dances and old them for a nickel a roll. After graduating from high school, he taught people in refugee camp how to peak English. Later, George got a job translating reports by the Jordanian army inro Engli h for the United rates Information Agency, where he hared hi dream about wanting to become a ftlmmaker in Hollywood with hi bo . Prerry oon, George was headed ro California with a USIA cholar hip. He ended up tudying ar The Pasadena Playhouse, where Du tin Hoffman was hi clas mare. Working as a waiter and bu boy, he bought a Bolex and an Auricon 16 mm camera and honed his skill by hooting ouvenir ftlm ofbar mitzvah , wedding and other family events. After graduation, George worked in a upermarker tacking grocerie and checking our cusromers. He hared hi dream of finding a niche in Hollywood with a cu comer who happened ro work for 20th Century-Fox. The next day, George got a phone call telling him ro report to "Doggie" at the tudio at 6:30 the next morning with a pair of plier and a crewdriver. On hi fir r day with "Doggie's" electrical crew, George CAMERA OPERATOR: LIFETIME ACHIEVEMENT AWARDS

watched Leon ham roy light cenes for Cleopatra. He continued ro work on union permit and eventually compiled enough hours ro join Local 728. Ar the arne time, he and hi neighbor Dr Roger Dash organized Dibie-Dash Production and began producing motivational fllm and documenrarie . Co-producing illm that Dr Dash wrote, George was the cinematographerdirector-editor. George continued to work hi way up through the rank of the electrical crew y rem. He was promoted to be t boy and then to gaffer in 1967 and worked with legendary cinematographer like Harry cradling and James Wong Howe. "I learned o much by watching and Li rening to Harry tradLng A on the illm On a Clear Day," Dibie remember . "He could Light face beautifully and make background dark and guts ar the arne time. Barbra rrei and was the tar of that ftlm and I created a pecial Light for her. Ir was called a rri-lighr. It was a coop that I painted for reflectivity. he really knew how ro find her light. One of the mo t important thing I learned by watching Harry was how to light people' eye to reveal their oul ." Dibie' heart was er on becoming a cinematographer, bur the amera Guild was a closed hop for outsider Like him. The door finally opened when a cinematographer wa needed for a multi-can1era video ho\ called New Zoo Review. George was welcomed into the Guild in a new category for electronic cinematographer .

" one of the can1eramen in the Guild was inrere red in hooting video," said Dibie. "Someone ar a lighting rental company told omeone at the rudio about me. lr wa ironic because all of my experience as a cinematographer was hooting 16mm illm. ew Zoo Review led to my next job. The rudio produced the pilot for Barney Miller on fllm, bur decided to u e video on the erie . Danny Arnold wa the executive producer and co-creator. omeone told him that I wa a video guy because I hot ew Zoo Review. In tho e day , video how had technical director who looked at a wave form monitor in the control booth and made certain that the key-to-flU Light ratio wa 2:1, which was the MPTE randard. I poke with Danny and he agreed that no technical director was going to dictate the look. The tory took place in a police ration that was open 24 hour a da . Darmy wanted a gutsy and omewhat dark look. We had cen at police headquarter et at all hour . We wanted it to be dark at times, and other time there was unlighr coming through window . There was a how where we pur cigarette butts and trash on the floor, becau ewe wanted a down and dirty look. I remember coming in the next morning and finding out omebody had cleaned the et and mopped the floor. We had to make the place dirty and throw cigarette buns on rhe floor again. ure, it was a comedy, but we were till telling a tory. The more reali tic it looked, the more people accepted the character and their joke ." That opened a new chapter in George' toried career. George wa under contract at Warner Bro for 10 years. He hot every iruation comedy pilot produced by them during that trerch including My Sister am, Head ofthe Class and Jvfurphy Brown. Hi body of work also include orne 60 to 70 late night movie for The ABC

Armchair Myste1ies. "When I was a boy, I dreamed that I would move to Hollywood and become a director or a cameraman, ay Dibie. "I didn't know what a can1eran1an did, bur I remember thinking that ifl couldn't become a director, I would become a cameralnan." Along the way, he compiled between 1,500 and 2,000 hour of iruarion-comedy credits on primetime televi ion.

MERA OPERATOR: LIFETIME ACHIEVEMENT AWARDS

Special A\\ ard; l;suc 2008

Lifetime Achievement Awards from Previou Yi

2007

,Local 600 celebrates the arl and crafr of the Camera Operator. Congratulations to all the honorees!

L1~ tim

Achi v ment Awards from Previous Years

2007

A 1999

Cl deE Bryan Camera Technician

2004 Gacy-01 n Arm trong A istant Camera

John M Walker Camera Technician

Anthony Rivetti amera

As i rant

2001

al Roberts amera

As istant

Robert A Torres Camera Technician

1996

Kenneth Hale Assi tant Camera

Roben L Greene i tant Camera Kenneth i hino As i tant amera

MERA

PERATOR: LIFETIME ACHIEVEMENT AWARDS

vious Years

1990

1983

Richard Meinardus A i tant Camera

Emilio J alori As i tant Camera

Bruce: Catlin Assi tant Camera

1981 1992 1986 John Thoeny A i tant Camera

Roben Feller A i tant Camera

Walter Rankin As i tant Camera

Joe Raue A i tant Camera

Charle Termini A i tant Camera

MERA OPERATOR: LIFETIME ACHIEVEMENT AWARDS

rans:oi Duhamel has acted as a unit photographer on ixty film , including Dead Poets Society, Road to Perdition, etibismit and, mo t recently, Charlie Wilson's l#zr. Bur after more than rwenry year in the busine , he tre e that " ome of the be t photo I've taken are the little innocuou moments that you couldn't plan ahead of rime. They are tolen moments." Don't forget that on a movie et, people make a movie, not a photo- e ion. The till photographer will alway be an 'in ired gu t; the only per on pr em who has nothing to do with the actual making of the film, just an ob erver. But you are a 'gue t' with an important job-duplicating a director' i ion through the medium of photography." On the et of The Mosquito Coast in 1986, chi facet of Duhamel' role was particularly evident. At the tart of production, director Peter Wier pulled Duhan1el aside, instructing him to take a type of family photo album of his film. Twenty key moments, a decided in collaboration between Duhamel and ~ ier, would repre em Wier' vi ion. "Peter aid to me, 'When tho e moments happen, you have to be there ... 1 want tho e photograph ;" recount Duhamel, who meticu lou ly do umemed Weir' journey up the coa t. Duhamel' journey into photography, which he explain a "an incident oflife," tarred with what he de cribe as "a weekI bath of new photograph ." Duhan1el grew up charmed by the image of Paris MATCH, France' equivalent of LIFE

Spe<ial Awards ls.ue 2008

magazine. This launched his photography career almo t ubcon ciou ly. "We are alway a product of where we come from; he ay. A journali m and law tudem in France, Duhamel erendipitou ly met a group of photographer while erving draft rime in the French army. They in pired him to turn hi hobby into a career and would continue to shape hi career for year to come. That ame network of friends pushed him to move into the flourishing market of entertainment photography rather then ne\ s. And in the late 19 Os, the group helped et him up ar Mega, a mall LA photo agency. At the beginning, Frans:oi did odd job around the office and hot editorial as ignments on pee. While difficult, it proved to be a valuable experience. "What was important was that I had been to journalism chool which I believe was a huge advantage; he recount . "I learned to hoot a magazine feature and come back with ten imag telling the tory." He continued shooting tories in outhern California for European magazines, when he got his big break almo t by a fluke. A publici t called hi agent, Michelle Mattei, a king if omeone on her ro ter could hoot John C avetes' new film Love tream for 500/ week. "People turned it down bur I aid ye ," ay Duhamel. "You alway get a break from omeone when that omeone doe n't have any other option." A week after Love n路eam \vrapped, another call came in for CAMERA OPERATOR: LIFETIME ACHIEVEME T AWARDS

John eale

on the sec of Tbe 1osquito Coast, Belize, outh America, 19 6.

ourre

of The aul aenrz om pan / Warner Bro . Three of the people who helped Fran~ois Duhamel become a rill phorographer for the movie .

John as avere in Lo Angeles 19 3.

Roman Polanski on the er of Bitter Moon, Pari , France 1991.

a hooter on John Huston' Under the Volcano. Having succes fulJy hot the fir t two ftlm , hi career nowbalJed from there. "I wa able to grab two fantastic oppommitie and make omerhing out of it," he ay . "If I had [messed up] on rho e rwo movie , I would never have got the third and fourth one ." Duhamel' approach to hooring with a journali tic eye ha become hi trengrh on et. "I [approach] being on a film et every da for ten weeks as if I was covering a new tory;' he ay . "Every day there are a few cene and I have to tell the tory with my photos. "Having been a freelance journali t gave me, I believe, a good attitude toward ftlm work; you photograph a tory, you look every day for ten good image that will tell the story and a very good image to open your story. Thi i the an1e on any movie et. What matter mo t i to be ever-ready to take a good photo, at alJ time . To be mentaU pre em, always."

CAMERA OPERATOR: LIF拢TJME ACHIEVEMENT AWARDS

Working~ ith director like Roman Polan ki, Ridley cott, am Mend and legendary cinematographer uch as omad Hall and John eale AS al o influenced Duhamel. "You alway learn omerhing ... when you ee them work and create light from cratch;' he ay . To young photographers trying to break into the busine , he 路rre e two important factor . The first, "you are going to work with a large number of people in a group," ay DuhameL "It' teamwork and if you are not ready for that, don't do it, don't even tart doing it. "What count most i to be able to get along with the other 50 to 100 crew member you are going to work with; rhi i key. Film work i teamwork. You let the other do their work; they will help you doing your . Then, a bit at a time, you will learn how to get good film- till . And to become a good phorographer." In addition, budding till photographer hould con ider basing them elves in alifornia. "Being based in Lo Angele , I was at the right place at rhe right time when, out of nowhere, I got my 6r t job opportunity on a film et, without ever realJy looking for it," ays Duhamel. "But work in the film industry often mean long day and even longer hooting chedule . Being in LA where the major studio are means that often I get to go home at night and pend orne time with my family;路 he ay . "Thi is extremely important."

>al Aw.ud' IS<ue 2008

Jude Law i seen only in silhouette in Lemony nicket's A eries of Unforturzate Events. Photo courte y of Paramount Pictures.

directed. Photo ÂŠ 2005 Univer aJ rudio . All rights re erved. pe oal Award Issue 2008

MERA OPERATOR: LIFETIME ACHIEVEMENT AWARDS

L1[i time Achievement Awards from Previous Years

2007

2000

2004 Marcia Reed

1 9

2001

• •

1995

Wynn Hammer

1998 ··-~

~ "

>,.

·~ .

MERA

PCRATOR: liFETIME ACHIEVEMENT AWARDS

rd from P

1ous Years

1994 1983 1990

Mel Traxel

1981 Bud Gray

1986 Alfred

1992

Hilaire

eorge Hurrell

David utton

MERA OPERAT R: LIFETIME ACHIEVEMENT AWARDS

eing a good readicam Operator call for athletici m, ae thetic en ibilitie , technkal prowe , political avvy, an adventurou pirit and the ability to perform in front of a large audience under pre ure. To excel in operating the teadicam, you have to learn the physics that control the "flying" of the camera. You must develop the di cipline, trength and coordination of a dancer, the emotion and psychology of an actor, the C>..'Pre ive performance of a mu ician, and the tactical and trategic undertanding of a general (or director). Through all th e element , you are attempting to rran port an audience through a complex range of ideas o that they feel comfortable and ecure, in much the way a professional pilot i tru ted by hi pa enger . In addition to all this, it certainly helps to be able to de ign and build parts of the in trurnenr itself to further your capabilitie . The more preparation I do for a hot, the more likely it will ucceed. I like to under tand why I am doing whatever it is I am asked to do ... I want to truly be in charge of a hot. I try to under rand a be t I can what a director wants from a hot I am about to operate, and then take full r pon ibiliry for its execution. If I don't think I can handle orne aspect of a hot

MERA OPERATOR: LIFETIME ACHIEVEMENT AWARDS

I will not h irate to change it. On the other hand, I am al o willing to try out a new idea, even a new technique, a long as I think I have a chance to perfect it in time for the primed take. But ifl have a bad feeling about a hot, I trust my in tine and figure out orne way to make the hot feel right. I have to under rand, enjoy and be confident in what I am doing or risk a "crash." It i a truly collaborative medium, and each of u in the many department that make up a feature film company take per onal re pon ibiliry for we do and decide on a job by job, moment to moment basi , exactly what that re pon ibiliry con i ts of I have done many long hot o far in my career: the hot through the opacabana in Goodfellas i the mo t commented on; the opening for Bonfire ofthe Vanities may be the mo t technically proficient, the final chase equence in Car/ito's l#ly that culminate in a long hot in Grand Central Station may be the mo t exciting. nake Eyes h an extended opening cene that actually con i t of everallong hot joined carnIes ly together with wip and whip pans to imulate a near 20 minute long hot. For Kill Bill, I executed another unusual hot that included leaping over a \ all and tracking o erhead as Uma Thurman walked down a corridor below me, a well as a

crane hot in the middle. All of them required handling many more of the elemenrs of filmmaking than I normally do as a convenrional operaror. The chance of getting through minute or more without mi rake are very mall otherwi e. When I am working through a hot, I want to know what my "voice" i . Am I, as the conduit for the eventual audience of a film, suppo ed tO be wary, frightened, excited, re erved, ambivalent, anxiou , curiou , angry, purpo eful, whim ical, or what? Do I know what i going tO happen or am I urpri ed? I the outcome of a hot prede tined or completely unknown? The e are the kind of que tion that I ask of the script and of the directOr. And I wam to know what my relationhip with the other acror i . Do we have a connection? Do I re pond completely ro what they do, or do they r pond tO me or both? Or, i what they do irrelevant to what I do? The e que tion must be an wered before I pick up the camera. I want as complete an under tanding as po ible of what I want the can1era to do, before

wanted and willing ro give me anything I a ked for to improve the shot with the tacit under tanding chat it worked. I operated on each of Brian' features since The Untouchables and each has at lease one long ceadicam sequence. The thing that makes this rype of shot o exciting i that everyone involved gee to under rand what their part in the proce i . Normally, each cake will be followed by a review on videotape during which every participant gers a chance to ee what they did, and how it contribute tO the final re ult. In more conventional hooting iruation , the only one who truly under rands how a equence will finally work the director, and even he/she may not be ure how the editing process will affect it. With a single continuous hoc, all the elementS are in place, and we all gee a ense of what the final re ulc will be. Thi make the collaborative proce truly exciting, and everybody on the et rends to ri e to new and often unexpected level to meet thi hared challenge. It i one of the mo t exciting experience that l can imagine having, and I think I am truly fortunate ro

I think about uiting up. Thi require a great deal of mutual tru t from the director and the acror . The mo t fruitful relation hip I have had in thi regard are with Director Brian DePalma and DirectOr of Photography ceve Burum. From the fir t long hoc I did in The Untouchables Brian wa willing ro let me do anything I

have been involved in o many. In 1976 I fir t aw Garrett Brown' groundbreak.ing Sceadicam work in Bormdfor Glory. I was ab olurely entranced. This was the fir t film to u e hi new readicam, manufactured by a lirde company called inema ProductS. I was convinced that arrete had invented thi device just for ERA OPERATOR: LIFETIME ACHIEVEMENT AWARDS

me. ( ince then I have di covered that all Steadicam Operators hare thi delu ion). My fir t experience u ing a teadicam was on a P A directed by hri Wilkinson, a friend of mine from Cornell College. I talked to hri about renting thi new device for our project and he wa as excited as I was. We drove to New York Ciry one day and after about an hour of upervi ed "in rruction" at the rental hou e, they let u go out the door with a brand new Modell teadicam, and my fare wa sealed. Chris and I took rum all that night back in the rudio trying to master the device. Finally exhau ted, we decided thi was definite! a cool tool, and as much as he enjoyed operating him elÂŁ we decided that I would be the Cameran1an/ teadicam Operator and he would ray in hi role as the director. Ir was a lot harder than ir fir t looked! With hi ble sing I proceeded to butcher hot after hor until the law of average be rowed an occa ional ucce upon me. We tried to u e the teadicam in almo t every iruation, and in mo t I failed to get useable footage bur every once in a while a miracle would occur and we would get a thrilling hot. I continued to e~"Perimenr with the readicam, main! on gram-financed docwnenraries about mu ician directed by another Cornell friend, Bob Mugge. He embraced my use of readicam with great pas ion. Mo t of what I di covered about the basic ae thetic of camerawork and use of the teadicam in particular came about working with Bob. It wa tremendou ly freeing to be able to move the camera wherever we wanted to, e peciall within the tight budget and crew r triction of documentary filmmaking. My early career wa thus plit between hooting docwnenrarie , which wa my pas ion, and hooting and editing new to make a living. I rented camera equipment from the local rental hou e until fmally raking the plunge and buying my own gear. My parent rook a econd mortgage on their hou e ro fund a am era and lighting package, and a com pas ion ate and under tanding coworker, who was one of the TV ration' leading reporter and per onalities, lent me money to buy my fir t readican1. I have certain! had a much upporr as I could hope for from family and friend !! A murual friend introduced me to Garrett Brown, who I was hocked to di cover al o lived in Philadelphia, not in Hollywood as I imagined he mu t, and eventually he asked me to join him in de igning hi newe t invention, the kycam. I began fir t working on the tabilization and remote control of the camera, ince I had ome experience with electronic from my hobby. Eventually I a wned much more respon ibiliry tmtil I was Chief De ign Engineer and Chief Pilot. Our fir t job with the kycan1 ~ as for Birdy. The director, Alan Parker, was excited about the capabilitie of the y rem, and equally di couraged about its limitation . I uggesred that the shots

MERA OPERATOR: li FETIME ACHI EVEMENT AWA RDS

that were impractical for kycam could be accomplished with the teadicam, and he then asked me to operate both. That was the beginning of my pecialization a a readicam Operator. For about a year, I did a lor of jumping back and forth, planning and operating the Skycam and operating teadicam. Every job with the kycan1 involved a great deal of planning and couting ahead of time, and many, many day of rede igning afterward as well. teadicam was getting to be a welcome relief from the inten e involvement and re pon ibiliry of Skycam. When our company, Skywork , developed ome financial problem , I decided to try working full time as a freelance teadicam operator. I came away from the kycam experience with the ability to dream up and then design and build new acce sories for and modification to my equipment. For many year I worked with one of the original partner in kycam,John eirz, to d ign and develop marketable products for hi company, Seitz Technical Product . ln creating the teadicam, Garrett really wanted to develop an in trwnent that anyone could pick up with minimal training. Bur I think the ver ariliry and depth of the in trwnent urpri ed even him. It i now easier to learn the ba ics; tho e of u who fir t tatted out in the ' 0 have had about 20 ear to figure out how to operate ir, and how to teach it. All teadicam operator feel a great ense of gratitude ro Garrett for hi generou and enrhu iastic upporr and reaching of what we call the "noble in trwnenr" and hare a en e of obligation to hare our own experience with the next generation of operator . And at the ame time, we have managed as a group ro develop a level of ophi tication of thi craft that demand prodigiou rudy and even devotion. The rewards have been many, not least of which i fmancial. The reason behind everything I do in developing the equipment, conditioning my elf phy ically, and perfecting my technique i to achieve the mot perfect expre ion of ideas, an expre ion that ideally tran cends the mean that it took to create it and appears ultimately efforcle . It is thi continuing paradox between my goal (efforcle -looking hots) and the mean to that goal (great technical and phy ical effort ) that endles ly fascinate me. In horr, being a readicam Operator has allowed me to bring all my interests and abilitie together in an exciting, challenging, and rewarding career. There will always be a higher mark of excellence to trive for, and I can think of no other occupation in the world that i o completely involving.

Spc<.i,ll Award lâ€˘sue 2008

Lifetime Achievement Awards from Previous Yi

2007

2004

Thoma Prophet, Jr

Clay Lacy

1999 Elizabeth Ziegler, SOC

1981 J David Jones

2000 1983 Tommy May Harry Jones

1998 Gaylin Schultz Lawrence E Milton

Jim Buck

CAMERA OPERATOR: LIFETIME ACHIEVEMENT AWARDS

The Tiffen Company, Garrett Brown, Jerry Holway and the entire Steadicam Team, are honored to receive the 2008 SOC Technical Achievement Award for the design and development of the Ultra2 Steadicam. We congratulate all the honorees for their contributions to the motion picture and television industry and thank the SOC and its members for recognizing thetr accomplishments.

TiFFEN Helping Create the World's Greatest Images

Actors are positioned just ahead of the Steadicam. Note the man behind Buttner, carrying the hard drive.

Historical Shot

'The Russian Ark' PHOTO BY ALEXANDER BELENKIY 2000 actor 300 year ofRus ian hi tory 33 room of the Hermitage Mu eum 3 live orche tras 1 single continuou hot ot only i Russian Ark the longest shot in film hi tory, it al o the first feature film ever created in a single take. This information come from the trailer for the 99-minute movie. Tilman Buttner' ingle teadicam shot travel through the room of the Hermitage Mu eum in Russia, encOtmtering various historical cene and characters along the way. pecial Award< Issue 2008

To accompli h thi in one take, Bi.itmer used a high-definition video camera that stored it linage on a specially developed portable hard drive that could record up to 100 minure of uncompre ed image . (The video image was eventually tran ferred to 35mm film.) As the camera makes its way through the Hermitage mu ew11 in St Petersburg, the "ark" of the title, it weave in and out of time period , bring u do e to canva e and culpture , how mall vignettes and va t cene . To make ure that our eye don't get bored, the camera move up, down and all around, compensating for the ab ence of editing by continually reframing the action. "And it was clear to all that we only had one try, because the effort wa too high, especially mine;' ay Buttner. "I had 35 kilogram of camera, 92 minute and a di ranee of 1500 meter to go-alway fully concentrated on the image. "The fum is only the fourth take. We had three cut takes after about 5 to 10 minutes. Once there was a reflection of myself in a slice of the quarters of Peter the Great. Then there was an actor error, and then [we had] was an extremely ilnportant ource lamp go out at cl1e entrance. "Out ide temperature was minus 25 degrees, and we were afraid for cl1e len mounts' focu , although we had already CAMERA OPERATOR: LIFETIME ACHIEVEMENT AWARDS

egments we ee Peter the Great, who built the Winter Palace; Catherine the Great, who founded the Hermitage as a mu eum and rocked it with paintings and culprure; a Tintorerro painting

(The Birth ofjohn the Baptist); a gallery of Goya ; the rand Duche Ana tasia romping down a corridor; the last rear Royal Ball at the Winter Palace in 1913. Along the wa there are encounter with individual , di cu ions about art, and more cene of Ru ian hi tory. While they were inro the fourth rake, a helium-filled balloon light wenr down in the ballroom. "I hear the e words 30 minutes before we arrive there, which made me even more burdened," ay Biitmer. "But after 20 minutes, I got the me age that the balloon i burning again. "Before the entrance ro the ballroom, I wa o exhau red that I aid co an as i tant that I would nor manage it," Biirrner continued. "Bur the magnificent ighr of the room so beautifully dre ed and filled with these accompli hed people moving in from of me, gave me one last adrenaline boo t." According to reviewer Henry heehan,

re red in the Berlin refrigeratOr . Snowing our ide, a melting nowflake might leave a pot on the len . When we were finally on tO our fourth rake, we pas ed orne minor mi hap , particularly with light circuit . The crew\ as nervous, but nobody' anted ro give up, owe didn't." The Russian Ark op n with a black creen and the voice of an unnamed filmmaker (that of directOr Aleksandr okurov) explaining that he' ju t regaining con ciou ness after orne my teriou "accident." When the black give way, we're in a back courtyard of the Hermitage mu eun1 complex, the olde t parr of which i Peter the Great' Wimer Palace, amid officer and ladi dre ed in 1 th-century finery as they make their way tO a party in ide. The camera/ un een filmmaker move along with them and soon meers up with our companion and guide, a 19<h-cenrury French diplomat known only a the Marqui (acror erge Dreiden). ow the fum begins it journey through the Hermitage as art mu eum and living hi rorical pre ence. In various The Marqui admiring the wall and ceiling of the Hermitage.

MERA OPERATOR: liFETIME ACHIEVEMENT AWARDS

Special A\\ards Issue 2008

On the tairca e leading to the Ro al Ball.

"T\\'0 THL':\\BS L'P!"

The Russian Ark "ha a ecret code, and the code book i V.I. Pudovkin' 192 Bol hevik cia ic, The End of t Petersburg, a tory of the communi t re olution. dedicated to expre ive editing a okurov i to long long take , Pudovkin ended hi film on the arne grand taircase a doe okurov. But Pudovkin u ed montage to ascend the rair and focu ed on an individual, a revolutionat woman earching for her hu band. " okurov' long, unbroken hot with a huge group of ari to rat i a ripo te to Pudovkin' . Additionally, okurov' movie end the arne year Pudovkin' begin ." The Russian Ark i di tibuted from Well pring, and i available on DVD.

E.. , •

;::: • • •

• •• •

'.'

Anastasia and her sisters run down the hall. pecial Awards I sue

2008

MERA OPERATOR: LIFETIME ACHIEVEMENT AWARDS

h1 v m nt Award from Previous Years 2007

Alexander alzatti: Jo oy Cuba (I Am Cuba}

2 0

MERA OPERATOR: LIFETIME ACHIEVEMENT AWARDS

nt Award

om Previous ~ ar

2000

David M Wal h, ASC: BuUitt

CAMERA OPERATOR: LIFETIME ACHIEVEMENT AWARDS

1999

1998

CAMERA

PERATOR: LIFETIME ACHIEVEMENT AWARDS

-PANAV/5/0N ~

Technical Achievement Award

Steadicam Ultra2 PHOTO COURTÂŁ51

lrra-rigid four-parr tele coping po t enable ground level lo-mode, even for tall operator like Geoff Haley, and heavy cameras.

CAMERA OPERATOR: TECH ICAL ACHIEVEME T AWARDS

F TIFFF.

A toast: Thankyou 0 ! T he new that the teadicam Ulrral will be recognized by our peer in the OC wa received with gratitude and ome jubilation by all of u 'Tiffen ' -by Jerry Holway and my elf at our Ea t Coast kunl."Works; by teve Tiffen and company in Hauppauge NY; by Rob Orf, Frank Ru h and our colleague at the teadicam factor in lendale CAby all of u who have invented, fmanced, de igned, managed and built our best rig ever! Finally, after ome 35 year of triving and incrememal advance we eem to have arrived at a jo ou landmark. It' a bit ironic to con ider that just as I have formally 'retired' from active hooting, here at last i my dream rigthe teadicam I alway wanted-and nO\ , at least for the momem, I can't think of anything that' mi ing! (hmmm ... maybe I'll hoot just one more job!) Meanwhile rho e of you in the OC who have joined our readicam parade, whether recently or years ago, may know ome of the name who come to mind as I think about our long hi tory and about the gifted oul who marched along with u and carried this adventure forward: Here's to Ed DiGiulio who welcomed me to Hollywood and et it all in motion; and to John Jurgens who tood up with me and Ed to accept the 0 car in 19 8; and to Arnold DiGiulio who de igned two generations of arm ; and to Ted hurchill who 'invented' our profes ion; and to all the pioneering operator , like Jeff Mart, Larry Me onke and Kyle Rudolph, who are till brilliantly 'in harne : and to our earl dealers, like the legendary Mr Joe Dunton who will be honored in his own right on the I6dâ€˘; and even to our competitor , like George Paddock and Gregg Bubb, \ ho honorably tepped into the breach when P faltered; and to aU the thinker and tinkerer and innovator like Lynn Nichol on, who have pa ionatel worked to advance our art and provide better gear ever since. So rai e your glas e ! To our fellow camera operator , then and now; to aU tho e who build our gear; and to the great genero ity of pirit that till distingui hes our profe sion-as the experienced continue to hare their time and knowledge and equipment on behalf of the up-and-coming! heer to us all! Garrett Brown pecial Awards I sue 2008

Jerry Holway, Ultra2 o-Lnventor

The new Ulcra2 is the lightest, tough t, tronge t, mo t advanced teadica.m rig yet developed. Its modular de ign can be easily modified, upgraded, maintained, and erviced. The reengineered gimbal, lightweight arm, and its ultra rigid, po ition ensing, motorized tage increase the preci ion and repeatability of every hot. rage po itioning i mooth and effortle , with a greater fore. aft and ide-to- ide range than ever; operator can trim the led' balance on the fly. The G-70 arm' new 'Ride' knob alter i o-elasticity o for the fir t time, u er can preci ely et how the arm behave , regardle of the v eight carried. At tl1e other end of the arm, the new 'kickback' link reduces doorwa clearance and keep the arm from banging again t the operator on the run. According to Larry Me onke , teadica.m owner and operator, "The new teadica.m Ultra2 is flat-out amazing."

cam• Engineering Manager, Ultra2 Designer The Tiffen

Frank Rush, readic:un• Product Manager om pan

reve Fracol 0 (below): "I have had my Ulrra 2 for almost a year now. I must admit I am amazed by it hooting mode change-over flexibility' ith the riJring top rage, monitor quick release and et the riffne it maintain . A change-over from regular mode co 'Ultra' low mode i very fast. Thi i a very well built rig as I have aJread pur it through the paces on a few movie in rough weather condition . It survived a.mazingly well. I a.m very glad I made the upgrade to the 2. I have never been more comfortable with any other rig. As far as the G-70 arm goes, I have just one word, BuJierproof! Also, KUDO to the factor for excellent customer er ice! They have taken ver good care of me and that mean a lot co me! Keep up the great work!"

fjl!

Jerry Holwa model the complete Ulrra2 y rem: led, Arm and Vest. f>l>cial Award• Issue 2008

MERA OPERATOR: TECHNICAL ACHIEVEMENT AWARDS

Panavi ion Genesis camera used onApocalypto. Mel Gib on check the hot through the len . Above him is A i rant Camera Anthony Rivetti, who received the SO Lifetime Achievement Award for Camera Technician in 1995. Facing page: Actor Rud y Youngblood confront the camera. Photo by Andrew Cooper, MP P. © I 0 Films.

th the Gene i camera, Panavision ha taken their knowledge of what has worked for the Ia t 30 year with their Panaflex sy terns and adapted it to the electronic camera. A result of many year of close collaboration with itS technology partner, SONY, Gene i combine high performance electronic imaging with world-renowned Primo cine optic for unprecedented imaging ver atiliry. The heart of the Genesi camera i a ingle uper 35mm sized CCD containing over 12 million pixels. Thi mean that hooting digital with Genesi yields no compromi e of depth of field control, portability, ensitivity, dynamic range or color. Gene i wa de igned to be an integral part of the Panavi ion tern, o that Cinematographer have acce to the largest collection of academy award winning 35mm len e and familiar acce sories from Panavision. Feature fllm shot on the Gene i include uperman Returns,

Flyboys, Click, Scary Movie 4, Dija Vt-t, Apocalypto, Reign Oer Me, Grind House, Next, Balls ofFury, Before the Devil Knows Youre Dead, Superbad, W'alk Hard and the upcoming Get mart. Gene i ha proven irself in a variety of difficult locations including tropical rain fore t , and in a ho t of different contemporary fllm configurations: inside plane and car , handheld, on cranes and Steadicam ~. The Genesi ensor is true RGB, with the same nwnber of pixel for each of the three primarie , unlike Bayer pattern pecial Awards Issue 2008

camera that have half as many red or blue pixel as green ones. Gene i wa de igned with digital intermediate in mind and offer a unique gamma and colorimetry that enables carnie intercuttingwith all35mm fUm ernul ion . When de igning Gene is, Panavi ion did exten ive re earch and te tingwhich determined that a 1920 by 1080 pixel, 35 mm ize CCD was the "sweet pot" for cinematography. By choo ing the right combi nation of pixel size and format, Panavision was able to build a camera that clearly outperform other camera . Most cinematographer e timate the latitude of Gene is at 10 stop . Gene i hurter angle range from 3.8° to 360° and frame rate from 1 to SOfp . The 360° hutter i new territory for fum cinematographer , yielding one more stop of expo ure, with increased motion blur. Thus the nominal EI 400 ensitivity can be extended to EI 1600 and above for low light ituation , by the judiciou use of hurter and gain. Gene i can record either to the new Panavi ion Solid tate RecorderS R1, or to the Sony HDCAM- R~ videotape recorder. Both unitS dock directly (top or rear) to Gene i , en uring a totally portable package without cables to external recording device . Another tool in a Cinematographer' ar ena.l, the Genesi y tern is now a major part of the land cape of feature ftlm and television production.

CAMERA OPERATOR: TECHNICAL ACHIEVEMENT AWARDS

2007

1999

ARRIGROUP Bill Rus ell, Vice Pre ident We tern Operation Juergen Schwinzer, Vice Pre ident amera Divi ion ARRIFLEX D-20, 235, 16 AMERAS

GEO FILM GROUP George Nolan, Pre ident LIBRA III the Fir t 3-Axi Electronically Stabilized Remote Camera Head

ARRIGROUP Franz Krau , olker Bahnemann, Klemens Kehrer, Walter Trauninger and the Engineering Team Of Arri RRI / ZEISS ULTRA 16, MASTER PRIME LEN E hrist:ian Bannert and the Engineering Team OfZei

NICK PHILLIP LIBRA the First Multi-Axis Elect:ronically Stabilized Remote Camera Head

PRESTON CINEMA SYSTEMS Howard Preston, Pre ident FI+Z REMOTE LENS CONTROL SYSTEM LIGHT RANGER LASER FOCUS SY TEM

2004 ARRI F Gabriel Bauer, AA and Walter Trauniger THE ARRICAM SYSTEM DOGGICAM Gary Thieltge , Pre ident THEBODYMOUNT

HORST BURBULLA FIRST TELESCOPIC CAMERA CRANE

TECH OCRA E LTD imon Jayes, Pre ident for the introduction in the U of the FIR T TELESCOPIC CAMERA RAN£

CARTON! Guido Cartonl, Inventor FIRST FRICTIONLE S FLUID MODULAR CAMERA ONTROL HEAD YSTEM with Interlocking Plate and Three Step of Drag

20 1998

HOT GEARS Mehran alamat:i, in entor HOT GEAR REMOTE SYSTEM

SACHTLER SACHTLER FLUID HEADS with the Fir t Modular Damping tern to Incorporate even tep of Drag

0 EASTMAN KODAK COMPANY KODAK MOTOR DRIVE UNIT an ELECTRIC CAMERA MOTOR for u e with the Cine-Kodak 16mm camera, fir t old in 192 for 25. LAIRMONT AMERA Denny lairmont Pre ident/ o-lnventor Kenneth Robing o-lnventor SWING HIFT LEN ET

MERA OPERATOR: TECHNICAL ACHIEVEMENT AWARDS

Hal

THE HOTMAKER COMPANY eedham and illiam L Fredrick, Inventor ELITE, the First Crane Insert Car

FUJI PHOTO OPTICAL CO, LTD FUJI 0 CAMERA LENSES the first lense to incorporate Aspheric Technology

1994

1 GEORGE H. WORRALL, SR WORRALL GEARED HEAD the Fir t table, Smooth and Balanced Triple-Mode Geared Head

PHILIP BROADCAST TELEVISION SYSTEMS CO olter Wolther , Inventor NORELCO PCP-70 ELECTRONIC CAMERA the First Ponable Handheld Video Camera

E. F. "Bob" Nettmann, Inventor, and Matthew tudio Electronic the ETTMAN AM-REMOTE the Fir t Fully Integrated, lndependendy Mounted, Remotely Controlled Camera Head with Ergonomically Designed Wheel - tyle Control De k

OCO OCO

OR ENGINEERING LABORATORIES Chadwell 0' onnor, Inventor, OR FLUID AMERA CONTROL SY TEM

J LFI HER, IN Jame L Fi her, Inventor, FISHER FAMILY OF CAMERA DOLLIES JOHN M STEPHENS Inventor and Developer, RADIO-CONTROLLED PAN & TILT HEAD B ZZ ALDRIN, A TRONAUT, The National Aeronauti and pace Administration and All Participating Astronauts for Developing and Achieving Photography in pace

1993 Hydroflex Inc, Pete Romano, Inventor, HYDRO FLEX DEEP WATER AMERA CONTROL HOUSI G YSTEM the Fir t Underwater Hou ing with Video A ist

HAP LAN TUDIO EQUIPMENT I C, Inventor and Developer, TITAN FAMILY OF CAMERA CRANE TYLER CAMERA SYSTEMS INC, Developer, Nel on Tyler, Inventor, the TYLER HELICOPTER CAMERA MOUNT

VINTEN BROADCAST LTD Ted Galione & Bill Vinten, Inventors FULMAR PEDESTAL the Fir t Extended Range Pneumatic Camera Pede tal

WEAVER/STEADMAN Bill Wea er & Bob Steadman, Inventor , FIR T BALANCED FLUID HEAD

SAM ALGA INEMA Jean-Marie Lavalou & Alain Ma seron, Inventor , David amuelson & Herve They, o-Developer , FIRST PORTABLE MODULAR RAN£ with Remotely Controlle,d Camera Head

ONY ELECTRON I S INC, Inventor and Developer, for the introduction and development in 1982 of the THE BETA AM Y TEM

1992 Cinema Products, Developer and Garrett Brown, Inventor The STEADICAM CAMERA STABILIZING SYSTEM Panavision lnt'l, LP, Developer and Albert Mayer, Inventor The PANAGLOW ILLUMINATED GROUND GLA S Arri, Inventor and Developer For the Introduction and Development of PINNING MIRROR REFLEX VIEWI G SY TEM

CAMERA OPERATOR: TECHNICAL ACHIEVEMENT AWARDS

If you are not receiving notices of meetings and screenings from tile SOC, we may have

THE WRONG EMAIL ADDRESS for you. Please send your correct email address to webmaster@soc.org so you can be involved.

Building a RED Camera

Package

DP, I hoot a wide variery of projec and with aU the hoic of format a aiJable roda I end up hooting with man different camera y rem . lr can make good bu inc en e ro inve r in orne of chi gear, bur it can al o be very trick , especially with electronic gear that can omerin1e become quickly ob olere. Unlike orne ftlm cameras I've owned that were reliably in ervice for everal decades, automatically updated each rime tloaded a new ernul ion, I've had orne digital gear that didn't I, t a year before it was good for nothing bur a boat anchor. wner/operator need to be very careful in electing cameras and ace orie for purchase that wiU allow them ro an1orrize their inve rment. The ver ariJiry ro work on man different rype of productions and the abiJiry ro make update ro the y rem are key to thi goal, and thi i the promi e of the RED. A 1 ,500 camera with a 4K uper 35 image en or, 60P, variable frame rare at 4:4:4 with a new com pre ion cheme rhar could omehow make aU that data manageable: it ounded prett good. In fact, these were important facror in my deciion ro purchase one of the fir r cameras our of the gare (#30). There are everal thousand depo it holder lined up behind me, bur a box with a en or doe nor make a complete camera rem, and the package other RED \ ner put together rna be very different from mine. TheRE camera i modular b d ign and can be buiJr up in variou configuration , with vascl different price rag , in order ro erve different application . I'm going ro derail for you how I've buiJr my package, and the rationale behind my decision .

I fir t became aware of the project before it was even called and por apparel manufacturer that was then owned b Jim Jarmard, Founder and Lead De igner of RED. I organized a hoot ro re t their variou en or choice in the earch for what \ ould become the "My cerium." Back then, it looked nothing like the leek marvel ofform and function you ee roda ; it \ as basically a circuit board with a -mount len precariou ly attached. They wanted ro ee hO\ the en or handled uch challenge as camera movement, o I moun red thi ridiculou looking "camera" on a jib arm, along with the neces ary armada of com purer cower on the jib' western doU base. All the e drive could record just moment of K material at a rin1edata that now fits onto a CF card maUer than a book of marche. It would be another year before the camera was announ ed for ale at NAB 2006, where 1 ru hed aero me crowed haU ro get my order in, and more than another year after that before I accuaUy received my camera. (As of chi writing only 100 earner have been delivered, but that number i expected co grow exponentially over the next few months umil aU of me over ,000 order are filled. ) epcember th, 200 , the day I picked up my camera (one of the econd batch of2S delivered ), v almo t ceremonial. The morning at the RED facrory in range ounry CA began with introductory remark b Jim Jarmard him elf He wa obviou I and justifiably proud of hi baby, and like any new father was moking a celebrarory cigar as he addre sed u .

RED, back in 2005. I was hired by akley, the ungl

MERA OPERAT R: RED CAMERA

He began hi pre entation with the acknowledgment that the camera i a work in progre and thar ir will rema.in a work in progre . He warned, "ir' nor done, and may never be done." Thi would be especially true for the fir t 100, who can rightly be con idered Beta Tester , and who e camera will not be fully functional with uch mi ing utilitie as ound and the ability to record on anything but compact fla h card . In fact, he offered to return the depo it, cover travel expen e and throw in another 2,000 in cash to anyone who opted not to receive their cameras that day. or urpri ingly, there were no raker . Early adopter were al o offered a 2,500 credit to\ ard the purchase of acce orie . It often feel like I'm a Beta Te ter when buying new gear, but it' refre hing that RED acknowledges thi and willingly compensated u for our troubl (which in retro peer have been very few.) A far as I'm concerned, the fact that the camera continue to evolve i really a bonu in the battle of ob ole cence. In read of con randy coming our with completely new model , the plan i to update cameras that are already in service, even to the ex.'tent of po sibly replacing the en or (if and when one i developed that i ignificantly improved). However, mo t upgrade are d igned to be via ofrware, and they have been coming at a fa t and furious pace via e-mail. We simply copy the Firmware Updates onto a Compact Flash or D card, both of' hich have receptacles built into the camera, then elect Upgrade. Having already performed everal of the e, I can tell you that ir i really a very easy and seam less operation. They have al o announced a major hardware upgrade which

RED mounted on jib arm with Weaver teadman head .

CAMERA OPERATOR: RED CAMERA

will be available free of charge to the fir t hundred can1era owner in January. It involve a new PL mounting y rem that will be adju table for flange focal di ranee, as well as new circuitry\: hich i aid to improve the already impre ive dynamic range. Ju t a they would if there were to be a mechanical failure under warranty, RED will cover roundtrip overnight hipping co t and will try to have the camera turned around within a day. Being modular, each camera package will be unique, with different capabiliti to fir variou application . Mo towner will probably opt to keep their package very basic and borrow acce orie from the gear they already own. For len es, many will order their RED with Nikon or anon mounts to use rill camera lense mat they alread own. Other will use cl1e optional B-mount adaptor to use video len e or 16mm format len e . They will likely only buy the bare minimum and will plan to rent additional gear as needed. B pulling a len package from their till cameras, a di play out of their edit ystem, and a tripod from omewhere, they could keep their initial inve m1ent as low as 35,000. Thi may work for ome who plan to be the primary operator and can work around certain operational idio yncra ie . However, my package i running con iderably more, clo er to 100,000. H ere' why. While ome RED U er might be able to live with a little bit of"Funk Factor" re ulting from pulling piece together from equipment that was de igned for other u e , the package 1 have em bled i a fully capable feature camera package mat can meet the varied needs of narrative cinematic story telling. If I hope to rent it out when I'm not hooting with it my elf, the architecture and utility need to be up to indu trywide profes ional tandards. I a! o want to be full 4K capable with all the acce ori nee ary to hoor feature film as well as 35mm. Even though 1 might be able to hoot with 16mm orB-mount len e , I'll be ticking with only very high caliber uper35 format glas . By going with 35mm len es, 1 will be enjoying the limited depth of field which i an invaluable cinematic tool and raking advantage of the full ize of the en or. I may choo e to sometime hoot at only 2K, where 1 have the option of doubling the capacity of my recording duration, and also have the ability to hoot at much higher fran1e rate , o I may nor always be recording full4K. However, when the 2K I pull off the full array of the en or i down- an1pled, it will rill be far uperior ro u ing the maller format len es, which ",vindow down;' and only take advantage of a much maller portion of the en or. rill camera len es do cover the full en or, and a much as I would like to ave the many ten of thousand of dollar in purcha e price, I know the glas I use \ ill be integral to the quality I can achieve, o I don't wanr to skimp on len e . And, although the optic can be excellent in till len e for the application they were de igned for, problem ari e in trying to u e them for motion picture photography. When a still photographer zoom and focuse , then frame hi shot, he i nor bothered by in1age shift or breathing, but these can be pretty funky effect in a movie, not to mention mat focus mark are nor repeatable and the horr throw, de igned to help a photographer easil grab focu , i a detriment when you are trying to Line up preci e di ranee with engraved markings on the len . In addition, rill camera len es are calibrated onl inf-stop, pecia l Awards l<>ue 2008

a theoretical e timation of how much light pa ses through the iris, rather than T- top , which are based on the actual mea ured transmission, and are in reality u ually about a third of a stop lower than thef- top. Many of these aberrations can be ftxed by modifying the lens, but it i not inex:pen ive. I have decided to tick with the tools that were designed for cinematography rather than stills. I've tested everything from RED' 18- 50rnm to Zei Master Prime , a well a the late t Cooke and Angenieux: zoom . Although the RED zoom i probably a very good value at only 6,500, and rno t of the other len e go for everal time the co t the camera, I believe higher quality gla i ju rifled. I want to obtain the be t image quality I can from the RED, and it all start with the taking len . An image is only a good a it weake t link, o it doe n't eem to make sen e to me to crimp on the fir t link in thi chain. I decided to go with Zei Super peed Primes, T 1.3, and a Cooke Mkll 25-250 zoom that I was Mather w/RED hand-held. lucky to find for ale u ed, but in very good condition. The crown jewel of the package, however, i the Angenieux: 17 -80mm. It' nor cheap, at well over $50,000 and going up all the time as the value of the dollar inks again t the Euro. However, it is simply a beautiful piece of glas , quite fast for a zoom at T2.2, and has a good focal range for the kind of narrative work I do. (With orne of the other , uch as the wide Cooke and RED zoom , which have focal range of les than 3 to 1, I would have to be changing len e so often for do e-up coverage, that I might as well just use prime .) It's a big inve tmenr, bur I think it is also a good investment, especially in term of versatility and depreciation. I can al o u e or rent the e len e to work with film cameras, and instead of dropping in value, as ome of the eleccronic components will, the e len e are actually going up in value every day. o one can precisely predict the future, bur as I look out at the Digital Cinema acquisition horizon, I ee that the 35mm format i on the ri e. Sony ha just announced their 35mm size en or camera, the F35, and I'm gue sing Pana onic i al o eriou ly con idering it. Of cour e, you al o have fine can1eras from Dal a and Phantom that use 35mm PL mount len e , as well as the RedRock Micro and P+S Technik that adapt the e lenses for u eon small format cameras. Plu , as RED deliver more and more of the cameras they have deposits for, the upply of good len e i only going to get more carce, which according the laws of economic , should keep price climbing. For len upport and acce orie uch a Matte Box & Follow Focus, I'm mostly sticking with tried and rrue Arri and Chrosziel, bur I've al o supplemented with a few items from Zacuto and RedRock Micro who have been offering quality gear for small format can1eras, that are easily adapted to larger format "ftlmstyle" production (and co t a lot le than the pecial Awards Issue 2008

European import ). For Zoom concrols, I've gone for the indu try tandard Preston Microforce with Heden motors. rick and heads are, of cour e, a matter of personal taste, but even though the camera it elf i only about 10 lb an battery and len , by the time I set up a studio configuration with zoom and acces orie , I could be looking at 70 to 80lb , o I decided on a fairly sub tantial OConnor with heavy duty Ronford sticks. For viewing, I've been getting by o far with the RED LCD, 4 " 720 on-board di play. It ha quite a nice image and i even bright enough to use in exterior daylight, which is good because I have yet to receive my Electronic Viewfmder or "EVE" This really hasn't been too much of a problem, ince until very recently one of the aforementioned "Beta Bug " u has been that the camera ~ had only one viewing ~ output, meaning that if ::0 ~ the operator were u ing ~~~;..ยง. the EVF, there was no output to the director or DP. However, now that I have the option of multiple monitor , I might also u e Panasonic 8.4" HD LCD near the camera, and a 24" JVC LCD for the director. They are not 4K, but neither are the outputs from the camera, and it' not a "what you ee is what you get; as some might be u ed to in viewing an on- et proce ed HD image. With a background in hooting film, I am more comfortable in thinking of the display as being analogou with the video tap I'm used to. Like a tap on a ftlm camera, they are u eful for fran1ing reference, bur tl1e image available on the negative is not done justice. It provide some good information, bur you wouldn't make lighting or exposure choice olely based on viewing the tap. There is so much more flexibility and overall dynamic range after proces ing the RAW file. In fact, the RED camera ha ASA and white balance setting on the camera that really control nothing more than the di play outputs, and are totally nondestructive to the RAW image. Basically, the iris and hutter peed, or any filters you hoot through, are the only things impacting how the image i expo ed, and you will not truly ee what you've got and what information i available to you, until you download the material and run it through the RED oftware on your Mac with Luel chip . (Ye , it has to be a Mac with Intel proce sor to run the RED oftware, so that wa another item addition nece ary to the package.) Thi brings u to torage; when you're recording in a tapeless environment, and o far 8GB Compact Fla h cards are the only available recording option, lots of back-up is e emial. An 8GB card record les than 5 minute of 4K RED code Raw, so for most type of production you will probably be recycling and recording over the card , which cost $200 each, before the end of the day. Even when the 16GB cards are available, which CAMERA OPERATOR: RED CAMERA

hould be very oon, you will tiU only be pu hing 10 minutes of recording duration. We have been using nvo 2.5 Terrabyte RAID , and have a Data Management Tech downloading the CF card ro the eparate RAID (which run about nvo time peed) as we continue ro hoot. They make ure thing are properly labeled with correct Metadata attached, o they can later be located in pot, and al o assist the DP with his Look Management by helping to create the Quicktime reference file on the et, which are em along with the RAW footage ro post. Depending on the cope of the production, and the proximity ro the lab, we may further make viewingcopie and LT02 tape backups on the et. Another approach I have been developing with Foro Kem, a lab I've been working with for many year , i ro deliver one of the fuU RAID to the lab at the end of a hooting day. (The other ray on et until it is verified as backed up with redundancy.) The lab would exchange thi drive for a freshly formatted (em pry) RAID to be u ed on the set for the next da ' hooting. The bacl"ttp and vieY.ring copie would then be made at the lab overnight, much like the film dailie workflow we have been accustomed ro. The lab would al o be re pon ible for archiving or" aulring" the master electron ic data until the 4K conform in a similar fa hion ro the way they vault fum negative over the cour e of production and po t. Another aspect to thi new workflow I'm tr ing ro develop with Foro Kem would be the chance ro at lea t occa ionaUy ee dailie projected in high re olution on a large creen. I'm a trong believer that you houJd view your work in the format in which it will evemuaUy be een, and if it i de tined for a theatrical release, you should ee your daili projected on a large screen. hooting 4K and only viewing your work on a

CAMERA OPERATOR: RED CAMERA

maU creen throughout production and po t i a king for trouble. Fo u i sue will bee peciaUy noticeable at that re olution, but may be hidden on the relativ ly mall HD moniror we typicaUy use on the et and in po t. The RED camera, although quite ver atile, will not be right for every job, bur it ha brought high end Digital inema acqui ition into a realm of affordabiJjry for many more fUmmaker . Although I own this package, I'm tiU "format agno tic," and an1 more intere ted in picking the right tool et for each job, including the right camera/ acqui ition format, and the right len e and upport gear ro get the job accomplished. I hope to hoot many more fum project in my career, and when I'm off hooting ceUuloid, I would hope ro rem our my RED. I've pent about $100 grand on my package o far, and only time will teU ifis a good inv tm m. I know that I'm very happy with the image I'm getting our of the can1era, and I look forward ro u ing it on everal featur I've booked for 2008.

James Mathers, a Los Angeles based DP, is also President ofthe nonprofit educational cooperative known as the Digital Cinema ociety. Visit the website to see a streaming sample reel ofRED footage at www.Digital in em a ociety. org Please bear in mind that the RED camera technology is constantly evolving, and some ofthe comments on the camera'sJimctionally have subsequently been addressed, and may now be dated. Camera #30 was delivered in eptemb~路 of200 , and this article was penned in December 200 . As ofthis time, simultaneous multiple viewing outputs, mmd-On-Camera, and integration with Final Cut Pro have been folly enabled. Please visit www.RED.com for the most cun路ent specifications.

pecial Awards Issue 2008

The indu try mourns th e pa ing of Chadwell O ' Connor, t he father of the co unterbalanced fluid drag ca mera head. Throughout hi life, O ' Connor fo llowed two pas ion tea m engi ne and ca mera upport. O 'Connor de igned and built hi first fluid camera head to eliminate ca mera jump from hi home movie of moving train . While filming at Glendale Station, another team train enthu ia t named Walt Di ney stopped to a k a few que tion and a ked Chad to build a fluid hea d for his new film, The Living Desert {1953). Thi meeti ng turn d into a life-long friend hip and a new direction for O 'Connor. He enjoyed inventing solution for ca meramen' need . OConnor Engineering ha produ ced thousands of fluid head and tripods, alway improving to co mpl ement today' high-end film and tel vi ion produ ctio n. AMPA honored hi s monum ental ontributions with a 1976 Sci-Tech Award and an 0 ca ,.e in 1993. In 1994, th ociety of Ca mera Operator pre ented him with a Technical Achievement Award. Chad O 'Connor's life's work, ca mera upport equipment, ha become a tanding legacy that will long survive us all.

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Riding the NY- Long I land train , from top left, are Ke Grip George Patzo , Actor Jay Hernandez, amera Operator Peter Ro enfeld 0 , Focus Puller con Rathner and till Photographer Fran ~oi Duhamel 1PSP.

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Roster of the Socie,Ey of

CAMERA OPERATORS CHARTER Parker Ba~len Paul Basta \11chael Bt.>nson Jell) G alla"av Joe Eppmon W1lliam Jav Gahret f'eK~ Hapke Norm Langley Lee Nakahara ).l)

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John 'Civl>y ithola> ill h ~cnzo GP 'otarile John o· haughnes>y Andre~• Parke 1"'en Parker Rand). Peck K.lnn J'ellom Mallhl'\v A Petrosky Astnd Ph•ll•ps IV Pi•-ena Ted Polmansk• Serge T PoopiS Boris Pn e Andrea Quagllo Liz Radley Udo Ra1 n Jein R1thard Rawlmg< Jr, AS Marcia Reed B1ll Reil r ndy Rentmcesler Bnan D Reynolds Dav•d Richen liua Robbms Ken Robmgs

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leph n Mark Ciappena Robert E oil in MIChelle frensha\\ RIChard P ·rudo, A ~1me< A Dennen Ronald Deveaux Jorge Dev<>llo David D1bblc George Sp•ro D•b•e, ASC Kevin Downey Paul A Duclos Bert Dunk. Ke11h Dunkt'flt?) Ieven Duval Bnan James Dzy.1k Kcllh £1sbl>rg Chnslophcr £kstcin Arth1e Fletther John Flmn Ill, Mark Forman Peter F Fnntrup J ffrey Fry R1chard arbon

CAMERA O PERATOR: LIFETIME ACHIEVEMENT AWARDS

N.anns

Peter I Rooney David Rosner Douglas Roeh ~.Yrvtn Ru ht hereen L Sa1yed Mehran alam.att Germano racco, AI Carl Martm huma her, Sr Bob aman Chrisllan Sebald!, Barry If~ Jan lu hak Don p•ro Ol'en lephl>ns Tara Summer. Da"'d Tolsky Rem• TournoiS John Traver Bnan Tweedt

John T\\C<Ien lllwn Van Hulle Cra•g IV Wal h Brian Watkins Shaun Wheeler Grego') LWh11e l'oiCWnght Ton) Varlet! Vilmos Zsigmond.

HO ORARY John Ba•ley, James BurrO\vs Alexander CaiLall• Trevor Coop Roger onnan Dean Cundey, Bruce Doenng Wilham A Fraker, Jack Green. Tom Hallen Ron Howard Ron Kelley Kalhlec>n Kenneci).-Ma"hall Jerry LCI>~ Larry M onkt') R1 k Mil hell A Linn Murphree MD Jay Roeh ~teven Sp•elberg Robert A Torres George Toscas Roy Wagner. Roben \Vise RETIRED Gary Olyn Armstrong (ugene Ashbrook ll'wan Barbee Lou Barha Rupert Benson Jr Bob Berry AI Bell her James Blanford Vee Bodrero Donald R Burch l'hihp apl.m Bruce Catlin 81ll Clark hm Connell Robc>rt fl.'ller Gerald P Finnerman. jerry ruller Gil Haimson Lull Hapke Gary Holt Robert C Horne

Bob Keys Joseph Longo tl'\e Lvdecker Ol'en Marsh Boll 1\.l.l~a Stan M lain hcha I M lary Ron M Manus Emmanu I Me!axas Ed Morey Sol ·egnn,

King •cholson John G 'ogl Alron Pazan11

Robert H f'el>bles Arnold Rich Sam Rosen Frank Ruttencuner R1chard Salvatore Hal Sh1frman Ph1l Stern DJvid uuon

GeneTal\ln P,rnelll ·u' "·en \\'alnum Ben Wolf

CORPORATE ARRI 8111 Rus...,ll BART£ H [ GIN[[RING J•m Ba~ell BEAEL CORPORATI John Keesee BIR~ & IVYER, I Bill Meuer CHAPMA 1\.EONARD STUDIOS Leonard T h•pmdn Chnsllne 1Huen~>rgardl LAIRM NT CAMERA Denny Cla~rmonl DELUXE LAB . INC Steve Van nda DOGGICAM Gary Th•ehges E.ASTMA K OAK OMPA Y Curt•s E Jon FILMTOOLS tan M Clam FOTOK£.\.1 Bill Broderwn FUJI PHOTO nLM U andra Kurotob1

FUJINO'<.IN huck Lee GEO FIL/.1 GROUP, IN George 'olan HYDROFLEA. I J'ete RomJno I AlA& 0 RO) lsa1a IL Fl HER COMI'ANY Jimlll) L r1sher Frank~ ·

LEE FILT£RS lA DIVIS IO OF PA AVI 10 , li' ) SeJn Hi~ OCON 'OR E"'GINEERING LABORATORIES Joel Johnson ono EME •z I TER ATIO AL, I Fritz Hcmzl Otto N menz PA ETE Hi'Ol Vinc•nzo M Pac PA AVIIO Ph1l Radon PHOTO- '<I onrnd Kiel SCH EID(R OPTI ENTURY OIVI ION BIIITurner SONY EL£CTRO'<I , IN Dh.1nendra Patel TECH I OLOR Fl Adam huck Robert Dt'flnis VlNTE , I Pelet Harm<Jn

J'eterVmten WILLIAM r WHITE LTD OM WEB GROUP Paul Bronrman William r Wh11e

Ro ter urrent a of 1/13/08

p<'Cial Award< lssU<.> 2008

J.L.Fisher Motion Picture & Television Equipment "J.L. Fisher products are proudly made in the U.S.A."

DOLLY ACCESSORIES I

Patent applied for

FULLY ARTICULATED SKATEBOARD WHEELS Skateboard Wheels : for J.L. Fisher Model1 0 and 11 Dollies. The skateboard wheels incorporate articulating trucks allowing all32 wheels to maintain contact with the track for better control and stability, on both straight and curved round track.

All 32 wheels maintain contact on both straight and curved round track

Each set of 2 wheels can swivel independently

New products designed to let you work faster, easier and more productively! Accessory Carts : for J.L. Fisher Model1 0 and 11 Dollies. A timesaving and efficient way to transport and store Dolly accessories from the grip truck to location. One cart for boards and one for other Dolly accessories. Designed for ease of use in many different terrains. The use of the two carts assures ease of movement and maneuverability.

Seat Offset Low: This seat offset is for use on the model 10 Dolly to give the camera operator comfort and flexibility when shooting at low angles; for example, using the low level head.

Waffle Adapter: (WAT), used on the J.L. Fisher Model 10 Dolly, raises , lowers or offsets the Multi-Position Level Head (SLT) and the Quick Change Low Level Head (LHT). The Waffle Adapter Plate indexes every 30 degrees on the Dolly's lift beam. The Level Heads (LHT, SLT) index every 30 degrees on the Waffle Adapter. This allows a wide variety of camera positions unavailable with other products.

AVAILABLE FOR RENTAL WORLDWIDE J .L. Fisher, Inc. 1000 Isabel Street, Burbank, CA 91506 U.S.A. Tel: (818) 846-8366 Fax : (818) 846-8699 Web : www.jlfisher.com e-mail : info@jlfisher.com

J.L. Fisher, GmbH Emii-Hoffmann-Str. 55-59 50996 Koln, Germany Fax: +49 2236 3922 12 Tel: + 49 2236 3922 0 Web: www.jlfisher.de e-mail: info@jlfisher.de

Introducing KODAK VISION3 SOOT Color Negative Film 5219/7219. The first

production

in a new family of films for a new era of filmmaking. Featuring Kodak's advanced Dye-Layering Technology, VISION3 SOOT Film delivers unprecedented performance in shadows and highlights and offers more control and flexibility

postproduction distribution & exhibition

from capture through post, in both digital and traditional workflows. Learn more about KODAK VISION3 Motion Picture Film at www.kodak.com/go/vision3