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April 2019 / Vol. 90 No. 3


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cONTENTS April 2019 / Vol. 90 No. 3


Sundance 2019 .... 64

departments gear guide ................ 14 zoom-in ................ 22 on the street ................ 26 exposure ................ 32 production credits ................ 82 stop motion ................ 98


magnum p.i. CBS TV’s reboot of the classic 1980s crime series provides plenty of thrills, chills (in the water) and near-spills for its Hawaii-based Guild camera team.

on my block Tommy Maddox-Upshaw sees L.A. through teenage eyes for Season 2 of Netflix’s urban dramedy.

the curse of la llorona Michael Burgess’ first studio feature is a period horror film featuring lots of MōVI work, and children. Easy, right?


48 56

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At The Barricades We’ve spent a lot of time over the last few years educating, guiding and advocating for new technologies that will help preserve the creative integrity of the moving image. Since the transition to digital workflows more than a decade ago, our involvement has taken on greater importance. As the story goes, when film dailies became less prevalent, vastly inferior alternative delivery systems were introduced, like VHS, ¾-inch videotape, and the truly horrible-looking DVD. With the arrival of these new technologies, our work was judged (often unfairly so) by the creative and business sides of the production chain; this new media may have been convenient, but it was also a detriment to the art and craft of cinematography, and all of the many jobs we execute on the set. Those systems made it nearly impossible to determine critical focus, thereby impacting the careers of camera assistants; they made it equally difficult to judge movement, affecting camera operators. And regarding the actual quality of the image – lighting, tone, diffusion, color, all at the heart of the cinematographer’s craft – these poor dailies media drove a stake into our professional hearts. Even the displays that were used – non-calibrated and in rooms with ambient light streaming in – hurt our cause. Things changed when the industry began to complete the transition to digital, but that was neither fast nor effective. The opportunity to accurately display the image captured on set didn’t truly arrive until dailies began to be delivered digitally to high-quality screens. Initially, even these different systems had their flaws, creating more challenges. But as the technology has improved, producers, directors, studio and network executives are being presented with a chance to see our imagery as it was intended. Dailies delivery continues to evolve with the ASC Color Decision List (CDL), which provides a wealth of information about our on-set choices to the post facility, and cloud-based delivery systems. And yet, I’ll still walk into editing rooms with monitors that have no calibration. I’ve become an annoyance, asking to have the monitors calibrated and often hearing the editor say, “It’s so dark, we can’t see it!” Yes, and that was the photographic intent on set. In the old film days, this is what the editors lived with. Sometimes it feels like we are indeed “at the barricades,” trying to help steer the impact new


technologies have on our work. Think about the advent of live compositing on set using games engines to integrate foreground and background, or the HDR deliverables that a DP must now account for on set, along with SDR versions. We can only imagine how the job of the unit publicist has changed with the saturation of digital technology – these union members must now communicate in ways we never dreamed of twenty years ago. Publicists are on a 24/7/365 information cycle, protecting the unit as only they can with their deep knowledge of information dispersal and precedence. When we talk about New Technology, all roads inevitably lead to the Hollywood Professional Association (HPA) Tech Retreat. This annual event includes every segment of the industry – from the studio level on down to the lone inventor. When we first started attending years ago, I remember people saying: “Why are you here? You’re cinematographers?” The answer, of course, was to protect our jobs and craft. And they’re listening. In 2018 we initiated a panel centered on how new Smart TV technology can help maintain creative intent all the way into the homes of viewers. That panel helped support two giants of entertainment – Netflix and Sony – in their partnership to create a “Netflix Calibrated Mode” on Sony TV’s, which closely duplicates the finished master. This year, 2019 at HPA, we did a follow-up to that panel, which included Toshiyuki (Toshi) Ogura, Chief Distinguished Engineer, Sony Visual Products, whose experience with consumer imaging electronics dates back to Sony’s fabled Trinitrons of the early 1980s. When I was first introduced to Toshi, I was not sure what to expect. But after 30 minutes of discussion, it was clear he completely understood and embraced our goals. HPA (and other examples like it – NAB, Cine Gear, DGA Digital Day, ETC@USC, etc.) all illustrate how this Guild is making an impression on key decision-makers (like Toshi Ogura), who will help determine how new technologies like HDR, 8K and motion interpolation reach consumers. After all, if this Guild is not manning (and often charging over) the barricades to help preserve the integrity of our captured image in the marketplace, who else will?

Steven Poster, ASC National President International Cinematographers Guild IATSE Local 600


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April 2019 vol. 90 no. 03

Publisher Teresa Muñoz Executive Editor David Geffner Art Director Wes Driver EDITORIAL ASSISTANT Tyler Bourdeau STAFF WRITER Pauline Rogers ACCOUNTING Glenn Berger Dominique Ibarra COPY EDITORS Peter Bonilla Maureen Kingsley CONTRIBUTORS Michael Chambliss David Geffner Margot Lester Kevin H. Martin Karen Neal



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ADVERTISING POLICY: Readers should not assume that any products or services advertised in International Cinematographers Guild Magazine are endorsed by the International Cinematographers Guild. Although the Editorial staff adheres to standard industry practices in requiring advertisers to be “truthful and forthright,” there has been no extensive screening process by either International Cinematographers Guild Magazine or the International Cinematographers Guild. EDITORIAL POLICY: The International Cinematographers Guild neither implicitly nor explicitly endorses opinions or political statements expressed in International Cinematographers Guild Magazine. ICG Magazine considers unsolicited material via email only, provided all submissions are within current Contributor Guideline standards. All published material is subject to editing for length, style and content, with inclusion at the discretion of the Executive Editor and Art Director. Local 600, International Cinematographers Guild, retains all ancillary and expressed rights of content and photos published in ICG Magazine and icgmagazine.com, subject to any negotiated prior arrangement. ICG Magazine regrets that it cannot publish letters to the editor. ICG (ISSN 1527-6007) Ten issues published annually by The International Cinematographers Guild 7755 Sunset Boulevard, Hollywood, CA, 90046, U.S.A. Periodical postage paid at Los Angeles, California. POSTMASTER: Send address changes to ICG 7755 Sunset Boulevard Hollywood, California 90046 Copyright 2018, by Local 600, International Alliance of Theatrical Stage Employes, Moving Picture Technicians, Artists and Allied Crafts of the United States and Canada. Entered as Periodical matter, September 30, 1930, at the Post Office at Los Angeles, California, under the act of March 3, 1879. Subscriptions: $88.00 of each International Cinematographers Guild member’s annual dues is allocated for an annual subscription to International Cinematographers Guild Magazine. Nonmembers may purchase an annual subscription for $48.00 (U.S.), $82.00 (Foreign and Canada) surface mail and $117.00 air mail per year. Single Copy: $4.95 The International Cinematographers Guild Magazine has been published monthly since 1929. International Cinematographers Guild Magazine is a registered trademark.

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W IDE A N G LE / /


was nine years old, and the moment I stepped off the plane in Hawaii (where passengers still disembark onto the tarmac), I knew I was somewhere special. The warm Kona winds, the sweet tropical air, and the languid pace are always a tonic to the soul, no matter your age or station in life. I’ve been back to Hawaii many times since, including a memorable embedding with the IATSE crew of Lost at the peak of that show’s fame. And what I’ve learned each time is that aloha is far more than a marketing plan. Native Hawaiians, and those who have chosen to move there, embrace aloha as a way to live –it’s about humility, respect, and love for all creatures (and nature), great and small. This month’s cover story on Magnum P.I. (page 38) profiles the Oahu-based Local 600 crew who has brought aloha into the workplace, despite the many challenges of shooting in paradise. What could be so tough about being surrounded by glistening aquamarine waters, lush green vegetation, and 82 degrees for days on end? Krishna Rao (who alternates DP duties with Rodney Charters, ASC, CSC) says in Pauline Rogers' article that Magnum P.I. is his third series in Hawaii, “and there’s nothing easy about shooting here. I initially wondered what could be so hard about shooting in paradise. Plenty.” Much of that “plenty” is due to the island chain’s topography, which creates microclimates that vary from dense rain forests to broad sandy beaches. Magnum P.I. AC Brian Matsumura, a Hawaii native, says the Islands can be extremely “inhospitable to sensitive digital cameras,” and that knowing how to navigate “rain, wind, sun, mud, mosquitoes and waves” takes years of local knowledge. Working in the open ocean, as Magnum P.I.’s water DP, Don King, has done for decades, is obviously challenging. But did you know that even the placid Hawaiian lagoons turn treacherous in the blink of an eye? B-camera operator Jay Herron was shooting a handheld scene in a normally calm lagoon in Ko Olina (west side of Oahu). “It was during a large west swell from a


hurricane, which was passing by the state,” Herron recounts, “and it was all we could do to keep our three handheld Minis from being completely submerged. Thanks to my Dolly Grip [Don Chong] grabbing the camera when the waves crashed over my shoulders, we avoided disaster.” Avoiding disasters – big and small – on a Hawaiian set is an art that is passed down by Union elders, exemplified in our Zoom-In profile (page 22) on 1st AC Tony Nagy. A SoCal transplant, Nagy learned from the very best – working for a decade with Laszlo Kovacs, ASC, and Vilmos Zsigmond, ASC. When he moved to Hawaii and landed a job on a new show called Lost, Nagy found plenty of local talent, eager to work but lacking experience. “The idea was to give back to the industry I love, and Hawaii in particular,” he says of the training program he started on Lost. “My one steadfast rule was that anyone we trained had to be born and raised in Hawaii.” Years later, Nagy has nurtured a dozen Local 600 members, several of whom are working side-by-side with him on Magnum P.I. They include AC’s Rylan Akama, Brian Matsumura, and Nagy’s first female trainee, Magnum P.I. Loader Kilani “KiKi” Villiaros, who also landed her first Netflix movie shooting in the Islands. This April issue is focused around New Technology, and between Magnum P.I.’s many drones, DP Michael Burgess’ many MōVI shots (operated by Craig Bauer, SOC) on the period horror film The Curse of La Llorona (page 56), and Tommy Maddox-Upshaw’s customized lenses (thank you Freddy Saladin, Keslow Camera) to create oval bokeh effects for Season 2 of Netflix’s On My Block (page 48), we’re covered. But technology is only as good as the people controlling it, and that’s what makes shooting in Hawaii ­– and its aloha spirit – so special. Rodney Charters, who hails from another Pacific island chain a bit farther west (New Zealand), says one of the great things about shooting Magnum P.I. is the local camera team. “The start of day on a Hawaiian set,” he shares, “is full of greetings and gestures of goodwill, and it sets the tone for a more human side of what we do together as we create our art.” Or as my island friends would respond: That’s plenty kōkua, braddah. Just ask your Auntie, yeah.

David Geffner

Executive Editor

Twitter: @DGeffner Email: david@icgmagazine.com


Margot Lester

(The World At My Feet) “I first became a fan of DP Tommy MaddoxUpshaw in 2013, when I profiled him for the ECA’s. It’s been so cool to see his work evolve and to witness his continued commitment to quality image-making and diverse crews. He’s such a high-integrity guy, and it shows on screen and behind the camera.”

Karen Neal

(Trouble in Paradise, Stop Motion, Cover) “Shooting Unit Stills is all about relationships, building trust, and being respectful of the production and creative process. You have to know when to back off, and when it’s okay to push for more, as well as constantly having to adjust to ever-changing physical and social environments.”


April 2019 / Vol. 90 No. 3


cover photo: Karen Neal

CORRECTION In our February/March Gear Guide (page 18), the quote for Hasselblad’s XCD 80mm F1.9 lens should have been attributed to photographer/filmmaker Ted Forbes.

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oes everyone who is born and raised in Los Angeles end up in the movie industry? Probably not – it just feels that way. Behind-the-scenes work with camera technology fascinated young Tony Nagy as he was growing up in Southern California. So starting his work life as a camera PA seemed natural. The question: Would he last? The answer, thanks to talent, perseverance, and luck was a resounding “yes,” as Nagy became one of the go-to ACs in the industry. “It was because I had two of the greatest mentors in the business,” he recalls. “For ten years I worked with Laszlo Kovac, ASC, and Vilmos Zsigmond, ASC. With

Vilmos, I learned to try every new piece of equipment and experiment with new things. With Laszlo, the technology was important but what he really taught me was to be good with a crew. He always had his crew’s backs, and they knew they could count on him. Those are two of the most important lessons I’ve learned that I pay forward.” A decade in, Nagy took a hard look at the business, and, with his family, made a choice. An avid ocean person who loves surfing and the outdoors, he wanted a change, and Hawaii called. “I wanted my kids to grow up in an environment like this,” he says, gesturing to the tropical paradise where his most recent

series, Magnum P.I. (page 38), is based. Nagy, who says he’s never regretted the decision, received job offers fast once he made the move. “The one that stood out was Lost,” he remembers, “mostly because of Larry Fong [ASC],” he adds. “It was a technically interesting job, made more challenging because there was so much work out there that we were getting people who were eager but inexperienced.” That’s when Nagy and a few industry friends decided to start a training effort. “When people heard what we were doing, we got a lot of calls,” he describes. “But I decided on one steadfast rule: since the idea was to give back to the industry that I love (cont'd on page 24)


Z O O M - IN 22




and Hawaii in particular, it became all about training people who were born and raised in Hawaii.” Nagy’s first stop was The University of Hawaii. But, as word grew, so did the places to find talent. Over the past 10 years or so (since Lost), Nagy has trained over a dozen camera people, all of them now working in the industry and, of course, proud members of Local 600. Examples who are part of the Magnum P.I. team include Rylan Akama (a 2nd AC about to move up), Brian Matsumura (who started on Lost as a camera PA and is now B-camera 1st AC), and Walrus Howard and Kanoa Dahlin, who both started on Lost as well. So what does Nagy’s training entail? It’s more than how to log the equipment, keep the project’s books straight, and not stress when you are handling a camera lens worth $150,000. “It’s about handling the equipment area and, most importantly, learning set etiquette,” Nagy adds. There’s an added

factor as well because each trainee is a local islander: their knowledge of Hawaii, which is often a character unto itself, and not always a friendly one, in so many projects. Want to use a drone or a helicopter? Ask a Hawaiiborn crewmember – they’ll know the best way it can be done – or if, indeed, it can be at all, given the terrain at hand. Of course, at some point, Nagy has to kick his birds out of the nest. “When a high-profile DP comes to Hawaii, I encourage them to work on that project,” Nagy shares. “And when they come back, it’s now with new insights into what other crews do – and a confidence that they can not only hold their own but also bring something to a project. Combining my way with someone else’s – that’s the idea.” A perfect example was his first woman trainee – Kilani "KiKi" Villiaros. “She is so talented and so eager to learn,” Nagy says enthusiastically. “Just this week she went off to start a Netflix movie shooting here – and not only will she learn a lot, she’ll bring a lot

to the project.” Nagy is constantly proving how his giving back is making a difference. Now, when crews come to Hawaii, they are finding highly trained assistants who feel at home not only in their environment, but also within the structure of a large Hollywood production. Nagy’s enthusiasm for training Hawaii-born and -raised talent is infectious. Akama, for example, has already taken on half a dozen new “trainees,” giving back as Nagy does. “I know each of our regions functions differently,” Nagy concludes. “I respect that. But I wish that more regions and more members would look at what we are doing in Hawaii. It’s all about giving back to their respective regions – and the crews that have chosen to make a living there. Train the next generation. Help open up young people’s creativity – and contribute to our Union. Not just by bringing in more members – but bringing in highly qualified members who know what they are doing and can be a creative asset to whatever project they’re on.” C








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undits have long predicted an explosive outgrowth in virtual reality technology, potentially impacting society on multiple levels. In the field of entertainment, it has often been linked to choose-your-own-adventure storytelling, an approach sometimes at odds with basic narrative tenets. Irrespective of the artistic argument, the practicality of implementing VR has, until recently, been a sticking point. But with increased computing power and ever-expanding knowledge of what techniques work best for general audiences, virtual reality – and variants like augmented reality (AR), where CG elements embellish a

real-world view – now seems poised to break out in a big way. Working in association with The VOID, which operates a number of VR venues, LucasFilm’s ILMxLAB has worked on several major entries in the field. The company’s focus on immersive entertainment includes Star Wars: Secrets of the Empire and Wreck-It Ralph: Ralph Breaks VR. These supplements to already-thriving properties walk a creative tightrope, tying into what made each franchise successful while expanding on the possibilities for viewer engagement. VFX supervisor Pat Conran recalls, “In the case of Ralph, the film’s writer wrote this for us, so we

knew the character wouldn’t go off on some tangent that detracted from the established Ralph experience. And with Secrets, there was a story group serving as chaperones for what could and couldn’t happen in the Star Wars universe. ILM’s rendering technology for features has moved on quite a bit beyond the prequel films, and here at xLAB we’ve replicated that array of physically-inspired shader effects for real-time use in VR.” Given those gut-wrenching galaxy dives on the Death Star, one might expect Secrets to offer stunning acrobatics, but ILMxLAB lead experience designer Jose Perez, who has contributed to space battles in the Star (cont'd on page 28)




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Trek, Stargate, Battlestar Galactica and Firefly universes, calls VR a different kind of animal. “If we were to deliver that intensity of space stuff in VR, people might suffer motion sickness,” he reports. “I’m one of those people who gets sick at the drop of a hat – the crew actually refers to me as ‘the canary,’ as in miners taking a bird with them to check the air in the mines – so I’m often the test subject to see if this issue has been resolved.” Perez notes that when physiological stimuli in humans contradict, the results can become chaotic. “If your eyes think you’re moving but your body indicates you’re not, primal things kick in,” he elaborates, “with your body thinking it has been poisoned! So we add embellishments to VR, such as putting transducers on The VOID experience to introduce physical shake, which works well when you’re in a cockpit environment. Darkening the perimeter to keep the peripheral vision from contributing to nausea is another trick.” Another aspect that minimizes nausea is the increased frame rate. “There are still a lot


of issues with real-time rendering, especially objects viewed in dynamic motion,” describes Conran. “Running at 90 frames per second, that’s 11 milliseconds to generate each frame.” Gaming engine Unreal Engine 4 from Epic Games powers these experiences. Conran says VR artists can’t rely on traditional cinematic depth-of-field to direct the eye. “We do employ depth-hazing and fog effects, along with recognizable objects you know size-wise from life; you’re viewing in stereo with both eyes, so you can accurately judge distances.” The free-roaming viewer eyes in VR mean that standards in composition and framing collapse with the turn of a head. “There are workarounds,” Perez acknowledges, “but we still can’t compel the viewer to look only at a character when he is in ideal three-quarter backlight. A DP would determine the ideal angle and lighting, but we’re putting this rig on the head of a 12-year-old who is going to look at whatever he chooses. So we take a more theatrical approach, such as placing doorways or flying an object into view that

will land right where we want you to look. We’ll even turn on a light to catch your eye or include an audio cue for your ear.” In the case of Ralph, development of the VR experience commenced while the sequel film was still in production. “Working with Walt Disney Feature Animation as well as the writers and directors, we were able to take assets directly from the film’s art department,” Perez adds. “Sometimes we could drop sets right into our work as-is, but more often we’d have to rework them so that they worked in VR and at our higher frame rate. And for the parts of our story that are new to Ralph, we had the art departments work to reference and ensure our work came in as close to what they had established as possible.” There was some question about how much of the film’s game element to include in the VR presentation. “It is part of that world and IP, so we leaned into it with the high-score aspect,” Perez acknowledges. “But we would not have applied that to Star Wars, because getting a point value for shooting



a bunny with a pancake doesn’t track when you’re fighting the Empire. It has to integrate with the particular universe and style. “For one section of Ralph, we go into an old-school 8-bit retro vector-based video game,” he continues. “Essentially it looks like Asteroids or Space Invaders, but you’re within that world rather than observing it. We studied games from the 1980s, including the original Star Wars arcade game, and tried to translate that into our feature/VR world. So it was pulling in two different directions, reconciling the gorgeous WDFA look with this funky old analog stuff.” Ralph’s character animation required innovation that manifested as a major departure from ILM’s past feature-film animation. “This was a thing apart from Star Wars because these characters have faces instead of helmets,” Conran observes. “So we had to build a new pipeline for facial animation that worked much differently from ILM’s feature pipeline for character


work. Rango is just about the only full feature ILM did with cartoon character animation, but it didn’t have any squash-and-stretch Tom and Jerry stuff, whereas this was filled with characters hitting key poses that were in no way physically possible. Two animators from the feature joined us after the movie wrapped, and helped us to duplicate the look and feel of the character poses. We had a lot of fun with the Internet portion of Ralph, filling it up with characters from the film and a tremendous amount of traffic that helped enrich the environment.” Reviewing how successful various cues and tricks are in directing audience attention is a process that travels down through post. “It’s always a real challenge to get the viewer to a particular perspective you really want them to see and experience,” Perez offers. “We actually have to develop a consensus approach based on a large number of our people going through the VR experience to work up the best solution. Interactive media,

even though it is our vision, is still, in the end, a product that is being created by the guests with their choices. So doing a ton of play-testing is the best way to iron-out bugs and find unexpected results. If you put 200 people through the experience and realize almost none of them are looking where we want them to, that means we’ve got a lot of work to do – and possibly redo.” As to VR’s future applications, is the sky truly the virtual limit? “There’s plenty of room for linear stories not requiring interaction to be told using virtual reality,” Perez muses. “If you can imagine being up on the stage of a play as it goes on, that is one direction VR could go. And with our upcoming Vader project, xLAB is starting to deal with Oculus Quest, which is just a mobile headset. Instead of plugging into a big PC, you can just throw the Quest into your backpack and take it to grandma’s house. As personal mobile devices become more prevalent, VR and augmented reality should really take off.”


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Sam Conway is a second-generation special-effects man, carrying on the proud mantle of father Richard, who often spearheaded in-camera magic for director Terry Gilliam. The elder Conway supervised model work on Brazil and special effects on The Adventures of Baron Munchhausen. Sam Conway got his start as an assistant on various U.K. features and TV productions, eventually graduating to special-effects supervisor duties on Never Let Me Go, and other features before joining HBO’s mega-hit, Game of Thrones, in the show’s fourth season.

Sam Conway on the Northern Ireland set of Game of Thrones, Season 7, "The Spoils of War" / Courtesy of HBO

E 34X P O S U RE


ICG: Did your father’s work during the 1980s get you interested in a career in effects? Sam Conway: I’d go in during holidays from school, and remember quite vividly picking up quite a bit during the time of Monty Python and Labyrinth. That involved techniques for using maquettes and dummies being articulated via puppetry, plus many different kinds of miniatures, including the winged flying man in Brazil. It used an articulated scaleddown figure shot at high speed while flown on wires across the stage. When I left university and got a job with my father, there was the matter of going through training on various processes and working your way up over time; often it is a matter of developing enough information to be able to carry the right answers in your head on the day they’re asked of you. A lot of the time the questions are about dealing with unique new looks, but you can often adapt what has been done in the past, building new devices to achieve something similar but more visually exciting.

There had already been connections made in a lot of the places we shoot each season, so I didn’t have to reinvent the wheel when revisiting an established effect – you find out how it was done and who helped achieve that and go down that same route. Unless of course, there’s something being added to the mix – and oftentimes enough, there is!

make them up. From there, we test and test till you’re ready to just storm off on it. With big setups, you only get one go at it, owing to scheduling. That’s quite stressful, because if it doesn’t work right, you’re … [laughs]. The smaller gags are typically things that you can reset easily, so the expense of doing multiple takes isn’t the issue.

What is the prep process like on a show of that magnitude? At season’s start, we get a single document summary of all the scripts. It gives us an idea of what is going to be needed to set the scene and what kinds of visual challenges are going to be involved. Then things get broken down more specifically by department, and by category of effect, after figuring out if an element can be accomplished via miniature or full scale, or is heavily VFX dependent. [VFX supervisor] Joe Bauer and his team know a lot of what we can do to aid his end, but always asks just how far we can take things, so a determination can be made about specific shots and elements that

What are the conversations with the episode’s director? Most directors on the show are demanding enough to be able to expect the chance to reshoot on the smaller tricks, and reasonable enough to understand that the bigger ones are often one-offs and they need to plan on using additional cameras. There have been a few times when CG gets called in to cover things their way when production can’t wait for us to reset a gag or the building guys to put something back together. With so many elements and departments, does the approved plan ever get changed during production? About the only time I

Photo by Macall B. Polay

Conway’s work earned Emmys for one of the most celebrated episodes in GOT’s history, “The Battle of the Bastards” (Season 6), as well as last year’s (Season 7) fiery, dragoninfused episode, “The Spoils of War.” Both episodes feature effects-driven spectacle that combines Conway’s on-set work with elaborate post VFX. ICG regular Kevin Martin caught up with Conway before the premiere of GOT’s highly anticipated final season.

Does a lot of that training relate to ensuring safety? It is all about testing and scaling up. Without testing, you’re putting many lives in danger. You start with familiar materials, using amounts that will give you expected results when they are set off. That happens in a controlled environment, letting us learn before we have to take it out and make it work in an environment with a full film crew and performers in a way that looks exciting and dangerous but doesn’t present a real hazard. You joined Game of Thrones after the show had taken on world-beating status. I started working the floor in the fourth season and then took over on season six.

04.201 9 35


can recall deviating from the set plan was a sequence where we had to come up with something that looked like ice on a frozen lake that could collapse with people on it. I had originally proposed submersible platforms for the stunt guys that we could lower and then reset quickly. Production decided to go with an alternative, stuntmen walking onto cardboard boxes, but then with something like a month to go, they eventually decided that wouldn’t work, so we went back to my idea. That’s very much the exception. Can you discuss how things broke down for The Spoils of War’s “loot train attack,” where a fire-breathing dragon strafes the human caravan, and the physical effects were integrated by VFX vendors, Method Studios and Image Engine? You rehearse without any pyro, so it’s only when the DP can see the flames and smoke that he or she can really work out every detail of the shot. No matter how much detail there is in the previs, some aspect of the actual shooting environment will not be fully accommodated, so the framing of shots will always be revised depending on the landscape, wind direction, and other factors; that calls for back-and-forth as we try to deliver the goods and the DP sets the frame. We had a timing thing set up for the carriage coming through frame and the practical fire that had to be worked out on the day to get the best angle and orchestrate the whole thing. The burning piece used a hydraulic rig pulling it along on a track that could stop it dead. We created lightweight carts – so you don’t need too big of a charge

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when blowing them up – for the pyro strafe as the dragon is supposed to fly past. Were you satisfied with the results? The loot train was such a big gamble – going so heavy on the pyro required a huge amount of trust on the part of the producers that we could deliver on the scale and with such a volume of work. It paid off because it looks fantastic, and now, of course, they want more. [Laughs.] The thought does occur that one has shot oneself in the foot, knowing now that you’ll be asked to do it again, but three times the size. I can’t talk about this new season, but it’s definitely bigger. Joe Cornish’s Attack the Block was a film that didn’t suffer visually from its low budget. [Laughs.] There was not really much in the way of a budget at all. Storyboards are inexpensive ways to figure things out that serve the story while also informing what is needed from us and post, as it helps us nail down exactly what is going to be seen in the shot. That’s the key to planning all this, because otherwise you can wind up building a lot of detail that will never be seen by anyone but the crew! So knowing what is visible in frame and how close the camera is supposed to be let me maximize the resources available for the big moments, like when a meteor strikes a Volvo, which combined pyro with air bangs going off. Normally I would buy off-theshelf pyrotechnics, but the budget ruled that option out, so we manufactured goods on our own that delivered a similar effect. Mixing the core components ourselves

brought costs down to a fraction of what they’d otherwise be, and that’s a reasonable alternative – assuming one knows what one is doing with these potentially very hazardous ingredients. Prep time still involves wages, but it pays off when you can get that kind of effect on the day in-camera. With a gothic story like the recent Woman in White series, is your contribution mainly a matter of onset atmospherics? That was another fire effect. But the location was a Grade 1 listed building, a designation reserved for older and historically important structures, such as cathedrals, castles, towers and town halls, including this church exterior. Construction built a piece off one side of it that we could burn, without creating any damage or risk to the actual building. Another tool that suggests destructive force without the risk for damage is the air mortar, which operates on a quickopen valve to spray debris. On The Hitman’s Bodyguard, we had a vehicle explode in a car park outside a London office that was all glass on the outside. That used mortars in tandem with flashbulbs to give it that explosive look. You also worked on Danny Boyle’s Sunshine, which had some amazing effects lighting to simulate a close view of the sun from aboard a spaceship. We were involved in creating some blinding lights … it hurt to even look at them! But what was really exciting was generating the surface of the sun practically. We suspended an upside-down box over a

camera, then pumped gas inside it and ignited it. The gas hunted for oxygen within the box, and that frantic activity created all these various swirling shapes, which formed the basis for the sun’s textures. We had a high-speed Phantom shoot of tiny black powder charges, which produced wonderful striking nebula forms with incredible patterns. It took me back to watching my dad work on Flash Gordon’s clouds, which were done at four frames per second, shooting as ink was injected into a tank. He’d wait a half-hour for the tank to clear and then start in again. Do you think the push to do as much as possible in post has lessened? I think so. Nearly everything was CG for a time, but now practical is a significant part of the solution again, to the point where we get in early during prep, which makes a huge difference as to how successfully we can contribute to the final product. That swing back toward physical is proceeding in a reasonable way that I find to be quite symbiotic. Each party is aware of the other’s skill set, and while we relish doing what we do best, there’s also the knowledge that certain aspects can be accomplished to a greater degree when augmented by the work of the other group. There’s always the saying that you can do anything with CG if you have the money, but when it comes to doing everything convincingly, well, that still isn’t always the case. It’s nice to try to achieve these things physically, both for the creative people making the film and for the VFX artists, so they have something to match to with the shadows and lighting.











FaNs of 80’s TV will recall, with some wistfulness, the often sarcastic but always enjoyable back-and-forth between an American reprobate with a heart of gold, Thomas Magnum (Tom Selleck rocking the short shorts and full mustache), and a seriously snobbish but subtly devilish Brit by the name of Higgins (the supremely snooty John Hillerman). They also will remember that classic series’ rich, shot-on-film look (crafted by John Flinn III, ASC, and William Gereghty), which showcased the many gorgeous Hawaii locations. Flash-forward to present day, and CBS Television has brought out its “reboot” (is that the right word for it?) of Magnum P.I., with many of the original tropes still intact, albeit updated for contemporary viewers. Thomas Magnum (Jay Hernandez) is still a feisty and decorated former veteran (this time a Navy SEAL having served in Afghanistan), and Higgins is now a former ex-MI6 agent (English accent still intact) and a woman (Perdita Weeks). Magnum is once again ensconced at “Robin’s Nest,” with regular access to the offscreen billionaire’s bright red Ferrari.

Alternating DP’s Krishna Rao and Rodney Charters, ASC, CSC, established the look for this new Magnum P.I. This is a detective story that, as Rao describes, “stands on the shoulders of L.A. Confidential and Chinatown – both soft-light classics of the genre [shot respectively by Dante Spinotti, ASC and John Alonzo, ASC].” To achieve this, Rao and Charters use ARRI SkyPanel 360s – large, soft-light LEDs, controlled in color and intensity through dimmers – and two Softsun 50K lights for the intensity of direct sunlight. They also added numerous SkyPanel 60s as well as 8-foot, 4-foot, 2-foot and 1-foot

Quasar Science tubes. Gaffer Danny Eccleston, who Rao calls “the most experienced and tech-savvy gaffer I’ve ever worked with,” made the choice for the soft lighting units. Another vital piece is DIT Caleb Lucero, on set all the time for consistency in a land where the weather changes every five minutes. “With three cameras full time, our favorite tools are the Preston Cinema single-channel handset combined with Leader waveform/false color monitors,” Lucero explains. “They work hand in hand to balance the overall level of exposure, which can vary by four to five stops – full sun to dark clouds ­– during takes.” They also use Pomfort’s Livegrade Pro and Tangent’s element Tk panel to build on Encore Hollywood colorist Laura Jans Fazio’s baseline grade. To help sell Hawaii’s natural beauty, Rao and Charters use ARRI ALEXA MINIs, supplied by Panavision, with a selection of the company’s top zooms and primes, along with a tool the original series would have certainly enjoyed –­ DJI Inspire 2 drones equipped with a Super 35mm chipset camera and Hasselblad Lenses. There are even several iPhoneX smartphones used to shoot vertical Facetime integration sequences. The crack Guild camera team on Magnum P.I. includes underwater DP Don King (ICG Magazine, May 2011, Tunnel Vision), Operators Keith Jordan, Jay Herron, and Scott Mason and an AC team that is Hawaii- and L.A.-based – Rylan Akama, Brian Matsumura, Zeke Hanohano, Tommy Lewis, Sal Alvarez – all led by 1st AC Tony Nagy (see Zoom-In, page 22). The easiest way to explore the many new tech tools used on today’s Magnum is to talk about everyone’s favorite challenge – Episode number 115 – in which Production was allowed to close down the H3 (the major freeway on Oahu) for six hours – on a Sunday. Charters led the main unit and Rao the other, all of which included seven ALEXAs, a Steadicam and a drone. There was also a Russian arm on a Raptor and a MovieBird mounted on a stake-bed towing a picture truck, four Sony a7s DSLRtype cameras, and a Sony RXO. (Both DP’s say the latter is a better crash-cam than a GoPro.) The episode featured actors fighting in the cab of a truck, with green screen beyond the windows that later allowed for a CGI truck flipping over on the freeway and scattering gold bricks. The action revolved around Magnum’s ex-girlfriend, now a villain, and her stolen truckload of gold. Magnum tries to stop her – and the chase is on. Another technological change from the original series is


the helicopter footage, which is now mainly stock, augmented by a plethora of go-anywhere drone footage. Today’s drones can move easily in 3D space, as evidenced by the opening shot of the episode where the drone converges behind a convoy of military trucks entering a tunnel. The Magnum team had numerous safety and strategic planning meetings before drone camera operator Kevin Sawicki and pilot Eric Sterman went into action – sort of. As Sawicki recounts: “As the drone began to enter the tunnel, each truck fell into perfect formation below it and, all of a sudden, the drone came to an abrupt stop!” Video village thought the drone hit a sign. Panic. But then Sawicki explained the sophistication of today’s drones (Inspire 2, Zenmuse X7 camera and DJI DL/DL-S lens): “It has an obstacle-avoidance sensor that detected the entrance sign from 30-plus feet – and wouldn’t injure itself or others,” he smiles. As for the true star of the series, that vintage red Ferrari, Charters says it has issues. “The top is always down,” the ASC TV Lifetime Achievement Award winner describes. “You can’t put it on a flatbed dolly – it’s too high. So, we have a 15-foot Technocrane off the back of an insert car – towed on a baby wheel dolly. We have to noodle around for angles. And it’s time-consuming to cover three times and match. Two Aladdin A-Lites are hidden in the dash – and that’s it. We just hope for beautiful sun in the right place.” “I’ve been in a lot of cars with a camera over the years, but our late-model Ferrari quickly presented a problem,” adds operator Keith Jordan. “Rigging it in the way we would others isn’t possible. For one thing, we can’t disable the airbags, and we can’t put an operator in the front seat without disabling them, as it can be deadly. So, we have to be creative. The passenger seat is removed, and a mini Libra remote stabilized head is installed in the car in order to get the shots that would normally be achieved with a handheld. Problem solved. Operator safety – so important.” AC Sal Alvarez calls the mini Libra an interesting addition to the arsenal. “It’s a great way of getting Magnum’s P.O.V.” he explains, “looking over to his right out the window following a car as he goes into the driveway. We saw what it could do – and it began to do so much more.” As for Magnum’s other major star, the stunning Pacific waters surrounding Oahu – while big, blue and beautiful, they can turn treacherous at any time. Rao says, “This is my third series in Hawaii, and there’s nothing easy about shooting here. I initially wondered what could be so hard about shooting in paradise. Plenty.”


“ this is my third series in hawaii, there’s nothing easy about shooting here.


I initially wondered what could be so hard about shooting in paradise.

plenty.” – Krishna Rao


AC Brian Matsumura, who grew up on the islands, adds that a big part of the job is knowing how to deal with Hawaii’s different environments. “From sandy beaches to dense rain forests, we have to be prepared to work in constantly changing conditions. Hawaii can be a very inhospitable place to sensitive digital cameras. Knowing how to navigate around rain, mud, sand, and waves is part of the territory that comes with working here.” Of course paradise does inspire creativity. Take a shot that cinematographer/director Eagle Egilsson, ASC, envisioned, for instance. “The script called for the boat Magnum was on to explode out in open water at night, which is, as we all know, quite an undertaking in real time, not to mention the cost,” Egilsson recalls. “Doing it CGI would also be a challenge and expensive.” The solution was to play the audience’s imagination of what the above water visuals would be if they showed Magnum diving under the boat in close-up, while viewers see the boat explode above. The art department took a small eight-foot vessel and mocked it up to resemble the big boat with a fake miniature outboard set of engines on it. “As Jay leaps off that small boat into the water [a pool] towards Don King’s underwater camera, the special FX team, led by John Hartigan, set off in sequence three gasloaded cylinder bombs suspended 20-feet above,” adds Egilsson. “Those are hidden from camera behind the small boat as Jay entered the water and swims into his close up, with the fireball behind him.” The longtime water veteran King calls it his favorite shot in the series so far. “Eagle’s idea was great. We were under the water with an ALEXA Mini in a water housing, with a 12-millimeter lens. As soon as he hit the water – the boat explodes. Lighting? Right! At 200 frames per second – and the flash bombs take care of the rest.” King has also had to prep a 22-page sequence that was going to be shot all on and under the water – from a


barge, with a drone, and various cameras in Hydroflex water housings. [See extended online version of this story for full details.] When the ocean is too inhospitable, or too unsafe, moving the water inside becomes the next best thing. Take the shot were the “gold” is discovered in Episode 115. The prequel to the shot is the discovery of the gold under the water – from a lost, sunken tanker. King says they decided on using a small tank and a shipping container to show bulkheads inside the shipwreck. “It’s a metal room with a little light streaking in from the top,” he outlines. “Space was a challenge. Three people and no communication under the water. We had one Sony a7 in a Nauticam housing, shoved into a corner to get the exciting fight action, and it all worked!" Even the lagoons in Hawaii can change in a moment. “From rain - and mud-soaked jungles with mosquitoes to hot and humid areas on the West Side to long commutes and hours on the North Shore, we face it all,” describes operator Jay Herron. "One of my most memorable moments was shooting handheld in what is normally a placid lagoon in Ko Olina. It was during a large west swell from a hurricane that was passing by the state. The day ended up being very challenging as we had to keep our three ARRI MINI's from being completely submerged. Thanks to my Dolly Grip [Don DC Chong] grabbing the camera off of me when waves would crash over my shoulders, we avoided disaster. It was nerve-wracking! But we got some incredible shots!” Clearly this new Magnum P.I. isn’t for a faint-hearted crews. One day they’re flying a drone through a gap in the thick rain forest to track the red beast along the highway, and the next, they are under the water chasing gold, or racing down a highway. And while high-risk/high-reward scenes are common, sometimes it’s the little things that make a difference. AC Tommy Lewis knows all too well the pressure of chasing focus on such shots. He says the single most important aspect of his job is to know where the focus needs to be at all times and execute the process quickly. “In the past, it would be a tape measure, math and a lot of time,” Lewis shares. “But with high-definition video cameras, what you see is what you get – especially with focus. Enter the single greatest technological advancement – the Preston Light Ranger 2. The video interface coupled with an infrared LED rangefinder that works in real time – provides a graphic representation

“space was a challenge. three people, no communication under the water, one sony a7 in a

nauticam housing –

shoved into a corner – to get the exciting

fight action, and it all worked!" – Underwater DP Don King


on my focus monitor that helps me determine where the focus is across the frame – and it’s fast. It gives the team the option for great, dynamic shots – and sells Magnum in a way you couldn’t before.” Another “little thing” vital to Magnum’s fast-paced workflow is an iPhone app called Notes. As AC Rylan Akama describes: “On this show, Tony Nagy and I try to use new technology in every way. [Notes is] basic and immediate – we create a schedule for crew and equipment, and we can update it and share it instantly. We can cut and paste as changes are happening and keep up with production. It’s a game changer when dealing with the complexity of new technology – and a star like Hawaii that often has a mind of her own.” The production team switched to Scriptation for all script management during prep, and the notes that flow from version to version of the script are another huge time saver. Magnum’s Unit Stills, Karen Neal, has also benefited from the new digital tools to combat Hawaii’s unpredictable elements. “Sun and humidity can be very intense – anywhere outside, especially when on the water,” Neal explains. “High wind and rain can whip through with no warning, which in jungle areas brings lots of mud and flash flooding.” These days Neal is using a mirrorless camera (Sony a9 with 24-70 G-Master and 70-200 lenses). “No need for a blimp, which can be a problem in Hawaii,” she smiles. “Premirrorless, I had it to protect the lens from the elements. Now, an errant splash of blood, Hawaii’s unpredictable mud and rain, and who knows what else can go splat. “Sure, my camera bag holds that nine-dollar rain bag to protect the lens, if I remember to pack it when I downsize for the inevitable jockeying for position on barge shots in the water,” Neal laughs, remembering the day she had to borrow a garbage bag to keep the water away. “It was either that or take my rain gear off and get myself soaked. It’s all about extremes: we go from shooting at beautiful homes on the beach to high-rise penthouses with amazing views, to poop processing plants and gritty Chinatown alleys.” Charters says one of the great things about shooting on a distant location is meeting local teams who contribute to the success of the show “and teach you a little about the community in which they live,” he shares. “The start of day on a Hawaiian set is full of greetings and gestures of good will, and it sets the tone for a more human side of what we do together as we create our art. Amid the chaos of TV production, I admire this grace note at the start of each day.” Rao, who began his career as an AC on John Carpenter horror classics like Halloween and The Fog and, more recently, has directed (and shot) episodes of Hawaii Five-0 as well as directing one episode of Magnum P.I., has a similar feeling, noting even with all the new tools and technology, his favorite moment as a cinematographer hasn’t changed. “At the very beginning of a setup, after the director has blocked the scene and the actors have been sent away,” he concludes, “there’s a brief moment before questions are asked and instructions given; there’s a stillness before the lights and cameras crowd in. In that fleeting time, you imagine how the light will look on the actors and the set, you see how your lens choices will set up the scene and tell the story, you get to conjure all this out of thin air. It’s a solitary and precious moment, like the slow inhale before singing. And then the work begins.”


LOCAL 600 CREW Directors of Photography Rodney Charters, ASC, CSC Krishna Rao A-Camera Operator/Steadicam Keith Jordan A-Camera 1st AC Tony Nagy A-Camera 2nd AC Rylan Akama B-Camera Operator Jay Herron B-Camera 1st AC Brian Matsumura B-Camera 2nd AC Zeke Hanohano C-Camera Operator Scott Mason C-Camera 1st AC Tommy Lewis C-Camera 2nd AC Sal Alvarez DIT Caleb Lucero Loader Kilani Villiaros DUT Blane Eguchi a7 Tech Anthony Vallejo-Sanderson Still Photographer Karen Neal Publicist Ryan Aguirre underwater unit Director of Photography Don King 1st AC Walrus Howard 2nd AC/Tech Warner Wacha

“ the start of day on a hawaiian set is full of greetings and gestures

of good will, and it sets the tone for a more human side of what we do together

as we create our art." – Rodney Charters, ASC, CSC








tHErE you are living your life and all of a sudden – boom! – reality slaps you silly and you never look at the world the same way again. That’s what happened at the close of On My Block’s inaugural season. The Netflix Original series follows four teenagers entering their first year of high school in inner-city Los Angeles. In the finale, a shooting injures two of the friends, upending the kids’ lives. “Season 1 was, tonally, a world that felt more saturated, colorful and lively,” describes Showrunner Lauren Iungerich, who co-created and co-writes On My Block with Eddie Gonzalez and Jeremy Haft. She collaborated with Season 1 cinematographer Joe Kessler to create a look that “reflected the fun and the richness of a John Hughes movie rather than a gritty, nihilistic point of view.” “It didn’t look like every other half-hour TV show,” adds colorist Paul Allia. “It had something else.” Iungerich, whose previous credits include the 2015 series Awkward, wanted Season 2 to reflect how the teens’ world changed in that horrible moment. So she turned to Guild DP Tommy Maddox-Upshaw (Huge in France, 2nd Unit DP on Straight Outta Compton) to create a new visual tone that would mimic the harsh realities facing Monse (Sierra Capri), Ruby (Jason Genao), Jamal (Brett Gray) and Cesar (Diego Tinoco). “Season One’s ending created a real opportunity to do something a bit more aggressive,” Maddox-Upshaw shares. “The


situations are darker and more extreme, so [the look] couldn’t be bright and cheery and light, like Nickelodeon.” “In season two,” Iungerich adds, “you really feel the texture of their world. It’s not flat or blown-out – there’s more contrast this season in both the lighting and imagery.” Maddox-Upshaw created a visual language that mirrors the story arc. It’s aggressive for the first two episodes when the kids are still reeling from the shooting. It returns to the lighter look for the middle episodes as the trio engages in a hunt for a stash of cash allegedly buried in the neighborhood. The high-contrast ratios, backlighting, flaring and camera movement all return for the final three episodes. “We went for it,” the Boston-born DP proclaims. “It’s not a dark show, but we wanted it to flow with what’s happening in the story. Where are the kids emotionally right now? Death, being teenagers, money – there’s an evolution, and the visual language parallels it.” Maddox-Upshaw used Sony’s Venice system, paired with Zeiss Super Speed lenses that he custom designed with Freddy Saladin, the senior lens technician at Keslow Camera. Working with Keslow Camera R&D, Saladin and Maddox-Upshaw played around with different materials and out-of-the-box ideas to “re-optimize” the Super Speeds and “create oval Bokeh effects and some extra horizontal flares,” Saladin recalls. After three months, “we landed on the look he wanted, and the rest is history.”


“That’s what I love about Freddy,” MaddoxUpshaw says. “He ended up matching an Angénieux Optimo to the way Super Speeds look. We lost no stops when moving in with flare characteristics of the old Angénieux. The unique flare looks sharp with brown flesh tones, not super-clinical like Master Primes. I got today’s fast T-stop [f/2.8] with old-school characteristics. It comes out at different times – in backlight or when things go out of focus, then you see the design in the background and the flaring.” Maddox-Upshaw says the Sony Venice is a “what you see is what you get” camera. “I could crack on a little something with fill-in and let the backlight do a lot of the shaping,” he notes. “I had 6-8 IRE on the waveform and was still holding detail on brown skin tones. I felt we held up the color and tonality for all of our highlights with low skin-tone detail.” A Dolby Vision HDR finish, coupled with an ACES workflow, will maximize the DP’s work for HDR home displays. Allia says the Dolby Vision finish provides a vibrant look. “You can see the colors beautifully, and everything in the shadows,” he explains. “Maddox was concerned it would look too crisp, too electronic – and you do risk that sometimes. We added some grain for texture – and that helps it look different, too. We get everything HDR gives you, but the show still looks cinematic and not what you’d usually see on TV.” Like many small-budget productions, On My Block makes heavy use of locations, which is not without challenges. As Key Grip Matthew Lim, who also worked on Huge in France, describes: “It’s always difficult, with limited resources, to light locations conventionally with large overhead units. So you work smaller and tighter with frame sizes and Astera tubes to get great shots.”


“It’s not a dark show, but we wanted it to flow with what’s happening in the story.

and the visual language

“You can’t put the Condor close all the time, so we’d put it half a block away with two 12-light Maxi Brutes and nighttime sodium or mercury vapor to edge out, get coverage and light the master in a certain way,” Maddox-Upshaw adds. “With the Venice, I could shoot at 2500 for night and day.” Consider a scene in a backyard in Burbank that’s covered by trees and torn up with old car parts. “It’s a big scene, and Lauren only wanted one tiny spot lit,” Maddox-Upshaw laughs. “I thought, ‘You gotta be kidding!’ We had to find a sweet spot to backlight through the trees. But we found it, and it looks beautiful. Damn right it was a challenge, but I like being pushed to the limit. “ The environment was also an issue. Bugs plagued cast and crew on that backyard shoot. And the elements almost ruined a school-dance sequence filmed in a Burbank-area high school gym. “We had to shoot day for night, so we tented the location, and right before call time we were hit with 50-miles-per-hour wind gusts that broke a tree branch and compromised our rig,” Lim recalls. The where are the kids emotionally crew rallied, though, and made the day. “Shooting right now? almost 40 percent of an episode in one day in that gym grueling,” Lim adds. “Luckily, we had people who death, being teenagers, money – was were up to the challenges of going small and utilizing the capabilities of the Sony Venice sensor without sacrificing quality.” there’s an evolution, One of those people is Gaffer Justin Dickson, who’s worked with Maddox-Upshaw since interning with the DP 12 years ago. “In the gym, we’re seeing 360 degrees, so we needed to create a 20-by-20 overhead and stuck 20 Astera wireless tubes up there,” he explains. “We could mix the colors and do all kinds of stuff without having to worry about running power.” Dickson has done something similar with quasars, – Tommy Maddox-Upshaw but the simplicity (no need to run power) and speed made the LEDs an obvious choice.

parallels it.”


“When the UPM says you only have 12 hours, you need a game plan to get into locations and back out quickly,” he continues. “That’s the true challenge. Can your crew move fast enough so the actors have their time and everyone can produce something great? And we could do that with the LEDs.” Small soundstages made for challenging conditions, too, with low ceilings, confined spaces, and too-big furniture. One of the kids’ bedrooms was especially tricky because the point of view included two windows on either side of the limited space. To establish a natural look outside the windows, Dickson used Quake LEDs to “hit daylight blues and make it feel like there was a world out there.” Thanks to liberal use of handheld and Steadicam, viewers are often along for the ride on On My Block. A-Camera Operator Pauline Edwards, who worked with Upshaw on Huge in France and Real Husbands of Hollywood, says a handheld camera naturally adds drama. “It makes people feel uneasy and telegraphs the characters’ feelings,” she explains. Edwards’ unscripted experience made her the obvious choice for handheld sequences. “Pauline can out-handheld most male operators,” Maddox-Upshaw insists. “She just puts it on her shoulder – most guys use an EasyRig – and walks the whole scene, sometimes backward through a room.” Edwards’ handheld prowess was vital for a oner that tracked a main character through a house full of people, bumping into some, bobbing and weaving to avoid others. It was originally slated for Steadicam, but the rig wasn’t properly working at that moment. Trying to get to lunch on time, they turned to Edwards, who blocked the scene and after the second take, nailed it. “Steadicam invokes a much different emotion – like a smooth buildup,” she adds. “The free movement of handheld really telegraphed the experience. We could show that the character was off balance, physically and emotionally, the whole time.” Steadicam was crucial for a sequence where a character is chased four blocks through a rival gang’s neighborhood. “We ramped up so big,” Maddox-Upshaw laughs. “We had stunts dropping from second floors, running into a tunnel, jumping into the foreground, a main character jumping a fence. It was so fun. Young Steadicam operator extraordinaire Xavier Thompson did a great job. He’s worked with numerous ASC guys and is only three years in.” Thompson says he wasn’t able to keep up on foot and had to soft-mount to a Grip Trix, leading the actor as he’s running on foot for the beginning of the shot. “Then I hop off the Grip Trix for the ending of the shot to follow him up to the point he jumps over the fence,” he shares. When quizzed, On My Block’s union team expresses a “Where have you been all my life?” feeling about the production. It’s more than simply being a synchronized unit. They really all get along. “Both Tommy and I are committed to caring about people and making great stories,” Iungerich describes. “Everyone on our crew is the same way. It’s such a joy.” Maddox-Upshaw’s approach is to build a team mentality from the start. “His entire team is there at the camera test – key grip,


LOCAL 600 CREW Director of Photography Tommy Maddox-Upshaw A-Camera Operator Pauline Edwards A-Camera 1st AC Prentice Sinclair Smith A-Camera 2nd AC Jose De Los Angeles B-Camera Operator Xavier Thompson B-Camera 1st AC Alexander Lim B-Camera 2nd AC Gina Victoria Digital Utilities Tyson Birmann Fernando Zacariasn Still Photographer Nicola Goode, SMPSP

gaffer, best boy, everyone,” Dickson marvels. “We even go over to the color correction. Maddox prepares us hard, and it makes a big difference. It’s great because everyone knows what we’re doing on day one. It’s how we meet his high standard. He’s a huge Patriots fan and is always quoting Tom Brady: ‘I don’t play for Pro Bowls, I play for Super Bowls,’” the gaffer continues. “That’s the same for us. We have to be that good at our craft.” “The best parts of working with Maddox are his energy and a smile so wide it can light the room,” Lim describes. “He makes work a pleasure. And that kind of leadership is infectious.” The DP is also a teacher and mentor, as Edwards shares. “Maddox is so encouraging. I come to work every day and learn something new from him, in the viewfinder or in the books he gives me and movies he tells me to watch.” He’s known for empowering people to experience important firsts and professional milestones, such as giving Edwards her first turn at the wheel for a crane shot. “Two characters are walking down the street on my far right,” she recounts. “The crane starts high up, booms down as they approach, and then it swings left and I have to counter it – a lot. You can practice the movements, but it’s completely different with actors. It took me two or three times.” Iungerich was surprised to learn it was Edwards’ first go on the crane. “I didn’t know the significance of the moment until we were in the middle of it,” the showrunner recalls. “It was beautiful and smooth. She’s a badass.” That mentality of creating opportunities for crewmembers to learn and grow is a big part of why Maddox-Upshaw and Iungerich gel so well as creative partners. “He’s such a great mentor to his entire team – and just like me, he wants to see every person succeed and win,” Iungerich says. “When I say I’ve met my partners in crime, I mean it. They all care about the same things I care about and possess the willingness to do anything to make it work.” “I can’t say enough about my core group [of co-workers],” MaddoxUpshaw concludes. “We all work hard and really try to enjoy this stuff, as challenging as it can be. As Lauren says, ‘We just jimmy-jam through’ and get it done. You can’t take it too seriously or you won’t enjoy seeing each other the next day. And you gotta want to work with each other to make something special.”

(L to R) B-Camera 2nd AC Gina Victoria, B-Camera Operator Xavier Thompson, B-Camera 1st AC Alexander Lim, Director of Photography Tommy Maddox, A-Camera 1st AC Prentice Sinclair Smith, A-Camera 2nd AC Jose De Los Angeles, Digital Utility Tyson Birmann, A-Camera Operator Pauline Edwards

“the best parts of working with maddox

are his energy

and a smile so wide it can light the room.

he makes work a pleasure.

and that kind of leadership is infectious.” – B-Camera 1st AC Alexander Lim


DAy OF THE photo 56by Scott Patrick Green








iN mexicaN FolKloRe 58

La Llorona is the tragic and forlorn figure who drowns her children and herself, and is then condemned to an eternity wailing in anguish at her predicament. No wall or barrier seems to keep La Llorona from crossing out of the undiscovered country and into the realm of man. She manifests among young children, thinking them her own, and the not-so-veiled threat to youngsters is that La Llorona will drown them as well.

Produced by New Line Cinema, through horror maven James Wan’s Atomic Monsters, the Warner Bros. release of  The Curse of La Llorona transports the “weeping woman” mythos to 1970s Los Angeles, where social worker Anna Garcia (Linda Cardellini) finds troubling ties between a current case and supernatural goings-on in her own household that are threatening the lives of her young children. First-time feature director Michael Chaves was selected by Wan, largely on the basis of his scary short,  The Maiden. To serve as the cinematographer, Wan looked to Michael Burgess, who was a camera operator on two Wan-directed features –  The Conjuring 2  and  Aquaman  – both shot by his father, Don Burgess, ASC.  “I guess he thought I’d be a good fit for Michael Chaves, given our personalities and my past experience,” Michael Burgess muses. “I read the script and found a strong story with a lot of fun possibilities for camera. Michael and I spoke via Skype, and my takeaway was that he had some really exciting visual ideas to highlight key moments.” “I always love movies that aren’t easily categorized,  movies that defy their genre,

and that’s why I loved this script from the beginning,” Chaves enthuses. “It’s a classic horror story. But beyond that, it’s based on this incredible 200-year-old folklore, which in itself has this dark fairytale quality. And then that’s fused with this gritty 1970s crime story. So you have all of these stylistic elements to play with. Michael and I spoke about how that would play into the visuals. What I love about [Burgess] is that he’s a filmmaker first. We wouldn’t talk tech – we’d talk story, emotion, and character. We’d act out the scenes. He’s a fantastic collaborator.” Director and cinematographer agreed on a 2.40 aspect ratio. “The wide format really lent itself to how we wanted to see elements requiring emphasis,” Burgess explains. “It let us emphasize mood by creating voids between characters in space, and gave us a wider landscape when looking at a POV of an empty room, within which darkness rather than light might draw the viewer’s eye, with the implication that a threat can come from any direction.”  Chaves had already storyboarded several key scare scenes, which, Burgess says, helped him see the movie through the director’s eyes. “For many scenes that Michael hadn’t boarded, we would

Michael Burgess / Photo by Ron Batzdorff, SMPSP


act them out and discuss them in his office, then create a shot list,” the DP notes. “After that, he’d go home and storyboard those as well. These boards were immensely helpful given our tight budget and schedule. Knowing in advance when we had a shot requiring extra setup that couldn’t just be winged on the day meant we could allocate more time to get those moments.” Burgess captured on RED DRAGON and Panavision Primo lenses, which he says have great contrast, but also a roundness that is nice for skin complexion, especially on close-ups. “That series has an excellent range of lenses, which were much in use on this film,” he states, “including a 10 millimeter. That is an incredibly unique and unnatural lens, which for this material was used at specific moments to convey the magnitude of some bit of strangeness to the audience.”  Fotokem created a shot LUT, which Burgess describes as a darker, crunchier view of what they saw on-set. “The LUT mainly protected me during the dark sequences,” he shares. “You have to be specific when flirting on the edge between seeing a tiny amount of image information versus no information. If I overcrank the LUT and see on the monitor there is just enough information, I know I’m safe because there’s actually a little more than I can see on that monitor. Then I know that if I have to tweak later, the image is still safe.”    Production designer Melanie Paizis Jones was another Wan veteran, having worked on Insidious 4. She studied films from the 1970s for color palette,


architectural style, mood, and lighting. “Close Encounters, Halloween, The Brood,  The Omen,  Poltergeist,  Carrie, and  The Exorcist  were a few that I revisited and shared with the two Michaels [Chaves and Burgess],” Paizis Jones recalls. “I pulled hundreds of images for research, [then] created a web page or document that I shared with the creative team.”   Then the search for 1970s-appropriate locations commenced. Paizis Jones says the script was helpful in denoting not many big and wide visuals. (VFX set extensions for establishing views of Los Angeles fell to Digital Domain and Ingenuity Studios.)  “I wanted the immediate environment to be architecturally correct,” she continues, “making the period color palette work by altering surfaces with paint or wallpaper. The [principal] house was built in the teens, and I layered it with several decades of influences. We wallpapered, painted, or re-surfaced most of it. I designed the look and changed everything except the wood, which was a beautiful honey color that felt very warm and inviting. The production designer says she wanted the house to feel eclectic and authentic. “As an example, the wallpaper in the dining room is from the 1950s,” Paizis Jones relates. “The hallways upstairs could have been done prior to that. The concept of furniture being older family handme-downs with a layer of 1960s and ’70s items sprinkled throughout, told the story of a busy single working mom who doesn’t have time or money to decorate.” While period (sodium vapor) streetlights still existed in some locations, some fixtures had to be brought in, though a pixel-accurate recreation was unnecessary. “We wanted to be time-appropriate, but we didn’t feel the need to beat the audience over the head,” states Burgess. “For example, we did use some zooms in the movie, but that wasn’t because they were popular for film shots during that time; it just happened to fit our shooting plan for a horror movie.” With thirty to forty setups per day, Burgess maximized efficiency by using IATSE members he had worked with before, including 1st AC Steven Cueva, B-Camera operator Craig Bauer, SOC, and Gaffer Nicholas Kaat. “I’ve known most of these guys for ten years or more, which

created a shorthand that helped a great deal on this lean schedule,” the DP reflects. “Unfortunately for the ACs, I shot nearly wide open all the time. The night shots had to remain at ISO 800, where I was for 95 percent of the movie. It was doubly tough for them dealing with children, who never do anything the same way twice. Steven Cueva knew what I was trying for and could often successfully compensate if one of the kids went off his mark.” In addition to traditional dual-camera coverage, Bauer was given considerable liberty to come up with his own frames. “There’d be times when A-Camera gets the three-shot and B-Cam does an over-theshoulder,” he describes. “Then we jump up and turn around so B-Cam does the reverse over-the-shoulder while A-Cam shoots the close-up. A lot of times, though – and this is something I love about working with Mike – he would just tell me to go find something interesting. Chaves was pretty cool with that as well.” Chaves and Burgess chose to forego Steadicam on the main unit. And since Bauer shoots with the MōVi, he operated the shot that “seems to be in all films from The Conjuring series – a long oner that introduces both location and characters,” he explains. “We start outside the house, enter from the backyard, follow the kids around and through the kitchen, hallway and dining room, and then out the front door. It was fun, as it required great interplay between departments, coordinating the onscreen talent and the focus pulling and various light changes. It wasn’t until take seven that Chaves told us, ‘Really good – really really good ... Just one more try!’ And he was right to go for it because that next take was perfect.”  With La Llorona being shot on location, there was no option to pull walls; Bauer’s MōVI provided much-needed flexibility in the small amount of space. “As is the case with many a horror movie,” Bauer continues, “we have to direct audience attention to specific parts of the frame through movement and lighting cues. When it comes to the horror aspect, there are always specific scare shots envisioned, as in,

for this shot, we want camera B only, making this particular move, and the lighting works for that one angle and that alone. There’s a shot I tried to do on the MōVi but Chaves didn’t think it ever felt scary enough. There are effects appearing on the wall, which kind of lead the mom through a house as she investigates what is going on. We needed to coordinate the camera with the actor and the light patterns, and in the end [Burgess] did it perfectly himself handheld.” Messing with audience expectations goes hand-in-glove with the horror genre. “Some of the time, we might start with  sturdy tripod action,” Burgess relates, “and then go to handheld when a scare happens or to convey a slight building uneasiness. On the other hand, we could be very steady … and when the creature suddenly comes out, its appearance can seem even more jarring. The camera’s solidity really exaggerates the shock of the creature jumping into view.” “With a horror movie, shadows are the big thing,” Chaves says. “Burgess and I loved playing with exposures that are just barely on the edge of perception. I definitely wanted the audience leaning in, trying to decipher what’s in the shadows. There’s a moment where the family is under siege from La Llorona. They’re waiting downstairs for her next attack. The tension builds and they start looking up at this deep shadow on the stairs. The longer they stare the more their eyes adjust and they just barely start to make out something… a figure. I spoke to Burgess that it should feel like you’re peering into the darkness, both for the characters and the audience. He designed a subtle light cue that would


slowly fade on and backlight her – just enough to register, and then slowly fade off as if it weren’t there. The effect was great.” When two children alone in a car are menaced by Llorona, the camera switches to POVs to best convey their panic in trying to stave off the spirit’s attempts to unlock a door or roll down a window. “Inside the car, we stayed with wider lenses to match human perspective,” Burgess adds. “That opened up the interior in a way that had you guessing, alongside the kids, about where the threat is coming from. Except for having to take a door off a couple times, it was all shot within the vehicle; no trickery with pulling the car apart was needed.”   Burgess relied mainly on LEDs, which match up well with the horror genre. “We needed to control how the light fell off, and LED crates are perfect for that,” he notes. “The units are compact, and I could have all set lighting programmed into an iPad, so [Kaat] could easily change color temperature.” As to a preference for hard or soft light, he takes a different tack. “It’s all situational. Locking into just one approach can keep you from being able to create effective contrasts in tone and mood. I like my light to feel like it is coming from someplace real and valid, a streetlight or a source outside the window or a practical.”     For the ghostly apparition, La Llorona – actress Marisol Ramirez in creature makeup  – more lighting time was needed. “Heavy makeup close-up views always require a lot of finesse,” Burgess describes. “You need to decide on what type of light is hitting the appliance and at what part of the face, and, what is often most important, how much of the creature remains in shadow, since perhaps it will work better just to see eyes glinting in darkness.” A technical issue arose with the character’s veil. “If you just pounded light through that to expose her face, the veil would wind up taking most of that,” Burgess continues. “So I had Nic make a small light. We would cheat the veil out slightly, then put the light beneath the veil to make her face pop through from behind. It was unnatural and terrifying – underlight is always a great way to light a frightening face.” One night sequence featured La Llorona manifesting beneath the waterline of a pool.

“burgess and i loved playing with

Underwater DP Bobby Settlemire used a RED camera in a Hydroflex MK 2 housing. “Production did a great job of planning out the evening shoot,” notes Settlemire, on a brief dry land break from a year-plus shoot for the Avatar sequels. “The pool had been comfortably heated, so the talent didn’t need to take a break. Our call came exactly when it had been scheduled, and I was able to get the necessary shots – looking up through the water at action taking place above as a priest blesses the pool, followed by an underwater fight with the creature – in less time than had been allotted.” While the scene’s illumination was meant to seem to emanate from above, Settlemire gently augmented those sources with a flashlight.    Walter Volpatto handled the DI. Currently a senior colorist at EFILM, Volpatto used a full DaVinci Resolve workflow with a Christie 2K projector for the coloring environment.  “The LUT used for shooting was basic and a good starting point,” he acknowledges. “I knew after talking with Burgess and Chaves that we wanted to make a more distinctive look once we got to the DI. We modified the general look, [using] tonal mapping to preserve the contrast, but added a green/bluish undertone that stood out in dark scenes. It kept the mid-tones, highlights, and skin fairly warm; in that way, the characters don’t feel unnaturally desaturated and drab. The candles are nice and warm, [reflecting the] light versus darkness theme.” Volpatto didn’t have to resort to an elaborate treatment to evoke 1970s Los Angeles. “The shoot was very well done in advance: the sets, the costumes, and the lighting totally defined the period. My coloring was just to emphasize what was captured and envisioned, [though] we added few light touches – film emulation/halation and grain – to remind ourselves of the movies of that time.” Since wrapping Llorona, Burgess has continued working with Wan, shooting  Annabelle 3  for the producer, and writer/director Gary Dauberman. He praises the experience he had with Wan’s team. “Michael Chaves is a very visual guy,” Burgess concludes. “The two of us sat in for the whole DI and were always in tune as to what we wanted to see when refining the image. Getting to participate in generating the scares for this thrill-ride was a great experience, and I’m very interested to see how responsive audiences will be to our ‘little’ movie.”

exposures that are just barely

on the edge of perception. leaning in,

I definitely wanted the audience trying to decipher what’s in the shadows." – Michael Chaves


Director Michael Chaves with Chris (Roman Christou) and Samanth (Jaynee Lynne Kinchen) / Photo by Ron Batzdorff, SMPSP

LOCAL 600 CREW Director of Photography Michael Burgess A-Camera 1st AC Steve Cueva A-Camera 2nd AC Jozo Zovko B-Camera Operator Craig Bauer, SOC B-Camera 1st AC Chris Garcia B-Camera 2nd AC Manny Serrano Unit Publicist James Ferrera Still Photographer Ron Batzdorff, SMPSP Scott Patrick Green


suN 64

photo by Sara Terry


DaNcE 20f













Tell It On The Mountain ............. 68 BY DAVID GEFFNER

Snow Job ............. 74 BY DAVID GEFFNER

Getting The Gig! ............. 78 BY MICHAEL CHAMBLISS

19 67

Tell It On The Mountain

Sundance 2019 showcased the strongest black-themed content in the festival’s history, and Local 600 DP’s were at the heart of the action. BY DAVID GEFFNER PORTRAITS BY SARA TERRY


DP Eric Branco (L) with Clemency Director Chinonye Chukwu


ric Branco, shooting his first union feature (and his first in Los Angeles from his native New York) hit the Sundance jackpot with Clemency, winner of the coveted Grand Jury Prize. Directed by Chinonye Chukwu, the intense drama stars Alfre Woodard as a prison warden grappling with the psychological toll of executions. The austere look, influenced by European directors like Michael Haneke, used a static camera and close-focus anamorphic lenses inside the real (decommissioned) L.A. prison location. Moody, textural and risky (close-ups of Woodard play out in real time with no music or SFX), Clemency is a nuanced examination of the death penalty from multiple perspectives. “I shot a short [The Long Walk] for Chinonye in 2013, and a few months later she sent me the first draft of Clemency,” Branco recounts. “We spent years bouncing around ideas for a visual language until Alfre Woodard came aboard and helped secure financing. The year before I had shot an indie TV pilot [Up North] in a prison – partly as a crash course for Clemency. I had used the ALEXA Plus with Master Primes and could never get far enough away from the actors to have framing options. That’s when I began to talk to [Chukwu and Clemency’s producers] about shooting anamorphic and with the ALEXA Mini. [The Camera Division L.A. created a special battery pack Branco wore around his waist to make the Mini’s

Clemency Framegrab Courtesy of Neon

footprint even smaller.] In our tests, Chinonye liked the Cooke Anamorphic/i lenses, which I had used for another Sundance film that also took place in very limited spaces.” Branco describes scenes in Clemency where his back is “literally inches from a wall,” i.e. when prisoner Anthony Woods (Aldis Hodge) is in the visiting room with his estranged girlfriend (Danielle Brooks), or all alone with Woods in his death-row cell. Even with the wider anamorphic frame, and exposures ranging down to f/2.8, critical focus was a constant challenge. “Our first AC, Melisse Sporn, knocked it out of the park,” Branco raves about Clemency’s focus puller. “There’s a scene where Bernadine [Woodard] walks down a long hallway, and we’re inches away. In the rehearsal, Melisse took her marks, and then quietly pulled me aside and said, ‘You are at minimum focus for the entire shot.’ I looked down and thought, ‘Okay, I cannot move past this point, or we are toast!’” Clemency devotes a lot of time to the procedure room used for lethal injections; it opens with a graphic, real-time execution that will leave viewers breathless. This room, bracketed by a glassed-off viewing area, was the only set Production Designer Margaux Rust built, albeit still within the real prison’s cafeteria. “We had large page counts in [the procedure room], on a short schedule” Branco recalls. “At any given moment, we have six to eight characters to check in on, so we had to just light the space and use multiple cameras. The second half of the opening death chamber scene [when there is a problem with the injection delivery], we go handheld to heighten the chaos; but for the second execution, the camera does not move at all. No one in that room has agency once the procedure has started; the characters

themselves have all become prisoners of this…system.” Branco says modern-day, for-profit prisons don’t look like The Shawshank Redemption, with deep red brick walls and cellblocks strafed with tungsten lighting. “They’re just bland boxes with lots of overhead fluorescents,” he laughs. “So we leaned into that, but not with that ugly green fluorescent cast you’d expect. The first part of the film is all motivated by light through windows in frame. Later on, we turn away. That’s apparent in Bernadine’s office, where one side is floor-to-ceiling windows, and the other is dark wood paneling. The last time we see her in that office [speaking to the governor on the phone about clemency for Woods], she’s in straight profile against the paneling.” As for photographing a range of skin tones in the same scene (Woodard’s Deputy Warden is played by Richard Gunn, and her prime foil is Woods’ defense attorney, played by Michael Schiff ), Branco says most of his career has been spent photographing darker-skinned actors. “I tend to use much less light because I’m trying to describe the contours of the actor’s face, more than illumination,” he explains. “We used soft light to wrap Alfre and then a lot of negative fill for the other side for definition," he adds. "I create photo books for every director and one of Clemency’s main influences were the crime photos Gordon Parks shot in Harlem in the 1950s. Parks also did a color series, in the early 1960s, about life in Kansas, and we pulled a lot of skin-tone references from that. Coming from New York City, I’m used to photographing a wide range of skin tones in any given project. I’ll light for the darkest actor and if the lighter tones wash out, I’ll help that along in the final color grade.”


“ We quickly embraced [director Joe Talbott's] vision and began to sculpt this very cool aesthetic with the light coming right over the camera at the actors.” The Last Black Man In San Francisco DP Adam Newport-Berra

With a title like The Last Black Man in San Francisco, Park City audiences may have been expecting an indie version of a Marvel adventure. But this elegantly shot and superbly acted Competition entry had, as Guild DP Adam Newport-Berra explained over breakfast the morning after a SRO Redstone Cinema screening, a unique gestation. It was driven by two San Francisco natives and boyhood friends – director Joe Talbott and leading man Jimmie Fails (a non-actor playing himself ). “I came on with only two weeks prep but Joe and his production team – all local San Franciscans –had been prepping this for five years,” describes Newport-Berra, who hails from Oregon, where he splits his time between commercial spots and indie features/shorts. “I really felt this responsibility to honor the city, and Joe and Jimmie’s experiences. I came in with the idea that the look was a series of photographic tableaux. Fillmore, Hunter’s Point, the Tenderloin – all these San Francisco neighborhoods are disappearing due to gentrification – and we show them off to great effect.” Last Black Man revolves around Jimmie and his best friend, Montgomery “Mont” Allen (Jonathan Majors), and their quest to restore/reclaim an aging Victorian house built by Jimmie’s grandfather and now owned by an older hippie couple. With the house selected well in advance, Newport-Berra had time to wander through the location with a still camera to find optimal angles and light. “The two prime [still] lenses I used with my Rangefinder translated to a 14mm and a 27mm in cinema terms – wide and portrait with ARRI/Zeiss Master Primes on an ALEXA Mini,” he shares. “With all the power lines in San Francisco, it’s incredibly difficult to permit a Condor and push a big light in from outside. So all of the shots featuring the house’s main stained-glass window were shot 30 minutes before dusk when the light was best. We had the art department paint the [white] interior a dark rose color to ensure that light coming in through the windows stayed pure.” Like Branco, Newport-Berra carefully considered how best to photograph his two leading actors, shooting tests to determine skin-tone opacity and color range. “Mont is more magenta/violet while Jimmie is more on the red side,” he explains. “One face absorbs light, the other reflects; they’re together in nearly every scene, so there’s not a lot you can do on set.” Talbott wanted to be able to see Jimmie and Mont’s faces at all times. He pushed for full-frontal lighting that threw Newport-Berra for a loop. “My last three features centered on people of color,” the DP continues, “and I like to underexpose, using side lighting to define shape and contour. I could tell Joe was not responding to that, and, at first, I was nervous to go outside my comfort zone. In that first week, my gaffer, Tej Virdi, would look at me funny when I asked for a frontal full or key light. But we quickly embraced Joe’s vision and began to sculpt this very cool aesthetic with the


The Last Black Man in San Francisco DP Adam Newport-Berra

The Last Black Man in San Francisco / Courtesy of Peter Prato

The Last Black Man in San Francisco / Courtesy of Peter Prato

light coming right over the camera at the actors. Since everything was composed and portrait-like in the framing, and we weren’t running around handheld trying to chase the performance, this [front light] method worked.” Newport-Berra used Smoque filters to soften an “ALEXA look” that has become synonymous with indie features. “[The Smoque filters] made things bloom but not like a typical diffusion,” he relates. “I love the Master Primes, not only for their speed but because they’re all sized the same and are easier on the assistants. This movie is so nostalgic and romantic, so it benefits from the modern feel [of the Master Primes]. I was actually going to put a film-grain overlay on the final DCP [with DI colorist Damien Van Der Cruyssen, The Mill, NYC] and realized it didn’t need it.” Jimmie is a skateboarder, and that allows for some spectacular San Francisco moments. One, where he’s bombing a steep hill, required a dozen SFPD officers closing down four intersections, with Newport-Berra on a 1000mm lens from a mile away. The film’s opening, with the two leads cruising to Jimmie’s grandfather’s house on one skateboard, passes through different neighborhoods to reveal a wild array of city characters. Every shot in the sequence involved a stunt and improvised moving camera, before climaxing at the top of Bernal Hill and a sweeping overview of San Francisco. “We used a [high-speed] Phantom to give it that Koyaanisqatsi vibe,” Newport-Berra remembers. “I always put an emphasis on the opening scene of a film because it establishes a visual voice. Will the audience trust and believe what they’re going to see?” Other city highlights include a shot of Jimmie in a rowboat with the Golden Gate Bridge in frame. The rough Bay waters had NewportBerra (in a camera boat) cresting 10-to-15-foot sets. Another moment has Jimmie and Mont step off a bus (after Jimmie has bumped into his mom, from whom he’s been estranged for ten years) into a swirling San Francisco fog bank. “Ironically, the weather was sunny nearly every day and there was no fog,” Newport-Berra laughs. “We used some big foggers but it looked more like smoke. [The fog is] heavy when they get off the bus, and then it dissipates as they walk to Mont’s house. It’s a surreal and spooky visual right before a major plot turn.” The story culminates in the Victorian’s attic with a play Mont has written that bears the title of the film. It’s a one-man tour-deforce, with Mott playing all the roles. The invited guests comprise all of the characters seen throughout the movie. “It was very challenging – a 12-hour day in a small fourth-floor attic with some very seasoned actors – Danny Glover, Rob Morgan, and Mike Epps included – who don’t have time to waste,” Newport-Berra concludes. “We had to get it all done in a single day because Jonathan [Mont] needed to play off the whole cast. I tried to keep the lighting practical so we could shoot 360 degrees. We had some Jem balls up high, backlights behind the stage, strip lights on the floor to uplight and a Leko spotlight on his face. That scene’s all about performance, pure and simple.”


DP Larkin Seiple (L) with Director Julius Onah on the set of Luce / Photo by Jon Pack

Performance definitely takes center-stage in the festival’s most thought-provoking narrative, Luce, directed by Julius Onah and shot by four-time Sundance DP Larkin Seiple. Kelvin Harrison, Jr., in the title role, plays a high school senior who was adopted (as a 10-year-old) from war-torn Eritrea by two white, affluent parents, Peter and Amy Edgar (Tim Roth and Nomi Watts). Luce is the class valedictorian, and in the eyes of one of his teachers, Harriet Wilson (Octavia Spencer), a role model for his race. But things aren’t what they seem, as rumors of a sexual assault at a party, marijuana use, and a smear campaign against Spencer’s character darken Luce’s shine – if he’s indeed involved, which is at the heart of this psychological thriller. Originally a play by coscreenwriter J.C. Lee, Luce tackles race relations in America dead on, and its narrative puzzle is beautifully augmented by Seiple’s photography. “Julius insisted we shoot on film,” Seiple recounts, “and he pushed for anamorphic, which was daunting considering we were working in tight interiors on an indie budget. After some testing, we decided to shoot in three-perf anamorphic [Kodak 5219, 500T], which would presumably be an easier sell to the producers, budget-wise. Shooting three-perf anamorphic is really unusual as it’s generally always four-perf – I don’t know anyone else who’s done it. The focal lengths of all your lenses change, so your 35 mil becomes a 50 mil, and you have to shoot on the wider lenses to make it all work.” Seiple used a combination of Panavision’s G- and T-series and Primo anamorphics. For one scene, where Amy follows Luce through their neighborhood, he employed Panavision’s anamorphic zoom. For an extended night scene, where a jogging Luce ends up at his school, looking into Harriet’s window, Panavision loaned Seiple an anamorphic Super Speed that opens to a T1.3. “I did not even know that lens existed!” he laughs. Lighting the school at night required multiple Condors and large units, another rarity for the longtime digital user. “It was fun to bust out the Maxi Brutes and gel rolls,” Seiple smiles. “Working with digital all the time has really scaled back the art of that kind of lighting.” Shooting film also played into how Seiple lit his diverse


“ When there was a large range of skin tones in the same scene, one source has to be more reflective while another needs to be fill light.” Luce DP Larkin Seiple

Luce Framegrabs Courtesy of Neon

cast. “Darker tones have more depth and color saturation, and photograph 100 percent better on film [than digital],” he continues. “When there was a large range of skin tones in the same scene, like with Kelvin and Naomi, one source has to be more reflective while another needs to be fill light. Our approach was to use highly reflective sources that were also soft. We would use one large source [relative to the actor’s size] that we could diffuse or soften, based on who was closest to the light, rather than using multiple small sources.” Onah and Seiple devised a visual arc that echoes the growing tension. They opted for wider lensing at the start – close-ups on 50mm – and then progressively shoot longerlensed to better isolate the characters. Toward the end of the film, Seiple was landing on a 100mm lens. “We also tried to repeat certain imagery, with each revisit progressively more foreboding than the last,” he adds. “For example, we see the exterior of Harriet’s classroom several times – at first it’s just a school at night, then later we reveal Harriet opening a window, isolated and alone. The final time we see the exterior, it’s boarded up, and the window for Harriet’s room is taped over from the fire. There’s a reflection of the American flag outside the school flapping in the wind. It’s the second to last shot. It’s unsettling and my favorite in the movie.” Another subtle change to increase tension was gradually shifting the camera’s perspective. Like a scene where Luce attends speech and debate practice and challenges Harriet about the right/morality to search a student’s locker. [Harriet had searched Luce’s locker earlier in the film and found illegal fireworks.] “It starts off as a three-quarter angle,” Seiple recalls, “and over the five-minute scene, the camera – on a slow dolly – moves around until it’s directly in the actors’ eyelines. It actually came out even more intense than we had imagined because it ends up being a direct confrontation.” In fact, Luce employed an intentionally calm and quiet camera throughout to better create a voyeuristic feel. Seiple and Onah shot-listed each scene in prep; they used blocking to make each moment more compact and reduce camera movement. The few “oners” in the movie don’t feel as such,

i.e., the sudden burst of chaos at the school when Harriet’s mentally ill sister, Rosemary [Marsha Stephanie Blake] bursts in naked and ranting. The camera circles around Harriet to reveal her embarrassment, and then around Rosemary and all the students, until she’s tasered and forcibly pulled away by two [white] officers, circling back to focus on Harriet, now alone in the large entryway. “Steadicam Operator Dave Isern [SOC, The Wolf Hour, Life Itself] had to do a lot of takes, and he did a wonderful job,” the DP shares. “A lot of people told me later they had no idea that the scene was a single take – and that’s a tribute to Dave’s work.” Seiple is also quick to give props to his A-Camera 1st AC, Zach Rubin, who was challenged with the many school hallway scenes by the fast (f/2.0) Primo anamorphics the DP used to ensure proper exposure. “A 500-speed stock is plenty fast, but we ended up getting faster and faster lenses and putting all of the weight on our focus puller’s shoulders,” Seiple smiles. “I’m shocked how good some of the pulls were. We had to push 18Ks through the windows for every daylight scene because we were shooting film, as well as to maintain continuity with the low winter sun.” The cinematographer, whose last film at Sundance, I Don’t Feel At Home in This World Anymore, won the Grand Jury Prize, says this visit to Park City was different. “Luce is really my first straight drama,” he relates. “It’s about racial dynamics and power struggles within a family, and the questions were all very serious. My previous Sundance films – a floating corpse, a thriller about kids stealing a cop car, two neighbors tracking down burglars – have been…all over the map.” Luce’s director, Julius Onah, was anything but fragmented in how he wanted to tell the story. “Julius said he did not want this to look like a moody, underexposed indie film,” Seiple laughs. “He wanted something more classical, and visuals that would disarm the audience into feeling things were safe, and then very unsafe things happen – once the third act hits and everything spirals out of control. He also felt [originating on] film was another way to create this false sense of security since [film] now feels nostalgic and from another time, almost.”


Snow Job

Brandon Trost’s Sophomore Sundance Feature Brings America’s Most Notorious Serial Killer Up Close and Personal. BY DAVID GEFFNER PORTRAIT BY SARA TERRY STILLS COURTESY OF BRIAN DOUGLAS


he very first time Brandon Trost (The Disaster Artist, This Is The End) came to Sundance, in 2015, he left with the Best Cinematography Award. The audience hit, The Diary of A Teenage Girl, an adaptation of the acclaimed graphic novel, revolved around a San Francisco teenager in the 1970s. When Trost returned to Park City, four years later, several things had changed: Sundance had eliminated its annual award for Cinematography (see ICG Magazine, January 2019, Exposure), and his newest feature, Extremely Wicked, Shockingly Evil and Vile, lived in a parallel universe from Teenage Girl. Directed by longtime Sundance documentarian Joe Berlinger (Some Kind of Monster, Paradise Lost, Brother’s Keeper), the Premieres Section feature was a fictionalized account of Ted Bundy’s relationship with his longtime girlfriend, Elizabeth Kloepfer, aka Liz Kendall. Trost says that while his Sundance résumé appears wildly divergent, the two films had photographic touch-points. “Like Teenage Girl and The Disaster Artist,” he explains the day after his sold-out Sundance premiere, “Wicked had an intimate, handheld aesthetic, similar to a documentary where the camera is an active participant. But Joe also wanted everything to come from a cinematic perspective. That means I could light the movie, within reason, as it still required a 360 [degree] approach for the tight schedule and many locations with Zac [Efron, who plays Bundy] and Lily [Collins, who plays Kloepfer].” Trost, who had never worked with Berlinger,


says he was drawn to teaming up with the acclaimed documentarian, “particularly on a crime story with a new perspective.” He points to the key Miami, FL courtroom scene, which comprises nearly the final third of the movie, as the best example of the film’s visual direction. “I ran three cameras all the time for coverage,” Trost describes. “One on the judge and witness box, another wide on the courtroom, and another on the jury and attorneys for their reactions. There are some warm practical bulbs above the judge, and some fluorescent practicals in the ceiling, but we basically just turned on the lights at that location [the entire film was shot in Covington, Kentucky]. Those scenes feel so real to me because we were able to cover so much of the room. There’s a slow-zoom statement from [Bundy] at the end of the trial, looking right at Bundy and the judge that came out great. This was the first televised murder trial in American history, so there was a lot of real footage to draw from.” To shoot the many cutaways [to 1970s-era TV sets] during the Miami trial, Trost used his own Sony EX1 camcorder, tweaked for standard definition (Mini-DV). He replicated specific angles from the real trial, like an infamous threequarters profile shot of Bundy peering over his shoulder at news cameras. “I feel shooting in low resolution is a better way to get that period news camera look when combined with filters in post,” Trost offers. “I’m not sure we exactly nailed it, but it’s pretty close in my eyes.” To better create a cinematic feel, Trost shot ALEXA MINI, pushed to 3200 ISO, with C-series Anamorphic lenses. The high ISO allowed Trost to shoot with very low light levels, which typically is not achievable with older anamorphic


“ I feel shooting in low resolution is a better way to get that period news camera look when combined with filters in post.” Brandon Trost

lenses that don’t function well past f/2.8. “I add grain in the DIT,” he continues, “which ties the whole look together – digital noise from the high sensor, older lenses, and the shallow focus all create texture that moves away from that [contemporary] ALEXA look.” Berlinger also wanted Trost to operate on the film, and “for a multiple camera scene like the Miami trial,” Trost notes, “that’s not really optimal. But I have so much trust and confidence in my B- and C-Camera operators – Jesse Feldman and Amanda Treyz. Not necessarily to capture the best frame so much as to find those imperfections I knew Joe wanted. By that point in the story, we had started to introduce the slow zooms that complemented the flyon-the-wall handheld.” Trost praises his long-time 1st AC, Markus Mentzer (www. icgmagazine.com, NEXT-Level Filmmaking, January 2018), for overcoming the challenges inherent to shooting anamorphic in close quarters, i.e., the many scenes of Bundy alone in prison cells. “Markus and I have a history from The Diary of A Teenage Girl, which also used close-focus anamorphics,” Trost continues. “That film used RED, and here we used ALEXA, for the different skin tones. But we built the same kind of small footprint system, using the EasyRig to get wherever I needed to be.” The intimate handheld style created what Trost describes as a “neutral bias” perspective. And, in fact, the film’s structure is deceptively complex, with subtle shifts in POV throughout. It begins with Kloepfer, a young single mom, meeting Bundy in a Seattle bar. They embark on a whirlwind courtship, visualized through a home-movie montage that Trost shot on a 16mm Bell & Howell wind-up camera in 1:33:1 aspect ratio. “The script called for that sequence to be Super 8,” Trost adds. “But I told Joe how this 16-millimeter, fixed-lens camera I have often scratches the negative and gives exposures that are never quite right. It’s a crappy kind of image, but in a perfect way!” Because the camera had had registration issues in the past, Trost also shot with his iPhone, at 18 frames per second, as a digital backup. “We shot the iPhone footage with FiILMiC Pro, but the 16 still looked better,” he laughs. “That montage was all day-zero improv. I remember a shot when [Bundy and Kloepfer] were making snow angels, and I had to duct-tape my sunglasses in front of the


[16-millimeter] lens because I didn’t have any ND [neutral density] for that old camera!” When a composite sketch for a Seattle double murder matches Bundy, and a tipster gives his name as a suspect, the camera begins to linger more on Bundy and his growing jeopardy. Investigators from multiple states converge. Jailed in Utah, he escapes; jailed again in Colorado and convicted, he escapes once again –­ a visual set piece that involved Efron jumping from a real two-story window. The interior of the building, meant to be in Aspen, CO, is a defunct courthouse that sits above a post office in Kentucky. The exterior he jumps out of was another Kentucky location. “We had to find a way to match the interior looking out the window to the exterior looking in, since they’re two different places,” Trost notes. “It was a fun cheat, and Zac really did that stunt on a wire.” Although no sets were built, Trost worked closely with Production Designer Brandon Tonner-Connolly to find locations that would work for the period setting. “I felt like we scouted eternally on this movie,” Trost smiles. “And there were always discussions about including practical lights, and the clothing. Costume designer [Megan Stark Evans] had to build that famous sweater Bundy wears when he’s caught, because it doesn’t exist anymore and the colors had to be exactly right.” Trost, whose résumé ranges from indie action horror to wild comedy, grew up on Hollywood sets. His father, Ron Trost, is a longtime special-effects coordinator; his grandfather was a 1st AD; and his great-grandfather was a stunt performer. Trost’s brother, Jason, is a writer/director, and his sister, Sarah, is a costume designer. “There’s actually a photo of me as an infant on the set of Mork & Mindy,” he laughs. “I really can’t even remember how old I was the first time I started learning about filmmaking. “I grew up doing mechanical effects with my father – wind, rain, fire, wirework, breakaway,” Trost concludes. “I helped him run effects on second unit when I was a teenager, and I just assumed I would take over his company. It was actually my dad who gently steered me toward being a DP. He said my personality and approach reminded him of all these great cinematographers he’d worked with!”


Getting The Gig!

Ashley Connor on location in Alabama for The Death of Dick Long / Courtesy of Wes Frazer


How exactly do you land an indie feature that has Sundance potential? We asked four Guild DP’s whose projects debuted in Park City in 2019. BY MICHAEL CHAMBLISS


ndependent productions are journeys recalled through war stories, victories pulled out of thin air, some good laughs, friendships, and, sometimes, a quiet shake of the head. But when the journey ends with the title garnering high-profile exposure at the Sundance Film Festival, it automatically moves to somewhere near the top of the résumé. We had the chance to talk to several ICG members while they were on their Sundance victory lap this year. The genres Tarin Anderson, Michelle Lawler, Ashley Connor and Kristy Tully worked in are spread across the spectrum of features, episodic TV and documentaries. That they are all female speaks to both an evolving industry and a refusal by Guild cinematographers of any gender, race or persuasion to be pigeonholed in any way. Even though the stories of how each of them got there are different, common threads are shared, most notably a creative fearlessness and a passion for craft, despite the as-advertised hardships of low- or nobudget moviemaking.


Top: Corporate Animals Courtesy of Tarin Anderson Bottom: Girls Weekend Courtesy of Sundance Institute

Corporate Animals is a story about the long-suffering staff of an edible cutlery company who find themselves going to places darker than the cave they get trapped in when their egotistical CEO takes them on a corporate team-building trip to New Mexico. Demi Moore and Ed Helms lead the ensemble cast, with Sundance alumna Tarin Anderson (http://www.icgmagazine. com/web/peaks-and-valleys/) lensing the two-camera shoot. “The biggest challenge,” notes Anderson, who shot two episodes of the all-female horror anthology XX, which premiered at Sundance 2017, “was the bulk of the film taking place in a brown cave. Questions like, ‘How does the light change?’ and ‘When can we adjust color?’ become tricky. Even though we had the cave built on stage, it’s still a cave with a lot of small places. We shot hand-held with the ALEXA Mini. This made decisions about when to go to Steadicam or on the dolly interesting.” Anderson’s Local 600 camera team included A-Camera/Steadicam operator Juergen Heinemann, A-Camera 1st AC Kingslea Bueltel, A-Camera 2nd AC Dan Bass, B-Camera 1st AC Lane Luper, B-Camera 2nd AC Daniel Maestas and DIT Luke Mullen. Starting out as a camera assistant and electrician, Anderson attended AFI to make the transition to DP. She had previously known the producers of Corporate Animals, having done inserts and pick-ups for them over the years, as well as having shot XX for one of the other producers. “The Director’s usual DP’s were not available, so they gave him a list,” Anderson explains. “To prep for the interview, I watched every cave movie I could get my hands on. I had seen [director] Patrick Brice’s work before, but I made sure I saw every one of his movies,” she reflects. “I did my homework. The meeting felt great, easy. By the time you get to the interview, everyone has seen your work. The interview is about communication and seeing if you can get along.” Episodic formats have exploded, due in no small part to the huge libraries of work being offered by Netflix, Amazon, Hulu and other streaming outlets. This was clearly reflected in the depth of


independent episodic fare screened at Sundance 2019. Girls Weekend, shot by Michelle Lawler and directed by Emmy- and Golden Globe-winning actress/producer/director Kyra Sedgwick, is the pilot for the story of a queer daughter who begrudgingly returns home to Las Vegas for a weekend with her estranged, homophobic sister and people-pleasing mother. When her gun-toting dad lets it slip that her mom’s cancer is back, Erica (Ali Liebegott) must decide whether she can fit in with her dysfunctional family. “I tend to approach shooting with an eye for the natural,” Lawler explains. “Las Vegas home interiors tend to keep the light out, while in L.A. we want to let the light in. So, we kept the lighting down and let the blinds play. We wanted Erica, the main character, to feel trapped in the house. We pushed light through the windows to create shadows inside. Importantly, Kyra wanted to let the actors move around and be free. That meant that I didn’t want to bog-down the process with a lot of gear in the house, so we kept the lighting outside as much as possible. We mapped out general blocking and then let the actors find their own way and do their own things. “I had met with Kira about another film,” Lawler adds. “We liked each other and stayed in touch. This was a concise script – a two-day shoot in one location. That’s a perfect recipe for friends getting together to do a project. The shoot dates came up and I was available. It was a magical weekend where everybody gave their best for a few days. I’ve been on the shortlist for Sundance before, but have never had something get in. I’m grateful for having the opportunity to work on this.” Director of Photography Ashley Connor (ICG Magazine, January 2019, “My Sundance Moment”) returned to Sundance for the second time in two years with Daniel Scheinert’s quirky comedy The Death of Dick Long. The story is set in small-town Alabama, where Dick dies and his friends Zeke and Earl don’t want anybody finding out how. But it’s hard to keep secrets in

Top: The Death of Dick Long Courtesy of Ashley Connor Bottom: Raise Hell: The Life and Times of Molly Ivins Courtesy of Kristy Tully

rural America, especially when the pair of friends is inept at thinking things through. “Daniel had a DP he had worked with before who had to drop out,” Connor recounts, “so he was open to new people. I knew one of the producers from this goofy, weird film I did called Snowy Bing Bongs Across the North Star Combat Zone.” In their initial meeting, the pair discovered a creative balance. “Danny comes from a slapstick background, and I come from an art background. To me, the story unfolds through a lens of absurdity, and questions relations to family, self and broader social relationships. He pushed me to have fun, and I pushed him to embrace the intimacy that was in the script.” The production was on-location for eight and a half weeks, spending four weeks in prep. “We shot in Bessemer, Alabama,” Connor describes. “Danny didn’t want to be another film ripping through without giving something back to the community. Birmingham has a great artistic community. So, we put on workshops for teenagers or people who had been on industrials and trained them. I’m getting texts from people working down there, so it’s great to think we helped get someone started.” Lawler describes many locations without a big budget or crew. “We had to lean into the resources the community could offer,” she says. Matching for the weather was a constant challenge. “It was so humid, so hot and rained a lot. There was this crazy humid rain. The fire department gave us a hose for wet-downs. When we needed a car going into a lake, we found a local guy with a lake who then towed the car into the water for us. And he built us a water truck. The South is a complicated place of anger, love, repression, and change. Being on-location informed what we did. I fell in love with the place.” Raise Hell: The Life and Times of Molly Ivins, a documentary about the famed Texas political journalist and Bill of Rights

warrior went into production in 2012, and DP Kristy Tully came on in 2015 to shoot the live segments. Tully says director Janice Engel was able to schedule exterior interviews that would capture the dramatic Texas landscapes at dawn and dusk. Tully, working alone, kept the package small and versatile – Canon C300 and sometimes a Canon 5D MKII when a second size for an interview was needed. “When we got to New York,” Tully adds, “we were able to move around the city with slightly larger sources, which gave me the ability to shape the light more carefully.” Starting as an electrician and then gaffer for commercials, Tully met producer Robert Greenwald of Brave New Films in 2004 and went on to shoot Wal-Mart: The High Cost of Low Price. “I had this amazing documentary teacher in New York film school, Dick Rogers,” Tully continues. “We had to do three experimental documentaries in one year. The challenge was to make docs without words. That inspired me. I started shooting commercials and promos on the side while putting my heart into documentaries. That enabled me to contribute to society instead of just hawking cat litter.” Now, with several documentary projects to her credit, including the PBS series In Their Boots, Tully is on a roll. “I was introduced to this project by the consulting editor, who was also the editor of another documentary that I was working on. They were looking for a DP who could make celebrities feel comfortable and especially make older women look beautiful under natural-looking lighting. Celebrities aren’t expecting the full treatment from a documentary crew.” Working solo in the Texas heat meant Tully, while not a make-up person, carried blotting tissue and neutral color in her kit. “I try to work with big, soft sources,” she concludes. “Once you start rolling, it’s too late to do something about the unflattering shadow. So, I pull a chair up to the monitor and I look for a couple minutes before we start shooting. As cinematographers, our eyes are our main tools.”


PRODUCTION CREDITS COMPILED BY TERESA MUÑOZ – AS OF MARCH 1, 2019 The input of Local 600 members is of the utmost importance, and we rely on our membership as the prime (and often the only) source of information. In order for us to continue to provide this service, we ask that Guild members submitting information take note of the following requests: Please provide up-to-date and complete crew information (including Still Photographers, Publicists, Additional Units, on the first of the preceding cover month (excluding weekends & holidays).

Submit your jobs online by visiting: www.icg600.com/MY600/Report-Your-Job Any questions regarding the Production Credits should be addressed to Teresa Muñoz at teresa@icgmagazine.com


First Man / Photo by Daniel McFadden

etc.). Please note that the deadline for the Production Credits is

20th CENTURY FOX “911” SEASON 2 Director of Photography: Joaquín Sedillo, ASC Operators: Brice Reid, Duane Mieliwocki, SOC, Phil Miller, SOC Assistants: Ken Little, Noah Thomson, Eric Guerin, David Stelhorn, Max Macat, Jihane Mrad Steadicam Operator: Brice Reid Steadicam Assistant: Ken Little Camera Utility: Paulina Gomez Digital Utility: Joshua Smith Still Photographer: Ron Jaffe “BLESS THIS MESS” SEASON 1 Director of Photography: Jason Oldak Operators: Gary Camp, Brian Outland Assistants: John Ruiz, Jenna Hoffman, Kyle Petitjean, Heather Ballish Steadicam Operator: Gary Camp Steadicam Assistant: John Ruiz Loader: Jordan Cantu “COOL KIDS” SEASON 1 Director of Photography: Chris La Fountaine, ASC Operators: Bruce Reutlinger, George La Fountaine, Chris Wilcox, Kris Conde Assistants: Brian Lynch, Jeff Roth, Craig La Fountaine Digital Imaging Tech: Shaun Wheeler Camera Utilities: Chris Todd, Vicki Beck Video Controller: Andy Dickerman Still Photographer: Patrick McElhenney

“EMPIRE” SEASON 5 Director of Photography: Joe “Jody” Williams Operators: Kirk Gardner, Spencer Gillis Assistants: Andy Borham, Betsy Peoples, Uriah Kalahiki, Shannon DeWolfe Loader: Amanda Kopec Digital Utility: Mark Irion Still Photographer: Chuck Hodes “FRESH OFF THE BOAT” SEASON 5 Director of Photography: Greg Matthews Operators: Brian Morena, Brooks Robinson Assistants: Ray Dier, Tomoka Maronn Izumi, Chris Cobb, Steve Whitcomb Camera Utility: Adam Kolkman “LAST MAN STANDING” SEASON 7 Director of Photography: Donald A. Morgan, ASC Operators: Gary Allen, Randy Baer, Larry Gaudette, John Boyd Assistants: Missy Toy-Ozeas, Damian Della Santina, Al Myers Camera Utilities: John Weiss, Steve Masias Digital Imaging Tech: Von Thomas “MODERN FAMILY” SEASON 10 Director of Photography: James Bagdonas, ASC Operators: Trey Clinesmith, Toby Tucker Assistants: John Stradling, Michael Bagdonas, Noah Bagdonas, Rebecca Martz Spenser Camera Utility: Gavin Wynn Digital Utility: Sean Kehoe

“SPEECHLESS” SEASON 3 Director of Photography: Rhet Bear Operators: Patrick McGinley, Hiro Fukuda, Brad Richard Assistants: Blair Rogers, Peter DePhilippis, Geoff Goodloe, Ulli Lamster, David Erickson, James Jermyn Camera Utility: Brittany Meadows “STAR” SEASON 3 Directors of Photography: Jesse M. Feldman, Jim “Gooch” Gucciardo Operators: Aiken Weiss, SOC, Christian Satrazemis Assistants: Maurizio “Nino” Dotto, Chad Brock, April Ruane Crowley, Grace Preller Chambers Steadicam Operator: Aiken Weiss, SOC Loader: Trent Walker Camera Utility: Anna-Marie Aloia “THIS IS US” SEASON 3 Director of Photography: Yasu Tanida Operators: James Takata, Tim Roarke Assistants: Sean O’Shea, Rich Floyd, Brian Wells, Jeff Stewart Steadicam Operator: James Takata Steadicam Assistant: Sean O’Shea Loader: Mike Gentile Still Photographer: Ron Batzdorff ABC STUDIOS “AMERICAN HOUSEWIFE” SEASON 3 Director of Photography: Andrew Rawson Operators: Rich Davis, Tim Walker,


ABOMINABLE PICTURES “MEDICAL POLICE” Director of Photography: Marco Fargnoli Operators: Nick Franco, Doug Oh, Frank Barrera Assistants: Seth Kotok, Danny Gardner, Bryan Haigh, Jeff Saldin, Dylan Neal Steadicam Operator: Nick Franco Steadicam Assistant: Seth Kotok Loader: Kathleen Corcoran Digital Utility: Dylan Neal Still Photographer: Darren Michaels ACROSS THE POND PRODUCTIONS, LLC “DIVORCE” SEASON 3 Director of Photography: John Lindley, ASC Operators: Gerard Sava, Ted Chu Assistants: Braden Belmonte, Abner Medina, Brendan Russell, Andy Hensler Loaders: Christos Limniatis, Austin Restrepo Still Photographer: Craig Blankenhorn AFN PRODUCTIONS-TELEPICTURES “THE REAL” SEASON 5 Lighting Director: Earl Woody, LD Operators: Kevin Michel, David Kanehann, Steve Russell, Bob Berkowitz Steadicam Operator: Will Demeritt Camera Utilities: James Magdalin, Henry Vereen, John Markese Jib Arm Operator: Jim Cirrito Video Controller: Jeff Messenger

Lisa Stacilauskas Assistants: Max Neal, Robert Gilpin, Joe Torres, Elizabeth Algieri, Karl Owens, Jaswinder Bedi Digital Loader: Leslie Puckett Digital Utility: Steve Rommevaux “AGENTS OF S.H.I.E.L.D.” SEASON 7 Directors of Photography: Allan Westbrook, Kyle Jewell Operators: Bill Brummond, Josh Larsen Assistants: Coby Garfield, Tim Cobb, Derek Hackett, Josh Novak Steadicam Operator: Bill Brummond Steadicam Assistant: Tim Cobb Digital Imaging Tech: Ryan Degrazzio Digital Utility: Mike Rush “BLACK-ISH” SEASON 5 Director of Photography: Rob Sweeney Operators: Jens Piotrowski, Troy Smith Assistants: Art Martin, Dan Squires, Tony Muller Digital Utilities: Pablo Jara, Eliza Wimberly “GREY’S ANATOMY” SEASON 15 Director of Photography: Herb Davis Operators: Fred Iannone, Steve Ullman Assistants: Nick McLean, Forrest Thurman, Chris Johnson, Lisa Bonaccorso Steadicam Operator: Steve Ullman Steadicam Assistant: Forrest Thurman “JIMMY KIMMEL LIVE!” SEASON 17 Lighting Director: Christian Hibbard Operators: Greg Grouwinkel, Parker Bartlett,


Garrett Hurt, Mark Gonzales Steadicam Operator: Kris Wilson Jib Operators: Marc Hunter, Randy Gomez, Jr., Nick Gomez Camera Utilities: Charles Fernandez, Scott Spiegel, Travis Wilson, David Fernandez, Adam Barker Video Controller: Guy Jones Still Photographers: Karen Neal, Michael Desmond 2ND UNIT Directors of Photography: Bernd Reinbardt, Steve Garrett “STATION 19” SEASON 2 Directors of Photography: Oliver Bokelberg, ASC, Daryn Okada, ASC Operators: Steve Clancy, Mariana Antuñano Assistants: Tony Schultz, Christopher Garcia, Diana Ulzheimer, Tim Tillman Steadicam Operator: Steve Clancy Steadicam Assistant: Tony Schultz Digital Imaging Tech: Andrew Lemon Digital Utility: George Montejano, III “THE ROOKIE” SEASON 1 Director of Photography: Benji Bakshi Operators: Ron Baldwin, Layna McAllister Assistants: Andrae Crawford, Harry Heng, Darrin Nim, Michaela Angelique Digital Imaging Tech: Earl Fulcher Utility: Candice Marais

A VERY GOOD PRODUCTION, INC. & WAD PRODUCTIONS “THE ELLEN DEGENERES SHOW” SEASON 16 Lighting Director: Tom Beck Ped Operators: David Weeks, Paul Wileman, Tim O’Neill Hand Held Operator: Chip Fraser Jib Operator: David Rhea Steadicam Operator: Donovan Gilbuena Video Controller: James Moran Head Utility: Craig “Zzo” Marazzo Utilities: Arlo Gilbuena, Wally Lancaster, Diego Avalos AXIS FILM PRODUCTION PR, LLC “AXIS SALLY” Director of Photography: Jayson Crothers Operators: Carlos Zayas, Heixan Robles Assistants: Juli Silver Taracido, Carlos Garcia, Zoraida Luna Luna, Natasha Luna Loader: Su-Jeng Sang Still Photographer: Laura Magruder BEACHWOOD SERVICES “DAYS OF OUR LIVES” SEASON 53 Directors of Photography: Mark Levin, Ted Polmanski Operators: John Sizemore, Mark Warshaw, Vickie Walker, Michael J. Denton, Steve Clark Utilities: Steve Bagdadi, Gary Cypher Video Controller: Alexis Dellar Hanson CBS “BULL” SEASON 3 Director of Photography: Derick Underschultz Operators: Barnaby Shapiro, Doug Pellegrino Assistants: Roman Lukiw, Soren Nash, Mike Lobb, Trevor Wolfson Digital Imaging Tech: Gabe Kolodny Loaders: Wyatt Maker, Nialaney Rodriguez

“ENTERTAINMENT TONIGHT” SEASON 39 Lighting Designer: Darren Langer Director of Photography: Kurt Braun Operators: Jaimie Cantrell, James B. Patrick, Allen Voss, Ed Sartori, Henry Zinman, Bob Campi, Rodney McMahon, Anthony Salerno Camera Utility: Terry Ahern Video Controllers: Mike Doyle, Peter Stendal

Peter Caronia, Jacqueline Nivens Steadicam Operators: Terence Nightingall, Tim Beavers Steadicam Assistants: Keith Banks, Richie Hughes Digital Imaging Tech: John Mills Digital Utility: Trevor Beeler
 Still Photographer: Ron Jaffe Publicist: Kathleen Tanji

“MAN WITH A PLAN” SEASON 3 Director of Photography: Gary Baum, ASC Operators: Glenn Shimada, Travers Hill, Lance Billitzer, Ed Fine Assistants: Adrian Licciardi, Jeff Goldenberg, Alec Elizondo, Clint Palmer, Jason Herring Utilities: Danny Lorenze, Sean Askins Digital Imaging Tech: Derek Lantz Video Controller: John O’Brien

“NCIS: NEW ORLEANS” SEASON 5 Director of Photography: Gordon Lonsdale, ASC Operators: Jerry Jacob, Vincent Bearden, Tony Politis Assistants: Brouke Franklin, Peter Roome, Jeff Taylor, Dave Edwards, Toni Weick, Stephen Vicari Steadicam Operator: Vincent Bearden Digital Loader: Levi Wells Digital Utility: Kolby Heid

“NCIS” SEASON 16 Director of Photography: William Webb, ASC Operators: Gregory Paul Collier, Chad Erickson, Doug Froebe (Video) Assistants: James Troost, Helen Tadesse Nathan Lopez, Yusef Edmonds Loader: Anna Ferrarie Still Photographers: Ron Jaffe, Mike Kubeisy “NCIS: LOS ANGELES” SEASON 10 Director of Photography: Victor Hammer Operators: Terence Nightingall, Tim Beavers Assistants: Keith Banks, Richie Hughes,

Elizabeth Casinelli, Milly Itzhak Loaders: Vinnie Laraway, Sancheev Ravichandran Still Photographer: Patrick Harbron “THE NEIGHBORHOOD” SEASON 1 Director of Photography: Chris La Fountaine, ASC Operators: Bruce Reutlinger, George La Fountaine, Chris Wilcox, Kris Conde Assistants: Brian Lynch, Jeff Roth, Craig La Fountaine Digital Imaging Tech: Chris Todd Camera Utility: Vicki Beck Video Controller: Andrew Dickerman Still Photographer: Ron Jaffe

“THE CODE” SEASON 1 Director of Photography: Jimmy Lindsey, ASC Operators: Lawrence McConkey, Chris Scarafile Assistants: Scott Koenigsberg, Joseph Metzger, Dean Martinez, Jonathan Monk Digital Imaging Tech: Matthew Selkirk Loaders: James Abamont, Alyssa Longchamp Still Photographer: Mark Schafer

“THE TALK” SEASON 9 Lighting Director: Marisa Davis Ped Operators: Art Taylor, Mark Gonzales, Ed Staebler Hand Held Operators: Ron Barnes, Kevin Michel, Jeff Johnson Jib Operator: Randy Gomez Head Utility: Charlie Fernandez Utilities: Mike Bushner, Doug Bain, Dean Frizzel, Bill Greiner, Jon Zuccaro Video Controller: Richard Strock Still Photographer: Ron Jaffe

“THE GOOD FIGHT” SEASON 3 Directors of Photography: Fred Murphy, ASC, Tim Guinness Operators: Alec Jarnagin, Diana Matos Assistants: Rene Crout, Daniel Fiorito,

CHILD NINJA “PINEAPPLE HARVEST” Director of Photography: Benjamin Kasulke Underwater Director of Photography: Ian Takahashi


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See us at the NAB Show 2019 • Las Vegas Convention Center • Las Vegas, NV • April 8 - 11, 2019 (Booth C-10845 ) Backstage Equipment, Inc. • 8052 Lankershim Bl. • North Hollywood, CA 91605 91 • (800) 692-2787 787 • (818) 504-6026 • Fax (818) 504-6180 • E-mail info@backstageweb. info@backstageweb.com • www.backstageweb.com

Operators: Marc Carter, Shelly Gurzi, Assistants: Jacqueline Stahl, Justin Watson, Michael Ashe, Giselle Gonzalez, Rafiel Chait, Renee Treyball Digital Imaging Tech: Chris Hoyle Still Photographer: Adam Rose PICK UPS Director of Photography: Benjamin Kasulke Operators: Marc Carter, Shelly Gurzi, Malcolm Serrette Assistants: Justin Watson, Gretchen Hatz, Nick Cutway, Jule Fontana, Renee Treyball, Jose Figueroa Digital Imaging Tech: Chris Hoyle Technocrane Operator: Ryan Elliott CONACO “CONAN” SEASON 9 Operators: Ted Ashton, Nick Kober, Kosta Krstic, James Palczewski, Bart Ping, Seth Saint Vincent Head Utility: Chris Savage Utilities: Baron Johnson, Josh Gwilt COOLER WATER PRODUCTIONS, LLC “EUPHORIA” SEASON 1 Directors of Photography: Marcell Rev, Drew Daniels Operator: Kristen Correll Assistants: Norris Fox, Jonathan Clark, Tulio Duenas, Gavin Grossi Digital Imaging Tech: Justin Steptoe Loader: Baird Steptoe, Jr. Utility: DeWayne Williams, Jr. “MRS. FLETCHER” SEASON 1 Director of Photography: Jeffrey Waldron Operators: Peter Nolan, Rod Calarco Assistants: Christopher Silano, Olga Abramson, Troy Sola, Eddie Goldblatt Loader: Brittany Jelinski Still Photographer: Sarah Shatz CMS “SERVANT AKA CRUMPET” SEASON 1 Director of Photography: Michael Gioulakis Operator: Benjamin Verhulst


Assistants: Scott Johnson, Nicholas Huynh, Anton Miasnikov, Leon Sanginiti, Jr. Digital Imaging Tech: Aaron Biller Loader: Sean Galczyk Still Photographer: Jessica Kourkounis CRANETOWN MEDIA, LLC “AMERICAN SON” Director of Photography: Kramer Morgenthau, ASC Operators: Julian Delacruz, Kerwin DeVonish, Christine Ng Assistants: Glenn Kaplan, Dwight Campbell, Jelani Wilson, Anthony DeFrancesco, Haffe Acosta, Brian Grant Digital Imaging Tech: Matthew Selkirk Loader: Katherine Rivera Still Photographer: David Lee “DAYBREAK” Director of Photography: Duane Manwiller Operators: Henry Tirl, Stephen Andrich Assistants: Matthew Horn, Gabriel Pfeiffer, Liza Bambenek, Robert Veliky, Taylor Hilburn, Artu Arin Steadicam Operator: Henry Tirl Digital Imaging Tech: Tim Gregoire Loader: Kathryn Jones Digital Utility: Diana De Aguinaga Still Photographer: Ursula Coyote “NO GOOD NICK” SEASON 1 Director of Photography: John Simmons, ASC Operators: Brian Gunter, Robert McCall, Sketch Pasinski, Victoria Walker Assistant: Elena Gomez Digital Imaging Tech: Cliff Jones Jib Tech: Jorge Valenzuela Video Controller: Dave DeMore Still Photographer: Lisa Rose “THE RANCH” SEASON 4 Director of Photography: Donald A. Morgan, ASC Operators: Brian Armstrong, Randy Baer, Chris Hinojosa, Michelle Crenshaw Assistants: Don Davis, Missy Toy, Vito De Palma, Adan Torres, Al Myers Digital Imaging Tech/Video Controller:

Rick Dungan Camera Utilities: Erinn Bell, Steve Masias DC COMICS “DOOM PATROL” SEASON 1 Directors of Photography: Magdalena Gorka, Scott Winig Operators: Tim Fabrizio, Ryan Weisen Assistants: Chris Larsen, Jackson McDonald, Paul Saunders, Sagar Desai Digital Imaging Tech: Mark Gilmer Digital Utility: Torey Lenart Loader: Caroline Oelkers DIVA GAMES, LLC “GAMES PEOPLE PLAY” SEASON 1 Director of Photography: Frank Perl Operators: Hilton Goring, Tony Gutierrez Assistants: Alaina McManus, Cristina Arboleda, Mark Reilly, Aldo Porras Digital Imaging Tech: Oliver Mancebo Digital Utility: Missy Burgess Still Photographer: Ron Jaffe ELF CITY PRODUCTIONS/DISNEY “NOELLE” Director of Photography: Mitch Amundsen Operators: Lawrence “Doc” Karman, Steve Andrich, William O’Drobinak, Jules Labarthe Assistants: Toddy Schlopy, Justin Cooley, Thom Lairson, Billy McConnell Steadicam Operator: Lawrence “Doc” Karman Steadicam Assistant: Todd Schlopy Digital Imaging Tech: Kai Borson Loader: Nastasia Humphries Still Photographer: Chuck Zlotnick Publicist: Toni Atterbury EYE PRODUCTIONS, INC. “BLUE BLOODS” SEASON 9 Director of Photography: Gene Engels Operators: Stephen Consentino, Geoff Frost Assistants: Graham Burt, Jacob Stahlman, Chris Seehase, Kenny Martell Digital Imaging Tech: Ryan Heide Loaders: Neicy McFadden, Caleb Keeler

SCH_Probst_ICG.qxp_Layout 1 2/25/19 11:33 AM Page 1

Christopher Probst, ASC

In Control with RHOdium FSND When it comes to NDs Christopher Probst, ASC doesn’t mess around. He likes to be in control of his images, leaving little up to chance.

in your intent and vision, in-camera, and having consistency “andBuilding control where you’re placing exposure and color is paramount in maintaining the integrity of the digital negative. As sensors become faster, having the RHOdium FSNDs help control exposure and manipulate the F-stop to control depth of field — is so important. When using the RHOdiums, you start off with a neutral palette that doesn’t affect the image as you're photographing it. I was amazed that we could go all the way up to an ND 3 without any color shifting whatsoever. Being able to deliver consistency in my work, shot to shot, exposure to exposure, scene to scene regardless of the scenario, or the crew, is how I maintain control.

Christopher Probst, ASC is a 2018 ASC Award nominee for his work on the Netflix series Mindhunter, directed by David Fincher. He has shot feature films including Beyond Skyline, Fire With Fire and Detention, plus scores of commercials and music videos for top performers.

www.schneideroptics.com info@schneideroptics.com • 818-766-3715 • 800-228-1254

“HAWAII FIVE-0” SEASON 9 Directors of Photography: Kurt Jones, Newton TerMeer Operators: Greg Lundsgaard, Jim Jost Assistants: Jeff Pelton, Kanoa Dahlin, Ulysses Domalaon, Brandon Ho, Mike Prioste, Will Wacha Digital Imaging Tech: David Crans Loader: Ryan Charlton-Halweg Digital Utility: Geraldo Morales “MADAM SECRETARY” SEASON 5 Director of Photography: Learan Kahanov Operators: Jamie Silverstein, Peter Vietro-Hannum Assistants: Heather Norton, Jamie Fitzpatrick, Amanda Rotzler, Damon LeMay Digital Imaging Tech: Keith Putnam Loaders: Christopher Patrikis, Kristina Lally Still Photographer: Mark Schafer “MACGYVER” SEASON 3 Directors of Photography: Mike Martinez, James L. Carter, ASC Operators: Ian Forsyth, Allen D. Easton, Paul Krumper Assistants: Al Cohen, Stefan Vino-Figueroa, Trevor Rios, Easton Harper, Mike Torino, Danny Vanzura Steadicam Operator: Ian Forsyth Digital Imaging Tech: Greg VanZyck Utility: Tyler Bastianson “MAGNUM P.I.” SEASON 1 Directors of Photography: Krishna Rao, Rodney Charters, ASC

Operators: Keith Jordan, Jay Herron, Scott Mason Assistants: Tony Nagy, Rylan Akama, Brian Mastumura, Zeke Hanohano, Tommy Lewis, Sal Alvarez Steadicam Operator: Keith Jordan Digital Imaging Tech: Caleb Lucero Loader: Kilani Villiaros Digital Utility: Blane Eguchi Still Photographer: Karen Neal Publicist: Ryan Aguirre FIRE AND ICE PRODUCTIONS “YELLOWSTONE” SEASON 2 Directors of Photography: Christina Voros, Adam Suschitzky Operators: Steven Finestone, Ryan Wood, Ian Ellis Assistants: Danna Rogers, Dylan Conrad, Elver Hernandez, Matthew Leslie, Austin Green Digital Imaging Tech: Lisa Konecny Still Photographer: Emerson Miller FOX 21 “QUEEN OF THE SOUTH” SEASON 4 Director of Photography: Abe Martinez Operators: Matt Valentine, Bob Foster Assistants: Jason Garcia, Rigney Sackley, Stefan Tarzan, Dan McKee, Zander White Digital Loader: Adam Lipscomb FUQUA FILMS “THE RESIDENT” SEASON 2 Director of Photography: John Brawley

Operators: Mark Karavite, Kris Hardy, Hilda Mercado Assistants: Eric Leftridge, Scott Forte, Trey Twitty, John Metcalfe, Austin Taylor, Bess Johnson Steadicam Operator: Mark Karavite Loader: Trey Volpe Camera Utility: Ryan St Clair Digital Utility: Max Carter 2ND UNIT Director of Photography: Hilda Mercado GOLDEN DRAGONS, LLC “THE OUTSIDER” SEASON 1 Director of Photography: Igor Martinovic Operators: Ben Semanoff, Ari Issler Assistants: Liam Sinnott, Kate Roberson, Stephen Early, Michael Fisher Digital Imaging Tech: Michael Kim Loader: Kat Soulagnet GOOD YOU PLUS, INC. “ODD MAN RUSH” Director of Photography: Barry Markowitz, ASC Operator: Josh Pickering Assistants: Steven Search, Colin Sheehy GRAVITATIONAL PRODUCTIONS “ZOMBIELAND 2” Directors of Photography: Chung-Hoon Chung Operators: BJ McDonnell, Chris Campbell, Richard Cantu Assistants: Greg Irwin, Andy Hoehn,




Paul Woods, Jamie Pair, Paul Woods, Nichole Castro, Lauren Gentry Digital Imaging Tech: Kyle Spicer Loader: DJ Phillips Digital Utility: Rebecca Fowler Still Photographer: Jessica Miglio Publicist: Elizabeth Driscoll HORIZON SCRIPTED TELEVISION, INC. “ANDI MACK” SEASON 3 Director of Photography: Matthew Williams Operator: Scott Hoffman Assistants: John Williams, David Rhineer, Kurtis Burr, Nick Nebeker Steadicam Operator: Scott Hoffman Digital Imaging Tech: Sean McAllister IT’S A LAUGH PRODUCTIONS “SYDNEY TO THE MAX” SEASON 1 Directors of Photography: George Mooradian, ASC, Tom Eckelberry Operators: Ken Herft, Cory Gunter, Tom Conkright, Jack Chisholm, Vince Singletary Camera Utilities: Terry Gunter, Kate Steinhebel Digital Utilities: Mike Pusatere, Monica Schad Video Controllers: Keith Anderson, Brian Dodds Still Photographer: Ron Tom IT’S POSSIBLE PRODUCTIONS, LLC “ALTERNATINO” SEASON 1 Director of Photography: Tyler Ribble Operators: Daniel Sharnoff, Benjamin Dailey Assistants: Andrew Brinkman, Cody Schrock, Alec Nickel Digital Imaging Tech: Guillermo Tunon JAY SQUARED PRODUCTIONS, LLC “BLINDSPOT” SEASON 4 Directors of Photography: Andrew Priestley, Jon Delgado Operators: Pyare Fortunato, Peter Ramos, John Romer Assistants: Andrew Smith, Aleksandr Allen, Kyle Clark, Christian Bright, Bryant Bailey, Deborah Fastuca, Kjerstin Rossi, Darnell McDonald


Steadicam Operator: Pyare Fortunato Digital Imaging Tech: Chloe Walker Still Photographer: Phil Caruso JUNE PICTURES “THE GLORIAS: A LIFE ON THE ROAD” Director of Photography: Rodrigo Prieto, ASC, AMC Operators: Michael Fuchs, Stanley Fernandez Assistants: Johnny Sousa, Alessandro Di Meo, Matthew Kelly Jackson, Nicholas Leone Steadicam Operator: Michael Fuchs Digital Imaging Tech: Ted Viola Loader: Zach Holloran Still Photographer: Dan McFadden LEGENDARY PICTURES “GODZILLA VS. KING KONG” Director of Photography: Ben Seresin Operators: Martin Schaer, James Goldman Assistants: Simon England, Jimmy Ward Justin Zaffiro, Nathan Stern Digital Imaging Tech: Robert Howie Loader: Danny Park Still Photographer: Chuck Zlotnick Publicist: Deborah Simmrin MESQUITE PRODUCTIONS “FOR ALL MANKIND” SEASON 1 Directors of Photography: Stephen McNutt, ASC, Ross Berryman, ASC, ACS Operators: Tim Spencer, Mike McEveety Assistants: Stephen Pazanti, Jorge Pallares, Chris Sloan, Arthur Zajac Steadicam Operator: Tim Spencer Steadicam Assistant: Stephen Pazanti Digital Imaging Tech: Mike DeGrazzio Digital Utility: Robert Ruelas Still Photographer: Justin Lubin 2ND UNIT Director of Photography: Stephen McNutt, ASC Operators: Mike McEveety, Ron Schlaeger Assistants: Jorge Pallares, Arthur Zajac, Dave Erickson, Suzy Dietz Steadicam Operator: Mike McEveety Digital Imaging Tech: Steve Harnell

“LA’S FINEST” SEASON 1 Director of Photography: Robert Gantz Operators: Ian Fox, Jody Miller, Pete Romano Assistants: Jamie Felz, Casey Muldoon, James Barela, Luis Gomez, Mark Connelly Digital Imaging Tech: Kevin Britton Digital Loader: Kyle Jacobs Digital Utility: Claudio Banks Still Photographer: Nicole Wilder MINIM PRODUCTIONS, INC. “BASKETS” SEASON 4 Director of Photography: Joseph Meade Operators: Tyson Wisbrock, Noah Dille Assistants: Cameron Carey, Jerry Turner, Danielle Carroll, Patrick LaValley Loader: Carl Helder Still Photographer: Erica Parise “DEVS” SEASON 1 Director of Photography: Rob Hardy Operator: Grant Adams, SOC Assistants: Patrick McArdle, Ray Milazzo, Seth Gallagher, Blake Collins Steadicam Operator: Grant Adams, SOC Steadicam Assistant: Ray Milazzo Digital Imaging Tech: Natalie Carr Loader: Mike Prior Digital Utility: Zach Madden 2ND UNIT Director of Photography: Joshua Zucker-Pluda “LEGION” SEASON 3 Directors of Photography: Dana Gonzales, ASC, Polly Morgan, ASC, BSC, Amy Vincent, ASC, Alex Disenhof, Ben Kutchins Operators: Mitch Dubin, Brian Bernstein, Will Dearborn Assistants: David Edsall, Cheli Clayton, Alex Scott, Jason Alegre, Amanda Darouie, Gary Bevans Digital Imaging Tech: Chris Cavanaugh Utility: Emma Massalone Still Photographer: Suzanne Tenner

NBC “AMAZING STORIES” SEASON 1 Directors of Photography: Dan Stoloff, Paul Sommers Operators: Brian Nordheim, Stefan von Bjorn, Bob Gorelick Assistants: Tim Risch, Jessica Hershatter, Jason Lancour, Victoria K. Warren, Jon Kurt, Nelson Moncada Steadicam Operator: Brian Nordheim Steadicam Assistant: Tim Risch Loader: Matt Evans Digital Utility: Tony Fallico Still Photographer: Curtis Baker Publicist: Erin Felentzer “CHICAGO FIRE” SEASON 7 Director of Photography: Lisa Wiegand, ASC Operators: Will Eichler, Vanessa Joy Smith Assistants: Luis Fowler, Zach Gannaway, Brian Romano, Gary Malouf Steadicam Operator: Will Eichler Digital Loader: Derek Ashbaugh Digital Utility: Amy Tomlinson Still Photographer: Elizabeth Morris “CHICAGO MED” SEASON 4 Director of Photography: Lex duPont, ASC Operators: Faires Anderson Sekiya, Chris Hood, Joe Tolitano

Assistants: George Olson, Laura DeFiglio, Keith Hueffmeier, Patrick Dooley, Sam Knapp, Joey Richardson Steadicam Operator: Faires Anderson Sekiya Loader: Matt Brown Utility: Emmanuel Bansa Still Photographer: Liz Sisson “CHICAGO PD” SEASON 6 Director of Photography: James Zucal Operators: Richard Crow, Darryl Miller, Seth Thomas Assistants: John Young, Don Carlson, David “YT” Wightman, Jamison Acker, Phillip Walter, Kyle Belousek Steadicam Operator: Scott Dropkin, SOC Loader: Nick Wilson Utilities: Marion Tucker, Alan Dembek Still Photographer: Sandy Morris 2ND UNIT Director of Photography: Darryl Miller “SUPERSTORE” SEASON 4 Director of Photography: Jay Hunter Operators: Adam Tash, Hassan Abdul-Wahid, Danny Nichols Assistants: Jason Zakrzewski, Brandon Margulies, Eric Jenkinson, Ryan Sullivan, Esta Garcia, Rikki Alarian Jones Loader: Grace Thomas

PACIFIC 2.1 “FOSSE/VERDON” SEASON 1 Director of Photography: Timothy Ives Operators: Mark Schmidt, Wylda Bayron Assistants: Adriana Brunetto-Lipman, Rossana Rizzo, Amber Rosales, Mike Swearingen Loader: Julia Leach PALLADIN PRODUCTIONS “SWAMP THING” SEASON 1 Directors of Photography: Fernando Arguelles, ASC, AEC, Nathan Goodman, ASC Operators: Matthew Doll, Michael Repeta Assistants: Patrick Borowiak, Sean Yaple, Roy Knauf, Darwin Brandis Steadicam Operator: Matthew Doll Digital Imaging Tech: Andy Bader PARAMOUNT PICTURES “THE LOVEBIRDS” Director of Photography: Bryan Burgoyne Operators: Abby Linne, Remi Tournois Assistants: Michael Charbonnet, Melanie Gates, Zach Blosser, Casey Shaw Steadicam Operator: Remi Tournois Digital Imaging Tech: Nate Borck Loader: Bily Salazar Still Photographer: Skip Bolen Publicist: Diane Slattery


“TOP GUN: MAVERICK” Director of Photography: Claudio Miranda, ASC Operators: Chris Haarhoff, John Connor Assistants: Dan Ming, Bob Smathers, Mateo Bourdieu, Max DeLeo, Natasha Mullan, Nathan Stern Steadicam Operator: Chris Haarhoff Digital Imaging Tech: Rohan Chitrakar Loader: Farisai Kambarami, Kalli Kouf Still Photographer: Scott Garfield Publicist: Michael Singer

PP21 PRODUCTIONS, LLC “BLACK LIGHTNING” SEASON 2 Directors of Photography: Scott Peck, Michael Watson Operators: Glen Brown, Fernando Reyes Assistants: Anthony Zibelli, Alan Newcomb, Alfredo Santiago, Rodell Francis Steadicam Operator: Glen Brown Steadicam Assistant: Anthony Zibelli Digital Imaging Tech: Justin Warren Digital Utility: Chandra Sudtelgte

PEACHY CLEAN PRODUCTIONS, LLC “WATCHMEN AKA BROOKLYN” SEASON 1 Directors of Photography: Greg Middleton, Xavier Grobet, ASC, AMC Operators: Chris Cuevas, John Garrett Assistants: Liam Sinnott, Kate Roberson, Pat Sokley, John Hoffler Digital Imaging Tech: Jonathan Carbonaro Loader: Taylor Seaman Digital Utility: Rachel Keenan Still Photographer: Mark Hill

RADICAL MEDIA “SHERMAN’S SHOWCASE” SEASON 1 Director of Photography: Giles Dunning Operators: John Veleta, Devin Doyle, Wayne Goring Assistants: Nito Serna, Lorenzo Porras, William Dicenso, Chris Burket, Noah Glazer, Patrick Romero, Scott Beckley Jib Arm Tech: George Valenzuela, Jeff Klimuck Still Photographer: Michael Moriatis

PENNY LANE PRODUCTIONS, LLC “THE DEUCE” SEASON 3 Director of Photography: Yaron Orbach Operators: Philip Martinez, Lucas Owen Assistants: Waris Supanpong, Becki Heller, Randy Schwartz, Nathalie Rodriguez Loader: Brian Lynch Still Photographer: Paul Shiraldi POLYPHEMUS STAND-IN, INC. “THE STAND-IN AKA BMX RIDER” Director of Photography: Eric Moynier Operators: Jim McConkey, Gregory Principato Assistants: Anthony Cappello, Stephen Kozlowski, Jorge Del Toro, Christina Carmody Digital Imaging Tech: Bjorn Jackson Still Photographer: Nicole Rivelli EPK: Steven Clark POPCORN PRODUCTIONS, LLC “BIOS” Director of Photography: Jo Willems, ASC Operators: Dave Thompson, Ian Seabrook Assistants: Stephen MacDougall, Kingslea Bueltel, Ryan Bushman, Dan Baas Steadicam Operator: Dave Thompson Digital Imaging Tech: Adrian Jebef 2ND UNIT Director of Photography: Ian Seabrook POSSIBLE PRODUCTIONS “BILLIONS” SEASON 4 Director of Photography: Giorgio Scali Operators: Jonathan Beck, Nicola Benizzi Assistants: Edwin Effrein, Cai Hall, Leonardo Gomez, II, Andrew Hamilton Loaders: Christopher Charmel, Kansas Ballesteros “THE AFFAIR” SEASON 5 Directors of Photography: Steven Fierberg, ASC, Jim Denault, ASC Operators: Eric Schilling, Nicole Lobell Assistants: Michael Endler, Don Burghardt, Rudy Pahoyo, Robyn Buchanan Steadicam Operator: Eric Schilling Steadicam Assistant: Michael Endler Digital Imaging Tech: Kevin Celi Loader: Emily Goodwin Digital Utility: Glen Landry Still Photographer: Paul Sarkis


SCREEN GEMS “BLACK & BLUE” Director of Photography: Dante Spinotti, ASC Operators: Peter Rosenfeld, Chris Duskin Assistants: Dennis Seawright, Dale White, Ry Kawanaka, Jonathan Robinson Digital Imaging Tech: Daniele Colombera Utility: Bron Moyi Still Photographer: Alan Markfield SHOWTIME PICTURES “CITY ON A HILL” SEASON 1 Director of Photography: Joseph Collins Operators: Edgar Colon, Laura Hudock Assistants: Eric Robinson, John Reeves, Sarah Scrivener, Quinn Murphy Digital Imaging Tech: Jeffrey Hagerman Loader: Max Collins Still Photographer: Francisco Roman Sanchez SONY “JEOPARDY!” SEASON 35 Director of Photography: Jeff Engel Operators: Diane L. Farrell, SOC, Mike Tribble, Jeff Schuster, L. David Irete Jib Arm Operator: Marc Hunter Head Utility: Tino Marquez Camera Utility: Ray Thompson Video Controller: Gary Taillon Still Photographer: Carol Kaelsonthe

SOURDOUGH PRODUCTIONS, LLC “SUCCESSION” SEASON 2 Director of Photography: Patrick Capone Operators: Francis Spieldenner, Alan Pierce Assistants: Ethan Borsuk, Cory Stambler, Tony Coan, Cornelia Klapper Loaders: Billy Holman, James Drummond STARS POWER, LLC “POWER” SEASON 6 Director of Photography: Mauricio Rubinstein Operators: Scott Maguire, Alan Mehlbrech Assistants: Michael Garofalo, Hamilton Longyear, Rodrigo Millan Garce, Alivia Borab Digital Imaging Tech: Douglas Horton Loader: Anjela Coviaux Still Photographer: Myles Aronowitz STU SEGALL PRODUCTIONS, INC. “THE LOUDEST VOICE IN THE ROOM” SEASON 1 Director of Photography: Eigil Bryld Operator: Peter Agliata Assistants: Hamilton Longyear, Sarah Hendrick, Kevin Howard Loader: Anne Strauman TALL GIRL PRODUCTIONS “TALL GIRL” Director of Photography: Eric Edwards Operators: Michael Stumpf, Steve Parker Assistants: Chris Fisher, Chad Taylor, Jack Khorram Steadicam Operator: Michael Stumpf Loader: Mitchell Orcino Camera Utility: Ben Maner Still Photographer: Patti Perret THE CW NETWORK “JANE THE VIRGIN” SEASON 5 Directors of Photography: Lowell Peterson, ASC, Joe Gallo Operators: Rory Robert Knepp, SOC, Paul Plannette Assistants: John C. Flinn, IV, John Pouncey, Jai Corria, Don Burton Steadicam Operator: Rory Robert Knepp, SOC Stedicam Assitant: John C. Flinn, IV Camera Utility: Morgan Jenkins Still Photographer: Lisa Rose

“THE GOLDBERGS” SEASON 6 Director of Photography: Jason Blount Operators: Scott Browner, Kris Denton Assistants: Tracy Davey, Nate Havens, Gary Webster, Jen Bell-Price Digital Imaging Tech: Kevin Mills Digital Utility: Dilshan Herath Still Photographers: Nicole Wilder, Adam Taylor

THE WRONG MISSY PRODUCTIONS “THE WRONG MISSY” Director of Photography: Theo Van De Sande, ASC Water Director of Photography: Don King Operators: Matthew Moriarty, Paul Atkins Assistants: Tommy Tieche, Eric Amundsen, Matthew Berner, Kaliko Maii Digital Imaging Tech: Tiffany Armour Loader: Kilani Villiaros Still Photographer: Katrina Marcinowski

“WHEEL OF FORTUNE” SEASON 36 Director of Photography: Jeff Engel Operators: Diane L. Farrell, SOC, Jeff Schuster, Ray Gonzales, Steve Simmons, L. David Irete, Mike Corwin Camera Utility: Ray Thompson Head Utility: Tino Marquez Video Controller: Gary Taillon Jib Arm Operator: Randy Gomez, Sr. Still Photographer: Carol Kaelson

TNT “ANIMAL KINGDOM” SEASON 4 Director of Photography: Loren Yaconelli Operators: Scott Dropkin, Brooks Robinson Assistants: Ray Milazzo, Patrick Bensimmon, Blake Collins, Kirsten Laube Steadicam Operator: Scott Dropkin Digital Imaging Tech: Jefferson Fugitt Digital Utility: Gobe Hirata Still Photographer: Eddy Chen

TOPANGA PRODUCTIONS, INC. “SWAT” SEASON 2 Directors of Photography: Francis Kenny, ASC, Craig Fikse Operators: Tim Dolan, Brian Pitts, Michael Otis Ropert Assistants: Ryan Parks, Logan Turner, Thane Characky, Riley Padelford, Esther Woodworth, Mike Fauntleroy Camera Utility: Carl Lammi Loader: Jonathan Taylor Still Photographer: Ron Jaffe

WARNER BROS “BIG BANG THEORY” SEASON 12 Director of Photography: Steven V. Silver, ASC Operators: John Dechene, Richard Price, SOC, Jamie Hitchcock, Brian Armstrong Assistants: Nigel Stewart, Chris Hinojosa, Steve Lund, Meggins Moore, Whitney Jones Camera Utilities: Colin Brown, Jeannette Hjorth Video Controller: John O’Brien Digital Imaging Tech: Benjamin Steeples Still Photographer: Michael Yarish Publicist: Marc Klein

“MOM” SEASON 6 Director of Photography: Steven V. Silver, ASC Operators: Cary McCrystal, Jamie Hitchcock, Larry Gaudette, Candy Edwards Assistants: Meggins Moore, R. Nigel Stewart, Damian Della Santina, Mark Johnson, Whitney Jones Camera Utilities: Alicia Brauns, Andrew Pauling Video Controller: Kevin Faust Digital Imaging Tech: Benjamin Steeples Still Photographer: Darren Michaels Publicist: Marc Klein

UNIVERSAL “LAW & ORDER: SVU” SEASON 20 Director of Photography: Michael Green Operators: Brant Fagan, SOC, Mike Latino Assistants: Chris Del Sordo, Matt Balzarini, Emily Dumbrill, Justin Zverin Loader: Jason Raswant Still Photographer: Michael Parmelee

“LETHAL WEAPON” SEASON 3 Directors of Photography: Andy Strahorn, William Wages, ASC Operators: Victor Macias, Joseph Broderick Assistants: James Rydings, Kaoru “Q” Ishizuka, Troy Blischok, Kelsey Castellitto Digital Imaging Tech: Peter Russ Digital Utility: Spencer Shwetz Still Photographers: Ron Jaffe, John P. Fleenor 2ND UNIT Director of Photography: Brian Pearson, ASC Operator: Stefan von Bjorn Assistants: Carlos Doerr, Phil Shanahan, Ron Elliot Digital Imaging Tech: Scott Resnick Camera Utility: Nicholas Martin

“YOUNG SHELDON” SEASON 2 Director of Photography: Buzz Feitshans, IV Operators: Neil Toussaint, SOC, Aaron Schuh Assistants: Matthew Del Ruth, Grant Yellen, Brad Gilson, Jr., Megan Boundy Steadicam Operator: Aaron Schuh Digital Loader: James Cobb Utilities: Rudy Pahoyo, Joe Sutera, Holden Lorenz Still Photographers: Robert Voets, Michael Desmond, Darren Michaels

“THE ACT” SEASON 1 Director of Photography: Zachary Galler Operators: Richard Chapelle, Danny Eckler Assistants: Josh Hancher, Saul McSween, Warren Brace, Erik Olson Steadicam Operator: Danny Eckler Loader: Jennifer Braddock Digital Utility: Matt Nelson Still Photographer: Brownie Harris 2ND UNIT Director of Photography: Richard Chapelle, ACS

UNDERWATER UNIT Operator: David William McDonald Assistant: Corey Bringas

WHEN ANGELS LAND, LLC “WHEN ANGELS LAND” Director of Photography: Shawn Maurer Operators: Tim Sutherland, Robert Newcomb Assistants: Alan Newcomb, Matthew Mebane, Monica Barrios-Smith


WOODBRIDGE PRODUCTIONS “THE BLACKLIST” SEASON 6 Directors of Photography: Michael Caracciolo, Saade Mustafa Operators: Derek Walker, Devin Ladd, Jack Donnelly, Peter Reniers Assistants: Daniel Casey, James Gourley, Gareth Manwaring, Edwin Herrera Mike Guaspari, Edgar Velez Loaders: Katheryn Iuele, James Parsons Still Photographers: Christopher Saunders, Will Hart, Virginia Sherwood

BROTHER “TOYOTA” Director of Photography: Larry Fong, ASC Assistants: Jimmy Ward, Sean Kisch Digital Imaging Tech: Steve Harnell BUNKER “WELLS FARGO” Director of Photography: Adam Arkapaw Assistants: Lila Byall, Kira Hernandez Digital Imaging Tech: Adrian Jebef CMS PRODUCTIONS “TARGET” Director of Photography: Rob Witt Operator: Ian Clampett Assistants: Lucas Deans, Daniel Ferrell, Nicholas Martin, Nate Cummings, Edgar Gonzalez Digital Imaging Tech: CJ Miller

COMMERCIALS ARTS & SCIENCES “MODCLOTH” Director of Photography: Ross Richardson Operator: Reid Russell Assistants: Lila Byall, Bill Robinson, Carrie Lazar, Nina Chien, Mitch Malpica Digital Imaging Techs: John Spellman, Tyler Isaacson Technocrane Tech: Paul McKenna


COMMITTEE LA “BUSH’S BAKED BEANS” Director of Photography: Larry Fong, ASC Assistants: Richie Masino, Tristan Chavez Digital Imaging Tech: Steve Harnell DUMMY “KENTUCKY FRIED CHICKEN” Director of Photography: Jay Feather Assistants: Lila Byall, Kira Hernandez Digital Imaging Tech: Michael Borenstein

“LITTLE CAESARS” Director of Photography: Jay Feather Assistants: Lila Byall, Carrie Lazar Digital Imaging Tech: Michael Borenstein “PROGRESSIVE” Director of Photography: Jonathan Freeman Assistants: Lila Byall, Kira Hernandez Digital Imaging Tech: Jesse Tyler EAGLE ELEVEN PRODUCTIONS “PROJECT SHIELD” Director of Photography: Tobias Schliessler Operator: Coy Aune Assistants: Dennis Geraghty, Peter Geraghty, Joe Martinez, Brad Rochlitzer, Gret Kurtz, Brent Egan Steadicam Operators: BJ McDonnell, Chris Glasgow Digital Imaging Tech: Matthew Love Technocrane Operator: Bogdan Iofciulescu Crane Tech: George Dana Remote Head Operator: Shawn Fossen ELEMENT PRODUCTIONS “LIBERTY MUTUAL CINEMA SPOTS” Director of Photography: Joseph P. Lavallee Assistant: Darryl Byrne EPOCH FILMS “NEW ERA” Director of Photography: Jessica Gagne Assistants: Peter Morello, Nate McGarigal, Troy Dobbertin (2nd Unit), Jordan Levie (2nd Unit) Digital Imaging Tech: Luke Taylor

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“MEDMEN” Director of Photography: Bradford Young, ASC Assistants: John Woodward, Daniel Wurschl Steadicam Operator: Ari Robbins, SOC Digital Imaging Tech: Matthew Love NATIVE CONTENT “HUMIRA” Director of Photography: Jonathan Sela Assistants: Jimmy Jensen, Seth Gallagher Digital Imaging Tech: Matthew Love O POSITIVE “HYUNDAI” Director of Photography: Trent Opaloch Operator: Kent Harvey Assistants: Taylor Matheson, Jonas Steadman, Alexandra Matheson Digital Imaging Tech: Matthew Love PARK PICTURES “GEICO” Director of Photography: Donavan Sell Operator: Greg Benitez Assistant: Errin Zingale Digital Imaging Tech: Steve Harnell PARTIZAN “AT&T” Director of Photography: Shawn Kim Operator: Dennis Noyes Assistants: Lila Byall, Kira Hernandez Digital Imaging Tech: Dylan Johnson RADICAL MEDIA “LEXUS” Director of Photography: Paul Meyers Assistants: Lucas Deans, Edgar Gonzalez Digital Imaging Tech: Dan Skinner Edge Crane Operator: Kyle Padelford Edge Crane Tech: John Carone FOURTH FLOOR PRODUCTIONS “MCBRAIR PROJECT” Director of Photography: Jessica Gagne Operator: Jared Washburn Assistants: Jill Tufts, Joe Christofori, Dan Mason, Zack Shultz, Talia Krohmal, Michael Rodriguez Torrent Digital Imaging Tech: Kyo Moon HAYROAD PRODUCTIONS “NEW ENGLAND BAPTIST HOSPITAL” Director of Photography: Patrick Ruth Behind-the-Scenes Operator: Patrick Kelly Assistants: Mary Anne Janke, Michael Rodriguez Torrent Digital Imaging Tech: Michael Borenstein HEY BABY “ROSS” Director of Photography: Parblo Berron Assistants: Liam Miller, Kristi Arnds Digital Imaging Tech: Adrian Jebef HUNGRY MAN “CALIFORNIA PIZZA KITCHEN” Director of Photography: Elie Smolkin Assistants: Darin Necessary, Lani Wasserman Digital Imaging Tech: Michael Borenstein Phantom Tech: Matt Drake “HULU” Director of Photography: Eric Schmidt Operator: TG Firestone Assistants: Eric Macey, Hollie Metrick, Rodrigo Melgarejo, Danielle Eddington Digital Imaging Tech: John Spellman


HYPE MEDIA, INC. “ROOMS TO GO” Director of Photography: Pieter Vermeer Assistants: Scott Kassenoff, Josh Friz, Miles Custer Digital Imaging Tech: Steve Harnell Steadicam Operator: Joseph Arena Crane Operator: Clay Platner Crane Tech: Dustin Evans Oculus Tech: Simon Shin LOGAN & SONS “BAUSCH + LOMB” Director of Photography: Omer Ganai Assistants: Corey Bringas, Chad Nagel Digital Imaging Tech: Steve Harnell METHOD LABS “ABB” Director of Photography: Joshua Hess Assistant: Nina Chien Digital Imaging Tech: Jeff Flohr M SSING P ECES “DYSON” Director of Photography: Ethan Palmer Operator: Joe Gabriel Assistants: Walter Rodriguez, Adam Miller, Sarah May Guenther Digital Imaging Tech: David Berman MJZ “DORITOS” Director of Photography: Richard Henkels Assistants: Ethan McDonald, Marcus Del Negro Digital Imaging Tech: Daniel Satinoff

“SOCAL HONDA” Director of Photography: Eric Schmidt Operators: Ian Clampett, Gilbert Salas, Collin Davis Assistants: JD Murray, Daniel Hanych, Lila Byall, Jenna Hoffman, Matt Sumney Digital Imaging Tech: John Spellman RSA “SAMSUNG” Director of Photography: Rebecca Baehler Assistants: Louis Massouras, Paul Toomey Digital Imaging Tech: Michael Borenstein SEEKER PRODUCTIONS “HUGO BOSS” Director of Photography: Philippe Le Sourd Assistants: Rick Gioia, Jordan Levie Steadicam Operator: Yousheng Tang Digital Imaging Tech: Jeff Flohr Loader: Matthew Martin SIBLING RIVALRY “BVLGARI” Director of Photography: Stephen McGehee Assistants: Rick Gioia, Dan Keck Digital Imaging Tech: Tyler Isaacson “HOME DEPOT” Director of Photography: Johan Palm Assistants: Lucas Deans, Cameron Keidel Digital Imaging Tech: Mark Wilenkin






MAY 30 MAY 31 - JUNE 1 JUNE 2






SMUGGLER “AT&T” Director of Photography: Jeffrey Kim Operator: Vincent Foeillet Assistants: Errin Zingale, Hector Rodriguez, Joe Canon Digital Imaging Tech: Matthew Love “SKITTLES” Director of Photography: Alwin Kuchler Assistants: Rick Gioia, Jordan Levie Digital Imaging Tech: George Robert Morse “U.S. ARMY” Director of Photography: Ken Seng Operator: Mick Froehlich Assistants: Paul Santoni, Tyler Emmett, Peter Geraghty, Greg Kurtz Digital Imaging Tech: Matthew Love Still Photographer: Gilles Mingasson

SUPPLY & DEMAND “OLAY, MRI & CATWOMAN” Director of Photography: Pete Konczal Assistants: Brett Walters, Nate McGarigal Digital Imaging Tech: Mariusz Cichon THE DIRECTORS BUREAU “BOOKING.COM” Director of Photography: Autumn Durald Assistants: Ethan McDonald, Marcus Del Negro Digital Imaging Tech: Steve Harnell TRAVELING PICTURE SHOW COMPANY “RALLY HEALTH” Director of Photography: Jay Feather Assistants: Lila Byall, Nate Cummings Digital Imaging Tech: Michael Borenstein ZINC PRODUCTIONS “PUMA HOOPS” Director of Photography: Joseph P. Lavallee Assistant: Asa Reed

STATION “OTTOMAN” Director of Photography: Maryse Alberti Assistants: Micah Bisagni, Kymm Swank Steadicam Operator: Hilton Goring Digital Imaging Tech: Steve Harnell STINK, LLC “CARL’S JR.” Director of Photography: Jacques Jouffret Assistants: John Woodward, Daniel Wurschl Digital Imaging Tech: Matthew Love Remote Head Tech: Alex Bunin

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Back Row L to R: Director of Photography: Frank Perl, Matthew Mardrosian, Mark Reily: B-Cam 1st AC, Hilton Goring: A-Cam Operator/Steadicam , Aldo Porras: B-Cam 2nd AC, Sal Vega: C-Cam 1st AC, David Ross: C-Cam 2nd AC Front Row L to R: Oliver Mancebo: DIT, Missy Burgess: Digital Utility. Alaina McManus: A-Cam 1st AC Cristy Neo Arboleda: A-Cam 2nd AC, Tony Guiterez: B-Cam Operator /  Photo By Ron P. Jaffe

ICG Magazine Statement of Ownership, Management, and Circulation 1. Publication Title: INTERNATIONAL PHOTOGRAPHER GUILD, LOCAL 600/ICG 2. Publication No: 267420 ISSN: 15276007 3. Filing Date: 12/13/2018 4. Frequency of issue: Monthly 5. Number of issues published annually: 10 6. Annual subscription price: $48.00 7. Mailing address of known office of publication: International Cinematographers Guild 7755 Sunset Blvd. Hollywood, CA 90046 8. Mailing address of the headquarters or general business office of the publisher: International Cinematographers Guild 7755 Sunset Blvd. Los Angeles, CA 90046 9. Names and Mailing Addresses of Publisher, Editor and Manager Editor: Publisher: International Cinematographers Guild 7755 Sunset Blvd. Hollywood, CA 90046 Editor: David Geffner, Executive Editor 7755 Sunset Blvd. Hollywood, CA 90046 Managing Editor: Same as above 10. Owner: International Cinematographers Guild 7755 Sunset Blvd. Hollywood, CA 90046 11. Known Bondholders, Mortgages and Other Security Holders Owning or Holding 1 Percent or More of Total Amount of Bonds, Mortgages, or Other Securities: None 12. Tax Status (For completion by non-profit organizations authorized to mail at special rates) The purpose, function, and non-profit status of this organization and the exempt status for federal income tax purposes: has not changed during preceding 12 months. 13. Publication Title: ICG Magazine 14. Issue Date for Circulation Data Below: 10/01/2018




Karen Neal

This image from Magnum P.I. was taken during a particularly challenging action scene, where our lead actor, Jay Hernandez, jumps out of a helicopter and takes off in a full-speed sprint across a wet field with typically thick Hawaiian vegetation. The man in the gray shirt (near camera) is Jay’s stunt double, and he’s actually spotting Jay’s leap down to the ground. The moment Jay lands he takes off running, so in order to get this shot (and anything


else good after it), I had to go into full-sprint mode with Jay and the Magnum camera team, who, of course, are all running backward as Jay runs toward them! There are plenty of days on Magnum when we’re at the beach house, shooting dialogue scenes, and it’s more predictable. But the large amount of action on Magnum makes these kinds of behind-the-scenes stills fairly typical, if not really hard to pull off without getting in anybody’s way!

Profile for ICG Magazine

ICG Magazine - April 2019 - New Technology  

ICG Magazine has been the world’s premier cinematography publication since 1929. Published 10x a year by the International Cinematographers...

ICG Magazine - April 2019 - New Technology  

ICG Magazine has been the world’s premier cinematography publication since 1929. Published 10x a year by the International Cinematographers...

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