ICG Magazine - August 2017 - The Product Guide

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CONTENTS AUGUST2017 DETROIT

ONE TERRIFYING INCIDENT IN THE HISTORY OF AMERICAN CIVIL RIGHTS BECOMES THE CENTERPIECE OF A FILM TOUR DE FORCE FOR BARRY ACKROYD, BSC, AND DIRECTOR KATHRYN BIGELOW

THE DEFENDERS

MARVEL TELEVISION BRINGS ALL OF THEIR SUPERHEROES TOGETHER IN ONE BIG BOLD PILOT/SERIES SHOT BY MATTHEW J. LLOYD, CSC

DEPARTMENTS

ON THE STREET / 14 DEPTH OF FIELD / 16 REFRACTION / 18 EXPOSURE / 22 PRODUCTION CREDITS / 78 STOP MOTION / 90 Cover & Detroit (top) photo by François Duhamel, SMPSP The Defenders photo by Sarah Shatz

6 AUGUST 2017

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THE 2017 PRODUCT GUIDE NAB & CINE GEAR EXPO P.50 LOCAL 600 LED PANEL P.58 WORKFLOW P.66 DISPLAY P.74

AUGUST 2017 7

Photo by Scott Alan Humbert

PRESIDENT’S

LETTER

August 2017 {vol. 88 no. 06}

Steven Poster: We were talking about Avatar as an example of how virtual sets will impact production design. Chuck Parker: Right, and how that technology still requires our members to realize the story.

SP: I think one reason Cameron has been so successful is that he’s careful to not use new technology to take the audience out of the story. Billy Lynn’s Long Halftime Walk, on the other hand, must have really hampered [Local 600 cinematographer] John Toll, ASC, who was working in native 3D at 120 frames per second – each eye was 4K, so just a tremendous amount of information.

While it was some of the best 3D I’ve ever seen, the results were disturbing, particularly the close-ups, which didn’t allow the actors a hint of false emotion or much make-up, I’m told. CP: That’s taking the point I raised last month about scenery to another level – resolution so high it doesn’t allow for make-up!

SP: Would you agree that new LED technology, where lights can be built into sets and even props, has deepened the partnership between production designers and DP’s? CP: I think that’s also a result of television.

SP: How so? CP: I spend seven or eight days prepping a show, and I’m in perpetual communication with my DP, who can’t be there [unless the show is paying for two DP’s]. I worked with Lisa Wiegand [ASC] on Detroit 1-8-7, and the bond we had in prep was tremendous! I would send her videos and stills from my phone that anticipated and resolved issues before she had to roll her cameras.

Last month, my conversation with leaders of other IATSE Craft Guilds began with Local 800 Executive Director Chuck Parker, a veteran Hollywood-based production designer whose credits include Detroit 1-87, Monk, and Under the Dome. This month I’m sharing the second part of our discussion, which touches upon how new technology has helped to deepen the creative partnership between our two Guilds.

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

SP: The speed and intensity of television definitely helps to drive that. But I’ve worked on three features with [production designer] Alec Hammond [for] director Richard Kelly, and Alec’s designs – helping me to light sets with practicals – were fantastic. And that was on film. Today, I shoot most of my exterior and interiors night scenes at 3200 ISO, which means a small LED can be the source for the whole scene. CP: Being able to light an actor’s face with a practical brings us back to a more traditional, dare I say, naturalistic aesthetic that is so creatively beneficial. It goes back to what I said last month about Kubrick’s desire to light an entire film by candlelight.

SP: The issue of accurate color temperature with LED’s has also been resolved; production designers can build [LED units] into their sets and DP’s now have enough exposure. We can collaborate in ways we never could when I began with Arc lights! CP: [Laughs] I designed the last season of Under the Dome, and Walt Lloyd was our DP. We were prepping this new set and liked the chroma we had put on the wall, but needed to make sure we were painting what Walt’s camera would see. He came over and said, “Take a picture with your iPhone.”

We held that up to the chip, and both realized the iPhone image was how it would appear, so we needed to change the paint. It was so gratifying to solve, even predict, the problem together.

SP: Could you pinpoint the single biggest issue facing your Guild? For DP’s it’s a loss of control over the images we’ve created by not being a part of the finish in post-production. CP: [Smiles] Well, I’d have to say the same thing for our members. As we said at the beginning of this conversation: technology is a blessing and a curse, particularly with regard to VFX and set design.

SP: Do you have an example? CP: Charlie Wood is a fantastic production designer from the U.K. who’s doing a lot of Marvel movies. I went to visit him on set in Atlanta, and he said he’s bringing illustrators in early so that VFX is chasing design, not the other way around.

SP: I remember Stuart Little 2, in the early days of melding CGI and live action, of being told they could not alter the color of a white mouse. So I was asked to color-correct every plate before it went to compositing. CP: [Laughing] I can only imagine the response to that. “Are you kidding me?

White is white!” SP: [Laughing] Hey, guys, you don’t want a pink mouse for two hours. So just let the DP do his thing.

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August 2017 vol. 88 no. 06

Publisher Teresa Muñoz Executive Editor David Geffner Art Director Wes Driver ACCOUNTING Glenn Berger Dominique Ibarra COPY EDITORS Peter Bonilla Maureen Kingsley EDITORIAL ASSISTANT Tyler Bourdeau STAFF WRITER Pauline Rogers CONTRIBUTORS Ted Elrick Nicola Goode, SMPSP Debra Kaufman Myles Mellor Kevin Martin Bonnie Osborne

INTERNATIONAL CINEMATOGRAPHERS GUILD Local 600 IATSE NATIONAL PRESIDENT Steven Poster, ASC NATIONAL VICE-PRESIDENT Heather Norton 1ST NATIONAL VICE-PRESIDENT Paul Varrieur 2ND NATIONAL VICE-PRESIDENT John Lindley, ASC NATIONAL SECRETARY-TREASURER Eddie Avila NATIONAL ASSISTANT SECRETARY-TREASURER Douglas C. Hart NATIONAL SERGEANT-AT-ARMS Christy Fiers NATIONAL EXECUTIVE DIRECTOR Rebecca Rhine

PUBLICATIONS & PUBLICITY COMMITTEE Henri Bollinger, Chair

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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.

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WIDE ANGLE

CONTRIBUTORS

AUGUST 2017 THE PRODUCT GUIDE

Ted Elrick

Preparation for our Product Guide issue begins months before its summer street date, actually back on the snowy streets of Park City, UT and the technology unveiled at the Sundance Film Festival. A few weeks later, in mid-February, is the annual HPA Conference in Palm Desert, CA, where the collective synapses really start to spark in diverse trending areas, like how will high dynamic range (HDR) change the camera team’s on-set workflow, and how might machine learning change visual storytelling?

A few months later comes the industry’s largest tech trade show – NAB in Las Vegas – where ICG writers and photographers do the August issue’s heavy lifting. But the preparation hardly ends there as a mere six weeks on, in early June, Hollywood gathers again for Cine Gear, at Paramount Studios, a laid-back, collegial show that has become a formidable gear preview event, no longer in the shadow of NAB. Of course all of the advanced technology featured in this Product Guide would mean nothing without talented filmmakers bending it toward their creative goals. And I can think of no better example than the new feature, Detroit (Page 28), shot by Barry Ackroyd, BSC, and directed by Kathryn Bigelow.

The film, which recreates one of the most harrowing events in U.S. race relations’ history (during the 1967 civil unrest in Detroit, MI), continues the duo’s Oscarwinning success from The Hurt Locker, which was shot on Super 16-mm film. In Ted Elrick’s cover story, we learn how Bigelow wanted to shoot Detroit on film, but after in-depth testing with Ackroyd, opted for the ALEXA MINI coupled with Super 16-mm film lenses (all de-tuned and uncoated by Panavision’s Guy McVicker to increase softness and flares).

As Ackroyd notes in the article: “Using the Mini with Super 16-millimeter film lenses made the three [sometimes four] rigs we used so much easier to hand-hold, and it gave that classic 1960s documentary look from 12 AUGUST 2017

[filmmakers] like D.A. Pennebaker or Richard Leacock, which was the visual inspiration for Detroit.”

Period cinema is not the only location where Local 600 camera crews are creatively taming new technology. Kevin Martin’s article on The Defenders (Page 38) explores how all of Marvel’s superheroes depicted on the small screen in the last few years – Luke Cage, Jessica Jones, Daredevil and Iron Fist – come together to fight crime in New York City. Both pilot and series were shot by Matthew Lloyd, CSC, who faced a super-hero-level challenge in visually sculpting a show that both preserves and enhances so many diverse pre-existing looks. Because so much of The Defenders was shot at night, Lloyd exploited the ultra-highresolution, super-light-sensitive 8K RED WEAPON to realize the vision of director S.J. Clarkson (Exposure, Page 22). As Lloyd explains in Martin’s piece, “S.J. wanted to ensure that each of [the superheroes] was coming from his or her own place, so we employed a variety of lighting, color-palette, and art-direction choices.

We insisted on building these looks into the lighting and art direction rather than through postproduction or various LUTs, [since] creating a palette with only look-up tables can affect continuity of skin tones and wind up looking very treated.”

Similar to ICG writers and photographers (which for August included Nicola Goode, Bonnie Osborne, Debra Kaufman, Pauline Rogers and yours truly) hunting gear at industry trade shows months before starting this Product Guide, Lloyd and Clarkson did most of their heavy lifting for The Defenders in prep and ultimately in-camera. New technology has a magnetic pull that’s hard to resist, but it can also get you good and stuck if that magnet’s not pointed toward inspiration and creativity.

David Geffner Executive Editor Twitter: @DGeffner Email: david@icgmagazine.com

(Shots Fired)

“I look forward to any new film by Kathryn Bigelow, because she approaches each project like an artist to canvas. And her collaborations with cinematographer Barry Ackroyd, BSC, who is a like-minded artist, are definitely worth repeat viewings.

Debra Kaufman

(Product Guide – Workflow)

“NAB is always where the action is in April, and 2017 was no exception. The industry is in real transition, and I had great fun searching out the indicators of where it’s all going. This year, in preparation for all the trudging I’d be doing on the Las Vegas Convention Center floor, I went to Antarctica where I kayaked, hiked and posed with penguins!”

Myles Mellor

(Stop Motion)

“Another year has raced by, which for me included touring Europe and capturing some 5,000 images of the most glorious tulips, artwork, lavender fields, 11th-Century churches, medieval bridges, crypts, blue sky and even snow. It was all part of a crossword writer’s research and experience, helping to inform my most recent production crossword for ICG Magazine, where I include the latest trends in camera equipment and technology.”

The new Blackmagic URSA Mini Pro is the world’s first digital film camera with the features and controls of a high performance broadcast camera!

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ON THE STREET the PRODUCT GUIDE

VOICES FROM THE TRADE SHOW FLOOR //// NAB AND CINE GEAR 2017 ANDREW SHULKIND DIR. OF PHOTOGRAPHY

I found a total secret weapon at NAB this year. It’s the Quasar Science Q-LED rechargeable battery sticks. These things are unbelievable. I use the phrase “Quasar Tubes” to refer to the bi Q-LED color tubes that I love so much. But now I’ll have to use more specific language, because they’ve launched a battery-powered version that is dimmable. The slim form factor, the 3/8-inch end threading, the long battery life, and the impossibly low price point make these an obvious choice for an eyelight or a ping light in the corner to enhance a shot when I don’t have time to run power.

MATTHEW LAVIN DRONE CINEMATOGRAPHER

I’m really excited about the buzz surrounding those of us pursuing aerial drone lighting solutions for cinema and live event. Award-winning lighting designer Bob Barnhart’s [ICG, June/July 2017] recent collaboration with Intel and swarming drones at the Super Bowl innovated the use of LED lighting at a live event. My company, Aerography, is collaborating with different vendors to create pioneering drone aerial lighting techniques, workflows and products. The challenge is to make the lights lighter and smaller but no less powerful in order to utilize the drone as a more efficient, more creative resource on set. Aerography and Light & Motion have recently partnered to develop the most powerful lightest-weight drone lighting platform currently available for cinema. The future of drone aerial lighting is coming to our industry at, truly, the speed of light. Those of us in the pilot’s seat can’t wait.

DAVE SATIN DIT

Even though Cine Gear is purported to be a lighting and grip show, I saw a few things to get a DIT excited. We’re now seeing more interest in HDR, so it was gratifying to see that Sony had implemented HLG Gamma encoding across their entire range of cameras, including inexpensive camcorders. HLR is HDR for live TV, and its post-processing components are much simpler compared to Dolby Vision or HDR 10. HLG production really is HDR for the rest of us. Inside one of Cine Gear’s interior stages I saw the Lighting Passport Spectrometer from Led Metrics. It’s a lab-grade spectrometer that uses an IOS or Android device to display its measurements. It’s that last word in helping you figure out why the talent looks so strange when she stands in that new LED keylight. At AV Brand Builders, I saw that WowWow was exhibiting the MiniX, and a major new release of their on-set color software called Wonderlook Pro. The MiniX has enough hardware power to be able to grab frames, do a wipe, a luma key or a chroma key – things that all DIT’s need to do from time to time. It’s great to see so much new support for DIT’s in the coming year.

EVAN PESSES CAMERON DUNCAN DIR. OF PHOTOGRAPHY

One of the biggest game-changers I saw was Chimera’s new Active Diffusion. It’s so new they don’t even know the science on its opacity. Its variable diffusion on which one can control the amount of opacity with a dial is great. It can vary from light to heavy instantly. I can see using it to do in-camera effects for various applications like mimicking cloud coverage, or simply to be able to move quickly and dial the diffusion to a desired intensity.

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DIR. OF PHOTOGRAPHY

There were a few really interesting things from NAB that impact VR production. For example, the new Jaunt One camera updates, which include live monitoring and higher frame rates, and which I used on a job in Puerto Rico – right after Las Vegas. That camera continues to be the premier VR cinematic camera, and the updates keep getting better. I also was very impressed with the new update to the color space processing of the Nokia OZO. I’m happy that they applied this update to all OZO raw media, even footage previously recorded on earlier builds. The Teradek SDI Sphere is going to be more and more important as Radiant Images’ new line of AXA rigs allow VR filmmakers to incorporate traditional cinema cameras. And, Z Cam’s new Stereo VR has great potential due to its compact form factor.

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DEPTH OF FIELD Photo by Bonnie Osborne

the PRODUCT GUIDE

ROSCO DONATES TO THE SAFETY FOR SARAH FOUNDATION BY PAULINE ROGERS “Like many people in the filmmaking community and beyond, we were moved by what happened to Sarah Jones,” explains Rosco’s CEO Mark Engel, one of the driving forces behind the company’s decision to have an ongoing involvement in supporting safety on set and specifically the Safety for Sarah Foundation.

Their first donation of $5,000 was made to Sarah Jones’ father, Richard, at a special event at Cine Gear 2017.

For Engel, who has a daughter in college working toward a career in film production, the work of the Foundation strikes a personal chord.

“As a father, I’m glad we can work to ensure that our daughters and sons stay safe while doing the jobs that they love. And, as a business leader for a company with a long history in filmmaking, I’m pleased that Rosco can contribute to our community in a meaningful way.”

So, beginning this past June, a portion of Rosco’s e-colour+ filters sales is being donated to the Safety for Sarah Foundation. One element of Rosco’s involvement is Safety for Sarah awareness stickers included with every e-colour+ roll. Rosco will strive to communicate its support through ongoing communications to the Rosco dealer network in the U.S., communications to ICG Local 600 members and Rosco customers,

16 AUGUST 2017

as well as outreach through Rosco’s website, social media channels and its Spectrum blog.

As Richard Jones explained at the Cine Gear announcement, on Feburary 20, 2014, a train running through a shot on the Georgia location of indie feature Midnight Rider, took his daughter’s life, and injured other crew members.

Before the shot began, some of the Gregg Allman biopic crew became anxious about a shot that included a train crossing a 110-yearold trestle over the Altamaha River. Had the location been checked? Was there a medical team on standby? When the director moved the shot from land to high up on a trestle, there were added concerns. As a wind came up, a voice called out that even if the train appeared, they would have 60 seconds to clear the track. But when a train did come roaring down the track, Midnight Rider crew members up on the track, including Jones, had precious little time to clear for safety – and the unfathomable came true.

Richard and Elizabeth Jones set up The Safety for Sarah Foundation to engage with the production community in generating constructive and realistic strategies to prevent another tragedy. The Foundation has created Safety for Sarah decals, encourages crews to establish the first shot of the day as “the Jonesy,”

and is working closely with Slates for Sarah and an ongoing social media presence. Local 600 has also created a “Safety App” in memory of Sarah.

To raise money for this and other initiatives, the Foundation will sponsor a Walk & Field Day for Safety in Atlanta, and participate in any panels and discussions that will keep the issue front and center in industry safety concerns.

Rosco is the first company to come in with a sustaining donation.

When Local 600 President Steven Poster, ASC, presented Rosco’s first check to Richard Jones, he emphasized how strongly the industry has taken on this issue.

“Our Safety App, for example, has all the information about every dangerous situation, and phone numbers. All this came out of working with the [ Jones] family. It is important that we never forget. And we speak up.

Everywhere I go around the world, I talk about Sarah. With others doing so and becoming vigilant and active, we hope to keep this from happening again.”

To become involved in the Safety For Sarah Foundation, visit https://www.safetyforsarah. com. To download the ICG Safety App go to the App Store or Google Play.

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REFRACTION Photo Courtesy of Adobe

the PRODUCT GUIDE

BHAUTIK JOSHI SENIOR ENGINEER ADOBE RESEARCH

18 AUGUST 2017

I’ve been lucky to bring my passion for visual storytelling into my career, where I’ve established a background in visual effects while working at Industrial Light + Magic and building tools for post-production. While at Flickr, I helped build a data pipeline for Machine Learning on 12 billion images and worked on a tool for discovering inspirational photos and photographers. This was an interesting basis for the work we are now doing at Adobe, exploring and developing tools for future production using immersive media.

My road to this new technology began at Flickr, where we began playing with an AI technique called Neural Style Transfer, which allows an image to be redrawn in the style

of another. We experimented by redrawing scenes of Stanley Kubrick’s 2001: A Space Odyssey, rendering it in the style of Picasso.

This caught the attention of director Kristen Stewart, who was working on her first movie, Come Swim. The movie was underpinned by a painting that Stewart had created, and we explored redrawing some of the scenes in the style of the painting. The partnership allowed a glimpse of what modern artificial intelligence techniques would look like in a high-end production context.

What is immersive media? It’s simply another way of telling a story where the viewer is completely or partially surrounded by media and has the agency to look around within it. It’s not a replacement for traditional

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REFRACTION the PRODUCT GUIDE

“ IMMERSIVE MEDIA IS NOT A REPLACEMENT FOR TRADITIONAL STORYTELLING, BUT RATHER A DIFFERENT NARRATIVE MEDIUM.” storytelling, but rather, a different narrative medium. Exploration of immersive media is as old as art itself; humans creating murals that partially or fully surround the audience have been around for hundreds of years.

And while immersive media is not new, the technology to empower this medium has advanced significantly. Contemporary tools and workflows now permit filmmakers to capture and publish this new imagery in a way that more accurately, and predictably, reflect their intentions.

Of course, humans have been making 2D art since we’ve been smearing charcoal on the walls of caves. And just as TV didn’t kill off books, immersive media technology will not kill cinema. Instead, it’s an opportunity for filmmakers to complement their 2D storytelling because it allows for a complete suspension of disbelief.

Creatively speaking, we’re at a place where both camera and computing technology can facilitate the capture of high-quality immersive imagery on set. Miniaturization also means that the cameras can be placed unobtrusively within a scene for capture.

And accessibility isn’t the issue it once was for immersive media – mobile immersive experiences don’t require the audience to wear headsets. However, there is still a lack of content for immersive platforms. Right now, practical issues with high-quality immersive rigs mean that the capture side is often a complex dance made with armfuls of

20 AUGUST 2017

memory cards and plagued by syncing issues.

Moreover, once the footage has been acquired, postproduction tools are often not spherically aware and edit workflows are loose and inconsistent.

Our focus at Adobe has been to create tools that allow filmmakers to create seamlessly. We’re traditionally platform agnostic and advocate for professionals regardless of where their content comes from or is going to. We understand that display and capture technology is a moving target, and we take this into account as we build out our immersive pipelines. We also understand that immersive experiences demand vastly different workflows and perspectives – movies are told on the big screen, art is viewed in a gallery, fashion is experienced on a runway, and immersive media will change the way we deliver all of these. It isn’t about creating a “VR division” or an entirely new suite of products – it’s about integrating immersive media into all tool sets for all content creators and consumers.

During NAB 2017, Adobe’s head of research, Gavin Miller, presented leadingedge technology we’ve developed that could be used to turn flat, monoscopic 360-degree videos shot with single monoscopic spherical cameras into fully immersive VR video. Adding the ability to lean into these videos has allowed us to create interactive sixdegrees-of-freedom (6DoF) video.

The motion of the camera itself allows

us to deduce the shape of the scene around the viewer; using a technique based on “structure from motion,” we reconstruct a dynamic model of the scene that the viewer is immersed in. Because it’s a model and not a simple spherical projection, the viewer is able to move around freely inside a fully stereo scene that was captured with a single monoscopic camera. This can be achieved using ordinary consumer 360-camera hardware.

Filmmakers need to continue asking questions about what kinds of narratives fit outside of a 2D screen, and what part of the story can be enhanced by the audience living in it for a moment? While there’s a clear marketing angle, it’s also important to remember that there’s an opportunity to prime an audience narratively in an incredibly compelling way. In a day-to-day shooting sense, filmmakers need to ask how this extra dimension of capture is going to be expressed in both pre- and postproduction pipelines.

There’s also the simple mechanics of staging – the camera can see all around, so where do you place lights and rigging?

It’s also important to remember that immersive playback has the capacity to create an overwhelming suspension of disbelief.

This is an opportunity for emotionally strong storytelling, but there’s a responsibility that is borne by the filmmaker to their captive audience.

Photo by Laura Stabilini

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EXPOSURE the product guide

S.J. CLARKSON

by Kevin H. Martin / photos by Sarah Shatz

22 AUGUST 2017

S.J. Clarkson has been a very busy director in the last decade, tackling assignments that have had her crossing back and forth across the Atlantic.

Having started her career in England [where at the time of the interview she was shooting Collateral, a political thriller miniseries] her work crosses genres as well, ranging from the initial episodes of Dig and the contemporary cop procedural Whitechapel to Heroes, Orange is the New Black, and Ugly Betty, (as well as a pair of) roughand-tumble hours in Banshee. One of Clarkson’s best-remembered episodics was the penultimate installment of Dexter, Season Four, in which John Lithgow’s serial killer discovers the lead’s identity, confronting him with a smile accompanying the chilling words, “Hello, Dexter Morgan” (the episode’s title.)

Local 600 Camera Operator Stephen Consentino has worked with Clarkson on Vinyl and The Defenders [Page 38] and offers the following assessment of her approach. “S.J.’s a good motivator, always challenging you to come up with a fresh camera angle. She wants atypical coverage rather than just over-theshoulders, but it’s never just cool-forcool’s-sake.”

Clarkson’s initial love was theater, where she worked a variety of behind-

the-scenes jobs that helped develop her talent for storytelling. She segued into filmmaking, first in animation before moving over to live action. After delivering big with the first two episodes of Jessica Jones [ICG January 2016], Clarkson is back in the Netflix/Marvel universe, helming the superhero team-up that is The Defenders, which reunites Jones and Luke Cage, and adds Iron Fist and Daredevil to the team.

What triggered your return to the Marvel universe?

Clarkson: As it happened, everybody was very pleased with how Jessica turned out, me included. I had no idea just how many people would end up watching the series. I figured there would be the Marvel fans, of course, but it turned into something much larger. When I was asked about doing The Defenders, I did hesitate at first. I didn’t want it to be an amalgamation of what had gone before. Jessica was a great platform to set up for me, but I had to make sure this new show would be bold enough and have its own dynamics.

Your idea for fusing the established color palettes for each principal Defenders character when they are onscreen together sounds like a strong visual hook. With nearly all of my projects, I put together a

visual mood board, just to line up my thought processes.

My combining of colors sounds like a comic book thing, but that wasn’t really the inspiration. I’ve tried to avoid making the Marvel shows look too much like a comic. The graphic novels have great imagery – I wound up reading all of the Jessica Jones books and found many quite inspiring – but [graphic novels] are a very two-dimensional medium. I wanted to give each character a distinct voice visually, and also respect who is leading each scene. It might be Luke, but is it Luke in Jessica’s world? Jessica had all these blues and AUGUST 2017 23

EXPOSURE the product guide

steely grays, and Daredevil was all about the reds, while Luke is in brown hues and Iron Fist’s costume had some green. I thought the colors and the camera movement could be combined to help reveal their worlds and how they all interact. The palette is also a way to celebrate these characters coming together at last, which should be one of the elements that the fans will find most exciting.

And then there’s a lack of color with the villain’s lair, which is a changeup from tradition. Everybody always goes

dark with the baddies, but when we got Sigourney [Weaver], that immediately suggested a different route to me, especially with what her character is and does – which I still can’t talk about yet, sorry! [Laughs.]

At any rate, Signourney’s character really lent itself to this overexposed look that contributed to her otherworldliness. It also served as something of a palette cleanser

Some directors starting off in the digital era seem to rely on post for creating a good deal of their imagery, but your inclination is toward incamera. My years in theater taught me a

bit about every aspect of stage production.

On stage, it’s all smoke and mirrors – literally – with misdirection and very specific physical lighting cues to get the audience looking where they need to when you need them to. It requires you to be using the stage tools in an editorial way, for dramatic effect and proper timings as events play out. In terms of filmmaking, I like to do as much in-camera as possible.

What we’re shooting now throughout London [for Collateral] shows me that there’s no amount of trickery that would ever make up for us not actually being here.

So how do VFX, which is always key to the Marvel universe, fit into the equation? It makes sense to get as much

of the mood and the story points addressed during shooting, then let VFX supervisor John Kilshaw and his wonderful team refine and improve things that already work. But if you rely on it every time you cut to a wide shot, that can hurt you. If you are very specific in terms of the times you choose to use the artistry, it can enhance and support the director immensely with achieving the storytelling to full effect. When Jessica jumps off the fire escape, we did that in(Continued on page 26)

24 AUGUST 2017

“ COMBINING COLORS SOUNDS LIKE A COMIC BOOK THING BUT THAT WASN’T THE INSPIRATION. I JUST WANTED TO GIVE EACH CHARACTER A DISTINCT VISUAL VOICE.”

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EXPOSURE the product guide

“ I’M ALWAYS ASKING MYSELF HOW TO MAKE THE SHOT BETTER. HOW CAN I GET THE PERFORMANCE BETTER, HOW CAN I BEST VALIDATE THIS MATERIAL?” camera, two shots, one of her jumping out of frame, and another with her on a wire for landing. That practical approach worked for her character as well as the story, since she is rather scrappy and hands-on in her approach. I’d rather go that way than have VFX do the bulk of it, except in those certain circumstances when there is something extraordinary and it becomes their ball to carry.

different and better. I’m always asking

myself how to make the shot better. How can I get the performance better, how can I best validate this material? These questions go on right up to the moment of the shoot, and when you’ve got collaborators like [Director of Photography] Matt [Lloyd] and Stephen and [Operator] Jon Beattie, who aren’t just terrific at what they do, but also share this passion to make it better, it is just terribly exciting.

minutes to rig, so having that setup happen while I’m shooting the A-cam makes the most of my day.

What are your specific future goals or projects? I’m been very fortunate with the material being offered me with TV, but of course I’d like to be able to switch between that and features when the material is good. I’m at my happiest when working, so the delays inherent with features might interfere with that a bit, so TV keeps me busy and engaged.

When coming into an existing series, how do you interface with the Speaking of your DP, Matthew Lloyd, performers and crew who have already he mentioned your strong preference established character and show style? for working single-camera, which Is there any particular type of script I always do my homework. On series like that attracts you? It’s about how I is kind of against the grain given Dexter and House, you watch episodes to respond to the material when I first read schedules these days. For big stunt understand the characters and pick up on what the audiences know and expect. And each script takes them someplace different; in The Defenders, the main Daredevil character is in a much different place than he was at the end of season two on his show. It’s all about understanding what the character is while bringing something of your own understanding to the actor that will hopefully benefit the performance.

It was an important key for me to get inside Marco Ramirez’ head, and that of [co-executive producer] Lauren Schmidt, since he wrote the pilot and has been the showrunner.

Stephen Consentino, who also worked with you on Vinyl, said you like to challenge your camera operators to come up something

26 AUGUST 2017

moments, I’m fine with three cameras or however many you can afford. But sometimes on a TV schedule with multiple cameras, there’s a tendency toward what I call ‘hosing it down.’ You just stick B-camera in for the sake of having the extra angle. To me, that works against the process of trying to figure out the best way to frame the shot and tell the story. It dilutes your approach for the sake of coverage. I prefer being more specific, and I think that helps focus editorial. Also, you can spend quite a bit of time on set just making sure the two cameras don’t see each other, and I find that counterproductive. When there are two cameras, I like to leapfrog with my DP. We’re on A-camera working out an eyeline, while B-camera is working on an overhead view that brings some characters across the room. That overhead might take 20 or 30

it. I don’t really think specifically about how I’d be using 50-foot Technocranes, but what does drive my thinking is considering the visuals that might enhance the drama, both from a character point of view and for the visual spectacle inherent in the drama.

Twenty pages into a script, I have to be connecting to something, either a character or the conflict coming out of the situation they’re in, or the world and atmosphere.

Jessica Jones spoke to me immediately as being a blend of film noir and The Third Man, so tackling that in a modern way with an antihero seemed like a combination that might work. When I read a sequence and immediately know how to commit that to film, then read it again and find something deeper to consider, then I realize, “Well that’s it then – now I just have to make this!”

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SHOTS FIRED 28 AUGUST 2017

DETROIT, 1967: ONE TERRIFYING INCIDENT IN THE HISTORY OF AMERICAN CIVIL RIGHTS BECOMES THE CENTERPIECE OF A FILM TOUR DE FORCE FOR BARRY ACKROYD, BSC, AND DIRECTOR KATHRYN BIGELOW

BY TED ELRICK PHOTOS BY FRANÇOIS DUHAMEL, SMPSP

AUGUST 2017 29

The city of Detroit was already in flames, its black population in a literal street war with first responders, when police raided an unlicensed, after-hours facility named The Algiers Motel on the night of July 23, 1967, searching for a suspected sniper on the second floor. The actions Detroit P.D. took that night (murdering three young black men at the Algiers in an attempt to find the shooter, who had fired a starter pistol with no bullets) formed a microcosm of fear and bias for what was the most destructive civil unrest in U.S. history. The violence last five days and led to 43 dead and 1,189 wounded, including civilians, members of the 82nd Airborne, members of the 101st Airborne, Michigan Army National Guard personnel, and Michigan State Police, as well as members of the Detroit Police and Fire Departments, before an uneasy order was restored.

30 AUGUST 2017

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HE BRUTAL PSYCHOLOGICAL INTERROGATION AND MURDERS

at The Algiers, as well as events leading up to that night for the innocents who found themselves in harm’s way, are at the core of Detroit, a new film by Oscar-winner Kathryn Bigelow, whose previous features based on real-life events include K19: The Widowmaker, The Hurt Locker, and Zero Dark Thirty, the latter two both written by Detroit screenwriter Mark Boal. Detroit stars John Boyega, Anthony Mackie, Algee Smith, John Krasinski, Will Poulter and Samira Wiley.

With police shootings of young black men in Ferguson, Missouri; Baltimore, Maryland and elsewhere around the nation dominating headlines, Detroit could not be timelier. The project also reunites Bigelow with her Hurt Locker cinematographer, Barry Ackroyd, BSC, whose résumé includes similarly intense real-life inspired dramas like United 93 (about 9-11), Parkland (about the chaos in the hospital from the JFK assassination) and Captain Phillips (about a 2009 hijacking by Somali pirates of a U.S. flagged cargo ship). With an added background shooting BBC documentaries and narratives for British legend Ken Loach, Ackroyd was the ideal choice for the always compelling, fly-on-thewall camerawork needed to recreate a race riot.

As they did for The Hurt Locker, Ackroyd and Bigelow wanted to shoot on Super 16 mm, but eventually opted to capture digitally

with Super 16 mm lenses. As Ackroyd describes: “Instead of carrying lenses that are 25 pounds in weight, you’re carrying something that’s two and a half pounds and can still do all the wide-angle close-up stuff.

“We decided on the Alexa Mini with Super 16-millimeter film lenses, because they offered that documentary feel,” he continues. “They make the rig so much easier to hand-hold, and provide that classic 1960s documentary look from [filmmakers] like D.A. Pennebaker or Richard Leacock, which was the visual inspiration for how to shoot Detroit.”

Ackroyd says they wanted a grainy, filmic look. “Obviously we have the archival footage [documentary stills from the riot and the aftermath of The Algiers Motel are seen throughout the film in a 1.33:1 aspect ratio], and we wanted to keep the sense of the period,” he adds. “Kathryn was strong about shooting Super 16, and that meant film. But we did tests with the Alexa and realized it was simple to add or take away grain in post. Ironically, we didn’t need to add or take away much. The

film is basically as we shot it. People might consider it a low-res image, but so is Super 16-millimeter.”

The camera team, which included A-camera 1st AC Markus Mentzer, B-camera operator Chris McGuire, SOC, and 1st AC Greg Wimer, C-camera operator Josh Medak and 1st AC Darryl Byrne, and D-camera operator John Garrett and 1st AC Christian Hollyer, had four Alexa Minis and used the new Panavision cages.

Mentzer reflects how they were able to build the camera rigs small and compact.

“Dominick Aiello of Panavision had just come out with cages in June of last year,” he recounts, “and I think we were one of the first movies to use them. It’s a metal exoskeleton on the outside for the Alexa Mini, and there’s a power box on the back of it that lets you power all of your accessories and the camera; the exoskeleton makes it tough and rigid. The goal was that it would balance out like a Aaton XTR, which was Barry’s go-to film camera back in the day.”

Three, often four cameras rolling at

“WE DECIDED ON THE ALEXA MINI WITH SUPER 16-MILLIMETER FILM LENSES, BECAUSE THEY OFFERED THAT DOCUMENTARY FEEL.” -BARRY ACKROYD, BSC AUGUST 2017 31

BIGELOW DIDN’T ALLOW THE CAMERA TEAM TO WATCH THE REHEARSALS. THEY ESSENTIALLY WENT INTO THE SEQUENCE AS IF THEY WERE SEEING THE ACTION FOR THE FIRST TIME. 32 AUGUST 2017

once was the norm as Bigelow wanted to minimize cuts and allow the action to play out in emotional crescendos.

McGuire describes having to “look at your work as a Master Shot that plays alongside Barry’s shot. The same went for [Medak, Byrne, Garrett and Hollyer].

We all had to complement each other.

Sometimes one person would be in the best vantage point, and when we went back to the quad with Kathryn and Barry, we had to figure out who could hand off coverage of a story point in our sequence. Kathryn would play the sequence through again and our coverage would evolve, along with the actors.”

Another interesting element of the camera choreography is that Bigelow didn’t allow the camera team to watch the rehearsals. They essentially went into the sequence as if they were seeing the action for the first time ­– reactive and highly on-edge, given all of the violence and tension enveloping those caught in the unrest. McGuire describes the process as “developing the narrative storytelling as we went along – like real-life.”

The small camera package facilitated what Ackroyd and Bigelow wanted to achieve. “There was a lot of car work,”

Mentzer adds by way of an example.

“Barry and I would squeeze in there with the three actors, cover a scene inside the car, and in the same take, jump out of the car, and follow cops to a riot. The camera rigs and glass allowed us to go anywhere at any time.”

All lenses were de-tuned and uncoated by Panavision’s Guy McVicker to increase softness and flares. They included 1×6.6-66 T2.7 Canon zoom (A-camera), 4×10.6-180− mm T2.7 Canon zoom, 1×70-200−mm Panavision 35-mm zoom, 1×3-1 Panavision Primo 35-mm zoom, 2×11.5 - 7-81−mm T2.4 Angénieux HR zoom.

Detroit also carried Zeiss 16-mm Primes – the 5.5-mm T1.9 Optex Super Cine, 8-mm T2 Optex Super Cine, 9.5-mm T1.3 Distagon, 12-mm T1.3 Distagon, 16-mm T1.3 Distagon, 25-mm T1.3 Distagon, 35-mm T1.3 Optika Elite, and the 50-mm T1.3 Distagon. Four Tomahawk wireless video systems were employed, along with four fluid heads, one Cartoni and one Lambda. There was an ARRI WCU-4 for A-camera, and three single-channel Preston Iris systems to match Ackroyd’s exposure, as well as Internal Filtration on the Alexa Minis.

THE NUMBERS

43

Number of deaths (10 whites and 33 African Americans, most at the hands of law enforcement)

1,189

Number of injuries. 407 civilians, 289 suspects, 214 Detroit police officers, 134 Detroit firefighters, 55 Michigan National Guardsmen, 67 Michigan State Police officers, 15 Wayne County Sheriff deputies, and 8 federal soldiers

7,231

Number of people arrested: 6,528 adults and 703 juveniles; the youngest was 4 and the eldest was 82. Half of those arrested had no criminal record: 251 whites and 678 black. Of those arrested, 64% were accused of looting and 14% were charged with curfew violations.

2,509

Number of stores looted or burned, including 611 food markets; 537 cleaners; 285 liquor stores; and 240 drug stores. The vast majority of damaged buildings were never rebuilt.

AUGUST 2017 33

34 AUGUST 2017

“ BARRY WILL LOOK AT SOMETHING AND SEE WHAT’S AVAILABLE, AND THEN JUST AUGMENT TO BRING IT INTO A CINEMATIC ZONE; IT ALWAYS FEELS LIKE YOU’RE STILL IN THE NATURAL LOCATION.” -GAFFER KELLY CLEAR

FOR DIT KYO MOON, THE BIGGEST CHALLENGE WAS THE SPEED WITH WHICH THE PRODUCTION MOVED.

“It was really fast,” he smiles. “We shot in Super 16 mode, which was new for me.

It allows you to record a smaller portion of the Mini’s sensor, essentially recording 1600 by 900 and then upscaling it to HD in camera. This allowed us to shoot with the lenses Barry wanted, and they lived off the zooms.”

Moon notes that matching exposure by racking iris on the single channels was challenging because the four cameras would often point 360 degrees, unrehearsed. “Things moved so fast that a camera would be up and rolling with Barry’s minimal but beautiful lighting contrast ratios, already on track.”

Gaffer Kelly Clear, who has worked with Ackroyd before starting with the pilot for The Newsroom, says the British DP likes to use as much practical lighting as possible. “Barry will look at something and see what’s available, and then just augment to bring it into a cinematic zone.

But it always feels like you’re still in the natural location,” Clear describes. “He has this one light that he likes, and I just started hanging on to it. He calls it his Tubo. There’s a 4-foot version and 2-foot version. It’s basically just a piece of PVC pipe that we cut a slot into so the light

can come out, then we put diffusion or add a little color.

“We used to put Kino Flos in them, but they would heat up and the color shifts and turns green,” Clear continues. “On Detroit, Barry was reticent to use the Sourcemaker LED tubes. But I showed him how there are no color shift issues with these LEDs – they’re both tungsten and daylight – and he really liked them. You can lay the Tubo on the floor horizontally, or hang them.

My father was a plumbing contractor, and I realized that to make them stand upright, vertically, there’s a flange tube that a toilet attaches to. You attach the pipe, turn the flange upside down, and you have a foot for the Tubo to stand vertically.”

In addition to the Tubo lights used in The Algiers Motel (where the characters are held for hours, faces turned to the wall, and, one by one, taken to another room to enact a “Death Game” interrogation, Clear also used China balls. Outside the structure, there is a large sign that was manufactured for the film containing amber-colored Marquee bulbs in it. “We found real Marquee bulbs and built 8 by 8 frames, and rigged those to Condors because we needed to tie in locations to the motel, despite their being miles and miles apart,” Clear reflects. “We had that flashing-light sign reflecting onto other locations as well.”

Production designer Jeremy Hindle, who also worked on Zero Dark Thirty, describes the Algiers sign as a “26-foot-high monster.” Hindle also designed and built the swimming pool where Algee Smith and Jacob Latimore’s characters meet two young white women from Ohio (Hannah Murray and Kaitlyn Dever) and strike up a friendship. “We wanted a fresh, happy moment before [the police raid],” Hindle explains. “These were really young people, so [the pool scenes] were important to see before the rest of the movie gets so dark.”

Hindle says Bigelow and Ackroyd both agreed practical lighting in Detroit should include a heavy dose of fire and period neon for storefronts. Much of that neon, almost 100 signs, some 30 feet high, came from the American Sign Museum in Cincinnati, Ohio, whose founder, Tod Swormstedt, was happy to help the production. The production designer also had his team replace streetlamps, remove wheelchair access ramps and build stairs to mirror 1960’s America.

“Period-accurate lighting that [comes] from a practical source in the scenes was key to getting true authenticity,” Hindle adds. “And it’s always tricky making [the production design] feel real without it being filmy looking, but also giving the camera team enough lighting to be able to shoot with four cameras with short zooms.

In that sense, the tube lights mostly brought up the ambience; everything else was period correct.”

AUGUST 2017 35

36 AUGUST 2017

“ WHEN PEOPLE SAY ‘CINEMATIC,’ IT’S OFTEN THE BIG 65-MIL, 70MIL QUALITY,” ACKROYD CONCLUDES. “BUT THE OTHER SIDE OF CINEMATIC IS GRAIN AND TEXTURE, WHERE YOU REALLY FEEL THE EMOTION COMING THROUGH.” CREW LIST Director of Photography A-Camera Operator Barry Ackroyd, BSC A-Camera 1st Assistant Markus Mentzer A-Camera 2nd Assistant Tonja Greenfield B-Camera Operator Christopher McGuire B-Camera 1st Assistant Greg Wimer B-Camera 2nd Assistant Zack Shultz C-Camera Operator Josh Medak C-Camera 1st Assistant Darryl Byrne C-Camera 2nd Assistant Katherine Castro D-Camera Operator John Garrett D-Camera 1st Assistant Christian Hollyer D-Camera 2nd Assistant Talia Krohmal DIT Kyo Moon Digital Loader Matt Hedges Digital Utility Tom Bellotti Still Photographer François Duhamel, SMPSP Publicist Scott Levine

SOUND ENGINEER RAY BECKETT, WHO WORKED WITH BIGELOW AND ACKROYD BEFORE AND WON AN OSCAR FOR THE HURT LOCKER, said that Bigelow

placed a big emphasis on production sound. “She obviously uses a loop, later on, to thicken up sounds like crowds,” Beckett explains. “But I tried to capture as much as possible on set to minimize how much she needed to put in later.”

According to Beckett, who worked with Ackroyd on a dozen Ken Loach films and documentaries in the 1970s, capturing the sound involved extremely close collaboration with the costume department, particularly on-set costumers Rosa Colon and Taryn Walsh and Costume Designer Francine Jamison-Tanchuck.

“Having a mic placed really well by the costume department can save a performance from being ADR’ed,” Beckett explains. “If you just throw a mic on yourself without consulting with costume, they might come along later and do a tie-up or do another button up over the mic you just put on. If you’re communicating with them in advance and working as a team, you’re less likely to tread on each others’ toes.” Beckett’s preferred mics were the Sanken COS 11 and DPA 4060.

“They’re very small, but they have superior sound quality and they’re quite easy to hide. In addition to those, we tried to use boom mics whenever possible,” he adds.

Detroit’s producers (who included Bigelow and Boal) wanted to shoot in Michigan, but the lack of tax incentives due to cutbacks led them to shoot the majority of the film outside Boston. “We actually did some prep in Detroit,” Ackroyd recalls. “But all films today rely to some extent on the tax breaks. Michigan does have the tax breaks. But Transformers got there before us and swept the whole lot up, leaving Detroit broke again, so we had to move on.

“We found some very good matches outside Boston,” he adds. “Old, run-down industrial areas with big, gritty factories that reminded me of my youth in the North of England. That was what we were looking for, and thankfully Massachusetts could supply them.”

All of the locations were practical locations that presented some challenges. “It’s difficult when you’re making a period film,” Ackroyd continues. “You can’t just walk out into the street and start shooting. We enhanced real buildings with very good sign work. There were no builds.”

Did the geography add to the challenges? “We actually looked for places that would give us some difficulty, a series of steps or corridors, tight turns into doorways, pushing in and pulling out, reversing through doorways. All that adds greatly to this story and helps sell the audience that you are, in fact, in the real world.”

The cinematographer says the combination of locations and the choice of the lenses added immeasurably to the raw power of the Detroit narrative. “When people say ‘cinematic,’ it’s often the big 65-mil, 70-mil quality,” Ackroyd concludes. “But the other side of cinematic is grain and texture, where you really feel the emotion coming through.”

“Our philosophy was to key around that 16-mil zoom lens, and it was important it was a zoom – even when working with Paul Greengrass I was always using zooms to tell the story. With the zoom, I can see a room full of people, and also see a big close-up. And I can do it in one shot. Meanwhile, the action moves from what [the camera] is looking at now to 180 degrees behind me. And that camera move is done as a participant in the action would do. To me, it adds a whole different level of humanity to the process.”

AUGUST 2017 37

FANTASTIC FOUR? MARVEL TELEVISION BRINGS ALL OF THEIR SUPERHEROES TOGETHER IN ONE BIG BOLD PILOT/SERIES SHOT

BY MATTHEW J. LLOYD, CSC

BY KEVIN H. MARTIN PHOTOS BY SARAH SHATZ & JESSICA MIGLIO

38 AUGUST 2017

AUGUST 2017 39 Photos by Sarah Shatz

While the comicbook series The Defenders most often featured Marvel icons like The Hulk and Dr. Strange, Netflix’s limited series of the same name utilizes lesserknown superheroes, each of whom has been featured in recent years on the streaming service.

Lead characters from Jessica Jones [ICG Magazine January 2016], Daredevil, Iron Fist and Luke Cage make up this incarnation, courtesy of Marvel Television.

40 AUGUST 2017

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ROMINENT BEHINDTHE-SCENES MARVEL ALUMNI RE-UPPED FOR

The Defenders, including director S.J. Clarkson [Exposure, Page 22], who had launched the Jones series, and director of photography Matthew J. Lloyd, CSC, a veteran of Daredevil’s first season who also shot Fargo’s pilot and the recent Power Rangers.

“S.J.’s visual concept included these enormous mood boards that established each character’s distinctive visual world, creating a unique identity for each of our heroes at the onset of this adventure,” Lloyd reveals. “She wanted it to really feel like each of these guys was coming from their own place, and we employed a variety of lighting, color-palette, and art-direction choices to achieve this.

I admired her tenacity to see it through, because often these concepts get diluted by the time you shoot. We insisted on building these looks into the lighting and art direction rather than through postproduction or various LUTs, [since] creating a palette with only look-up tables can affect continuity of skin tones and wind up looking very treated.”

As with the other Marvel/Netflix shows, Panavision New York supplied cameras and lenses, and for Netflix’s mandated 4K capture, Lloyd chose the 8K RED WEAPON. “Given that most of this was shot at night with controlled lighting, the Weapon sensor’s low-end capability [made] it a great choice,” he reports. “Unlike other cameras, the Weapon can store and output 3D

photo by Jessica Miglio

Cube LUTs from the camera. Company 3 founder Stefan Sonnenfeld turned me onto Blackdrop, his LUT [with a] super filmic curve for Red.” The 4K mandate utilizes a minimum of 5:1 compression, and Lloyd notes that security processes at Marvel are robust.

“There’s a whole procedure for wiping cards and safe storage, so it’s a complex new world for second assistants and loaders.”

Clarkson’s episodes featured extensive use of Panavision P-Vintage glass, and Lloyd says the director prefers to use 24 mm/27 mm, and 35 mm/40 mm for closer work.

“The problem,” Lloyd states, “is that these lenses were built when cinematography worked differently: lens size, markings, front diameter and weight vary greatly even

within a given set. Thankfully, Panavision had the foresight to rehouse them with standardized dimensions and appropriately spaced barrel markings, which give focus pullers a fighting chance.” Limited availability owing to maintenance regimes resulted in Lloyd’s having to supplement with original Panavision-speed lenses or “de-tuned” Primos.

“When we got into the heavy lifting and stunt work in later episodes, I made the call to switch us out to Zeiss Master Primes, the most dependable and assistant-friendly optics available,” he adds.

Clarkson’s preference was to shoot single-camera but develop separate setups simultaneously. She would build a long Steadicam shot with [A-camera operator] Stephen Consentino, while [B-camera

operator] Jonathan Beattie, SOC, went to another set or readied a crane move. Lloyd says that his long-time 2nd unit DP, Jim McMillan, acted as almost a co-DP, an approach that played for at least a third of all shooting. “It wasn’t so much a second unit as a simultaneous tandem unit when shooting big sequences,” Lloyd describes.

Consentino says the arrangement allows for maximum flexibility. “Matt likes to move fast to get the work done,” he explains. “So he’d leave it up to me sometimes as to which setup I would take, knowing we had solid teams for both A- and B-camera.”

Beattie recalls how well deployed the crew was for a major location where The Defenders first meet up. “Steve and I were on our setups while Jim McMillan went ahead with a third AUGUST 2017 41

Photo by Sarah Shatz photo by Jessica Miglio

camera team on Techno and worked out a tricky bit of business moving through a sign on a roof, through a skylight and joining The Defenders around a table,” Beattie says. “Matt’s foresight in pre-planning and executing leapfrogging teams kept the ball always in motion.”

LLOYD KEPT HIS CAMERAS STREAMLINED TO FACILITATE CAMERA PLACEMENT, with Consentino

reporting they often worked without matte boxes in a bare-bones Preston/Paralinx/ Tomahawk/onboard monitor configuration.

“The camera department was defined by the motto ‘no tools,’” adds Beattie. “Matt sets his stop by hand. He would pop the camera off a head – ‘going rogue’ – and quickly explain his graphic option for the next camera placement.

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Matt has this philosophy: ‘Just because it’s simple doesn’t mean it’s not good,’ and he’s so right. One camera build can work in all configurations. We would throw a low-angle prism on a camera in a flash and be chasing between stunt players and landing on a bag to pop something off quickly and continue moving forward.”

As an exception that proves the rule, Lloyd exploited an exceptionally useful tool – ARRI’s Trinity stabilizer with a Maxima MX-30 3-axis gimbal – for a key battle scene. “We shot one part in a hallway,” recalls Beattie, “using it to build seamless transitions in camera. We were able to cheat the size of our space, mix takes and save on the effects budget in our edits as we had a stabilized wipe on the A- and B-side of shots.”

Lloyd dubbed a key set in which The Defenders first meet “the Crayola box set,” because all of the individual looks were represented, but mingled. “[Iron Fist] is in a particular toplight, but there’s a

complementary neon in the background where Luke stands,” he recounts. “You had all these different vibrant hues to represent; LED technology played a huge role in realizing this because we had so many different variations.”

Gaffer Joe Quirk describes the scene as a riot of color. “A 72-inch Chroma-Q Color Force provided the Jessica Jones color to a large fish tank that ended up meeting an untimely demise,” he relates. “An exterior 86-foot aerial lift had four ARRI S120 Skypanels, fed back to a dimmer board with DMX, to create the Iron Fist color for a fight outside. Daredevil red was largely a function of practical interior lighting (in other scenes Quasar tubes colored with Lee primary red gel plus practical red bulbs were used), while Luke Cage was drawn up by Sky Panels with the Lee Filters ‘urban sodium’ look.”

A Chinese restaurant location plays host to a massive battle with a horde of baddies.

The edict from Marvel – exceed whatever had been done before – meant stunt coordinator

Photo by Sarah Shatz

“ MATT HAS THIS PHILOSOPHY: ‘JUST BECAUSE IT’S SIMPLE DOESN’T MEAN IT’S NOT GOOD,’ AND HE’S SO RIGHT. ONE CAMERA BUILD CAN WORK IN ALL CONFIGURATIONS.” [B-CAMERA OPERATOR] JONATHAN BEATTIE, SOC

Matt Mullins (whose martial arts focus has earned him five world titles) staged battles involving as many as 30 to 50 stunt personnel.

“Getting the actors into the action is just one part of the challenge,” he notes, “along with keeping every character’s special skill active within our choreography. The Marvel/ Netflix view is more reality based than some others, so you don’t want to be doing a Crouching Tiger wire-fu – it’s reality plus ten percent.” He says his team was fortunate in later episodes to have Action Factory onboard for wire work. “They have a great ability to combine multiple pulls with terrific synchronization, so you get left-to-right action plus rotation, and this lets them work very quickly, which matters when you’re doing these episodes in ten or twelve days.”

Mullins always uses previs, which proved beneficial when sharing data between departments. “It’s always going to be a big collaboration between the art department and physical effects when somebody gets thrown

through a wall – and sometimes visual effects as well,” the stunt veteran describes. “Figuring out how the wall reacts to the impact, and whether there are bullet hits going off there along with the performer, are all crafted moments we have to take time on. This show had punches thrown through cinderblocks, heads getting cracked on a table – we broke everything!”

WITH STAGE AND LOCATION WORK STRETCHING FROM BROOKLYN AND QUEENS TO LONG ISLAND’S GOLD COAST STUDIOS, Lloyd, Quirk and

rigging gaffer Tom O’Connor would spend time between takes drawing up lighting plots from art department blueprints. Production designer Loren Weeks built practical fixtures and strategically placed windows and

translucent walls into his set design. “Working off our lighting plots, riggers would encounter issues with the stage grids or platforms [but] were good with improvising, and we rarely waited on lighting,” Quirk relates. “Camera adjustments were really just for Kelvin temperatures, CC values, and exposure.”

An in-camera solution was used for a special mirror scene involving Sigourney Weaver. “We start on a reflection in what appears to be a mirror, but is just an empty frame,” Consentino describes. “There were set objects on both sides of the frame to fill out the illusion of a reflected image, and we were shooting over the shoulder of her stunt double. The camera comes through the reflection, then out through the room before coming back to the mirror as Sigourney comes in. The mirror wall was wilded out at one point, and Props had to run in and slap a real mirror inside the frame and hold it in place manually as there wasn’t time to secure it. I was looking over my shoulder as [Props] AUGUST 2017 43

“ THERE ARE MANY MORE PRACTICAL TOOLS NOW AVAILABLE ON SET TO BUILD REAL LIGHT INTO AN EFFECT.” [VFX SUPERVISOR] JOHN KILSHAW

tried to get it in place and to stop it from shaking before I had the mirror back in the frame again. When you look at the shot, it seems simple, but it wasn’t at all.”

The criminal organization against whom The Defenders face off sport digs that at first glance seem at odds with their dark plans.

“Their lair is austere and modern – almost clinical,” Lloyd states. “It’s a clear departure from what most people expect from comicbook villains.”

The Defenders find themselves in a precarious fight deep inside this secret operation. Production built a functional section of the set, but it needed visual enhancement from lighting and VFX. Lloyd, working with Quirk, built 18-foot LED towers.

“The towers were 72-inch Chroma-Q ColorForces with chase sequences programmed,” Quirk recalls. “This created nice shadow effects across the characters and the feel of practical lights passing outside. The moving set had a 5500 Kelvin LED practical bulb, and ambient lighting outside was achieved with Quasar fixtures rigged above in the grid.”

Additional lighting effects required a variety of tools. “For the background, an underground cavern beneath New York City, Martin Mac Viper Performance moving lights created water effects,” Quirk continues.

“Board operator/programmer Kent Arneson created the cavern’s water effects with guidance from Matt. Practical lighting in the cavern took the form of work lights built by the art department that utilized a smaller version of the Chroma-Q Color Force. All 44 AUGUST 2017

fixtures used in the sequence were fed back to a dimmer board.”

An elevator set could only provide ten seconds of vertical travel, so wider views required substantial VFX enhancement, courtesy of Zoic Studios’ VFX Supervisor John Kilshaw.

“Netflix had arranged for an elevator set to be LIDAR-scanned, but we didn’t end up having to use that,” Kilshaw reports. “Since we were involved during preproduction with [co-showrunner] Marco Ramirez and the directors, we were able to plan things out and simplify the build. There was 30 feet of properly dressed set in a 36-foot environment – we couldn’t go any higher – but we extended that to 360 feet.”

Lloyd made a point of remaining involved for any plate or reference imagery. “We used a lot of large-scale night-lighting rigging,” he explains, “so recreating that after the fact can be time-consuming and expensive.

Even existing-light plate shoots for DSLR never quite look right. So, when extending a building or a camera movement, I would tile it for John, and we’d try to do the HDR and the chrome ball in the moment.”

That meshed with Kilshaw’s, whose feature background has instilled a preference for capturing as much in camera as possible.

“There are many more practical tools now available on set to build real light into an effect,” Kilshaw notes. “Plus, DP’s now come at this with different eyes than in the past.

Matthew Lloyd is exemplary in this regard, with a way of doing things that lets us get into the more grounded approach. Even when you think, ‘On this one, we’re going to have to

do it with VFX,’ the open discussion that precedes the decision sometimes does reveal an alternative.”

THE COMBINATION OF TOOLS ZOIC USED TO CREATE IRON FIST’S GLOWING HAND on the series was

replicated for The Defenders. “We created a series of yellow LED bracelets and knuckle bands, constrained to different parts of his hand,” Kilshaw explains. “We have to remove that in post because the final effect always uses a full CG hand, but those bands create all the environmental interactives. Painting all the light onto objects he’s hitting would be really difficult, and work against the ‘as real as possible’ feel Marvel wants.

“We developed bespoke [custom] tools for our Fist digital pipeline,” Kilshaw continues, “along with other simulations that give us a depth-oriented glow. We do a lot of this in Maya, especially when hand-animating to match action of the performers on set, but also have Houdini and Nuke artists as well.”

Most memorable among the show’s many visual effects were Zoic’s meticulously detailed rigid-body work for a climactic scene of destruction. “Rather than forcing us to take a lot of TV shortcuts,” Kilshaw adds, “Marvel supported tackling [VFX] with a featurefilm sense of scale. They gave us more time to get it right, even though it required running heavy volumes of both geometry and particle simulations.”

AUGUST 2017 45 Photos by Sarah Shatz

“IT’S A REAL HONOR TO BE INVOLVED AT THE BEGINNING AND NOW THE APEX OF THIS MARVEL/NETFLIX EXPERIENCE.” Photo by Sarah Shatz

MATTHEW J. LLOYD, CSC

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For most typical VFX solutions, one effects artist might tend strictly to the destruction of an object, then a separate lighting artist would be called upon to make this look right. “We went another route,” Kilshaw states, “using a single dedicated effects artist – whom we’ve since dubbed the first-ever ‘FX lighting artist’ – who used a volumetric way of creating light passes. Those passes, from an explosion simulation, were used to light events off-camera, which gave us a whole new level of complexity. This includes volumetric light blasts reflecting through glass and giving an edge tremor. We’ve since rolled this approach into a new bespoke toolset, to take forward to future shows.”

The series’ DI was handled at Deluxe’s Encore L.A. facility by colorist Tony D’Amore. As Lloyd was doing Power Rangers DI sessions in New York at Deluxe’s Company 3 concurrently, he found himself “doing laps around that place, seeing realtime Defenders remotely whenever Tony texted me a reel was ready. When DPs work all over the world, studios still expect them to be involved, so the DI people are saints making accommodations for us.”

46 AUGUST 2017

“Lloyd adds that the only fly in the ointment was the need for an HDR finish.

“Normally in movies,” he states, “there is a separate color passs done for HDR platforms like Dolby Vision. In this case, however, Netflix needs a single file that can be streamed in both Rec. 709 as well as HDR, which has a vastly greater contrast ratio. This situation is very challenging for colorists, as they basically have to split the difference from traditional colorspace to work in the HDR environment.

I really let Tony run this as it was too challenging to make both work; I would focus on the traditional HD finish, and he would tweak to make it work for HDR. It ended up looking quite good in both platforms.”

Summing up his experience among the superheroes, Lloyd declares, “It’s a real honor to be involved at the beginning and now the apex of this Marvel/Netflix experience. I think people will be very happy with how this all turns out.”

K

CREW LIST Director of Photography Matthew Lloyd, CSC A-Camera Operator/Steadicam Steve Consentino Jon Beattie A-Camera 1st AC Keitt A-Camera 2nd AC Yusuke Sato B-Camera Operator Paul Bode B-Camera 1st AC Jason Brignola B-Camera 2nd AC Andy Hensler A-Camera Loader Yale Gropman B-Camera Loader Austin Chang Still Photographers Sarah Shatz Jessica Miglio Cara Howe Wally McGrady

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////// THE PRODUCT GUIDE

ROUGH TRADE THIS YEAR’S MAJOR TECHNOLOGY CONFERENCES, WHILE NOT BREAKING ANY NEW GROUND, DID OFFER A GLIMPSE INTO WHAT’S COMING UP IN CAPTURE, LIGHTING, AND SUPPORT. Remember Show Biz Expo? It was once the place for new equipment. Then NAB became the go-to trade show, and now…well – the consensus from users was that the 2017 version of NAB didn’t seem to offer anything strikingly new or leading edge. In fact, many vendors opted to save their debuts until Cine Gear, traditionally held at Paramount Studios’ iconic New York back lot, but now spilling over into multiple stages and parking venues around the lot.

Regardless which gathering strikes your tech fancy – NAB or Cine Gear – there was still plenty going on in the world of capture.

Hollywood hype was working overtime in advance of both trade shows, with words like “embargoed” and “under wraps” (and, literally, a black cloth) preceding the announcement of full-frame cameras from Panasonic and Sony.

Panasonic’s AU-EVA1 5.7K, Super 35 mm, allows for capturing true cinematic images.

Why the 5.7K? Word has it this gives you a proper 4K image – and might even allow you to see “outside” the image area – say, catch a mic or light stand before you pay for taking it out in post. It’s shipping in the fall. (http://

BY PAULINE ROGERS NAB PHOTOS BY NICOLA GOODE, SMPSP CINE GEAR PHOTOS BY BONNIE OSBORNE

business.panasonic.com/AU-EVA1.html) Sony’s jump into full-frame technology for its high-end cinema camera line came via the CineAlta AU-EVA1. The system offers a 36×24−mm sensor, Super 35 4K 4-perf 4:3 anamorphic and 4K spherical 3-perf 17:9, and is lens agnostic. It’s so new, it’s not even up on Sony’s website yet. ETA 2018.

New motion-picture lenses from stalwart companies like Zeiss, Angénieux, and Fuji abounded. Panavision introduced the intriguing Primo Artiste, featuring onboard wireless focus control. But what really turned heads was the Orion series from Atlas Lens Co. Co-designed by Local 600 member Dan Kanes and partner Forrest Schultz, these are uniquely affordable, readily available, mechanically reliable anamorphic lenses, “but with an image characteristic that is classic without being overly vintage,” Kanes explains. The Orion series offers 2× front anamorphics – twice the horizontal field of view compared to vertical for any given focal length. The line was long at the Tiffen booth, where they showed these lenses at NAB, and even longer and more enthusiastic at Cine

Gear’s Atlas booth. From the comments from potential users, this lens is here to stay. (www. atlaslensco.com) Another interesting entry comes from glass veteran Dwight Lindsey (38 years with Schneider) in the form of high-quality macro attachment lenses that “give owners and rental houses new flexibility in making table-top and macro images,” Lindsey describes. “They give what we call ‘zoom through’ performance, holding throughout the zoom range.” (www. lindseyoptics.com)

IT’S HARD TO EVEN TRACK ALL THE NEW TECH SHINING THROUGH IN THE LIGHTING CATEGORY. The Local 600−

sponsored LED lighting panel at Cine Gear (see page 58) offered a plethora of opinions from DP’s and gaffers working in all kinds of different genres and applications. What caught our eyes was a palm-sized light from LuxLi, and BBS adding another Pipe to its Pipeline series. Balloon? Sure – Cush added a Tube LED X to its line.

Mole-Richardson, one of the oldest and AUGUST 2017 51

////// THE PRODUCT GUIDE | CAPTURE/LIGHTING/SUPPORT most respected lighting firms in the industry, introduced a new line of variable-color LED Fresnels, with a color range of 2700K to 6500K in their Baby, 8-inch Junior, Studio Junior and Senior models. These new Mole LEDs run from 90 to 250 V AC or 28 V DC and are fully dimmable. They feature DMX control and are Bluetooth capable. (www. mole.com) It’s also worthwhile to reiterate DoPchoice’s Stefan Karle’s excitement over ARRI’s advancements. Yes, their SkyPanel is being used everywhere and isn’t exactly new.

But, as a gaffer pointed out, there’s no DMX controller. Users can program/customize new effects, from “cop car” to “firelight flicker,” right on the fixture.

One new lighting company worth a look is Toronto’s Moss LED, now offering DiffuseFlex LED – pre-diffused flexible LED tape. These new strips out-do the pixilated look of a classic LED strip. They provide uniform and seamless output across a full five meters. They are rated for outdoor use – or on camera – anywhere high-quality white light is required. (www.mossled.com) As for new location-based lighting, Rotolight’s AEOS is a bi-color location LED with an interesting – and thin – design.

(Everyone seems to be conscious of weight and packaging restrictions these days.) The Rotolight unit is powerful, with an output of 5750 lux at three feet, and can run for three hours at 100 percent power on a single 95 W battery. It’s got more flexibility for ease of use – like integrated handles, which allows for moving quickly and efficiently. (www. rotolight.com) One vendor gaining a lot of traction is Creamsource and its Outsight line. It was kind of fun walking by their booth at Cine Gear. Parked in the middle was a huge circular array of six LED engines, cooled by a highly efficient and silent heat pipe system. It’s one light with many applications.

Originally conceived as a 5K space-light replacement, it’s grown to do much more.

Right next to it was Creamsource’s new bicolor Micro LED. At 220×205×100 mm and weighing in at 2.5 kg, it can go into the smallest places. It’s rugged and waterproof and is powered by a single 90-W battery – or even directly from a car. It offers small size for creative placement and big savings in power consumption. (www.outsight.com.au) Cineo and NBCUniversal have combined forces to create a product that offers the latest in LED production lighting. The LightBlade offers individual DMX control and will be available in three configurations: LB50 is a stand-alone linear source, LB1K is an integrated 4×4−foot soft source and LightBlade Ladder Light (based on 52 AUGUST 2017

NBCUniversal’s backdrop lighting system) features a 50-W, 1.4×48−inch light engine that can operate in many different layouts – including stand-alone. It’s not hyperbole to say that location lighting and stage production will be forever changed with LightBlade technology. (www.cineolighting.com) Another interesting partnership comes from Chimera and Zylight via Chimera’s Active Diffusion, which set off a big buzz at both NAB and Cine Gear. The so-called “accessory” provides a look into filmmaking’s future – its electronically controlled diffusion technology works with fluorescents and other cool lights and allows users to dial-in opacity. (www.chimeralighting.com)

NEW PRODUCTS IN THE SUPPORT CATEGORY COVERED A VAST RANGE.

But, unfortunately, there were a lot more knock-offs than ever before, and tried-andtrue gear like sliders (from different vendors) doing basically the same old thing. There were at least half a dozen ways to turn your iPhone into a “professional” camera, but not a lot of user enthusiasm for using smartphones as a prime production camera. As in years past, the drones were out in force, but most were upgrades or changes to the technology already introduced. Industry drone leader DJI had a new one. And, at Cine Gear, there was the monster Hover. But it looks like this market is settling in for the long haul. As Local 600’s drone operator Matt Lavin describes, “We’re waiting for the right light in the right drone – and that really will open the possibilities.”

There were a few big-ticket new cranes.

Gearhouse Broadcast and Partners’ massive SkyTechno occupied half a Las Vegas parking lot outside NAB and dominated the parking lot outside the RED booth at Cine Gear. This inverted telescoping camera crane looked a little lonely in both places – but it does have its place in production. The company says its all-axes underslung tracking Techno Jib can track 24 feet and is fully encoded for real-time AR graphics. It’s ideal for concerts and live sports (as well as franchise location features and TV ) and has the latest in encoding technology to ensure that 3D graphics can be inserted into the live camera feed exactly where and when needed. PRG’s Brian Edwards has seen it firsthand – and he says it is stable enough to support AR and VR systems. (www.gearhousebroadcast.com. Users should note that there was a smaller version of the crane targeted for VR production next to the OZO booth at Cine Gear. The VR rig was swaying as the crane moved, which could potentially run up costs in post and/or create

viewer fatigue/nausea from the unwanted motion.)

Speaking of Cine Gear, Camera Control was located a few booths across from the ICG Local 600 booth, and many members stopping by became fascinated with the Titan rig, one of only two available for production in the U.S. Titan has the largest range of motion and lens heights of any motioncontrol rig. And it telescopes so smoothly.

According to Jason Rau of Camera Control, before Titan, “pull out” or “push in” shots were accomplished by moving the rig along a track. Now users can track in as they pull out, and with Titan’s 22.5 extended range, who knows what can be accomplished? (www. cameramoves.com) There were more than a few new batteries on display at NAB and Cine Gear. But what caught our eyes was Hawk-Woods Sticky Batteries, which are not only compact but also extremely lightweight. They can “stick” to cameras, monitors, drones, gimbal rigs and a host of other devices using M3 Dual Lock Strips, with quick-release back plates for stable positioning and balance, or strapped to a tripod. The 75-W model can power an ALEXA MINI, a RED EPIC or a MōVI rig for up to 45 minutes – or a drone camera for five or six flights. The “stick ’em up and forget they’re there” convenience that has taken over lighting has now infiltrated the battery market. (www.hawkwoods.co.uk) Another new entry in low-cost and flexible convenience comes from Matthews Studio Equipment. MSE says the product offers a lighter and faster way to grip all different productions – from the solo beginner to the big feature production. The idea – eliminate the cost and storage of one-off grip support by carrying MyWay, which is based on a two-part interchangeable system that combines industry-standard pins, receivers, and clamps with custom connections and secure collars that are mounted on plates and clamps. It’s like putting a physical puzzle together on the fly, instead of waiting for the “right” support to be rolled in and set up. (www.msegrip.com) In conclusion, this year trade shows were not filled with products that will radically change the way Local 600 camera teams work (save for some areas of lighting). But there were certainly enough upgrades and “outside the box” offerings to enhance onset workflows and creative problem solving.

Here’s hoping that vendors up their game for the 2018 technology conferences!

AUGUST 2017 53

////// THE PRODUCT GUIDE | DIALOGUES

DENNY CLAIRMONT Angénieux calls you the father of the Optimo line of lenses. What did you bring to that design that sets that line apart?

I went to Angénieux’s factory in France around 1998 and told them that a new line of zoom lenses needed to be developed for rental companies and private camera owners to be able to compete with Panavision’s new zoom lenses. Their engineers began designing lenses to compete with Panavision’s new 24-275-millimeter T2.8 zoom lens. When I saw the virtual lenses on Angenieux’s computers, I suggested they build the 24 to 290 T 2.7. The next problem? Getting approval from their parent company. I received my first 24 to 290 T 2.7 Angénieux in 2001. Soon orders started coming to Angénieux from all over the world. Seven more types were made – and eventually the company won an Academy Award for the entire series.

How has lens design changed over the years? It’s gone from simple to very complex.

In the early 1970s, both Canon and Zeiss made lenses for the movie industry with aspheric lens elements, floating elements, and very special glass as well as multicoatings. Lenses tend to distort images, and the lens manufacturers have learned to keep distortion to a minimum.

What was it about the K35 Canon lens that caught the Academy’s attention in 54 AUGUST 2017

PORTRAIT BY NICOLA GOODE 1972? The great optical quality, due to the aspherical lens elements, which allowed a high-speed lens to be so small. Also, the floating elements that allow a lens to be focused close to the subject and still have an excellent image. Canon used the latest glass types (at the time) and the latest multicoatings on the glass. In1972, there were no other lenses other than the Canon K 35 that would fit onto the very popular Reflex BNC Mitchell Camera with this quality.

How has the digital revolution changed lens design? The biggest change is that, due to the way the imager in a digital camera is designed, the ideal lens would be what is called telecentric, which will provide imagery with less – or no – fringing of colors at the edges. Even though most of the lenses cinematographers love are not telecentric, the manufacturers have been able to keep fringing to a minimum. When there is fringing, this is corrected in post, which takes some time and raises the cost.

What did you see at the trade shows this year that caught your eye? Service Vision anamorphic Scorpio lenses have images that have virtually no distortion, even on the very side angle 25-millimeter. Even the 25-millimeter will allow you to use three or more of the small Panavision 4-inch × 5.650-inch filters in front of the lens. They are sharp, and illumination is even to the

edges of the frame, which is way outside the anamorphic image size normally used. They have no breathing when focusing and virtually no color fringing. The Scorpio lenses are very small and light – at four pounds each. I was also impressed with Cooke, Angénieux and Leica’s new Thalia.

What is the future of lens design? Pushing the envelope. Vantage in Germany, for example, is making large-format lenses that are anamorphic, and their anamorphic ratio is 1.3 times, not the usual two-times ratio. This works out to be a big deal for the larger size sensor cameras. These Vantage lenses are 40, 45, 50, 60, 70 millimeters at a T 2.2. There are also 80-, 95-, 120-, 150-millimeter T 2.8 – again, 1.3times ratio large-sensor anamorphics.

What is the most radical lens on the market today, and why? The TS 160, which is made and designed by Jay Margolis’ Infinity PhotoOptical Company in Colorado. This lens system will allow you to shoot micro photography, macro photography and normal photography with a very deep depth of field. In Micro mode, you can photograph the eye of a fly in fine detail!

Denny Clairmont, sole owner of Clairmont Camera, has earned a Technical Achievement Award from the Academy for the invention of a lens perspective control system, and two Emmys for his role in the development of special lens systems.

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LIGHTING | REDEFINED

////// THE PRODUCT GUIDE | DIALOGUES

ED & TYLER PHILLIPS What was support like when you first started in the business? (Ed Phillips) Up until the 1970s, support hardware was studio-segregated, and each of the majors had their own unique equipment. Even the grip department was separated from Lighting and Dolly. In the 1960s, organizations like SMPTE were established, and the industry as a whole began to adopt standards that slowly became accepted internationally.

Do those standards still apply today? (EP) To this day, the big manufacturers like J.L. Fisher and Chapman-Leonard still subscribe to the first standards: Dolly is 1 inch, Lighting is 1 1/8 inch and Grip is 1 1/8 inch, etc.

Equipment built 60 years ago can still be found on set today and continues to fit seamlessly with brand-new hardware. Of course, the technology has evolved, but the standardization of interfaces has allowed the old and new to be combined and, most importantly, permitted creativity to flourish.

How has the movement to digital benefited the support industry? (Tyler Phillips) It’s allowed a larger market to participate due to the overall affordability of equipment. There are certainly noticeable differences and more creative control as you move up the price ladder, but story telling through high-quality imaging is accessible to nearly anyone with an idea. Manufacturers use the economies of scale, and when combined with healthy competition, 56 AUGUST 2017

PORTRAIT BY NICOLA GOODE prices fall. For example, in real dollars, support gear costs less than it did 30 years ago. Digital technology has created segmented markets where there is equipment available at almost every level of quality and price.

How has digital changed manufacturing?

(EP) It’s actually lowered the cost. The machines that make the parts that make support gear are more automated and precise, so we are able to build better products, faster, for less money. In 1982 the standard C-stand that was built on conventional machines by hand cost about $143. But because of CNC (computer numerically controlled technology), the price of a C-stand online is half that amount.

Is there a downside to this new style of support? (TP) While it has become easier to build a prototype concept, it still requires skill and knowledge to bring a quality product to market. End-users initially get excited – then reality sets in, and the idea takes too long in development, and the market moves on.

In addition, we are living in a “knock off ” world. It’s not hard to find visually identical low-cost copies of popular products at trade shows. These copies erode the market and deincentivize companies from investing in R&D for new products. Eventually, customers learn that you do get what you pay for, and those copies often fail and offer no after-sale support.

What does the new shooter need to know?

(EP) Online reviews can be helpful, but talking to someone with real experience will help you make the right investment in gear. Selling gear in order to upgrade may be necessary, so buying equipment that will hold its value is important.

(TP) The new technology is enabling shooters to get angles and shoot in environments that were impossible just a few years ago, but you need to make sure you pick the right tool for the job. Action cameras and smartphones are a good place to start and produce some great images, but as your techniques improve you will need to expand your toolbox to keep pace.

Where is the support category headed? (TP) A couple of years ago, drones, gimbals and sliders where the rage. Now new technologies like VR and computational cinematography are maturing and will have their own support requirements. (EP) It’s all about smaller, lighter, faster – but it’s also very much about quality.

Ed Phillips and Tyler Phillips run the family-owned and -operated Matthews Studio Equipment. Under Ed’s direction as Owner and President, Matthews has won two Technical Achievement Oscars and one Academy Award for its innovative support. Tyler Phillips grew up at Matthews and officially joined the management team several years ago and is now Executive Vice President.

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NO LIMITS LEDS ARE CREATIVE GAME CHANGERS, AS A DIVERSE GROUP OF DP’S AND GAFFERS REVEAL AT THE 2017 CINE GEAR LIGHTING PANEL

BY PAULINE ROGERS PHOTO BY BONNIE OSBORNE

58 AUGUST 2017

“We are beginning to be able to mold images in ways we had only wished to before,” Local 600 President Steven Poster, ASC, said, wrapping up a stimulating ICG-sponsored panel at Cine Gear 2017. Moderated by ICG technology expert Michael Chambliss, the panel also included Poster’s longtime gaffer James Plannette (The Artist, Someone to Watch Over Me), gaffer Mike Bauman (Ghost in the Shell, Phantom Thread, Iron Man 2), Lisa Wiegand, ASC (Chicago Justice, American Crime, Chicago Fire), and her gaffer, Ronald Dragosh (Chicago Justice, Chicago PD, Chicago Fire), as well as Rachel Morrison, ASC (Black Panther, Dope, Fruitvale Station) and Erik Messerschmidt (gaffer on many David Fincher movies and the DP for the upcoming series, Mindhunter). The all-star panel detailed to the SRO audience how LED lighting has become a game changer for DP’s and gaffers alike, with virtually no creative limits on how best to visualize today’s layered approach to storytelling.

For Bauman, LED lighting became the pigment base for the revolutionary color palette of Jess Hall, BSC, on the anime-inspired feature Ghost in the Shell. The pair employed a six-color mix of custom LED’s (courtesy of LiteGear) that were built into the set and even costumes.

They then worked with their fixture technician to make sure all LED’s would match in the same color space.

“One other element critical in this LED revolution is the voltage system used on each set,” Bauman explained.

“Crews have to understand the parameters of the lighting. A ‘red’ over in New Zealand might be a ‘pink’ here in the States, due to the voltage system that is in place.”

Before starting Chicago Justice, Wiegand started exploring lighting options – and stopped by the Digital Sputnik showroom.

“I saw these super-cool lights and loved the idea of being able to change the color space to anything, like you do in Photoshop, only you just select it from your iPad while you are shooting,” she told the Cine Gear audience.

“You don’t need gels.”

Dragosh says he became an instant fan of LED technology for obvious reasons. “We have so many setups and moves in series television,” he detailed. “We can put LEDs in Condors for back light, on the ground or hidden in different places. Set-up time is fast, and if you need power you can run a ten-er off a 20-amp circuit, bring in a Stinger, and that’s it.”

Wiegand noted that using LEDs may be more expensive up front as a rental, “but when you know you are going to do 22 or even 24 episodes,” she explained, “you have to think about the amount of cabling and power that

you will save.”

Messerschmidt said LEDs are now allowing creativity to change the face of Poor Man’s Process. “We started to create an LED video-wall system on Gone Girl, and we used it extensively on Mindhunter,” he shared, showing the detailed wall plot he developed with Fred Waldman at VER that allowed the team to take video plates (at times they used an 11-camera array on a vehicle) that were then projected on the walls. “All the nuances of interactive lighting can then be used,” he added. “It’s better than panning around or using chase lights. There are light sources on the actors in the car, reflections on the chrome dashboard and steering wheel. If a white truck drives by, you get a reflection off that truck.”

Morrison felt like she had walked into a gear candy store when she began planning the upcoming Marvel feature, Black Panther, with LED lighting. “It’s an eye-opening experience, working with LEDs,” she admitted. “It’s cinematography meets production design. Art meets lighting. A new level of involvement for the cinematographer.”

Reteaming with Fruitvale Station’s director, Ryan Coogler, Morrison embedded

many LEDs into the Black Panther set.

“This not only allowed us to make changes on the fly,” she explained, “but that type of practical lighting allows the actors so much more freedom – and the director, too. Ryan would always ask, ‘What’s my drop dead?’ for a decision. Nothing made him happier than when he realized he could change his mind on the set. A couple of flicks of the console and you can respond to the blocking at the moment, which is huge.”

Given their many years lighting before the advent of LEDs, Poster and Planette were uniquely qualified to describe how the technology has changed the industry. Both began when arc lamps and 10K’s once turned sets into saunas. Poster noted that a project like Jeannie Berlin’s directorial debut, The Boor, might never have happened without LEDs. “With the new Canon C700, a few LEDs and a little generator,” he recounted, “we could throw light through a window, or mold light with small lamps that we could put anywhere – and tell this modern Chekhov story beautifully, even with the budget limitations.”

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STEFAN KARLE Where is the LED revolution going? It is exciting, although sometimes frustrating, because the style-and-form revolution is sometimes ahead of the science. We will be seeing more form factors and new technologies to which we can add LEDs. Weight and power consumption will be less.

We’re fighting the heat factor, as well. The next big steps are in more applications, and that would include wireless functionality.

Battery technology will also make LED usage easier. Interestingly enough, some of today’s movie technologies are being driven by the architectural market.

Why so many new accessories for LED’s?

It’s all about standards. Before, lights had been round, and they had barn doors and common diameters for the speed. Now, with LEDs, each and every manufacturer wants to use different dimensions for their specific application or niche. This makes it very difficult for commonality and for rental houses that carry many different brands of lights. They have to buy accessories for each light. Batteries are getting to be standard – but accessories are running crazy and are not compatible with each other. We’ve created the Rabbit-Ears system that will help to just invest one time in accessories. This kind of standard will help rental houses.

You deal with many lighting manufacturers. Do you see any 60 AUGUST 2017

PORTRAIT BY NICOLA GOODE commonalities? Different companies are doing “wands” or “ribbons” and other types of lighting. As with everything, the best will rise to the top. ARRI, Kino Flo, Litepanels are the solid big players. Smaller companies have found interesting niches. Look at Velvet/Outsight with their rainproof fixture.

Or the flexible and lightweight Litegear, Aladdin and Flex Lights. There are punchy units from Digital Sputnik and highly coloraccurate products from BBS and Cineo. It’s all about fulfilling specific needs.

Why do you believe that IP and computers are the future of lighting? I think the best example is the ARRI SkyPanel. You get so many more functions – like a fully integrated flicker generator, for example – just by uploading a software update. It’s a process similar to what we have seen with the evolution of the RED camera – essentially a sensor and a computer. By updating, you get new codecs or higher frame rates. With calibration, it’s not only the LED but also the LUT color labels behind that light that will give you a much better color rendition.

Right now the lights have only emitters, but I think we will see more communication between the units and perhaps with the cameras and integrated sensors. The computers inside of the lights will have clever algorithms, knowing that you are shooting with the sensor of the camera, and will adjust the color LUT or the sensor

LUT. The challenge is a common standard for the communication.

Do you see LEDs created specifically for virtual reality? VR is a very interesting topic. As TV and watching on computers/ tablets become ever closer – and I see this with my teenage daughter – we will see new storytelling develop for this combination. So, [video] gaming will begin to really influence classical storytelling, where the participant is in the middle of the story. Right now, it’s not easy to shoot this in reality – cameras are huge, and you have to hide everything.

We have seen how quickly technology has changed with 3D. LEDs will become essential to VR because you can hide them so easily. I wouldn’t be surprised if someone specifically targets lighting for VR, although I haven’t seen a company go there yet.

Stefan Karle worked as a Director of Photography and associate professor at the University of Television and Film in Munich, and as a lecturer for ARRI Lighting. Excited by the promise of the new LED lighting, he was also frustrated by the limitations of the existing tools to direct and modify the light output.

In 2006, he began developing his own light modifiers and eventually founded his own company, DoPchoice.

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SCOTT DALE What are the biggest changes going on in camera design? Many people are not aware of the complexity or the possibilities that exist in building a digital motion picture camera.

Sensor systems, shutter types, color science and the need for consistency in color workflow are factors in affecting change. Sensor size and resolution changes have also resulted in the need to design new optics or modify old.

Vintage, specialized optics are even more popular now for their characteristics. There are cheaper alternative cameras today that allow owner-operators to create content without financing.

Could you list the most popular systems?

They vary. For narrative feature or television (scripted) work, the most frequently specified are the ARRI Alexa, ST, Amira, and Mini or the Sony F55, the RED Epic, Weapon or Panasonic Varicam 35 or LT. Choices are based on resolution, color science or “look,” brand comfort, special features, anamorphic options and cine accessory integration. For documentary or reality work, it would be the Canon C300 or MKII, the Sony F800, 700, FS-7, F5 or F55, and the ARRI Amira or Mini. Size, weight post-workflow, DOF, and price are considerations.

What are cinematographers looking for in cameras? They mostly want a signature look or have become comfortable with a certain manufacturer or specific model. Of course, they 62 AUGUST 2017

PORTRAIT BY NICOLA GOODE also may want to try something new, and then we’ll investigate if it will match the shooting style of the project. Because today’s new media and production requirements mandate 4K (or even) 8K acquisition, camera platform choices are more limited. Post-workflow familiarity with codec choices can also narrow a cinematographer’s options. If they are looking for something like a hand-crank look, there is not a way to do that without film – yet.

However, the opportunities today for optical path modification and electronic image look manipulation are exciting. We test every kind of 4K camera for our own research as well as for shows like Narcos and Sense8 (with John Toll) for Netflix.

What did you see at this year’s trade shows?

There were no new cameras or breakthrough sensor technology. Panasonic had announced the Varicam “Pure” motion picture camerarecorder in the fall, a co-venture setup which includes a new Codex uncompressed RAW recorder mounted on the back of a Varicam 35.

It utilizes the same Codex drives that are being used on the ARRI XT and SXT. Blackmagic showed an updated Ursa Mini “Pro” camcorder, which seemed to replace the slightly deliveryplagued Ursa Mini. RED Digital Cinema was present, but in a more subdued fashion having no booth, indicating the traction that the Helium 8K-Sensor Weapon camera has had.

I saw a newer small-form 4K I/O camera and the Yi 4K GoPro competitor, with multiple

units mounted into a VR rig. Sony Professional did not reveal anything new this year, but we did see the super-slow-mo HDC-4800 S35 full-size image broadcast camera take on a new role in the NFL this last season.

What was the buzz with HDR? I had a number of discussions on the NAB show floor about the future of this format. It is an odds-on future presence in our homes and cinemas. Camera technology does not, so far, provide any HDR-labeled feature choices in their menu systems, instead only allowing its application downstream if the recording is done with extended dynamic range, like with the use of any of the LOG gamma recording tables available in today’s cinema-aimed cameras.

Are you seeing cheaper imitation camera systems as in the support category? I remember seeing older film cameras and both spherical and anamorphic lenses that were manufactured in Eastern bloc countries that were true “knock-offs.” I don’t see exactly the same thing with mainstream motion camera manufacturers, but I do see similar design shapes, features, user interface design, log recording use, and file compression, some of it originating in the still camera world.

Scott L. Dale is a Los Angeles–based professional cinematographer providing solutions for DP’s as Global Director of Motion Imaging at VER.

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IRA TIFFEN

PORTRAIT BY NICOLA GOODE

What is the biggest key to the design and development of filters? Filters must control certain qualities of light consistently and dependably. Altering contrast, sharpness, color, and intensity, as well as creating highlight flare, filters’ various strengths allow the cinematographer to match the effect to each situation. While filters can be made using plastic resin or solid glass, laminated glass has become the norm for most professional imaging filter types. This is because it offers the best cost-effective balance between optical resolution and durability with accuracy and repeatability of color or effect. Filter glass lamination permanently bonds two glass plates using a material that incorporates the color or effect, having a refractive index matched to that of the glass, yielding the optical benefits of solid glass, plus the above advantages.

rivaling and even exceeding some popular film formats have become available, restoring some of these filters to popularity.

Has filter design changed as capture has gone from film to digital? Initially, digital cinema cameras had sensors smaller than then-dominant film formats. Smaller sensors produced greater depth of field than larger film formats at the same angle of view.

Therefore, certain filters, especially diffusion, containing patterns or textures, ran a greater risk of having those faintly appear in the image. Due to this, some filters that had seen wide use with film were supplanted with more finely textured alternatives. As digital cameras continue to develop, larger sensors

What happened when digital cameras became more sensitive to lower light levels? This necessitated a larger range of ND filters than was needed for film, going up to as much as an ND 3.0, or ten stops.

Producing this expanded range with more consistent color neutrality throughout the full UV – visible – IR spectrum required a new technology. Instead of using dyes in a lamination layer, a vacuum deposition coating of certain metals yielded what are called full spectrum neutral density (FSND) filters. They’re coated on the exterior sides

64 AUGUST 2017

Are there specific filtering needs for digital cameras? Early digital cine camera sensors were slower [less sensitive to light] than they are now. Camera manufacturers made up for this by allowing the sensors to be sensitive to near infrared (IR), letting them work with less light. However, they soon learned of the dangers of infrared oversensitivity causing inconsistent colors. Filter manufacturers were able to more quickly respond with IRND (infrared neutral density) filters, which eliminated oversensitivity to IR and solved the problems. As many cameras became more capable of handling IR, they became less dependent on – but could still use – IRND’s.

of the filter or with the coating laminated within the glass for protection, these are ideal for cameras that already manage IR internally.

Has the science changed? Glass filters continue to be optically finished on large, double-disc grinders and polishers, yielding optimum parallelism and flatness. Perhaps the most visible change in technology has been the increased use of vacuum coating for ND filters over dye methodology.

As cameras develop more sensitivity, will the need for filters change? As long as we capture light with cameras, we will need optical filters to fine-tune the image for visual impact. After many decades of technological advances, filters still offer a competitive advantage to knowledgeable cinematographers. Compared to digital effects in post, they often reduce production costs with the important advantage of having the real world as your source material.

Ira Tiffen created the Low Contrast filters used by John Alcott, BSC, in Stanley Kubrick’s Barry Lyndon, winner of four Academy Awards. In 1993, Tiffen received an Academy Technical Achievement Award for the Ultra Contrast Filter series and a Prime Time Emmy in 1998. He is currently VP, MPTV Filters at Schneider Optics.

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////// THE PRODUCT GUIDE

WORKFLOW WITH CLOUD-SEEDING IN FULL FORCE, PRODUCTION AND POSTPRODUCTION TOOLSETS ARE GROWING EVER MORE ROBUST (AND USER-FRIENDLY).

In past years, postproduction tools and workflow were not one and the same. Gear for editing to color correction comprised proprietary hardware-based systems, aka “black boxes.”

Putting them together to form a workflow was often the pain point, as a vendor’s built-in secret sauce was incompatible with the competition’s. It was truly a Tower of Babel, and chief engineers and manufacturers worked to cobble together communications from box to box to create a viable workflow.

BY DEBRA KAUFMAN

As analog gave way to digital and digital to file-based workflows, the focus became all about software, and the commodity computers that run it, super-powered by CPUs and GPUs. “Playing well with others” became a key selling point for manufacturers, who realized that their software had to “shake hands” with a range of other software to be valuable to the customer.

Standards now are much more than the old-school NTSC, PAL, and SECAM, as ACES, IMF, and ATSC 3.0, to name a few, have come to the fore. Post facilities and software manufacturers still offer secret sauce in terms of their workflow and capabilities, but everyone is moving in the same direction.

One of those directions is up into the cloud. Although the post industry initially viewed the cloud with healthy skepticism, many have embraced

its efficiency; NAB 2017 revealed a number of vendors that have taken their capabilities into the cloud, be it private, public or hybrid.

Postproduction professionals also have new requirements for deliverables, like ultra high definition (UHD) and high dynamic range (HDR), as dictated by ATSC 3.0 and streaming players like Netflix and Amazon. There is also a wider range of platforms beyond network television that need to be accommodated, including Internet streaming, social media, and virtual reality/augmented reality. Machine learning and artificial intelligence are beginning to be integrated into workflow tools for everything from tagging metadata to editing; our prediction is that NAB 2018 will bring more visibility to this developing sector.

AUGUST 2017 67

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2017 APPEARS TO BE THE YEAR WHERE PRODUCTION/ POSTPRODUCTION SOLUTIONS, FROM DAILIES TO REVIEW/ APPROVAL AND EDITING, WERE MOVED TO THE CLOUD. UP IN THE CLOUD

2017 appears to be the year where production/ postproduction solutions, from dailies to review/approval and editing, were moved to the cloud. The Foundry’s Simon Robinson says that four years ago his company started working on a cloud solution, “in anticipation that a centralized place for platform, storage, and applications” could exist for collaborative access. “This way, small studios can get involved without a huge capital structure,” Robinson explains.

Scalable resources for on-demand rendering and collaboration among geographically distant facilities or artists are other upsides of the cloud. The Foundry is currently showing off its cloud platform, Elara, which Robinson dubs “a complete post-production pipeline in the cloud, delivered by a web browser.” Elara provides storage, computing, render management and other basic pipeline tools, some of them thirdparty applications like Nuke Studio, SideFX Houdini, Chaos Group’s VRay and its own Katana. Lytro has also connected its massive data files to Elara.

Adobe moved its Creative Cloud forward, with new capabilities in live animation, audio, motion graphics, artificial intelligence and virtual reality, to streamline workflows

68 AUGUST 2017

and enable new levels of collaboration. For example, in Creative Cloud, Premiere Pro users will also find After Effects motiongraphics templates, beta versions of Character Animator and Team Projects as well as other tools. Adobe Stock video assets, including 4K assets, are also integrated into Creative Cloud.

Premiere users will find Adobe Analytics Cloud to measure “video performance published to social media channels.” Adobe Advertising Cloud “bridges the gap between traditional TV and digital video advertising, streamlining the ad-planning and -buying process.”

Avid announced a strategic multi-year cloud alliance with Microsoft that would include collaboration on cloud-based solutions and cloud services for Avid’s tools and Microsoft’s cloud platform, all aimed at the media and entertainment businesses. Set to debut in the latter half of 2017, Avid will rely on Microsoft Azure to deliver softwareas-a-service (SaaS) and platform-as-a-service (PaaS). That implies that we might see some of Avid’s top tools available in the cloud, although the company offers a choice of whether the tools are hosted on Microsoft Azure, public cloud, private cloud, on-premise data center or hybrid solution.

Avid also announced that its MediaCentral Platform would be based in the cloud, with the goal to make it easier for the industry to “create, distribute, and manage content more efficiently and profitably using one common platform.” Cloud UX is a new web-based application with an intuitive

interface to “search, browse, access, edit, collaborate, and publish content from any workstation, laptop, or mobile device.”

Prime Focus Technologies highlighted its new DAX Production Cloud software, with digital dailies and portions of the company’s flagship CLEAR Media ERP, to “vastly improve workflow efficiency by centralizing assets into a single repository.” DAX Production Cloud offers dailies and postproduction workflows including editorial, VFX, creative agencies and localization vendors. The user can also access other CLEAR modules, including end-to-end promo operations, for example, “including automation of promo versioning using Adobe Premiere Pro CC.” Other cloud-based dailies solutions now include Rush/Rush Pro from Technicolor; Colorfront’s Express Dailies and On-Set Dailies; and Firefly Cinema’s macOS-based FireDay digital dailies, which, based on the Google Cloud Platform infrastructure, is marketed as a SaaS licensing model according to chief executive Philippe Reinaudo.

ZOOscreen launched ZOOdubs at NAB 2017, which handles the dubbing process, from script localization to casting, auditioning, recording, editing and mixing. The company also showcased its cloud-based platform for streaming and previewing video that relies on Amazon Web Services, and lets users stream content to numerous platforms, with unique usernames and passwords, two-factor authentication, and watermarking for security. Another cloud-based workflow product came from Thinklogical. That company’s uncompressed 4K editing solution for VFX and post relies on a new private cloud, which, it says, performs with zero latency and offers KVM and UI control and support for 4K and UHD video and 4:4:4 color depth up to 60 frames per second.

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4K/HDR TOOLS As the new broadcasting standard ATSC 3.0 approaches, broadcasters – indeed, all content creators – are looking for tools to handle workflows that require 4K/UHD and HDR. At NAB 2017, manufacturers delivered numerous products for these workflows, anticipating their huge growth going forward, and also inked partnerships for best-ofbreed HDR and 4K solutions. Some of those included Avid and Blackmagic Design’s joining forces to release Avid Artist/DNxIQ, a hardware interface to deliver format support to 4K that is compatible with any Avid Artist Suite solution as well as Blackmagic’s DaVinci Resolve, Apple Final Cut Pro X, Adobe Premiere Pro CC, and more. Avid also collaborated with Dolby to bring native Dolby Atmos mixing to Pro Tools.

Incorporating HDR technology from Colorfront, AJA Video Systems previewed FS-HDR, which offers HDR and wide color gamut (WCG) processing and conversions for real-time 4K/UHD and 2K/HD workflows.

The FS-HDR relies on Colorfront Engine to encode to “the widest range of UHD HDR dailies, editorial and web deliveries.”

Colorfront’s Transkoder 2017 also performs “a broader range of tasks related to HDR, and its QC Player offers real-time support for all major RAW UHD HDR formats.

MTI Film introduced Cortex version 4, which adds DCP packaging (with integrated ACES color support, including HDR and WCG) to its existing dailies toolset along with IMF and AS-02 packaging. Also new is an extended editing tool for certified Dolby Vision metadata editing. MTI Film director of development Randy Reck notes that Cortex v4 “allows users to manipulate Dolby Vision HDR metadata in the same way that they edit segments of video,” which includes the ability to “graphically trim, cut and paste, add metadata to video, analyze new segments that need metadata, and adjust parameters within the Dolby Vision metadata on a shot-by-shot basis.” With the Dolby Vision ecosystem, Cortex v4 also allows the user to simultaneously QC HDR and SDR versions of a shot with Dolby Vision metadata.

END-TO-END WORKFLOWS End-to-end workflows are particularly attractive to broadcasters and to companies that don’t have the engineering and IT staff to manage UHD, HDR, and numerous deliverables, among other vulnerable parts of the process. A handful of companies is now offering updated or new solutions.

Primestream showed off its next-generation Dynamic Media Management platform, aimed at “the most complex sports, enterprise and broadcast work,” from capture through delivery. With new versions of FORK and Xchange Suite, the platform now offers 4K/UHD workflow as well as asset management for VR/360-degree content, and web-based metadata tagging. Other updated features include an Adobe Premiere Pro extension panel that enables project-centric workflows, and Amazon and SwiftStack Objectbased storage solutions for archival workflows. Remote/offsite editing is enabled by the ability to switch easily between proxy and high-resolution sources. Support for Equirectangular VR/360-Asset Management supports media playback/review with spatial/360 markers to highlight areas of interest.

Prime Focus Technologies (PFT) unveiled CREATE, a mobile-first solution for end-to-end production management with a connected supply chain. Digital orchestration provided by CREATE includes script and screenplay review, auto script

breakdown, digital approvals, mobile app, casting-process management with talent-database access, location review, scheduling, task management and stakeholder notification including call-sheet generation. Other features include real-time collaboration via in-app instant messaging, text, email, instant wrap-up reports, and a centralized digital archive. The result, says PFT, is that writers, creative teams, vendors will all be able to collaborate in real time on a mobile device.

Israeli startup XTRMX showcased its xView, which lets users in different locations review and edit media together, with any device. Co-founder Harel Ram notes that “unique codec pipeline breakthroughs” enable multiple devices to be coordinated as if they were one processing unit.

Ordinarily, to share content, the users would have to upload media into a central repository; with xView, the content comes from one secure location, with no uploads or downloads required, allowing users to see changes in real time. xView also integrates into Adobe Premiere and Avid Media Composer for direct revision and review of editorial projects via familiar tools. Frameaccurate transport control and textual/ graphical annotations synchronized to the media and stored with a thumbnail are other features. The software contains voice and text chat for remote communication.

END-TO-END WORKFLOWS ARE @@ PARTICULARLY ATTRACTIVE TO

BROADCASTERS AND TO COMPANIES THAT DON’T HAVE THE ENGINEERING AND IT STAFF TO MANAGE UHD, HDR, AND NUMEROUS DELIVERABLES. AUGUST 2017 69

photo by Sara Terry

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VIRTUAL REALITY/ 360-DEGREE CONTENT The industry continues to eagerly wait for VR/360 to pan out, and NAB 2017 may have brought the nascent format one step further to commercialization.

New toolsets include Adobe VR’s ambisonic audio in Premiere Pro, which refers to so-called positionally aware audio used for VR storytelling.

RE:Vision Effects introduced its RE:Lens v1.2 for Adobe After Effects, which offers spherical stabilization for VR/360-degree content and fisheye footage. RE:Lens v1.2 works directly in spherical space, which means that users don’t have to take the time to do 2D tracking of reference points or break up

70 AUGUST 2017

the sequence for stabilization.

Partnerships are also helping to push VR forward. Software company ASSIMILATE, creator of Scratch VR, has long offered a VR postproduction toolset, with stitching, color, compositing and ambisonic sound for real-time playback with the HTC Vive or Oculus Rift headsets. The user can also use the tools in a 2D version by turning off 360-degree mode. The company’s emphasis on real-time VR made it a perfect match with Z CAM, a “high-performance S1 professional VR camera,” which also comes with its own stitching software, WonderStitch.

The two companies are offering Z CAM S1/Scratch VR Z as a bundle, which, say Z CAM chief executive Kinson Loo and ASSIMILATE chief executive Jeff Edson, will “lower the threshold to entry for producing highquality VR productions” as well as “demystify the process.”

“Content creators can now focus on their creativity and storytelling,” says Edson. At NAB 2017, the two companies demonstrated live streaming VR to Facebook, from Z CAM S1 through Scratch VR Z, with real-time graphics and text overlays, and other elements.

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THEN THERE’S FREE MACHINE LEARNING/ ARTIFICIAL INTELLIGENCE Expect to see much more evidence of machine learning and artificial intelligence products that automate tasks (and perhaps more) at next year’s NAB. Although the buzz for these technologies is red hot, it’s still a little early to see results. As various providers offer software development kits (SDKs), we’ll start to see all kinds of AI- and machine-learning-powered applications.

Still, there were some notable AI-enhanced products at NAB 2017.

Adobe showed off Sensei, its “artificial intelligence and machine-learning framework” that allows a range of tasks to be automated. For example, in Premiere Pro or Audition, a user can automate the normalization of audio loudness across the timeline, and in Character Animation, Sensei can use real-time algorithms to lip-synch a puppet. AI advocates note that the future potential of machine learning will be to speed-up the labor-intensive work and allow more time for creativity.

Another company to introduce AI in a product was axle Video, which debuted its wares at NAB 2017. The company licensed a visual analysis and search engine from U.K. company Visual Atoms and paired it with its browser user interface to enable users to automate “the laborious task of entering detailed metadata about every scene.”

The user selects a frame (or grabs an image from any online source), and axle ai identifies a ranked list of media clips and the exact segments in those clips that most closely match the image.

The first axle ai product out of the gate is axle ai Appliance, which combines the software with a high-throughput networked processor system. Automatic metadata creation is a way to speed-up productions by helping the customers find relevant content.

72 AUGUST 2017

Especially in an ultra-competitive field like workflow, manufacturers realized long ago that getting their tools into the hands of students or beginners is a way to ensure that, as people start their professional careers, they’ll take the toolset with them. In that spirit, Avid released a free version of its Media Composer. Dubbed Media Composer | First, it is a fully featured video-editing software.

Filmlight also released a free version of Baselight STUDENT, a softwareonly macOS application. The software is aimed not just at those who want to become professional colorists, but others who want to work on short personal projects, or experienced colorists wanting to get up to speed

on Baselight. Users get a license by joining the Baselight Learning Program.

This year’s trade shows, most notably NAB 2017, represented a year of transition. Going forward, as ATSC 3.0 moves broadcasters to Internet Protocol networks and interactivity, and artificial intelligence is integrated with everything from in-home speakers to autonomous vehicles, we may look back on 2017 as a turning point – moving from digital files and digital tools to “smart” and connected digital ecosystems. How fast will we get there, and what will it look like?

More will be revealed next year in Vegas.

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AUGUST 2017 73 Phone: 050-3141-1776 Fax: 050-3809-1399

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////// THE PRODUCT GUIDE

DISPLAY

WHILE THE DISPLAY MARKET HAS BEEN RUNNING A MARATHON FOR THE LAST DECADE, THE RAMPING UP OF HDR WORKFLOWS HAS SENT EVERYBODY INTO SPRINT MODE. The pressure may be emanating from the DI suite, where HDR deliverables are becoming more commonplace; but more likely the real heat is from the consumer side, and home display screens now all hitting the market trumpeting HDR compliance with Dolby Vision and HDR10.

[See ICG April 2017 Refraction with Technicolor’s Josh Limor for a detailed breakdown of various HDR systems.]

Several companies at NAB 2017 had prototype displays capable of 2000 nits, or twice the current BT.2100 standard required for HDR (1000 nits for white and .0005 for black, yielding a 200,000-to-1 contrast ratio). But as Joe Bogacz, advisor for Canon, explained while demonstrating Canon’s 2000-nit reference monitor DP-V3001: “Everyone talks about brighter [on-set] displays. But HDR is defined by increased luminance coupled with purer blacks, and a much bigger color space – all the way from Rec.709 to 2020. Cinematographers, particularly in television, have been constrained for so long – they’ve had to develop lighting techniques to fit inside this box that is now, suddenly, four times bigger. Everyone’s still trying to find their footing with HDR on set.”

Japanese display maker Eizo, who makes hard goods (and software) for a

BY DAVID GEFFNER PHOTOS BY NICOLA GOODE, SMPSP

diverse range of industries – medical, aerospace, and media/entertainment – is trying to guide filmmakers through HDR from capture to finish. Eizo product representative Rachel Duplessis explained how the company has upgraded its current line of Color Accurate Monitors with Color Navigator Software that provides various HDR gamma curves.

“These 300-to-400-nit monitors don’t have the high luminance typical of HDR, but they can simulate the range of color uniformity and brightness across the HDR workflow, whether it’s for VFX shots, standard production, or finishing,” Duplessis shared. “We also have the ColorEdge Prominence CG3145 [available at the end of 2017] that is a true reference monitor for color grading. It can yield a one million-to-one contrast range at 1000 nits brightness, and it stands alone as the first LED monitor – rather AUGUST 2017 75

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SONY’S OLED LINE OF PROFESSIONAL REFERENCE MONITORS GO HAND-IN-GLOVE WITH HDR’S SPECTACULAR RIDE INTO ULTIMATE BLACKS. than OLED – to achieve that HDR standard.

The ABL [auto brightness limiter] in OLED technology, which is meant to prevent burnout, dims down those ultra-high white levels, and this monitor can pass everything through as it was shot.”

Flanders Scientific’s flagship DM170 monitor has been upgraded with a thirdgeneration color fidelity engine, providing even more on-set management to Flanders’ already rich toolset. Those include firmware updates for 16 DIT LUT positions, custom calibration LUT capability, and realtime LUT capability that integrates with FilmLight Prelight, LiveGrade Pro from Pomfort and Firefly’s FirePlay.

Flanders also has a new 55-inch UHD OLED display, XM55U, that will do 750nit peak luminance in 12-bit processing, hence the designation “HDR capable.” With four 12G inputs, four 12G loop outputs and real-time downscaled 3G HD outputs; it can send HD out to a smaller monitor (i.e., for an HD master) without needing an output card. Perhaps the most exciting offering in the Flanders NAB 2017 booth was a new LED prototype, XM31K, which promises 2000-nit peak luminance and a 1,000,000-to-one contrast ratio.

IMMEDIATELY AFTER A DOLBY VISION PRESENTATION AT NAB 2017, I ran into

Technicolor’s Supervising Finishing Artist, Steve Scott (ICG July 2013), who was raving about the Dolby Vision pass he had recently done for Guardians of the Galaxy: Vol 2, calling the HDR system the best he’d ever seen.

Dolby’s NAB presentation, which focused on color grading, included results from more than 10 years of research that revealed average 76 AUGUST 2017

TV viewers benefit more from brighter and darker pixels and wider color gamut than from added resolution. Presenters shared how enhancements from Dolby algorithms applied to even SDR images can be seen “from across the room,” noting that the cornerstone of Dolby’s philosophy is “dynamic mapping of content through artistically driven metadata.”

Currently only four grading systems can fully support Dolby’s dynamic metadata – Baselight, Resolve, Luster or Film Master.

Dolby was using the Sony BVM-X300 professional reference monitor for the demonstration, which meets minimum specifications for Dolby Vision – 1000 nits peak luminance, 200,000-to-1 contrast ratio, P3 color gamut, and PQ, the luminance scale for HDR that has been adopted as SMPTE standard. Dolby’s content-mapping unit software is able to take the metadata generated while creating the HDR master color grade and, in real time, map it down to standard dynamic range (100 nit, Rec.709).

The result is an algorithm that will map many more colors, contrast, and luminance to any device that has a Dolby Vision chip, regardless of its gamut or resolution.

Sony’s OLED line of professional reference monitors go hand-in-glove with HDR’s spectacular ride into ultimate blacks.

Gary Mandle, Senior Product Manager for Sony, was showcasing several products from the company at NAB 2017, including the 17-inch on-set BVM-E171, which will do all flavors of HDR, and the PVM-X550, a 55inch OLED panel used for client monitoring and QC that allows for four distinct image quadrants. “Each quadrant can have unrelated settings – different gammas, white points, et cetera,” Mandle shared, “which is great for checking deliverables.”

Mandle noted that because the ITU

(International Telecommunication Union) BT.2100 standard for HDR includes both Dolby Vision (PQ) and Hybrid Log-Gamma (developed jointly by the BBC and NHK), the idea of one system rising to the top is a false one.

“It’s really two different ideas,” he explains. “The Dolby system has a direct relationship between data value and light output, so it’s extremely repeatable. But anything above a monitor’s peak luminance value will clip, and there are many different peaks across different monitors. With PQ, the display becomes perhaps the most key element in the HDR pipeline.

“HLG is an adaptive system,” Mandle adds, “which is cool because you will see the whole image regardless of peak luminance of the monitor. Productions with more time seem to be going with Dolby Vision, while live production is heading over to HLG – although Dolby has come out with the CMS system that offers some live work in PQ. The key thing to celebrate here is that the displays have now all caught up and we can see and work in HDR, regardless of the system in play.”

GUILD MEMBERS AT NAB WONDERING WHAT’S NEW in on-board camera displays checked in with Wes Donahue, Product Manager with TVLogic, and his new VFM055A, a 5.5-inch OLED screen that’s not much bigger than a smartphone. With a 17,000-to-1 contrast ratio, it’s a big jump up in contrast from the firm’s existing VFM line, and should help out with focus assist in controlled interiors.

“It’s 350 nits, so it’s not bright enough to use in the field without a hood,” Donahue shared. “But you don’t want to drive up

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////// THE PRODUCT GUIDE | DISPLAY

LIKE MANY OTHER DISPLAY VENDORS RACING TO THE HDR FINISH LINE, TVLOGIC SEES A HIGH-PEAKLUMINANCE MONITOR AS ESSENTIAL FOR CREATING HDR MASTERS IN POST. the brightness of OLEDs anyway, because they’ll burn out.” Donahue says the reason TVLogic chose OLED is that “people want to see HDR LUT’s applied, and this will give a full tonal range of PQ applied. You won’t see 1000-nits luminance, but you will see the expanded color space, which we’re calling ‘HDR Emulation Mode.’”

Like many other display vendors racing to the HDR finish line, TVLogic sees a high-peak-luminance monitor as essential for creating HDR masters in post. Their 2000nit reference panel features a new backlight system that includes roughly 2,000 LED’s aligned directly behind the panel. “That sounds like a lot,” Donahue laughs, “but 4096 multiplied by 2160 is a very big number.

So to dim an individual pixel, we used a triple-layer structure – the LED backlight, a monochrome LCD layer acting as a second shutter, and the top layer for color. We can shutter two panels closed so there’s no light leak that’s characteristic of high-brightness imagery. We can get a million-to-one contrast ratio with no haloing around individual pixels and absolute black.”

Other display highlights at NAB 2017 included Panasonic’s TC65EZ1000U, a 4K HDR OLED reference monitor with an open 3D and 1D LUT, allowing for unique color science tweaks from the user. The panel, which covers Dolby Vision, HDR 10, and HLG, has a legacy from Panasonic’s long history on the consumer side.

“With the phasing out of our high-end plasma displays,” revealed consultant Henry

78 AUGUST 2017

Hauser, “it became clear, after speaking with many Hollywood studios and post houses, that the need for another kind of reference monitor was high.” While this panel does not have specified peak luminance, Hauser said it will do 98 percent of the DCI standard and has already found favor with “every major tier-one colorist in the industry.”

Blackmagic Design, which has been notable for camera debuts at NAB over the years, introduced its MultiView system.

The one-of-a-kind technology allows users to monitor independent SDI video sources on a single HD or UHD display. With fullframe re-synchronization on every input, any combination of SD, HD and UHD formats and frame rates can be monitored at the same time, on the same display. The quad split on a UHD TV, for example, provides four fullresolution 1080-HD images.

Gary Litwin, National Sales Director, Boland Communications, was talking up a new 4K65-12G monitor that offers four SDI inputs – two are 12 GB, two are 3 GB – allowing for two single 12G streams for A and B camera monitoring on set. Litwin says the 10-bit panel offers support for Hybrid Log-Gamma right now, with PQ support on the horizon. “It’s probably 500 nits natively,” Litwin added, “which seems awfully bright to me. I find it hard to believe that the old SMPTE spec of 120 nits, which had been considered too bright, is now being surpassed by 1000 or more nits for HDR! I can’t imagine seeing an entire display at that level in a dark room, but then that kind of high-

peak luminance is only aimed at specific areas of the image.”

New products from iKan included the OBM-U240, a 10-bit, 24-inch, 4K (3840 × 2160) panel that allows for multiple inputs – 12G-SDI single link and quad link 4K, HDMI 2.0 or fiber – to better compare color spaces for HDR deliverables down the line.

“It doesn’t have the nits of an HDR panel, but it does provide the toolset to get the most out of your camera and lenses for HDR capture and grading,” observed iKan’s Brian Raymond.

“We did LCD [as opposed to OLED] for accurate color representation throughout the life of the monitor. Our eyes see one thing, the camera another, so having a monitor that can display Rec.709 side-by-side with DCI-P3 reveals so many parts of the image that we’ve been squashing with [smaller color spaces].”

Atomos rolled out another panel in its HDR monitoring line, a 19-inch display that, according to Lewis Brown, has 1200 nits of brightness and the same attributes as the company’s popular Inferno recorders.

“There’s more available for the high-end finishing side of HDR, now,” Brown relayed.

“But not that much at a lower point for on-set or stage work, and that’s what this unit does.

It’s a quad link-to-12G SDI converter, it’s an SDI-HDMI converter, an HDMI-to-SDI converter, a recorder, a monitor and a switcher, all for less than three thousand dollars.”

Brown said the only thing that really changes in an HDR workflow is the end-point panel, “because the camera sensors already have a

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////// THE PRODUCT GUIDE | DISPLAY huge variance in capture from light to dark.

High dynamic range and wide color gamut will, one day, be like the Internet,” he laughs.

“We’ll look back and say, ‘How did we deal with that?’”

DEALING WITH A MASSIVE LED IMAGE WITH HDR attributes appears to be doable

for companies specializing in LED video walls (typical in commercial applications and live event work but also on the rise in film and TV production). Display giants like Sony, Samsung, and Leyard/Planar are on the forefront of the giant-screen sector. The latter firm is the result of a 2015 merger between the China-based Leyard Optoelectronic Co., Ltd. and the Oregon-based Planar, both global leaders in digital signage.

Cliff Taylor, Inside Manager for Leyard/ Planar, showed me a range of video walls at NAB 2017, including a lightweight CarbonLight series that can be flown up high for live events. “The 2.6-millimeter-pixel pitch is ideal for viewing 26 to 28 feet away and appears totally seamless and works well as a temporary exterior setup on stages,” Taylor explained.

LED walls are built-up via discrete panels, and Taylor says some of Leyard/Planar’s screens can be torqued with eight degrees of radius or even laid flat on a floor. “When you get to a sub-one-millimeter-pixel pitch, you can build-out a 4K wall in a reasonable size,” he added. “With a 0.9-pixel pitch we can drive a 4K image with multiple panels that is seamless and shows no pixilation, even from a few feet away. The pixels are smaller than a pinhead, and there’s an orientation to that [emissive] light.”

In the Samsung Electronics booth, Manager Lenny Kleyman explained how the consumer electronics giant has created a 1.5-millimeter-pixel pitch Direct View LED Wall that can process HDR as well as dynamic luminance peaking.

“Because Samsung has been producing its own panels and processing for years, we’ve been able to draw from our long history on the home-theater side to provide HDR in these large-scale displays,” Kleyman shared.

“A single processor can handle a UHD signal four times the size of a 10-foot-wide by 5-foot-tall screen in 1.5-pixel pitch. You have a screen that peaks at 1600-nits luminance, so you’re really seeing a true high-dynamic-range image on a massive scale.”

The words “massive scale” almost seemed to fall short when I concluded my NAB 2017 tour at the entrance to Sony’s booth, where a stunning crystal LED screen, cinema-sized at 32 feet long showing 8K content, stopped visitors dead in their tracks.

“Most LED walls are service mount devices [SMD’s], and the pixel area is large, which cuts down on contrast,” Gary Mandle explained. “This screen is Sony’s proprietary technology that uses a .003-millimeter-thick crystal, stacked RGB [not horizontal], so 90 percent around it is a black field. As light disperses, it does not contaminate the area around it. We’ve actually matched the blacks to an X300, and it’s basically just like an OLED – right down to pure black at 1000 nits. The wall can be configured any way, there are no visible seams, and it can do 3D at 120-Hertz refresh. It was originally designed for digital signage, but we showed it at CinemaCon and people were impressed.”

As well they should. The potential to see high-dynamic-range content, ultra-bright 3D, and screens that last 20 years (even at 1000-nit luminance) in cinema exhibition is a display vendor’s dream. Which means Sony may have just pushed the finish line a little bit further on down the road.

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LAUNCHING CAREERS

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LISA WIEGAND, ASC ON CINEMATOGRAPHY

‘ ’

As our verbal language changes, so does our

visual language in order to express the way we live now. So I speak my mind and luckily our

producing team appreciates my perspective. They like my dynamic approach and the fact that I keep it morphing—continually evolving the look.

Lisa Wiegand does not mince words. Her forthright approach shows in her gutsy shooting style. Never relying on the status quo, she and her loyal crew work hard to bring life to the script, dynamically moving to capture the subtly of each new look.

But when she’s on the job there’s always time for a joke, a jab, an infectious giggle—to keep it upbeat regardless of the pressure to make the day. Its no wonder top producers like Dick Wolf count on her to set the look for new shows and to keep her at work on series after successful series.

In addition to the new series Chicago Justice, Wiegand is also known for her work on Chicago Fire, American Crime, Necessary Roughness, Wedding Band and Dollhouse.

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PRODUCTION CREDITS the product guide

COMPILED BY TERESA MUÑOZ – AS OF JULY 1, 2017 ICG Magazine strives to maintain an up-to-date and accurate record of all crew members for the Production Credits section.

In order for us to continue to provide this service, your input is of the utmost importance. You are our only source of information.

Please take note of the following requests. They will allow us to better serve you.

Please provide up-to-date and complete crew information (including Still Photographers, Publicists, Additional Units, etc.).

Please note that the deadline for the Production Credits is 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 address to Teresa Muñoz at teresa@icgmagazine.com

84 AUGUST 2017

ABC STUDIOS “HOW TO GET AWAY WITH MURDER” SEASON 4 Dir. of Photography: Michael Price Operators: Joe Broderick, John Hankammer, Scott Boettle Assistants: Heather Lea-LeRoy, Vanessa Morehouse, Darrell Herrington Drew Han, Scott Birnkrant, Mark Sasabuchi, Summer Marsh Digital Imaging Tech: Andrew Osborne Digital Utility: Andrew Hays Still Photographer: Nicole Wilder DOUBLE UP UNIT Dir. of Photography: Joe Broderick Operators: Victor Macias, Andrea Rossotto Assistants: Mark Sasabuchi, Mike Rush “JIMMY KIMMEL LIVE!” SEASON 15 Lighting Director: Christian Hibbard Operator: Randy Gomez, Parker Bartlett, Kris Wilson, Garrett Hurt, Marc Hunter, Mike Malone Camera Utility: Scott Spiegel, Travis Wilson, Randy Pulley Video Controller: Guy Jones Still Photographer: Karen Neal, Michael Desmond 2ND UNIT Dir. of Photography: Jimmy Lindsey “PROJECT NEXT” Dir. of Photography: Jeff Jur, ASC Operators: Colin Hudson, Mick Froehlich, Vince Lucero, Don King Assistants: Tony Nagy, Tim Roe, Matt Berner, Rylan Akama, Caleb Lucero, Will Wacha Steadicam Operator: Colin Hudson Steadicam Assistant: Tony Nagy Digital Imaging Tech: Dane Brehm Loader: Luke Groder Utility: Lono Rothman, David Crans Remote Head Tech/Operator: Jason Hibarger Still Photographer: Karen Neal “SCANDAL” SEASON 6 Dir. of Photography: Oliver Bokelberg, ASC, Daryn Okada, ASC Operators: Steve Fracol, SOC, Bill Boatman Assistants: Jon Zarkos, Anthony Schultz, Jorge Pallares, Hannah Levin Steadicam Operator: Steve Fracol, SOC Steadicam Assistant: Jon Zarkos Digital Utility: George Montejano, III Digital Imaging Tech: Andrew Lemon Still Photographer: Mitchell Haddad, Nicole Wilder ACROSS THE POND PRODUCTIONS, LLC “DIVORCE” SEASON 2 Dir. of Photography: Joseph Collins Operators: John MacDonald, Edgar Colon Assistants: Eric Robinson, Abner Medina,

Marc Charbonneau, Sarah Scrivener Digital Imaging Tech: Jeffrey Hagerman Loader: Ross Citrin, Quinn Murphy Still Photographer: Craig Blankenhorn AFN PRODUCTIONS-TELEPICTURES “THE REAL” SEASON 4 Lighting Dir./Dir. of Photography: Earl Woody Operators: Kevin Michel, David Kanehann, Steve Russell, Bob Berkowitz Steadicam Operator: Will Demeritt Camera Utility: James Magdalin, Henry Vereen, John Markese Jib Arm Operator: Jim Cirrito Video Controller: Jeff Messenger A KID LIKE JAKE PRODUCTIONS, INC. “A KID LIKE JAKE” Dir. of Photography: Steven Calitri Operators: Erin Henning, Julia Liu Assistants: Andrew Brinkman, Caitlin Machak, Alec Nickel, Brian Grant Camera Utility: Zack Grace Digital Imaging Tech: Guillermo Tunon Still Photographer: Jon Pack ALIVE & KICKING PRODUCTIONS “DREAM CORP, LLC” SEASON 2 Dir. of Photography: Marten Tedin Operators: Mike Merriman, Roman Jakobi, Garrett Benson Assistants: Adam Cowan, Conrad Castor, Dustin Fruge Digital Imaging Tech: Benjamin Longsworth, Nick Strauser A VERY GOOD PRODUCTION, INC. & WAD PRODUCTIONS “THE ELLEN DEGENERES SHOW” SEASON 14 Lighting Director: Tom Beck Ped Operator: David Weeks, Paul Wileman, Tim O’Neill Hand Held Operator: Chip Fraser Jib Operator: David Rhea Steadicam Operator: Donovan Gilbuena Video Control: James Moran Head Utility: Craig “Zzo” Marazzo Utilities: Arlo Gilbuena, Wally Lancaster AWESOMENESS “FREAKISH” SEASON 2 Dir. of Photography: John Smith Operators: Dale Vance, Jr., Ellie Anne Fenton Assistants: Mike Skor, Logan Hall, Brad Greenspan, Elise Martin BEACHWOOD SERVICES “DAYS OF OUR LIVES” SEASON 52 Dir. of Photography: Mark Levin, Ted Polmanski Operators: John Sizemore, Mark Warshaw, Vickie Walker, Michael J. Denton Camera Utility: Steve Clark, Steve Bagdadi BLANCHE INDUSTRIES “TRUTH & ILIZA” SEASON 1 Dir. of Photography/Lighting Dir.: Tara Denise Operators: Bob Berkowitz, Richard Pitpit, Chris Williams Head Utility: Michael Griffin Utilites: Jonathan Straminsky, John Markese, Jack Galus Jib Operator: Joe Sloan Video Controller: Nichelle Montgomery Still Photographer: Nicole Wilder

Dir. of Photography: Josh Hutchings Operators: Dave Hesson, Daryl Studebaker, Richard Pitpit, Martin Goldstein Head Utility: David Feliciano Utilities: Adam Feliciano, Henry Vereen Jib Arm Operator: Craig Hampton Video Controller: Jay Griffiths, Jr. BURNING WOMAN PICTURES, LLC “THE BURNING WOMAN” Dir. of Photography: J. Mathieson Operators: Mark Schmidt, Terrence Hayes Assistants: Basil Smith, Jamieson Fitzpatrick, Eve Strickman, Mark Killian Digital Imaging Tech: Mike DeGrazzio Loader: John McCarthy Still Photographer: Seacia Pavao CBS “DRAMA HIGH AKA RISE” PILOT Dir. of Photography: Markus Foerderer Operators: Arthur Africano, Rachael Levine, Afton Grant Assistants: Toshiro Yamaguchi, Ethan Borsuk, Elizabeth Casinelli, Maxwell Sloan Digital Imaging Tech: Michael Maiatico Loader: Andrea Romansky, Peter Westervelt Still Photographer: Peter Kramer “ENTERTAINMENT TONIGHT” SEASON 36 Dir. of Photography: Kurt Braun Operators: Jaimie Cantrell, James B. Patrick, Ed Sartori, Henry Zinman, Bob Campi, Rodney McMahon, Anthony Salerno Camera Utility: Terry Ahern Video Controller: Mike Doyle, Peter Stendal “NCIS: LOS ANGELES” SEASON 9 Dir. of Photography: Victor Hammer Operators: Terence Nightingall, Tim Beavers Assistants: Keith Banks, Richie Hughes, Peter Caronia, Jacqueline Nivens Steadicam Operator: Terence Nightingall, Tim Beavers Steadicam Assistants: Keith Banks, Richie Hughes Digital Imaging Tech: John Mills Digital Utility: Trevor Beeler Still Photographer: Ron Jaffe “NCIS: NEW ORLEANS” SEASON 4 Dir. of Photography: Gordon Lonsdale, ASC Operators: Jerry Jacob, Tony Politis, Vincent Bearden Assistants: Peter Roome, Brouke Franklin, Jeff Taylor, Toni Weick, Dave Edwards, Sienna Pinderhughes Steadicam Operator: Vincent Bearden Digital Loader: Christian Wells Digital Utility: Kolby Heid Still Photographer: Sam Lothridge “SCORPION” SEASON 4 Dir. of Photography: Ken Glassing, Fernando Arguelles Operators: Paul Theriault, Chris Taylor Assistants: Scott Ronnow, John Paul Rodriguez, Chris Mack, Tim Sheridan, Digital Imaging Tech: Greg Gabrio Utility: Tyler Ernst Still Photographer: Ron Jaffe

PRODUCTION CREDITS

20TH CENTURY FOX “AMERICAN CRIME STORY: VERSACE” SEASON 3 Dir. of Photography: Nelson Cragg Operators: Andrew Mitchell, SOC, Brice Reid, Jesse Feldman Assistants: Penny Sprague, Ben Perry, Greg Williams, Jared Wilson, Eric Guerin, Dawn Nakamura Steadicam Operator: Andrew Mitchell, SOC Steadicam Assistant: Penny Sprague Digital Utility: Justin Steptoe Camera Utility: Baird Steptoe, II

BLUE ORBIT PRODUCTIONS “IWITNESS” SEASON 1 AUGUST 2017 85

Still Photographer: Quantrell Colbert Publicist: David Linck COLUMBIA “TOSH.0” SEASON 9 STAGE CREW Operator: Jason Cochard Camera Utility: Benjamin Steeples, Kyle Kimbriel, Roger Cohen jac FIELD CREW Dir. of Photography: Andrew Huebscher Operator: Jason Cochard Assistants: Benjamin Steeples, Kyle Kimbriel, Roger Cohen, Delfina Garfias CONACO “CONAN” SEASON 7 Operator: Ted Ashton, Nick Kober, Kosta Krstic, James Palczewski, Bart Ping, Seth Saint Vincent Head Utility: Chris Savage Utilities: Baron Johnson, Josh Gwilt CORRADOMOONCOIN, LLC “THE PAGES” Dir. of Photography: Petra Korner, ASC Operators: Christopher Glasgow Assistants: Matt Rozek, Matthew Feasley Steadicam Operator: Christopher Glasgow Digital Imaging Tech: Ryan Shuck Technocrane Operator: Mark Woods

“THE INSIDER” SEASON 13 Dir. of Photography: Kurt Braun Operators: Jaimie Cantrell, James B. Patrick, Ed Sartori, Henry Zinman, Tom Van Otteren, Bob Campi, Rodney McMahon, Anthony Salerno Camera Utility: Terry Ahern Video Controller: Mike Doyle, Peter Stendal

PRODUCTION CREDITS

“TAKE MY WIFE” SEASON 2 Dir. of Photography: Tarin Anderson Assistants: Ian T. Barbella, Evey Franceschini Digital Imaging Tech: Ben Molyneux “THE TALK” SEASON 7 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 Utility: Doug Bain, Mike Bushner, Jon Zuccaro, Robert Cade Video Controller: Richard Strock Still Photographer: Ron Jaffe CHERRIES PRODUCTIONS “THE PACT” Dir. of Photography: Russ Alsobrook, ASC Operators: Casey Hotchkiss, Jerome Fauci Assistants: Dan Turek, Keith Pokorski, Bodie Orman, Will Cooper Steadicam Operator: Jerome Fauci Steadicam Assistant: Keith Pokorski Digital Imaging Tech: Chad Oliver Loader: Trent Walker Remote Head Tech/Operator: Jerome Fauci

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CRANE TOWN MEDIA “RHETT & LINK’S BUDDY SYSTEM” SEASON 2 Dir. of Photography: Joe Kessler Operators: Greg Daniels, Aaron Smith Assistants: Matt Brewer, Josh Coffin, Darin Krask, Mimi Phan Steadicam Operator: Aaron Smith Steadicam Assistant: Josh Coffin Digital Imaging Tech: Mauricio Gutierrez “YOUNGER” SEASON 4 Dir. of Photography: John Thomas Operators: Hollis Meminger, Scott Sans Assistants: Jennie Jeddry, Corey Gegner, John Fitzpatrick, Emily DeBlasi Digital Imaging Tech: Paul Schilens Loader: Alyssa Longchamp Still Photographer: Macall Polay, Elizabeth Fisher DELTA BLUES PRODUCTIONS, LLC “QUEEN SUGAR” SEASON 2 Dir. of Photography: Antonio Calvache, ASC, Kira Kelly Operators: Grayson Austin, Robert Stenger Assistants: Michael Charbonnet, Bryan DeLorenzo, Jonathan Robinson, Ryosuke Kawanaka Steadicam Operator: Grayson Austin Steadicam Assistant: Michael Charbonnet Digital Imaging Tech: Brian Stegeman DEPARTURES ENTERTAINMENT, INC. “DEPARTURES” Dir. of Photography: Andreas Laskaris Operators: Korey Robinson Assistants: Sarah Hendrick, Randy Schwartz, Katie Waalkes Digital Imaging Tech: Jeffrey Hagerman Still Photographer: Walter Thomson DRAMA PARTY, INC. “ALEX STRANGELOVE”

Dir. of Photography: Hillary Spera Operators: Charles Libin, Nathan Slevin Assistants: Andrew Juhl, Kyle Anido, Blake Johnson Digital Imaging Tech: Jaime Chapin Loader: Jackson Lewis Still Photographer: Walter Thomson, Wally McGrady FINNMAX, LLC “BEAT SHAZAM” SEASON 1 Ped Operators: Hector Ramirez, John Gardner, Brian Waddell, Jeff Wilkins, Dom Zanghi, Helena Jackson, John Bromberek Hand Held Operators: Jorge Ferris, Danny Webb Techno Jib Operator: Scott Acosta, Cory Hunter Jib Tech: Andrew Azouz Head Utility: Kirk Kamisato Utility: Shawn Johns, Drory Yelin, Zak Holley FOX PRODUCTIONS “THE DARKET MINDS” Dir. of Photography: Kramer Morgenthau, ASC Operators: Don Devine, Christopher McGuire Assistants: Alessandro Di Meo, Brandon Dauzat, Trey Twitty, Michael Fisher Digital Imaging Tech: Ryan Kunkleman, John “Utah” Hoffler Utility: Nick Leone Still Photographer: Daniel McFadden Publicist: Rachael Roth FREEFORM “STITCHERS” SEASON 3 Dir. of Photography: John Newby, ASC Operators: Rick Drapkin, Darrell Sheldon Assistants: David Leb, Toby White, Betty Chow, Vanessa Ward Steadicam Operator: Rick Drapkin Steadicam Assistant: David Leb Camera Utility: Jacob LaGuardia Digital Utility: Johanna Salo UNDERWATER UNIT Operator: Ian Takahashi Assistant: David William McDonald “THE FOSTERS” Dir. of Photography: Kees Van Oostrum, ASC Operators: Rory Knepp, Jordan Keslow Assistants: Carlos Doerr, Megan Boundy, Tammy Fouts, Nicholas Neino Digital Utility: Duncan Robertson Digital Loader: Glen Landry FRITZIE PRODUCTIONS “ALEXA & KATIE” SEASON 1 Dir. of Photography: Chris La Fountaine Operators: George La Fountaine, Kevin Haggerty, Chris Wilcox, John Dechene Assistants: Craig LaFountaine Camera Utility: Chris Todd, Vicki Beck, Andy Dickerman Digital Imaging Tech: Ryne Niner Still Photographer: Nicole Wilder FX TV “BETTER THINGS” SEASON 2 Dir. of Photography: Paul Koestner Operators: Luke Rocheleau, Forrest Stangel Assistants: Alaina McManus, Cristina Arboleda, Kira Murdock, Rachel Wiederhoeft Steadicam Operator: Luke Rocheleau

G02 Z4, LLC “Z NATION” SEASON 4 Dir. of Photography: Alexander Yellen, Peter N. Green Operators: Federico Verardi Assistants: Coty James, Nick Kelling, Shaun Springer, Kyle Petitjean Loader: Nicole Heigh GSN “DIVIDED” SEASON 2 Dir. of Photography/Lighting Dir: Jeff Calderon Jib Operator: Joe Coppola Operators: Jay Alarcon, David Carline, DJ Diomedes, Jim Rohrig, Eric Taylor ENG Operator: Rene Vara Head Utility: Sal Bellissimo Utility: Timothy Hill, William Wolf Jib Utility: Bryan Sprow Video Controller: Heather Griffiths Still Photographer: Lisa Rose “EMOGENIUS” SEASON 1 Hand Held Operator: Brian Loewe Ped Operators: David Carline, Keith Hobelman, Jim Rohrig, DJ Diomedes Head Utility: Sal Bellissimo Utility: William Wolf, David Feliciano, Adam Feliciano, Jody Roberts Jib Operator: Joe Cappola Jib Utility: Eric Taylor Video Controller: Jay Griffiths Sr. Still Photographer: Lisa Rose

HBO “INSECURE” SEASON 2 Dir. of Photography: Ava Berkofsky Operators: Julie Kirkwood, Michael Wilson Assistants: Jacqueline Stahl, Stephen Taylor-Wehr, Giselle Gonzalez, Andy Kennedy-Derkay Digital Utility: Jenise Whitehead, Farisai Kambarami Digital Imaging Tech: Joe Hedge, Ryan Prouty Still Photographer: Lisa Rose, Justina Mintz HGMT, INC. “HIGH MAINTENANCE” SEASON 2 Dir. of Photography: Charlie Gruet, Dagmar Weaver-Madsen, Brian Lannin Operators: Zack Schamberg Assistants: Michelle Sun, Pedro Corcega, Rodrigo Millan Garce, Haffe Acosta Loader: Austin Chang IT’S A LAUGH PRODUCTIONS, INC. “K.C. UNDERCOVER” SEASON 3 Dir. of Photography: Joseph W. Calloway Operators: Brian Gunter, Larry Blumenthal, Deborah O’Brien, Cory Gunter Camera Utility: Selvyn Price, Lance Mitchell Video Controller: Nichelle Montgomery JCVJ “JEAN-CLAUDE VAN JOHNSON” SEASON 1 Dir. of Photography: Jas Shelton Operators: Ron Baldwin, Tom Clancey Assistants: Troy Blischok, Keith Jones, Joey Joyce, Koji Kojima Digital Imaging Tech: Bret Suding Digital Utility: Spencer Shwetz

Technocrane Operator: Chris Mayhugh Technocrane Tech: Colin Michael West, Nico Bally Remote Head Tech: Jay Sheveck KISSING BOOTH PRODS., INC. “THE KISSING BOOTH” LA SHOOT Dir. of Photography: Anastas Michos Operator: Mariana Antunano Assistants: Salvatore Coniglio, Cecilia Guerrero, Dan Taylor, Delfina Garfias Loader: Nick Martin LFM PRODUCTIONS “THE LAST FULL MEASURE” Dir. of Photography: Byron Werner Operators: Jerome Fauci, Dean Mitchell Assistants: Keith Pokorski, Stephen Cook, Sarah Bowman Steadicam Operator: Jerome Fauci Steadicam Assistant: Keith Pokorski Loader: Violet Jackson Camera Utility: Peter Johnston Still Photographer: Jackson Lee Davis LOCK AND KEY PRODUCTIONS “FEAR FACTOR FOR MTV” SEASON 1 Lead Operator: Scott Farquharson Operators: Sara Basil, Colin Donahue, Clay Harrison, Nate Holzman, Tracy Shreve, Steve Russell Jib Assistant: David Romeo Lead Camera Assistant: Jay Stamm Assistants: Rick Ponce, Tyler Detarsio Taylor Gilmartin Still Photographer: Scott Everett White

PRODUCTION CREDITS

Digital Imaging Tech: Earl Fulcher Still Photographer: Nicole Wilder, Jessica Brooks

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Additional Unit Dir. of Photography: James Zucal NBC UNIVERSAL TELEVISION “STRANGER THINGS” SEASON 2 Dir. of Photography: Timothy Ives Operator: Bob Gorelick, SOC, Jeff Crumbley, SOC Assistants: Julie Donovan, Jason Lancour, Angela Holford, Nelson Moncada Steadicam Operator: Bob Gorelick, SOC Loader: Laura Mattingly Camera Utility: Kevin Wilson Still Photographer: Jackson Lee Davis Publicist: Denise Godoy NETFLIX “SANTA CLARITA DIET” SEASON 2 Dir. of Photography: Paul Maibaum, ASC Operators: Craig Fikse, Heather Brown Assistants: Chuck Jones, O’Brien, Mike Cahoon Steadicam Operator: Craig Fikse Steadicam Assistant: Chuck Jones Loader: Kyle Sauer Digital Utility: Sarah Lankford

PRODUCTION CREDITS

NICE LITTLE DAY/ADAM RUINS EVERYTHING “ADAM RUINS EVERYTHING” SEASON 2 Dir. of Photography: Matt Garrett Operators: Andrew Ansnick, Andrew Aiello Assistants: Nick Kramer, Logan Turner, Tiffany Nathanson, Alexander Paul Loader: Ben Booker

LUCKY FOOT PRODUCTIONS “SESSIONS” Dir. of Photography: Ellen Kuras, ASC Operators: Cybel Martin, Denise Bailie Assistants: Rick Gioia, David Howard, Jordan Levie, Bayley Sweitzer Digital Imaging Tech: Ian Edwards

Operators: Beau Chaput Assistants: Robert Rendon, Rob McGrath, Kelly Bogdan, Leslie Frid, Wes Turner, Jack Lewandowski Loader: Amber Rosales Digital Utility: Leslie Kolter Still Photographer: Van Redin

MARVEL ENTERTAINMENT “AGENTS OF S.H.I.E.L.D.” SEASON 5 Dir. of Photography: Feliks Parnell, Allan Westbrook Operators: Kyle Jewell, Bill Brummond Assistants: Coby Garfield, Derek Hackett Steadicam Operator: Bill Brummond Digital Imaging Tech: Ryan Degrazzio Digital Utility: Josh Novak Remote Head Operator: Clay Platner Still Photographer: Kelsey McNeal, Ron Jaffe

NBC “CHICAGO FIRE” SEASON 6 Dir. of Photography: Jayson Crothers Operators: Rob Stenger, William R. Nielsen Assistants: Melvina Rapozo, Brian Romano, Zach Gannaway, Gary Malouf Digital Loader: J’mme Love Digital Utility: Amy Tomlinson (did we want to take away Still Photo. Elizabeth Morris and 2nd Unit DP Billy Nielsen?)

2ND UNIT Dir. of Photography: Kyle Jewell Operators: Operators: Tony Cutrono, Miguel Pask “FUTURE MAN” SEASON 1 Dir. of Photography: Cort Fey, ASC Operator: David Sammons, SOC, Chad Persons Assistants: Stephen Pazanti, Haydn Pazanti, Shane Carlson, Michael Thomas Steadicam Operator: Chad Persons Steadicam Assistant: Haydn Pazanti Loader: Josh Schnose Digital Utility: Terrance Lofton, Jr. MINIM PRODUCTIONS/NATIONAL GEOGRAPHIC “THE LONG ROAD HOME” SEASON 1 Dir. of Photography: Yasu Tanida, Jeremy Benning

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“CHICAGO MED” SEASON 3 Dir. of Photography: Lex duPont, ASC Operators: Scott Steele, Faires Anderson Sekiya, Joseph Fitzgerald Assistants: George Olson, Laura Difiglio, Keith Hueffmeier, Sam Knapp, Jason H. Bonner, Patrick Dooley Steadicam Operator: Faires Anderson Sekiya Loader: Joey Richardson Utility: Matt Brown Still Photographer: Elizabeth Sisson “CHICAGO PD” SEASON 4 Dir. of Photography: Rohn Schmidt Operators: James Zucal, Will Eichler, Seth Thomas Assistants: John Young, Don Carlson, David Wightman, Jamison Acker, Phillip Walter, Bing Liu Digital Utility: Corinne Anderson, Nick Wilson Steadicam Operator: Will Eichler Loader: Kyle Belousek Digital Utility: Nick Wilson, Michael Gleeson

2ND UNIT Dir. of Photography: Skyler Rousselet NICKELODEON “HENRY DANGER” SEASON 4 Dir. of Photography: Michael Spodnik Operators: Tim Heinzel, Mike Tribble, Scott Ostermann, Dana Ross Camera Utility: Frank Maronski, Jimmy Elliott, Doug Minges Jib Tech: Ryan Elliott Video Controller: Jim Agnor, Bob Kaufmann Still Photographer: Lisa Rose “THE THUNDERMANS” SEASON 4 Dir. of Photography: Wayne Kennan Operators: Keith White, Vickie Walker, Pete Wilson, Dave Forrest Utility: Ryan Eckelberry, Sean Askins, Jose Gomez Video Controller: Stuewe Prudden Still Photographer: Dale Berman OAKLAND MOVING PICTURES, LLC “UNTITLED OAKLAND PROJECT” Dir. of Photography: Robby Baumgartner Operators: Reid Murphy Assistants: Steve Cueva, Sam Lino, Patrick McArdle, Shannon Bringham Digital Imaging Tech: Sin Cohen OPEN 4 BUSINESS “GONE” SEASON 1 Dir. of Photography: James Chressanthis, ASC Operators: Marcis Cole, Rich Schutte Assistants: Deb Peterson, Darin Miller, Jared Jordan, Jason Cianella Digital Imaging Tech: Curtis Abbott PEARL STREET PRODUCTIONS “LORE” SEASON 1 Dir. of Photography: Steve Campbell Operators: Andy Fisher, Tim Dolan Assistants: Matt McGinn, Ian Cambell,

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PACIFIC 2.1 ENTERTAINMENT GROUP, INC. “SEVEN SECONDS” SEASON 1 Dir. of Photography: Yaron Orbach Operators: Phil Martinez, Arthur Africano Assistants: Waris Supanpong, Becki Heller, Nicalena Iovino, Jennifer Leavitt Digital Imaging Tech: Tiffany Armour-Tejada Loader: Corey Licameli, Peter Perlman Still Photographers: Cara Howe, JoJo Whilden, Paul Schiraldi, David Giesbrecht PICROW, INC. “GOLIATH” SEASON 2 Dir. of Photography: Edward J. Pei, ASC Operator: Andy Graham, Rob Carlson, Brian Bernstein Assistants: James Sprattley, James Dunham, Maryan Zurek, Jim Gavin, Tracy Davey, Eric Guthrie Steadicam Operator: Rob Carlson Loader: Jeremy Hill, Peter Pei “JUST ADD MAGIC” SEASON 3 Dir. of Photography: Mark Doering-Powell, ASC Operators: Paul Sanchez, Joel Schwartz Assistants: Rob Schierer, Michael Kleiman, Paul Janossy, Dan Taylor Camera Utility: Andrew Oliver Still Photographer: Nicole Wilder “RED OAKS” SEASON 3 Dir. of Photography: Ben Kasulke

Operators: Douglas Pellegrino, Afton Grant Assistants: Cai Hall, Zach Rubin, Andrew Hamilton, Rob Wrase Steadicam Operator: Afton Grant Steadicam Assistant: Zach Rubin Digital Imaging Tech: Anthony Hechanova Loader: Jessica Cele-Nazario Still Photographer: Eric Liebowitz PROFILER PRODUCTIONS/ LIONSGATE “MANHUNT: UNABOMBER” SEASON 1 Dir. of Photography: Zachary Galler Operator: J. Christopher Campbell, Michael Watson Assistants: Justin DeGuire, Brandon Dauzat, Taylor Case, Sterling Wiggins Loader: Bess Johnson Digital Utility: Trey Volpe PRODCO “ALONE TOGETHER” Dir. of Photography: Kevin Atkinson Operators: Neal Bryant, Amanda Treyz Assistants: Gabe Diniz, Lani Wasserman, Josh Miller, Jon DiBartolomeo Steadicam Operator: Neal Bryant Camera Utility: Alex Gadberry PUZZLE PRODUCTIONS, LLC “PUZZLE” Dir. of Photography: Christopher Norr Operators: Eddie Belaval Assistants: James Schlittenhart, Dan Brosnan Digital Imaging Tech: Geoffrey Jean-Baptiste Still Photographer: Linda Kallerus SCREEN GEMS “PROUD MARY”

Dir. of Photography: Dan Laustsen Operators: Scott Lebeda, Jon Beattie Assistants: Daniel Mason, Nolan Ball, Jason Brignola, Matthew Hedges Digital Imaging Tech: Nick Pasquariello Loader: Thomas Bellotti Still Photographer: Dana Starbard SIGH FILMS WWG, INC. “THE WAR WITH GRANDPA” Dir. of Photography: Greg Gardiner Operators: Billy O’Drobinak, Tim Fabrizio Assistants: Freddy Thomas, Ryan Weisen, Rodrigue Gomes, Scott Forte Steadicam Operator: Tim Fabrizio Loader: Jennifer Braddock Still Photographer: Ben Rothstein Publicist: Deborah Simmrin SPEED KILLS PRODUCTIONS, INC. “SPEED KILLS AKA CIGARETTE” Dir. of Photography: Andrzej Sekula Operators: Alex Salahi, Raphy Molinary-Machado Assistants: Robert Webeck, Cesar Marrero, Daniel Pernas Padin Digital Imaging Tech: Alex Ramirez Loader: Omar Rivera Abreu Still Photographer: Robert Clark, Seacia Pavao SONY PICTURES “JEOPARDY!” SEASON 34 Dir. 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

PRODUCTION CREDITS

Lauren Gentry, John Thorpe Steadicam Operator: Tim Dolan Steadicam Assistant: Matt McGinn Digital Imaging Tech: Stuart Huggins Jib Arm Operator: Kat Soulagnet

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AUGUST 2017 89

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Camera Utility: Ray Thompson Video Controller: Gary Taillon Still Photographer: Carol Kaelson “THE GOLDBERGS” SEASON 4 Dir. 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 Photographer: Nicole Wilder, Adam Taylor

PRODUCTION CREDITS

“WHEEL OF FORTUNE” SEASON 34 Dir. 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 STALWART FILMS, LLC “FEAR THE WALKING DEAD” SEASON 3 Dir. of Photography: Scott Peck, Chris La Vasseur Operator: Craig Cockerill Assistant: Ray Dier Digital Imaging Tech: Conrad Radzik Still Photographer: Michael Desmond Publicist: Diane Slattery “HALT & CATCH FIRE” Dir. of Photography: Evans Brown Operators: Glenn Brown, Paige Thomas Assistants: Josh Gilbert, Jackson McDonald, Cameron Schwartz, Mary-Margaret Porter Steadicam Operator: Glenn Brown Digital Imaging Tech: Nick Hiltgen Loader: Anna-Marie Aloia “THE WALKING DEAD” SEASON 8 Dir. of Photography: Paul Varrieur, Duane Manwiller Operators: Deke Keener, Cooper Dunn Assistants: David Galbraith, Bruce Robinson, Matt Horn, Robert Veliky Steadicam Operator: Deke Keener

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Steadicam Assistant: David Galbraith Loader: Daniel Irons Camera Utility: Chris Morales Still Photographer: Gene Page Publicist: Brandee Brooks STARZ “SURVIVOR’S REMORSE” SEASON 4 Dir. of Photography: Byron Shah Operators: Paul Sanchez, Ramon Engle, Keith Peterman Assistants: Christian Satrazemis, Jonny Quintana, Matt Heath, John Metcalfe, Brett Lanius, Agnes Rodriguez-Sebek Steadicam Operator: Ramon Engle Steadicam Assistant: Christian Satrazemis Digital Imaging Tech: Andy Bader, Chad Oliver Utility: Cory Blake DOUBLE UP UNIT Dir. of Photography: Paul Sanchez THIRD RAIL STUDIOS “RAMPAGE” Dir. of Photography: Jaron Presant Operators: Mark Goellnicht, Tom Lappin Assistants: Bob Hall, Dan Schroer, Joe Hancher, Robby McMahan Digital Loader: DJ Phillips Utility: Alfredo Santiago Still Photographer: Frank Masi TNT “THE LAST SHIP” SEASON 5 Dir. of Photography: Chris Baffa, ASC, Peter Kowalski Operators: Bud Kremp, SOC, Wally Sweeterman, Ben Spek Assistants: Michael D. Alvarez, Roger Spain, Jeff Lorenz, Ana Amortegui, Ulysses Domalaon, Scott Whitbread Steadicam Operator: Bud Kremp, SOC Digitual Utility: George Ballenger Utility: Ben Shurtleff Technnocrane Operator: Chris Mayhugh Technocrane Tech: Colin Michael West Remote Head Tech/Operator: Jay Sheveck TVM “QUEEN OF THE SOUTH” SEASON 2 Dir. of Photography: John Brawley

Operator: Aaron Schuh, Abe Martinez Assistants: Matt King, Kris Hardy, Paul Armstrong, Ryan Patterson, Scott Reese, Noe Medrano Steadicam Operator: Aaron Schuh Steadicam Assistant: Matt King Loader: Matt Aines Utility: Kyle Novak 2ND UNIT Dir. of Photography: Abe Martinez Operator: Gary Jay, David Wilson Assistants: Jordan Jones, Robert Rendon, William Dicenso, Sam Pearcy Loader: Shannon Cook Utility: Dick Saunders UNIVERSAL “SHADES OF BLUE” SEASON 3 Dir. of Photography: Stefan Czapsky, ASC Operators: David Taicher, Eric Tramp Assistants: Gregory Principato, Raul A. Erivez, Pete Keeling, John C. Walker Steadicam Operator: David Taicher Digital Imaging Tech: Chandler Tucker Loader: Brian Lynch, James McEvoy “THE GOOD PLACE” SEASON 2 Dir. of Photography: David Miller Operators: Trey Clinesmith, Josh Williamson, Johnny Martin, Assistants: Mark Figueroa, Aaron Bowen, Sean O’Shea, Greg Kurtz, Will Evans, Chris Garland Steadicam Operator: Trey Clinesmith Steadicam Assistant: Mark Figueroa Loader: Rachel Mangum Still Photographer: Colleen Hayes “MR. ROBOT” SEASON 3 Dir. of Photography: Tod Campbell Operators: Aaron Medick, Brian Jackson Assistants: Michael Garofalo, Wesley Hodges, Patrick Bracey, John Larson Digital Imaging Tech: Doug Horton Loader: Kaih Wong, Alivia Borab “THE SINNER” SEASON 1 Dir. of Photography: Radium Cheung, HKSC Operators: Justin Foster, David Kimelman Assistants: Gus Limberis, Glen Chin, Nick Koda, Ian Carmody

WARNER BROS. “LETHAL WEAPON” SEASON 2 Dir. of Photography: David “Mox” Moxness, Andy Strahorn Operators: Victor Macias, Robert Givens Assistants: James Rydings, Kaoru “Q” Ishizuka, Troy Blischok, Kelsey Castellitto Digital Imaging Tech: Mike DeGrazzio Digital Utility: Spencer Shwetz “KLAUS” SEASON 1 Dir. of Photography: John Grillo, Andy Voegeli Operators: Matt Harshbarger, Steven Parker Assistants: Liam Sinnott, Rigney Sackley, Zach Sieffert, Dan McKee Steadicam Operator: Matt Harshbarger Loader: Chad Taylor Still Photographer: Michele K. Short “MAJOR CRIMES” SEASON 6

Dir. of Photography: David A. Harp, Kenneth Zunder, ASC Operators: Chris Hood, Tim Roarke, Duane Mieliwocki Assistants: Matt Guiza, Randy Shanofsky, Dan Squires, Adam Tsang, Russ Miller, Veronica Bouza Digital Imaging Tech: Evin Grant “THE BIG BANG THEORY” SEASON 11 Dir. 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, Benjamin Steeples Camera Utility: Colin Brown, Jeannette Hjorth Video Controller: John O’Brien Digital Imaging Tech: Robert Zeigler

JUMPING GIRL PRODUCTIONS, INC. “M.A.C.” Dir. of Photography: Darren Lew Assistants: John Clemens, Scott Miller Digital Imaging Tech: Jeff Flohr

WOODBRIDGE “THE NIGHT SHIFT” SEASON 4 Dir. of Photography: Arthur Albert Operators: Mark LaBonge, Nick Albert Assistants: Chris Norris, Tristan Chavez, Aileen Taylor, Jeff Lamm Digital Imaging Tech: Jesse Heidenfeld Digital Utility: Claudio Banks

ANONYMOUS CONTENT “NATURE’S BOUNTY” Dir. of Photography: Christopher Blauvelt MoVi Operator: Dave Anglin Assistants: Jesse Cain, Lucas Deans, Seth Peschansky Digital Imaging Tech: Sean Goller Camera Utility: Richard Dabbs

COMMERCIALS 1ST AVE MACHINE USA “DR PEPPER-SIGHTS-SOUNDS” Dir. of Photography: Stephen McGehee Assistants: Rick Gioia, Jordan Levie Digital Imaging Tech: Othmar Dickbauer Phantom Tech: Steve Romano AERO FILM “VIZIO” Dir. of Photography: Eric Schmidt Operators: John Pingry Assistants: Ethan McDonald, Jon Lindsay, Paul Saunders Digital Imaging Tech: John Spellman

ARTS & SCIENCES “AT&T” Dir. of Photography: Mihai Malaimare, Jr. Operator: Cedric Martin Assistants: Ethan McDonald, Daniel Ferrell, Andrew Pauling, Nate Cummings Digital Imaging Tech: Eli Berg BISCUIT “HYUNDAI” Dir. of Photography: Peter Donahue Operator: Greg Daniels Assistants: Daniel Ferrell, Conrad Castor, Noah Glazer Digital Imaging Tech: Sean Goller 2ND UNIT Dir. of Photography: Doug Chamberlain Assistants: Chris Kasparian, Ryan Monelli Digital Imaging Tech: Rohan Chitrakar “INFINITY” Dir. of Photography: Claudio Miranda, ASC Operator: Justin Painter Assistants: Joe Brady, Alex Garcia,

PRODUCTION CREDITS

Loader: Matt Albano, Tommy Scoggins Still Photographer: Peter Kramer

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Eric Hingst, Brian Romano Digital Imaging Tech: Jason Helgren Arm Operator: Douglas McCormick Head Technocrane Operator: Josh Ramos “VOLKSWAGEN” Dir. of Photography: Jo Willems Assistants: Robert Ragozzine, Dan Hersey, Dank Keck Digital Imaging Tech: Tiffany Armour-Tejada Libra Head Tech: Jason Cortazzo BOB INDUSTRIES “YOPLAIT” Dir. of Photography: Sean Porter Operator: Michael Merriman, Josh Medak Assistants: Lila Byall, Daniel Ferrell, Lucas Deans, Kira Hernandez Digital Imaging Tech: Ernesto Joven BRIDGE STREET FILMS “PA LOTTERY” Dir. of Photography: Derek McKane Operator: Chong Pak Assistants: Jim Mayfield, Anthony Defrancesco, Jim McCann BUNKER “DUNKIN DONUTS-WIN THE FALL” Dir. of Photography: Andy Lilien Assistants: Adam Miller, Kyle Repka Digital Imaging Tech: Bjorn Jackson CAP GUN COLLECTIVE “COX COMMUNICATIONS” Dir. of Photography: Dan Fischer Operator: Justin Painter Assistants: Michael Kubaszak, Patrick Dooley Digital Loader: Drew Fulton

PRODUCTION CREDITS

CAVIAR “BEST BUY” Dir. of Photography: Giles Dunning Operator: John Veleta Assistants: Nito Serna, Wayne Goring, Noah Glazer, Laura Difiglio Digital Imaging Tech: Mark Evans “MOONLIGHT” Dir. of Photography: David Jones Operators: Keith Dunkerley, Sean McElwee Assistants: Ethan McDonald, Ian Barbella, Evan Wilhelm, Lucas Deans, Jennifer Lai, Whitney Jones, Marcus Del Negro, Arthur Zajac Steadicam Operator: Cedric Martin Digital Imaging Tech: Erica McKee CHERRY SUNDAE GROUP “HONDA” Dir. of Photography: Richard Henkels Assistants: Matt Cabinum, Elver Hernandez Digital Imaging Tech: Shawn Aguilar CMS “FACEBOOK” Dir. of Photography: Steeven Petitteville Assistants: Nicolas Martin, Katie DeTemple Digital Imaging Tech: Bryce McDonald “HARLEY DAVIDSON” Dir. of Photography: Eric Schmidt Operator: John Pingry

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Assistants: Lila Byall, JD Murray, Kira Hernandez, Mike Gratzmiller Digital Imaging Tech: Calvin Reibman

Assistants: Simon England, Jimmy Ward, Justin Zaffiro, Richard Dabbs Digital Imaging Tech: Michael Borenstein

“STAPLES” Dir. of Photography: David Myrick Operator: Eric Ulbrich, Assistants: Cary Gallagher, Marty Stiles, Scott Garrison, Jason Faust, Bas Tiele Digital Imaging Tech: Shawn Aguilar

“MASTER CARD” Dir. of Photography: Robert Chappell Assistants: Steve Mattson, Matt Blea Digital Imaging Tech: Calvin Reibman

CMS “FACEBOOK” Dir. of Photography: Steeven Petitteville Assistants: Nicolas Martin, Katie DeTemple Digital Imaging Tech: Bryce McDonald COMMUITY FILMS “BURLINGTON” Dir. of Photography: Jesse Green Operator: Nicola Benizzi Assistants: Nina Chien, Kyle Repka, Mitch Malpica Digital Imaging Tech: George Robert Morse CONCRETE & CLAY “CLAIROL” Dir. of Photography: Pieter Vermeer Assistants: Scott Kassenoff, Miles Custer Digital Imaging Tech: Steve Harnell CRANETOWN “TBS: TRACY MORGAN UPFRONT” Dir. of Photography: Kate Phelan Assistants: Christian Carmody, Scott Miller FRAMESTORE PICTURES “CHICK-FIL-A” Dir. of Photography: Eric Schmidt Operator: John Pingry Assistants: Lila Byall, JD Murray, Kira Hernandez, Jenna Hoffman Digital Imaging Tech: John Spellman FURLINED “VW” Dir. of Photography: Jeff Cutter Assistants: Daniel Hanych, Paul Saunders Digital Imaging Tech: John Spellman

“SPRINT” Dir. of Photography: Mott Hupfel Assistants: Dan Hersey, Kyle Repka Digital Imaging Tech: Jeff Flohr IDENTITY “JIF TABLETOP” Dir. of Photography: Jeanne Vienne Assistants: Nina Chien, Scott Miller Digital Imaging Tech: George Robert Morse “KOHL’S BTS” Dir. of Photography: Matthew Lloyd Assistants: Keitt, Yusuke Sato Digital Imaging Tech: Tom Wong IMPERIAL WOODPECKER “JORDAN BRAND” Dir. of Photography: Max Goldman Operator: Luke McCoubrey Assistants: Walter Rodriguez, Nate McGarigal, Sarah May Guenther Digital Imaging Tech: David Berman KNUCKLEHEAD “JIF” Dir. of Photography: Ross McLennan Assistants: Chris Strauser, Conrad Castor, John Parson Steadicam Operator: Ross Coscia Digital Imaging Tech: Steve Harnell LOVE SEAT ENTERTAINMENT “MTV EPK” Dir. of Photography: Marc Bloomgarden Assistant: Ittai Eshed “VIACOM EPK-GET SCHOOLED” Dir. of Photography: Marc Bloomgarden Still Photographer: Tom Concordia

HEY BABY FILMS “AD COUNCIL” Dir. of Photography: Jonathan Freeman Assistant: Paul Bode Digital Imaging Tech: Carlos Cicchelli

MELLOW MEDIA, LLC “VOLKSWAGEN” Dir. of Photography: Ivan Abel Assistants: James Hair, Joe Robinson Digital Imaging Tech: Jeffrey Hagerman

“SIMON PREMIUM OUTLETS” Dir. of Photography: Manel Ruiz Assistants: Peter Morello, Nate McGarigal Digital Imaging Tech: Mariusz Cichon

MICHAEL SCHROM & COMPANY “BOSTON MARKET” Dir. of Photography: Michael Schrom Assistants: John Glaser Digital Imaging Tech: Donald Cornett

HORNET, INC. “HONDA” Dir. of Photography: Donavan Sell Assistants: Greg Benitez, Jeff Rios Crane Operator: Mike Leben Digital Imaging Tech: Steve Harnell HUNGRY MAN “DISH NETWORK” Dir. of Photography: Richard Henkels Assistants: Matthew Cabinum, Elver Hernandez Digital Imaging Tech: Shawn Aguilar “HYUNDAI-RESPECT FOR DESIGN” Dir. of Photography: Ben Seresin Operator: Roham Rahmanian

“DUNKIN’ DONUTS” Dir. of Photography: Michael Schrom Assistants: John Glaser Digital Imaging Tech: Donald Cornett MISSING PIECES “GAP” Dir. of Photography: Matthew Lloyd Operator: Jim McMillan Assistants: Keitt, Stephen Kozlowski, Cameron Sizemore Digital Imaging Tech: Tom Wong BTS Operator: Ian Carmody BTS Assistant: Diana Matos

䈀爀漀愀搀挀愀猀琀 圀愀瘀攀昀漀爀洀 刀愀猀琀攀爀椀稀攀爀 昀爀漀洀

猀甀瀀瀀漀爀琀椀渀最 戀爀漀愀搀挀愀猀琀 瀀爀漀搀甀挀琀椀漀渀Ⰰ 攀渀最椀渀攀攀爀椀渀最Ⰰ 䐀䤀吀ᤠ猀 ☀ 䐀倀ᤠ猀 吀栀攀 唀氀琀爀愀 吀儀 椀猀 愀 渀攀砀琀 最攀渀攀爀愀琀椀漀渀 戀爀漀愀搀挀愀猀琀 眀愀瘀攀昀漀爀洀 洀漀渀椀琀漀爀Ⰰ 戀愀猀攀搀 漀渀 琀栀攀 栀椀最栀氀礀 猀甀挀挀攀猀猀昀甀氀 唀氀琀爀愀 㐀䬀 吀漀漀氀 䈀漀砀 愀渀搀 唀氀琀爀愀 堀刀 琀攀挀栀渀漀氀漀最礀Ⰰ 攀渀猀甀爀椀渀最 琀栀愀琀 琀栀攀 唀氀琀爀愀 吀儀 挀愀渀 瀀攀爀昀漀爀洀 焀甀愀氀椀琀礀 挀漀渀琀爀漀氀 愀渀搀 洀漀渀椀琀漀爀椀渀最 漀昀 猀椀最渀愀氀猀 匀䐀ⴀ匀䐀䤀 ⼀ 䠀䐀ⴀ匀䐀䤀 ⼀ ㌀䜀ⴀ匀䐀䤀 愀猀 猀琀愀渀搀愀爀搀⸀

㄀㐀 ⴀ ㄀㤀 匀䔀倀吀䔀䴀䈀䔀刀 ㈀ ㄀㜀 刀䄀䤀Ⰰ 䄀洀猀琀攀爀搀愀洀 ⴀ 匀琀愀渀搀 ㄀ ⸀䄀㈀㐀 MJZ “BLUE STAR” Dir. of Photography: Greg Fraser Operators: Rich Moriarty, Bela Trutz Assistants: Paul Metcalf, Arien Hatch, Chris Slany, Amanda Levy, Christian Kessler, Phil Volcoff Digital Imaging Tech: Steve Harnell, Ryan Prouty, Sean Goller Technocrane Tech: James DeLaTorre “INTEL” Dir. of Photography: Eric Schmidt Assistants: Lila Byall, Kira Hernandez Digital Imaging Tech: John Spellman “THE TICK” Dir. of Photography: Matthew Lloyd Assistants: Keitt, Yusuke Sato Digital Imaging Tech: Tom Wong Scorpio Tech: Craig Striano Libra Head Tech: Sean Folkl Phantom Tech: Edward Richardson “WIX” Dir. of Photography: Joaquin Baca-Asay Assistants: Robert Ragozzine, Dan Keck Digital Imaging Tech: Robert Cauble Still Photographer: Peter Zimmern O POSITIVE “ACADEMY SPORTS” Dir. of Photography: Michael Svitak Operator: John Connor Assistants: Derek Edwards, Andrae Crawford, Matthew Freedman Digital Imaging Tech: Derek Johnson

쬥 䘀甀氀氀 儀䌀 椀渀猀琀爀甀洀攀渀琀 猀攀琀 쬥 䄀甀搀椀漀 ☀ 氀漀甀搀渀攀猀猀 쬥 伀倀㐀㜀Ⰰ 㘀 㠀 ☀ 㜀 㠀 䌀䌀 쬥 吀䌀ⴀ戀愀猀攀搀 攀瘀攀渀琀 䰀漀最最椀渀最 쬥 䰀椀渀攀 瀀愀琀琀攀爀渀 最攀渀攀爀愀琀漀爀 쬥 匀䐀 ⴀ ㌀䜀ⴀ匀䐀䤀 愀猀 猀琀愀渀搀愀爀搀

“AT&T” Dir. of Photography: Eric Steelberg, ASC Assistants: Paul Bode, Sarah May Guenther Digital Imaging Tech: Anthony Hechanova Camera Utility: Matthew Martin

쬥 倀䠀夀 漀瀀琀椀漀渀 쬥 䐀愀琀愀 愀渀愀氀礀猀椀猀 漀瀀琀椀漀渀 쬥 䠀䐀刀 漀瀀琀椀漀渀 쬥 䄀搀瘀愀渀挀攀搀 挀漀氀漀甀爀 漀瀀琀椀漀渀 쬥 ㄀㈀嘀Ⰰ ㈀㐀嘀 䐀䌀 漀瀀琀椀漀渀 쬥 唀瀀最爀愀搀攀愀戀氀攀 琀漀 唀䠀䐀

“FRUIT OF THE LOOM” Dir. of Photography: Peter Donahue Assistants: Dan Hersey, Dan Keck, Jordan Levie Digital Imaging Tech: Jeff Flohr

PELLINORE PRODUCTIONS “AT&T” Dir. of Photography: Eric Schmidt Assistants: Lila Byall, Kira Hernandez Digital Imaging Tech: John Spellman

RBS PRODUCTIONS “LIVE WITH KELLY & RYAN” Dir. of Photography: Shane Sigler Assistants: James Klayer, Ian Schneider Steadicam Operator: Parris Mayhew Digital Imaging Tech: Jay Eckardt

PIRO “ESTEE LAUDER” Dir. of Photography: Marc Laliberte Else Assistant: Tom Greco Digital Imaging Tech: Anthony Hechanova

RESET “BARRYMORE 2” Dir. of Photography: Max Goldman Assistants: Ethan McDonald, Marcus Del Negro Digital Imaging Tech: Adrian Jebef

PONY SHOW ENTERTAINMENT “COX” Dir. of Photography: Tobias Schliessler Operator: Dino Parks Assistants: Paul Santoni, Joe Martinez, Greg Kurtz, Dennis Geraghty Digital Imaging Tech: Matthew Love

ROWDY FILMS “DYLAN BLUE POUR FEMME” Dir. of Photography: Theo Stanley, Shane Sigler, Jim Fealy Assistants: Jay Eckardt, James Hair, Beau Grantland, David Flanigan, Tricia Mears, Andy Hamilton Digital Imaging Tech: Mariusz Cichon

PSYOP “SPECTRUM” Dir. of Photography: Eric Schmidt Assistants: Lila Byall, Seth Kotok, Kira Hernandez Digital Imaging Tech: John Spellman RADICAL MEDIA “CANNES” Dir. of Photography: Peter Donahue Operator: Robert Ragozzine Assistants: Dan Hersey, Dan Keck, Kyle Repka Digital Imaging Tech: Jeff Flohr

SERIAL PICTURES “ULTA” Dir. of Photography: Crille Forsberg Assistants: Dan Ming, Max DeLeo Digital Imaging Tech: Nick Strauser SIBLING RIVALRY “GOOGLE HOME” Dir. of Photography: Peter Konczal Assistants: Brett Walters, Nathan McGarigal Digital Imaging Tech: Tyler Isaacson

PRODUCTION CREDITS

眀眀眀⸀漀洀渀椀琀攀欀⸀琀瘀

唀氀琀 吀儀 挀漀洀攀猀 眀椀琀栀 愀氀氀 漀昀 琀栀攀 琀漀漀氀猀 攀砀瀀攀挀琀攀搀 愀猀 愀 吀栀攀 唀氀琀爀愀 最攀渀攀爀愀氀 戀爀漀愀搀挀愀猀琀 眀愀瘀攀昀漀爀洀 洀漀渀椀琀漀爀 猀甀挀栀 愀猀 倀椀挀琀甀爀攀Ⰰ 圀愀瘀攀昀漀爀洀 洀漀渀椀琀漀爀Ⰰ 瘀攀挀琀漀爀猀挀漀瀀攀Ⰰ 瘀椀搀攀漀 猀琀愀琀甀猀Ⰰ 瘀椀搀攀漀 琀椀洀椀渀最Ⰰ 愀甀搀椀漀 洀攀琀攀爀猀Ⰰ 愀甀搀椀漀 猀琀愀琀甀猀Ⰰ 琀椀洀攀挀漀搀攀 氀漀最最椀渀最Ⰰ 戀愀猀椀挀 氀椀渀攀 瀀愀琀琀攀爀渀 最攀渀攀爀愀琀漀爀Ⰰ 攀琀挀 愀氀氀 眀漀爀欀椀渀最 眀椀琀栀 愀 猀椀渀最氀攀 挀栀愀渀渀攀氀 漀昀 匀䐀ⴀ匀䐀䤀Ⰰ 䠀䐀ⴀ匀䐀䤀 漀爀 ㌀䜀ⴀ匀䐀䤀⸀ 吀栀攀猀攀 挀愀渀 戀攀 猀甀瀀瀀氀攀洀攀渀琀攀搀 戀礀 愀搀搀椀琀椀漀渀愀氀 漀瀀琀椀漀渀猀 琀漀 瀀爀漀瘀椀搀攀 攀渀挀漀洀瀀愀猀猀椀渀最 戀爀漀愀搀挀愀猀琀 猀漀氀甀琀椀漀渀⸀ 愀渀 愀氀氀 攀渀

AUGUST 2017 93

mole.com

mole.com SMUGGLER “MASTERCARD/JETBLUE” Dir. of Photography: Darren Lew Assistants: John Clemens, Scott Miller Digital Imaging Tech: Jeff Flohr STATION FILMS “HONDA” Dir. of Photography: Kip Bogdahn Assistants: Ethan McDonald, Paul Saunders Digital Imaging Tech: Mike Kellogg STUN CREATIVE “WORST CELEBRITY COOKS” Dir. of Photography: Eric Haase Assistants: Peter Morello, Dan Hersey, Edwin Herrera Steadicam Operator: Aaron Medick Digital Imaging Tech: Joe Belack

PRODUCTION CREDITS

SUPERLOUNGE “BUICK” Dir. of Photography: Mike Svitak Assistants: Andy Depung, Patrick Romero Digital Imaging Tech: Derek Johnson Digital Utility: Ben Brady “NATIONAL GEOGRAPHIC” Dir. of Photography: Mike Svitak Assistants: Derek Edwards Digital Imaging Tech: Derek Johnson SUPERPRIME “NEST II” Dir. of Photography: Giles Dunning Assistants: Nito Serna, Noah Glazer Digital Imaging Tech: Derek Johnson Digital Utility: Kyle Hollar THE ARTIST COMPANY “O, THAT’S GOOD” Dir. of Photography: Oliver Lanzenberg Assistant: Nina Chien Digital Imaging Tech: Mariusz Cichon THE CORNER SHOP “US CELLULAR” Dir. of Photography: Bryce Fortner Assistants: Salvatore Coniglio, Alvaro Navarro Digital Imaging Tech: Matthew Love

94 AUGUST 2017

(323) 851-0111

THE SWEETSHOP “CHASE BANK” Dir. of Photography: Jeff Cutter Operator: Seth Kotok Assistants: Daniel Hanych, Lucas Deans, Kira Hernandez Digital Imaging Tech: Randall Kaplan Technocrane Operator: Bogdan Iofciulescu “SAMSUNG” Dir. of Photography: Michael Fitzmaurice Assistants: Ambar Capoor, Joseph Canon Digital Imaging Tech: Steve Harnell Movi Operator: Stephen Scherba TOOL OF NORTH AMERICA “MICROSOFT” Dir. of Photography: Justin Gurnari Operator: Harvey Glen Assistants: Jared Wennberg, Tom Arsenault, Josh Vandermeer, Paulina Bryant, Loie Russell-Templeton Digital Imaging Tech: Raffi Vesco Technocrane Operator: Chris Dickson Technocrane Tech: Brett Folk Remote Head Tech/Operator: Derrick Rose “TIAA” Dir. of Photography: Adam Frisch Assistants: Jeff Caples, Lucas Deans, Andrew Crankshaw Digital Imaging Tech: Dan Skinner TS GAME PRODUCTIONS “SNAP DECISION” Ped Operators: Jay Alarcon, Jim Rohrig, Brian Loewe Jib Operator: Joe Coppola Head Utility: Sal Bellissimo Camera Utility: Jonathan Stramisky Camera Utility Jib: Even Ferrario Still Photographer: Lisa Rose VICTOR HOUSE FILMS “FX NETWORK” Dir. of Photography: Chris Cajun Robertson Operator: Steven Wolfe Assistants: Garret Curtis, James Jermyn, Gunnar Mortensen Digital Imaging Tech: Steve Harnell

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PRODUCTION CREDITS

COMPANY PAGE Adorama 57 AJA 73 ARRI 55 Atlas Lenses 7 Backstage Equipment 90 Blackmagic 13 Canon 5 Chapman Leonard 65 Cinemoves 9 Cineo Lighting 79 Cooke Optics 61 Creative Solutions LA/NY 47 Cush Light 80 CW Sonderoptic 97 ECA Awards 82 Emotimo 86 Filmotechnic 81 Fujinon 21 G Technology 17 IDX 87 K5600 91 Kino Flo 89 Lindsey Optics 73 Mill Valley FF 4 Mole Richardson 94 Omnitek 93 Paralinx 98 Red 19 Rosco 77 RTS, INC/Rotolight 27 Schneider Optics 95 Sigma 15 Sony 11 Sourcemaker 63 Teradek 2,3 The Rag Place 88 TV Logic 25 VER Camera Facilities 83 Zeiss 71

AUGUST 2017 95

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ACROSS 36. Digital picture file ending 11. French for island 1.Across ARRI ____ : revolutionized LED lighting 38. High performance 4K27. color grading 16. Canon competitor Bausch & ____'s Super Baltar with large units that replace traditional film 41. Company coming out with their own HDR 17. CSI evidence lights, 2 words____ : revolutionized LED system soonwith 18. Include 1. ARRI 28. Data lighting 5.large Their cloud platform is becoming popular 45.

They make a cool Weapon 21. All-nations org. units that replace traditional film lights, 2 29. a____ Anamorphic, vintage lenses with post-production 47. AMPAS project to devise framework for 23. Prefix meaning equal combined words high resolution24.digital 8. Big player in the TV market, initially famous evaluating future lightingwith technologies Suns andsensors planets for envelopes Imagingwith technique now being used in 25. ____ Panchro, vintage lenses from the 20s 5. red Their cloud platform is becoming 48. popular 32. Collection of tools 12.

Where images are viewed consumer TVs 26. Broad strip, of light for example post-production 13. Painter’s medium 49. Their cameras are popular for action/VFX 27. _____ Field Image Capture 35. Boat gear 8. James 14.

Bond Dr in foe the TV market, initially insertfamous shots 30. Audience reaction of surprise Big player for 15.

Dolby Vision competitor 31. Augmented 36. Digital picture file ending reality, for short red envelopes 17. Way to control LED/computerized lighting DOWN 33. Chicago state, for short 38.super High 4K color grading 12. are viewed on setWhere through aimages dimmer board 1. Makers of the HDC-480, slo performance mo 34. Titanium symbol 19. Popular camera used for live sports 37. Kind of length or point, in lenses 41. Company coming out with their own HDR 13. Painter's medium 20. Nickel symbol 2. To this day 39. Standing Room Only, abbr. system soon 21. film industry 3. Effects, abbr. used in film talk 40. Ruler division 14.Important James alliance Bondfor Drthefoe 22. GoPro competitor, spelled out 4. Average, 2 words 42. Ferrari or Lamborghini 45. They make a cool Weapon 25. of the K35 competitor 5. Small footprint camera that has the same 43. Standard way for DPs to control color on 15.Makers Dolby Vision 27. Bausch & ____’s Super Baltar chip and sensitivity as ALEXA 47. AMPAS projectset,toabbr. devise a framework for 17.Data Way to control LED/computerized lighting on technology for better 28.

6. Flat light emitting 44. Improvise in set up evaluating future lighting technologies set____ through a dimmer boardcombined displays 29.

Anamorphic, vintage lenses 45. Certain theater, for short with high resolution digital sensors 7. Naval rank, for short 48. Imaging technique 46. Pair now being used in consumer 19. Popular 32. Collection of tools 9. Pro TVs 35. gear symbol 10. Back ____

By Myles Mellor 20.Boat Nickel 2017 96 21.AUGUST Important

22.

alliance for the film industry

49. Their cameras are popular Solution on Page 94 for action/VFX insert shots

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