There are times when the world seems to spin off its axis. Entertainment has often offered a counterweight to social vertigo, but at this moment the pace of change in our industry has been dizzying. As we grieve for the way it was, let us celebrate what is. This year’s Emmy nominations, early Oscar buzz, and some wonderful indie works are already lifting us up. Reports of the death of the novel, theater and radio all turned out to be premature. Who could have predicted the podcast era? What lies ahead for television and movies? What do we know about the future? Only that there is one, and that the sun will rise on new days and new ideas. The work that is featured in this issue of the magazine, themed around small-screen content, is clear evidence of the enduring power of visual entertainment, often stimulated by the advent of new technologies. Unfamiliar methods may appear frightening at first, but they become familiar as our colleagues embrace and harness them for compelling storytelling that draws in audiences eager for diversion while waiting for the world to right itself. And it will.
John Lindley, ASC
National President International Cinematographers Guild IATSE Local 600
photo by Robb Rosenfeld
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August 2025 vol. 96 no. 06
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Welcome to the August “Television” issue of ICG Magazine, featuring a host of great stories about Local 600 members working from coast to coast and all points in-between. Both our cover story (on Amazon Prime Video’s Ballard ) and second feature (on Netflix’s Sirens) present visually compelling renditions of their respective locales that are integral to small-screen storytelling.
Ballard is a spinoff series from author Michael Connelly’s beloved Bosch franchise (Renée Ballard appeared in the finale of Bosch: Legacy ), for which Director of Photography Gavin Kelly, ASC, and Director/ Executive Producer Jet Wilkinson (who worked together on Hulu’s Wu-Tang: An American Saga) created a “vibrant noir” look that makes Los Angeles a key centerpiece in the show. As Kelly explains in Kevin Martin’s story (page 24), “Anything based on Michael Connelly’s work, you need to see and feel the layered tapestry of communities and perspectives that make up Los Angeles, texture and location-wise. The city has many heartbeats.”
Co-series Director of Photography Cynthia Pusheck, ASC (who filled in for Steve Fierberg, ASC, on an episode of Bosch: Legacy), says shooting L.A. for L.A. was a welcome shift from recent trends. “[Shooting here means] it’s easy to get the crew you need, even when the decision to add a camera comes last minute, like, ‘We need C-Camera tomorrow!’” Pusheck shares. “It was also nice to be able to see who needed hours to make their insurance and for us to spread the love, rotating a bit so we weren’t always bringing in the same people.”
Maximizing locations also factored into the approach taken by Director of Photography Gregory Middleton, ASC, CSC, in setting the
look for Sirens, where all exteriors, including key beach scenes, were shot on the North Fork of Long Island. Middleton, who worked closely with Director/Executive Producer Nicole Kassell, made sure to bring along Chief Lighting Technician Bill Almeida, Key Grip Charlie Marroquin, and A-Camera Operator John Garrett to pre-scouts of the hero location – a huge Nantucket-style mansion on a cliff overlooking Long Island Sound. With no access for large, heavy equipment and safety near the cliff a prime concern, the team worked with Netflix safety (and an engineer) to build a narrow bridge along one side of the house “that was never seen but allowed us access for a small crawler-style lift,” Almeida recounts in Valentina Valentini’s story (page 38), “to place an ARRI S360 SkyPanel and one SolaHyBeam 3000 mover in each of the two lifts.”
The opening and closing shots of Sirens feature drone footage captured by drone pilot Dexter Kennedy and operator Jared Levy –moments that were curated by Middleton to ensure the East Coast beach setting supported the characters in the most visually engaging way. “Greg wasn’t just looking for traditional overheads,” Kennedy recalls. “He wanted the drones to feel like a natural extension of the camera language, with emotion and purpose behind every move – not just scope for the sake of it.”
In a world where producers are frequently taking work away from where stories beg to be shot, it’s a pleasure to highlight episodics that stayed firmly planted to the ground their creators intended. As Kelly concludes in Martin’s article, “There were so many advantages to shooting [in L.A.], ranging from the variety of locations to the great options you have crew-wise and gear-wise – the best around. We were able to scout locations and lean into what we found in all their dynamic, complex beauty, and that’s because there’s so much here that rings true in anchoring our L.A. noir approach.”
David Geffner
Executive Editor
Email: david@icgmagazine.com
Cover Photo by Patrick Wymore
Photo by Sara Terry
KEVIN H. MARTIN
L.A. Confidential
“Having only recently read Raymond Chandler’s Marlowe novels (five decades after seeing The Long Goodbye), I’m struck by how DNA from those classics has filtered into contemporary fiction. Specifically, Michael Connelly’s Bosch novels, though it will be interesting to see if Ballard is also infused with the good-protagonist-in-a-bad-world environs of Chandler’s city of angels. The work of Ballard’s cinematographers, Gavin Kelly, ASC, and Cynthia Pusheck, ASC, certainly delivers the necessary edge, enhanced by their “vibrant noir” approach.”
MACALL POLAY, SMPSP
Call of the Wild, Stop Motion
“What made Sirens a blast to work on were the amazing talents of the Local 600 crew I worked alongside. I wouldn’t be able to do my job as a still photographer without the support of the 600 crew.”
“Each episode is captured
in
“AN ALL-TIME TECHNICAL MASTERPIECE.”
one shot, creating a seamlessly immersive experience for the viewer. IT WILL LEAVE YOUR JAW ON THE FLOOR.”
GEOFFREY STORTS
I’m one of those AC’s who got pushed into the camera department and tripped forward until I learned how to stay upright. In 2010, I was about to graduate from college at the University of Kentucky, majoring in telecommunications with a focus on broadcast, when I was offered an internship on an extremely low-budget narrative feature. A producer, who is now a very good friend of mine, placed me in the camera department,
and I had my mind blown by everything I was learning. I took that knowledge and tried to move to the West Coast, where most of my family lives, but jobs kept calling me back to Kentucky, so I stayed.
It was difficult to find camera mentors around Louisville. Out-of-town crews would come for one-day or two-day jobs, so I rarely made many lasting connections. I learned to
be a sponge and absorb as much knowledge as possible. Many lessons were learned from the unscripted shows I worked on.
My first feature as a 1st AC was as a B-Camera 1st AC in 2014, where I met Director of Photography John Matysiak. John was formerly based in Nashville, and we would travel all over the country working together. He has since moved to L.A., but it’s been a great
1ST ASSISTANT CAMERA
BY MARGOT LESTER
PHOTOS BY STEVE SQUALL
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ongoing DP/AC relationship. We will have periods where we work in separate markets and on vastly different jobs, so each time we come together, we bring something new and exciting. He’s probably the closest mentor I’ve had. Throughout my 15-year career, I’ve done just about everything, from reality TV to live sports, documentary, music video, commercial, corporate and narrative projects. The hustle here in the Midwest knows no boundaries!
My first union gig was in 2016 on a feature called Mom and Dad. It came into Louisville non-union and flipped before week two. It was also my first time as an A-Camera 1st with a decent budget, so the conversations with my ICG business representative at the time made me realize the importance of representation and accountability.
There’s a core group of us in Louisville who have believed in the region’s potential for a long time. And when our enhanced incentives went into effect, we started seeing a younger generation of ambitious filmmakers join the mix. The growth of our market is directly related to those incentives. I sit on the board for 502 Film, which aids out-of-town productions in navigating our film incentives. The diversity of locations within Louisville’s zone is always surprising to out-of-towners. We are still growing as a film industry destination, but our local crew is talented, experienced and professional. Once our infrastructure catches up to the demands, we will be formidable.
I try to stay as active as possible, so in 2018, I started a short-film night called Below the Line BTL is a low-stakes showcase of Louisville filmmakers that I host at a local venue every
three months or so. I screen eight to 12 shorts and then have a quick “inside baseball” chat with whoever submitted the project. I’ve been able to sustain the show with only Louisvillebased projects, which is so cool. Our local creatives are so impressive.
Louisville also has stark seasonal changes, which is a plus. The weather was definitely a factor on Dead Man’s Wire. I’m a big fan of [Director] Gus Van Sant, and Director of Photography Arnaud Potier’s work is incredible. I felt lucky to be a part of the project from the camera tests until wrap. But the weather did make things hard. The day before we prepped cameras, a winter storm dumped over a foot of snow. Two inches of snow normally shuts down the entire city, but it fit the story, so we pressed on.
I remember one day that involved the characters covering quite a bit of ground downtown on foot, which meant we were just constantly pushing carts across ice-covered roads and sidewalks. When wrap was finally called, it felt like an accomplishment that nobody on my team quit! I’m extremely grateful for their commitment in such harsh elements. Arnaud was an absolute dream to work under, and it was so great to see our local crew come to play every day because we all believed in the project.
One of my proudest accomplishments was being the 1st AC on a movie called The Art of Self-Defense. On the last day, Jesse Eisenberg – the lead – came to me at lunch and asked why I requested so few additional takes for focus. I was embarrassed because I thought he was implying that I wasn’t forthright
with my voice. Instead, he told me that he was legitimately asking if I’m doing anything different from the other projects he’s been on, because he appreciated that I was getting it right the first or second time!
Speaking honestly, I probably lost more jobs than I gained in my first few years working union in Kentucky. The word union still scares people in a right-to-work state. And Louisville isn’t just a small market, it’s a relatively new market as well. Introducing this new market to what representation means and overcoming the sometimes-negative perception of what a union does is very important. Over the years, though, as better projects have come through and I’ve grown as a professional, I’ve experienced the value in representation. I know it’s a simple thing to say, but having an outside representative who you can call with questions about contract issues, hiring practices, or safety concerns has been invaluable.
I was raised to believe in the value of hard work. This industry is full of passionate professionals, and I consider it a privilege to be a part of it. But, unfortunately, some projects see that as an avenue for exploitation. I support unions because most of us below-theline workers just want to put in the work, get paid and arrive home safely. That should be a cut-and-dried goal, yet as we all know, some higher-ups don’t see it that way. Collective bargaining and representation seem to be the only real way to make this industry sustainable. Despite the changing political climate and the ongoing confusion as of late, it’s important to keep strong and make sure workers aren’t lost in the shuffle.
JESSE COYOTE SANCHEZ-STRAUSS
BY MARGOT LESTER
Like a lot of folks in the camera department, Jesse Coyote Sanchez-Strauss grew up directing, shooting and editing movies with her friends in high school and couldn’t imagine doing anything else. For college, the Canton, OH native attended the University of North Carolina School of the Arts to study film editing. “It turns out I am a person who has trouble sitting still, so a professor suggested I try out the cinematography department,” the New York-based operator recalls. Another professor, John LeBlanc, got her into lighting and framing, and she adjusted her plan to gaffing as an eventual path to becoming a director of photography.
Until she met Janice Arthur.
“She put me in a Steadicam rig and I was hooked.” Sanchez-Strauss logged as much
time as possible on Steadicam in Arthur’s operating class, using the school’s knockoff rig and ARRI 416. At graduation in 2017, Arthur gave her a list of names to call in New York and a handwritten buying guide for gear scrawled on a newspaper. Sanchez-Strauss began operating full-time in 2019, making her union days on The Ultimate Playlist of Noise (shot by Vince Patin) and then winning a Best Cinematography award from Indieworks for the horror short Come Be Creepy With Us
“I worked my first couple of years in frontmounted vests, the first of which cut off the circulation in my legs because I was too short for it,” she remembers. “Working in a vest that doesn’t fit you well is uncomfortable at best and can lead to more long-term issues. I switched over to a back-mounted vest. It
fits me perfectly, and I can breathe so much better. It puts most of the weight of the rig into my legs rather than my lower back, which has given me more longevity.”
Most recently, Sanchez-Strauss worked on Season 2 of Netflix’s Survival of the Thickest with Director of Photography Dagmar Weaver-Madsen and A-Camera Operator Chris Wairegi. She says, “The show is a comedy with a lot of improv, so it’s heavy on cross coverage. They were brilliant in keeping lines of communication open to make sure we were all set up to get our shots at the same time. Chris is not only an incredibly talented camera person, but I learned so much from her about the kind of leader I want to be. I’ve never seen an op take such care to make sure everyone knew each other, knew each others’ names – there was a real human connection. Chris is a great example of being ‘peoplefirst’ in this work, and that you don’t have to sacrifice efficiency in keeping the vibes right.”
Launching a career during the rise of AI and production flight hasn’t been easy. “Even in flush times, the camera department can be particularly tough to break into,” Sanchez-Strauss acknowledges. She notes that despite improvements in the overall environment, “historically, there’s a fair amount of gatekeeping. I am a 5-foot, 3-inch nonbinary woman in a field dominated by dudes. I don’t have room to not be at my best on every shot. When I first started operating and doing Steadicam, even just six-and-and-a-half years ago, only a few other women were doing this. There’s a lot more of us now, which feels great. I don’t hear ‘You’re the only female Steadicam op I’ve worked with!’ as much anymore, which to me feels like we’re progressing forward in a good way!”
The experience motivates her. “Yes, we are currently dealing with an oversaturated and ever-growing market; we’re all struggling for work. But we have to continue to work to break down barriers for people who have historically struggled to break in,” StraussSanchez concludes. “I had some great help in the beginning of my career, and I want to make sure other women and nonbinary people, especially BIPOC people, have the best shot possible. There’s a creative upside to more diverse representation on set. What we experience in our lives does inform our storytelling as operators, and we’re gonna get way more interesting stories when the people behind the camera reflect the real world.”
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CATHERINE E. GREENE
BY MARGOT LESTER
PHOTOS FROM HULU’S ENGLISH TEACHER
BY JOSH STRINGER AND STEVE SWISHER / FX
Cave City, Kentucky – a scant 100 or so miles east of Louisville (aka “Derby City”) –is the gateway to the spectacular Mammoth Cave National Park cave system, a labyrinth of chambers and passages that is the world’s largest. In many ways, Operator Catherine E. Greene (now based in Atlanta) should hail from there, because, by her admission, her path to a career in film was anything but a straight line, despite growing up in Kentucky.
“My film journey was not that simple,” she laughs. “I went to Western Kentucky University for undergrad. I was lost and unsure what I wanted to do with my life, so I majored in what I enjoyed at the time, textile design. And I have done nothing with that degree!
“I did not meet any film folks in university,” she continues. “But I do remember thinking the classes looked cool. It took years of not knowing what I wanted, since I was not around anyone film-related, trying new things, and living in other places before I decided I wanted to learn how to make movies. My
sister, a friend and I wrote a feature that we thought was awesome…it was not. I enrolled in a small, unaccredited school in Hawai’i for a three-month course because I didn’t have the money for longer schooling.”
The first course was an introduction to gear. “I knew as soon as I touched camera equipment that I was in love. I am not exaggerating – the heavens opened up in song.” Today, her go-to camera systems are ARRI’s popular Mini and Mini LF. “All day. It’s more user-friendly and is a more comfortable, smaller fit,” she says. She’s also a fan of the Cinesaddle, which “has drastically changed my longevity during long takes.”
After her epiphany, Greene began steadily working. Her first union outing was Season 1 of USA’s Satisfaction as a digital utility. Since then, she’s worked in a slew of genres. Which suits her.
“I don’t have a favorite genre,” she avers. “It’s fun to have variety because it helps me work on the different looks desired. I’ve been
so fortunate to work with some amazing people that I consider my mentors.”
She recently wrapped Season 2 of Hulu’s English Teacher, with Director of Photography Christine Kapo Ng and Steadicam Operator Greg Faysash, SOC. “I can get caught up in the technical side of operating, but with comedy, things aren’t exact, because the actors are flowing and certain things don’t matter except them and the words,” Greene describes. “I learned how to adapt in the moment, even if it wasn’t my original plan – and that’s okay!”
Greene adds that she approaches each project as a learning experience. “Every DP has a different style, even if it’s down to something as subtle as headroom preference, and every operator has a few tricks of the trade, be it technique or temperament. I do have a lot of fun studying if there is a style I need to adapt.”
Reacting quickly is one trait Greene says is essential for successful operators. Others include being resourceful and communicating
in a soft tone. “There are so many things to navigate throughout the day, be it a light a DP doesn’t want to move, an actor who overshoots their mark, or a tall bottle of water used in the scene that constantly needs to be adjusted so it isn’t blocking a face,” she explains. “I have found that a soft tone gets you a long way. Talking to producers, actors or Costumes in a kindly, soft tone may not always get you the answer you want, but it helps keep a peaceful set.”
Ng says being a B-Camera operator is much more nuanced than just “getting a second angle. You have to navigate the hierarchy of the systems at play, get your shot and let the A-Camera have their shot as the priority,” the 13-year ICG member shares.
“The B-Camera operator’s role requires attention, grace and finesse. They need to ride that fine line of making their shot great without disrupting the flow of the main angle. Catherine does an excellent job at that and with great style. Her demeanor is calm, quiet and easygoing, and her work is confident and exacting.”
Over her 11-year career, Greene has capitalized on all the Union has to offer.
“I’ve enjoyed the access to classes – I remember having so much fun at the Op class in Chicago –and the connections made,” she offers. “And I have benefited from the Available/Health Preserver List,” as well. And, she adds, there have been halting improvements for women in the business. “Onset conversations tend to be a bit more polite for mixed company; certain terms are not used, for the most part – and I, for one, have felt an increased respect from my peers. But there’s always room for improvement, right?”
Greene describes Atlanta’s Local 600 community as tight-knit and full of heart. “It makes a difference when you show up to work, knowing you are part of a team,” she states. “My work families – English Teacher, The Hunting Wives, Reservation Dogs, et al – have made my career a dream come true, and my local Atlanta community has made this place a home. We can sometimes get overlooked since we weren’t the original filming destination or even the secondary one; but over the years, the many people who are from here and those who have migrated have formed an amazing group of folks to work with.”
Challenges aside, nothing can erode Greene’s passion for filmmaking. “I love being challenged at work to be better, and I have gotten that during my time here in Atlanta,” she concludes. “Every day I get to go to work is my proudest accomplishment: I was picked to do something, and I get to show up and do what I love. That’s the most rewarding job I could ask for! It hasn’t always been easy, but I am forever grateful to those who have believed in me through the years.”
PHOTO BY STEVE SWISHER / FX NETWORKS
GAVIN KELLY, ASC, AND CYNTHIA PUSHECK, ASC, BRING A “VIBRANT NOIR” APPROACH TO THE CITY’S DARKEST CORNERS IN AMAZON’S NEW EPISODIC SERIES, BALLARD .
BY KEVIN H. MARTIN
PHOTOS BY TYLER GOLDEN / AMAZON MGM STUDIOS
Crime/Mystery Novelist Michael Connelly’s Harry Bosch series of books has been topping bestseller lists for more than three decades. The character made a very effective transition to the small screen in 2014 – led by actor Titus Welliver in the titular role, who helped Bosch and Bosch: Legacy run for a combined total of ten seasons. Connelly introduced LAPD detective Renée Ballard in an expansion of the Bosch print universe in the 2017 novel The Late Show. For Amazon’s new series Ballard [starring Maggie Q], the title character navigates an intradepartmental conspiracy among L.A.’s finest while ferreting out clues that lead to the revelation of a decades-long serial killer spree.
Derived principally from Connelly’s novel Desert Star, Ballard reflects the author’s tradition of compelling characterizations and plotting. Co-showrunners Michael Alaimo and Kendall Sherwood sought to develop a visual style befitting the source material’s noirish aspects, carrying over Director/Executive Producer Jet Wilkinson from her work on the Bosch: Legacy finale. Wilkinson, in turn, recruited Director of Photography Gavin Kelly, ASC, whom she worked with on the Hulu series Wu-Tang: An American Saga. “Jet and I kept in touch over the years,” Kelly recalls, “and when she became involved with the [Bosch] spinoff, it turned out Jet, the showrunners, and I were all on the same page about how to approach the series visually.
“In our early discussions about the show,” Kelly elaborates, “we all agreed there should be a vibrant and colorful approach, grounded in the authenticity of Los Angeles. Anything based on Michael Connelly’s work, you need to see and feel the layered tapestry of communities and perspectives that make up Los Angeles, texture and location-wise. The city has many heartbeats. So, having a close collaboration with Production Designer Ray Yamagata was essential when selecting locations and defining design choices, because they had to be characterand story-appropriate, while also revealing a certain vibrancy. There are a lot of lighting decisions in terms of color and quality of light that layer on top of that, along with the hero LUT we created. But it started with getting the right locations.” Sharing cinematography duties with Kelly was Cynthia Pusheck, ASC ( Good Girls Revolt and Our Flag Means Death), who says she “had been lucky enough to get called by Steve Fierberg [ASC] to fill in for him on a Legacy episode. I got on well with everyone,” Pusheck recalls, “and so, with that one episode serving as a kind of interview for me, the producers decided to throw my name into consideration for the new series.”
Another behind-the-camera veteran of Bosch: Legacy , B-Camera Operator Sarah Levy, SOC, also joined the team. “In transitioning from Bosch: Legacy to Ballard,” Levy explains, “it was easy to go from one show to the other because Ballard’s new visual language was defined so clearly in advance. While Bosch had the look and tone of a classic hard-boiled noir police-detective series, the look of Ballard was going to be different. Before we started filming, Gavin sent over a visual reference lookbook. He called the look ‘vibrant noir’ – dark and contrasty but full of color. Personally, I love it when DP’s share visual references with their operators before shooting starts, because then we are all immediately on the same
page; and as operators, we feel empowered to help achieve that look.”
A-Camera 1st AC Joe Cheung recalls prepping at ARRI Rental in Burbank. “I facilitated as an assistant during the prep and test days,” he reports, “with no executive decisions for camera or lens selection, as that conversation was between Gavin and Cynthia. We shot on ALEXA Mini LF’s with ARRI DNA LF lenses as our hero set. We also carried ARRI PRIME DNA lenses and a three-set of Iron Glass rehoused Sovietmade [Helios] glass for certain narrative moments.”
Kelly says the choice of glass was driven by “a key concept for us in establishing the look and feel of the show, ‘emphasizing empathy.’ The show required us to find a set of lenses that held a modern look and presence, but balanced with a softer vintage texture and painterly quality,” he explains. “So, that landed us on the DNA LF’s as our primary lenses that really hit the sweet spot. In addition, we occasionally used the three focal lengths of Helios lenses that were more expressive with their smear out toward the edges and unique bokeh. Those saw use when we were looking for a different way to get inside a character’s head. That intimate
PHOTO BY URSULA COYOTE
PHOTO BY GREG GAYNE / AMAZON
connection with the characters was extremely important for this show. It was especially key in the early episodes when we are first getting to know Ballard and how she sees the world, which is a bit different from how Bosch sees things. We also carried a long zoom; mainly we were looking for ways to place the viewer into these intimate spaces with the characters.”
The choice of lenses carried with it the potential for difficulties when shooting in dimly lit environments. “The DNA’s, and especially the Prime DNA’s, have a very soft and large falloff, wide open, making them difficult to pull focus,” Cheung notes. “So, I was fortunate that for a large part of the show we shot at 2.8, where the lens starts to sharpen up. Luckily the action scenes were fairly straightforward, and A-Camera Operator Orlando Duguay did a fantastic job, making intuitive decisions on both camera and Steadicam. Orlando made things easy for me.”
The cinematographers aimed to infuse the series with DNA from the Bosch universe. As Kelly shares, “Cynthia and I
incorporated L.A. into our Ballard-specific visual recipe of modern L.A. noir. Colorist Walter Volpatto at Picture Shop worked with us on the LUT, which included various film emulation characteristics in terms of curve and color, offset by some modern image pop. It’s a thick LUT in that it allows for a lot of contrast. We pushed the highlights and held deep shadows, and shot mostly based at 800 ISO, with 1280 ISO for various night exteriors.”
One of the most memorable aspects of the previous Bosch series is the detective’s home. Harry lived in a glass-walled hilltop house sporting a dazzling view of the San Fernando Valley. While a different vista was used for Ballard’s digs, both choices reflected a commitment to character that transcended production conveniences. As Pusheck describes, “The Bosch house is famous for being a tough location for production. But the producers had a willingness to deal with that over the long haul, in spite of logistics. With Ballard’s trailer above Paradise Cove, we found a location that also involved some effort. Beaches are hard places to work, owing to wind and sand, plus moving and setting
up gear securely. But our team was terrific at problem-solving, so those aspects that might be considered drawbacks were overcome as we managed to stay on schedule.”
Kelly adds that “there was a lot of behindthe-scenes work that went into securing Ballard’s trailer and location. It was above a busy parking lot, adjacent to a working restaurant and beach access, all of which was limiting for space to work with trucks, gear and such. Plus we started shooting in summer, so there were limitations on when we could be there,” he shares. “Cynthia and I tag-teamed a bit when shooting nights at the trailer park location, but getting that level of scope was worth the effort. It was key for setting up Ballard’s character – showing where she could go to get away from everything, her sanctuary.
“The art department built a great interior set,” he continues, “and Cynthia and I were able to have a lot of input, so the transitions from interior stage to location would work convincingly. This also allowed us to have aspects at our disposal to help create the proper mood through lighting.”
Chief Lighting Technician Eric Sagot
helped enable a seamless blend between location and stage interior, blowing out the painted backing outside while providing skylight and practical illumination. Sagot was also key in establishing the look for the show’s other principal location – a dank basement in police headquarters that becomes the cold-case squad’s ramshackle office.
As Sagot explains, “There’s one long sloped wall that allows a bit of daylight to enter through the windows. We used a lot of tungsten sources mixed with SkyPanels to achieve the sunlight. It was a mixed colortemperature situation because in addition to the daylight, we had practicals above. Every one of the practicals was outfitted with wireless RGB computer-controlled bulbs, so we could handle adjustments and create contrast with these overhead sources, even accommodating big wides without having to bring in another light. We got to play with the cold-case aspect too, because the further you get away from the windows and into the stacks of files and binders, the darker it got. So, they could block the scenes by the windows or deep in the stacks, depending on what kind of mood needed to be communicated. It played to the mystery of it all. When it was night, we just had the overheads with their own night look that was a bit more creepy.”
Kelly notes that “the split-level basement set is supposed to feel like a forgotten space. So, the practicals should read as a mix of older fluorescents and leftover lamps from decades prior. We could play with the different color temperatures using Astera bulbs and create a look that is pretty much the opposite of your typical slick police office lighting. Being able to break things up here, with variations in mood and color contrast, figured into our visual approach because in digging into those old files, Ballard and her team are trying to find closure for these lost souls. They’re trying to bring dignity and respect to the lives of the victims, years after the crime was committed.”
Kelly’s words ring especially true for the scenes when LAPD is out in the field, interviewing victims’ families and searching for leads. “The human connection in those scenes is vital, and makes for a nice contrast against the L.A. noir look,” Kelly observes. “It provides a layer that underlies the police procedural aspect and relates to Ballard’s emotional engagement. Being able to lean into emotions first was appealing and opened up different approaches in our storytelling.”
These approaches sometimes involved
“WE WERE ABLE TO SCOUT LOCATIONS AND LEAN INTO WHAT WE FOUND IN ALL THEIR DYNAMIC, COMPLEX BEAUTY, AND THAT’S BECAUSE THERE’S SO MUCH HERE THAT RINGS TRUE IN ANCHORING OUR L.A. NOIR APPROACH.”
camera gadgetry, outlets for which were always close at hand. “I felt lucky to have access to gear without any hiccups,” Cheung acknowledges, “and it was also nice to have other local houses nearby in case our DP’s had a specific item that they liked to use. For example, Cynthia knew Panavision Woodland Hills had in their possession a custom cracked-donut diopter, so she was able to request that for specialty shots.”
Cheung also cites another custom gadget employed for Kelly’s episodes.
“Gavin wanted to control the intensity, timing/repeatability, and direction of lens flares for certain scenes,” Cheung shares. “So, our B-Camera 1st AC, Alex Lim, and I discussed making a makeshift LED light adapter to attach to a small Heden LM30 motor at the end of an articulating arm. Alex designed and printed a gear adapter and light shroud for the motor. Gavin controlled the rotation of the gear/light remotely with a [Preston] Radio Micro Force so it would spin on and off the lens at the time of his choosing. Combined with the Iron Glass primes, which we chose partly for their flare qualities, it made for a pretty seamless lens light gag.”
Visual tricks aside, Kelly and Pusheck say they mainly embraced a classical
approach to shooting. “In the first block of shows with Jet, when we set the tone of Ballard’s world, we looked to establish our look through clean camera moves and strong graphic frames,” Kelly reports. “The opening sequence, where we first meet Ballard right in the middle of a foot chase, you see immediately that Ballard is in complete control of things, commanding the frame. While we do, through the run of the series, often employ other visual approaches, with Steadicam, crane, gimbal and handheld – there are various sequences in episodes that needed to feel visceral, immediate and intense – we’re most often in studio mode, moving with a driven, controlled precision.”
Levy found the visual blend appealing. “The style could shift off the classic dolly and crane moves to intimate handheld scenes, voyeuristic long-lens work and big action stunt work,” she enthuses, adding that the role of B-Camera varied. “Sometimes Orlando would set up a single camera master,” Levy adds. “But with such a large cast, A-Cam and B-Cam would often each set up complementary masters, or I would do an additional ‘mini master’ before we’d both come in for tighter coverage. Orlando is an incredible collaborator and always sees
DIRECTOR OF PHOTOGRAPHY GAVIN KELLY, ASC
the value in finding a way for both A- and B-Cameras to achieve great shots.”
In a career ranging from documentary and low-budget DP work to operating and directing photography for unscripted work, Levy says that when she transitioned to operating A- and B-Cameras for bigger scripted TV shows and movies, she brought all those past experiences to every job. “As a B-Cam operator,” she shares, “I love being that extra set of eyes, seeing things through the lens of my past work genres. [On Ballard], I always felt empowered by our DP’s to pitch a shot even if it was originally conceived as a single-camera setup. Fortunately, I was working with a talented dolly grip, Randy Crisco, who has a great eye. Randy was also always on the lookout to find a bonus shot if we weren’t already assigned something.”
Both Kelly and Pusheck yield high praise for the rigging crew, led by Rigging Key Grip David Novak and Rigging Chief Lighting Technician Travis Panarisi. Main unit Key Grip Chris Garlington and Chief Lighting Technician Sagot were also instrumental in how well the rigging teams worked with main unit G&E crews to make the locations smooth and efficient.
As Pusheck recounts, “We had a very ambitious two-night garage sequence where the riggers were only allowed to start working around 5 p.m. The company came in around seven, so in that short window of time they had to run cable, rig and light two large parking structures, the street in front and the alley in between. Then they had to remove everything at wrap to get us off the street and out of the structures by curfew. The crew did an amazing job!”
Kelly, who has worked with this same team for years, adds that “when they get the ball, they know what to do with it. Even if they’re only half a day ahead of shooting, they still deliver some pretty huge, complex pre-rigs, including big night exteriors. Our camera team, with Joe as a kind of fulcrum, was equally up to working at speed as we moved from location to location. One key asset was a dedicated camera body built on the Ronin in standby mode so that it could be flown in as needed. We could dolly with the Ronin if we didn’t have time or the
ability to lay track, so there were always various tools like these up our sleeves. The package was built out to be as flexible as possible.”
The same held true for Sagot’s lighting gear. “My lighting package for a show this size was pretty standard budget-wise,” he states, “consisting of a regular LED package, a good dozen lights ranging from SkyPanels down to something as small as a postcard, with a lot of Asteras. Plus there was our daylight HMI package, which was punchier and let us cover all the bases for most locations. There was some money set aside for a bit of a location budget, just in case we needed something extra. I try not to dip into that, but sometimes I may need a third or fourth big gun. The payoff is high because it lets things go a lot quicker.”
Sagot notes that on location, “it’s rare to be able to just walk in and go. The cameras are very sensitive, but there still need to be some controls in place that boost what is coming in through the windows or is observable from switching on the practicals. Augmenting and making enhancements, while keeping things looking natural, is the name of the game, and my tools are what allow the DP to maintain continuity. Production might have four scenes scheduled for a single day set in three different locations, so we have to get the equipment set up in a way to ensure that consistency. This show was creatively exciting because Gavin tried very hard to make it a unique visual experience, which I think the showrunners appreciated. If you’re flipping channels, you’d be able to see at a glance it looks different; it is recognizable as Ballard.”
Due to the demands of shooting days involving multiple location changes, a third camera was sometimes needed. “I joked about how Gavin got a lot of time on the first block, and then we were crunched down to the regular episodic schedule for Block two,” Pusheck laughs. “So, having that third camera available to leapfrog, or get additional material for editorial, made all the difference.” Pusheck recalls that, “at the end of one night, I quickly sent our C-Camera Operator, April Kelley, off with an electrician and her dolly grip to grab a bunch of inserts that I felt would be important. And Editorial
ended up using all of those shots in the edit. That’s another nice thing about shooting here in L.A., where it’s easy to get the crew you need even when the decision to add a camera comes last minute, like, ‘We need C-Camera tomorrow!’ Honestly, it was also nice to be able to see who needed hours to make their insurance and for us to spread the love, rotating a bit so we weren’t always bringing in the same people.”
With so many of the color decisions in place up front, the final color timing process was a straightforward endeavor. “Mostly it was just slight adjustments based on the time of day and matching shot-to-shot to address changes and inconsistencies in the weather and location curveballs on the day,” Kelly describes. “We guided the follow-through of the look of the show in detail, closely working with our colorist, Walter Volpatto at Picture Shop, to finesse and polish.” Pusheck says she appreciates that the DP’s were present for final color on both Bosch: Legacy and Ballard . “The idea that DP’s cost a show money,” she shares, “shouldn’t outweigh the need for them to weigh in at that point in the process. We troubleshoot and problem-solve and offer a set of fresh eyes.”
With so many projects shooting internationally or in other areas of the U.S., Ballard felt like a welcome home for Levy. “As a Los Angeles native, I love how Ballard completely incorporates the city as its own character,” she describes. “So much of Ballard was shot on location, from L.A. landmarks to hole-in-the-wall dives, which added a feeling of truth and authenticity, something so important in recreating the world of Michael Connelly. These days, there’s a feeling of nostalgia to shoot L.A. for L.A. Of course, our crews are eager to see production return to Hollywood.”
Kelly also feels the L.A. presence was an essential component. “There are so many advantages to shooting here, ranging from the variety of locations themselves to the great options you have crew-wise and gear-wise – the best around. We were able to scout locations and lean into what we found in all their dynamic, complex beauty, and that’s because there’s so much here that rings true in anchoring our L.A. noir approach.”
LOCAL 600 CREW
Directors of Photography
Gavin Kelly, ASC
Cynthia Pusheck, ASC
A-Camera Operators
Orlando Duguay, SOC Ben Verhulst
A-Camera 1st AC
Joe Cheung
A-Camera 2nd AC
Brendan Devanie
B-Camera Operator
Sarah Levy, SOC
B-Camera 1st AC
B-Camera 2nd ACs Kelsey Castellitto Gina
C-Camera
C-Camera 1st ACs
Michael
C-Camera 2nd ACs
Jacques
B-Camera Operator Sarah Levy, SOC (on dolly with Gavin Kelly, ASC to her right) says that “as a Los Angeles native, I love how Ballard completely incorporates the city as its own character. So much of Ballard was shot on location, from L.A. landmarks to hole-in-the-wall dives, which added a feeling of truth and authenticity, something so important in recreating the world of Michael Connelly. “
call of the
GREGORY MIDDLETON, ASC, CSC, AND ZOË WHITE, ACS, CONJURE UP A WITCHES’ BREW OF TV MAGIC FOR NETFLIX’S HIT EPISODIC, SIRENS .
BY VALENTINA VALENTINI
PHOTOS BY MACALL POLAY, SMPSP FRAMEGRABS COURTESY OF NETFLIX
In Homer’s epic Greek poem, The Odyssey, readers of antiquity meet the fabled “sirens” – women with the body of a bird and the head of a human who lure sailors to their watery graves with their seductive singing. Never real, but with an existence that’s persisted through centuries, their legend lives on as a warning of the perils of the sea. These mythological characters also served as inspiration for Molly Smith Metzler’s hit Netflix series, Sirens, which interweaves the lives of three very different women as they navigate their own traumas and seek those who could help them from drowning – mentally, spiritually, physically and every other way. Starring Julianne Moore as Michaela and Meghann Fahy and Milly Alcock as sisters Devon and Simone, the five-episode limited series touches some nerves, both good and bad. But most importantly, it got people hooked, not unlike the sirens’ songs of antiquity, albeit for a new streaming generation.
Metzler, who wrote the series based on characters from her play, Elemeno Pea, worked in tandem with Director/Executive Producer Nicole Kassell to bring an original slant to a familiar story about women, wealth, power and sisterhood. “In this sea of shows about wealthy people, it was important to know our tone,” describes Metzler, who also created the popular Netflix limited series, Maid . “We aren’t a murder show. We aren’t a satire. We are our own thing. So, we wanted to double-down on that. We were doing something distinctive and risky that should make audiences a little uncomfortable.
“Nicole and our fearless director of photography [Greg Middleton] talked about the visual world we wanted – it had to be singular and impossible to compare, with a sense of dread that something is a little off. We wanted the richness, saturation and the aspirational quality known to that wealthy world, but there was always something a little uncanny about it all.”
Gregory Middleton, ASC, CSC, known for Game of Thrones, Watchmen and The Killing, was the right creative mind for the job. As he explains, “Sirens has this unique tone of funny and dark, with a hint of the occult and fantasy, and even societal commentary. It’s also an intense personal drama with deep histories for the characters. Getting the tone right and translating it to the experience of the audience fascinated me.
Nikki [Nicole Kassell] and I get into deep dives on characters’ motivations and how to experiment with point of view. It’s always a big part of our process, and that was no different for Sirens.”
Kassell, who comes to the table with
an encyclopedic film library and is most comfortable in the visual building of a story, says she “loves [Middleton’s] brain. Greg brings the best out of me and vice versa. I was able to trust him implicitly.” Hitherto, the first key conversation the pair had (Kassell and Middleton also worked on The Killing and Watchmen) was about whose POV to follow. Would that change throughout the story, and how much did they want to let the audience in on the secret? Not that there is a secret: these are simply three women operating in their own justifiably selfish ways, orbiting around each other trying to get their own needs met.
When Kassell was reading Metzler’s scripts, the words triggered images from sources as far afield as Raising Arizona , Rosemary’s Baby, No Country for Old Men, The Big Lebowski, and Silence of the Lambs, even Hitchcock and Fellini. “[These references] are as far away on the spectrum as you can get in terms of genre,” Kassel notes. “And the question was how to have one thing hold that all together?” Even with such disparate visual sources, Kassell says she never doubted that the production team and cast could pull it off. “ When you’re working with a crew that flows well, it’s like making jazz,” she adds.
That visual music also included many unique “sirening” moments.” Or, as Middleton explains, “We wanted specific visual moments that told the viewer, ‘Hey, there’s something going on here. Why don’t you come with us for the ride?’” These sirening moments were spread across the three main characters to impart an equal dusting of magic, if you will, on each woman. “We wanted characters looking at
the camera so that the viewer would feel like they’re being put under their spell,” Middleton adds. “It’s not that it hasn’t been done before. In fact, I worked with Jonathan Demme on The Killing – where I met Nikki – and he’s famous for the amazing use of that technique in The Silence of the Lambs between Clarice and Hannibal Lecter.”
For gear, Middleton opted for an ALEXA 35 out of Panavision New York, which he’s used on previous series. A favorite for its versatility, skin tone and dynamic range, Middleton says he knew the camera had the chops for Sirens, especially when paired with the ARRI Signature Primes using the ARRI Impression filters. “When you’re going for subjectively mesmerizing moments, you need some tools for that,” Middleton notes.
A-Camera 1st AC Eric Swanek says the Impression filters are diopters that mount behind the lens and change the shape of the bokeh, making the image more dreamlike. “Impression filters come in two varieties and various strengths,” Swanek shares. “Positive filters expand bokeh with a bright center fading out to the edges and alter focus to infinity closer, while negative filters give more of a donut bokeh where the center is darker than the edges. The downside to using negative filters is that the lens mount must be shimmed, as focus would never reach infinity. Greg chose the positive filters to be able to change the strength depending on the shot: 70P for wide shots, up to 330P for certain close-ups.”
In addition to achieving the unique effects on the frame edges, assisted by a variety of diffusion filters, the diopters
could also alter the shape of the actors’ faces. Middleton wanted the sirening moments to have the character’s face fill up the whole field of vision – like that vantage point when you wake up in bed next to somebody and you’re inches from their face. “I varied the diopters for four different strengths,” Middleton says. “For certain scenes where I wanted just a little bit of background going a bit strange or stretching a bit in the corners, I could use a light one. But, for instance, the scenes in Buffalo where it’s a hard reality and no aspirational look or feel, I could go completely straight and all with one set of lenses.”
Because of scheduling logistics, a second director of photography and two other directors were brought in. Zoë White, ACS, who shot much of Season 3 of The Handmaid’s Tale and, more recently, the epic finale of HBO’s The Penguin [ICG Magazine, December 2024], was hired for episodes three and four. As Middleton observes, “We don’t often get a chance to work with other cinematographers in a creative way. For example, when I worked on Game of Thrones, it was one of the first times I joined in the middle of an established look, sets and characters. There were five DP’s each year, and we’re telling one long story, sharing plots and characters over time. We had to be mindful of how we overlapped and not do the same thing someone else was going to do. We had to work closely on how the overall story is being told, visually speaking. We’d have to talk about the entire thing, and that’s what Zoë and I did for Sirens.”
things were coming together. We chatted about the show and traded some ideas, and he showed me references he was using, which was very helpful for understanding his approach.”
White notes that she started in TV as the alternate DP on Season 2 of a series, and “I quickly saw how much of a great learning opportunity it could be to follow the work and vision of another cinematographer, and see how they approached their craft and the look of a show. It’s a unique challenge – and a rewarding one – to strike a balance between honoring the visual language that’s been established and bringing my own instincts and style to the work.” she describes. To that end, White says he stopped by set during one of Middleton’s pre-light days on stage, “and I got to hang out with him and his crew, get a feel for the set environment, and see how
Middleton admits to wishing he could poach one of the scenes White ended up shooting, where Devon is lured to Michaela in her bathtub. “It’s such an incredible scene because it’s that perfect mix of visual mystery manifesting with the cinematography and lighting,” Middleton states. “We knew we could really push it that way, and Zoë took that ball and ran with it.” As White adds, “The bathtub scene was both my favorite and most challenging. What an honor to get to shoot Julianne Moore as a sea goddess in an atmospheric scene where she puts Meghann Fahy under her spell. I was particularly excited that the show moved into more surreal territory in episodes three and four, which gave [Director] Quyen Tran and me the opportunity to play with elevated lighting ideas that pushed beyond reality.
“I thought about the concept of
shimmering, inspired by glittery reflections coming from the ocean,” White continues. “We used sheets of Mylar to bounce and reflect light, adding texture and movement to the space. While Julianne advances toward Meghann, we cross-faded the lighting, making it darker and bluer. It was one of those magical scenes where multiple departments were working closely and actively around the image while we rolled.”
For Chief Lighting Technician Bill Almeida, who did the first three John Wick films, A Quiet Place, and Season 1 of Fallout, the bathtub scene offered a chance to have some fun. And what he and White came up with was simple yet effective. “We started the scene a bit brighter using several ARRI SkyPanel S360s bouncing into 12-by-12 muslins outside the bathroom window,” Almeida describes. “These lights faded out while we faded up a Fillex Q10 LED Fresnel into a custom 8-by-8 Mylar sheet. We had a Mole Fan blowing on the Mylar to create the steady shimmering effect, and inside the bathroom we did a similar thing but on a smaller scale – we used a 4-by-4 Mylar sheet stretched not too tightly on the frame. A small fan was blowing on it, and a smaller Fillex Q8 bounced into the Mylar. We also had a light level change in some of the existing practical lights in the room with all transitions on one cue.”
To round out the show’s visual roadmap, A-Camera Operator John Garrett pulled from his time with Kassell and Middleton on Watchmen . Garrett says his goal was never to distract the audience from the story but to give just enough to guide emotions subconsciously. One such example is giving Devon the feeling of being trapped, like when she is released from jail in Episode 1 and sits on the curb with police cars engulfing her in the frame, or when she is on the bus in the next scene headed to save her sister. “We framed Devon squeezed between the headrests of the seats in front of her or pinned against the window,” says Garrett. “We wanted the audience to feel like the world was closing in on her.”
Another motif Garret was hunting for, was how to make Simone and Michaela mirror each other without understanding who was mirroring or copying whom. When Simone and Michaela are stretching together before their daily morning beach jog, Middleton shot this sequence in a way that it looks like the two are from one body, morphing into each other.
“I was inspired by Greg and Nikki’s mirroring motif and happened to have a triangle prism in my kit,” Garrett recalls. “While Greg was lighting for the other camera, I put on a long lens, placed the camera directly in the grass, got two clear
water glasses from props, and laid the triangle prism across the water glasses and shot through it. This created a mirrored reflection of the two sirens where you saw them flipped upside down, not only growing out of each other but themselves as well. Greg and Nikki loved the shot, and I was thrilled to see it used in the trailer. I had a lot of fun finding different translucent elements to put between the camera and the siren being photographed – often Michaela – to give an ethereal quality. By the end of the shoot, I had quite a collection of vases, crystals, prisms and candles.”
Another visual aspect that features prominently is the costumes. Caroline Duncan’s work on The Affair and Three Women made her a perfect fit for Sirens , and Duncan says she jumped at another chance to tell women’s stories through a different lens.
“Molly’s scripts were such a visual feast,” Duncan shares. “So much was written in there about the style of that world, especially all those pastels and the Lilly Pulitzer clothes. And Nikki imbued the design with specific visual references. [I wanted to help] build a world that was both fraught with beauty and felt tenuously mythological, yet with sharp edges. Because the tone of the show is complex and leans into so many genres. Greg and [Production Designer]
John [Paino] were talking to each other all the time. It was a delicate line to toe, so the communication was constant to make sure that if one of us was tipping in one direction, the others were also carrying that weight so the balance was correct.”
Duncan’s respect for Middleton grew ever more when she saw the lengths (pun intended) he went for Michaela’s dress in the opening shot of the series. Middleton, Duncan and Kassell wanted the dress to have an eight-foot train so Middleton could capture shots of it weaving through the grass like a river. Between blue and green, they chose green because that looked best with Moore’s skin tone. Duncan studied a few green silk chiffon fabrics, all with subtle differentiations in levels of iridescence.
“I would go into the parking lot, and Greg had people flying the fabric around just to see which one worked best,” Duncan remembers. “Once we picked the fabric, and even before we built the dress or showed anything to Julianne, Greg took it to the location on the cliff overlooking the beach to make sure it would work in that environment. He came back and was so excited – there were pictures and videos of him holding this enormous piece of silk chiffon to make sure that it worked with the grass, the clearing, and the cliff. And it did!
“That’s a metaphor for how Greg works,”
Duncan continues. “He’s so hands-on. He’s got such a whimsy with how he approaches everything – both playful and serious. He even tested the shapes of sunglasses with his lenses to ensure that our peak Fellini look with the three Fates would play. He was also supportive of helping me to fill those big architectural spaces in the house with the extras at the parties to create a beautiful kind of kaleidoscope of colors and a specific palette of colors and prints that made things feel surreal.”
Much of Sirens plays out in a few days’ time on a large New York-area estate. All exteriors, including the beach scenes, were shot on the North Fork of Long Island, and all interiors were done at Steiner Studios in Brooklyn. This made lighting continuity key for Almeida. As he explains, “Our main set was the interior of the mansion, which was a massive multi-level set built on the largest stage at Steiner. We had big windows, which allowed you views into the backyard that led to the cliff and water. The art department made two huge backdrops – 42 feet high and 200 feet long – for the front and back of the house.
“Greg had wanted the sunny side of the house to be the backyard side,” he continues. “I used eight 24K fresnels focused
through windows to achieve the sunny vibe. They all had to be isolated from each other to prevent multiple shadows, and all were rigged for easy adjustment up or down and left and right. We also had hundreds of S60 SkyPanels to light the two drops, and some were used with space light skirts to create ambient light outside. The bounce back from the drop gave us a beautiful soft daylight push through our windows that was a perfect complement to our hard sun. The home needed to look grand – the bright sunlight we created, combined with the atmosphere we added, gave it a stylized and glowing, mythical appearance at times.”
Middleton brought Almeida, Key Grip Charlie Marroquin, and Garrett to pre-scouts of the house, and that was when Almeida became aware of the many restrictions the location presented. Michaela’s house is a huge Nantucket-style mansion atop a cliff overlooking the Long Island Sound. Numerous day and night scenes were shot there, and the scripted night work required them to light some of the beach, cliff stairs and backyard.
“This location had almost no access for large, heavy equipment, and we were dealing with a cliff’s edge, so safety was a big concern,” Almeida recalls. “After consulting with Netflix safety and an engineer, we knew what our limitations and restrictions
B-CAMERA/STEADICAM OPERATOR MIKE BURKE, SOC
OPPOSITE PAGE/ABOVE: MUCH OF SIRENS PLAYS OUT IN A FEW DAYS’ TIME ON A LARGE NEW YORKAREA ESTATE. ALL EXTERIORS, INCLUDING THE BEACH SCENES, WERE SHOT ON THE NORTH FORK OF LONG ISLAND, AND ALL INTERIORS WERE DONE AT STEINER STUDIOS IN BROOKLYN.
would be. Our solution was to build a narrow bridge along one side of the house that was never seen but allowed us access for a small crawler-style lift, the JLG X600AJ. I was able to put one ARRI S360 SkyPanel and one SolaHyBeam 3000 mover in each of the two lifts. We were fortunate with the reach of the arms and achieved pretty big results with a compact rig.”
Drone operator Dexter Kennedy [ICG Magazine, June/July 2025], who previously worked with Middleton on Watchmen , had done Seasons 1 and 2 of Severance and recently wrapped Steven Spielberg’s untitled Universal film – came on to help with some of the biggest visual moments of the series, including the opening and closing shots of the series. As Kennedy shares, “Greg wasn’t just looking for traditional overheads. He wanted the drones to feel like a natural extension of the camera language, with emotion and purpose behind every move – not just scope for the sake of scope. We talked a lot about
tone, pace and how to bring out the energy of certain scenes without distracting from the performances.”
The stair and beach sequences, where Simone is running back and forth, were major drone moments incorporating both scale and emotion. For the stair runs, Kennedy wanted to capture the verticality and the sense of endurance. They precisely choreographed everything to match pace while keeping the composition clean. The beach scenes called for a top-down shot directly overhead. “Per the FAA, I knew we couldn’t legally fly directly above people,” Kennedy recounts. “So, we positioned the drone 15 feet off to the side and angled the camera to achieve a straight-down perspective. It was a great example of how understanding the equipment allows us to offer safe, legal alternatives without compromising the director’s vision.”
The closing shot of the show was a day when everyone worked in perfect sync and the weather gods (sirens?) were smiling.
When the camera leaves Michaela and Devon on the ferry at dusk, it cuts to golden hour on the cliff as we come up behind Simone in Michaela’s spot. As Middleton concludes, “We got so lucky because even when it’s summer, it’s not always sunny with the marine fog. And there’s only time for two setups when the sun’s that low.”
“The first one was Milly on the cliff with the camera on a slider and sticks, and we preset the jib arm on the track for the wider shot that reveals her. Then at the same time, Dexter and Jared had the drone already going so they could pull back just as the sun was about to go down.”
“Milly was amazing with that little tear twinkling in her eye,” he adds, “we had someone down there blowing wind on her dress. Then Johnny is there with the second camera built so we can get in another take. It’s so exciting in moments like those – the spirit of the crew when you get that magical moment for the lead character of the show. And we got it all in like 10 minutes.”
LOCAL 600 CREW
Directors of Photography
Greg Middleton, ASC
Zoë White, ACS
A-Camera Operators
Jeff DuTemple, SOC (Steadicam)
John Garrett
A-Camera 1st AC
Eric Swanek
A-Camera 2nd AC
Tyler Swanek
B-Camera Operators
Michael Burke, SOC (Steadicam)
John Garrett
B-Camera 1st AC
Emma Rees-Scanlon
B-Camera 2nd AC
Donny Gamble
Loaders
Jeff Dickerson
Taylor Prinzivalli
Drone Pilot/Operator
Dexter Kennedy
DIT
Jessica Ta
Still Photographer
Macall Polay, SMPSP
Creator/Showrunner Molly Smith Metzler says “we were doing something distinctive and risky that should make audiences a little uncomfortable. Nikki Kassell [standing far right] and our fearless director of photography, Greg Middleton [kneeling by camera], talked about the visual world we wanted – it had to be singular and impossible to compare, with a sense of dread that something is a little off.
PRODUCTION CREDITS
COMPILED BY TERESA MUÑOZ
The input of Local 600 members is of the utmost importance, and we rely on our membership as the prime (and often the only) source of information in compiling this section. In order for us to continue to provide this service, we ask that Guild members submitting information take note of the following requests:
Please provide up-to-date and complete crew information (including Still Photographers, Publicists, Additional Units, 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/report-your-job
Any questions regarding the Production Credits should be addressed to Teresa Muñoz at teresa@icgmagazine.com
THE MANDOLORIAN (2020)
photo by François Duhamel
20TH CENTURY FOX FILM CORPORATION
APPLE STUDIOS, LLC
“FLASHLIGHT”
DIRECTOR OF PHOTOGRAPHY: CHRISTIAN SPRENGER
OPERATORS: MICHAEL FUCHS, JOHN GARRETT
ASSISTANTS: LIAM SINNOTT, JEFF DICKERSON, JACK SHULTZ, JOHN MCCARTHY
DIGITAL IMAGING TECH: KYO MOON
LOADER: EMILY KHAN
UTILITY: KEENAN KIMETTO
STILL PHOTOGRAPHER: BOBBY CLARK
UNIT PUBLICIST: AMANDA BRAND
20TH CENTURY FOX TELEVISION
“RJ DECKER” PILOT
DIRECTOR OF PHOTOGRAPHY: OLIVER BOKELBERG
OPERATORS: MATT DOLL, JOEY DWYER
ASSISTANTS: DEREK SMITH, SETH LEWIS, PATRICK BOROWIAK, JILL AUTRY
DIGITAL IMAGING TECH: ANDY BADER
LOADER: BRANDON ROBEY
UTILITY: PAIGE MARSICANO
STILL PHOTOGRAPHER: DANA HAWLEY
ABC STUDIOS
NEW YORK, LLC
“AMERICAN LOVE STORY” SEASON 1
DIRECTORS OF PHOTOGRAPHY: JASON MCCORMICK, PEPE AVILA DEL PINO
OPERATOR: PYARE FORTUNATO
ASSISTANTS: ALEX WORSTER, SAMANTHA SILVER, ALEX DUBOIS
LOADERS: AARON CHAMPAGNE, CAITLIN SCHMITZ
STILL PHOTOGRAPHER: ERIC LIEBOWITZ
BAD ROBOT
“FLOWERVALE ST” RESHOOTS
DIRECTOR OF PHOTOGRAPHY: MIKE GIOULAKIS
OPERATORS: GREG FAYSASH, SOC
ASSISTANTS: WARREN BRACE, DANIEL IRONS, GRIFFIN MCCANN, KELLY HARLE
LOADER: LAILA COHEN
UTILITY: MASYA BLACKMON
STILL PHOTOGRAPHER: DANIEL MCFADDEN
BEACHWOOD SERVICES, INC.
“DAYS OF OUR LIVES” SEASON 60
DIRECTOR OF PHOTOGRAPHY: DAVID MEAGHER
OPERATORS: MARK WARSHAW, MICHAEL J. DENTON, JOHNNY BROMBEREK, JOHN BOYD, STEVE CLARK
CAMERA UTILITY: GARY CYPHER
VIDEO CONTROLLER: ALEXIS DELLAR HANSON
BLIND FAITH PRODUCTIONS, LLC
“DAREDEVIL: BORN AGAIN” SEASON 2
DIRECTORS OF PHOTOGRAPHY: HILLARY SPERA, JEFFREY WALDRON
OPERATORS: THOMAS SCHNAIDT, BLAKE JOHNSON
ASSISTANTS: CHRISTOPHER WIEZOREK, STEPHEN MCBRIDE, YALE GROPMAN, GREGORY PACE
STEADICAM OPERATOR: THOMAS SCHNAIDT
DIGITAL IMAGING TECH: PATRICK CECILIAN
LOADERS: MCKENZIE RAYCROFT, BRIANNA MCCARTHY
STILL PHOTOGRAPHER: JOJO WHILDEN
UNIT PUBLICIST: NICOLE KALISH
CAKE FOR LUNCH, LLC
“WHAT MAY BE”
DIRECTOR OF PHOTOGRAPHY: MICHAEL OGNISANTI
OPERATOR: ARTHUR AFRICANO
ASSITANTS: CAI HALL, PETER PERLMAN, KYLE TERBOSS
CALL BACK FILMS, INC.
“CALL BACK”
DIRECTOR OF PHOTOGRAPHY: ROBERT LEITZELL
OPERATOR: DOUG DURANT
ASSISTANTS: SHUAN MALKOVICH, YAYO VANG
LOADER: GABRIEL CONTRERAS
STILL PHOTOGRAPHER: DANIELLE MATHIAS
CHANGO FILM, LLC
“BOLIO: SPIRIT OF MUSTANG”
OPERATOR: DANIEL MASON
ASSISTANTS: FELIX GIUFFRIDA, RICHELLE TOPPING
STEADICAM OPERATOR: M. DEAN EGAN
STILL PHOTOGRAPHERS: CLAIRE FOLGER, ROBERT CLARK
CMS PRODUCTIONS
“PAPER TIGER”
DIRECTOR OF PHOTOGRAPHY: JOAQUIN BACA-ASAY
OPERATOR: RACHAEL LEVINE
ASSISTANTS: ERIC SWANEK, JUSTIN MANCUSO,
TYLER SWANEK
STILL PHOTOGRAPHER: NICOLE RIVELLI
“CRYSTAL LAKE” SEASON 1
DIRECTOR OF PHOTOGRAPHY: MACEO BISHOP
OPERATORS: CHRIS BOTTOMS, MATTHEW PEBLER
ASSISTANTS: GLENN KAPLAN, ADAM RUSSEL, HOLLY MCCARTHY
DIGITAL IMAGING TECH: ROSS CITRIN
LOADERS: VICTORIA DUNN, HENRY CHO
STILL PHOTOGRAPHER: MATTHEW INFANTE
“TONY”
DIRECTOR OF PHOTOGRAPHY: MICHAEL BAUMAN
OPERATORS: TERRENCE HAYES, M. DEAN EGAN
ASSISTANTS: JAMIESON FITZPATRICK, DANIEL MASON, MATTHEW HEDGES, THOMAS BELLOTTI
DIGITAL IMAGING TECH: MATTHEW DORRIS
DIGITAL UTILITY: MATTHEW SULLIVAN
STILL PHOTOGRAPHER: SEACIA PAVAO
UNIT PUBLICIST: BROOKE ENSIGN
CONCENPTS OF MIND “ANIMAL”
DIRECTOR OF PHOTOGRAPHY: ROBERT ELSWIT, ASC
OPERATORS: COLIN ANDERSON, MICK FROEHLICH
ASSISTANTS: ERIK BROWN, LARISSA SUPPLITT, JIMMY WARD, CAMERON KEIDEL, JAMES APTED, VAL SKLAR
DIGITAL IMAGING TECH: DANIEL SATINOFF
LOADER: CHRISTOPHER BROOKS
DIGITAL UTILITY: IAN GARCIA
MATRIX HEAD TECH: SHAWN FOSSEN
TORQ HEAD TECH: DUSTIN EVANS
STILL PHOTOGRAPHER: WARRICK PAGE
COOLER WATER PRODUCTIONS
“EUPHORIA” SEASON 3
DIRECTORS OF PHOTOGRAPHY: MARCELL REV, ASC, HCA
OPERATORS: JOSH MEDAK, ROCKER MEADOWS,
ASSISTANTS: NORRIS FOX, DAN SCHROER, JONATHAN CLARK, DAN URBAIN
LOADER: CHESTER MILTON
DIGITAL UTILITY: VICTORIA BETANCOURT
REMOTE HEAD TECH/OPERATOR: SIMON TERZIAN
STILL PHOTOGRAPHER: EDDY CHEN
DODGING PRODUCTIONS, LLC
“GOOD SEX”
DIRECTOR OF PHOTOGRAPHY: SAM LEVY
OPERATORS: JULIAN DELACRUZ, CONNIE HUANG
ASSISTANTS: CHRISTOPHER ENG, EMMA REESSCANLON, RONALD WRASE, BRITTANY HALL
DIGITAL IMAGING TECH: LUKE TAYLOR
LOADER: LUISA ORTIZ
STILL PHOTOGRAPHER: JOJO WHILDEN
PUBLICIST: SABRINA LAUFER
FEATHERED FISH PRODUCTIONS “PENDULUM”
OPERATORS: CHAD CHAMBERLAIN, CHRIS TAYLOR
ASSISTANTS: MEGHAN NOCE, JEFFERSON T. JONES, OSCAR CIFUENTES, JACK KHORRAM
STEADICAM OPERATOR: CHAD CHAMBERLAIN
LOADER: DANIEL DUERRE
DIGITAL UTILITIES: CYD DUBOIS, LINDSAY HEATLEY
STILL PHOTOGRAPHER: JEFF NEUMANN
NARROW ISLE PRODUCTIONS, LLC
“OUTER BANKS”SEASON 5
DIRECTORS OF PHOTOGRAPHY: ITAI NEEMAN, DEREK TINDALL
OPERATORS: JOHN LEHMAN, MATTHEW LYONS, BO WEBB
ASSISTANTS: LAWRENCE GIANNESCHI, WILLIAM HAND, NICK CANNON, NICHOLAS GIANNESCHI, CAMERA UTILITY: DOUGLAS TORTORICI
LOADER: JAMES LATHAM
STILL PHOTOGRAPHER: JACKSON DAVIS
DRONE OPERATOR: ANDREW RORK
NETFLIX PRODUCTIONS, LLC
“LITTLE BROTHER”
DIRECTOR OF PHOTOGRAPHY: BRANDON TROST
OPERATORS: JEFFERY DUTEMPLE, TODD SOMODEVILLA
ASSISTANTS: JUSTIN SIMPSON, SUREN KARAPETYAN, RACHEL FEDORKOVA, KEITH ANDERSON
STEADICAM OPERATOR: JEFFERY DUTEMPLE
DIGITAL IMAGING TECH: MATT SELKIRK
LOADER: LORENZO ZANINI
STILL PHOTOGRAPHER: CLIFTON PRESCOD
“72 HOURS”
DIRECTOR OF PHOTOGRAPHY: LAWRENCE BLANFORD
OPERATORS: JOSEPH DUNN, ERIC ROBINSON
ASSISTANTS: TIMOTHY METIVIER, MARC CHARBONNEAU, RUBEN HERRERA, MAX COLLINS
DIGITAL IMAGING TECH: DOUGLAS HORTON
LOADER: EMILY O’LEARY
STILL PHOTOGRAPHER: ALAN MARKFIELD
UNIT PUBLICIST: STACI R. COLLINS JACKSON
PRODUCTION CREDITS
“DON’T SAY GOOD LUCK”
DIRECTOR OF PHOTOGRAPHY: BRYCE FORTNER
OPERATORS: MATT HARSHBARGER, OLIVER CARY
ASSISTANTS: JOHN OLIVERI, ELIZABETH SINGER, BRIAN LYNCH, DONALD GAMBLE
OPERATORS: CHRISTOPHER GLASGOW, JOE TOLITANO, BILL NIELSEN
ASSISTANTS: GEORGE OLSON, BRIAN KILBORN, PATRICK DOOLEY, RICHARD COLMAN, JJ LITTLEFIELD, MATTHEW WILBAT,
LOADER: TREVOR SNYDER
DIGITAL UTILITY: TRENTON LUETTICH
2ND UNIT
DIRECTOR OF PHOTOGRAPHY: BILL NIELSEN
“CHICAGO PD” SEASON 13
DIRECTOR OF PHOTOGRAPHY: JAMES ZUCAL
OPERATORS: VICTOR MACIAS, JAMISON ACKER, CHRIS HOOD
ASSISTANTS: KYLE BELOUSEK, MAX MOORE, NICK WILSON, KIKI LAM, CHRIS POLMANSKI, STEVE CLAY
STEADICAM OPERATOR: VICTOR MACIAS
LOADER: REBECCA JOHNSON
DIGITAL UTILITIES: JACOB OCKER, JACOB CUSHMAN
2ND UNIT
DIRECTOR OF PHOTOGRAPHY: CHRIS HOOD
PARK PICTURES
“I LOVE STABBING”
DIRECTOR OF PHOTOGRAPHY: JEFF KIM
OPERATOR: ERIC WYCOFF
ASSISTANTS: ERRIN ZINGALE, BRAD ROCHLITZER, ANDREW PORRAS
DIGITAL IMAGING TECH: STEVE HARNELL UTILITY: SCOTT KUKLA
PIRATE KING, LLC
“THE PIRATE KING”
DIRECTOR OF PHOTOGRAPHY: JOHN ROSARIO
ASSISTANTS: AARON CHEUNG, ALEXANDRIA JONES, BEN LEMONS
STEADICAM OPERATOR: OMAR GUINIER
DIGITAL IMAGING TECH: JAMIE YOU
STILL PHOTOGRAPHER: STEVE SQUALL
PIZZA MOVIE, INC.
“THE PIZZA MOVIE”
DIRECTOR OF PHOTOGRAPHY: ISABELLA GONZALES
OPERATORS: ANDREW LABOY, DEVIN DOYLE
ASSISTANTS: ADAM GONZALEZ,CHRISTINA CARMODY, THUNNYAHNONDHA KAEWBAIDHOON
DIGITAL IMAGING TECH: GUILLERMO TUNON
LOADER: JOSIAH WEINHOLD
STILL PHOTOGRAPHER: BRETT ROEDEL
RARE
LEO PRODUCTIONS, LLC
“HOW TO ROB A BANK”
DIRECTOR OF PHOTOGRAPHY: JONATHAN SELA
OPERATOR: DAVID MYRICK
ASSISTANT: JIMMY JENSEN
DIGITAL IMAGING TECH: MATTHEW LOVE
LOADER: JEANNA CANATSEY
UNIT PUBLICIST: CAROL MCCONNAUGHEY
SALT SPRING MEDIA
“AMERICAN CLASSIC”
DIRECTOR OF PHOTOGRAPHY: ERIC MOYNIER
OPERATORS: GERARD SAVA, GREGORY PRINCIPATO
ASSISTANTS: BRADEN BELMONTE, GAVIN FERNANDEZ, PATRICK BRACEY, AUSTIN RESTREPO
LOADER: SAMUEL FORNASIERO
STILL PHOTOGRAPHER: DAVID GIESBRECHT
“YOU DESERVE EACH OTHER”
DIRECTOR OF PHOTOGRAPHY: STEVE YEDLIN
OPERATORS: REBECCA ARNDT, RYAN TOUSSIENG
ASSISTANTS: ANDREW PECK, MICHAEL GUTHRIE, KELLON INNOCENT, EMMALINE HING
LOADER: CLAIRE SNODE
STILL PHOTOGRAPHER: JEONG PARK
SONY PICTURES TELEVISION
“JEOPARDY!” SEASON 39
DIRECTOR OF PHOTOGRAPHY: JEFF ENGEL
OPERATORS: DIANE L. FARRELL, SOC,
MIKE TRIBBLE, JEFF SCHUSTER, L. DAVID IRETE
JIB ARM OPERATOR: MARC HUNTER
HEAD UTILITY: TINO MARQUEZ
CAMERA UTILITY: RAY THOMPSON
VIDEO CONTROLLER: JEFF MESSENGER
VIDEO UTILITIES: MICHAEL CORWIN, JEFF KLIMUCK
STILL PHOTOGRAPHER: TYLER GOLDEN
“WHEEL OF FORTUNE” SEASON 40
DIRECTOR OF PHOTOGRAPHY: JEFF ENGEL
OPERATORS: DIANE L. FARRELL, SOC,
L.DAVID IRETE, RAY GONZALES, MIKE TRIBBLE
HEAD UTILITY: TINO MARQUEZ
CAMERA UTILITY: RAY THOMPSON
VIDEO CONTROLLER: JEFF MESSENGER
VIDEO UTILITIES: MICHAEL CORWIN, JEFF KLIMUCK
JIB ARM OPERATOR: STEVE SIMMONS
STILL PHOTOGRAPHER: CAROL KAELSON
STAMFORD MEDIA CENTER AND PRODUCTIONS, LLC
“KARAMO” SEASON 3
OPERATORS: VICTOR MATHEWS, RON THOMPSON, CHARLES BEDI, DOMINICK CIARDIELLO, JON ROSE, ED STAEBLER, THOMAS TUCKER
JIB ARM OPERATOR: ANTHONY LENZO
CAMERA UTILITIES: FRANK CAIOLA, ROBERT FRITCHE
DIGITAL IMAGING TECH: JOE MANCUSI
“WILKOS” SEASON 18
OPERATORS: VICTOR MATHEWS, RON THOMPSON, CHARLES BEDI, DOMINICK CIARDIELLO, MARC NATHAN, JON ROSE
JIB ARM OPERATOR: ANTHONY LENZO
CAMERA UTILITIES: ROBERT BENEDETTI, FRANK CAIOLA, ROBERT FRITCHE
DIGITAL IMAGING TECH: JOE MANCUSI
TCS US PRODUCTIONS
“AHAB”
DIRECTOR OF PHOTOGRAPHY: AARON MORTON
OPERATORS: DAVID EMMERICHS, COLLIN DAVIS
ASSISTANTS: CHELI CLAYTON, TULIO DUENAS, PETER LEE, LISA GUERRIERO, LARISSA SUPPLITT, JOZO ZOVKO
STEADICAM OPERATOR: DAVID EMMERICHS
STEADICAM ASSISTANT: CHELI CLAYTON
DIGITAL IMAGING TECH: DANIEL APPLEGATE
LOADER: CRISS DAVIS
DIGITAL UTILITY: KELLY FILLINGER
TECHNOCRANE OPERATOR: MIKE RYAN
TECHNOCRANE TECH: DUSTIN EVANS
REMOTE HEAD TECH/OPERATOR: SHAWN FOSSEN
STILL PHOTOGRAPHER: JENNIFER ROSEN CLASEN
UNIT PUBLICIST: JOHN PISANI
DRONE OPERATORS: LOUIE NORTHERN, SCOTT MONTGOMERY
DRONE TECH: TRAVIS STEELE
UNDERWATER
DIRECTORS OF PHOTOGRAPHY: IAN SEABROOK, JAMIE ALAC
ASSISTANT: PETER LEE, JOZO ZOVKO
TWO BEACONS PRODUCTIONS, LLC
“REMAIN”
DIRECTOR OF PHOTOGRAPHY: ADOLPHO VELOSO
ASSISTANTS: GREGORY WIMER, TALIA KROHMAL, CHRISTIAN HOLLYER
LOADER: MATTIE HAMER
STILL PHOTOGRAPHER: ELIZABETH FISHER
UNIVERSAL TELEVISION
“BEL AIR”SEASON 4
DIRECTOR OF PHOTOGRAPHY: ANDREW STRAHORN
OPERATORS: DEAN MORIN, GRANT CULWELL
ASSISTANTS: JAMES RYDINGS, KAORU ISHIZUKA, CARLOS DOERR, NATE LEWIS
DIGITAL IMAGING TECH: TIM NAGASAWA
LOADER: BEAU MORAN
CAMERA UTILITY: JOE PACELLA
WARNER BROS.
“SHRINKING”SEASON 3
DIRECTOR OF PHOTOGRAPHY: JOHN BRAWLEY
OPERATORS: CHRIS CUEVAS, JANINE SIDES, AARON SCHUH
ASSISTANTS: MICHAEL ALVAREZ, SHARLA CIPICCHIO, DENIS ZEMTSOV, PAUL TILDEN, MIGUEL TORRES, NICOLE KENT
STEADICAM OPERATOR: CHRIS CUEVAS
LOADER: EMILY GOODWIN
DIGITAL UTILITY: JORGE NUNEZ
STILL PHOTOGRAPHER: KEVIN ESTRADA
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PRODUCTION CREDITS
WILD LEO
“JUDGEMENT DAY”
DIRECTOR OF PHOTOGRAPHY: JOHN GULESERIAN
OPERATORS: BRIAN OUTLAND, TIMOTHY FABRIZIO, BILLY O’DROBINAK
ASSISTANTS: JOHN RUIZ, DANIEL IRONS, ROSS DAVIS, PETER JOHNSTON, BRIAN GREENWAY, MATTHEW HASKINS
DIGITAL IMAGING TECH: JAMES NOTARI
LOADER: LAILA COHEN
STILL PHOTOGRAPHER: GLEN WILSON
COMMERCIALS
ARCOVISION PICTURES
“MASTERCARD”
DIRECTOR OF PHOTOGRAPHY: MAX GOLDMAN
OPERATORS: ARI ISSLER, KYLE REPKA
ASSISTANTS: NINA CHIEN, JORDAN LEVIE, DANTE CORROCHER, SCOTT MILLER
STEADICAM OPERATOR: BRENDAN POUTIER
DIGITAL IMAGING TECH: MARIUSZ CICHON
JIB ARM OPERATOR: PAUL MCKENNA
ARTS & SCIENCES
“JERSEY MIKE’S”
DIRECTOR OF PHOTOGRAPHY: MAX GOLDMAN
OPERATOR: NICK MULLER
ASSISTANTS: ETHAN MCDONALD, LUCAS DEANS, ALAN CERTEZA, ADAM TSANG
DIGITAL IMAGING TECH: JESSE TYLER
CAVIAR PRODUCTIONS, LLC
“CVS”
DIRECTOR OF PHOTOGRAPHY: PETER SIMONITE
ASSISTANTS: JILL TUFTS, THOMAS BELLOTTI
STEADICAM OPERATOR: THOMAS DEAN
DIGITAL IMAGING TECH: MATTIE HAMER
CHROMISA
“SAMSUNG”
DIRECTOR OF PHOTOGRAPHY: MARK FORDERER
OPERATOR: RACHAEL LEVINE
ASSISTANTS: PETER MORELLO, ANDY PECK, SCOTT MILLER
DIGITAL IMAGING TECH: JEFF FLOHR CMS
“CADILLAC LEGACY”
DIRECTOR OF PHOTOGRAPHY: PAUL THEODOROFF
ASSISTANTS: ERICK AGUILAR, BRYAM AGUILAR
DIGITAL IMAGING TECH: FABRICIO DI SANTO
“LAVAZZA 2025”
DIRECTOR OF PHOTOGRAPHY: CHRSTOPHE COLLETTE
OPERATOR: FABIO IADELUCA
ASSISTANTS: WALTER RODRIGUEZ, JON SANDIN, JOSEPH ROBINSON
DIGITAL IMAGING TECHS: MARIUSZ CICHON,
ARTUR DZIEWECZYNSKI
BEHIND-THE-SCENES: VINCE RAPPA
“MINECRAFT”
DIRECTOR OF PHOTOGRAPHY: MARK JEEVARATNAM
OPERATOR: MIKE O’LEARY
ASSISTANTS: MATT CAULK, JASON HOCHREIN, ANDY KUESTER
DIGITAL IMAGING TECH: JOHN VALLON
“STOP AND SHOP: GOOD THINGS ARE IN STORE”
DIRECTOR OF PHOTOGRAPHY: DON BURGESS
OPERATOR: PATRICK RUTH
ASSISTANTS: JILL TUFTS, PATRICK KELLY, ALEX STEVENS
DIGITAL IMAGING TECH: NICK PASQUARIELLO
“TEAM USA”
DIRECTOR OF PHOTOGRAPHY: ANDREW YUYI TRUONG
OPERATOR: JUN LI
ASSISTANTS: KENJI BENNETT, COREY CAVE, CHRISTOPHER BROOKS, JAMAL REEVES
DUNCAN FILMS
“NBC 2026 WINTER OLYMPICS”
DIRECTOR OF PHOTOGRAPHY: SCOTT DUNCAN
ASSISTANTS: NICOLAS MARTIN, JAMES BARELA, MICHAELA ANGELIQUE
DIGITAL IMAGING TECH: EDUARDO EGUIA
TECHNOCRANE TECH: ANDRE HOLLINS, JADEN HAMMER
TECHNO REMOTE HEAD TECH: CHRIS GARCIA
ELEMENT
“COMPUSHARE”
DIRECTOR OF PHOTOGRAPHY: JOHN PINGRY
ASSISTANTS: ASA REED, ALEX STEVENS
ENCORE
“B. RILEY INVESTMENT CONFERENCE”
OPERATOR: DALTON FOSTER
ELEMENT
“COMPUSHARE”
DIRECTOR OF PHOTOGRAPHY: JOHN PINGRY
ASSISTANTS: ASA REED, ALEX STEVENS
GENERAL MILLS
“NFL”
DIRECTOR OF PHOTOGRAPHY: JON CHEMA
OPERATOR: JUN LI
ASSISTANTS: JOSEPH SORIA, ERICK AGUILAR, HARRY HENG, BRYAM AGUILAR
DIGITAL IMAGING TECH: ZACK MARCHINSKY
GLO PRODUCTIONS, LLC
“TITLEIST”
DIRECTOR OF PHOTOGRAPHY: DAVID WILSON
OPERATORS: ANDREW BETHKE, THOMAS DEAN
JIB OPERATOR: WALTER ARGO
ASSISTANTS: RICHELLE TOPPING, JILL TUFTS,
PATRICK KELLY, FELIX GIUFFRIDA, ALEX STEVENS, CHRISTOPHER MALENFANT, MICHAEL CAHOON, JOSEPH CHRISTOFORI, CHRISTOPHER HEBERT
DIGITAL IMAGING TECH: NICK PASQUARIELLO
PHANTOM TECH: DAVE KUDROWITZ
LITTLE MINX
“STARBUCKS”
OPERATOR: PETER LEE (UNDERWATER)
ASSISTANTS: DAVE EDSALL, SCOTT JOHNSON (UNDERWATER), JASON ALEGRE, LILA BYALL
LOADER: CHRIS BROOKS
MAGNA STUDIOS
“UNDER ARMOR”
DIRECTOR OF PHOTOGRAPHY: LOGAN TRIPLETT
OPERATOR: JUN LI
ASSISTANTS: JOSEPH SORIA, ERICK AGUILAR, HARRY HENG, TAMARA ARROBA
DIGITAL IMAGING TECH: ZACK MARCHINSKY
CAMERA UTILITY: GEORGE AREVALO
MJZ
“META”
DIRECTOR OF PHOTOGRAPHY: AUTUMN DURALD, ASC
OPERATOR: CHRIS CUNNINGHAM
ASSISTANTS: ETHAN MCDONALD, NIRANJAN MARTIN, ALAN CERTEZA, VICTOR CHON
DIGITAL IMAGING TECH: LONNY DANLER
TECHNOCRANE TECH: CHRIS MAYHUGH
REMOTE HEAD TECH: SIMONE TERZIAN
O POSITIVE
“TOYOTA”
DIRECTOR OF PHOTOGRAPHY: KRIS KACHIKIS
OPERATOR: ERIC ZIMMERMAN
ASSISTANTS: SCOTT KASSENOFF, DANIEL HANYCH,
DIGITAL IMAGING TECH: CASEY SHERRIER
PARK PICTURE
“OLD EL PASO”
DIRECTOR OF PHOTOGRAPHY: JEFFREY KIM
OPERATOR: ERIC WYCOFF
ASSISTANTS: ERRIN ZINGALE, BRAD ROCHLITZER, ANDREW PORRAS
DIGITAL IMAGING TECH: STEVE HARNELL
“PROJECT PENCIL”
DIRECTOR OF PHOTOGRAPHY: JEFFREY KIM
OPERATOR: ERIC WYCOFF
ASSISTANTS: ERRIN ZINGALE, BRAD ROCHLITZER, ANDREW PORRAS
DIGITAL IMAGING TECH: STEVE HARNELL
UTILITY: SCOTT KUKLA
RADICAL MEDIA, LLC
“CHIPOTLE”
DIRECTOR OF PHOTOGRAPHY: WILL BASANTA
OPERATOR: JUN LI
ASSISTANTS: EZRA RILEY, BREANNA HEARD, STEADICAM OPERATOR: JUN LI
DIGITAL IMAGING TECH: RAFFAELE VESCO
“SANDERSON FARM”
DIRECTOR OF PHOTOGRAPHY: ERIC SCHMIDT
ASSISTANTS: LILA BYALL
DIGITAL IMAGING TECH: JOHN SPELLMAN
SMUGGLER, INC
“NAVY FEDERAL CREDIT UNION”
DIRECTOR OF PHOTOGRAPHY: BRYAN NEWMAN
OPERATOR: MEGAN MASUR
ASSISTANTS: JOHN CLEMENS, JOHNNY SOUSA, SCOTT MILLER
DIGITAL IMAGING TECH: MARIUSZ CICHON
STILL PHOTOGRAPHER: MICHAEL PARMELEE
SOMESUCH
“CHASE”
DIRECTOR OF PHOTOGRAPHY: JEFF BIERMAN
ASSISTANTS: REED KOPPEN, DANIEL HANYCH, RYAN MONELLI,
STEADICAM OPERATOR: CHRIS LOH
DIGITAL IMAGING TECH: MICHAEL BOSMAN
STATION FILM
“PROGRESSIVE”
DIRECTOR OF PHOTOGRAPHY: DOUG CHAMBERLAIN
ASSISTANTS: CLINT KASPARIAN, MARTY STILES, JAN JONSSON
DIGITAL IMAGING TECH: STEVE HARNELL
STEVE UNLIMITED
“TARGET HARVEST FEST”
DIRECTOR OF PHOTOGRAPHY: TRISTAN SHERIDAN
ASSISTANTS: JOHN CLEMENS, KEVIN WALTER, SCOTT MILLER
STINK FILMS USA
“XFINITY”
DIRECTOR OF PHOTOGRAPHY: AUTUMN DURALD, ASC
ASSISTANTS: ETHAN MCDONALD, ALAN CERTEZA
DIGITAL IMAGING TECH: LONNY DANLER
STIR FILMS, LLC
“DRAFTKINGS NFL”
DIRECTOR OF PHOTOGRAPHY: KIP BOGDAHN
OPERATORS: YOUSHENG TANG, AARON MEDICK, FRANCIS SPIELDENNER, JON HOKANSON, MICHAEL GRANTLAND
ASSISTANTS: NINA CHIEN, JORDAN LEVIE, MITCH MALPICA, STEPHANIE GUZMAN, DANIEL WORLOCK, AARON SNOW, EDWIN HERRERA
DIGITAL IMAGING TECH: MICHAEL KELLOGG
TECHNOCRANE TECH: PAUL MCKENNA
TECHNOCRANE HEAD: PAUL AGOSTINELLI
SUPPLY & DEMAND
“P30”
DIRECTOR OF PHOTOGRAPHY: DAVID WELDON ASSISTANTS: MICHAEL PANCZENKO, JORDAN PELLEGRINI, JOSH BENAVIDEZ
DIGITAL IMAGING TECH: IAN SPOHR
“PROJECT VESPOR”
DIRECTOR OF PHOTOGRAPHY: DAVID WELDON
MOVI RIG OPERATOR: KURT WALLRATH
ASSISTANTS: MICHAEL PANCZENKO, MATTHEW BOREK
DIGITAL IMAGING TECH: IAN SPOHR
SWEET RICKEY
“WELLNESS PET”
DIRECTOR OF PHOTOGRAPHY: JONATHAN FREEMAN
ASSISTANTS: PATRICK KELLY, MICHAEL RODRIGUEZ TORRENT
DIGITAL IMAGING TECH: DAVE KUDROWITZ
TOOL OF NORTH AMERICA
“AFLAC”
DIRECTOR OF PHOTOGRAPHY: ERIC SCHMIDT
ASSISTANTS: LILA BYALL, LAURA GOLDBERG, GAVIN GROSSI
DIGITAL IMAGING TECH: JOHN SPELLMAN
MUSIC VIDEO S
SUPPLY & DEMAND
“PROJECT CAMILLE”
DIRECTOR OF PHOTOGRAPHY: DAVID WELDON
ASSISTANTS: MICHAEL PANCZENKO, MATTHEW BOREK, JORDAN CRAMER
DIGITAL IMAGING TECH: IAN SPOHR
DIGITAL UTILITY: KURT WALLWRATH
EAST COAST & EUROPE
Email: alanbradenmedia@gmail.com
MACALL POLAY, SMPSP SIRENS
This shot with Steadicam operator Mike Burke (with one of our lead actresses, Milly Alcock) took place the first day I was working on Sirens, and at once I knew how special a project it would be. The amazing cast, gorgeous locations and, of course, the incredible camera crew, turned the heat of a New York summer and an abundance of ticks into a wonderful experience.
