ICG Magazine - January 2017 - Awards Season

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ICG

PRESIDENT’S

LETTER January 2017 {vol. 88 no. 01}

Steven Poster, ASC

“Truth and Consequences”

National President International Cinematographers Guild IATSE Local 600

Way back in 2000, at a Society of Motion Pictures & Television Engineers (SMPTE) meeting, I stood up with some degree of forcefulness and let everyone in the room know that this industry must never let the technology we work with dictate our art. I emphasized that technology should be completely “transparent,” as we move back and forth between film and digital. In the fifteen-plus years since, the technology has not only changed immeasurably, but, unfortunately, there’s much less film being shot.

That means that fewer crewmembers, these days, get to experience the joys (and sometimes the pains) of shooting on celluloid. The joys, of course, include film’s unmatched aesthetic qualities, as well as that alchemy-like “magic” that only the director of photography would feel before the next day, when the dailies arrived. To be sure, there are clear joys with digital, like being able to shape the quality of the image as it’s being shot (while everybody’s seeing what’s being done at any given time is more pain). The question really at this point is: How difficult is it to learn digital filmmaking versus learning “anew” how to shoot film with a camera that hasn’t been meaningfully upgraded since back in 2000, when I made that pronouncement?

The answer, I believe, is that Local 600 crews have the unique opportunity to train in both formats. And when I talk about “both formats,” I’m really talking about the unique characteristics of each technology. Cinematographers traditionally used varying film emulsions to achieve different results; now that goal is accomplished by using different digital cameras, each of which responds as if it has its own “emulsion.” As many digital cameras as there now are (typically five to six new models every year, with upgrades to existing cameras coming on a monthly basis), there are probably dozens of workflows that can be achieved, depending on how the project will be finished. Those workflows have to be understood by every member of that project’s camera department, meaning it needs to be developed from the very beginning.

I saw this reality in its infancy – on my last film project, and on my first digital project, I began to convene workflow meetings in advance of production. Included was my entire crew, as well as the director, production team, editors, and a representative from the camera vendor, all working to strategize how best to go from “camera negative” to post finish in the most efficient way (and with the highest quality) for that particular technology we were using. These days, it’s a foregone conclusion those meetings will take place.

People may forget that in the early days of digital technology, studios had very little appetite for digital intermediate. Digital Cinema Initiatives (DCI) – formed in 2002 by the major studios to find a consensus on the architecture of digital technology – didn’t come to an agreed upon DCI Specification for a DCP (digital cinema package) until 2012. So for more than a decade, production executives were not convinced that a DI would save time and money. Of course now the converse is true; finding a distributor who wants to do a film finish (and a corresponding lab) is virtually impossible.

I believe it’s the camera department’s job to consider the unintended consequences of technological innovation. We just witnessed the release of Billy Lynn’s Long Halftime Walk, shot by John Toll, ASC, for director Ang Lee, at 120 fps, with each camera photographing the left and right eyes for native 3D capture. This meant the Sony F65 camera rigs John used could weigh as much as 120 pounds! Did this new application succeed in a way that would engage the audience more effectively? Would it, could it become a learning experience for the entire industry? I saw the film projected at 120 fps for each eye (as it was intended), and while it was certainly immersive in a way never attempted before, I’m not sure it made the story being told that much more compelling.

Billy Lynn was produced for a live audience, while the advent of VR (virtual reality) brings up an entirely different technological innovation.

Either way, the unintended consequences of both these new innovations mandate that Local 600 continue its unrelenting emphasis on training and education. How else can we remain the masters of whatever capture (and storytelling) format comes down the pike?

The ICG was, and always will be, out in front of every technology this industry has ever seen – those that have sustained over time, and those that have fizzled out. And that is as it should be. Our broad grasp of all forms of technologies – from celluloid many decades ago, to digital today and beyond – is the best way to ensure that new technology’s unintended consequences will be “headed off at the pass,” and that cinematographers remain strong and true guardians of the moving image.

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ICG

JANUARY 2017

JANUARY 2017 VOLUME 88 / NUMBER 1 / THE AWARDS SEASON ISSUE

CONTRIBUTORS

table of contents DEPARTMENTS GEAR GUIDE / 14 DEEP FOCUS / 22 BOOK REVIEW / 28 EXPOSURE / 40

Matt Hurwitz (The Devil Made Me Do It) “When I was a child, growing up in Washington, D.C., I remember my mother taking us to Georgetown to see where this movie, The Exorcist, was being filmed. Fox’s series, based on the book and film, is equally engaging – and frightening – as the original, much of it due to DP Alex Disenhof and his team’s know-how for creating good chills.”

SPECIALS 30 YEARS OF CINEMATOGRAPHY AT SUNDANCE / 78

FEATURES Hidden Figures {46}

Pauline Rogers (The Space Race, Festival PR) “When Octavia Spencer leads her team of black ‘computers’ out of the basement and into the light of the new IBM room, to be recognized as the mathematical force that took us into space, I felt a lump in my throat – even a tear in my eye. Boy, could I relate to being a ‘hidden figure’ in my own life, just as everyone watching this movie will. That term also applies to the wonderful publicists I covered in this first issue of 2017. These ‘hidden figures’ work behind the scenes to create the Oscar-type buzz that will (I hope) be rained on this month’s cover story.”

Elle Schneider (30 Years of Cinematography at Sundance) “As a busy filmmaker, it was fascinating to learn about the history of independent filmmaking through the lens of nearly thirty years of cinematography work honored at Sundance. Writing this piece got me excited to check out a few of the winners I hadn’t yet seen, like Daughters of the Dust, the incredibly beautiful film shot by Arthur Jafa and directed by Julie Dash.”

The Exorcist Series {58} Festival Films PR {68}

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Hopper Stone, SMPSP (The Space Race, Stop Motion) “It is difficult to describe the feeling of working on a film like Hidden Figures. When friends asked, I’d give them a quick synopsis and the reaction was usually something along the lines of ‘Wow. I never knew about that.’ I would respond, ‘Yeah. Nobody knows about this story. That’s why the movie is being made.’ I am so honored to be a part of a film that finally begins the process of giving credit to these trailblazing women.”

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Incredible 4.6K Sensor URSA Mini can capture images at a resolution and dynamic range that goes well beyond that of traditional motion picture film so you can shoot your own epic, cinematic masterpiece! You can capture images up to 4608 x 2592, which is larger than 4K DCI, with 15 stops of dynamic range so you get incredibly clean pictures with amazing detail in everything from the darkest shadows to the brightest highlights! URSA Mini can record 4.6K at up to 60fps, or 1080 HD at up to 120fps.

Lightweight and Portable URSA Mini’s perfectly balanced body is made out of space aged magnesium alloys so it’s rugged, yet lightweight and comfortable enough to be used all day. You get a super bright 5” fold out touch screen for on-set monitoring, that can also display overlays for timecode, histograms, audio meters, focus peaking and more! URSA Mini features full size, professional connectors, even 12G-SDI, so you don’t need custom cables, plus high quality stereo microphones and a side grip mounted on a standard rosette.

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Completely Customizable Blackmagic URSA Mini is completely customizable so you can create a rig that’s built specifically for your production! Add accessories like the Blackmagic URSA Viewfinder and Blackmagic URSA Mini Shoulder Kit, or choose from hundreds of third party accessories. URSA Mini has 9 standard ¼” threaded mounting points on the top and bottom of the camera so you can mount it directly to a tripod as well as add accessories such as rails, matte boxes and more.

Non-Stop Recording You never have to stop recording because URSA Mini features two CFast 2.0 recorders! When one card is full, recording automatically continues onto the next. URSA Mini uses the latest, incredibly fast CFast 2.0 technology for recording speeds up to 350 MB/s. Wide dynamic range images are saved as 12-bit RAW files, which are perfect for high end grading and effects work, or as broadcast quality ProRes, for easy post production workfl ows with minimum storage requirements!

Blackmagic URSA Mini 4K EF $2,995 Blackmagic URSA Mini 4K PL $3,495 Blackmagic URSA Mini 4.6K EF $4,995 Blackmagic URSA Mini 4.6K PL $5,495 Blackmagic URSA Mini Shoulder Kit $395 Blackmagic URSA Viewfinder $1,495 All models include DaVinci Resolve 12 Studio for editing and color correction.

ICG

JANUARY 2017

ICG MAGAZINE Publisher Teresa Muñoz Executive Editor David Geffner Art Director Wes Driver

ACCOUNTING Glenn Berger Dominique Ibarra COPY EDITORS Peter Bonilla Maureen Kingsley

January 2017 vol. 88 no. 01

INTERNATIONAL CINEMATOGRAPHERS GUILD Local 600 IATSE NATIONAL PRESIDENT Steven Poster, ASC NATIONAL VICE-PRESIDENT Heather Norton

STAFF WRITER Pauline Rogers

1ST NATIONAL VICE-PRESIDENT Paul Varrieur

CONTRIBUTORS Matt Hurwitz Kevin Martin (Web) Elle Schneider Hopper Stone/SMPSP Valentina Valentini

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.

EDITORIAL POLICY: The International Cinematographers Guild neither implicitly nor explicitly endorses opinions or political statements expressed in International Cinematographers Guild Magazine. ICG Magazine considers unsolicited material via email only, provided all submissions are within current Contributor Guideline standards. All published material is subject to editing for length, style and content, with inclusion at the discretion of the Executive Editor and Art Director.

Local 600, International Cinematographers Guild, retains all ancillary and expressed rights of content and photos published in ICG Magazine and icgmagazine.com, subject to any negotiated prior arrangement. ICG Magazine regrets that it cannot publish letters to the editor.

ICG (ISSN 1527-6007) Published Monthly by The International Cinematographers Guild 7755 Sunset Boulevard, Hollywood, CA, 90046, U.S.A. Periodical postage paid at Los Angeles, California.

POSTMASTER: Send address changes to ICG 7755 Sunset Boulevard Hollywood, California 90046 Copyright 2015, by Local 600, International Alliance of Theatrical Stage Employes, Moving Picture Technicians, Artists and Allied Crafts of the United States and Canada. Entered as Periodical matter, September 30, 1930, at the Post Office at Los Angeles, California, under the act of March 3, 1879.

Subscriptions: $92.00 of each International Cinematographers Guild member’s annual dues is allocated for an annual subscription to International Cinematographers Guild Magazine. Non-members may purchase an annual subscription for $48.00 (U.S.), $82.00 (Foreign and Canada) surface mail and $117.00 air mail per year. Single Copy: $4.95 The International Cinematographers Guild Magazine has been published monthly since 1929.

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RULE THE NIGHT

Final Grade

Scene from the film “It’s a Mess” by Director/DP Frank Prinzi, ASC Captured on VariCam 35, V-Log, AVC-Intra 4K 4:4:4 T4 at native 5000 ISO, negative gain set to 2500 ISO

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VARICAM 35

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HD/Proxy simultaneously.

ICG

JANUARY 2017

WIDE ANGLE

JANUARY 2017 / THE AWARDS ISSUE

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

One of the fun things about putting this magazine together is that our efforts reflect the work of a diverse group of craftspeople and media artists (“filmmakers” feels so 2016) who never stop crossing creative boundaries. Change – for the people behind, and often close to, the camera – is not only embraced, it’s expected. While digital technology has altered every aspect of life – culturally, politically, socially – when it comes to this industry, all our union camera teams reside at the nexus of moviemaking’s past, present and future. Change is the air they breathe every time they walk onto a set or location.

The dawn of 2017 also will usher in some exciting changes at ICG. We will be introducing two new combined issues (February/March and June/July), several new departments and multiple theme-issue refreshes, including the one you’re holding, now dubbed Awards Season. For those paying attention, past January issues were mostly themed around indie film festivals like Toronto and Sundance, from which a straight line can be drawn to the Oscars (and the Golden Globes, SAG, ASC, and DGA Awards). Simple fact: many Best Picture nominees (and winners) begin their lives at a film festival. (The 2016 champ, Spotlight, made its U.S. premiere at Telluride, and its director, Tom McCarthy, has had three of the five features he’s directed debut at Sundance.)

This month’s Specials section features an article by Elle Schneider and Valentina Valentini that charts the history of the Cinematography Award at Sundance, a festival that has taken diversity behind the camera very seriously, bestowing accolades on more female DP’s and DP’s of color than any other. Our second Specials piece, on festival PR, checks in with three Guild publicists – Tony Angellotti, Linda Brown and Rick Markovitz – who have many decades of combined experience helping movies like Spotlight emerge from a film festival to the Oscar short list.

FOX’s new series, The Exorcist, is another one of our January stories with a festival connection. Pilot director Rupert Wyatt (Rise of the Planet of the Apes) executive-produced the 2014 Sundance Directing Award winner Fishing Without Nets (ICG April 2014), an amazing low-budget piracy thriller shot entirely in Africa by Alex Disenhof. Wyatt was reunited with Disenhof at the Sundance Institute Directors Labs, and later hired him to shoot The Exorcist’s pilot and series – high praise indeed given the 1973 classic on which the show is based was nominated for 10 Oscars.

The connection between film festivals and awards season is so strong, we’ll go out on a limb to say this month’s cover film will soon be knee-deep in nominations. That’s due, in no small part, to its writer/director, Ted Melfi, whose debut feature, St. Vincent (shot by John Lindley, ASC), premiered at the Toronto International Film Festival. St. Vincent went on to screen at nine other film festivals in the U.S. alone, including Mill Valley, the Hamptons, and San Diego.

The other big reason Hidden Figures is headed for the awards podium is its cinematographer, Mandy Walker, ASC, ACS. Walker is one of the most acclaimed female DP’s in the world – 11 awards and 12 nominations, including an Emerging Cinematographer Award in 2015 and three awards by the Australian Cinematographers Society. While she may not have had quite the same mountain to climb as the characters brilliantly portrayed by Taraji P. Henson, Octavia Spencer, and Janelle Monáe in Hidden Figures (an inspiring true story of black female mathematicians working at NASA in 1961, at the peak of the segregated Jim Crow south), Walker knows a thing or two about glass ceilings and the skill and tenacity required to break them.

As we at ICG Magazine consider the new year ahead, I’m reminded of a passage from Kiran Desai’s novel The Inheritance of Loss (which won both the Man Booker Prize and National Book Critics Circle Fiction Award), which reads: “The present changes the past. Looking back you do not find what you left behind.”

For better or worse, those words aptly describe the work of the many skilled women and men of Local 600, who, moment by moment, must reinvent all that has come before in an industry where the only constant is change. Not coincidentally, it also describes our efforts at ICG Magazine, always trying to reflect the past, present and future of this Guild’s membership.

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ICG

JANUARY 2017

Gear Guide

JANUARY 2017

by Pauline Rogers

Angénieux EZ Zoom + Rear optical block configurable between Super 35 and VistaVision + 30-90 mm T2 in Super 35/45-135 mm, T3 in VistaVision + Interchangeable between PK, EF and E lens mounts + ENG grip for Movcam + 4.7-lb. weight/114-mm front diameter + Type EZ-2 Wide Zoom, 15-40 mm, available Q2 2017

“As a documentary filmmaker, this is a lens I’ve been waiting for the last 10 years. I came to this conclusion after using the Angénieux EZ-1 30 to 90 millimeter on a Jerry Bruckheimer interview on a studio sound stage. The one word that I would use to describe this lens is versatile.” – Sovonto Green, cinematographer

Pricing for EZ-1 is $10,500

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F O R Y O U R C O N S I D E R A T I O N

BEST CINEMATOGRAPHY

CHARLOTTE BRUUS CHRISTENSEN

SCREENPLAY BY AUGUST WILSON BASED ON HIS PULITZER-PRIZE WINNING PLAY DIRECTED BY DENZEL WASHINGTON FOR A COMPLETE LIST OF SCREENINGS, VISIT PARAMOUNTGUILDS.COM

ICG

JANUARY 2017

Gear Guide

sekonic EL Series LiteMaster Pro + Measure, compare, and trigger lights from large, intuitive, 2.7-inch color LCD touch screen + Trigger, take a meter reading, and adjust the power of Elinchrom SkyPort Wireless Trigger System–equipped lights without leaving subject + Measure and assign lights across 20 channels and four groups with measured values maintained to determine ratios and build looks + Find your preferred mix of ambient and flash light to balance backgrounds or sky tones with flash-analyzing function + Enable meter to account for filter factor up to 12 EV for landscape shooters using high-density ND filters with Filtration Compensation Mode

“On a recent photo shoot in Iceland, I needed to add subtle light and definition to the shot. Using the new Sekonic Litemaster Pro [for the Elinchrom SkyPort Wireless Trigger System] enabled me to get the exact mix of ambient and artificial light, resulting in a well-lit image that still looks totally natural.”

– Felix Kunze, photographer

Pricing for Sekonic EL is $399

www.sekonic.com

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CONSIDER THIS

BEST CINEMATOGRAPHY Linus Sandgren, FSF

“The city has rarely looked this gorgeous in films, a credit to the director’s romantic imagination as well as to the technical expertise of cinematographer Linus Sandgren.”

TODD MCCARTHY, THE HOLLYWOOD REPORTER

LionsgateAwards.com

ICG

JANUARY 2017

Gear Guide

ikan EC1 Gimbal + 360-degree movement from all axes (pitch, yaw and roll) + Durable all-aluminum construction + Works with DSLRs and mirrorless cameras between 2.0 and 4.5 lb + Equipped with 32-bit controller and 12-bit encoder + Lithium-battery powered: low maintenance, eco-friendly + OLED display to show operating modes

“I’ve used a lot of gimbal systems, everything from the heavy two-handed models to the inexpensive all-in-one units. The EC1 gets it right. It’s easy to balance and set up, and the 12-bit encoders allow me to position starting point (angle/tilt). The attachment point and tripod mount allow me to rig to any configuration I need. So far, it seems to hold up even to the radiation in Chernobyl.” – Philip Grossman, documentary filmmaker/director

Pricing for EC1 is $949

www.ikancorp.com 18

CONSIDER THIS

“★★★★”

“THE BATTLE SCENES ARE BREATHLESSLY KINETIC.”

“BLUNT AND EFFECTIVE,

A PICTURE CANNILY

CRAFTED FOR

MAXIMUM EFFECT.”

BEST CINEMATOGRAPHY SIMON DUGGAN, ACS LionsgateAwards.com

“★★★★”

ICG

JANUARY 2017

Gear Guide

SmallHD 13-inch HDR Production Monitor + 13-inch, razor-sharp 1920×1080 display with HDR preview helps focus pulling + Three times the brightness (up to 1500 nits) of most production monitors with an optically bonded screen that combats glare and sunlight + Offers 100% Rec. 709 color accuracy and broad viewing angle to easily share with clients and directors + Features output preview of downstreaming, customizable focus assist and peaking + Rugged build quality and built-in Rapid Rail for neat and versatile accessory mounting + Off-the-shelf power options, and 2-pin LEMO to go wireless with accessories like Teradek Bolt

“The first time I used the new SmallHD 13-inch monitor was for additional photography on the movie Baywatch. The high-bright display was completely daylight viewable, even during a beach scene. I didn’t have to bury my face in a shade to judge focus and was able to keep the screen, actors and camera all in my field of view. Our DIT also liked the comprehensive exposure-tools page that can be selected with a single button press, as well as the ability to load in a log-correction LUT.” – Jimmy Ward, 1st AC

Pricing for SmallHD 1303 HDR is $3,499

store.smallhd.com

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“THE DIRECTOR AND HIS LONGTIME

CINEMATOGRAPHER TOM STERN CHOSE TO SHOOT ‘SULLY’ LARGELY WITH AN IMAX ARRI ALEXA CAMERA AND THE RESULTS OFFER BOTH

DETAILED AND MEMORABLE IMAGERY.” — Kenneth Turan

ONE OF THE YEAR’S

BEST FILMS F O R

Y O U R

C O N S I D E R A T I O N

I N A L L C AT E G OR I E S I N C L U D I N G

BEST PICTURE BEST CINEMATOGRAPHY TOM STERN, A.F.C., A.S.C. W W W . WA R N E R B R O S 2 0 1 6 . C O M

ICG

JANUARY 2017

Deep FOCUS

“

When I became a Unit Publicist in 1999, there were more pagers than cell phones.

Movies were shot on film. The bulk of entertainment information and most of the stories were delivered on a printed page with some advertising done on television. The social-media revolution was five years away from being launched. continued on page 24

photo by Nicola Goode 22

JANUARY 2017

ICG

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JANUARY 2017

“

HH HH HH HH HH HH

Deep FOCUS Between 1999 and 2016 there has been a seismic shift in the industry.

Recently, The New York Times and Wall Street Journal announced that reviews and features related to film, theater and the arts are being cut due to print advertising revenues falling. The New York Post, Daily News and USA Today all have eliminated full-time theater critics. This comes at a time when arts and entertainment coverage, specifically independent criticism, is being reduced or eliminated all around the country.

The biggest arbiter of change has been digitization of music and film.

This new technology gave anyone with a phone or camera

the ability to create content, changing the way films and

Gone are the days of shooting on film, in

television shows are marketed. For me, and publicists in

color and black and white, and sending film

general, it’s been very important to adapt to the shifting

to the lab for processing. Unit photographers

landscape, thereby creating unique opportunities.

now create and edit images on the spot. Gone

Another huge industry shift has been how content is provided

are contact sheets and color slides and grease pencils (thank goodness), which on a film with a huge cast could be quite a challenge for unit

to viewers and how they digest it. Streaming networks – like

publicists. The downside of this technology

Netflix, Amazon and Hulu – have created a new model for

is the idea that anyone who has a camera is

our industry by giving their subscribers the ability to watch

a photographer. Our unit photographers are

what they want, when they want, on any device they want.

incredible artists who understand the power

As incubators of talent of all types, these new “studios” are

of photos in the storytelling process.

cranking out tons of content.

The large amount of creative content from the “new studios”

has generated an unprecedented opportunity for writers, directors, producers – and publicists. While traditional studios have always understood the value of publicists (and particularly unit publicists), the same can’t be said for streaming companies. However, by reaching out we can open those doors and create new, productive partnerships.

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Digitization has not only affected the moving image but also unit stills.

As the studios and networks continue to try to quantify

the impact social media has on campaign strategies, publicists are also learning to adapt to the new marketing models. And yet while the technology is evolving at a rapid pace, the basic structure of creating and disseminating the message, such as through press releases and announcements, has pretty much remained the same.

The difference is now the headline of a release is the subject line in an email, a tweet or a Facebook post. continued on page 26

HH HH HH HH HH HH

JANUARY 2017

ICG

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ICG

JANUARY 2017

“

In 2009, I was in Brazil on The Expendables, having just joined Twitter.

I was fairly clueless about it, but still fascinated by the power of connectivity. I remember tweeting that I was sitting next to Sly [Sylvester Stallone] and how excited I was to be on the film. In real time we watched as I went from zero followers to 800, in minutes!

We even tweeted out a first look, although the studio wasn’t too pleased. Avi Lerner, the producer, commented that those tweets gave him at least a million dollars in free publicity.

Deep FOCUS Now that social media has been around for a while, the industry

is still trying to understand the benefits and consequences of technology as it relates to a marketing campaign. Snakes on a Plane is a prime example of tremendous buzz online that did not translate to tickets sold.

What [Snakes on a Plane] did change was how set visits are handled.

In the past, unit publicists would monitor the sets for anyone leaking photos or production tidbits to news outlets. Now we set up special set visits for digital media, inviting anywhere from 10 to 25 bloggers to take selfies with and interview the cast, all of which is immediately released through Twitter, Instagram, YouTube, or Facebook in pretty much real time.

I can’t really offer sage advice to someone who wants to get into the industry. My approach has always been to lead by example through mentoring.

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JANUARY 2017

F O R

B E S T

Y O U R

ICG

C O N S I D E R A T I O N

C I N E M A T O G R A P H Y

R O B E R T

R I C H A R D S O N,

W W W . WA R N E R B R O S 2 0 1 6 . C O M

A S C

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JANUARY 2017

Book REVIEW Vibes from the Screen: Getting Greater Enjoyment From Films

by Bob Moss

Vibes From the Screen: Getting Greater Enjoyment From Films by Bob Moss.

ISBN-10: 1635050650, ISBN-13: 978-1635050653.

Amazon/Barnes and Noble Paperback $22.95, Kindle $18.50

Does knowing what goes into bringing a compelling story to the screen enhance the viewer’s experience? If you ask author/teacher Bob Moss, the answer is definitely. With his Vibes From the Screen, Moss builds a narrative that increases both enjoyment and understanding of a movie. He does this by introducing the readers (professionals and audience members alike) to the techniques filmmakers use, often through the voices of icons like Martin Scorsese; Vittorio Storaro, ASC, AIC; Meryl Streep; and more.

His goals? “To really enjoy a film,” he writes, “it’s important to understand the basic elements. It is not the intention of this book to be a training manual or film-school text, but rather just to provide a sufficient explanation so that viewers can understand what is really happening on the screen as it was envisioned by the film’s creators.”

Understanding things like why a director uses a particular camera angle, why certain music is played (or not played), or when a particular color is used not only deepens the understanding of the art behind moviemaking but also gives the audience more enjoyment. It did for Moss, and he believes it will for others.

In a way, Moss is more facilitator than author. He sets the stage – then turns it over to the professionals to explain their methods. In many cases he caps that off with a few simple suggestions that will deepen the understanding of what is up on the screen.

For example, in one section, Moss turns to Stephen Goldblatt, ASC, BSC, for his “job description.” Goldblatt chooses The Pelican Brief to show how camera movement – specifically shooting in sequence – impacts his work.

“As much as possible, [shooting in sequence] allowed us to make sure the character transitions were real and the story development would ring true. Just as a well crafted story keeps the audience’s attention, well crafted moves hold their attention as well.”

Moss has cinematography legends like the late Gordon Willis, ASC, explain in simple and often enlightening terms

just what they do and why. “Willis saw himself as a visual psychiatrist using his talent to evoke memories, identification, and emotions,” Moss writes. “Willis calls his work ‘moving an audience around as you see fit’ to put them into the right position to see and feel the best performance.”

There’s also a story about Michael Caine’s conversation with his director about something Caine had done in character.

When the director said he hadn’t seen it, Caine’s comment was that the director hadn’t seen where the cinematographer put the camera and that he should have seen what the camera saw.

Moss also talks about Storaro’s famous Writing With Light, Colors, Elements, which includes the cinematographer’s elegant color scale and corresponding meanings. Moss shows how remembering the scale can change how you look at light.

According to Storaro: “Black is the color of Conception, Red is the color of Birth, Orange is the color of Growth, Yellow is the color of Awareness, Gray is the color of Waiting, Green is the color of Knowledge, Blue is the color of Intelligence, Indigo is the color of Consciousness, Violet is the color of Maturity – and the sum of these colors is White – the Color of Life.”

Moss brings each chapter home with a set of questions for the reader. In his section about cinematography’s impact on the viewer, he asks: “Which scenes stick out in your memory and why? What did the cinematographer do to make these scenes memorable? Did you notice special lighting effects?

Did these enhance the viewing? Did they help tell the story? If there were special color treatments, were they effective? Did you notice a difference in lighting between characters? Were there some beautifully framed photographic scenes? What was your mental and visceral reaction to them?”

Those who take Moss’s journey (even longtime industry professionals) will learn more than they ever thought they knew about editing, acting, directing, and more. And don’t forget to ask yourself Moss’s questions next time you’re on the set, in the screening room, or out with a general audience. Guaranteed you’ll look at what you do every day in a very different “light.”

by Pauline Rogers 28

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ICG

The Cooke Look

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Original photo, Luke Varley

One Look. All Speeds

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JANUARY 2017

30 Years of Cinematography at Sundance

by Elle Schneider and Valentina Valentini 30

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Ain’t Them Bodies Saints (2013)

Acceptance to the Sundance Film Festival has always been something of the Holy Grail for aspiring filmmakers; a rite of passage into a familial pantheon of cinematic artists and rebels. Though fiercely committed to independent art, the annual 10-day festival often bestows an instant key card into Hollywood power suites, particularly for those filmmakers who win a peer-reviewed, Competition award.

Since the early days of the festival, Sundance’s recognition of cinematographers resulted into a launching pad for independent DPs, opening doors to studio and television work, union membership, and even invitations to the career-defining American Society of Cinematographers.

“The kind of recognition that a Director of Photography can get at Sundance can help catapult a career into prominence,” describes Local 600 President Steven

Poster, ASC, who has debuted several films at Sundance, including the landmark 2001 hit, Donnie Darko. “The people who see your movie there are the ones in Hollywood who can change your life forever. Even if you are not one of the winners [just having your film screened] can give you a leg up into mainstream filmmaking.”

In 1987, while still under its original moniker, “US Film Festival,” the Cinematography Award was presented at Sundance for the first time, with one award given for the best Narrative and Documentary feature films. Bestowed annually since 1990, the Cinematography Award has mirrored shifts and developments in the industry, always helping to reflect cinematography as an evolving, innovative aspect of visual storytelling. continued on page 32 31

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Early Daze

“To be honest, what went through my mind when I won was: I’ll never have to pull focus again!”

Rob Sweeney, 1996 Winner

In revisiting nearly three decades of award-winning cinematography, surprises emerge that prove Sundance has always been a festival that reflects, and perhaps guides, the state of independent filmmaking in the United States.

During its first decade, narrative films that took home the cinematography prize were surprisingly mainstream in tone and story; and even those features that had more diverse subject matter, like 1990’s House Party and 1991’s Daughters of the Dust, told their stories in a mostly conventional way (Daughters of the Dust, shot

by Arthur Jafa and directed by Julie Dash and recently restored and presented at the 2016 AFI Fest, was the first film directed by a black woman to receive major distribution.)

In contrast, the documentaries awarded during Sundance’s early years often focused on more obscure subject matter, and social issues, like the Oscarnominated Australian film Chile: When Will It End?, the first film to be awarded the Cinematography prize, in 1989, and My America...or Honk If You Love Buddha (1997). Budgets of narrative and documentaries that won cinematography prizes were quite healthy (compared to today’s indie scene), with many features costing upwards of a million dollars when adjusted for inflation. Without the benefit of later innovations in digital capture, most were shot on film, and not made in a run-and-gun fashion, as is so often linked with independent filmmaking. Early Sundancers worked outside the studio system and, lacking the benefit of VOD and the Internet, made films designed to be seen in theaters across the country. While not cinematic rebels per se, the sheer complexity of making a film independently on 35mm in those days outside of “the system” became a rebellious act. And they often allowed filmmakers to move up to higher-level jobs on an independent scale.

“I was a very busy first assistant at the time,” remembers Rob Sweeney, the 1996 winner for Color of a Brisk and Leaping Day (currently shooting the ABC hit comedy, Black-ish). “To be honest, what went through my mind when I won was: ‘I’ll never have to pull focus again!’ I went home and stored away my tape measure and front box for good.” continued on page 34

1987 First Cinematography Award given to: Chile: When Will It End? (goes on to be Oscar nominated)

1995

1992 Women win both narrative and documentary awards, including first of three awards for Ellen Kuras, ASC

1989 No awards given

Second awards for Alberti and Kuras

(1987-1998)

1990

1994

First female winner: Maryse Alberti for H2 Worker

First of two films shot on 35mm in black and white

1991 First African-American winner: Arthur Jafa for Daughters of the Dust 32

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Color Blind

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As Sundance’s credo for diversity and social impact evolved, storylines and themes shifted, with Cinematography’s Narrative prize bestowed on films like Three Seasons (a triple winner of the Audience Award, Best Director for Tony Bui, and Best Cinematography for Lisa Rinzler) and Pariah (Directed by Dee Rees, Best Cinematography to Bradford Young, ASC), changing the conversation about including diverse voices in independent storytelling.

Equally notable was the celebration of diversity behind the camera. Sundance may be the most significant awarding body in the world in that regard. Until 2008, 35 percent of cinematographers recognized at Sundance were women, and of the 92 cinematographers honored to date, women make up 25 percent of overall winners. This statistic is more than 10-times higher than the 1.8 percent of women represented in Stephen Follows’ oft-quoted New York Times study of the 2,000 topgrossing movies from 1994 to 2013, and is especially important when considering no woman cinematographer has yet to be nominated for an Academy Award in all its 88 years.

Though the number of award-winning female DPs fell sharply after 2008 (when the cinematography category was split into two sections – U.S. and World Cinema) for reasons only open to speculation, women cinematographers have never been recipients of affirmative action benefits at Sundance. Maryse Alberti won with H2 Worker in 1990 and in 1992, 1995, 1999 and 2004, women won both the narrative and doc categories.

Four of these women – Ellen Kuras, Nancy Schreiber, Amy Vincent, and Judy Irola – all went on to become members of the ASC. The first cinematographer to shoot an award-winning Sundance film on digital was a woman, Emiko Omori, who was also the first filmmaker to be awarded for two films at the festival in one year. But perhaps most notable is that Kuras is the most lauded DP in Sundance history, awarded for her work during three separate years – Swoon (1992), Angela (1996) and Personal Velocity (2002).

“Sundance changed the course of my career,” Kuras reflects.

“As a director, I returned to workshop my film, originally a Masters thesis film I went back to finish 20 years later. With the support of this very special community attuned to film and an independent voice, I was able to go on to finish my film, winning not only the primetime Emmy, but also being nominated for an Academy Award. For me, Sundance is not only a festival; it is a community.”

Nancy Schreiber, ASC, who won in 2004 for November and shared her first award with Christine Choy for My America, remembers that, “in those days, it was easier as a woman to get work in documentaries. I was happy to be able to hone my handheld skills as a documentary shooter, even though I had come up in the New York scene as a gaffer. That skill has been useful as it translated over to narrative in film and television as a common popular technique.”

Sundance has also played a significant role in recognizing cinematographers of color, with 15 percent of awards bestowed to that group. The split into international and domestic films in 2008 increased the diversity of award winners greatly, giving international cinematographers a chance to be in the spotlight, including Local 600 members Enrique Chediak, ASC and Adriano Goldman, who both have gone on to shoot major studio pictures after their wins for Hurricane Streets (1997) and Sin Nombre (2009). Only twice has a single cinematographer been awarded for two films at the festival in one year, and both were cinematographers of color: Bradford Young, ASC and Emiko Olmori. continued on page 36

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“

For me, Sundance is not only a festival; it is a community.”

Ellen Kuras, ASC (3-time winner)

(1999-2005)

1999

First digital films awarded, both shot on Sony 400A Betacam SP camcorder

2000 Dark Days and Americanos tie in doc category; Dark Days is last B&W winner

2001

Allison Anders’ Things Behind The Sun, shot by Terry Stacey, ASC, becomes the first digitally shot and projected movie at Sundance

2002 Personal Velocity (made for $125,000) is lowest budget winner ever

2002

First year all winners shot on digital

2004 November, shot on MiniDV by Nancy Schreiber, ASC is the first winner (and only narrative winner) shot on a Panasonic camera

2005 Winner Hustle & Flow wins Oscar for song “It’s Hard Out Here for a Pimp”

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Digital Days The dawn of the 21st century also marked a new era for the Cinematography Award at Sundance; the accessibility of digital cameras had a profound effect on the style and choice of films being awarded, as well as who was shooting them.

From 1987 to 1999, only 38 percent of those lauded Sundance documentaries were shot by their directors. However, since 2000, that amount has nearly doubled to 72 percent of awarded films having their director as a primary cinematographer. Since 2013, 100 percent of documentaries that won the Cinematography Award have had a director that was also a shooter.

This sweeping change can best be explained by a few frequently cited factors that digital cameras bring to the table: a lower cost of creating a film with little (or no) crew, an increased intimacy with subjects or difficult locations, and the ability to conceal equipment for sensitive (or politically prohibited) subject matter. (Given that many women cinematographers begin their careers shooting documentary films, the rise of shooter/director may also account for the decline in awarded women DPs at the festival.)

Whatever, the reason, digital cameras made a huge impact, particularly on documentary filmmaking. Since the first lauded films shot on digital, Regret to Inform and Rabbit in the Moon, were both shot

by Emiko Omori on a Sony 400A BetacamSP camcorder in 1999, 67 percent of Sundance’s award-winning documentaries have been digital.

Many different cameras have been used, across many formats – from Betacam tapes to MiniDV and HD. Since the digital revolution, lauded documentary films have used Canon, Sony and Panasonic cameras, with RED, ALEXA, and Sony cameras primarily used for narratives. Sony cameras, used on both narratives and documentaries, have seen the most award-winning films of any manufacturer and (so far) the EX1 is the most award-winning camera with five wins. The runners up, ARRI ALEXA, Panasonic

HVX and DVX, and Canon 5D Mark II, were each used on three winning films. Although 4K arrived in the professional world in 2007, a film shot in 4K has yet to win a Cinematography Award at Sundance.

Film is Not Dead (but B&W might be)

There always seems to be a feeling of pride when a film shot on celluloid wins a Cinematography Award at Sundance. And while, as of 2016, digital has edged out film, 51 to 49 percent, contrary to popular belief, 67 percent of the award-winning narrative films have been shot on film since 1999, and one third of documentaries, including the sole 2016 cinematography winner, The Land of the Enlightened, shot by its director Pieter-Jan De Pue. “In difficult times for celluloid,” says Lol Crawley, winner of 2008’s award for Ballast, a narrative feature with a $700,000 budget, “I try to promote the use of 35mm as a viable capture medium, all while fighting the perception that camera technology evolution, i.e., Arri Alexa and RED, have made production more cost effective.

My role as a DP is to make creative, evocative choices that serve the story; not to make the visuals stand out in isolation. Some of the most sublime cinematography has been the least flashy in its execution, and I think that Ballast remains an example of this.”

Interestingly, while black and white is still common in advertising, music videos, and short films, no black and white-shot feature film has won a cinematography award at Sundance since digital became a major player in independent film. With Dark Days as the last black and white winner in 2000, video seems to have killed the monochrome star. continued on page 38

2008

Awards are broken into International and US categories, doubling the awards

2010 First RED winner, Obselidia, shot by Zak Mulligan

2009

First winner to be financed by major studio, Sin Nombre, shot by Adriano Goldman, ASC

(2005-2010)

2009 largest budget for a winner, $7.5 million for An Education

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2010

Kristen Johnson shoots part of The Oath on Vixia HV20, first Canon camcorder to capture a best cinematography award at Sundance

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30 ICG

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The Future is Bright(ish)

(2011-2016)

Throughout its 30-year history, Sundance has been at the forefront of independent filmmaking, gender and racial diversity in front of and behind the camera, as well as a leader in emerging camera technologies. The festival has embraced new media formats with open arms, with the recent additions of virtual reality, transmedia, and television elements to its yearly showcase, changing the festival’s focus once again to the voices and technology of tomorrow—and, for the first time since 2008, changing the way it awards cinematographers for their work.

“More recently,” explains a rep from the Sundance Institute, “because of the broad creative spectrum that the Festival is known for, we’ve allowed each jury to decide whether to present the cinematography award for their section or to highlight another outstanding craft, such as editing or design. [In 2016], only the World Cinema Documentary jury gave a special award for Best Cinematography. As with last year, at this year’s upcoming festival “the jury [will] decide whether to present the Cinematography Award or to highlight another outstanding craft.”

Not that all that necessarily matters to Guild DPs whose work debuts at the festival. “I never think about aiming for an award when I shoot a film,” notes Brandon Trost, who won the final Narrative Cinematography award for Diary of a Teenage Girl in 2015, his first film at the festival. “I’m there to help the director tell their story and I’m proud to put my work forward to service that.”

Trost adds that, “winning did help my career, in that people suddenly took me more seriously as a dramatic DP. A lot of the films I’ve shot over the past few years had been studio comedies and it’s easy to get written off when it comes to getting in the room for films of different genres. I think it surprised people, which made me happy.”

With the shift away from regularly presented awards, Sundance’s rich history of discovering and elevating new cinematographers (especially women and people of color) may be coming to a close.

But future recognition of cinematographers will no doubt go to those visual pioneers that continue to push our industry forward with fresh ideas and innovation. Perhaps it will be a 4K film or a 3D feature? Or, more likely, VR, AR (augmented reality) and even a video game. Anyone paying attention for the last 30 years, knows innovation is usually first to scale the mountain in Park City.

LOCAL 600 WINNERS OVER THE YEARS Alex Nepomniaschy, ASC Paul Elliott Maryse Alberti, ASC Peter Deming, ASC Ellen Kuras, ASC Judy Irola, ASC (honorable withdrawal) Greg Gardiner Rob Sweeney James Mulryan Nancy Schreiber, ASC Enrique Chediak, ASC Tom Hurwitz, ASC Declan Quinn, ASC Tom Krueger

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2011

Hell and Back Again is first DSLR film to win an award, shot on Canon 5D

2011

Three of six winners are DP’s of color

2012

My Brother the Devil is first awarded film shot on ARRI ALEXA

2013

For only the second time, festival honors one DP for two films: Bradford Young, ASC for Mother of George and Ain’t Them Bodies Saints

2015

Second year that all winners are shot digitally

2016

Only one award given, The Land of the Enlightened, doc shot on film

Giles Nuttgens Gordon Quinn (retired) Gary Griffin (honorable withdrawal) Amy Vincent, ASC Benoit Dibie Robert Richman Adriano Goldman, ASC John De Borman Zak Mulligan Ryan Hill Bradford Young, ASC Ben Richardson Christopher Blauvelt Brandon Trost

Did You Know...

• The average budget of a Sundance cinematography award-winner is $1.73 million • The average budget of an award-winning documentary is $995,600* • The average budget of an award-winning narrative is $1,883,958* • Out of 92 honored DPs, only 18 were women who did not also co-direct their films.

• Six films where a director was also a DP had male and female directing teams. For all six films, the woman director did not shoot.

• The only awarded male/male directing team that also shot their own film was the Maysles brothers.

• Only two films were honored that had two women directors.

• No films directed by female filmmaking teams had self-shooters.

• Award-winning films shot by male cinematographers have an average budget of $1,960,286* • Award-winning films shot by women have budget of $909,285* • No award-winning narrative features have yet been shot by a woman of color. *All budget, camera, and format data used in this article was sourced via Box Office Mojo, IMDb, published filmmaker interviews, and other well-regarded outlets, with additional information directly provided by the award-winning DPs. Budgets were only available for half the award-winning films, and five films did not make their cameras or shooting formats public.

JANUARY 2017

ICG

SIMMONS ON CINEMATOGRAPHY

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John Simmons ASC is both a cinematographer and renowned fine art photographer (www.itstartedinthe60s). Johnny brings his creative passion to mentoring disadvantaged youth in LA schools and is a professor of Cinematography at UCLA.

The cinematography experience is

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Exposure

“I feel one of my strengths is being able to talk to anyone and everyone.”

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Wynn Thomas is a true American success story. Growing up in Philadelphia, he had to share his single mother’s attention with five siblings. Playgrounds weren’t for him, but the theater was. And seeing Tennessee Williams’s Summer and Smoke on television got him hooked. In his early teens, Thomas started hanging around theaters, even working at Society Hill Playhouse. He did everything from hang lights to paint scenery (and even a little acting). Attending Boston University helped him combine his love for theater and set design. Eventually he returned to his hometown to paint scenery for the Philadelphia Drama Guild and design sets at small theater companies. Then there was a move to New York City for the worldfamous Negro Ensemble Company – and then Washington D.C. for the Public Theater and Arena Stage. Eventually, he says, “I got tired of being poor” and decided to tackle the movie industry. He never looked back. His résumé includes legendary filmmakers like Spike Lee, Ron Howard, and Robert DeNiro’s directorial debut. ICG Staff Writer Pauline Rogers quizzed Thomas about his newest film, Hidden Figures, the story of three unsung African-American female heroes behind NASA’s first explorations in space, and his first collaboration with a female cinematographer, Australian Mandy Walker, ASC, ACS.

ICG: There have been a lot of “firsts” in your career. What are some of the most important? Wynn Thomas: I was the first African-American Production Designer [in the film and television industry]. And, the first black designer in the Art Director’s Guild, as well as the AMPAS [Academy of Motion Picture Arts & Sciences].

There was already a small handful of black theatrical set designers in New York City at that time. Today, there are a few more black production designers – but I broke that glass ceiling. As a production designer, I work with a wide variety of people – from Studio execs to construction and paint crews. And, of course, I have designed all types of movies, not just movies with black actors and black themes. One of my strengths, I feel, is being able to talk to anyone and everyone. I treat people with respect and have always demanded that I be treated the same way. If somebody has ever had an issue with my race, that’s their problem.

You’ve earned many nominations (and awards) for your work – what stands out? My first was an Art Director’s Guild nomination for Mars Attacks!, which was a blast to work on. Tim Burton really let me develop my ideas and then came in to tweak a little. The movie was based on a series of trading cards, which were too graphic with lots of extreme color. We decided to keep the set design shapes very simple. One item dominated a room – a large map for the War Room, a large single bed in the bedroom. On that film, the visual-effects team got its images from art-department drawings.

by Pauline Rogers / photos by Sarah Shatz 41

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Exposure

How would you characterize your relationships with the cinematographer and director from film to film? Each is different, depending on the personality of the people involved as well as what the project demands. On Hidden Figures, both director Ted Melfi and DP Mandy Walker were involved with the scouting process early on. There was a lot of respect for the division of labor.

What I mean by that is that Mandy really gave me the space to develop my ideas with Ted. Putting a location-driven movie together is like building a huge collage. A DP can speak up too soon before all the pieces are together.

But Mandy was very careful about when to speak up. And I appreciated her for giving me the space to build the movie. Ted, on the other hand, was quick to express his opinion.

And, if a location worked, we made a decision quickly and moved on. Mandy was also very good about sharing her visual resources. We looked at Saul Leiter’s work, Danny Lyons, as well as the work of Gordon Parks. She did a screening of the movie Paris, Texas and I brought to the table the documentary Eyes on the Prize.

You’ve also worked with directors who

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may need more guidance, correct? Working with Robert DeNiro on A Bronx Tale is an example of that kind of relationship. Bob was a first-time director and he had great instincts, but was not always sure of his decisions. As a result, I spent more time showing him photos of the time period (like Hidden Figures, set in the 1960’s). We spent a lot of time looking at people’s family photos. Both DP Reynaldo Villalobos and myself were very happy to talk about the look of the movie in abstract conceptual terms; for instance, the lighting on the street should feel like a small Italian village at sunset. Bob was a realist, so neither of us spoke to him in those terms. But Reynaldo and I have a secret language that we shared.

You’ve done several movies with Spike Lee. What was Malcolm X like? It was our sixth movie together and the team was a welloiled machine. Ernest Dickerson was the DP. It was like working for family. We loved and respected each other. The collaboration was easy. This man (Malcolm X) was a hero to all of us, and we knew that we had to get it right.

Ironically, we were all wise enough not to be intimidated by the material. And, fortunately, the answers to how to make the movie were

in the script. It divided into three acts. Act One – Malcolm’s early life of crime and youthful energy was to be expressed in full Technicolor. Act Two – Malcolm’s recovery, purification, and journey to Islam was to be designed and photographed in muted colors and tones of gray. He is being reborn. Act Three – Malcolm has come into his manhood.

This is the most natural part of the movie – it’s all earth tones.

Talk about working with an iconic director like Ron Howard. We did two great movies together, A Beautiful Mind and Cinderella Man. Ron is a wonderful director, but he’s very cautious. Working with him requires a lot of care, and I worked very hard to get inside of his head. So I was constantly showing him images/photographs/research and asking more questions. This is in complete contrast to Spike Lee – with whom I would have a 15-minute talk at the beginning of a job and then barely speak to him again. Roger Deakins shot A Beautiful Mind, and he doesn’t like any tricks with lighting. Everything has to be motivated. So that meant finding locations with windows and providing enough well placed light fixtures. Salvatore Totino was

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“

Exposure

[Diversity] is an employment issue, and producers simply have to hire from a wider pool. If you hire people, they will get their training – on the job.” the DP on Cinderella Man. We were trying to take the audience back to the Depression era, and black and white photographs inform our sense memory of that time. So Sal and I decided on a tight, limited, color palette – dark greens and browns. Everything muted. It was a black and white movie in color.

What kind of research did you do for Hidden Figures? There was a lot to draw on from that time period – from NASA archives to Civil Rights books. The challenge was how to recreate 1960’s NASA and the 1960’s in Hampton, Virginia – but in Atlanta. NASA itself was a fairly boring-looking facility in Langley, all two-story redbrick cinder-block buildings. The question for me was: am I going to serve the reality of NASA or the myth of NASA? The myth was much more interesting and also fit the tone of the script.

How did you go about designing that myth on screen? I chose locations that provided extra-large rooms, simple but bold shapes, high ceilings and long corridors. I chose Morehouse College, a period-correct campus, to use as our NASA campus. It has a large circular building that became the inspiration for the Space Task Group Office.

Circles became a motif – circular workspaces, with circular globes in the center of that space – and of course our astronauts are circling our Earth. Working at Lockheed, in contrast, was more difficult. They didn’t give us many prep days. We couldn’t attach anything to the walls.

So we were forced to light it with theatrical strip lights as well as lights on pole stands.

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The Lockheed wind-tunnel interiors had not changed in decades, so Mandy’s lighting was used to give definition to the space.

What are the kinds of questions you ask yourself as you design a project? What do I want the audience to feel? What do I want the actors to feel? What emotional journey do I want to take the audience and the actor on?

Not only is a production designer giving the audience a sense of time and place, he or she is also guiding them on an emotional journey.

We control it by our use of color and by what kind of space we choose to stage the action in.

The audience isn’t always aware that they are being so manipulated. [Laughs.]

How does that apply to Hidden Figures?

There are two worlds at NASA: the world of the scientist and the world of the workers. In our story the workers are a group of black female mathematicians who are referred to as “computers.” I wanted to emphasize the contrast between these worlds and at the same time mythologize NASA. There is also an upstairs/downstairs aspect to the story.

Therefore, I placed the “colored computer room” in a darkly colored basement of stone that was overcrowded with furniture and had low ceilings. The audience and the actors will sense how claustrophobic the space is. For the world of the scientist, I used big rooms that were simple and bold, with high ceilings and long corridors made out of shiny, reflective surfaces like marble or high-gloss stained woods. Great scientific thoughts can occur in these kinds of spaces.

Did any space really stand out for you?

Probably the Space Task Group, which, as I mentioned, was designed as a circular room, with maps and globes everywhere. The astronauts are making history by traveling around the globe and through space. Circles become a metaphor – and I feel the audience will sense the circle motif. Here on Earth, our three black women are also making history, so I used very long corridors to support the journeys of these characters. You see how each woman walks down a long corridor before she begins a journey that will change the world here on Earth.

How do you view the issue of diversity in Hollywood today? Mandy and I would often joke and refer to ourselves as “the diversity team” on Hidden Figures. You get “two for two” when you hired us – a woman and a black man. But I am really of two minds on this issue. The cynical side of my brain/ heart feels that there is a lot of talk and not much action. This is an employment issue, and producers simply have to hire from a wider pool. If you hire people, they will get their training – on the job. Once they are trained they will get jobs and start building relationships that will lead to more jobs. But if you don’t hire – nothing will change.

Actors and directors have gotten the most attention on this issue. But you’re talking about all areas of the industry?

From studio execs to the electric department – it is everyone’s responsibility to take action.

My art department on Hidden Figures was a reflection of that. There was a Latino woman set designer, a white male set designer, a black art director and a white art director, a white woman set decorator, and a mix of races amongst the PA’s. This didn’t happen by accident. I made choices. And until hiring practices change, at every level, nothing will change. The positive side of my brain believes in the goodness of people. We all just have to keep kicking, screaming, and killing folks with kindness. Working with Mandy was the same as working with any male DP. She is strong willed, opinionated, demanding, stubborn when necessary and clear-headed about what she wants. And she wears the most fabulous red lipstick. [Laughs.]

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Mandy Walker, ASC, ACS, helps bring the proud black women heroes behind NASA’s early space program out into the light

by PAULINE ROGERS photos by HOPPER STONE/SMPSP

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February 20, 1962. Fledgling astronaut John Glenn, dressed in his “space suit,” approaches the launch pad in Cape Canaveral, FL, about to be the first American to orbit the Earth and return home safely.

But then he pauses, concerned about some lingering questions over mathematical computations generated by the first IBM computers at NASA. What does America’s first real superhero do? Glenn picks up the phone to Launch Central, and says: “Get the girl to check the numbers. If she says they are right, then it’s a go.”

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The “girl” for whom Glenn asked for was Katherine Johnson, one of a handful of “human computers” (all African-American women) NASA had tucked away in a basement room to make computations with monumental consequence that drove our nation’s first journey into space. The new Fox film Hidden Figures tells the powerful true story of three of these women – Johnson (Taraji P. Henson), Mary Jackson (Janelle Monáe), and Dorothy Vaughan (Octavia Spencer) – who all navigated through the Jim Crow South to become the unsung heroes of the American Space Program.

The word through is an important part of their story.

Chosen by director Ted Melfi (St. Vincent), it “defines the cinematography and tone,” he explains. “Everything in the film is shot through things. Characters go through things.

The story begins with the characters always behind things – a little girl [young Katherine] seen through trees as she picks up a pinecone and counts numbers, women walking through hallways or being seen through glass. Until they have gone ‘through’ everything – and come out on the other side, clean, unobstructed.”

Cinematographer Mandy Walker ASC, ACS (multiple ACS award winner and ECA winner, known for Australia), and Melfi chose to shoot on film – Kodak 100D, 250D and 500T – overexposed 2/3 of a stop – with Panavision cameras and E-series, T-series and Primo Zoom anamorphics. According to 1st AC Larry Nielson, Walker’s overall concept was straightforward camerawork. “We weren’t trying to reinvent the wheel but to allow the camera to tell the story,” Nielson states. “Not a lot of whip pans, handheld or tight close-ups.

The camera movement wasn’t distracting.”

A-Camera/Steadicam Jason Ellson says Walker’s approach was to create a balanced frame that maximized the anamorphic format, and then let the action play within it.

“Movement was kept to a minimum. There were no unmotivated camera moves unless we were moving with the actors,” Ellson recalls. Most shots were on dollies, with running and dialogue scenes in corridors mainly done on Steadicam. “For dialogue scenes, to preserve the eye lines, we would swing a lens on the A-camera rather than try and force two cameras together at the same time, compromising the angles,” Ellson adds.

Echoing his director, B-camera operator Mick Froehlich says the Walker/Melfi plan was to “use strong shapes and heavy foreground elements, to look through the sets as an observer. We also used vertical lines integrated into the production design to create a frame within a frame,” he recalls.

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“Movement was kept to a minimum.

There were no unmotivated camera moves unless we were moving with the actors.”

A-Camera/Steadicam Jason Ellson

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“We worked closely with the Art Department to find desk lamps and practicals that would give hits of hard, warm light at the camera level, in order to add another layer or dimension.”

Gaffer Chris Culliton

This visual approach, although relatively simple, took intense planning. Walker recounts how she and Melfi drew from various influences. “We watched archival NASA footage and [Civil Rights Era] documentaries like Eye on the Prize, along with still photography by Saul Leiter, Gordon Parks and Danny Lyons,” she says. “Then we watched contemporary films like Paris, Texas for composition. We built what we called a ‘production bible’ of stills from our storyboards, extra location frames and angles, and written slugs that Ted would put in that described the scene in emotional and dramatic terms.”

Walker says their visual style can be traced back to those stills. “The look really resembles Kodachrome more than anything else,” she offers. “Production Designer Wynn Thomas [see Exposure, page 40] and Costume Designer Renee Kalfus worked with us to create the color palette, texture and images. Color and saturation in lighting was carefully planned to support each location and the story of what the women were going through in each moment.”

One of the biggest challenges was re-creating NASA in Langley – seven locations strung together to make the campus. “The Space Task Group is probably the biggest location – bright and white and somewhat cold – representing, for that time, the space-age environment,” explains Walker. “Wynn built this in a gym in an abandoned school across from the Atlanta production office. The next biggest, Tracking Control, was built in a room at an old mental asylum.”

Lighting for the bullpen, the Space Task Group (STG) and Al Harrison’s (Kevin Costner’s) office (a fully constructed set) offered unique opportunities. Gaffer Chris Culliton says that “given many of the scenes in Space Task Group would be dynamic and that Wynn’s circular design lent itself to those beautiful anamorphic wide shots, it was important to have a lighting scheme that was integrated into the architecture.

“The focal point was a large ‘oculus’ that hung in the middle of the room,” he continues, “just below the datum line of the side walls. Imagine a circular frame with a 30-foot seamless bleached muslin stretched over it. The muslin was backlit by around 40 ARRI Skypanels placed at a sufficient distance to eliminate hot spots.”

However, Culliton adds, the main weakness of such broad top light is that it’s often too flat. “In a top-lit room, such as the STG, or the fluorescent-lit office spaces, you have to introduce contrast to give the space a sense of depth,” he observes. “Lighting is often more a question of creating shadow and separation by switching off fixtures, or using negative fill, to focus the eye on what matters in the story. We worked closely with the Art Department to find desk lamps and practicals that would give hits of hard, warm light at the camera level, in order to add another layer or dimension.” continued on page 53 50

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The publicity team behind Hidden Figures had a pretty hefty schedule. “Production allowed us to have an open set,” explains Fox National Senior Publicist Sara Hull. “And because there’s such a joyous and powerful message behind this movie, the cast and crew gave one thousand percent every day. They really allowed our PR team [on-set unit publicity Deborah Simmrin, unit photographer Hopper Stone, and EPK shooter Pete Chiaramonte, studio digital publicity Carol Cundiff and Molly Doherty, field publicity Annie McRoberts and photo editor Andrea Foster, as well as Fox’s New York unit] to shoot for the stars.”

Simmrin says the goal was to represent all the different aspects of the story. “Hidden Figures speaks to everything from the space race to racial politics and female empowerment,” she describes. “This meant a wide variety of press or opinion-makers representing everyone from traditional press to bloggers – perhaps more than any other project. And that took coordination.”

The unit publicist says there were set visits every day. “It could be anything from The New York Times to The Today Show, Essence Magazine to UK Empire or USA Today,” she adds. “Then there were other targets – a day of science press, for example.

And, we even hosted a day for influential pastors.”

The wide-open set made the coordination between Simmrin and stills photographer Stone vitally important. Each outlet needed visuals that would support their audience. But Stone and Simmrin also needed to “bank” images for future needs. That meant a lot of strategizing.

Stone says he was “very mindful of the fact” he was shooting digital stills on a period movie that was being shot on film. “While Film Solutions handled the asset management,” Stone explains, “I would occasionally set a look to some of the shots in order

to try to match the film. Mandy Walker and gaffer Chris Culliton were very open with me about how the film was to look,” he says, adding that “it’s an ongoing challenge in the stills world to previsualize whatever changing media outlets will use – from film publicity and production stills that will work in both high-end glossy magazines and an Instagram feed.”

That, everyone agrees, is an impossible task without cast cooperation. And the Hidden Figures stars trusted the Fox PR team to have the best interests of the film in mind. “During days filled with memorizing lines and getting into character, they were pulled out to discuss what we were doing, and that didn’t phase our cast,” Simmrin recalls. “They were excited to tell everyone about a movie they were so proud of.”

Of equal importance was the entire Hidden Figures crew.

Simmrin says they helped her find a quiet space to set up chairs and monitors for larger press groups to sit and watch filming, while sound and video assisted for hook-ups. “The AD department helped get the cast to the interviews, and even the filmmakers, who made time and welcomed the never-ending parade of journalists on the set,” she adds.

The well planned and executed PR work on set was then moved seamlessly into the studio PR machine, once production ended. “We used Katherine Johnson’s birthday to release digital activations,” Hull explains. “We showed footage at the Essence Festival, Bronner Bros. International Beauty Show, the AKA Boule and a few other summer festivals and conventions. We even brought the stars and filmmakers to Toronto [International Film Festival] to show extended footage and host a concert on the street with Pharrell Williams, Kim Burrell and Lalah Hathaway singing songs from the film.” by pauline rogers

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“We wanted to make Katherine a jewel in a sea of white men, in white shirts, in a gray room.”

Mandy Walker ASC, ACS

One of the most stunning moments in Hidden Figures takes place in the STG and Tracking Control room. “Katherine is the first black woman to come out of the basement and be invited to work in NASA’s technical world, which is all [white] men,” explains Walker. “So these women’s struggles are never more telling than right here.”

The technicians not only refuse to share their coffee machine, but the numbers she checks have been redacted, limiting her chances for accuracy. On top of that, there is no “colored women’s bathroom” in the building, so she must run half a mile (sometimes through the rain) to use the “colored” facility, further fueling Harrison’s rage when he needs her.

As Walker describes the key scene: “We wanted to make Katherine a jewel in a sea of white men, in white shirts, in a gray room. We made sure she popped with her colored outfits and bright red lipstick” [even brighter than Walker’s trademark, if that’s possible].

“We had discussed an idea that early on in the movie’s story line,” Ellson adds, “we would shoot our three leads slightly below eye level when interacting with Caucasians. The idea was to subtly create the feeling that the white people looked down on these ladies. As the movie progresses, the women become more empowered and we raise the camera higher to subconsciously create the visual to the viewer that everyone is equal.”

Froehlich says he and Ellson were always looking for ways to work together to shoot through different set pieces and to support the visual clues.

“One of my favorite shots,” Froehlich remembers, “is in Kevin Costner’s office,” during one such crisis moment. “We start on Kevin sitting in his chair from behind with his lunch, and then he walks out to call Katherine into his office. She is looking through his windows observing him for a few moments before he decides what to do.”

There are many more similar “moments” that, when pieced together, form Walker’s heart-rending visual tapestry. Like when Mary Jackson challenges a Jim Crow judge to let her attend night school, so that she can become the first woman engineer (which she did).

Or when Johnson, the unacknowledged mathematical genius behind NASA’s computations, runs to the Track Control Room with the correct figures, only to have the door slammed in her face after she hands the pages through it. The emotional ante is raised by a tight CU profile of Henson that ends in complete shadow.

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Speaking of shadows, everyone from Executive Producer Mimi Valdés to the entire Local 600 camera team singles out the moment when the three women come out of the shadows and into the light. The scene focuses on Dorothy Vaughn, who has quietly trained herself and her flock of human computers to work on IBM machines. When the supervisor, Vivian Michael (Kirsten Dunst) offers Vaughan a chance to become a supervisor, i.e., to train the men or white women on the system, Dorothy only agrees if she can bring along her trained black colleagues.

“It’s my favorite scene,” says Valdés. “Dorothy informs the colored computers they’ve been reassigned, and they march down the hallway like superheroes. The way Mandy chose to shoot [the scene], you can’t help but cheer these women on.

It’s one of the most brilliant examples of female empowerment we’ve ever seen in cinema.”

The moment is transformative.

Dorothy leads her peers out of their dingy basement offices (with no windows), and up the stairs from outside (in dark silhouette), through the glass doors and into the brightly lit hallway. Ellson says Walker found a Gordon Parks photograph – a high angle of a group of nuns walking in a large group with one leading – that was used as a reference. “We mounted the Steadicam to the dolly,” Ellson recounts, “using a riser to get as high as possible – almost scraping the fluorescent ceiling fixtures. I kind of wrapped myself around the boom arm like a koala,” he laughs, “as dolly grip Jeff ‘Moose’ Howery pulled the dolly backward down the hall, preceding the women.”

Walker and her team also expertly blended flashbacks and archival footage. One of the most impactful is an introduction 54

to young Katherine, a mathematic savant, as she counts with a pinecone in her hand. “She’s nine years old,” the DP relates.

“We shot it in Super 16 millimeter with a 2.40:1 extraction from the full frame, so it became quite grainy. Then in our DI we stripped most of the color out and added a sepia look to the images.”

Another unique shot was reminiscent of the 1956 Judy Holiday film Solid Gold Cadillac, in which the two main characters exit their company’s building in black and white and immediately turn into color as they enter their solid-gold Cadillac. In this case, it is archival footage of the NASA capsule blended into the astronaut’s training room that was color corrected in post to transition from that footage to the film’s 35-mm footage.

Archival footage (and locations) lent an added reality to Hidden Figures, such as when the production shot in a place that mirrored the fabled wind tunnel NASA used to train their astronauts. Walker says they found a functioning wind tunnel near their Atlanta base, at the facility of aerospace giant Lockheed Martin. Prepping the scene mirrored a similar moment in the movie, when a massive plastic-wrapped IBM machine is too big to fit through the doors of the new computer room.

“A 24-foot crane, two full camera packages, dollies and lights,” Walker recalls, “all had to come up in a lift over two days and enter a small door that was all of five feet, and then squeeze through the wind flutes to the large tunnel.”

Culliton remembers the wind tunnel as both curse and blessing. “Visually, it was stunning, but it was a logistical

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Mandy Walker on location in Atlanta

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nightmare,” he says. “It was a 60-foot metal tube with a massive wind turbine in the background. There was no lighting in the tunnel at all except for a few glass windows that were blacked out. The only way to light the scene around the Capsule was to place practicals with some scientific verisimilitude.

“There are a series of rather scientific looking open face lights around the capsule that we made by resurrecting some old Mole Richardson Scoop Lights; they have a beautiful bell housing and an oversized tungsten bulb,” Culliton adds. “Along with some floor based MR16 cyc lights, softened with 216 and CTO, we tried to achieve a clinical or pragmatic look to the practicals while retaining warmth and, hopefully, a sense of intrigue. In the background we placed an Arri T12 behind the actual fan; it created a dramatic background for silhouettes and added a sense of drama, especially as the fan blades created an undulating pattern of shadow and light along the surface of the tunnel.”

And when Mary Jackson, in period dress and high heels, gets caught in the grating as the “wind” starts blowing, Froehlich says the scene came alive. “The big fan and Chris’s incorporation of practicals and movie lighting inspired me to look for moments,” he adds.

No doubt such visuals will be the audience’s main takeaway from Hidden Figures, which reveals some of American history’s most inspiring and (until now) unseen moments. Oscar nominee (and Golden Globe winner) Taraji P. Henson speaks for the entire production team regarding the social importance of the project.

“I couldn’t be more proud to bring the story of Katherine Johnson to the attention of the world,” she says. “Our team was blessed to have the artistry of cinematographer Mandy Walker.

A woman behind the camera, to help guide and shape the story of the brilliant women ‘computers’ of NASA, was a perfect 56

addition to our creative team [who were all mostly women].

“I had the most rewarding and ‘wet’ scene in the movie that we describe as ‘running’ [when Johnson must race to and from the ‘colored’ bathroom above]. And Mandy ran along with me – over and over. [Walker] and our director, Ted Melfi, brought the Sixties to life. I know the audience will see Mandy’s hidden eyes behind the hidden figures.”

crew list Director of Photography Mandy Walker, ASC, ACS A-Camera Operator Jason Ellson A-Camera 1st AC Larry Nielsen A-Camera 2nd AC Matt Jackson B-Camera Operator Mick Froehlich B-Camera 1st AC Tony Rivetti B-Camera 2nd AC Marc Casey Loader Austin Swenson Unit Still Hopper Stone/SMPSP Unit Publicist Deborah Simmrin

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The Devil Made Me Do It Indie DP Alex Disenhof works out his small-screen demons in the highly anticipated new FOX series, The Exorcist

by MATT HURWITZ framegrabs courtesy of 20TH CENTURY FOX TELEVISION

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A cab pulls away from a stately urban Chicago home at night; a piercing beam of light comes from the upper-story window to illuminate the silhouette of a person in a long coat and wide-brimmed hat, standing, holding a bag. There’s no mistaking this iconic image belongs to The Exorcist, the 1973 William Friedkindirected horror classic based on the novel (with a screenplay by) William Peter Blatty.

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But FOX’s new series, The Exorcist (also written by Blatty, who directed The Exorcist III feature), is not a direct retelling of that story. Instead it follows a grizzled priest, Father Marcus (Ben Daniels), as he assists a young priest, Father Tomas (Alfonso Herrera), in a rundown parish, in ridding the demonically possessed daughter of one of his parishioners, Angela Rance (Geena Davis).

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“It was a subtle thing in that we wanted to see what nightmares look like today.”

Pilot Production Designer Ethan Tobman

Pilot director Rupert Wyatt (Rise of the Planet of the Apes), says the idea of remaking a classic like The Exorcist initially held little appeal. “But I read the script,” he shares, “and realized it is of the same world, but definitely not a reboot in any way.”

Wyatt had executive-produced the 2014 African piracy thriller, Fishing Without Nets (ICG April 2014, Over There), whose young cinematographer, Alex Disenhof, he would meet again that summer at the Sundance Institute Director’s Labs. After the pair shot a commercial together, Wyatt asked Disenhof to shoot The Exorcist pilot. Executive Producer Rolin Jones recalls the network questions: “Who is this guy?

He’s never done any TV?” “But if you’re going to hire somebody like Rupert, you get his people,” Jones told them.

Disenhof says he actually had no agenda to work in network television. “Rupert and I saw the opportunity to create something a little bit more elevated than what you might expect in an episodic,” he offers. Adds Jones: “I love that Alex is a cinematographer who is also a dramatist. In addition to grabbing beautiful frames, he knows the story you’re telling. It’s almost like having another writer on the set.”

Originally scripted for Cincinnati, the show eventually landed in Chicago, partially to take advantage of a city with an authentic Catholic foundation, which is core to the story, as well as the city’s architecture, with carved stone facades, clapboard housing, and a rundown look – also core to the story. “We looked at many references from inner-city poverty in Chicago, Brooklyn and Los Angeles, as well as tenements of South America and Mexico,” recalls Pilot Production Designer Ethan Tobman. “It was a subtle thing in that we wanted to see what nightmares look like today.”

Interiors for the series, such as the Rance home and Father Tomas’s apartment, are shot at CineSpace Studios, making use of available space next to hiatus-dormant sets belonging to Fox’s huge hit Empire. But Chicago itself provides the

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real look of the show, often shooting on location five out of eight episode-production days.

While Disenhof brought L.A.-based A-camera/Steadicam operators with him (Ari Robbins, SOC, pilot, and Rick Drapkin, SOC, series), the production utilized the deep talent pool of Guild members based in the Windy City. “So often, in the last 20 years, filming TV has been driven by tax rebates and being sent to places where there is no production legacy,” Wyatt laments. “The fact that we were lucky enough to land in Chicago was worth its weight in gold.” Adds Robbins: “You want focus pullers, key grips and gaffers to be emotionally invested in a project.

This crew felt pride in shooting in their city, and that comes through.”

Chicago’s often bleak winter look was fully exploited

by Disenhof for the pilot (something that proved a challenge on the series, which began shooting in August, when the city is more lush and green). “I really wanted to feel this kind of impending doom,” Disenhof explains, “to get the sense of dread across with light that feels cool and soft – as if it’s a cloudy day all the time.”

In fact, the horror in this new Exorcist comes through a psychological slow burn, something Disenhof and Wyatt admired in Robert Eggers’ 2015 Sundance hit, The Witch (ICG April 2015, Black and White). “We didn’t want it to be a horror show that relies completely on jump scares, but just lets things make you uncomfortable and creeped out by the end,” the DP adds. Part of that brooding feel came from Disenhof’s lighting from outside whenever possible – even when on sets. Or, as he describes, “The more real and grounded we could feel, the scarier the supernatural stuff became.”

Even locations like the Rances’ home were picked for their normality – an upscale late 1990s/2000s house, instead of the Victorian house seen in the original film. “Rupert wanted to play against a lot of the typical horror tropes,” Disenhof continues. “He didn’t want it to be some ‘horror house.’”

Tobman says the scares had to happen organically, “not because of the architecture or the design in the home, but by virtue of what hallways and vanishing points around corners and stairwells do, however subtle they are,” he describes.

“When you’re retelling the mythology of a beloved classic,” the designer adds, “you want to wink at it; you need to acknowledge its existence, but not copy it. You don’t want to live within its world – you have to live parallel to it, as a visual storyteller.”

Assisting in maintaining the brooding look was pilot colorist Tom Poole of Company 3 in New York, who developed a set of LUTs that were applied throughout the series by colorist Sean Coleman at Company 3 in Los Angeles.

Photo by Jean Whiteside

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The Exorcist is shot on ARRI’s ALEXA Classic EV, which Disenhof prefers over newer digital cameras because “it adds a lot of texture

Rupert Wyatt (L) with Alex Disnehof on location for Chicago pilot episode Photo by Chuck Hodes

to the image.” Gear was rented from Keslow Camera for the pilot, but the DP, who has a history with Panavision L.A., opted for the company’s newish Chicago office to provide for the series.

Zeiss Super Speed prime lenses are being used for the series, which A-camera 1st AC Paul DeMarte says adds a distinct look and higher image quality. “A lot of shows just put up two Optimo zooms and have at it – which is expedient,” De Marte explains, “but it’s a compromise in quality that we won’t do.” [Optimo zooms are occasionally used for pulled zoom shots, done as a nod to 1970s filmmaking.]

And the Super Speeds are not without challenges. “Physically, they’re so small, it’s difficult getting the Preston motors on, both for focus and iris, as well as the matte box where it needs to be,” De Marte notes.

Another approach to creating psychological horror on the series is the framing.

“We use negative space or just short-sight things to the wrong side, just to get an uncomfortable feeling,” describes B-camera operator/2nd Unit DP Lance Catania, himself a veteran and fan of horror moviemaking.

“But it’s important [that odd framing] is used specifically, to hammer the impact,” Catania says. “You don’t want to desensitize the audience to the unconventional composition.” Adds Drapkin, “Maybe we’re looking into the foreground, but you see stuff way in the distance on the other side of the frame. It’s completely unsettling, because it startles you.”

Such a shot appears in Episode 2, when Angela Rance goes into the unlit kitchen for a midnight sip and doesn’t notice Casey sitting in the dark. The entire scene is lit by the iPad Angela is carrying, built by fixtures expert Jimmy Ryan.

“You can always gut anything out and make it your own,” notes gaffer Ron Leahy. “We placed just three little LED lights on the front of it to light her face as she approaches, and powered it off our own battery inside.”

Darkness is a major component of the series’ look. Or as

Middle and Bottom from Season 1, Episode 102 “Lupus In Fabula” Photos by Jean Whiteside

Disenhof explains: “Often, what’s scary are the things you can’t see – or something right out of frame or lurking in the shadows. You can sense it, but you can’t see it.”

But shooting in the dark isn’t easy. While Disenhof will keep Poole’s dark LUT applied for his video-village monitors, the operators must view in C-Log to see what they’re filming. “As an operator, you’re looking at C-Log on your monitor,” says Catania, “but you’re constantly keeping that balance in your head of what will show up and what won’t. Both Rick and I are always keeping an eye on it, to make sure all the information is there that we need. Once in a while, Alex will turn to us and say: ‘Guys, there was something there, right? Just double checking.’”

“Often, what’s scary are the things you can’t see – or something right out of frame or lurking in the shadows.”

DP Alex Disenhof

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“I knew we had to really step up and honor the original.”

DP Alex Disenhof

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Pulling focus in such dark settings is a constant challenge for DeMarte and B-camera 1st AC Bob Faison. “We’re shooting wide open a lot of the time, so there’s very little depth of field,” DeMarte shares. “It takes intense concentration, and a reliance on years of experience to give Alex the flexibility he needs.” The two will typically pull focus off their 9-inch monitors (with a Rec.709 LUT applied for more clarity), though “for long lens walk-ups, it’s always helpful to be able to put some reference marks,” DeMarte adds.

The show employs plenty of handheld camera, using Disenhof’s preferred shallow depth of field and shot changes often taking place between takes. Drapkin makes use of two separate headsets – one for his DP and the other for the camera team.

“When I’m going handheld, I can’t always talk to my assistant,” Drapkin explains. “We’ll discuss a shot, but in the middle of a take, they’ll call an audible, and then we do something else. So he has to figure out what we’re going to do without my actually telling him. And these guys are spot on.”

In some situations, locations are made less bright – such as the rundown church used for Father Tomas’s St. Anthony’s Parish. “It’s literally porous,” Tobman declares. “There are windows missing, scaffolding up and plastic sheeting,” some covering bullet holes in the stained glass.

Adds Disenhof: “It’s actually crumbling! Bits and pieces of the ceiling fall out here and there.”

During the pilot, Key Grip Ed Titus devised a pulley system to raise and lower 12-by-20 nets and solids outside the windows, to keep the sunlight uniform throughout the day. Then further help arrived in the form of AirStar Grip Clouds (along with the company’s lighting balloons). Observes series Key Grip Joe Czerw: “I can block out the sun by flying this giant 14-foot-by-14-foot piece of blackness in the air or bounce light into it. When it’s not windy, I get the helium tanks out, and we’ll fly it. There’s no stands, and it can diffuse a whole area.”

For the exorcism sequences – the set piece for most episodes – Disenhof and Leahy will create simple yet eerie lighting, sometimes simply based around a bare bulb, as seen in the pilot’s opening exorcism sequence in Mexico (the exteriors of which were filmed on a two-day jaunt following work in Chicago, with the interior an enormous set at CineSpace). These sequences typically involve stunts and practical effects, supported by some VFX, although Disenhof says they try to do as much in camera as possible. “There’s not much time to produce visual effects, and we prefer real practical effects anyway,” including manual camera shake, he notes.

The exorcisms are typically shot with two cameras. “Rick and I will talk about the scene,

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where the beats are, and then work backward from there,” explains Catania. “Rick usually goes wide, and I get to go in for all the fun stuff,” capturing shots that might just “grab the possessed one’s eyebrows to mouth.”

Adds Drapkin: “We’ll shoot with high contrast, low light levels, and throw in some Dutch angles, just to give it a real uneasy feeling. And we’ll do quick little handheld shots – with a whip-on, whip-off – so you have a cutting point.

That always adds a lot of energy to the inertia of what’s happening. There will be a lunge, and then we’ll whip-pan the camera quickly, but with a Dutch in it, and then snap-cut into something else from a different angle. It looks pretty incredible.”

What would The Exorcist be without some iconic touchstones from the original film? “Our core group of viewers tuned in because they recognized the title – but also have their arms crossed, with: ‘How dare they?’” laughs executive producer Jones. “So we throw in these little Easter eggs – to pay homage, but not be direct lifts. And when we use them, it’s in dramatically big places.” Adds Wyatt: “You’re sort of bound by convention of what came before, because people have expectations. But at the same time, they don’t want to see some pale imitation of what they know.”

So when it came time to reproduce the iconic image from the movie – a character arriving outside a house, dressed in a raincoat and fedora, carrying a bag and silhouetted by a bright light – Disenhof was understandably nervous. “I did my homework,” he smiles. “They actually had two to three days to get that shot right, doing prelighting and even rehearsals. We had three hours!”

So he and Leahy kept it simple – a Jo-Leko driving a hard shaft of light out the window, and lighting the smoke in front of, but not on, the actor directly.

“It was written into the script. It said: ‘We want this shot. We want the iconic figure in front of the house.’ It was definitely nerve-racking,” Disenhof concludes. “So, I knew we had to really step up and honor the original.’ And, honestly, that shot is amazing.”

crew list PILOT: Director of Photography: Alex Disenhof A-Camera/Steadicam Operator: Ari Robbins, SOC B-Camera Operator: Chris Rejano A-Camera 1st AC: Paul DeMarte B-Camera 1st AC: Dave June A-Camera 2nd AC: Brian Romano B-Camera 2nd AC: Josh Ramos DIT: Tom Zimmerman Digital Utility: Ryan Shuck SERIES: Director of Photography: Alex Disenhof A-Camera/Steadicam Operator: Rick Drapkin, SOC A-Camera 1st AC: Paul DeMarte A-Camera 2nd AC: Brian Romano B-Camera Operator/ 2nd Unit DP: Lance Catania B-Camera 1st AC: Bob Faison B-Camera 2nd AC: Matt Arredondo Loader: Tom Zimmerman Digital Utility: Mike Fierros 67 67

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PR for Festival Films Local 600 publicists say it’s all about timing – and placement

by PAULINE ROGERS

While doing publicity (traditional and on social media) for film-festival submissions is key, what seems to be even more crucial is the timing and, most importantly, the positioning of a project. Put those two legs together and you’ve got what you need: press, buzz, and maybe even some Oscar nominations – all of which translate into distribution deals and the potential for an indie project to reach a wider audience.

Linda Brown, with L.A.-based Indie PR, says festivals act as a “vetting tool for buyers.” They are “important to build the credibility of the film without exposing it to a costly theatrical release too soon,” adds Rick Markovitz, with Weissman/Markovitz Communications. Tony Angellotti, of Angellotti Communications says, “Festivals for a potential awards film are what luck is to a poker player. They are not necessary – but they sure can help.”

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Rick Markovitz (Weissman/Markovitz Communications) helped Very Big Shot becomes Lebanon’s official Oscar entry via exposure at events like the Asian World Film Festival, where it won Best Ensemble Cast Photo courtesy of Rick Markovitz

The three Local 600 members should know – collectively, they’ve probably publicized several hundreds of film-fest projects over many decades. Ask Markovitz about his thoughts on how to handle festival publicity, and he’ll talk about developing a plan that is balanced between timing and distribution objectives for the producer. He sees two areas of key importance. The first is when the film is completed and close enough for submission.

“The other is factoring in the demands of the various festivals for some form of exclusivity – that is, North American premiere or no other festivals in the region,” Markovitz adds. “That’s probably the trickiest part to navigate, because if the film is strong enough, rules can change.”

Markovitz cites some recent examples of festival strategy. “Camera Store [John Larroquette, John Rhys-Davies, Cheryl Ladd, and David James Elliott] was just invited to the Palm Springs International Film Festival,” he recalls. “We had turned down a smaller East Coast festival earlier [in 2016 ] to preserve some exclusivity for the film by not risking 70

premature exposure. This limited exposure might have helped with Palm Springs.”

Markovitz also handles foreign films, and festivals for those projects work in two different ways. They set up a film as the official selection for a specific country and then “build the credibility for the Oscar consideration,” he explains. “That’s why films participate in festivals like Palm Springs and Santa Barbara.

“This year we worked with the second annual Asian World Film Festival,” Markovitz continues, “where both Very Big Shot [Lebanon] and Interrogation [India] were screened. Very Big Shot won a jury mention for Best Ensemble Cast, which is now included in the ads.” Getting to include festival laurels in the ads and other media is a big boost for building a film’s relevance.”

Which festivals does Markovitz feel drive a picture?

“Definitely Cannes, Berlin and Venice on the international side, and Toronto, Sundance, Telluride and a few others for North America,” he states.

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Tony Angellotti (Angellotti Communications) helped Walt Disney’s Up to become the first animation feature ever to open the Cannes Film Festival

Timing is everything for Angellotti as well, meaning selecting the right festivals at the right time. “Not all entries are in competition, but if you compete, you want to have a chance to win something if you have long-range awards goals,” he explains. “Otherwise, you need to be content with the publicity value it offers.”

There are a trio of late summer festivals that may drive a film toward Oscar and other awards contention. They are Telluride, Venice, and Toronto – in a concentrated time period. “They can be very effective platforms, or the end of the line,” Angellotti adds. But each festival is different – location, audience, and a different press corps in attendance. “If your film scores in all three settings, you’re on your way,” he says.

“Scoring,” as Angellotti describes, is all-important to moving a picture forward. A weak response can mean “circle your wagons and plot a new path.” That’s where a savvy, festival-hardened publicist can really make a difference.

Angellotti goes on to explain how today’s buzz flows out of festivals at an alarming speed. “At one time,” he says, “a ding at one festival could be overcome by a shift in your publicity plan.

But a tepid response is tough to overcome when the digital press is there to remind us of bad news every ten minutes.”

Lag time is another key factor in a film’s success. Angellotti says even with a terrific festival premiere, the lag time between a good showing and release can be troubling. “It’s about sustaining buzz and energy,” he says. “Say you’re done with the festival you’ve entered by mid-September and you have a Christmas release. That’s a long time to sustain interest – especially since there is the New York Film Festival, AFI and others.”

Angellotti recalls Disney/Pixar’s submission of Up to Cannes in early 2009; the film was scheduled to open in June.

Would Cannes offer a slot anytime during the festival, or at the opening-night gala? In fact, Cannes programmers smelled a hit, and Up became the first animated feature ever to be offered opening night.

Sounds like ideal positioning, but the PR team was concerned about Up’s being received for the sophisticated fare that it was. “Cannes is a celebrity festival, and the film didn’t boast major voice talent,” Angellotti recounts. “It was a gamble – there were questions, even if it was a commercial film. Fortunately, the timing was perfect,” as Up went on to be nominated for five Oscars, winning Best Animated Feature and Best Original Score. “But it was a long wait between then and the Oscars,” he adds.

While Markovitz and Angellotti come at festival promotion from a more narrow perspective – one agency dedicated to a project – Linda Brown approaches festival PR as both a unit publicist and pre-festival placement expert through her own firm.

“Often filmmakers find me before they get into a festival, and that’s perfect timing,” she says. “I can help create a team for them and help with festival selection.”

That was the case with Middle Man, which came to Brown in mid-2015. Directed by Ned Crowley, it stars Parks & Rec’s Jim O’Heir, The Walking Dead’s Andrew J. West, and Josh McDermitt and Anne Dudek from Mad Men. In this example, Brown was hired for one festival the production had chosen, where it would make its world premiere.

The problem was that, historically, not enough press and buyers attended that festival. “It wasn’t one of the festivals I felt

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“We had reviews and features in the can, and with the cast in attendance, I was able to create a local and national buzz at the [Seattle Film] festival that couldn’t be ignored.”

Linda Brown

would generate a sale,” Brown offers, “because the right kind of buzz would not be attainable. If they accepted this festival’s offer, they would blow their chances at ever having a top-tier premiere.”

Brown asked the filmmakers to decline the offer – and they did – bringing her in to consult, navigate the film-festival landscape and assemble the right team to help garner a sale.

Brown then found festivals she believed would provide the environment for the film to perform, and aligned them with a number of sales agents. In May, Middle Man was invited to make its world premiere at the Seattle Film Festival.

“I knew this movie would be a perfect fit for Seattle audiences, who are known for loving this type of film,” she explains. It was screened for critics and writers a month before the festival, since certain press would not be able to go to the

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Seattle festival because it overlapped with Cannes.

“We had reviews and features in the can, and with the cast in attendance, I was able to create a local and national buzz at the festival that couldn’t be ignored,” Brown concludes.

With industry and consumer support – there wasn’t a buyer in Hollywood who didn’t know about Middle Man, whether they attended the festival or not – it won the Grand Jury Prize and went on to open (and win awards) at many other festivals.

The filmmakers also made their big deal. All because they were smart enough to bring in a savvy union publicist who could step away from the passion of a project, analyze where it fit in the market, and figure out how to get it in front of the right press, buyers, and ultimately audiences, turning an indie dream into a success story.

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Production Credits COMPILED BY TERESA MUÑOZ – AS OF DECEMBER 1, 2016 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 invaluable and 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, Publicist, etc.).

Please note that the deadline for the Production Credits is on our around the first of the preceding month.

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

20TH CENTURY FOX “24: LEGACY” SEASON 1 Dir. of Photography: Jeff Mygatt Operators: Greg Bubb, Dave Drzewiecki Assistants: Butch Pierson, Steve Magrath, Scott Forte, Ryan Abrams Loader: Matt Evans Digital Utility: Mary-Margaret Porter Still Photographer: Guy D’Alema

“LAST MAN STANDING” Dir. of Photography: Donald A. Morgan, ASC Operators: Marvin Shearer, Randy Baer, Larry Gaudette, Neal Carlos Assistants: Missy Toy-Ozeas, Damian Della Santina, Al Myers Camera Utility: John Weiss, Steve Masias Digital Imaging Tech/Colorist: Doug DeGrazzio Still Photographer: Nicole Wilder, Danny Feld

“AMERICAN HORROR STORY” SEASON 6 Dir. of Photography: Nelson Cragg, Michael Goi, ASC Operators: Jesse M. Feldman, Brice Reid, Nikhil Paniz Assistants: John Holmes Mike Vejar, Maricella Ramirez, Michael Yaeger, Alvaro Navarro, Shane Carlson Steadicam Operator: Brice Reid Digital Utility: Baird Steptoe, Jr. Loader: Justin Steptoe

“LIFEIN PIECES” Dir. of Photography: Mike J. Pepin Operators: Jacob Pinger, Jeremiah Smith Assistants: Chris Workman, Edward Alfred Neilsen, III, Sergei Sorkin, Jay Sharron Camera Utility: Noel Vidal

2ND UNIT Dir. of Photography: Jesse M. Feldman “BONES” SEASON 11 Dir. of Photography: Bobby Altman Operators: Gerry O’Malley Assistants: Steve “Spike” Barnes, Gary Johnson, Maurizio “Nino” Dotto, Larissa Supplitt Steadicam Operator: Gerry O’Malley Loader: Kara Rittenhouse Still Photographer: Dean Hendler, Ron Jaffe “FRESH OFF THE BOAT” Dir. of Photography: Brandon Mastrippolito Operators: Greg Matthews, Brian Moreno Assistants: Ray Dier, Gaston Richmond, Christian Cobb. Steve Whitcomb Camera Utility: Adam Kolkman Still Photographer: Nicole Wilder “HIDDEN FIGURES” Dir. of Photography: Mandy Walker Operators: Jason Ellson, Mick Froehlich Assistants: Larry Nielsen, Matthew Kelly Jackson, Tony Rivetti, Marc Casey Loader: Austin Swenson Still Photographer: Peter “Hopper” Stone

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“MODERN FAMILY” Dir. of Photography: James Bagdonas, ASC Operators: Trey Clinesmith, Toby Tucker Assistants: John Stradling, Michael Bagdonas, Noah Bagdonas, Rebecca Martz Spenser Camera Utility: Gavin Wynn Digital Utility: Corey Gibbons Still Photographer: Nicole Wilder “PITCH” Dir. of Photography: Paul Maibaum, ASC, Bobby LaBonge Operators: James Takata, Heather Brown Assistants: Wayne Goring, Camille Freer, Carter Smith, Mike Cahoon Steadicam Operator: James Takata Steadicam Assistant: Wayne Goring Digital Imaging Tech: Kyle Sauer “ROSEWOOD” Dir. of Photography: Michael Stecher Operators: Keith Jordan, Steve Matzinger Assistants: Tommy Lewis, David “Clean” Berryman, Ken Tanaka, Blake Hooks, Gus Bechtold Steadicam Operator: Keith Jordan Still Photographer: Nicole Wilder “SLEEPY HOLLOW” SEASON 3 Dir. of Photography: Bing Sokolsky, ASC, Jan Richter-Friis Operators: Matthew Doll, Michael Gfelner,

Brown Cooper Assistants: Justin Deguire, Taylor Case, Tom Nemy, Justin Noel, Tim Risch, Alex Hooper Digital Loader: Oren Malik Utility: Erik Olsen “SPEECHLESS” Dir. of Photography: Rhet Bear Operators: Jaxon Woods, Patrick McGinley Assistants: Blair Rogers, Peter DePhilippis, David Erickson, Suzy Dietz Camera Utilty: Brittany Meadows Still Photographer: Nicole Wilder “THE LAST MAN ON EARTH” Dir. of Photography: Carl Herse Operators: Jeff Bollman, Brian Sowell Assistants: Mark Legaspi, Barry Elmore, Emily Zenk, Devon Hoff-Weekes Camera Utility: Clayton Daily “THE MICK” Operator: Craig Kief Operators: Brad Richard, Dave Linstrom, Derek Carver Assistants: Jarrod Oswald, Joe Solari, Richard Avalon, Aaron Tichenor, Michele McKinley, Sharla Cipicchio, Caleb Einhorn Camera Utility: Aaron Biller, Katie Detemple Still Photographer: John. P. Fleenor “THIS IS US” Dir. of Photography: Yasu Tanida Operators: James Goldman, Coy Aune Assistants: Sean O’Shea, Rich Floyd, Brian Wells, Arturo Rojas Steadicam Operator: James Goldman Steadicam Assistatn: Sean O’Shea Digital Loader: Mike Gentile Still Photographer: Ron Batzdorff UNDERWATER UNIT Operator: Robert Settlemire Assistants: David WIlliam McDonald ABC STUDIOS “AMERICAN CRIME” Dir. of Photography: Ramsey Nickell Operator: Nikhi Paniz, Baudine Credle

PRODUCTION CREDITS

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“HOW TO GETJon AWAY WITH MURDER” Assistants: Jung, Mike Fauntleroy, Dir. of Photography: Charlie Murphy Michael Price Operators: Paul Sanchez, John Hankhamer, Digital Imaging Tech: Shannon Cook Scott Boettle Digital Utility: Seth Sherman Assistants: Heather Lea LeRoy, Still Photographer: Mitch Haddad, Vanessa Morehouse, Darrel Herrington Nicole Wilder Drew Han, Mark Sasabuchi Digital Imaging Tech: Andrew Osborne “CODE BLACK” Digital Utility: Andrew Hays Dir. of Photography: Spencer Still Photographer: Nicole Wilder Combs

Operators: Jason LeBlanc, Mike Sharp, “JIMMY KIMMEL LIVE” Brian Garbellini Lighting Director: Christian Hibbard Assistants: Jon Sharpe, Stephen Franklin, Operator: Gomez, Parker Jim Thibo,Randy Oliver Ponce, Bill Bartlett, Marti, Ritch Kenney, Kris Wilson, Garret Hurt, Marc Hunter, Mike Malone Tim McCarthy Camera Utility: Scott Spiegel, Travis Wilson, Digital Loader: Joe Pacella Randy Pulley Still Ron Jaffe VideoPhotographer: Controller: Guy Jones Still Photographer: Danny Feld, “GREY’S Karen Neal,ANATOMY” SEASON 13 Michael Desmond, AdamHerb Larkey Dir. of Photography: Davis

Operators: Fred Ianonne, Steve Ullman 2ND UNIT Nick McLean, Chris Johnson, Assistants: Dir. of Photography: Jimmy Lindsey Forrest Thurman, Marte Post Steadicam Operator: Steve Ullman “KICK” Loader: Leslie Puckett Dir. of Photography: Manuel Billeter Still Photographer: Adam Taylor, Operators: Francis Spieldenner, Nicole Wilder Joshua Blakeslee

Operators: Paul Sanchez, John Hankhamer, 2ND ScottUNIT Boettle Dir. of Photography: Chris LaVasseur Assistants: Heather Lea LeRoy, Vanessa Morehouse, Darrel Herrington “NASHVILLE” Drew Han, Mark Sasabuchi Dir. of Photography: Micheal Lohmann Digital Imaging Tech: Andrew Osborne Operators: Tim Sutherland, Bob Scott, DigitalCurtis Utility: Andrew Hays Jeremy Assistants: Ron Peterson, TylerWilder Bradley, Still Photographer: Nicole Mark Reilly, Jarrett Rawlings, Kenny Bazal Digital Imaging Tech:LIVE” Casey Nearing “JIMMY KIMMEL Still Photographer: Levine Hibbard Lighting Director:Mark Christian

Operator: Randy Gomez, Parker Bartlett, “SCANDAL” SEASON 5 Ritch Kenney, Kris Wilson, Garret Hurt, Marc Dir. of Photography: Oliver Bokelberg, ASC, Daryn Hunter,ASC Mike Malone Okada, Camera Utility: Scott Spiegel, Operators: Steve Fracol, SOC, Jack Travis MessittWilson, Randy Pulley Assistants: Jon Zarkos, Emily Mackley, Tony Schultz, Gayle Hilary Video Controller: Guy Jones Steadicam Operator: Steve Fracol, SOC Still Photographer: Danny Feld, Steadicam Assistant: Jon Zarkos Karen Neal, Digital Utility: George Montejano, III Michael Desmond, Adam Larkey

Digital Imaging Tech: Andrew Lemon Still Photographer: Mitchell Haddad, Nicole Wilder, 2ND UNIT Michael Desmond

Dir. of Photography: Jimmy Lindsey

“SECRETS AND LIES” “KICK” Dir. of Photography: Bob Humphreys Operators: Tommy Lohmann, DaleBilleter Myrand Dir. of Photography: Manuel Assistants: Tommy Klines, Operators: Francis Spieldenner, Stephen Franklin, Joshua Blakeslee Wade Whitley,Marc Whitney Jones Jason Rihaly, Assistants: Hillygus, Digital Utility: Timothy Bauer Andrew Peck, Amber Rosales Loader: Evan Wilhelm Loader: Vince Tuths, Ryan Toussieng Crane Operator: John Cambria Still Photographer: Lisa Tanner

2ND UNIT Dir. of Photography: Chris LaVasseur “STITCHERS”

Dir. of Photography: John Newby Operators: Rick Drapkin, Darrell Sheldon “NASHVILLE” Assistants: Dylan Conrad, Devon Taaffe, Dir. of Photography: Micheal Lohmann Melvina Rapozo, FauntleroyBob Scott, Operators: TimMike Sutherland, Loader: Jacob LaGuardia Jeremy Curtis Still Photographer: Nicole Wilder

Assistants: Ron Peterson, Tyler Bradley, Mark Reilly, Jarrett Rawlings, Kenny Bazal Digital Imaging Tech: Casey Nearing Still Photographer: Mark Levine

Production Credits

Assistants: Marc Hillygus, Jason Rihaly, Andrew TO Peck, Amber Rosales “HOW GET AWAY WITH MURDER” Loader: Vince Tuths, Ryan Toussieng Dir. of Photography: Michael Price

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“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 “THE CATCH” Dir. of Photography: Ross Riege Operators: Stephen Collins, Patrik Thelander Assistants: Bianca Bahena, Chris Sloan, Greg Dellerson, Terry Wolcott Digital Utility: Chris de la Riva Digital Loader: Earl Fulcher Still Photographer: Nicole Wilder

Production Credits

“THE FOSTERS” Dir. of Photography: Kees Van Oostrum, ASC Operators: Aaron Schuh, Robin Charters, Rob Draper Assistants: Carlos Doerr, Nathan Lewis, Tammy Fouts, Nicholas Neino, Matthew Del Ruth, Brad Gilson, Jr. Digital Utility: Maya Morgan Still Photographer: Nicole Wilder

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AFN PRODUCTIONS-TELEPICTURES “THE REAL” Dir. of Photography: Earl Woody, Matt Ford Operators: David Kanehann, Kevin Michel, Marc Stump Steadicam Operator: Will Demeritt Camera Utility: James Magdalin, Henry Vereen, John Markese Jib Arm Operator: Jim Cirrito Video Controller: Gary Lord Still Photographer: Erica Parise AMAZON STUDIOS “AMERICAN GIRL” Dir. of Photography: Steve Gainer Operators: Troy Smith, Todd Barron Assistants: Shereen Saleh, Marshall Rao, Kymm Swank, Craig Keefer Digital Imaging Tech: Michael Bosman Camera Utility: Natacha Barbieri ATLANTIC 2.1 ENTERTAINMENT “HOMELAND” SEASON 6 Dir. of Photography: David Klein, ASC, Giorgio Scali Operators: Rick Davidson, Jonathan Beck Assistants: Dominik Mainl, Courtney J. Bridgers, Wesley Hodges, Andy Hamilton Steadicam Operator: Rick Davidson Steadicam Assistant: Dominik Mainl Digital Utility: Corey Licameli Still Photographer: Jo Jo Whilden BBG HOME AGAIN, LLC “HOME AGAIN” Dir. of Photography: Dean Cundey, ASC Operators: David Diano, BJ McDonnell Assistants: Clyde Bryan, Milan Janicin, Bill Coss, Winona Wacker

Loader: Ryan Kelley Still Photographer: Karen Ballard Publicist: Spooky Stevens BEACHWOOD SERVICES “DAYS OF OUR LIVES” Dir. of Photography: Mark Levin, Ted Polmanski Operators: John Sizemore, Mark Warshaw, Vickie Walker, Michael J. Denton Camera Utility: Steve Clark, Steve Bagdadi BLUE CAT PRODUCTIONS “OZARK” Dir. of Photography: Ben Kutchins Operators: Ben Semanoff, Ari Issler, Danny Eckler Assistants: Liam Sinnott, Justin Cooley, Brandon Dauzat, Jamie Pair, Jackson McDonald, John Hoffler Loader: Taylor Seaman Still Photographer: Eliza Morse BLUMHOUSE/TREE FALLS INTHE WOODS, LLC “HALF TO DEATH” Dir. of Photography: Toby Oliver, ACS Operators: Robert Foster, Chad Chamberlain Assistants: Ry Kawanaka, Steve Vicari, John Williams Digital Imaging Tech: Robert Barr Still Photographer: Patti Perret BONANZA “THE ORIGINALS” SEASON 4 Dir. of Photography: Roger Chingirian, Kurt Jones Operators: Ian Forsyth, Brian Davis Assistants: Matt Brewer, Billy Mueller, Uly Domalaon, Trevor White Steadicam Operator: Ian Forsyth Digital Imaging Tech: Dustin Diamond Utility: Andy Lee “VAMPIRE DIARIES” SEASON 8 Dir. of Photography: Darren Genet, Michael Karasick Operators: Geoff Shotz, Pierre O’Halloran Assistants: Colin Duran, Nichole Castro, Ryan Weisen, Kelly Poor Steadicam Operator: Geoff Shotz Digital Imaging Tech: Eric Henson Digital Utility: Anna-Marie Aloia CBS “2 BROKE GIRLS” SEASON 6 Dir. of Photography: Christian La Fountaine, ASC Operators: George La Fountaine, Brian Sweeney, Chris Wilcox, Kevin Haggerty, SOC Assistants: Jeff Johnson, Brian Lynch, Jeff Roth, David Colclasure, Craig La Fountaine Digital Imaging Tech: Ryne Niner Video Controller: Andy Dickerman Camera Utility: Chris Todd, Vicki Beck “CRAZY EX GIRLFREIND” Dir. of Photography: Todd A. Dos Reis Operators: Ian Todd, Taj Teffaha Assistant: Eric Dyson, Megan Morris Joel Perkal, Eric Wheeler

Digital Imaging Tech: Sam McConville Digital Utility: Genna Palermo “COLONY” SEASON 2 Dir. of Photography: Christopher Faloona Operators: Allen Easton, Steve Andrich, Nicole Lobell Assistants: Brian Legrady, Scott Whitbread, Jeff Graham, Thomas Lairson, Bryan DeLorenzo, Brett Gates Digital Loader: Scott O’Neil Digital Utility: Ben Shurtleff “DOUBT” Dir. of Photography: Alex Nepomniaschy, ASC Operators: Chris Squires, Bonnie Blake Assistants: Stefan Tarzan, Simon Jarvis, Scott Martinez, Chris Garland Steadicam Operator: Chris Squires Loader: Lauro Avila “ENTERTAINMENT TONIGHT” Dir. of Photography: Kurt Braun Operators: Jaimie Cantrell, James B. Patrick, Daniel Diaz, Marcus Glasgow, Ed Sartori, Henry Zinman, Tom Van Otteren, Bob Cambi, Rodney McMahon, Anthony Salerno Camera Utility: Terry Ahern Video Controller: Mike Doyle, Peter Stendal “HAWAII FIVE-O” Dir. of Photography: Michael Martinez, Krishna Rao Operators: Greg Lundsgaard, Jim Jost, Ruben Carillo Assistants: Rick Brock, Brian Matsamura, Jeff Pelton, Kanoa Dahlin, Mike Prioste, Caleb Lucero, Warner Wacha, Will Wacha Digital Imaging Tech: Scott Mason Loader: Ezekiel Hanohano Digital Utility: Ryan Charlton-Halweg, Brandon Ho “JANE THE VIRGIN” Dir. of Photography: Lowell Peterson, ASC, Joe Gallo Operators: Rory Knepp, Paul Planette Assistants: John Flinn, IV, Peter Norkus, John Pouncey, Don Burton Utility: Jai Corria Still Photographer: Ron Jaffe “MAN WITH A PLAN” Dir. of Photography: Gary Baum Operators: Glen Shimada, Travers Hill, Lance Billitzer, Ed Fine Assistants: Adrian Licciardi, Jeff Goldenberg, Alec Elizondo, Meggins Moore, Jason Herring Utility: Adan Torres, Richard Fine Digital Imaging Tech: Derek Lantz Video Controller: John O’Brien “NCIS” SEASON 14 Dir. of Photography: William Webb, ASC Operators: Christos Bitsakos, George Loomis Assistants: Chad Erickson, James Troost, Nathan Lopez, Helen Tadesse Still Photographer: Adam Taylor

“NCIS: LOS ANGELES” SEASON 8 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 3 Dir. of Photography: Gordon Lonsdale, ASC Operators: Greg Morris, Vincent Bearden, Jerry Jacobs Assistants: Peter Roome, Brouke Franklin, Jeff Taylor, Toni Weick, Dave Edwards, Sienna Pinderhughes Steadicam Operator: Vincent Bearden Digital Loader: Christian Wells Still Photographer: Sam Lothridge “SCORPION” Dir. of Photography: Ken Glassing, Fernando Arguelles Operators: Paul Theriault, Wally Sweeterman Assistants: Scott Ronnow, John Paul Rodriguez, Chris Mack, Tim Sheridan, Digital Imaging Tech: Greg Gabrio Utility: Tyler Ernst Still Photographer: Ron Jaffe

“SUPERIOR DONUTS” SEASON 1 Dir. of Photography: Gary Baum Operarors: Glen Shimada, Travers Hill, Lance Bilitzer, Edward Fine Assistants: Adrian Licciardi, Jeff Goldenberg, Alec Elizondo, Clint Palmer, Jason Herring Jib Operator: Brian Gunter Jib Tech: Terry Gunter Utility: Sean Askins, Daniel Lorenze Digital Imaging Tech: Derek Lantz Video Controller: John O’Brien “THE GREAT INDOORS” Dir. of Photography: Patti Lee Operators: Mark Davison, Cary McCrystal, Robert Guernsey, Ed Fine Assistants: Adrian Licciardi, Vito De Palma, Alec Elizondo, Lisa Anderson, Clint Palmer Digital Imaging Tech: T Brett Feeney Digital Utility: Alicia Brauns, Selvyn Price Video Controllers: Stu Wesolik, Ed Moore, Pete Stendal “THE INSIDER” Dir. of Photography: Kurt Braun Operators: Jaimie Cantrell, James B. Patrick, Daniel Diaz, Marcus Glasgow, Ed Sartori, Henry Zinman, Tom Van Otteren, Bob Cambi, Rodney McMahon, Anthony Salerno Camera Utility: Terry Ahern Video Controller: Mike Doyle, Peter Stendal

“THE TALK” Lighting Director: Marisa Davis Ped Operators: Art Taylor, Mark Gonzales, Ed Stebler Hand Held Operators: Ron Barnes, Kevin Michel Jeff Johnson Jib Operator: Randy Gomez Head Utility: Charlie Fernandez Utility: Steve Deaver, Doug Bain, Mike Bushner, Joe Zuccaro, Robert Cade Video Controller: Richard Strock Still Photographer: Ron Jaffe COLUMBIA “TOSH.0” SEASON 7 STAGE CREW Operator: Jason Cochard Camera Utility: Benjamin Steeples, Kyle Kimbriel, Phoebe Krueger FIELD CREW Dir. of Photography: Andrew Huebscher Operator: Jason Cochard Assistants: Benjamin Steeples, Kyle Kimbriel, Peter DePhilippis COMEDY BANG BANG PRODUCTIONS “BAJILLION DOLLAR PROPERTIES” SEASON 3 Dir. of Photography: Jonathan Nicholas Operators: Gretchen Warthen, Ana Amortegui Assistants: Erin Olesen, Rick Escalante, Jonathan Dec

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CONACO “CONAN” Operator: Ted Ashton, Nick Kober, Kosta Krstic, James Palczewski, Bart Ping, Seth Saint Vincent Head Utility: Chris Savage Utilities: Baron Johnson, Johs Gwit CONMEN PRODUCTIONS “SUPERCON” Dir. of Photography: Zoran Popovic Operators: Michael Stumpf, SOC, Robert Foster Assistants: Wade Whitley, Austin Alward, Jose Figueroa Baez, John Richie Steadicam Operator: Michael Stumpf, SOC Digital Imaging Tech: Brian Stegman Digital Uitlity: Matt Guidry Still Photographer: Patti Perret

Production Credits

CRANETOWN MEDIA “FRIENDS FROM COLLEGE” Dir. of Photography: John Guleserian Operators: Edgar Colon, Chris Reynolds Assistants: Cesar Marrero, Caitlin Machak, Alfonso Diaz, Randy Schwartz Loader: Daniel Pfeifer Still Photographer: Barbara Kitke, Linda Kallerus, David Lee

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“MINDHUNTER” Dir. of Photography: Erik Messerschmidt Operators: Brian Osmond, David Richert Assistants: Alex Scott, David Edsall, Gary Beavans Still Photographer: Merrick Morton “SHE’S GOT TO HAVE IT” SEASON 1 Dir. of Photography: Daniel Patterson Operators: Christine Ng Assistants: Pierson Robinson, Andrew Brinkman, Alec Nickel, Mabel Haugen Santos Steadicam Operator: Brandon Sumner, Technocrane Tech: Sebastian Almeida Libra Head Tech: Kevin Kasarda, Sean Folk Loader: Michelle Clementine Still Photographer: David Lee “THE QUAD” Dir. of Photography: Alison Kelly Operators: Ramon Engle, Keith Peterman Assistants: Robert Delgado, Alan Newcomb, Trisha Solyn, Nubia Rahim Loader: Peter Johnston Digital Utility: Lauren Cummings Still Photographer: Eli Ade “VIR DAS COMEDY SPECIAL” Dir. of Photography: Jay Lafayette Operators: Mike Drucker, Michael Fuchs, Jason Vendrmer Assistants: Michael Csatlos, John Floresca, Mark Killian Steadicam Operator: Philip Martinez Digital Imaging Tech: Charlie Anderson CRACKLE “SPORTS JEOPARDY!” SEASON 3 Dir. of Photography: Jeff Engel Operators: Mike Tribble, Jeff Shuster,

David Irete, Ray Reynolds Jim Arm Operator: Mark Hunter, Steve Simmons Video Controller: Gary Taillon Head Utility: Fortino Marquez Utility: Ray Thompson Still Photographer: Carol Kaelson CURB YOUR ENTHUSIASM, INC. “CURB YOUR ENTHUSIASM” Dir. of Photography: Patrick Stewart Operators: Phil Miller, Parker Tolifson, Houman Forough Assistants: Joseph Keppler, Tiffany Aug, Palmer Anderson, Aaron Tichenor Loader: Rachael Wiederhoeft DEEP CREEK PRODUCTIONS, LLC “UNTITLED ERROL MORRIS NETFLIX SERIES” Dir. of Photography: Igor Martinovic Operators: Oliver Cary, John Schwartz Assistants: Sebastian Slayter, Ian Braccone, Christopher Cafaro, Autumn Moran Digital Imaging Tech: Ted Viola Loader: Quinn Murphy, Josh Bote DOMBEY STREET PRODUCTIONS LIMITED “BODEGA BAY” Dir. of Photography: Hoyte Van Hoytema Operator: Henry Tirl Assistants: Bob Hall, Dan Schroer, Stephen Wong, Milan Janicin, Jonathan Clark IMAX Camera Tech: Scott Smith Still Photographer: Melinda Sue Godon ENTERTAINMENT ONE/FOUS FEATURES “VILLA CAPRI” Dir. of Photography: Philippe Le Sourd Assistants: Hector Rodriguez, Bryce van der Marshall Loader: Melanie Gates Still Photographer: Ben Rothstein Publicist: Diane Slattery EYE PRODUCTIONS, INC. “BLUE BLOODS” SEASON 7 Dir. of Photography: Gene Engels Operators: Jim McConkey, Jack Donnelly, Perris Mayhew Assistants: Geoffrey Frost, Martin Peterson, Justin Whitacre, Jake Stahlman, Kellon Innocent, Yvonne Vairma Steadicam Operators: Jim McConkey, Perris Mayhew Digital Imaging Tech: Ryan Heide Dailies DIT: Steve Calalang “ELEMENTARY” SEASON 5 Dir. of Photography: Ron Fortunato, ASC, Tom Houghton, ASC Operators: Alan Mehlbrech, Jeremy Weishaar Assistants: Kate Larose, Jason Cleary, Charlie Foerschner, Kyle Blackman Loader: Tricia Mears, Patrick O’Shea Steadicam Operator: Alan Mehlbrech Still Photographer: Thomas Concordia, Cara Howe, Michael Parmelee, Christopher Saunders “MACGYVER” SEASON 1 Dir. of Photography: Gabriel Beristain, ASC, BSC, Peter Levy, ASC, ACS

Operators: Mark Moore, Al “Tiko” Pavoni, Paul Krumper Assistants: Al Cohen, Kate Roberson, Trevor Blake Rios, Stefan Vino-Figueroa, Mike Torino, Danny Vanzura Steadicam Operator: Mark Moore Steadicam Assistant: Al Cohen Digital Imaging Tech: Greg VandZyck Digital Utility: Melissa Porter Still Photographer: Guy D’Alema “MADAM SECRETARY” SEASON 3 Dir. of Photography: Learan Kahanov Operators: Jamie Silverstein, Peter Vietro-Hannum Assistants: Heather Norton, Jamie Fitzpatrick, Anthony DeRose, Damon LeMay Loaders: Marc Albano, Christopher Patrikis, Darnell McDonald Digital Imaging Tech: Keith Putnam Still Photographer: Christopher Saunders FALL BIG, LLC “6 BALLOONS” Dir. of Photography: Polly Morgan, BSC Assistants: Stephen Taylor-Wehr, Otis Sherman Digital Imaging Tech: Kelly Eaton Still Photographer: Bruce Finn FICUS TREE PRODUCTIONS “OUTCAST” SEASON 2 Dir. of Photography: Evans Brown, Scott Kevan Operators: James Reid, Robert Newcomb Assistants: Joshua Greer, Chris Lymberis, John Carreon, Monica Barrios-Smith Digital Imaging Tech: Nick Hilter Still Photographer: Kent Smith FRB PRODUCTIONS, INC. “THE BREAKS” SEASON 1 Dir. of Photography: Teodoro Maniaci Operators: George Bianchini, John Pirozzi Assistants: Tim Metivier, Keitt, Graham Burt, Yasuke Sato Digital Imaging Tech: Lewis Rothenberg Loader: Yale Gropman FREEDOM FILMS, LLC “CLIFFS OF FREEDOM” Dir. of Photography: Steve Finestone Operator: Beau Chaput Assistants: Michael Lincoln, Chip Byrd, Erick Castillo, Ryan Eustis, Bret Latter Still Photographer: Lewis Jacobs FTP “BLACK-ISH” Dir. of Photography: Rob Sweeney Operator: Jens Piotrowski, Brian T. Pitts Assistants: Art Martin, Lou Demarco, Tiffani Stephenson, Tony Muller Steadicam Operator: Jens Piotrowski Steadicam Assistant: Art Martin Digital Loader: Josh Schnose Digital Utility: Pablo Jara Still Photographer: Scott Everett White, Adam Taylor, John P. Fleenor

FX “FEUD” Dir. of Photography: Nelson Cragg Operators: Andrew Mitchell, SOC, Brice Reid, Jesse M. Feldman Assistants: Penny Sprague, Ben Perry, David Leb, Betty Chow, Toby White, Vanessa Ward Steadicam Operator: Andrew Mitchell, SOC Digital Imaging Tech: Justin Steptoe Camera Utility: Jared Wilson Digital Utility: Aidan Ostrogovich 2ND UNIT Dir. of Photography: Jesse M. Feld GEMINI 3 PRODUCTIONS “FACE OFF” Dir. of Photography: Bruce Dorfman Operators: Dave McCoul, David Gaines, Matt Ferguson, Jason Ippolito, Brandon Benning Assistants: Dustin Penn, Clarence Nelson, Dave Mickler, Carlos Carmona, Brian Griffo, Artemio Pena Still Photographer: Brandon Hickman GLOW PRODUCTIONS “GLOW” Dir. of Photography: Christian Springer Operators: Andy Graham, Eric Schilling Assistants: Justin Watson, Paul Tilden, Jacqueline Stahl, Giselle Gonzalez Steadicam Operator: Eric Schilling

Digital Imaging Tech: Chris Doyle Utility: Nicola Caruso Still Photographer: Erica Parise GO2 Z, LLC PRODUCTIONS “Z NATION” SEASON 2 Dir. of Photography: Alex Yellen Operators: Federico Verardi Assistants: Coty James, Shaun Springer, Nick Kelling, Kyle Petijean Digital Loader: Nicole Heigh HALF A YOGURT PRODUCTIONS, LL. “GIRLS” SEASON 6 Dir. of Photography: Timothy Ives Operators: Mark Schmidt, Julian Delacruz Assistants: Rebecca Arndt, James Daly, Eric Schwager, Caitlin Machak Steadicam Operator: Wylda Bayron Digital Imaging Tech: J. Eric Camp Loader: Rachel Doughty, Robert Wrase Still Photographer: Craig Blankenhorn, Mark Schafer, Giovanni Rufino, JoJo Whilden HANDCUFFS, LLC “GERARLD’S GAME” Dir. of Photography: Michael Fimognari Operators: Thom Valko Assistants: Troy Wagner, Alex Waters Steadicam Operator: Thom Valko HARMON MONSTER FILMS, INC. “MONSTER” Dir. of Photography: David Devlin

Operators: Mark Meyers Assistants: Ben Spaner, Kali Riley, Gregory Oace, Tsyen Shen Digital Imaging Tech: Malika Franklin Still Photographer: David Giesbrecht HBO “VEEP” Dir. of Photography: David MIller Operators: Bo Webb, Josh Wiliamson, Johnny Martin Assistants: Mark Figueroa, Greg Kurtz, Aaron Bowen, Will Evans, Maryan Zurek, Ana Amortegui Digital Loader: Rachel Mangum Still Photographer: Justin Lubin HI LAW PRODUCTIONS “JUMANJI” Dir. of Photography: Gyula Pados Operator: Geoff Haley Assistants: Daniel Bombell, Robert Campbell, Greg Irwin, Caleb Lucero Steadicam Operator: Geoff Haley Loaders: Luke Gorder, Richard Dabbs Digital Imaging Tech: Lonny Danler Libra Head Tech: Jason Hibarger Still Photographer: Frank Masi Publicist: Carol McConnaughey

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HOLD FAST PRODUCTIONS, LLC “BOSCH” SEASON 3 Dir. of Photography: Patrick Cady Operators: Kenji Luster, Sylvain D’Hautcort, John Pingry Assistants: Tom Gleason, Danny Brown, Dan Coscina, Mike Thomas, Todd Avery, Yuka Kadono Steadicam Operator: Kenji Luster Loader: Jonathan Taylor Utility: Kristina Lechuga Digital Imaging Tech: Tyler Goeckner-Zoeller HORIZON “NOT AGAIN” Dir. of Photography: Anthony Palmieri Operators: Garrett Benson, Kevin Celi, Tony Politis, Gerry Marzocco Assistants: George Hesse, Ryan Mhor, Toby White, Manning Tillman, Keith Rash Robo Operators: Donny Anderson, Jaime Mejia BTS Operator: Jeff Feller “STUCK IN THE MIDDLE” Dir. of Photography: Suki Medencevic, ASC Operators: Benjamin Spek, Radan Popovic Assistants: Bill Coss, Salvatore Coniglio, Chris Friebus, Angela Ortner Steadicam Operator: Benjamin Spek Steadicam Assistant: Bill Coss Digital Imaging Tech: Scott Resnick Digital Utility: Baird Steptoe “GAMERS GUIDE” Dir. of Photography: Thomas T. Eckelberry Operators: Brian Gunter, Mike Denton, Bob McCall, Cory Gunter Utility: Terry Gunter, Ryan Eckelberry Video Controller: Tim Gamble Still Photographer: Nicole Wilder “LIV AND MADDIE” Dir. of Photography: Thomas T. Eckelberry Operators: Ken Herst, Thomas Dougherty, Jack Chisolm, Pete Wilson Utility: Adan Torres, Angelica Giangregorio Video Controller: Keith Anderson Still Photographer: Nicole Wilder

IT’S A LAUGH PRODUCTIONS, INC. “ANDI MACK” Dir. of Photography: Matthew Williams Operator: Scott Hoffman Assistants: John Williams, Kurtis Burr, David Rhineer Digital Imaging Tech: Sean McAllister “BUNK’D” Dir. of Photography: Joseph W. Calloway Operators: Cory Gunter, John Goforth, Brian Gunter, Ray Liu Camera Utility: Terry Gunter Digital Utility: Michael Sweeney Video Controller: Brian Dodds “K.C UNDERCOVER” SEASON 2 Dir. of Photography: Joseph W. Calloway Operators: Vance Brandon, Larry Blumenthal, Deb O’Brien, Cory Gunter Digital Utility: Ricco Ricardo Clement Video Controller: Nichelle Montgomery JAX MEDIA “MIKE BIRDIGLIA: THANK GOD FOR JOKES” Dir. of Photography: Benjamin Kasulke Operators: Charlie Libin, John McDonald, Zach Schamberg Digital Imaging Tech: James Strosahl KING BOLDEN, LLC “BOLDEN” Dir. of Photography: Neal Norton Operators: Frank Godwin, Matt Doll Assistants: Patrick Borowiak, Keith Pokorski, Roy Knauf, Sean Yaple Loaders: Seth Lewis, John McIntyre Steadicam Operator:Matt Doll Steadicam Assistant: Patrick Borowiak Digital Imaging Tech: Mark Gilmer Still Photographer: Fred Norris LADY PRISON PRODUCTIONS “ORANGE IS THE NEW BLACK” SEASON 5 Dir. of Photography: Ludovic Littee Operators: Spencer Gillis, Julian Delacruz Assistants: Scott Tinsley, Michelle Sun, Justin Mancuso, Michael Swearingen

Digital Imaging Tech: Matthew Selkirk Loader: Joshua Waterman Still Photographer: JoJo Whilden LIGHTBRIDGER FILMS “LUCIFER” LA UNIT Dir. of Photography: Christian Sebalt, ASC Operators: Matthew Pearce, Joshua Turner Assistants: Ryan Pilon, Matt Kelly, Steve Marshall, Casey Muldoon Digital Imaging Tech: John C. Reyes Utility: Paula Gomez LIONSGATE “DWP” Dir. of Photography: Jeff Waldron Operators: Mikael Levin, Ilan Levin Assistants: Jorge Devotto, Charlie Murphy, Leoncio Provoste, Cristy Arboleda Steadicam Operator: Ron Schlaeger Loader: Chase Azimi Still Photographer: Eddie Chen MARVEL ENTERTAINMENT “AGENTS OF SHIELD” SEASON 4 Dir. of Photography: Feliks Parnell, Allan Westbrook Operators: Kyle Jewell, Bill Brummond Assistants: Coby Garfield, Josh Larsen, Derek Hackett, Tim Cobb Steadicam Operator: Bill Brummond Steadicam Assistant: Josh Larsen Digital Imaging Tech: Ryan Degrazzio Digital Utility: Josh Novak Remote Head Operator: Clay Platner Still Photographer: Kelsey McNeil 2ND UNIT Dir. of Photography: Kyle Jewell Operators: Operators: Tony Cutrono, Miguel Pask MESQUITE PRODUCTIONS, INC. “SNEAKY PETE” Dir. of Photography: Rene Ohashi Operators: Jim McConkey, Lawrence McConkey, Gregor Tavenner Assistants: Anthony Cappello, John Oliveri,

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Cornelia Klapper, Julian Bass Digital Imaging Tech: Gary Isaacs Loader: Brian Grant, Matthew Montalto Still Photographer: Eric Liebowitz “THE GET DOWN” Dir. of Photography: Willam Rexer Operator: Jeff Muhlstock , Andy Voegeli, Derek Walker Assistants: Michael Burke, James Madrid, Stephen McBride Michael Guthrie Steadicam Operator: Jeff Muhlstock Loaders: Frank Milea, Rachael Doughty Pilot Digital Imaging Tech: Luke Taylor 2ND UNIT Dir. of Photography: Andy Voegeli MTV “TEEN WOLF” Dir. of Photography: Dave Daniel Operators: Dominic Bartolone, Todd Barron Assistants: Lee Jordan, Gavin Alcott, Sarah Galley, Marshall Rao Steadicam Operator: Dominic Bartolone Steadicam Assistant: Lee Jordan Digital Imaging Tech: Aaron Picot Loader: Jeremy Hill Still Photographer: Scott Everett White NAVY ST. PRODUCTIONS “KINGDOM” Dir. of Photography: Sidney Sidell Operator: Chris Murphy, Chris Cuevas Assistants: Mike Vejar, Mark Strasburg, Naomi Villanueva, Dawn Nakamura, Joey O’Donnell Loader: Spencer Swetz Digital Utility: Alex Zolad NBC “CHICAGO FIRE” SEASON 5 Dir. of Photography: Jay Crothers Operators: Jack Messitt, Billy Nielsen Assistants: Melvina Rapozo, Hunter Whalen, Zach Gannaway, Gary Malouf

Digital Loader: J’mm Love Digital Utility: Amy Tomlinson Still Photographer: Elizabeth Morris 2ND UNIT Dir. of Photography: Billy Nielsen “CHICAGO MED” Dir. of Photography: Lex du Pont, ASC Operators: Scott Steele, Faires Anderson Sekiya, Joseph Fitzgerald Assistants: George Olson, Laura Difiglio, Keith Huffmeier, Sam Knapp, Jason H. Bonner, Patrick Dooley Steadicam Operator: Faires Anderson Sekiya Loader: Joey Richardson Utility: Michael Olson Still Photographer: Elizabeth Sisson “CHICAGO PD” 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 Utilty: Corinne Anderson, Nick Wilson Steadicam Operator: Will Eichler Loader: Kyle Belousek

“THE PATH” SEASON 1 Dir. of Photography: Yaron Orbach Operators: Brian Osmond, Arthur Africano, Philip Martinez Assistants: Toshiro Yamaguchi, Waris Supanpong, Adriana Brunetto Lipman, Eric Lichtenstein, Becki Heller, Maria Gonzales Digital Imaging Tech: Tiffany Armour-Tejada Loaders: Matthew Martin, Nathalie Rodriguez, Elmer Vargas Still Photographer: Chris Saunders, Greg Lewis “SUPERSTORE” SEASON 2 Dir. of Photography: Jay Hunter Operators: Sarah Levy, Adam Tash, Hassan Abdul-Wahid Assistants: Jason Zakrzewski, Brandon Margulies, Eric Jenkinson, Ryan Sullivan, Sean Mennie, Keith Moore Loader: Matthew Goodwin NETFLIX “OUR SOULS AT NIGHT” Dir. of Photography: Stephen Goldblatt, ASC, BSC Operator: Henry Tirl Assistants: Dennis Seawright, Dale White Digital Imaging Tech: Abby Levine Loader: Dustin Keller

Digital Utility: Nick Wilson, Michael Gleeson Additional Unit Dir. of Photography: James Zucal “MASTER OF NONE” Dir. of Photography: Marc Schwartzbard Operator: Rod Calarco, Robert Pagliaro Assistants: Jeffrey Smith, Sebastian Slayer, Christopher Cafaro, Daniel Sheets Steadicam Operator: Rod Calarco Technocrane Tech: Paul McKenna Loaders: Marc Charbonneau, Ross Citrin, Quinn Murphy Still Photographer: Barbara Nitke

“STRANGER THINGS-WONDER VIEW” 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

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Steadicam Assistant: Patrick LaValley Loader: Nate Goodman Camera Utility: Thomas Oliver PARLOR GAME PRODUCTIONS, LLC “GODLESS” Dir. of Photography: Steven Meizler Operator: George Billinger Assistants: Richie Masino, Steve Cueva.

David O’Brien, Tristan Chavez Digital Utility: Juergen Heinemann Digital Imaging Tech: Jeroen Hendriks Still Photographer: Ursula Coyote Publicist: Amy Johnson EPK/Behind-The-Scenes: Dean Eastman PICROW, INC. “JUST ADD MAGIC” Dir. of Photography: Mark Doering-Powell, ASC Operators: Paul Sanchez, Sarah Levy Assistants: Robert Schierer, Paul Janossy, Michael Kleiman, Dan Taylor Loader: Andrew Oliver Still Photographer: Adam Taylor, John P. Fleenor

Production Credits

“THE LEGEND OF MASTER LEGEND” Dir. of Photography: James Laxton Operators: Dana Morris, Otis Ropert Assistants: Scott Johnson, Joe DiBartolomeo, David Mobi Olaoniye, Rachel Wiederhoeft Digital Utility: Mason Thibo Camera Utility: Cole Ellett Stil Photographer: Nicole Wilder

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NEXT PARLAY, LLC “BEING MARY JANE” Dir. of Photography: Michael Negrin, ASC Operators: Deke Keener, Alfeo Dixon Assistants: Tom Cherry, Emil Hampton Cait Rockwell, Chris Dawson Steadicam Operator: Deke Keener Steadicam Assistant: Tom Cherry Digital Imaging Tech: Tyler Blackwell Digital Utility: Amanda Gianneschi Still Photographer: Eli Ade NEW REMOTE PRODUCTIONS, INC. “SWEET/VICIOUS” Dir. of Photography: Steve Gainer Operators: Troy Smith, Todd Barron Assistants: Shereen Saleh, Kymm Swank, Jonathan Goldfisher, Colin Kelly Digital Imaging Tech: Aaron Picot NICKELODEON “THUNDERMANS” Dir. of Photography: Wayne Kennan Operators: Keith White, Vickie Walker, Dave Forrest, Pete Wilson Utility: Brian Lynch, Selvyn Price Video Controller: Stuewe Prudden Still Photographer: Dale Berman NINE NIGHTS ALL STAR WEEKEND, LLC “ALL STAR WEEKEND” Dir. of Photography: John T. Connor Operator: Myron Parran Assistants: Brandon Cox, Greg Hatton

Steadicam Operator: Jake Avignone Loader: Fabricio Disanto Video Controller: Anthony Perkins Still Photographer Anne Marie Fox NORTHERN ENTERTAINMENT PRODUCTIONS “MIDNIGHT TEXAS” Operators: Lawrence “Doc” Karman, Adam Santelli Assistants: Aileen Taylor, Gabe Pfeiffer, Jeff Lamm, John Hamilton Steadicam Operator: Lawrence “Doc” Karman Steadicam Assistant: Aileen Taylor Digital Imaging Tech: Lane Luper Camera Utlity: Taylor Hilburn ONLY LIVING BOY PRODUCTIONS, INC. “THE ONLY BOY LIVING IN NEW YORK” Dir. of Photography: Stuart Dryburgh Operator: Thomas Wills Assistants: Stanley Fernandez, Christopher Eng, Haffe Acosta Loader: David Ross Still Photographer: Niko Tavernise OPEN 4 BUSINESS “GRIMM” Dir. of Photography: Ross Berryman, ASC, ACS, Eliot Rockett Operators: Tim Spencer, Mike McEveety Assistants: Wili Estrada, Jerry Turner, Patrick LaValley, Danielle Eddington Steadicam Operator: Tim Spencer

“WONDERSTRUCK” Dir. of Photography: Ed Lachman Operators: Craig Haagensen, Peter Agliata Assistants: Gus Limberis, Graham Burt, Randy Schwartz, Sarah Guenther Loader: Nicholas Koda Still Photographers: Mary Cybulski, David Giesbrecht, Myles Aronowitz PMWWMLLC “UNTITLED CM PROJECT” Dir. of Photography: Bryce Fortner Operator: Jospeh Lavallee Assistants: Darryl Byrne, Christian Hollyer, Talia Krohmal, Katherine Castro Steadicam Operator: Brant Fagan, SOC Digital Imaging Tech: Matthew Dorris Still Photographer: Seacia Pavao POSSIBLE PRODUCTIONS “BILLIONS” Dir. of Photography: Radium Cheung, HKSC Operator: Aiken Weiss, Justin Foster Assistants: Eddie Effrein, Gus Limberis Steadicam Operator: Aiken Weiss Still Photographer: Mark Schafer PRODCO., INC. “BABY DADDY”SEASON 6 Dir. of Photography: Paul Maibau , ASC Operators: Keeth Lawrence, Dave Levisohn, Stephen Jones, Richard Price Assistants: Brian Lynch, Steve Masias Digital Imaging Tech: Rick Dungan Camera Utility: Brad Traver

“THE AFFAIR” SEASON 3 Dir. of Photography: Joseph Collins, John Lindley, ASC, Steven Fierberg, ASC Operators: Peter Nolan, Carlos Guerra Assistants: Scott Koenigsberg, Andrew Smith, Dean Martinez, Jonathan Monk Digital Imaging Tech: Patrick Cecilian Loader: Jay Kidd, Joshua Bote, Sara Scrivener Still Photographer: JoJo Whilden, Philip Caruso, Jeff Neuman, Eric Liebowitz

“JEOPARDY!” SEASON 33 Dir. of Photography: Jeff Engel Operators: Diane L. Farrell, SOC, Ray Reynolds, Mike Tribble, Jeff Shuster, L. David Irete Jib Arm Operator: Marc Hunter Head Utility: Tino Marquez Camera Utility: Ray Thompson Video Controller: Gary Taillon Still Photographer: Carol Kaelson

SHOCK AND AWE, LLC “SHOCK AND AWE” Dir. of Photography: Barry Markowitz, ASC Operators: Michael Stumpf, SOC Assistants: Steve Search, Rob Baird, Cody Gautreau, Rome Julian Steadicam Operator: Michael Stumpf, SOC Loader: Chad Taylor

“WHITE FAMOUS” Dir. of Photography: Sid Sidell Operators: Victor Macias, Brooks Robinson, Larry Karman Assistants: Michael Endler, Don Burghardt, Larry Nielsen, Naomi Villanueva, Rudy Pahoyo, Jeremiah Kent, Matthew Fisher Steadicam Operator: Victor Macias Steadicam Assistant: Michael Endler Loader: Matt Kirschner

“THE GOLDBERGS” 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: Dishan Herath Still Photographer: Nicole Wilder, Adam Taylor

SHOWTIME “I’M DYING UP HERE” Dir. of Photography: Jim Frohna Operators: DJ Harder, Andy Shuttleworth Assistants: Gunnar Mortensen, Faith Brewer, Tammy Fouts, John Roney, Nick Neino Steadicam Operator: Andy Shuttleworth Digital Imaging Tech: Peter Brunet Digital Utility: Lindsey Gross Still Photographer: Lacey Terrell

SONY PICTURES “DR KEN” SEASON 2 Dir. of Photography: Wayne Kennan Operators: Ron Hirschman, David Dougherty, Vernon Kifer, Candy Edwards Assistants: Marianne Franco Camera Utility: Brad Traver, Doug Minges Digital Imaging Tech: Dave DeMore Video Controller: Keith Anderson Still Photographer: Nicole Wilder

SAN VICENTE PRODUCTIONS, INC. “THE BLACKLIST” SEASON 3 Dir. of Photography: Michael Caracciolo, Eric Moynier Operators: Thomas Weston, Saade Mustafa, Bruce MacCallum Assistants: Hollis Meminger, Michelle Sun, Paul Bode, Vanessa Morrison, Sarah Hendrick Loaders: Edgar Velez, Trevor Wolfson Still Photographer: Julie Platner, Nicole Rivelli, Jo Jo Whilden

“WHEEL OF FORTUNE” SEASON 34 Dir. of Photography: Jeff Engel Operators: Diane Farrell, Ray Reynolds, 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

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SOURDOUGH PRODUCTIONS, LLC “SUCCESSION” Dir. of Photography: Andrij Parekh Operator: Rachael Levine Assistants: Toshiro Yamaguchi, Ethan Borsuk, Elizabeth Casinelli, Eric Lichtenstein Loader: Jonathan Henry, Maxwell Sloan Still Photographer: Craig Blackenhorn

“THE LIBRARIANS” Dir. of Photography: David Connell Operators: Gary Camp, Houman Forough, SOC Assistants: Kyril Cvetkov, Michael Crockett, Troy Wagner, Justin O’Shaughnessy Steadicam Operator: Gary Camp Digital Utility: Devin Greenman, Rodrigo Melgarejo

STALWART FILMS, LLC “FEAR THE WALKING DEAD” SEASON 3 Dir. of Photography: Scott Peck, Chris Lavasseur Operator: Craig Cockerill Assistant: Ray Dier Digital Imaging Tech: Conrad Radzik

TOPANGA PRODUCTIONS “NOTORIOUS” Dir. of Photography: Shawn Maurer Operators: Richard Crow, Greg Williams, Tom Lembcke Assistants: Andrew Degnan, Ryan Jackson, Ron S. Peterson, Tony Hart, Ryan Parks, Logan Turner Digital Utility: Brandon Gutierrez Loader: Tim Balcomb Still Photographer: Nicole Wilder, Adam Taylor

Production Credits

“THE WALKING DEAD” SEASON 7 Dir. of Photography: Michael Satrazemis Operators: Stephen Campbell, Robert Carlson, Deke Keener Assistants: David Galbraith, Matt McGinn, Robert McMahan, Matt Horn, Robert Veliky, Lauren Gentry Loader: Austin Blythe Still Photographer: Gene Page 2ND UNIT Dir. of Photography: Stephen Campbell

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STU SEGALL PRODUTIONS, INC. “HAP AND LEONARD” SEASON 2 Dir. of Photography: Joseph Gallagher Operators: Chris Campbell, Bobby Boothe Assistants: Mary Stankiewicz, Zach Junquera, Fred Thomas, Rodrigue Gomes Loader: Violet Jackson Digital Utility: Dwayne Green Still Photographer: Jackson Lee Davis SUBURBICON, LLC “SUBURBICON” Dir. of Photography: Robert Elswit, ASC Operator: Colin Anderson Assistants: Erik VBrown, Josh Friz, Larissa Supplitt, Renee Treyball Steadicam Operator; Colin Anderson Digital Imaging Tech: Dan Skinner Digital Utility: Johanna Salo Still Photographer: Hilary Bronwyn Gayle TAM3, LLC “YOU GET ME” Dir. of Photography: Magdalena Gorka Operators: Arlene Muller Assistants: Paul Metcalf, Andrew Crankshaw, David Parson, Peter Parson Digital Imaging Tech: Michael Borenstein TNT “THE LAST SHIP” SEASON 3 Dir. of Photography: Cort Fey, ASC, Rodney Charters, ASC Operators: Bud Kremp, SOC, David Sammons, SOC Assistants: Stephen Pazanti, Shane Carlson, Michael D. Alvarez, , Roger Spain Steadicam Operator: Bud Kremp, SOC Steadicam Assistant: Stephen Pazanti Digital Imaging Tech: James Cobb Digitual Utility: Joe Sutera

TRIP PRODUCTIONS, LLC “GIRL TRIP” Dir. of Photography: Greg Gardiner Operators: Mick Froehlich, Grayson Austin Grant Assistants: Robert Baird, Rome Julian, Zac Sieffert, Channing Brenholtz, Cody Gautreau, Mike Kennedy, Steadicam Operator: Grayson Grant Austin Loader: Chad Taylor Digital Utility: David Stellhorn Still Photographer: Michele Short ESSENCE UNIT Operators: Jerry Jacobs, Vincent Bearden, Dave Anglin (Movi) Assistants: Peter Roome, Channing Brenholtz, Mike Kennedy, Brooke Jagneaux, Paul Rahfield, Alan Keffer, Hai Lee Digital Utility: Adrei Klein, Kolby Heid UNIVERSAL “BROOKLYN NINE-NINE” Dir. of Photography: Giovani Lampassi Operators: Phillip Mastrella, Rick Page, Jon Purdy Assistants: Jamie Stephens, Bill Gerardo, Lauren Gadd, Dustin Miler, Will Schmidt Loader: Nick Gilbert Digital Utility: Rochelle Brown Still Photographer: John P. Fleenor “CHICAGO JUSTICE” SEASON 1 Dir. of Photography: Lisa Wiegand, ASC Operator: Tari Segal, Jessica Lopez, SOC Assistants: Luis Fowler, Matt Rozek, Stephanie Dufford, Matt Feasley Steadicam Operator: Jessica Lopez, SOC Loader: Drew Fulton Digital Utility: Ryan Schuck Still Photographer: Parrish Lewis “E’ CHANNEL: THE ARRANGEMENT” Dir. of Photography: Itai Ne’eman Operators: Mark LaBonge, Michael Cassidy Assistants: Chuck Whelan, Marc Margulies, Trevor Coe, Lorna Leslie Digital Imaging Tech: Alan Gitlin Digital Utility: Paulina Gomez

“GIRLFRIEND’S GUIDE TO DIVORCE” Dir. of Photography: Scott Williams Operators: Mark LaBonge, Michael Cassidy Assistants: Chuck Whelan, Trevor Coe, Marc Margulies, Lorna Leslie Steadicam Operator: Mark LaBonge Digital Imaging Tech: Alan Gitlin Digital Utility: Wil Sterner Still Photographer: Paul Drinkwater “LAW & ORDER-SVU”SEASON 18 Dir. of Photography: Michael Green Operators: Jonathan Herron, Mike Latino Assistants: Christopher Del Sordo, Matthew Balzarini, Emily Dumbrill, Sara Boardman Steadicam Operator: Jonathan Herron Camera Utility: Christopher Marlow Loader: Justin Zverin “SHADES OF BLUE” SEASON 2 Dir. of Photography: Stefan Czapsky, ASC Operators: David Taicher, Eric Tramp Assistants: Gregory Principato, Raul A. Erivez, Pete Keeling, John C. Walker Digital Imaging Tech: Patrick Cecilian Loader: Brian Lynch, James McEvoy “THE TAP” PILOT Dir. of Photography: Sharon Meir Operators: Gregor Tavenner, Richard Moriarty Assistants: John Oliveri, Nick Timmons, Cornelia Klapper, Ryan Nocella Loader: Matthew Harding, Andrea Romasky WAD PRODUCTIONS “THE ELLEN DEGENERES SHOW” Lighting Director: Tom Beck Ped Operator: David Weeks, Hand Held Operator: Brian Loewe Jib Operator: David Rhea Assistants: Nolan Ball, Jason Brignola Head Utility: Craig Marazzo Video Controller: James Moran WARNER BROS. “BLINDSPOT” Dir. of Photography: Dave Tuttman, David Johnson Operators: Andrew Priestley, Pyare Fortunato, Peter Ramos Assistants: Lee Vickery, John Romer, Marcos Rodriguez-Quijano, Nicknaz Tavakolian, Kyle Clark, Kjerstin Rossi Steadicam Operator: Pyare Fortunato Steadicam Assistant: John Romer Digital Imaging Tech: Jeff Cirbes, Chloe Walker “DUNKIRK” Dir. of Photography: Hoyte Van Hoytema, ASC Operators: Henry Tirl Assistants: Bob Hall, Stephen Wong, Doug Lavender, Dan Schroer, Jonathan Clark, Milan Janicin Steadicam Operator: Henry Tirl Steadicam Assistant: Bob Hall Imax Tech: Scott Smith Still Photographer: Melinda Sue Gordon AERIAL UNIT Dir. of Photography: Hans Bjerno

JANUARY 2017

UDERWATER UNIT Dir. of Photography: Pete Romano Operator: Scott Hoffman VFX UNIT Dir. of Photography: Mark Weingartner, ASC Assistants: Andy Borham “GOTHAM” SEASON 2 Dir. of Photography: Christopher Norr, Crescenzo Notarile, ASC, AIC Operators: Gerard Sava, Al Pierce, SOC Assistants: Braden Belmonte, Gavin Fernandez, George Tur, James Schlittenhart, Grace Preller Chambers Steadicam Operator: Gerard Sava Steadicam Assistant: Braden Belmonte Digital Imaging Tech: Dan Brosnan Loader: Samantha Panger “LETHAL WEAPON” Dir. of Photography: David Moxness, ASC, CSC, Andy Strahorn Operators: Michael Brian Hart, Eric Roizman Assistants: James Rydings, Kaoru Ishizuka, Lauren Soriano, Kelsey Castellitto Digital Utility: Alex Gadberry Digital Imaging Tech: Mike DeGrazzio Technocrane Operator: Nico Bally, Nazariy Hatak, Joseph Rodmell Remote Head Operator: Jay Sheveck Still Photographer: Adam Taylor “LITTLE BIG SHOTS” Lighting Designer: Kieran Healy Video Controller: Chris Gray Ped Operators: Greg Smith, Helena Jackson, Keith Hobelman, Kary D’Alessandro, John Bromberek Hand Held Operators: Danny Webb, Ed Horton, Dylan Sanford, Derek Hernandez, Allen Marriweather Techno Jib Operators: Keith Dicker, David

Eastwood, Brian Reason, Alex Hernandez Steadicam Operator: David Kannehan Remote Head: Alex Hernandez, Derek Hernandez Utility: Jon Zucarro, Byron Blades, Sean Woodside, Robert Cade, Dustin Stephenss, Delvin Careathers, Joe Algandar “MAJOR CRIMES SEASON 5” 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 “MOM” SEASON 3 Dir. of Photography: Steven V. Silver, ASC Operators: Cary McCrystal, Jamie Hitchcock, Larry Gaudette, Candy Edwards Assistants: John Graham, Nigel Stewart, Damian Della Santina, Mark Johnson, Benjamin Steeples Camera Utility: Alicia Brauns, Andrew Pauling Digital Imaging Tech: Robert Zeigler Video Controller: Kevin Fraust Still Photographer: Ron Jaffe “PRETTY LITTLE LIARS” SEASON 7 Dir. of Photography: Larry Reibman Operators: Craig Fikse, Carlos Arguello, Ken Lehn Assistants: David Dowll, Brian Morena, Gretchen Hatz, Rocio Meda Steadicam Operator: Craig Fikse Steadicam Assistant: Brian Morena Digital Imaging Tech: Conrad Hunziker Digital Utility: Nate Lewis Technocrane Tech: Brett Folk, Clay Platner 2ND UNIT Dir. of Photography: Carlos Arguello

“PURE COUNTRY 3” Dir. of Photography: Bradford Lipson Operators: Damian Church, David McGill, Luis Lopez De Victoria Assistants: Brad Baker, Zander White, Ian Henderson, Eric Van der Vynckt, Allan Keffer Steadicam Operator: Damian Church Digital Imaging Tech: Nate Borck Still Photographer: Skip Bolen “SHAMELESS” SEASON 7 Dir. of Photography: Loren Yaconelli Operators: David Sammons, SOC, Bradley Richard Assistants: Ray Milazzo, Blake Collins, Patrick Bensimmon, Kirsten Laube Digital Utility: Mike Prior Digital Imaging Tech: Jefferson Fugitt CHICAGO UNIT Dir. of Photography: Ted Lichtenheld Operators: Sebastien Audinelle, Darry Miller Assistants: Dave “Whitey” Wightman, Kate Moss, Josh Ramos, Nina Portillo Digital Imaging Tech: John Waterman Digital Utility: Max Moore Still Photographer: Chuck Hodes UNDERWATER UNIT Dir. of Photography: Simon Jayes Operator: Robert Settlemire Assistant: David William McDonald “SUPERGIRL” Dir. of Photography: David Stockton, ASC, Jeff Mygatt Operators: Tom Schnaidt, Joel Schwartz Assistants: Dennis Seawright, Dale White, Bruce De Aragon, Trevor Coe Digital Utility: Brooke Mygatt Digital Imaging Tech: Mike DeGrazzio 2ND UNIT Assistants: Scott Birnkrant, Keith Moore

Production Credits

Assistant: Stephen Wong Shotover Tech: Dane Bjerno

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“THE BIG BANG THEORY” 9 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 “THE MIDDLE” Dir. of Photography: Blake T. Evans Operator: John Joyce, SOC, Bret Harding Assistants: Jefferson T. Jones, Bryan Haigh, Nathan Crum, Emily Goodwin Steadicam Operator: John Joyce, SOC Steadicam Assistant: Jefferson T. Jones Loader: Suzy Dietz

Production Credits

“TIME AFTER TIME” Dir. of Photography: Dave Insley Operators: Tom Schnaidt, Jon Delgado Assistants: Boots Shelton, Elizabeth Singer, Jerome Williams, Christian Bright, Chris Seehase, Cameron Sizemore, Behnood Dadfar Steadicam Operator: George Byers Digital Imaging Tech: Gary Isaacs Loader: Myo Campbell, Peter Westervelt, Jackson Lewis, Fran Milea Still Photographer: Jo Jo Whilden, Sarah Shatz

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“TRAINING DAY” Dir. of Photography: Robert Gantz, Thomas Camarda Operators: Kenneth Brown, Craig Cockerill Assistants: Jamie Felz, Matthew Freedman, James Barela, Chris Burket Digital Imaging Tech: Kevin Britton Digital Utility: Sean Kehoe WOODBRIDGE “BETTER CALL SAUL” Dir of Photography: Marshall Adams, ASC Operators: Paul Donachie, Matt Credle Assistants: Chris Norris, Rob Magnano, Rob Salviotti, Cheryl Barnard Steadicam Operator: Paul Donachie Digital Loader: Bryan Jones Digital Utility: Claudio Banks Still Photographer: Michelle Short “OUTSIDERS” Dir. of Photography: Scott Peck Operators: Brian Nordheim, Rich Sutte Assistants: Anthony Zeibele, Colin Sheehy Amanda Rotzler, Jason Cianella Steadicam Operator: Brian Nordheim Steadicam Assistant: Anthony Zeibele Loader: Wade Ferrari

COMMERCIALS ADRIFT FILM “KOOK” Dir. of Photography: Darin Moran Operator: Ian Clampett Assistants: Carson Reeves, Andae Crawford Digital Imaging Tech: Elliot Balsley ANONYMOUS CONTENT “JOHNNY WALKER” Dir. of Photography: Khalid Mohtaseb Assistants: Lucas Deans, Mobolaji Olaoniye Digital Imaging Tech: Mark Wilenkin CAVIAR “OPERACAKE” Dir. of Photography: Khalid Mohtaseb Movi Operator: Richard Moriarty Operator: Ian Clampett Assistants: Lucas Deans, Noah Glazer, Christian Kessler Digital Imaging Tech: Mark Wilenkin CMS “ANGEL SOFT” Dir. of Photography: Eric Schmidt Assistants: Lila Byall, Kira Hernandez Digital Imaging Tech: Dane Brehm “REPUBLIC RECORDS” Dir. of Photography: Carlos Veron Assistants: Rob Horwitz, Nicolas Martin, Alan Certeza, Jennifer Lai Digital Imaging Tech: Jennifer Tyler DUMMY “AT&T” Dir. of Photography: Jay Feather Assistants: Lila Byall, Kira Hernandez Digital Imaging Tech: Michael Borenstein FURLINED “FARMERS INSURANCE” Dir. of Photography: Jeff Cutter Operators: Eric Leach, Seth Kotok Assistants: Daniel Hanych, Greg Dellerson, Steve Mattson, Seth Peschansky Digital Imaging Tech: John Spellman GIFTED YOUTH “TACO BELL” Dir. of Photography: Sal Totino Operator: Ian Clampett Assistants: Rudy Salas, Ryan Voisine, Andrew Porras Digital Imaging Tech: Francesco Sauta GRAVY PRODUCTIONS “AMEX” Dir. of Photography: Eric Schmidt Operators; Gilbert Salas Assistants: Lila Byall, Ethan McDonald, Kira Hernandez, Paul Saunders Digital Imaging Tech: John Spellman Still Photographer: Brett Van Ort

“XFINITY” Dir. of Photography: Eric Schmidt Assistants: Lila Byall, Kira Hernandez Digital Imaging Tech: John Spellman Technocrane Operator: Mik Ryan Technocrane Tech: Mike Martinez HUNGRY MAN, INC. “MM SPOTS” Dir. of Photography: Eric Schimdt Steadicam Operator: Robert Arnold Assistants: Ethan McDonald, Jeremy Wong, Sam Lino Digital Imaging Tech: Dane Brehm LOCK AND KEY PRODUCTIONS “HOLIDAY SPECIAL” Dir. of Photography: Scott Cunningham Assistants: Walter Rodriguez, Daniel Fiorito, Ken Thompson, Nate McGarigal Digital Imaging Tech: David Berman MPC “DEVRY UNIVERSITY” Dir. of Photography: Alice Gu Operator: Tobvin Oldach Steadicam Operator: Travis Plante Assistants: Paul Toomey, Kymm Swak Digital Imaging Tech: Michael Borenstein ONE AT OPTIMUS “UTMB” Dir. of Photography: Tristan Nyby Digital Imaging Tech: Todd Barnett RADICAL MEDIA “SAMSUNG” Dir. of Photography: Paul Laufer Operator: Ian Clampett Assistants: Pergrin Jung, David Seekins, Roxanne Stephens Digital Imaging Tech: Pat Paolo RELEVANT ENTERTAINMENT “HEARTBEAT” Dir. of Photography: Vern Nobles Operators: Jeff Schmale, Mehran Salamati Assistants: Darin Necessary, Marco Bartkowiak, Zsolt Kadar, Kris Hardy, Wes Turner Steadicam Operator: Mark LaBonge Digital Imaging Tech: Jennifer Tyler SMUGGLER “ADIDAS” Dir. of Photography: David Devlin Assistants: Rick Gioia, Christian Carmody, Adam Miller, Jordan Levie, Sam Elliot Digital Imaging Tech: Jeff Flohr Steadicam Operator: Christopher Moone STUN CREATIVE “FOX SUMMER OF GORDON” Dir. of Photography: Mark Plummer Operator: John Skotchdopole Assistants: Micah Bisagni Noah Glazer, Ignacio Musich, Diana Ulzheimer Digital Imaging Tech: Scott Beckley

JANUARY 2017

“VALLEY TOYOTA DEALERS” Dir. of Photography: Mike Svitak Assistants: Andrew Leboy, Mel Kobran Digital Imaging Tech: Pat Paolo Camera Utility: Ben Brady SUPERPRIME “BRAND USA” Dir. of Photography: Gareth Jackson Assistants: Oliver Lanzenberg, Noah Glazer Digital Imaging Tech: Matt Love TOOL OF NORTH AMERICA “PEPSI” Dir. of Photography: William Rexer Operator: Wayne Arnold Assistants: Christopher Home, Alex Guckert, Michael Panczenko Steadicam Operator: Philip Martinez Digital Imaging Tech: John Vallon

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Production Credits

SUPERLOUNGE “BIG FINISH 2016” Dir. of Photography: Mike Svitak Assistants: Derek Edwards, Matthew Freedman Digital Imaging Tech: Freddy Fernandez Camera Utility: Ben Brady

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MOTION

Hopper Stone/SMPSP The team for Hidden Figures was lucky enough to be allowed to shoot in the wind tunnel at Lockheed Martin, in Marietta, Georgia, a few weeks before the tunnel was to be decommissioned. We had corporate media reps and a staff photographer along while we were there. The photographer commented to me that he had never seen a wind tunnel look as beautiful as our DP, Mandy Walker, ASC, ACS, had made it to be. This particular set yielded one of my favorite images of Janelle Monáe appearing in silhouette [see Page 53] from behind the massive turbine blades.

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