ICG Magazine - May 2018 - The Action Issue

ICG MAGAZINE

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[contents]

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AMERICAN NINJA WARRIOR

TELEVISION’S MOST HEART-POUNDING ACTION COMES FROM AN OBSTACLE-COURSE ROAD SHOW.

54 66 DEPARTMENTS

GEAR GUIDE / 14 BOOK REVIEW / 22 EXPOSURE / 24 ZOOM-IN / 30 PRODUCTION CREDITS / 78 STOP MOTION / 90

AVENGERS: INFINITY WAR MARVEL’S TWO-PART WRAP-UP TO THE AVENGERS SAGA COMMENCES WITH INFINITY WAR.

OPERATORS ROUNDTABLE

WITH THE ADVENT OF NEW TECHNOLOGIES (AND NEW CONTRACTS), THE OPERATOR’S CRAFT HAS DEFINITELY CHANGED, BUT THEIR VALUE REMAINS ESSENTIAL, AS THIS ESTEEMED PANEL EXPLAINS.

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THE CAMERA’S DANCE MILESTONES IN CAMERA MOVEMENT.

ICG MAGAZINE

cover photo by Tyler Golden

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PRESIDENT’S

LETTER MAY 2018 • VOL. 89 NO. 04

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

A FAIL-SAFE OPERATION This issue of ICG Magazine is all about action cinematography. But what really constitutes an action shot? Is it as simple as an operator running with a camera on his or her shoulder as he or she follows an actor down the street? Or is it a more complex example where things are blowing up, cars are crashing and people are falling off buildings – all at the same time?

When I first arrived in Hollywood, I visited a TV show being shot at the beach. The director had told the cinematographer that there would be no need to move the camera that day. Taking his word at face value, the camera crew used a Mitchell BNC, which is a notoriously heavy system. Sure enough, as the last shot of the day approached, the director asked if it was possible to do a shot running with the actor. The next thing I saw was four grips hefting two steel poles, which they had placed beneath the Mitchell – and the operator running behind them in the sand trying to maintain pace with the eyepiece.

There are many ways to move the camera.

And we, as Guild members, often find ourselves doing work that demands movement for virtually every element in a scene. We have always played a vital role in creating the most exciting action sequences this industry has ever seen (mostly because our crews have the ability not only to physically accomplish what is asked of them, but to understand the safety protocols put in place to protect everyone on the set). Camera operators, in particular, are often at the center of technological advances; look at a tool like the Steadicam, invented by Garrett Brown in the late 1970’s, which moved the camera in ways that had never been seen before. And when it was determined that an operator with a Steadicam could be attached to a large crane, moved above the ground, and then be released as the crane came down to continue the shot, yet another exciting element was added to how directors approached action storytelling. In more recent years, we’ve had many new tools added – stabilizing, gimbal and aerial technology – to help move the camera in new ways.

I recently saw a drone shot that began on the second floor of a hotel, went through a window,

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down through a lobby, across a restaurant and up and out of a set of French doors, all the while following characters running to what became a gunfight out on a city street. The coordination for a shot like that not only involved a full understanding of the safety imperatives by the entire team, but it also featured the drone being guided by a camera operator at a great distance away, sometimes not even in sight of the drone itself. That’s a skill that takes years of understanding of composition and framing to pull off.

I’ve mentioned safety several times, because it can’t be emphasized enough how important it is that every safety component within every setup be fully understood. That begins with a cinematographer who has a camera team that has worked with an experienced stunt crew and the Assistant Director, who both have the safety of the entire production as their primary responsibility. New processes, like previsualization, can help to mitigate some of the action genre’s inherent hazards. A skilled and savvy operator can use these tools and say, “If we move the camera over here, we’d get a better shot that is out of harm’s way.” I don’t know any director, cinematographer or stunt coordinator who wouldn’t take that type of advice. Of course, previsualization doesn’t provide all of the answers – it simply gets the questions started; it will never be a substitute for the real-world experience of an operator who understands a shot as it is set up and rehearsed.

Because the action genre is broken up into so many specialties – underwater, aerial, and vehicular, to name a few – cinematographers (even those with experience in such areas) must rely on the expertise of those specialists within their crews. Directors of photography need to have the overview, but not necessarily the specific expertise to accomplish such challenging setups; we should rely on the people we hire to physically accomplish what we’re asking for. Particularly in a multi-camera set-up, I find that my position behind a monitor is a much more effective place to be than actually looking through a viewfinder on a camera. When DP’s isolate ourselves behind a camera, especially during an action sequence, we will never truly have that overview.

M

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THE NEXT INNOVATION IN THE ART OF CAMERA MOVEMENT

DEBUTING AT CINEGEAR 2018 BOOTH 98A

May 2018 vol. 89 no. 04

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

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

PUBLICATIONS & PUBLICITY COMMITTEE Henri Bollinger, Chair

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ADVERTISING POLICY: Readers should not assume that any products or services advertised in International Cinematographers Guild Magazine are endorsed by the International Cinematographers Guild. Although the Editorial staff adheres to standard industry practices in requiring advertisers to be “truthful and forthright,” there has been no extensive screening process by either International Cinematographers Guild Magazine or the International Cinematographers Guild.

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.

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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 2018, by Local 600, International Alliance of Theatrical Stage Employes, Moving Picture Technicians, Artists and Allied Crafts of the United States and Canada. Entered as Periodical matter, September 30, 1930, at the Post Office at Los Angeles, California, under the act of March 3, 1879.

Subscriptions: $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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WIDE ANGLE THE ACTION ISSUE

I

t was nearing midnight on a Tuesday when my 12-year-old son, his best friend and I tucked into the back of an elevated trailer that housed the control room for Executive Producer Kent Weed, Director Patrick McManus, and DP/Lighting Designer Adam Biggs, aka the creative brain trust for NBC’s monster hit reality competition show, American Ninja Warrior. We’d been invited to come see the large Local 600 camera crew in action for, appropriately enough, my cover story for this May Action issue. We were visiting on the first night of ANW’s 10th season, epic even by Ninja’s super-sized standards. It included a Jurassic World: Fallen Kingdom set on the Universal Studios lot (requiring a second art department), complete with a 40-foot T-rex, a Jurassic–themed course start with pyro spewing out on all sides, and a raptor roaming freely throughout the course and audience bleachers.

McManus good-naturedly teased “Biggsy,” as everyone calls him, about leaving the channel open he uses to communicate with his dozen-and-ahalf or so camera operators and his gaffer, lighting director and board operator. “Last season we heard all about your wedding plans,” McManus riffed.

“What’s it going to be this year, Biggsy?”

Unfazed, Biggs flipped a switch, asking his lighting crew to check the flare off one of the 30 or so POV cameras that line the course (all ably watched over by Head Utility Austin Rock and his team). When a rookie Ninja, who calls himself “Chivo the Goat” beats a tough obstacle and blows a kiss to Camera 10, the crowded control room goes wild with hoots and cheers.

“You want to be in the movie business,” I whispered to my son and his pal, watching with mouths agape, “then you best learn how to do a 75-yard sprint with 50 pounds of camera gear on your shoulder – one hundred and twenty times a night.” That’s basically what ANW handheld camera operators like Derk Anderko, Tim Baker, Jay Mack Arnette, and Rodrigo Rodrigues did when the first Ninja hit the course at 8:00 p.m. until the episode wrapped at nearly 5:00 a.m. the next morning. “Don’t think you guys could chill 12

MAY 2018

being the assistant,” I lectured. “Lead AC Dominic DeFrank and his four-person team clock just as many thousands of steps on their Fitbits running alongside the course ops, and then carrying the cameras back to one.

And when Ninja hits the road, visiting some eight to 10 cities around the country in wind, weather, and cold, you’ll do it all again.”

Skilled and dedicated camera operators, like the many we met visiting American Ninja Warrior, have always been the heart of action filmmaking, no matter where the technology takes them: high on a Technocrane (ANW uses three to shoot their National Finals in Vegas, including a 60-foot Moviebird), a helicopter, a drone, a Cablecam, or down on terra firma on the op’s shoulder. That’s why we also have an exclusive Operators Roundtable feature this month with 10 Guild members, whose thoughts on the state of their craft ICG readers will find insightful and even a bit provocative.

Our third feature –­ covering Avengers: Infinity War, shot by Trent Opaloch – also boasts of descriptive insights from veteran action players like A-Camera/Steadicam Operator Geoffrey Haley, SOC; and B-Camera Operator/Splinter Unit DP Kent Harvey, SOC. Haley and Harvey (and Opaloch) all have stellar action résumés, of course, but the way they approach highvelocity moviemaking is never formulaic.

Harvey (working on his ninth Marvel feature) made use of 360-degree HDRs taken by the VFX team of every lighting setup from each camera position; Haley says the previsualization that dominates action films these days was “only a conversation starter” on Infinity War. “The decisions on camera style were often made after watching the rehearsals at the beginning of each day,” he told Martin.

Those words form the common thread that’s woven throughout this issue: Guild camera people (fully entrusted by their directors, cinematographers, lighting designers, and executive producers) being asked to raise the bar through their experience, creativity and pure actionfilmmaking chops. Or, as my Ninja-loving son put it, “That’s way harder than it looks on TV!” David Geffner Executive Editor Twitter: @DGeffner Email: david@icgmagazine.com

CONTRIBUTORS

David Geffner

(Beat That Wall!, Exposure) “Visiting the Universal Studios set of American Ninja Warrior for the kickoff of Season 10 was inspiring, and not just for the grit each contestant showed trying to conquer ANW’s larger-thanlife obstacle course. As my son-the-Ninjafanatic and his best friend said while inside the control room – where the ANW production team seemed to live and die with every leap and fall – ‘They look even more awesome in person!’ To every ANW camera operator, AC, utility, crane tech, VC, LD, and unit-still photographer, and especially to DP/Lighting Designer Adam Biggs, I say, ‘Yes, you are!’”

Tyler Golden

(Beat That Wall!, Stop Motion) “Alan Watts’ ideas about the rhythm of life influence my work as I do the dance between shooting reality and scripted. One day I find myself cramped in a bedroom shooting for Jane the Virgin, and the next I’m on the Universal Lot sprinting ahead of contestants for American Ninja Warrior. I enjoy the challenge and exercise of changing my perspective daily so I can capture and document life’s moments.”

Kevin H. Martin (Universal Appeal)

“In prepping for the newest Avengers, I looked at several previous films on Blu-ray.

Instead of noticing how the VFX evolved, or to what degree the imagery changed owing to DI tweaks, my main takeaway — besides being vastly entertained — was that the films seem surprisingly consistent in look, even with the involvement of so many different cinematographers. Keeping one foot in the comic book world and another on a tangent with the real one has served Marvel well.”

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[book review]

PARKING LOTS I’VE EATEN IN

BY OWEN MARSH, SOC Reflecting on the feature film Looking For Love, on which he worked at MGM in 1964, Owen Marsh, SOC, laments, “Hard as it is to believe, there was a time [in this industry] when the entire production department had only four warm bodies – the producer, the production secretary, the production manager/ first assistant director and the second assistant director.”

Sadly, Marsh goes on to write in his new self-published memoir, Parking Lots I’ve Eaten In, “with the advent of the Harvard MBA in the movie business, the control of the set and many of the decisions made have gone from the director and cameraman to the unit-production manager and whichever of the ten or 12 producers he’s answering to that day.”

Marsh, who is one of the founders of the SOC (Society of Camera Operators, originally called the Society of Operating Cameramen), takes the reader on a sometimes lawless (even dangerous) but always entertaining look at his six-decade career in the industry. The author is the son of cinematographer Ollie Marsh and grew up in the industry (he played a little boy in the movie San Francisco). Marsh worked on the largest-ever standing western set for The Hanged Man, as well as disaster epics like The Towering Inferno. (The book has a great story of a tour bus interrupting one of the biggest fire shots ever done.) Marsh also

worked in television on series like Switch and Beauty and the Beast. His book recalls an era of few rules for set etiquette or safety, with everything subsumed to “getting the shot.”

“On The Brady Bunch, our director wanted to see from directly overhead,” Marsh recounts in his book. “There is a hammerhead crane in Pearl Harbor that is the largest and highest in the world. So, up I went and out to the end of the stick to shoot straight down at the boat as it passed under the boom arm.

I was all right until the wind started to blow.

Being 300 feet up from the water, on the end of an 80-foot stick in the wind, was not my idea of paradise.”

And that tale feels tame compared to Marsh’s shooting handheld (with no safety line), while riding on a sidecar and a horse, backward. Or a story about a young Debbie Reynolds doing a five-minute striptease to bolster morale, and when there were no bunks available on a tugboat, she jumped into the nearest bed and said to Marsh, “Shut up and go to sleep!” Or the time when the crew discovered “the coffee can full of marijuana” in Durango (a dry town) and learned that it was “okay to use as much as you wanted, but the can was to be left full for the next crew!”

Hijinks, on and off the set, are replete throughout Marsh’s book – from drunken parties to golf cart races – as are the outrageous paybacks to directors and actors who got out

of line. One infamous tale Marsh relates dates back to a time before gender parity was even considered, and the crew would paste a page from Hustler Magazine on the slate, thereby daring the actor to not laugh each time the slate was clapped.

But throughout all the shenanigans, Marsh and his crewmates never seem to lose sight of the fact that, as he writes, “if you give a camera operator a camera, he becomes the person represented by the lens. His moves and thoughts are now those of the character in the story. When you can capture this on film, not just what the camera sees but the feeling that’s behind it, and transfer that [feeling] to an audience, then you have become a professional and are no longer just a person capturing what’s in front of you.”

After reading Parking Lots I’ve Eaten In, I got the distinct sense that as crazy as the industry was during Marsh’s heyday, there was (once the cameras rolled) a degree of professionalism and pride in craft that may actually be missing from more corporate-run sets today. I dare any reader not to have a twinge of envy for a time when the movies were creatively lawless, and really fun.

ISBN: 9781365887277 Price: Amazon Kindle and e-book on Lulu, $9.99. Hardcover: Amazon, Barnes and Noble, Lulu.com print on demand, $28.95.

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[exposure]

KENT WEED KENT WEED, CO-CREATOR AND EXECUTIVE PRODUCER OF MANY REALITY COMPETITION, GAME, TALK AND VARIETY PROGRAMS, IS A PROUD SON OF HOLLYWOOD. HIS FATHER, GENE, WAS A PROMINENT DISC JOCKEY AND PRODUCER FOR DICK CLARK PRODUCTIONS, AND WEED GREW UP A STONE’S THROW FROM TV STAGES IN STUDIO CITY, CA. HE BEGAN IN RADIO PROGRAMMING AND THEN ENTERED TV PRODUCTION, DIRECTING THE LEGENDARY TV VARIETY DUO, THE SMOTHERS BROTHERS, IN A THANKSGIVING SPECIAL WHILE STILL IN HIS 20’S. WEED’S DIRECTING CAREER QUICKLY EXPANDED TO INCLUDE LIVE EVENTS LIKE FARM AID AS WELL AS TALK AND GAME PROGRAMS LIKE THE DENNIS PRAGER SHOW AND TO TELL THE TRUTH. HE ALSO DIRECTED AND PRODUCED VIDEOS FOR MICHAEL JACKSON, DIANA ROSS, CELINE DION, MARIAH CAREY, SHAKIRA AND SHANIA TWAIN.

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PHOTO COURTESY OF NBCUNIVERSAL

[exposure]

@@ IN 2000, WEED CO-FOUNDED (WITH PRODUCER ARTHUR SMITH) THE COMPANY HE STILL RUNS TODAY, A. SMITH & CO., OFFICIALLY BECOMING A PLAYER IN THE NEW REALITY TV FORMAT. WEED HAS PRODUCED THE EMMY AND PEOPLE’S CHOICE AWARD-NOMINATED HELL’S KITCHEN AND EARNED DGA NOMINATIONS FOR I SURVIVED A JAPANESE GAME SHOW AND SPARTAN: ULTIMATE TEAM CHALLENGE. BUT IT’S FOR THE SHOW ON THE COVER OF THIS ISSUE, AMERICAN NINJA WARRIOR, THAT HE’S BEST KNOWN. THE EMMY-NOMINATED SERIES HAS NOT ONLY REDEFINED “ACTION TV” BUT ALSO HAD A POSITIVE SOCIAL IMPACT ON COUNTLESS VIEWERS. AND WITH THE FULL BACKING OF NBC UNIVERSAL, WEED, ALONG WITH DIRECTOR PATRICK MCMANUS AND LONG-TIME DP/LIGHTING DESIGNER ADAM BIGGS, CONTINUES TO ESCALATE PRODUCTION VALUES EACH SEASON, TO THE POINT THAT NOW, IN ITS 10TH YEAR, ANW HAS BECOME A BRAND UNTO ITSELF. EQUAL PARTS SPORTS/LIVE EVENT AND SOCIAL PHENOMENON, IT’S UNLIKE ANY OTHER REALITY SHOW ON TV, WITH WEED AS ITS DRIVING FORCE. ICG EXECUTIVE EDITOR DAVID GEFFNER SPOKE WITH WEED - A FEW DAYS AFTER THE L.A. REGIONAL FINALS - ABOUT THE ROLE LOCAL 600 MEMBERS PLAY IN NINJA’S SUCCESS AND ITS ENDURING APPEAL.

ICG: How did American Ninja Warrior come about? My partner and I had had some success taking formats from other places and reengineering them for American audiences.

Ninja was taken from a Japanese obstacle show called Sasuke, which has a comic, even slightly silly approach. First we redesigned all the obstacles and the course, and then we reconfigured a new way to light and photograph the show. Basically, we added a lot more production value and made it more serious and intense.

Ninja debuted ten years ago on daytime cable; now, you’ve got drones, Cablecam, Technocranes, computerized moving lights, and crazy production value. When

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did that shift begin? Season four, when we moved to NBC. Simply put, bigger budgets meant more toys. One jib became two, and two jibs became a Technocrane. We could add more (and better) POV cameras, and upgrade our fixed [long-lensed studio] cameras for more coverage and the high-speed cameras for super-slo-mo shots. You get a lot more production value when the replays start looking like an Olympic event.

[DP/LD] Adam [Biggs] designs all the lighting and oversees lenses, cameras, composition, placement – it’s a key role.

How did that relationship begin? I first hired Adam as my lighting designer in 2004, on [FOX’s reality show] The Swan. I was

directing that series, and Adam had a diverse background like me – variety, live, and reality – so we really hit it off. I’ve worked with most of the great LD’s in town – [Emmy winners] Kieran [Healy] and Oscar [Dominguez], to name just two. But I think what makes Adam so unique is that he thinks like a director. He’s like an old-school film DP in that he totally understands camera angles and lenses – many TV LD’s are solely about the lighting. That knowledge makes him a director’s best friend, and it allows me to lean on him more than I might otherwise. Adam’s also really beloved by the network and his crew, which always helps. [Laughs.]

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“THE NINJA OBSTACLE COURSE BECOMES A METAPHOR FOR LIFE – SETBACKS WILL HAPPEN, FAILURE IS A GIVEN – HOW WILL YOU, OR YOUR SUPPORT TEAM, REACT TO THAT? blend of Guild camera operators that have experience shooting sports and those filming reality. How did that come about? Because my background is in variety and reality, the show didn’t start with that connection with sports shooters. It really came about when we hired [director] Patrick [McManus] in season six, who brought in sports people he’s worked with over the years.

It’s an interesting mix because the operators from each genre have both learned from and complemented each other. While they may require different skill sets, reality and sports both tell stories without a script – the faces in the crowd, the emotions of the competitors, the intensity of the Ninja’s run. It may be a cliché, but it’s true – the thrill of victory and the agony of defeat are only as good as the people behind the lens.

Ninja is more like a live concert tour than a typical reality series; it goes on the road for months at a time, with tons of lights, cameras, truss, and contestants. Where does it fit in your overall career? Probably because of my directing background, I’ve always been the big-picture style guy who’s trying to recreate those pictures in his head on the screen. I started in variety and musicawards shows with people like Don Mischer and The Smothers Brothers, and then did high production [value] shows like Farm Aid and Live Aid, so that big-picture approach is part of my DNA. It was definitely my goal with Ninja from the start – to make it have the production value of one of those live-event shows I was used to directing. For example, on this new season of Ninja, we changed the entire look from the bright red, white, and blue, to a more aged approach, kind of like what DC did with Superman and Batman.

The primary colors are now distressed. The pictures I see in my head [for Ninja] are now of a show that’s grown up and matured.

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The night I visited the L.A. regionals was a cross-promotion with [Universal’s upcoming] Jurassic World: Fallen Kingdom.

The entire Jurassic tie-in set had to go back to your regular Ninja set by the following night for the City Finals. What was your focus for that? The preparation [for the cross-promotion] was months in the making – meeting with more than two-dozen people from Universal – and hiring a special art directing team. We actually did three shows in three days, because the night after the City Finals was a special Red Nose celebrity event.

Creating a set integration with an established brand was really fun, and I think we’ll try it again, based on how happy Universal was with the result. But it was not without its concerns: the set dressing and added elements distracting or impacting the safety of the Ninjas in any way being the chief one.

It was really just a huge team effort, and once we started rolling, I didn’t have to do much, except make sure the pterodactyl didn’t bite anyone! [Laughs.]

It’s no secret the reality genre has been considered somehow lesser than [features and episodic] since it came on the scene – even from people in this Guild. But these days, a show like Ninja or The Voice [ICG November 2017] may have a larger camera team than a studio action feature. You’ve been here your entire career – what’s your take? I do feel like reality was the bastard child when it first started [in the early 2000’s]. And it wasn’t just the IA, it was all the unions, including my own, the DGA. We weren’t taken seriously and were looked down upon by the established film and TV world.

Over the years, it’s grown in popularity and gained a lot of respect. I think there are a few reasons for that: people have come to realize that, like features or episodics, [reality] is not easy to do really well. It’s challenging, and the

keys to success are a good idea, great staffing, and execution. So over time, you’ve seen this influx of high-quality talent, who may not have considered reality before – directors, producers, celebrities, production designers, cinematographers, and of course the unions and the crews ­– who all want to play in this sandbox because they see the high degree of art and craft that goes into these shows, particularly the very popular ones like Ninja.

No kidding. My 12-year-old and I often tear up watching, which I can’t say about many reality shows. Ninja seems to have gone past the sports competition into a social phenomenon, where contestants use it as a platform for all kinds of personal challenges – health, family, career. How does that make you feel? It’s why I love doing Ninja so much – because it’s a show with purpose.

It transcends multiple generations; it gets kids away from video games and parents off the couch and off their phones, playing with their children. The community values it conveys are inspiring, and that fills the entire production team with pride. Honestly, I’d love to see more programming with a similar message, which is that the reaction to failure is not screaming or fighting, but resilience and fortitude. Of course, the Ninja obstacle course becomes a metaphor for life – setbacks will happen, failure is a given – how will you, or your support team, react to that? One of the great aspects of the show is how all the Ninjas support each other – the only villain in this program is the course! I think people have embraced that metaphor to confront so many different challenges, across so many different worlds. You ask how that makes me feel. I feel incredibly proud to be a part of something that can actually make a difference in someone’s life.

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BELA TRUTZ

Growing up in Budapest, Hungary, Bela Trutz watched his father taking photos as the family traveled through Eastern Europe. That interest later morphed into haunting underground cinema clubs that screened American movies during the 1980’s. “It was a way to show our desire for freedom from the Soviet Union,” he recalls. But it was really a summer-vacation visit to his brother in Los Angeles, where those American movies were being filmed, that changed everything.

And Trutz was lucky. On his first movie job, he did everything from interning to production-assisting to performing night security, but he mostly tried to help camera. “The last two days of the film, we were shooting a stunt of a bus crashing and rolling down a hill,” Trutz recounts. “The camera department had a few additional cameras for the shot and I was hired to be the 2nd AC with that crew. I loved the adrenaline rush and the balance between how the stunt was going to look visually and the unknown factors that figured into the stunt. On my second film, still as a PA, I saw that the camera crew was overwhelmed. So I would help out as much as I could. One day the producer caught me coming out of the darkroom with a 1000foot BL magazine, freshly loaded, and the exposed film in the can. She was nervous and a little upset that I might flash or damage the film. But, when the dailies came back fine, I was officially part of the camera department, working my way up from loader to 2nd, and 1st to an operator.”

BY PAULINE ROGERS | PHOTOS FROM SPIDER-MAN: HOMECOMING BY CHUCK ZLOTNICK

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[zoom-in] When the company owner’s nephew left the job – and his brand-new Steadicam behind – Trutz saw his opportunity. “It was 1996, and Steadicam was still very much a specialty piece of equipment and an additional expense,” he remembers.

“That meant day-playing, which was a bit challenging financially – but it was what I wanted. I’d do shots like covering scenes with one continuous take, following someone up the stairs and doing other interesting shots that a dolly could not achieve.”

Trutz worked the television circuit, and then slowly gravitated toward features, where he has become a go-to Steadicam operator.

“The Angelina Jolie–directed First They Killed My Father was interesting because Steadicam was used not just to get moving close-ups of the cast every day, but also every scene was photographed from the point of view of a young child,” Trutz describes. “The camera language was motivated differently than your usual blocking. Next, to all the technical elements of running through mud, river, fire, gunshots and explosions, you had to think about how a child would be feeling and reacting during these often-horrible scenarios.”

Sicario was another unique film for Trutz

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because he had several different cameras on the Steadicam rig. “We put a thermalimaging camera on a few times,” he recalls.

“On one particular shot, I was following the heat left from the footsteps of a soldier down the stairs in a cave. It was the point of view of one of the main characters, who was wearing thermal glasses.

“And just before we got into the cave, we used a night-vision system on our ALEXA for the moving shots,” he continues. “Our wet riverbed set was so dark as we were tracking downhill, uphill, through the rocks to the opening, I had to put an ND gel on my monitor. It was necessary, even on the camera’s lowest setting, to get as dim as possible so my eye could adjust, not just seeing the monitor but also my surroundings.”

Recently, for Bumblebee, Trutz helped animation director Travis Knight translate his vision into a hybrid live-action piece.

“In many scenes, the main ‘live’ character had several interactions with the main CG character,” Trutz adds. “To photograph this realistically, we had to use different tools, props and even a man on stilts.”

Things have changed for Trutz over the years – and mostly for the good. When he thinks back to his first days on those one-a-

month movies and recalls some of the stunts he’s done, he shudders. “We have different tools today that allow us to get the camera and operator out of harm’s way, and that’s a good thing,” he insists.

“But as the demand rises for interesting and exciting shots, so does the unknown and possibility of human error,” Trutz continues.

“It is important that we, as professionals, really make sure each shot is planned safely, and that the right tools are chosen for the shot.”

Trutz says he’s been on sets where setups have called for a Steadicam – and, for safety’s sake, suggested a remote head instead.

“Having a moving vehicle coming toward you at a fast rate of speed and expecting the actor to make the same right turn every time does not leave much room for error,” he relates. “Instead of using the Steadicam for the moving shot, we put the camera on a telescoping crane with a remote head and got the same shot.”

Trutz says operators “love what we do,” and are hired for their skills, intelligence and creativity. But he concludes, “We can’t be afraid to address concerns for safety to ourselves and to others just to get that shot.

We have to make sure everyone goes home in one piece!”

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MAY 2018

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COURTESY OF GARRETT BROWN, ASC, SOC

THE CAMERA’S DANCE

MILESTONES IN CAMERA MOVEMENT

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BY PAULINE ROGERS

“[THE LOUMA] WAS THE FIRST CRANE THAT LEFT THE OPERATORS AND ASSISTANTS BACK ON THE GROUND.” When you go to a play, you expect the action to be relatively static; after all, it is a proscenium with actors moving about. But the cinema is real life, captured far from the confines of a stage, and even the very first moviemakers knew the camera had to move, to…dance.

That’s why, in 1897, one of Lumière’s camera operators, Alexandre Promio, fixed a camera to a gondola to film Panorama du Grand Canal Pris d ’un Bateau. Charlie Chaplin tried it a few decades later with his famous shot from The Kid (1921), in which the camera rises for 20 feet to keep Chaplin in frame as he climbs a pine tree, and then goes into an over-the-shoulder of his distant POV. Silent-movie filmmakers like D.W. Griffith, Abel Gance and (especially) F.W. Murnau were famous for freeing the camera from the tripod by any means necessary – bicycles, trolleys, even on a trapeze (!) – thereby laying the groundwork for innovations in camera movement that would peak many years later, when modern directors wanted more action – even from the air.

In the 1960’s, Nelson Tyler was a young union AC (who loved helicopters) when he glimpsed aerial footage from the 1954 horror film Them! and wondered if he could build a rig that would better stabilize the camera in the air. For the next couple of years, Tyler tinkered with a platform with springs to sit on, a post behind him, a dovetail under the camera, and a gimbal.

“With a weight on one side and the camera on the other, the horizon would hold steady when the helicopter pitched,” Tyler recounts. “But the [helicopter] doorway was so small, I had to put the camera on the end of an arm [to get a clear perspective].”

The first shot Tyler remembers doing was in 1964, for Arthur Hiller’s The Americanization of Emily (shot by Philip Lathrop) – a landing barge at Zuma Beach filled with extras in soldier outfits. Tyler hovered over the masses as they exited, and then panned and tilted to cover their march, providing an exciting new experience.

Two years later, Tyler’s “mount” was on a helicopter for Sydney Pollack’s This Property Is Condemned (shot by James Wong Howe, ASC). The opening tracks a passenger at a train window (shot at the long focal length of the zoom) and then rises up and away to end in a distant shot of the train.

The 1970’s fostered many inventions for camera movement, with the Louma crane being one of the most significant. Like a bigger-than-normal microphone boom, the tube-like arm could reach more than 24 feet and swing in any direction. The camera, attached at the end of the boom, was suspended from a pan-and-tilt head that was controlled by servomotors (an invention that changed the face of camera movement).

“It’s the first crane that left the operators and assistants back on the ground,” explains Andy Romanoff, SOC, Louma tech on Steven Spielberg’s 1941 (shot by William Fraker, ASC). “It shed thousands of pounds, and the crane became a slim and supple device. On 1941, the first big film the Louma worked on, when the crane arm was positioned for a high shot, the grips would place a ladder underneath it and the camera operator would climb up and look through the viewfinder. No one trusted the video tap, and the equipment was fragile, balky and strange. But we were giving filmmakers something important in return for the pain we caused.”

While the Louma freed the camera from

the operator, a young man named Garrett Brown was experimenting with a way to attach the camera to an operator’s body, and fluidly “walk” through any given scene. The rig effectively put the camera, attached to a vest of sorts, on several points of the body, using the operator’s back, shoulders, chest and stomach for support.

“I remember the first time I saw the Steadicam,” describes NCIS: New Orleans A-camera operator Jerry Jacob, SOC, who received Serial #12, Model 1 of the revolutionary new tool. “It was this strange vest, with a spring-loaded arm and the camera floating on what looked like a pogo stick. It appeared incredibly unwieldy, but the shots it could produce were amazing!”

Jacob also remembers asking Brown about his first use of the Steadicam on Hal Ashby’s Bound for Glory (shot by Haskell Wexler, ASC), which featured Brown walking off a Titan crane and into a sea of migrant workers, many of whom were not actors.

“Not knowing what Garrett was doing,” Jacob recounts, “one of them walked up to – I think David Carradine – and asked when lunch was, thereby blowing the shot!

So Garrett just did it again.” Jacob says that famous moment, as well as the “victory” scene in John Avildsen’s Rocky (shot by James Crabe, ASC) convinced him to be a “Steadicam guy.”

“One of my all-time favorites is from Carlito’s Way [directed by Brian De Palma and shot by Stephen Burum, ASC, Steadicam

by Larry McConkey, SOC], when Al Pacino is trying to avoid the Mafia guys in Grand Central Station. That Steadicam shot really enhanced what the director was trying to do – and had a big impact on the movie.”

The 1970’s also saw great leaps in aerial cinematography via the Wescam. Veteran

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PAUL KENWORTHY WITH TYPE-B SNORKEL ON BLADE RUNNER / COURTESY OF BOB NETTMAN

KENWORHTY AND DAVID NOWELL WITH TYPE-B SNORKEL (1974) / COURTESY OF BOB NETTMAN

“THE CLOSE-UPS AND DETAILS OF THE MODELS [ON BLADE RUNNER] WERE BEAUTIFULLY CAPTURED WITH THE KENWORTHY SNORKEL. IT WAS A BREAKTHROUGH IN CLOSE-UP CINEMATOGRAPHY.” aerial DP Hans Bjerno explains how the early Wescams were large, heavy, 48-inch balls, “which hung off helicopters with Mitchell cameras and 400-foot loads and 10-to-1 lenses.”

The maze shot in Joseph Mankiewicz’s Sleuth (shot by Oswald Morris) and the final sequence of Antonioni’s Professione: Reporter (also known as The Passenger, 1975) were iconic early Wescam moments. Bjerno says it was the first remote stabilized head.

“The Wescam removed the vibration and rock and roll of the helicopter,” he describes, “so unlike handheld or Tyler mounts, you could use very long lenses. It was also the first system where you could be in the helicopter with the doors closed – and operate remotely.”

Bjerno was also an early user of another first from the 1980’s – the Russian arm, designed in the Ukraine. “It was the first

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gyro-stabilized camera mount,” he continues.

“It started in car commercials and moved into the feature world. We used Shotmakers and grip-controlled arms on trucks for car shots on and off road for years. The Russian arm made 360-degree stabilized remote operating possible. With the crane and camera operators able to sit in the car with the director, it made for easily coordinated action shooting.”

The Kenworthy-Nettmann Snorkel Camera system also changed how cinematographers and directors designed shots. Originally created in the 1960’s for architectural photography, it arrived in the movie industry about ten years later. A failed attempt by Paul Latardy had Paul Kenworthy searching for help. He brought what he had to Bob Nettmann, who solved the noise problem and delivered a system that was ready for feature production.

“The first film to use what was called the Type B Snorkel system was Ridley Scott’s Blade Runner,” Nettmann recalls. “Jordan Cronenweth [ASC] wanted to get the camera in and around the futuristic buildings on the land and cityscape model used in the film.

The close-ups and details of the models were beautifully captured with the Kenworthy Snorkel. It was a breakthrough in close-up cinematography.”

Another big impact on camera movement in the 1980’s was the freestanding two-tothree-axis remote-control camera positioner, known in some quarters as the “hot head” – the first Nettmann Cam-Remote that could rotate the camera through 360-degree moves. Stephen Goldblatt, ASC, BSC, who used it on Frances Ford Coppola’s The Cotton Club (1984), says he always wanted to have a floating mobile camera. “We looked at

THE LOUMA CRANE IN ACTION ON STEVEN SPIELBERG’S 1941. SHOT AT THE MGM WATER TANK, LOUMA TECH ANDY ROMANOFF, SOC IS FRAME LEFT, WITH CAMERA OPERATOR DICK COLEAN FRAME RIGHT / PHOTO BY PHIL STERN

and used the new Steadicam, which was in its early stages,” Goldblatt remembers. “But there weren’t many other good operators out there yet other than Garrett Brown and Ted Churchill. I saw the possibilities of the Nettmann Cam-Remote, which wasn’t weighed down with an operator and assistant. It could be handled with a smaller crane to achieve whatever we thought of, without increased time and expense. The first versions of the CamRemote were controlled by servomotors and a control desk, which positioned the camera operator in a safe environment away from the action. At that time, it wasn’t stabilized yet – but when you see the title sequence from The Cotton Club – the Duke Ellington number – it shows where this new technology was headed.”

Motion control also came of age at the end of the 1980’s. While Star Wars first revealed the possibilities of motion control, the technology still required a large stage, bulky equipment, and an extensive specialty crew to make the shots happen. That changed when one of the key software developers at Industrial Light & Magic, Bill Tondreau, paired his new programs with the VistaGlide dolly system. The dolly, which has been called a Panther with extra wheels, allowed users to measure position along a path and feed it to a motion-control computer.

“When we started Robert Zemeckis’ Back

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to the Future Part II in 1989,” recalls Dean Cundey, ASC, “we wanted a portable motioncontrol system that could be easier and more flexible. ILM built the mechanics for the dolly, and Bill designed the software for what became the VistaGlide, which the grips could set up wherever we wanted without a specialty crew.”

Cundey says the first shot he did with the new system was BTF 2’s dining-table scene, where Michael J. Fox talks to himself as three different characters. “It was an elaborate system, but we could do it in about a day,” he remembers. “Groundbreaking for that time.”

In the late 1980’s, when German filmmaker Horst Burbulla conceived the story for his first (and only) movie, he became frustrated at not getting the camera in places he wanted to go. “The amazing thing that Horst did when he invented the Technocrane,” explains DP Michael Mayers (who owns a Technocrane), “is that he found the first rule of rigging inconvenience – cameras are heavy and can’t float! Physics and gravity are also very inconvenient on this point. So Horst simply invented a better way to tell the story he had in mind.”

Burbulla’s beta test of his new telescoping support was Robert Zemeckis’ Who Framed Roger Rabbit? shot by Cundey in England, an over-the-shoulder move as Bob Hoskins walks into a nightclub. Simon Jayes then

brought the first Technocrane to the U.S. for the Oliver Stone feature The Doors (1991), which DP Robert Richardson, ASC, says was a true game-changer.

“The possibility of moving from either a fixed position or on track and then extend remotely into the audience and onto the stage with Val [Kilmer] gave Oliver and me a sense of freedom we had not had up to this time,” the DP recounts.

Richardson says the myriad angles the Technocrane provided were creatively stimulating, “and beyond which,” he adds, “it felt more rock and roll. Whether floating above or descending into the audience and then extending and tracking at head height, it was perfect for that film.”

Of course, these are only a few of the milestones that have helped make the camera “dance” over the years. The development of the dolly system could account for an entire book! Or how about remote-control systems like the Preston, which was probably the first, but others were in development as well?

More recently there’ve been variations on the Steadicam, like the Antigravity rig (see ICG April 2018, Sundance section) and the evergrowing popularity of drones, to go where helicopters cannot.

But those will all have to wait for this story’s sequel!

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O B S TA C L E - C O U R S E NINJA WARRIOR !

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ANYONE

WHO’S BEEN IN THE CONTROL ROOM DURING A LIVE SPORTS BROADCAST – COLLEGE OR PRO FOOTBALL, THE MARCH MADNESS BASKETBALL TOURNAMENT, AN MBL GAME – CAN SNIFF THE AIR OF PROFESSIONALISM THAT BREATHES THROUGH EVERY MONITOR AND CAMERA ANGLE, NOT UNLIKE, I IMAGINE, WATCHING A GROUP OF FLIGHT CONTROLLERS LANDING PLANES AT A BUSY AIRPORT. BUT ON MY RECENT VISIT TO UNIVERSAL STUDIOS, WHERE THE TEAM FROM AMERICAN NINJA WARRIOR (THE FEEL-GOOD REALITY COMPETITION SHOW, WHERE CONTESTANTS ARE CHEERED NO MATTER THE OUTCOME, AND THE ONLY VILLAINS ARE THE EVER-CHANGING PHYSICAL OBSTACLES THEY TRY TO CONQUER) WAS WORKING, I SEE EVERY BIT THE LEVEL OF PROFESSIONALISM OF A SUPER BOWL CONTROL ROOM, BUT ALSO SOMETHING ELSE. EMOTION. “Any time you have elements like a rooting interest in the contestants, a clock, dynamic personal stories, and friends and family watching from the stands, you’re going to have a control room where people get personally invested,” describes director Patrick McManus, who came aboard in Season 6 and has, according to the show’s longtime DP/Lighting Designer Adam Biggs, brought a new level of production value to Ninja Warrior.

McManus, whose résumé includes NFL and NCAA football games and IndyCar racing, makes this comparison: “Baseball doesn’t get cooking until the 7th inning, and by the time you reach the 9th inning, everyone’s on their feet. Every time a Ninja starts the course, it’s the 9th inning! There’s no ramp-up to the drama, and you’re embedded. So when a walk-on gets up the warped wall, you’ll see high-fives around [the control room]. And that emotion carries through to everyone on the set. You can’t help but root for these people.”

The UK-born Biggs, whose broad skillset of documentary, scripted episodic and unscripted reality made him a perfect fit when Ninja co-creator Kent Weed transposed Japan’s popular Sasuke obstacle show to U.S. television, says he can’t help but root for his large IATSE camera crew and lighting team, who make Biggs “look great” every night.

“NBC’s goal for Ninja,” Biggs relates, in between asks through his com line to any of the 18 camera operators shooting

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“

THE BIG DIFFERENCE BETWEEN NINJA AND TRADITIONAL BROADCAST SPORTS IS THAT WHEN YOU WALK INTO THE SUPERDOME OR THE INDY 500, EVERYTHING’S DONE – YOU’RE NOT THINKING ABOUT LIGHTING, SET DESIGN, OR DECORATIVE ELEMENTS.” DIRECTOR PATRICK MCMANUS

the course, “was how will viewers know the difference between Season 10 and reruns?

The answer was more production value, including a second warped wall with new lighting and graphics, another Technocrane, a Cablecam [that runs the length of the course from above] for the city finals, and drones to provide full aerial pullbacks. [At the National Finals, helicopters replace drones, which are not allowed in the Las Vegas airspace.] It’s really a testament to this camera team that as we continue to add more elaborate positions each season, they rise to the challenge without even so much as a hint of compromising safety. Ninja may well be the safest, most well-oiled machine I’ve ever seen.”

WELL-OILED TO BE SURE, BUT NOT WITHOUT ITS FAIR SHARE OF CHALLENGES. The L.A. regional

qualifier was spectacular even by Ninja’s epic standards. It featured a Jurassic World: Fallen Kingdom promotional set, six months in the making, which had to be shot and struck in a 24-hour period. “For this Jurassic World integration,” Biggs continues, “we had basically two art departments – our regular Ninja look [set by Production Designer Michael Carney] and the special promo look [led by Production Designer Ryan Faught, who pre-visualized the Jurassic set in animatics, and Michael Levinson, who art-directed the final product]. That meant I needed completely separate lighting design and camera coverage for just one taping.”

Biggs explains that less than 24 hours before I arrived, he was helping to place a 40-foot t-rex and pteranodon in a way that would work for lighting and cameras, as well creating lighting cues for the huge entrance gates with pyro that each Ninja

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walks through before starting the course.

“Universal has a very specific color palette for the dinosaurs,” he details, “and that factored into how we lit the foreground and background elements, all of which were added for just one night.

“After we finish shooting tonight,” he adds, “we’ll have a daytime crew strike [the Jurassic set] and then reset for our regular show, which shoots tomorrow night! The host tower [where Matt Iseman and Akbar Gbajabiamila announce the show] had special lighting just for the Jurassic set.

So working with [Gaffer] Jeff Noble and [Lighting Director] Ed Motts, we had to create those cues, as well as the programming for tomorrow night’s final. Also, this Jurassic tie-in night has 120 Ninjas running the course, so we, literally, will finish just before the sun can rise and create havoc with the continuity and lighting.”

Talking with 45-foot-Technocrane Operator Jason Kay just after Jurassic World star Chris Pratt has shot a promo on the Ninja set reveals a host of new challenges for the night. “Normally we don’t have to worry about all this set dressing [shrubbery, palm fronds, etc.],” Kay points out. “So [the Jurassic integration] will alter how the cameras fly, and the route the handhelds would typically use to cover the runners, along with the operator shooting the friends-andfamily side. The Grip Trix camera car [with Steadicam operator], which always parallels the course, will end up in a different spot as well. We normally duplicate all the different camera positions as we travel from city to city [where the regional finals are held prior to the National Finals in Las Vegas], but tonight is a whole different animal [laughs].

No pun intended.”

Kay, who’s starting his fourth season on

Ninja, says bringing in multiple telescopic camera cranes [the 30-foot Techno is set near the parallel 14.5 and 18-foot warped walls, which contestants must climb up to complete their run] is rare for the world of unscripted reality shows. “I would normally not get a Techno call for unscripted,” Kay describes. “But there’s so much production value behind this show, and they keep adding more every year. Last season we had three Technos for the Vegas finals, including a 60-foot Moviebird. It’s always challenging because the space I have to work in is fairly tight and I cannot affect the course or runners in any way.”

All 18 Ninja camera operators have discrete assignments. “My Techno will do a big move-in as the Ninja comes through the Jurassic gates and the pyro goes off,” Kay continues. “Then as they count the Ninja down to start, I’ll do a big move-out. Because I don’t know how it will be put together in editorial, I try to change each move slightly – like using different foreground elements – while being careful not to affect the tight or slo-mo shots from the long-lens [Sony FS700, Sony HDC4300] cameras up on the platforms, or the handheld [Sony F-800 microwaved back to the control room] that sees the run in a wide shot. With so many operators all working in a tight configuration, there’s a different dynamic than a feature [or scripted TV ]. Let’s just say the camera channel on our headsets gets a lot of use – we’re always talking to see what shots we can get without impeding lighting, each other, or the course!”

As Art Director Michael Levinson watches over his team finessing the set dressing after Pratt’s promo, Guild member Austin Rock steps off a Condor to tell me about his role as Ninja’s Head Utility. Rock

SPECIAL JURASSIC WORLD-NINJA PROMOTIONAL SET FOR ANW CITY QUALIFIERS AT UNIVERSAL STUDIOS BOTTOM: DIRECTOR OF PHOTOGRAPHY/LIGHTING DESIGNER ADAM BIGGS, STARTING HIS 10TH SEASON WITH ANW

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TOP: TIM BAKER (ON-COURSE HANDHELD CAMERA) MIDDLE: DERK ANDERKO (ON-COURSE HANDHELD CAMERA) BOTTOM: BRENDA ZUNIGA, SOC (LONG-LENSED PLATFORM CAMERA)

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oversees all of the POV cameras, as well as the SMPTE lines that feed the long-lens studio cameras raised up on the platforms.

“We make sure all of the GoPros are set up, and basically anything video-related is rigged and working properly,” Rock describes. “We use five lock-off POV cameras mounted to truss, and six [truss-mounted] robotic cameras in the middle of the course that shoot tight and overhead shots. I’ve been on Ninja for seven years, and the growth in the amount of cameras has been tremendous.

Back in the day everything was copper, but now we’re all fiber, which makes for a clean and easy feed back to engineering.”

Rock describes the overall Ninja operation as “turn-key,” with his team of four boasting of no gear falls in his seven seasons on the show. “Everything in the air is safety-mounted,” he continues, “so that we’ve never had a camera come loose or impact the contestants or the crew in any way. I’ve been a utility [for Steadicam] in other live-event areas, like the Oscars and Emmys. But Ninja is my only show in the reality world. And this team is really tight.”

Dominck DeFrank, now in his sixth season as Lead AC, says his team of AC’s ( James Martinez aka “JMart,” Jesse Martinez, Shelby Cipolla and Patrick Bellante) are required – like the Ninjas they chase after – to bring their A-game every night. “It’s a very fast-paced, leap-frog environment that keeps us constantly on the move,” DeFrank describes. “We are [literally] racing along side each competitor as they make their way down the course, sometimes up to 125 times a night for city qualifiers.

I’ve always found multi-cam obstacle course shows very challenging; we watch each other’s backs, forever focused on keeping our ops and each other safe.”

THE COHESION THAT ENVELOPS THE ENTIRE NINJA SET IS NO ACCIDENT. The show is one of the most demanding and unique in the industry, as

it requires a multitude of complementary skillsets to fulfill its hybrid format – equal parts live sports, live event, and personalitydriven storytelling. Nowhere is that blend more evident than amongst Ninjas’ operators.

Co-Executive Producer Kristen Stabile says many are handpicked for their experience.

“Ninja is unique in that we have handheld reality shooters [covering the Ninjas on the course, the friends and family, and post-run Ninja interviews] along with experienced long-lens sports camera people, who are very skilled at following action at varying rates of speed,” Stabile tells me.

Biggs says sports shooters are a different breed than “operators who do reality or handheld follow-docs, because they have to anticipate where the action is headed. It’s a different technique – focus, zoom, panning, et cetera – when you’re on a long-lens broadcast camera versus having a camera on your shoulder. The reality operator, on the other hand, is usually very adept at single, handheld coverage, and knowing how to discretely follow a conversation on set, often on a wide lens. Both skillsets are invaluable on Ninja Warrior.”

“Since [Patrick McManus] comes from broadcast sports,” Stabile adds, “he has a shorthand with those long-lens operators, who are really skilled at shooting the Ninjas who move very quickly through the course.

They are great at capturing that hand or finger as it slips off a bar, or holding focus in frame as the athletes are literally flying through the air.”

McManus says operators who are experienced with “sports-lens cameras” are used to shooting athletes moving quickly at distance [like on a football field]. “On this show, they need to hold focus under dark conditions, and face other similar challenges,” he observes. “Handheld operators need to be strong and durable, and have framing skills that include catching background and foreground elements of the various cities

“

NINJA IS UNIQUE IN THAT WE HAVE HANDHELD REALITY SHOOTERS ALONG WITH EXPERIENCED LONG-LENS SPORTS CAMERA PEOPLE, WHO ARE VERY SKILLED AT FOLLOWING ACTION AT VARYING RATES OF SPEED.” CO-EXECUTIVE PRODUCER KRISTEN STABILE

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“

WHEN A SUPER NINJA IS RACING STRAIGHT TOWARD YOU AT SPEED, YOU HAVE TO BE SHARP AND DIALED-IN TO MAKE SURE YOU GET THE NECESSARY MOMENTS FOCUSED AND CLEAN.” OPERATOR MEGAN DREW

we travel to, while always keeping sight of the objective, which is to reveal all of that emotion during the Ninja’s run.”

While the director admits different operators have different strengths, he says it’s Ninja’s camera team’s ability to operate multi-camera positions that is most beneficial to his show call. “With the exception of a Techno or a Fly Cam, most everyone can do hard cameras as well as RF handhelds, which is key if someone twists an ankle and we’re down a position,” McManus adds.

“We have men and women on this show who can carry 50 pounds of camera on their shoulders, no problem. It’s a smart and savvy crew, meaning they keep track of each other’s shots. If two operators are standing next to each other, they know I want one shooting tight, hands and face, and the other head to toe showing the whole obstacle. It’s that perfect mix of hard cameras that capture emotions, faces, handgrips on the obstacles, and those handhelds who can move dynamically with the Ninja on the course so we see the connection with the audience.”

Megan Drew, who was on a long-lensed platform camera (shooting high-speed frames for close-ups and slow-motion replays) for the Jurassic night shoot, is a

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prime example of Ninja’s skill diversity.

“My background is mostly unscripted,” she explains. “But I’ve been asked to work every camera and support setup out there, short of swinging a jib! For the hard cameras, we usually shoot at a 3.4 stop, at the long end of a 95× lens. When a super Ninja is racing straight toward you at speed, and you have no time to look with the naked eye to see where the athlete is geographically, you have to be sharp and dialed-in to make sure you get the necessary moments focused and clean. It’s a constant challenge on every run, and one I love.”

Drew also loves the magical moments Ninja provides. “My first season on the show,” she continues, “I got to shoot Kacy Catanzaro as she became the first woman to make it up the Warped Wall.

Getting the ‘hero shot’ as Kacy celebrated provided a sense of pride that I was a part of a groundbreaking moment. The unique thing about Ninja is that Patrick brings his best team from sports to mix with his new stable of unscripted operators. We all have different working styles and habits, and it’s fun and interesting to compare notes.”

McManus says every Ninja show includes foreground and background elements, along with overhead, side angles, close-up, slo-mo, etc. “It’s often the personality-driven aspect of the series that drives the coverage,” he describes. “The big difference between Ninja and more traditional broadcast sports is that when you walk into the Superdome or the Indy 500, everything’s done – you’re not thinking about lighting, set design, or decorative elements. On a Ninja set, we look at every possible angle – not to show sky but to show background, not to show shadow but to reveal faces in the crowd or a key part of an obstacle that’s tripping everyone up.

And it falls on Adam to bring all those elements together with lighting and camera placement.”

MANY CONSIDER “BIGGSY,” AS HE’S KNOWN AROUND THE SET, THE CONNECTIVE TISSUE THAT LINKS NINJA’S HYBRID ELEMENTS. Drew says she’s continually

impressed by Biggs’ lighting, “which keeps getting more nuanced and sophisticated, even though he has the impossible job of lighting a several-hundred-yard course over multiple obstacles and rest areas,” she adds, “with cameras on the ground, on process vehicles, on jibs, on tower platforms and in the air on wires, not to mention in-themoment interviews and audience reactions, as well as success and fail cues, all on a

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ANW ANNOUNCERS MATT ISEMAN AND AKBAR GBAJABIAMILA BENEFIT FROM DIRECTOR PATRICK MCMANUS’ LINE CUT FOR THEIR VOICE-OVER ADDS IN POST

different location every two weeks, six times per season – without visible shadows!”

Weed first hired Biggs as his lighting designer on The Swan (2004), which Weed directed. “I basically fell in love with Adam’s whole approach,” the EP admits. “Like me, he has a very diverse background – live event, variety, and reality – and his flexibility on set is fantastic.”

While Weed says he’s worked with many Emmy-winning LD’s (Guild members Oscar Dominguez and Kieran Healy being the two most celebrated), he’s continued to hire Biggs, because he thinks just like a director.

“Adam’s more like an old-school film DP,” Weed adds. “He not only understands lighting for television, which all LD’s do, but he also has a broad knowledge of cameras and lenses, and those abilities really make him a director’s friend. Adam was there when Ninja first started in daytime [on the now defunct G4 cable channel], and he’s been essential to all the growth we’ve seen, in this our tenth season.”

While all of what Weed describes is true, it’s Biggs’ overriding concern for the safety of his crew that shines through on the night I visit. Standing near the newly added 18foot warped wall, which is inset on both sides with lighting patterns and colors Biggs

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designed, he explains how Ninja’s growth has been great fun, but not at the expense of safety.

“We have four shock blocks to protect us from electricity concerns with all of the many moving and fixed lights rigged throughout the course,” he gestures. “And those longlensed hard cameras you see, which are 12 to 15 feet up in the air, are, of course, all safetyrailed. They used to be up on scaffolding, but now it’s all truss platforms, which are more secure. In past seasons, we used operators harnessed in Condors for high shots, but we’ve replaced that with Cablecam, for similar safety concerns. Of course, no one ever climbs up on a platform without a harness on this show…except me,” he laughs.

“I’ve been known to jump up with my meter, after we’ve pre-lit, to make sure the levels are correct. Bad Adam!”

Biggs’ self-assessment may be harsh, but his praise for his camera team (and how they execute McManus’ call) is all-out. “We have 18 cameras, but not on every obstacle,” he explains. “That means an operator covering obstacle one will [literally] run full speed down the course to get to, say, obstacle four; each camera will have two or three positions to cover in the first half of the course.”

The key to Ninja’s appeal, Biggs feels, is

audiences being able to grasp each runner’s challenges, which are conveyed by each camera’s unique assignment – the wide shot for geography, the close shots and POV’s for the eyes, hands, and feet. “The ‘friends and family’ camera is incredibly important,” he says walking back to the control room. “There may be a half-dozen people all yelling, ‘Beat that wall! Beat that wall!’ And there’s only one operator in that right spot, with only one chance to get their reactions. It’s absolutely crucial to the story.”

As is the line cut McManus delivers each night after exiting the control room. While footage like the Ninjas’ “hometown stories” (shot by Guild operator Brian Connolly in a style consistent with Biggs’ look for each city qualifier and final) will be added in editorial, the veteran director says his line cut is often for the benefit of Iseman and Gbajabiamila, whose voice-overs are key to the narrative.

“Those guys come up with brilliant lines reacting to [the camera angles] that show all of the personal connections,” he concludes.

“Last season we had a female Ninja whose son did back flips every time she ran the course. Of course we need to include that in my line cut, no matter what [the producers] end up keeping in post.”

As midnight approaches, the Jurassic

DP/LIGHTING DESIGNER ADAM BIGGS (TOP ROW, 3RD FROM LEFT) AND DIRECTOR PATRICK MCMANUS (BOTTOM ROW WITH RED HAT) POSE FOR A PHOTO WITH A PORTION OF ANW’S IATSE CREW.

LOCAL 600 CREW Dir. of Photography/Lighting Designer Adam Biggs

Falcon Operator Darren Sanders

Lighting Director Ed Motts

Falcon Pilot Eric Foster

Camera Operators Derk Anderko Jay Mack Arnette Tim Baker Cameron Cannon Brian Connolly Megan Drew Malkuth Frahm Brian Freesh, SOC Jason Hafer, SOC Will Hooke Jeff Rhoads Rodrigo Rodrigues Brett Smith Jed Udall David West Danny Whiteneck Brenda Zuniga, SOC

Camera Assistants Patrick Bellante Shelby Cipolla Dominic DeFrank James Martinez Jesse Martinez

Technocrane Operators Steve Ritchie Adam Vessels Technocrane Techs Michael Fletchall Jason Kay

Loader Lorie Moulton Head Utility Austin Rock Utilities Tim Farmer Ryan Jordan Video Controller Alan Pineda Still Photographer Tyler Golden

night has produced few keeper runs, much to the dismay of Ninja’s control room. With two preteens in tow, my night is over; but with some 90 more Ninjas yet to run, Biggs, McManus and company will strafe close to their sunrise deadline. Just after the DP whispers into his com line for more flare off a fixed camera, the room erupts in laughter – a walk-on named “Chivo the Goat” has raced through the first few obstacles, then paused to blow a kiss to “Camera 10” on the friends and family side. Moments later, when a prominent Ninja goes out much earlier than expected, groans of disappointment engulf the crowded trailer, and 1200 lights that encircle the course all go simultaneously red.

“That’s a single button the board operator pushes when a Ninja falls,” Biggs nods.

“I want that raptor to sneak up and scare him,” McManus tells an operator as the pyro pops and the next Ninja moves through the big Jurassic World starting gate. “That’ll be good!”

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UNIVERSAL

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MARVEL’S BY

TWO-PART KEVIN

WRAP-UP H.

TO

MARTIN

AVENGERS

THE /

SAGA

PHOTOS

COMMENCES BY

WITH CHUCK

INFINITY

WAR

ZLOTNICK

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DURING “

WE HAD TO QUICKLY DIFFERENTIATE THE CHARACTERS AND ENVIRONMENTS TO KEEP THINGS LEGIBLE FOR THE VIEWER.” TRENT OPALOCH

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MOMENTS OF TRIUMPH ON THE A-TEAM TV SERIES, AUDIENCES WOULD HEAR LEAD CHARACTER HANNIBAL SMITH’S OFT-UTTERED CATCHPHRASE, “I LOVE IT WHEN A PLAN COMES TOGETHER.” The good folks at Marvel Studios must have a similar mindset as a decade’s worth of planning their Marvel Cinematic Universe (MCU) is culminating with a pair of Avengers features shot in 2017. The first of these, Inf inity War, is now in release, and this nineteenth MCU entry has plenty of plot twists, ranging from the acrimonious break between Avenger team members in Captain America: Civil War to the introduction of the star-cluster-hopping Guardians of the Galaxy.

AFTER SUCCESSFULLY COLLABORATING ON THE PREVIOUS TWO CAPTAIN AMERICA FILMS, Guild DP Trent Opaloch reteamed with

directors Joe and Anthony Russo for what proved to be nearly a year-long shoot, during which most of 2019’s untitled Avengers finale was also captured.

“The scope of the project was unbelievably large and continued to evolve during prep,” Opaloch recalls.

“Since these two films were closing chapters on a lot of characters, there was a very intense focus on honing every aspect of the script.”

Opaloch says one of the biggest challenges was just tracking and registering so many superheroes. “We had to quickly differentiate the characters and environments to keep things legible for the viewer,” he adds. “We also needed cohesion with Marvel characters from other franchises, which meant nodding in the direction of the color scheme established in Guardians of the Galaxy. Charles Wood had been production designer on Guardians and Doctor Strange, so we had connective tissue between the earth-based and spacebound environments. The rule of thumb is you want to push the handoff from real set to set extension as far from the viewer as possible, and since VFX doesn’t want to be rotoing actor hair, you build up twenty or twentyfive feet. I loved working with Charlie as he uses so many beautiful real-world materials.”

While Civil War had featured a single major

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“ OUR APPROACH WAS ALWAYS TO HONOR THE SPIRIT OF EACH SCENE AND NOT SIMPLY OVERWHELM IT WITH TECHNOLOGY OR IMPRESSIVE CAMERA TRICKS.” A-CAMERA/STEADICAM OPERATOR GEOFFREY HALEY

sequence shot in the large-format IMAX, both new Avenger films were captured almost entirely with the ARRI ALEXA 65.

“My dream was to shoot with a large-format Panavision anamorphic lens, much like The Hateful Eight,” Opaloch shares. “But there were only a handful of those in existence.

And when shooting tests using sphericals, I was bummed by the results.

Opaloch says he threw out a “kind of Hail Mary” to Panavision, “and they ended up building us lenses, starting with Auto Panatars, which they call Ultra Panatars.

That changed the whole project for me and was really nice because I’ve shot anamorphic Panavision for so long. We used about six sets throughout. First AC Taylor Matheson looked after assembling the package at first, and then as prep started in Georgia, the second unit 1st AC, Richard Masino, took over those duties.”

Concerning his lens choices, Opaloch received no pushback from VFX as the ALEXA 65’s larger sensor uses more of the sweet spot of the glass. “Sometimes with 35mm anamorphic, there is that ‘donut of death,’ where you can’t resolve the center of the frame and the edges at the same time,” Opaloch adds. “But we didn’t have that issue. Once or twice on-set, VFX supervisor Swen Gillberg asked us to shoot spherically, and said they would apply the anamorphic back onto the shot in post. The drone work was done spherically due to payload issues, as were plate shots intended only as components of a final frame.”

Rather than keying from in-frame practicals, Opaloch lights characters from off-camera sources (often tucked into nooks and crannies). “For planets with unusuallycolored skies, I used a lot of ARRI SkyPanels, plus some ColorForce units, which let us apply different tones quickly, then switch to something else but return to the original look at the drop of a hat,” he explains. “Both of those systems wound up being used on nearly every stage, permitting dynamic

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lighting changes with respect to both color and output, plus animations. Lighting programmer Scotty Barnes was a big creative partner with Gaffer Jeff Murrell and me. We could play media through LED screens, and we did some of that on the Guardians ships.”

A-CAMERA/STEADICAM OPERATOR GEOFFREY HALEY, SOC

says that while previs had been developed for many sequences, the finished product rarely resembled the conceptual work. “The Russos were very collaborative when it came to deciding shooting styles,” Haley recalls.

“Previs was only meant to be a conversation starter, and we were encouraged to alter, improve and adapt shots. The shooting style was based less on set piece or location and more on the emotional landscape of the characters and story arc. The decisions on camera style were often made after watching the rehearsals at the beginning of each day.”

Haley says the fun of shooting a Marvel movie “is that one day it’s an intergalactic battle sequence with all the bells and whistles, the next a quirky vignette between a space raccoon and an Asgardian God with an eye patch! Our approach was always to honor the spirit of each scene and not simply overwhelm it with technology or impressive camera tricks. Sometimes it’s better to take the camera off the 75-foot Techno and just plop it on a sand bag.”

Second unit director/stunt coordinator Sam Hargrave and B-camera operator and splinter-unit DP Kent Harvey, SOC, worked with both actors and stunt performers.

Harvey says most of the fight sequences were handheld using Key Grip Michael Coo’s bungee rigs, “which were fantastic,” he notes, “especially with the ALEXA 65s.

We often had two [large-format cameras] on bungees rigged to a Condor extending over our set at a height allowing us working room for shooting. The rigs made shooting the 65 very manageable, both on stage and

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location. (The ALEXA 65 is more than 50 pounds in handheld mode, and more than 80 pounds with the Steadicam.)

Harvey remembers how one ambitious Hargrave idea was realized.

“Sam wanted the camera to pull back through the middle of the recirculating river [constructed by special-effects supervisor Dan Sudick], as the clash unfolded in front of the lens,” the operator relates. “Key Stunt Rigger Michael Huggins and his team placed a petty-bones at each end of the river and ran a static line between them, with another line attached on a shiv. A few feet above the water, the camera was attached to a splash bag rigged with an air knife to keep water off the lens. On ‘action,’ I backpedaled, stunt performers clashing in front of the lens just as I passed them.

We could have designed something more elaborate with a winch and remote head, but we wanted to keep the handheld feel and needed the camera to be suspended above the water, in case I toppled over.”

Hargrave says the Russos saw each sequence as having its own flavor. “Scenes taking place on Earth would feel different from those out in the galaxy, which had a lot of CG and needed a heavy dose of practical in-camera work,” he describes. “[The Russos] wanted to get nitty-gritty with the Wakanda battle, so we used the river to increase the visceral aspect; the physical interaction is different and tactile, plus you can play with sunlight in interesting ways. I got in there early with the construction coordinator to design the river for stunt needs. They sprayed foam beneath the lining so the performers could run and fall safely.”

Some shots in the river sequence, where the two armies converge, brought dozens of stunt performers together in frame. “There were times when fifteen to twenty characters battled in the air, all on cables along with the camera, with costumed stunt people battling others in motion-capture suits representing CG characters,” Hargrave continues. “It was

beautifully coordinated chaos, which goes back to prep. We’d shoot video-vis or fightvis – different versions of the action showing what we were best at doing. The blueprint did change somewhat during shooting, but going in with that detailed plan helped immensely.”

SHOOTING ON STAGE FOLLOWED ESTABLISHED NORMS. In

studio mode, the cameras were on Steadicam, Techno, dollies or sliders. Harvey says some of the ship’s sets “were more difficult, and wouldn’t allow for our bungee rig, so we worked with grips to come up with a system.

Michael [Coo] built nimbler bungee rigs using speed rail that could be mounted to dollies and get into tighter spaces. When that didn’t work, we would sometimes mount a bungee rig into the set roof, or resort to EasyRigs and the Klassen SlingShot.”

Occasionally, Production was unable to get the base of a 50-foot Technocrane into the ideal position on stage. “We placed a 30-foot Techno on a Chapman Supernova crane,” Harvey explains, “swung out the Supernova and then extended the arm into the right place. This configuration required precise teamwork between the dolly grips, techno ops and the operator, as movements between the Supernova platform, the swing and extension of the techno arm and camera operation all had to be well coordinated.”

For Haley, locking the camera off on sticks was never a creative option, so his operating also benefitted from the custom bungee rigs.

“At the beginning of the film,” he recalls, “I needed to shoot an uninterrupted twominute handheld take introducing Thanos [ Josh Brolin] and his ‘dark order,’ scraping along scores of bodies on the ground, then raising gradually to feature various characters and eventually ending seven feet off the ground as Thanos emerges, dragging Thor’s seemingly lifeless body. With a fifty-

“ THANKS TO MICHAEL’S [COO] INGENIOUS BUNGEE TRACK AND PULLEY SYSTEM, RIGGED FROM FORTY FEET ABOVE THE STAGE FLOOR, THE EFFECTIVE WEIGHT FOR ME [OPERATING HANDHELD] BECAME NEGLIGIBLE.” A-CAMERA/STEADICAM OPERATOR GEOFFREY HALEY

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SUPER (DRONE) HERO

AERIAL CAMERA OPERATOR JEFF BRINK IS A GO-TO PIONEER FOR HEAVY-LIFT DRONE OPERATIONS Having operated with ALEXA XTs and 3D stereo REDs, Jeff Brink knows a thing or two about weighty drone flights. But for Inf inity, Marvel chose to capture with the ALEXA MINI and RED Helium using drone equipment by Team5.

Brink, who says he likes to be camera agnostic so he can help achieve the DP’s vision without limiting their camera choices, notes that “with current FAA regulations, we have to be within a certain weight limit in the U.S., which prevents us from flying cameras such as the ALEXA 65, or flying fast with heavier builds. I hope regulations ease up toward the film industry in the near future.”

Having petitioned the FAA and been granted a waiver, Brink has flown legally within the U.S. for nearly four years. “That approval came with creating our own regulations, safety manuals, and standard operating procedures,” he explains. “Mike Ferguson, the pilot, delivers safety briefings with the whole crew so they are aware of how we mitigate the risks.

We keep our team top-notch by test flying constantly in various conditions and running through our workflow for the best on-set experience. It’s very important to know when (and when not) to use different safety features, as sometimes they can be a risk to the flight. We have GPS fail-safes, which return the drone to a home point if it loses its link

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with the controller.”

While Brink says the majority of his drone work on Inf inity was used as VFX background plates, they did shoot with stunt teams and principal actors. “We shot character POVs – flight paths – and the VFX coordinator was specific about how we flew for those different moves,” Brink states. “Everything was previsualized so we got to see beforehand what the shot would be, which helped a lot. Sometimes I got to try something different, but my options were limited because everything on this production had been thought out before I even got to set.”

Brink admits to feeling stress from situations for which there can be only a single take. “Often, when filming expensive explosions or crashes, we only get one shot, so the timing has to be just right,” he admits. “If I send the drone a little too early, we could be on top of the action or worse, in the explosion. Knowing our gear inside and out was crucial because there were times when I had to make split-second decision that impacted our flight path.

Although drones are getting more advanced, they were born from the hobby world, and are still in their infancy. They aren’t as durable or productionfriendly as most Steadicams. Drones can be finicky; having to diagnose and quickly fix issues while on set is tough.”

L-R: GAFFER JEFF MURRELL, OPERATOR KENT HARVEY, SOC AND DIRECTOR OF PHOTOGRAPHY TRENT OPALOCH

pound camera, this shot would have been all but impossible on my own. But thanks to Michael’s ingenious bungee track and pulley system, rigged from forty feet above the stage floor, the effective weight for me became negligible. It created a zeroresistance situation, which is a huge benefit for handheld.”

Opaloch says he talked to the operators about the length of the shoot and how they had to protect themselves physically. “Our directors and First AD Chris Castaldi are great team players, so nobody was pressuring the operators,” the DP relays. “But there’s a self-imposed pressure in the camera department where we can push to get things shot too quickly, and injuries can result. One operator tweaked his back and was out for a few weeks – fortunately during a hiatus. He was shooting in a tight spaceship location, because he didn’t realize how long he was going to be in that position. It was a real wakeup call to stay safe.”

The Thanos scenes utilized SimulCam, a real-time previs that displayed a rough comped render of the character over Josh Brolin. “We wound up having people in mocap suits standing in for CG characters a lot more often than before, which I find much better than the ball-on-stick solution,” Opaloch offers.

“You have to cheat eyelines because

the actors aren’t the same height as the characters, but it was great for the operators to have a performer there, driving the process. That also gave the directors and me a better idea of how the interaction would appear in the final version of the shot.

“When Thanos is seated,” he adds, “his knees come up to somebody’s head, so seeing that became a ‘gotcha’ we could avoid.

You do need really dense camera coverage for SimulCam; any time a part of the performance is occluded, the process runs out of data. I was a little freaked out about that volume of capture cameras, but I found that if we had to move one of their camera towers to get a crane in or adjust lighting, it wasn’t a problem, since everything was on wheels.”

OPALOCH’S MOST POWERFUL MEMORY IS, IRONICALLY, A SHOT SECOND UNIT ENDED UP DOING. “I went there

with Jeff Murrell to pre-light with hundreds of SkyPanels, spanning one and a half to two kilometers of downtown Edinburgh,” the DP remembers. “It was pretty amazing to be able to change colors and saturation intensity on that scale.” The scene, a sweeping Cablecam reveal used as a plate for a character POV, marked one of the few times Opaloch captured at EI 1280 instead of 800.

Harvey says that when shooting splinterunit, he worked off LUT’s provided by main unit DIT Kyle Spicer. “One of the most valuable tools – which personally I had never seen done before – was 360-degree HDRs taken by the VFX team of every lighting setup from each camera position,” he reports.

“We had the ability to reference lighting for any setup. I would also have reference footage shot by main unit. We had a few Cablecam shots throughout, as well as drone work.” [See sidebar.]

Helicopter shooting was handled

by Aerial Unit DP Dylan Goss, who collaborated with 2nd Unit DP/Director Alexander Witt while in Atlanta. “We shot in some very remote areas,” Goss recounts.

“In Brazil, at an amazing national park full of white sand dunes, and on a glacier field in Alaska. We framed in-camera, as previsualized, but some plate work was also over-framed to allow manipulations beyond moves the helicopter could do alone.”

Traveling to exotic locations certainly seemed appropriate to suit the needs of the Marvel Universe. “It was important for the Alaska work to look brutal,” Goss continues.

“At one point, with weather changing, we had to get up there in a hurry to make sure things would be appropriately moody.”

Goss says the Brazil imagery was shot during “blue hour” – a brief window fifteen

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“ONE OF THE MOST VALUABLE TOOLS – WHICH I HAD NEVER SEEN DONE BEFORE – WAS 360-DEGREE HDRS TAKEN BY THE VFX TEAM OF EVERY LIGHTING SETUP FROM EACH CAMERA POSITION.” B-CAMERA OPERATOR/SPLINTER-UNIT DP KENT HARVEY, SOC

LOCAL 600 CREW MAIN UNIT Director of Photography Trent Opaloch A-Camera Operator/Steadicam Geoffrey Haley, SOC

A-Camera Operator Maurice McGuire A-Camera 1st AC Richie Masino A-Camera 2nd AC Walrus Howard

A-Camera 1st AC Taylor Matheson

B-Camera Operator Dave Richert

A-Camera 2nd AC Matthew Haskins

B-Camera 1st AC Stephen Early

B-Camera Operator Kent Harvey, SOC

B-Camera 2nd AC Trey Twitty James Pair

B-Camera 1st AC Sean Moe B-Camera 2nd AC Hugh Braselton C-Camera Operator Ross Coscia, SOC C-Camera 1st AC Adam Castro C-Camera 2nd AC Alexandra Matheson

C-Camera Operator Ken Fisher C-Camera 1st AC Andy Hoehn C-Camera 2nd AC Paul Woods DIT Daniele Colombera

DIT Kyle Spicer

Digital Utilities Jason Robbins Brejon Wylie

Digital Utility Melissa Porter

Loader Sagar Desai

Loader Sagar Desai

Digital Loader Cory Schulthies

Libra Head Operator Jayden York Still Photographer Chuck Zlotnick Publicist John Pisani Publicist Assistant Mitul B. Patel EPK/BTS Camera Operator Sean Ricigliano 2ND UNIT DP/Director Alexander Witt, ASC

AERIAL UNIT Director of Photography Dylan Goss Aerial Technician Eric Dvorsky Drone Camera Operator Jeff Brink Drone Pilot Mike Ferguson Drone Tech Jared Slater

or twenty minutes before sunrise, “when you get these deep violet colors transitioning into blue,” he explains. “We shot in part with Leica Summilux primes. Flying out in full dark to be ready to then shoot wide-open at 1.4, as the sky changed through various deep shades, was pretty cool.”

The bulk of Goss’s work was accomplished on the ALEXA 65, using the Shotover K1 system. “It has a data-capture feature on the gimbal,” Goss notes.

“VFX can parse vehicle information like speed and position, and we used a system from Team5 that integrates with Shotover’s data output to create a sync with picture via a genlock-level timecode box.

Standard Deviation’s Babak Beheshti designed these boxes, which are the gold standard for syncing cameras.”

As of press time, Opaloch had yet to start the DI. “But with so many CG elements being added to our shots,” he describes, “they chose to stick closely to the color timings determined up front from VFX pre-times, so I’m hoping the looks come in pretty close.” Supervising Finishing Artist, Steve Scott, with Technicolor, oversaw the film’s numerous theatrical versions, including 4K and stereo.

Inf inity War marked Kent Harvey’s ninth MCU film, and he couldn’t be happier with the workflow.

“Taking care of the people they like to have working for them is a priority,” he states. “The fact that [Marvel] has embraced the 10-hour shooting day speaks volumes. This also has a lot to do with the folks at the top, including Joe and Anthony Russo, all the producers, supervisors, Trent and all his keys.”

Geoff Haley sees the Marvel magic as being reflective of the “if at first you don’t succeed” mindset.

“I think what sets Marvel apart is its refusal to release a film to the public until it’s the best it can possibly be, no matter what the cost or how logistically complicated the refinement process is,” Haley concludes. “They’re not ashamed to try again when things don’t work the first, second, or third time.

In this age of shareholder bottom lines and fiscal corporate responsibility, other studios might do well to take a page out of Marvel’s playbook.”

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OPERATORS ROUNDTABLE WITH THE ADVENT OF NEW TECHNOLOGIES (AND NEW CONTRACTS), THE OPERATOR’S CRAFT HAS DEFINITELY CHANGED, BUT THEIR VALUE REMAINS ESSENTIAL, AS THIS ESTEEMED PANEL EXPLAINS. B Y 66

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67 MAY 2018 MITCH DUBIN / PHOTO BY NIKO TAVERNISE

LOCAL 600 CAMERA OPERATORS HAVE BEEN FACED WITH NUMEROUS CHALLENGES OVER THE LAST DECADE – TWO OF THE MOST PROMINENT SHIFTS BEING THE REMOVAL OF THE

“MANDATORY” OPERATOR ON ANY PRODUCTION AND NEW RIGS AND TOOLS THAT LITERALLY TAKE THE CAMERA OUT OF THE OPERATOR’S HANDS. FOR OUR MAY ACTION ISSUE, OFTEN MADE UP OF STORIES ABOUT PROJECTS THAT ARE DEPENDENT ON THE UNIQUE SKILLS OF THE CAMERA OPERATOR, WE BROUGHT TOGETHER A GROUP OF ICG MEMBERS FOR A ROUNDTABLE DISCUSSION ON HOW THE CHANGING LANDSCAPE HAS IMPACTED THEIR CRAFT. This stellar panel – Dan Coplan, SOC (Beatriz at Dinner); Mitch Dubin, 1st Vice President, SOC (Ready Player One); Pyare Fortunato (Blindspot); Michael Frediani, SOC (Marvel’s Runaways); David Hirschmann, SOC (Veep); Mark Karavite, SOC (The Man in the High Castle); Bud Kremp, SOC (The Last Ship); Bill McClelland, Treasurer, SOC (Avengers: Infinity War); Peter Rosenfeld, SOC (Ant-Man and the Wasp); and David J. Thompson, Board Member, SOC (Red Sparrow) – will enlighten and surprise you. But more importantly, they understand and reflect the key attributes the operator brings to any type of production, anywhere.

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69 MAY 2018FORTUNATO PYARE PHOTO COURTESY OF PYARE FORTUNATO

MITCH DUBIN / PHOTO BY NIKO TAVERNISE (TOP) DAVID HIRSCHMANN / PHOTO BY SARA TERRY (BOTTOM)

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Aside from the reduction in work, how has the loss of the mandatory operator impacted production?

David Hirschmann: Those on set know there’s much more to the DP’s job than lighting. There are constant conversations that happen behind the scenes with the director, producer, production designer, costumes and make-up, post-production, gaffer and key grip. These are conversations that can be had quickly, often leading to quick decisions and solutions, but not if the DP is operating on the set. At video village, the DP sees the scene play out on two or sometimes three monitors, and they are in a position to find any camera or lighting mistakes and correct them quickly before the next take. And the ability to step away to prep anything for future shooting is erased.

Mitch Dubin: The financial numbers speak for themselves.

Let’s say an operator is paid $1,000 a day. You can’t, however, just look at a line item and say that without an operator you save $1,000. According to my conversations with production managers, one hour of overtime for a normal size production costs $15,000. So, just one-tenth of an hour of overtime, due to less manpower, more than pays for the rate of a camera operator!

David Hirschmann: Ten minutes a day puts the production in the black, and on larger budgets, it’s probably closer to five minutes. Any producer who [asks] for one less operator on the set is just trying to look like they’re saving money, while probably costing themselves more.

“ANY PRODUCER WHO [ASKS] FOR ONE LESS OPERATOR ON THE SET IS JUST TRYING TO LOOK LIKE THEY’RE SAVING MONEY, WHILE PROBABLY COSTING THEMSELVES MORE.” DAVID HIRSCHMANN

Mitch Dubin: And the loss of one operator impacts the whole crew. If the DP is there operating, the boom operator (if he or she is lucky) is going to get the frame lines maybe 30 seconds before the AD calls for the camera to roll. How many takes are ruined when there isn’t enough time for the camera assistant to properly set up focus marks? When does the dolly grip get the information and guidance about the camera move, and the ability to have sufficient time to rehearse? Sometimes, I think the only way a DP can also operate, and still stay on schedule, is to simplify the camera movement, and that may ultimately mean compromising the director’s vision.

David Hirschmann: Also, the operator often runs the set with a second team, coordinates with Grip and Electric, contributes to the blocking and staging, works with the second AD’s to place and time background, coordinates with the other cameras, looks out for props and the vanities on screen. We basically have to have an eye on every department at all times, through our lens. And then we need to have the technical skill, physical aptitude, and mental focus to operate. Not everyone can keep chase with a running actor while steadily carrying a 40-pound weight on the shoulder. And, when the DP and director are back at video village, the actors have to trust us and have the rapport with us to know that they look good on camera and we will capture their performances.

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The Sarah Jones tragedy put safety on sets front and center. What’s changed since then?

no matter what lens we are using. Whatever makes Michael comfortable to perform his job benefits the shot!

Mark Karavite: I cut my teeth in this business shooting car commercials. I can’t count how many times I’ve done free-driving shots with actors driving.

The ICG video (https://vimeo.com/241251141) showing the possible dangers to operators during free driving was an eye-opener. One hour after watching that video, our AD told me we may be doing a freedriving shot the next day. I forwarded the video to our UPM, who immediately hired a technician to disable the airbags, and then they switched to an insert car/ process trailer – just to be safe. This attitude from Production is a direct result of the efforts of Sarah’s family and our unions.

Mark Karavite: The danger when pulling focus from a monitor is missing the necessary communication between operator and AC when they are both at the camera. It’s crucial when making subtle adjustments between takes, or even during takes. Jorge Sanchez, a wonderfully talented focus puller, when faced with a particularly difficult focus pull on the knob, would actually hug the operator. The first time it happened, I looked at Jorge at the end of the take and asked if he was at least going to buy me dinner first! We both had a good laugh, and future hugs were welcomed.

With today’s shooting style, on digital cameras, often wide open, and not necessarily marking every spot, the AC’s need to rely on their monitors as a necessary tool. I prefer that they be in the same room when possible. It gives them a chance to see the relationship between the actors and their marks, plus we can easily communicate any changes I might be planning for the next take.

Pyare Fortunato: As a result of improvement in practical and visual effects, there is now no good reason you can’t get a spectacular shot and be entirely safe. In terms of practical effects, a good example is the introduction of less than quarter loads for firearm blanks and the use of solid plug firearms. Cameras and actors can get closer to the action. Of course, working with a crew that you trust is important – but so is educating yourself about safety and having the confidence to question any situation where you don’t feel comfortable.

Peter Rosenfeld: Preparing yourself is also important. When doing slow-speed rehearsals, for example, never plan your reactions to them. Prepare yourself mentally for unexpected action and be prepared to deviate from the plan. Things will go wrong – so discussing your exit strategy with your dolly grip and stunt coordinator is a must.

How has the switch from film (hands on the focus knob) to digital (wireless off a monitor) impacted the operator–AC relationship?

Bud Kremp: [Focus puller] Michael Alvarez and I have worked together for years, on many different and demanding shows. He’s passionate about his job and takes it very seriously. As a result, I am able to trust him completely. Michael prefers to use a Preston remote focus, and that translates into freedom for the camera and operator. He’s said that he likes to see the camera move and the actor working handheld, to be off-angle sometimes to see the actor as they walk up.

He says that when we are handheld it gives the camera more flexibility if he uses the Preston. Also, it has five different scale rings – A, B, C, D, E – a rack from seventeen inches to six inches, and is exactly the same,

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Describe how operators interact with DP’s, directors and actors these days.

Mark Karavite: Communication is crucial when shooting action, and not just with the DP and Director. I work closely with the AD’s, stunt coordinator, and the individual stunt performers, so we are all aware of the shot’s requirements – and to get them safely. On a recent Gerard Butler film, Den of Thieves, main unit DP Terry Stacey [ASC] had a unique plan for blending first and second unit action.

Both Second-Unit Director Jamie Marshall and Second-Unit DP Gary Capo [ASC] were present during first-unit photography. Not only was our second-unit team now intimately familiar with the entire scene, but also because I operated C-camera on first unit and A-camera/Steadicam on the second unit – I knew the blocking, lensing, eye lines, et cetera from the first-unit photography. It was a brilliant way of coordinating both units.

Pyare Fortunato: It’s also about having trust with the DP and Director. I’ve been put in harnesses on descender rigs, ridden on ATV’s, and run at full sprint with the camera, and it’s hard for them to micromanage an operator under those conditions!

Dan Coplan: It can be a delicate balance, primarily when the director and DP give conflicting instructions.

But, my primary loyalty tends to favor the DP. If a DP tells me one thing and the director tells me another, I will let the DP know so there aren’t any surprises.

(TOP TO BOTTOM)

MARK KARAVITE / PHOTO BY GUY D’ALEMA BUD KREMP / PHOTO BY SARA TERRY PETER ROSENFELD / PHOTO BY RON PHILLIPS

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(CLOCKWISE FROM TOP)

DAN COPLAN / PHOTO BY SARA TERRY DAVID J. THOMPSON / PHOTO BY MURRAY CLOSE BILL MCCLELLAND / PHOTO BY RICHARD DUCREE MICHAEL FREDIANI / PHOTO BY SARA TERRY

“ CAMERA OPERATORS ARE NOT ROBOTS. WE ARE HIRED FOR OUR EXPERIENCE AND ARTISTRY.” MICHAEL FREDIANI

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How does working with the same director impact your work?

Peter Rosenfeld: The working style of each director is very different, so having operated for him or her before creates shorthand. For instance, I will already know how they like shots lined up, how they shoot coverage, and what they expect from the A-camera. I can often predict equipment needs and keep the camera crew alert to upcoming demands.

David J. Thompson: And that shorthand translates into more time spent on crafting the shot. They trust you as the operator to do the slow push-in, for example, if you start to feel the actor is giving an amazing performance. Or you can be more open about suggesting a shot or way to cover a scene that they will value.

Michael Frediani: Camera operators are not robots. We are hired for our experience and artistry. So, occasionally, feeling emboldened to modify a later take gives the director a choice he or she may not have thought of. As long as I’m staying within the parameters of the scene and knowing that the director just wants another take “for safety,” I may pan or tilt to something of

interest that advances the story organically, perhaps avoiding a static cut-away. We must know the script and have the trust of the DP and director. Plus, having a very good understanding of editing is a must. Even if that part of the shot is not used, I’ll know they have all they need previously.

How have CG and virtual sets changed your craft?

Bill McClelland: They both demand you understand the director’s vision, and you have the skills to capture the shot the DP wants – without being able to see your subject! Shooting imaginary creatures and places can make things easier or harder, depending on the level of real-world interaction. If the whole scene is CG, then you are less constrained to reality and able to be more creative with movement. When the real world begins to enter the CG world, that’s where it can get complicated. It’s nice when you have storyboards or animatics to guide your movements. Shooting a fight scene between superheroes and monsters can be a lot of fun! Rehearsals and practice give you the basics, but on the day, you have to remember where all the imaginary players

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are and what they do, while keeping the real people in the scene, always leaving the proper space to insert whatever goes into each scene.

Mark Karavite: VFX has allowed camera operators to do their jobs in a much safer fashion. There are numerous times where we’ve had safety questions when considering shooting something practically, and have decided that VFX was the safest way to go. For example, on Amazon’s The Man in the High Castle, we were shooting part of a gunfight on Steadicam. The actor needed to fire a gun just camera-left of the lens, about four feet away from me. As I operate Steadicam on that side, the actor would need to aim the gun directly at my face, with a full load. Well, that certainly wasn’t going to happen – so we simply added the appropriate gun flash in post.

Do you prefer storyboarded action – or is there more creative freedom when it’s not mapped out?

“I FEEL [DRONES AND OTHER TOOLS] HAVE OPENED UP A WHOLE NEW WORLD AND ALLOW FOR AMAZING FOOTAGE THAT WASN’T POSSIBLE BEFORE.” DAVID J.THOMPSON

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David Hirschmann: I like storyboards, especially when there are so many shots to be done and not enough time. A year ago, we did a scene on a CBS show, Pure Genius, where a graffiti artist is precariously painting the outer side of the Bay Bridge. In the story, the makeshift scaffolding breaks and the artist struggles to stay up before dropping into the water below. The bridge was built on stage but was pretty tall, so that put our camera on the end of a 75-foot Super Technocrane.

Two other cameras were also running from below. Working with the storyboards and the [production designer] helped us position the crane for multiple shots, instead of guessing what the next setup would be. Creativity can also come within the frames of the storyboards – tweaking the shot slightly, if it can enhance the frame or possibly finding a way to make two shots into one and save them a cut.

Bud Kemp: I’ve shot many action sequences for television (Lost, Quarry, Banshee) where we often started our day behind schedule. Many of those sequences were directed by Greg Yaitanes, who really does his homework. The only way to achieve in one day what could have taken at least a week to shoot was to follow Greg’s vision of storyboard cut-outs plastered onto a big

piece of cardboard on easels for all to see. A big, red “X” over each showed our progress and what we had left. An added benefit to that level of planning is that it makes the set safer as it eliminates much of the panic we’re all familiar with when the group as a whole is lost and trying to figure things out “on the fly.”

How have tools like drones, which physically take the camera out of your hands, changed action?

Peter Rosenfeld: It ’s true we are doing more and more shots where we are disconnected from the camera. And I’ve always maintained I do better work when physically on the camera. For one thing, there are more visual clues available to help.

You can spot that flag that was adjusted off camera and remind yourself to check it.

You can overhear discussions happening in front of you that change the action. Most important is the ability to see and judge focus. I need to see the problem areas right away and discuss them with the AC after we cut. If there is another take, timing is everything.

David J. Thompson: I feel [drones and other tools] have opened up a whole new world and allow for amazing footage that wasn’t possible before. Shows that can’t afford the expense of a full aerial unit can now get access to those types of shots. We’re seeing beautiful aerial shots on TV shows that open up the story.

Dan Coplan: Operators or gimbal operators on such shots serve as the link between the director, DP and pilot while a shot is being executed. The operator and Production are watching the monitor while the pilot is focused on the drone. With respect to safety, the operator plays a key role as he or she understands what is and isn’t possible as well as what is and isn’t safe. And we play an active role in communicating this to the director and DP, as well as sharing the wishes with the pilot. That allows everyone to determine the best course of action – Production gets what it wants and gets it safely, which is always the most important consideration, of course.

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PRODUCTION CREDITS COMPILED BY TERESA MUÑOZ – AS OF APRIL 1, 2018 ICG Magazine strives to maintain an up-to-date and accurate record of all crew members for the Production Credits section.

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

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

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

Please note that the deadline for the Production Credits is on the first of the preceding cover month (excluding weekends & holidays).

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

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“MIXTAPE” PILOT Director of Photography: Jas Shelton Operators: Dana Morris, Tom Clancey Assistants: David Edsall, Keith Jones, Yen Nguyen, Koji Kojima Steadicam Operator: Dana Morris Digital Imaging Tech: Bret Suding Digital Utility: Brian Keller ABC STUDIOS “AMERICAN HOUSEWIFE” SEASON 2 Director of Photography: Andrew Rawson Operators: Rich Davis, Tim Walker, Lisa Stacilauskas Assistants: Max Neal, Robert Gilpin, Joe Torres, Elizabeth Algieri, Mark Colicci, Jaswinder Bedi Digital Loader: Leslie Puckett Digital Utility: Steve Rommevaux “AMERICAN IDOL” SEASON 16 Lighting Designer: Kieran Healy Video Controller: Chris Gray Operators: Ron Lehman, Keith Dicker, Danny Webb, Brian Reason, Easter Xua, Adam Margolis, Rob Palmer, Daryl Studebaker, Bettina Levesque, Helena Jackson, Damien Tuffereau, Nathanial Havholm, Mike Carr, Andrew Waruszewski, Dave Eastwood, Dylan Sanford Head Utility: Charlie Fernandez “CRIMINAL MINDS” SEASON 13 Director of Photography: Greg St. Johns Operators: Darcy Spires, Mike Walsh Assistants: Keith Peters, Tim Roe, Todd Durboraw, Robert Forrest Steadicam Operator: Mike Walsh Steadicam Assistant: Keith Peters Utility: Jacob Kuljis “DAREDEVIL” SEASON 3 Directors of Photography: Christopher La Vasseur, Manuel Billeter Operators: Jeff Dutemple, Nicola Benizzi Assistants: Gregory Finkel, Marc Hillygus, Emma Rees-Scanlon, Jason Rihaly Loaders: Patrick McKeown, Jye-en Jeng Still Photographers: Wally McGrady, Nicole Rivelli “GREY’S ANATOMY” SEASON 14 Director of Photography: Herb Davis Operators: Fred Iannone, Steve Ullman Assistants: Nick McLean, Forrest Thurman, Chris Johnson, Lisa Bonaccorso “JIMMY KIMMEL LIVE!” SEASON 16 Lighting Director: Christian Hibbard Operators: Randy Gomez, Parker Bartlett, Kris Wilson, Garrett Hurt, Marc Hunter, Mike Malone Camera Utilities: Charles Fernandez, Scott Spiegel, Travis Wilson, David Fernandez, Adam Barker Video Controller: Guy Jones Still Photographers: Karen Neal, Michael Desmond 2ND UNIT Director of Photography: Jimmy Lindsey “SALVAGE” PILOT

Director of Photography: Evans Brown Operators: John Lehman, Paige Thomas Assistants: Chris Lymberis, Dan Jones, Monica Barrios-Smith Digital Imaging Tech: Nick Hiltgen “STATIES” PILOT Director of Photography: Tom Yatsko, ASC Operators: Gary Camp, Casey Hotchkiss Assistants: John Kairis, Justin O’Shaughnessy, Simon England, Peggy Knoebel Digital Imaging Tech: Mike Hardwick “THE PUNISHER (AKA CRIME)” SEASON 2 Director of Photography: Petr Hlinomaz Operators: Dana Altomare, Todd Armitage Assistants: Robert Becchio, John Oliveri, Alisa Colley, Niknaz Tavakolian Loaders: AJ Strauman, Toni Sheppard “UNTITLED HOLMES SISTER” PILOT Director of Photography: Scott Peck Operators: Brian Nordheim, George Pattison Assistants: Lee Vickery, Colin Sheehy, Bryant Bailey, Shawn Mutchler Digital Imaging Tech: Ted Viola Digital Utility: George Lookshire “UNTITLED SCHULNER/HORTON PROJECT” PILOT Director of Photography: Stuart Dryburgh Operator: Michael Fuchs Assistants: Timothy Metivier, Johnny Sousa, Sarah Guenther, Patrick Bracey Digital Imaging Tech: Kazim Karaismailoglu Loaders: David Kilgore, Keith Anderson ADOBE PICTURES “THE GOLDFINCH” Director of Photography: Roger Deakins, ASC, BSC Operators: Maceo Bishop, Joshua Blakeslee Assistants: Andrew Harris, Connie Huang Digital Imaging Tech: Joshua Gollish Loader: David Ross Still Photographers: Macall Polay, Leslie Robson-Foster, Nicole Rivelli Publicist: Frances Fiore AFN PRODUCTIONS-TELEPICTURES “THE REAL” SEASON 4 Lighting Director/Director of Photography: Earl Woody Operators: Kevin Michel, David Kanehann, Steve Russell, Bob Berkowitz Steadicam Operator: Will Demeritt Camera Utilities: James Magdalin, Henry Vereen, John Markese Jib Arm Operator: Jim Cirrito Video Controller: Jeff Messenger “STATION 19” SEASON 1 Directors of Photography: Paul Maibaum, ASC, David Miller, ASC Operators: Steve Clancy, Heather Brown Assistants: Jon Sharpe, Kyle Sauer, Dave Egerstrom, Mike Cahoon Steadicam Operator: Steve Clancy Steadicam Assistant: Jon Sharpe Loader: Sarah Lankford Digital Loader: Jonnie Mentzer AMAZON/PICROW STREAMING INC. “TOO OLD TO DIE YOUNG” SEASON 1 Director of Photography: Darius Khondji, ASC Operators: Andy Shuttleworth, R. Michael Merriman Assistants: Faith Brewer, Wade Whitley, Gayle Hilary, Kelly Mitchell Digital Imaging Tech: Dan Skinner Loader: Jake LaGuardia Camera Utility: Ben Brady Still Photographer: Scott Garfield

2ND UNIT Director of Photography: Michael Svitak Assistants: Mark Santoni, Grace Thomas Digital Imaging Tech: Pasquale Paolo AMC/STALWART FILMS “THE SON” SEASON 2 Director of Photography: Todd McMullen Operators: P.K. Munson, Michael F. O’Shea, Ian Ellis Assistants: Robert Rendon, Rob McGrath, Kelly Bogdan, Chris Smith, Leslie Frid, Wes Turner, Jack Lewandowski Steadicam Operator: Michael F. O’Shea Steadicam Assistant: Rob McGrath Digital Utilities: Amber Rosales, Leslie Kolter Still Photographer: Van Redin A VERY GOOD PRODUCTION, INC. & WAD PRODUCTIONS “THE ELLEN DEGENERES SHOW” SEASON 15 Lighting Director: Tom Beck Ped Operators: David Weeks, Paul Wileman, Tim O’Neill Hand Held Operator: Chip Fraser Jib Operator: David Rhea Steadicam Operator: Donovan Gilbuena Video Controller: James Moran Head Utility: Craig “Zzo” Marazzo Utilities: Arlo Gilbuena, Wally Lancaster, Diego Avalos BEACHWOOD SERVICES “DAYS OF OUR LIVES” SEASON 52 Directors of Photography: Mark Levin, Ted Polmanski Operators: John Sizemore, Mark Warshaw, Vickie Walker, Michael J. Denton, Steve Clark Utilities: Steve Bagdadi, Gary Cypher Video Controller: Alexis Dellar Hanson BIG BEACH TV “SORRY FOR YOUR LOSS” SEASON 2 Director of Photography: Xavier Grobet, ASC Operators: Bud Kremp, Eduardo Fierro Assistants: Dennis Seawright, Dale White, Mike Alvarez, Rich Kent Digital Imaging Tech: James Notari Loader: Dustin Keller Digital Utility: Nico Rich Still Photographer: Beth Dubber “STRANGERS” SEASON 2 Director of Photography: Hillary Spera Operators: Sam Ellison, Yousheng Tang Assistants: Zach Rubin, Gregory Pace Digital Imaging Tech: Guillermo Tunon Still Photographer: K.C. Bailey

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20TH CENTURY FOX “EMPIRE” SEASON 4 Director of Photography: Paul M. Sommers Operators: Joe Williams, Barnaby Shapiro Assistants: Betsy Peoples, Shannon DeWolfe, Andy Borham, Uriah Kalahiki Loader: Torey Lenart Utility: Amanda Kopec Still Photographer: Chuck Hodes

BLUE CAT PRODUCTIONS, LLC “OZARK” SEASON 2 Directors of Photography: Ben Kutchins, Armando Salas Operators: Ben Semanoff, Danny Eckler Assistants: Liam Sinnott, John Hoffler, Brandon Dauzat, Mike Fisher Digital Imaging Tech: Dan Skinner Loader: Taylor Seaman Still Photographer: Jessica Miglio BONANZA, INC “THE ORIGINALS” SEASON 5 Directors of Photography: Roger Chingirian, John Smith Operators: Ian Forsyth, Brian Davis Assistants: Matt Brewer, Kyler Dennis, Uly Domalaon, Andy Lee Steadicam Operator: Ian Forsyth Utility: Jesse Eagle Digital Imaging Tech: Billy Mueller CASUAL PRODUCTIONS INC/LIONSGATE/HULU “CASUAL” SEASON 4 Director of Photography: Jason Oldak

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CBS “BULL” SEASON 2 Directors of Photography: Derick Underschultz, John Aronson Operators: Oliver Cary, Eli Aronoff Assistants: Cris Trova, Roman Lukiw, Soren Nash, Mike Lobb, Michael Lobb, Elizabeth Cavanagh, Trevor Wolfson Steadicam Operator: Eli Aronoff Steadicam Assistant: Roman Lukiw Digital Imaging Tech: Gabe Kolodny Camera Utilities: Wyatt Maker, Peter Staubs Still Photographers: David Russell, Phil Caruso, David Giesbrecht, Eric Liebowitz, Giovanni Rufino, JoJo Whilden

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“ENTERTAINMENT TONIGHT” SEASON 37 Lighting Designer: Darren Langer Director of Photography: Kurt Braun Operators: Jaimie Cantrell, James B. Patrick, Allen Voss, Ed Sartori, Henry Zinman, Bob Campi, Rodney McMahon, Anthony Salerno Camera Utility: Terry Ahern Video Controllers: Mike Doyle, Peter Stendal “MAN WITH A PLAN” SEASON 2 Director of Photography: Gary Baum, ASC Operators: Glenn Shimada, Travers Hill, Lance Billitzer, Ed Fine Assistants: Adrian Licciardi, Jeff Goldenberg, Alec Elizondo, Clint Palmer, Jason Herring Utilities: Danny Lorenze, Sean Askins Digital Imaging Tech: Derek Lantz Video Controller: John O’Brien “NCIS” SEASON 15 Director of Photography: William Webb, ASC Operators: Gregory Paul Collier, George Loomis Assistants: Chad Erickson, James Troost, Nathan Lopez, Helen Tadesse, Anna Ferrarie “NCIS: LOS ANGELES” SEASON 9 Director of Photography: Victor Hammer Operators: Terence Nightingall, Tim Beavers Assistants: Keith Banks, Richie Hughes, Peter Caronia, Jacqueline Nivens

MAY 2018

Steadicam Operators: Terence Nightingall, Tim Beavers Steadicam Assistants: Keith Banks, Richie Hughes Digital Imaging Tech: John Mills Digital Utility: Trevor Beeler Still Photographer: Ron Jaffe Publicist: Kathleen Tanji “NCIS: NEW ORLEANS” SEASON 4 Director of Photography: Gordon Lonsdale, ASC Operators: Jerry Jacob, Tony Politis, Vincent Bearden Assistants: Peter Roome, Brouke Franklin, Jeff Taylor, Toni Weick, Dave Edwards, Sienna Pinderhughes Steadicam Operator: Vincent Bearden Digital Loader: Christian Wells Digital Utility: Kolby Heid Still Photographer: Sam Lothridge “SCORPION” SEASON 4 Directors of Photography: Ken Glassing, Fernando Arguelles Operators: Paul Theriault, Chris Taylor Assistants: Scott Ronnow, John Paul Rodriguez, Chris Mack, Tim Sheridan Digital Imaging Tech: Greg Gabrio Utility: Tyler Ernst Technocrane Operator: Chris Mayhugh Technocrane Tech: Colin Michael West Remote Head Tech/Operator: Jay Sheveck Still Photographer: Ron Jaffe Publicist: Kathleen Tanji “SEAL TEAM” SEASON 1 Director of Photography: J. Michael Muro Operators: Alan Jacoby, Dominic Bartolone Assistants: Alex Scott, Andrew Degnan, Arturo Rojas, Gary Bevans, Scott O’Neil Steadicam Operator: Dominic Bartolone Loader: Tim Balcomb Digital Imaging Tech: Raul Riveros Still Photographer: Ron Jaffe “SUPERIOR DONUTS” Director of Photography: Patti Lee Operators: Randy Baer, Cary McCrystal, Robert Guernsey, Jon Purdy Assistants: Mark Johnson, Vito De Palma, Don Davis, Missy Toy, Lisa Anderson Utilities: Alicia Brauns, Selvyn Price Digital Imaging Tech: T. Brett Feeney Video Controller: Clifford Jones Still Photographer: Ron Jaffe

“THE GOOD FIGHT” SEASON 2 Director of Photography: Timothy Guinness Operators: William Hays, Chris Scarafile Assistants: Rene Crout, David Baron, Ian Schneider, Cameron Sizemore Loaders: Tommy Scoggins, Sancheev Ravichandran Still Photographer: Annette Brown “THE TALK” SEASON 8 Lighting Director: Marisa Davis Ped Operators: Art Taylor, Mark Gonzales, Ed Staebler Hand Held Operators: Ron Barnes, Kevin Michel, Jeff Johnson Jib Operator: Randy Gomez Head Utility: Charlie Fernandez Utilities: Mike Bushner, Doug Bain, Dean Frizzel, Bill Greiner, Jon Zuccaro Video Controller: Richard Strock Still Photographer: Ron Jaffe CHRISTIE LOVE PRODUCTIONS, INC. “GET CHRISTIE LOVE” PILOT Director of Photography: Gonzalo Amat Operators: David Thompson, Chris Reynolds Assistants: Ethan Borsuk, Olga Abramson, Cornelia Klapper, Benedict Baldauff Digital Imaging Tech: Lewis Rothenberg Digital Utility: Christina Carmody Loader: James Drummond Still Photographer: Walter Thomson COLUMBIA “TOSH.0” SEASON 10 STAGE CREW Operator: Jason Cochard Camera Utilities: Benjamin Steeples, Kyle Kimbriel, Roger Cohen FIELD CREW Director of Photography: Andrew Huebscher Operator: Jason Cochard Assistants: Benjamin Steeples, Kyle Kimbriel, Roger Cohen, Delfina Garfias CONACO “CONAN” SEASON 8 Operators: Ted Ashton, Nick Kober, Kosta Krstic, James Palczewski, Bart Ping, Seth Saint Vincent Head Utility: Chris Savage Utilities: Baron Johnson, Josh Gwilt

CRANETOWN MEDIA, LLC “YOUNGER” SEASON 5 Director of Photography: John Thomas Operators: Hollis Meminger, Scott Sans Assistants: John P. Fitzpatrick, James Daly, Tricia Mears, Emily DeBlasis Steadicam Operator: Scott Sans Digital Imaging Tech: James Strosahl Loader: Alyssa Longchamp Still Photographer: JoJo Whilden EYE PRODUCTIONS, INC. “BLUE BLOODS” SEASON 8 Director of Photography: Gene Engels Operators: Stephen Consentino, Patrick Quinn Assistants: Geoffrey Frost, Michael Grantland, Justin Whitacre, Jacob Stahlman, Martin Peterson Digital Imaging Techs: Steven Calalang, Ryan Heide Loaders: John Keeler, Josh Pressgrove Still Photographers: Christopher Saunders, Craig Blankenborn, Cara Howe, David Russell “ELEMENTARY” SEASON 6 Directors of Photography: Thomas Houghton, ASC, Ron Fortunato Operators: Carlos Guerra, Jeremy Weishaar Assistants: Kate Larose, Jason Cleary, Charlie Foerschner, Kyle Blackman

Loaders: Dylan Endyke, Patrick O’Shea, Ryan Haddon Still Photographers: Christopher Saunders, Elizabeth Fisher, Cara Howe, Wally McGrady, Michael Parmelee “MADAM SECRETARY” SEASON 4 Director of Photography: Learan Kahanov Operators: Jamie Silverstein, Peter Vietro-Hannum Assistants: Heather Norton, Jamie Fitzpatrick, Amanda Rotzler, Damon LeMay Digital Imaging Tech: Keith Putnam Loaders: Zakiya Lucas-Murray, Christopher Patrikis “ANIMAL KINDGOM” SEASON 3 Director of Photography: Loren Yaconelli Operators: Scott Dropkin, Brooks Robinson Assistants: Ray Milazzo, Patrick Bensimmon, Blake Collins, Kirten Laube Steadicam Operator: Scott Dropkin Steadicam Assistant: Ray Milazzo Digital Imaging Tech: Jefferson Fugitt Digital Utility: Gabe Hirata Still Photographer: Eddy Chen HODGES PRODUCTIONS, INC. “MR. MERCEDES” SEASON 2 Director of Photography: Eliot Rockett Operators: Nicholas Davidoff, Robert Newcomb Assistants: Neil Chartier, Alan Aldridge, Traci Chartier, Justin Urban Loader: Nicholas Brown Still Photographer: Kent Smith HORIZON SCRIPTED TELEVISION, INC. “LOVE IS_” SEASON 1 Director of Photography: Steven Calitri Operators: Ian Forsyth, SOC, Gregg Easterbrook Assistants: Josh Hancher, Saul McSween, Warren Brace, Kyler Dennis

Steadicam Operator: Ian Forsyth, SOC Loader: Jennifer Braddock Digital Utility: Rachel Keenan IN HIS HAT PRODUCTIONS INC. “MOTHERLESS BROOKLYN” Director of Photography: Dick Pope Operator: Craig Haagensen Assistants: Eric Swanek, Robert Mancuso, Michael Guthrie, Justin Mancuso Digital Imaging Tech: Patrick Cecilian Loader: Tyler Swanek Still Photographer: Glen Wilson KNIGHT TAKES KING PRODUCTIONS, LLC “HOUSE OF CARDS” SEASON 6 Directors of Photography: David Dunlap, Timothy Norman Operators: Gary Jay, Erin Henning Assistants: Ian Axilrod, Nicholas Hahn, Vanessa Morrison, Michael Panczenko Loader: Anna Jay Still Photographer: David Giesbrecht MARVEL ENTERTAINMENT “AGENTS OF S.H.I.E.L.D.” SEASON 5 Directors 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 Photographers: Kelsey McNeal, Ron Jaffe 2ND UNIT Director of Photography: Kyle Jewell Operators: Tony Cutrono, Miguel Pask

MAY 2018

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“THE RANCH” SEASON 3 Director of Photography: Donald A. Morgan, ASC Operators: Brian Armstrong, Randy Baer, Chris Hinojosa, Robert Guernsey, Michelle Crenshaw Assistants: Missy Toy, Vito De Palma, Adan Torres, Al Myers Camera Utilities: Don Davis, Justin Metoyer, Erinn Bell, Richard Woodard DIT/Video Controller: Rick Dungan Still Photographer: Greg Gayne

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2ND UNIT Director of Photography: James Zucal “F.B.I.” SEASON 1 Director of Photography: Terry Stacey Operators: Oliver Cary, Parris Mayhew Assistants: Craig Pressgrove, Pedro Corcega, Victoria Warren, Matthew Montalto Digital Imaging Tech: Anthony Hechanova Loader: Cory Maffucci Still Photographer: Michael Parmelee “LAW & ORDER: SVU” SEASON 19 Director of Photography: Michael Green Operators: Jonathan Herron, Michael Latino Assistants: Christopher Del Sordo, Matthew Balzarini, Emily Dumbrill, Justin Zverin, Thomas Cioccio Steadicam Operator: Jonathan Herron Loaders: Jason Raswant, Brianna Morrison Digital Utility: Brianna Morrison Still Photographers: Myles Aronowitz, Michael Parmelee, Sarah Shatz “THE ENEMY WITHIN” PILOT Director of Photography: James Hawkinson Operators: James Gucciardo, John Schwartz Assistants: Christopher Silano, Rob Koch, Troy Sola, Janice Burgess Digital Imaging Tech: Peter Symonowicz Loader: Peter Perlman Still Photographers: Will Hart, James Demetriou “THE VILLAGE” PILOT Director of Photography: William Rexer Operators: Jeff Muhlstock, James Callanan Assistants: Michael Burke, Graham Burt, Stephen McBride, Anthony DeRose Digital Imaging Tech: Tiffany Armour-Tejada Loaders: Julia Leach, Taneice McFadden, Anjela Coviaux Still Photographer: Peter Kramer

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“IRON FIST (AKA KICK)” SEASON 2 Director of Photography: Niels Alpert Operators: Jon Beattie, Frank Larson Assistants: Andrew Juhl, Christopher Wiezorek, Yale Gropman, Daniel Pfeifer Loaders: Adam DeRezendes, Andy Hensler

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MESQUITE PRODUCTIONS, INC. “ATYPICAL” SEASON 2 Director of Photography: Joe Kessler Operators: Toby Tucker, Aaron Smith, Greg Daniels Assistants: Matt Brewer, Darin Krask, Chris Mack, Tim Sheridan, Mark Sasabuchi Steadicam Operator: Aaron Smith Digital Imaging Tech: Mauricio Gutierrez Camera Utility: Ryan Simpson Still Photographer: Beth Dubber “ROB RIGGLE’S SKI ACADEMY” Director of Photography: Frank Barrera Operators: Michael Brian Hart, Karina Silva Assistants: Danny Gardner, Harrison Reynolds, Grace Thomas Steadicam Operator: Michael Brian Hart Steadicam Assistant: Danny Gardner Loader: Kathleen Corcoran Still Photographer: Darren Michaels, SMPSP “START UP” SEASON 3 Director of Photography: Timothy Burton Operators: Jon-Michael Mooney, Santiago Benet Mari Assistants: Carlos Rivera, Marayda Cabrera Davila, Ernesto Gomez Digital Imaging Tech: Omar Rivera Abreu Loader: Nestor Cestero Digital Utility: Maria Beltran NBC “BROOKLYN NINE-NINE” SEASON 5

MAY 2018

Director of Photography: Giovani Lampassi Operators: Phil Mastrella, Rick Page, Lauren Gadd Assistants: Jamie Stephens, Rochelle Brown, Bill Gerardo, William Schmidt, Dustin Miller Loader: Nick Gilbert Digital Utility: Chris Carlson

“UNBREAKABLE KIMMY SCHMIDT” SEASON 4 Director of Photography: John Inwood Operators: Douglas Pellegrino, David Taicher Assistants: Douglas Foote, Cai Hall, Caroline Ibarra, Andrew Hamilton Digital Imaging Tech: J. Eric Camp Loaders: Daniel Cardenas, Stan Grunder Still Photographer: Eric Liebowitz

“CHICAGO FIRE” SEASON 6 Director of Photography: Jayson Crothers Operators: Rob Stenger, William R. Nielsen Assistants: Melvina Rapozo, Zach Gannaway, Brian Romano, Gary Malouf Digital Loader: J’mme Love Digital Utility: Nathan D. Sullivan Still Photographer: Elizabeth Morris

NADIA PRODUCTIONS “RUSSIAN DOLL” SEASON 1 Director of Photography: Chris Teague Operator: Kyle Wullschleger Assistants: Rebecca Rajadnya, Timothy Trotman Digital Imaging Tech: Jaime Chapin

2ND UNIT Director of Photography: William R. Nielsen “CHICAGO MED” SEASON 3 Director of Photography: Lex duPont, ASC Operators: Scott Steele, Faires Anderson Sekiya, Joseph Fitzgerald Assistants: George Olson, Laura Difiglio, Keith Hueffmeier, Sam Knapp, Jason H. Bonner, Patrick Dooley Loader: Joey Richardson Utility: Matt Brown Still Photographer: Elizabeth Sisson “CHICAGO PD” SEASON 5 Director of Photography: Rohn Schmidt Operators: James Zucal, Will Eichler, Seth Thomas Assistants: John Young, Don Carlson, David “YT” Wightman, Jamison Acker, Phillip Walter, Kyle Belousek Steadicam Operator: William Eichler Digital Loader: Nicholas Wilson Digital Utilities: Michael Gleeson, Marion Tucker

NETFLIX “THE HIGHWAYMEN” Director of Photography: John Schwartzman, ASC Operators: Ian Fox, Remi Tournois Assistants: Todd Schlopy, Thom Lairson, Bryan DeLorenzo, John Richie Steadicam Operator: Remi Tournois Digital Imaging Tech: Stephen Freebairn Loader: Zander White Libra Head Tech: Jon Philion Technocrane Operator: Derlin Brynford-Jones Technocrane Tech: David Haeussler Still Photographer: Merrick Morton Publicist: Diane Slattery PACIFIC 2.1 ENTERTAINMENT “HOMELAND” SEASON 7 Directors of Photography: David Klein, ASC, Giorgio Scali Operators: Rick Davidson, Mikael “Kale” Bonsignore Assistants: Dominik Mainl, Courtney Bridgers, Elizabeth Silver, Eric Eaton Steadicam Operator: Rick Davidson

PARAMOUNT “THE HAUNTING OF HILL HOUSE” SEASON 1 Director of Photography: Michael Fimognari Operators: James Reid, Brian Osmond Assistants: Troy Wagner, Greg Williams, Griffin Maccan, Chris Morales Steadicam Operator: James Reid Digital Imaging Tech: Giovanni Carranza Loader: Ben Eades Digital Utility: Rodrigo Melgarejo PALLADIN PRODUCTIONS, LLC “GOD FRIENDED ME” PILOT Director of Photography: Mott Hupfel Operators: Thomas Schnaidt, Daniel Hersey Assistants: Blackford Shelton, Marcos Rodriguez-Quijano, Behnood Dadfar, Alfonso Diaz Digital Imaging Tech: Abby Levine Loaders: Joseph Robinson, Angel Vasquez Still Photographers: Sabrina Lantos, Jonathan Wenk “MANIFEST” PILOT Director of Photography: Timothy Ives Operators: Ari Issler, Stewart Cantrell Assistants: Rebecca Arndt, Glenn Kaplan, Eric Schwager, Anthony Defrancesco Digital Imaging Tech: Jessica Ta Loader: Holly McCarthy “MURDER” PILOT Director of Photography: Kevin McKnight Operators: Joseph Arena, John Garrett Assistants: Stephen Early, Abner Medina-Alejandro, Sarah Scrivener, Cory Blake Digital Imaging Tech: Jeffrey Hagerman

Loaders: Brittany Jelinski, Max Collins Still Photographer: David Lee PARAMOUNT TELEVISION “SHOOTER” SEASON 3 Director of Photography: Yaron Levy Operators: Andy Steinman, Connor O’Brien Assistants: Bill Marti, Tim McCarthy, Haydn Pazanti, Roger Spain Loader: Joe Pacella Camera Utility: Joshua Smith Still Photographer: Lisa Rose PENNY LANE PRODUCTIONS, LLC “THE DEUCE” SEASON 2 Director of Photography: Yaron Orbach Operators: Phil Martinez, Luke Owen Assistants: Waris Supanpong, Becki Heller, Randy Schwartz, Nathalie Rodriguez Loaders: Joshua Waterman, Brian Lynch Still Photographer: Paul Schiraldi PREACH PRODUCTIONS “GREENLEAF” SEASON 3 Director of Photography: James Chressanthis, ASC Operators: Marcis Cole, Andy Fisher Assistants: Larry Gianneschi, Steve Latham, Robert Veliky, Nick Gianneschi Steadicam Operator: Marcis Cole Steadicam Assistant: Larry Gianneschi Digital Utility: George Zelasko Loader: Kelsey Symons SCHNEIDER’S BAKERY “GAME SHAKERS” SEASON 3 Director of Photography: Michael Spodnik Operators: Tim Heinzel, Mike Tribble, Scott Ostermann, Dana Ross Camera Utilities: Frank Maronski, Bill Sedgwick Video Controller: Marcus Martinez Still Photographer: Lisa Rose

SHORTY II PRODUCTIONS, LLC “GET SHORTY” SEASON 2 Directors of Photography: Attila Szalay, ASC, Joe Gallagher Operators: David Frederick, SOC, Chris Tufty, SOC Assistants: Nick Shuster, Brent Egan, John Waldo, Sal Alvarez Steadicam Operator: David Frederick, SOC Steadicam Assistant: Nick Shuster Digital Imaging Tech: Paul Maletich Digital Utility: Grace Thomas Loader: Dylan Neal, Andy Macat Still Photographer: Isabella Vosmikova Publicist: Linda Brown SONY “GREYHOUND” Director of Photography: Shelly Johnnson, ASC Operators: Don Devine, George Billinger Assistants: Michael Charbonnet, Jonathan Robinson, Ry Kawanaka, Taylor Fenno Digital Loader: Melanie Gates Camera Utility: Eric Van Der Vynckt Still Photographer: Niko Tavernise Publicist: Rachael Roth “JEOPARDY!” SEASON 34 Director of Photography: Jeff Engel Operators: Diane L. Farrell, SOC, Mike Tribble, Jeff Schuster, L. David Irete Jib Arm Operator: Marc Hunter Head Utility: Tino Marquez Camera Utility: Ray Thompson Video Controller: Gary Taillon Still Photographer: Carol Kaelson “CAPTAIN MARVEL AKA OPEN WORLD” Director of Photography: Ben Davis Operators: Geoff Haley, Sarah Levy

MAY 2018

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Steadicam Assistants: Dominik Mainl, Courtney Bridgers Utility: Danny Caporaletti

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CREW PHOTO: NIGHTHAWKS

Back row, L to R - DP, Alex Chinnici, Director, Grant Johnson, DIT, Zack Saint, Camera Operator, Korey Robinson, 1st AC, A camera, Cody Schrock, Kneeling- 1st AC, B camera, Isaac Banks / Front row, left to right - 2nd AC, B camera, Jesse Sanchez-Strauss and 2nd AC, A camera, Richard Martin / Photo credit: Walter Thomson, Local 600 Photographer

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Assistants: Bill Coe, Robert McMahan, Steve Wong, Trevor Carroll-Coe, Ryan Creasy Digital Imaging Tech: Daniel Hernandez Digital Loader: Colleen Mleziva Digital Utility: Luis Hernandez Still Photographer: Chuck Zlotnick Publicist: John Pisani EPK: Sean Ricigliano

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“THE GOLDBERGS” SEASON 5 Director of Photography: Jason Blount Operators: Scott Browner, Kris Denton Assistants: Tracy Davey, Nate Havens, Gary Webster, Jen Bell-Price Digital Imaging Tech: Kevin Mills Digital Utility: Dilshan Herath Still Photographers: Nicole Wilder, Adam Taylor “WHEEL OF FORTUNE” SEASON 35 Director of Photography: Jeff Engel Operators: Diane L. Farrell, SOC, Jeff Schuster, Ray Gonzales, Steve Simmons, L. David Irete, Mike Corwin Camera Utility: Ray Thompson Head Utility: Tino Marquez Video Controller: Gary Taillon Jib Arm Operator: Randy Gomez, Sr. Still Photographer: Carol Kaelson TVM PRODUCTIONS, INC. “QUEEN OF THE SOUTH” SEASON 3 Director of Photography: Abe Martinez Operators: Garrett Benson, Todd Baron, Janine Sides Assistants: Kris Hardy, Brandon Margulies,

MAY 2018

Paul Armstrong, John Metcalfe, William Dicenso, Noe Medrano, Scott Reese Steadicam Operator: Garrett Benson Steadicam Assistant: Kris Hardy Loader: Matt Aines Utility: Kyle Novak

Operators: Glenn Shimada, Travers Hill, Lance Billitzer, Eddie Fine Assistants: Adrian Licciardi, Jeff Goldenberg, Alec Elizondo, Clint Palmer, Jason Herring Utilities: Dan Lorenze, Sean Askins Video Controller: Kevin Faust Digital Imaging Tech: Derek Lantz

SID & MARTY KROFFT PICTURES “MUTT & STUFF SPECIALS” Director of Photography: Michael Franks Operators: Robert McCall, Eli Franks Assistants: Richie Fine, Scott Birnkrant, Sean Askins, Meggins Moore, Veronica Davidson, Jason Herring Steadicam Operator: Gavin Ames Digital Imaging Techs: Clifford Jones, Derek Lantz Techno Jib Operator: Devin Atwood

“MARLON” SEASON 2 Director of Photography: Antar Abderrahman Operators: Vincent Singletary, Brian Sweeney, Jeff Miller, Kevin Haggerty Assistants: Jeff Johnson, John Weiss, Lisa Anderson Digital Imaging Tech: T. Brett Feeney Camera Utilities: Selvyn Price, Lance Mitchell Video Controller: Ed Moore

UNIVERSAL “GOOD GIRLS” SEASON 1 Director of Photography: Jerzy Zielinski, ASC, PSC, Robert Altman Operators: George Bianchini, SOC, Keith Peterman Assistants: Bret Lanius, Louis Smith, Agnes Rodriguez-Sebek, Marc Casey Steadicam Operator: George Bianchini, SOC Steadicam Assistant: Bret Lanius Digital Imaging Tech: Paul Schilens Loader: George Zelasko Digital Utility: Tyler Latham “LIKE FAMILY” PILOT Director of Photography: Gary Baum, ASC

VAULT PRODUCTIONS, LLC “VAULT” Operators: Tom Fitzgerald, Lisa Sene Assistants: Nolan Ball, Jason Brignola, Richelle Topping, Samuel Lusted Digital Imaging Tech: Chris Woods VOX LUX FILM PRODUCTION, LLC “VOX LUX” Director of Photography: Laurie Crawley Operator: Sam Ellison Assistants: Kali Riley, Doug Durant, Ryan Nocella, Bayley Sweitzer Loader: Josh Bote Still Photographer: Atsushi Nishijima WARNER BROS. “BLINDSPOT” SEASON 3

Kino Flo 2840 North Hollywood Way, Burbank, CA USA

“GOTHAM” SEASON 4 Directors of Photography: Crescenzo Notarile, ASC, Scott Kevan Operators: Alan Pierce, James Gucciardo, Gerard Sava Assistants: Braden Belmonte, George Tur, Gavin Fernandez, Maria Gonzales, Brendan Russell, James Schlittenhart Digital Imaging Techs: Ted Viola, Rob Strait Loaders: Ken Martell, Austin Restrepo Still Photographers: Elizabeth Fisher, Cara Howe, Jeff Neumann, Nicole Rivelli, Christopher Saunders, JoJo Whilden “LETHAL WEAPON” SEASON 2 Directors of Photography: David “Mox” Moxness, ASC, Andy Strahorn Operators: Victor Macias, Robert Givens Assistants: James Rydings, Kaoru “Q” Ishizuka, Troy Blischok, Kelsey Castellitto Digital Imaging Tech: Mike DeGrazzio Digital Utility: Spencer Shwetz Technocrane Operators: Colin Michael West,

Chad Eshbaugh Remote Head Tech/Operator: Jay Sheveck Still Photographer: Ron Jaffe “LUCIFER” SEASON 3 Directors of Photography: Christian Sebaldt, ASC, Tom Camarda Operators: Kenny Brown, Eric Laudadio Assistants: Ryan Pilon, Nathan Crum, Rob Magnano, Jason Kinney Digital Imaging Tech: John Reyes Digital Utility: Bryce Marraro Still Photographers: Ron Jaffe, John P. Fleenor, Michael Desmond “MACGYVER” SEASON 2 Directors of Photography: Gabriel Beristain, ASC, Mike Martinez Operators: Mark Moore, Greg Faysash, Paul Krumper Assistants: Al Cohen, Kate Roberson, Trevor Rios, Stefan Vino-Figueroa, Mike Torino, Danny Vanzura Steadicam Operator: Mark Moore Digital Imaging Tech: Greg VanZyck Digital Utility: Anna-Marie Aloia Publicist: Kathleen Tanji “MOM” SEASON 5 Director of Photography: Steven V. Silver, ASC Operators: Cary McCrystal, Jamie Hitchcock, Larry Gaudette, Candy Edwards Assistants: Meggins Moore, Nigel Stewart, Damian Della Santina, Mark Johnson, Benjamin Steeples Camera Utilities: Alicia Brauns, Andrew Pauling Video Controller: Kevin Faust Digital Imaging Tech: Robert “Bob Z” Zeigler Publicist: Kathleen Tanji

“THE BIG BANG THEORY” SEASON 11 Director of Photography: Steven V. Silver, ASC Operators: John Dechene, Richard Price, SOC, Jamie Hitchcock, Brain Armstrong Assistants: Nigel Stewart, Chris Hinojosa, Steve Lund, Meggins Moore, Benjamin Steeples Camera Utilities: Colin Brown, Jeannette Hjorth Video Controller: John O’Brien Digital Imaging Tech: Robert Zeigler Publicist: Kathleen Tanji “THE KOMINKSY METHOD” SEASON 1 Director of Photography: Anette Haellmigk Operators: Colin Hudson, Bonnie Blake, Tom Fraser Assistants: Matt Stenerson, Jose De Los Angeles, Simon Jarvis, Jihane Mrad, Andy Sydney, Kara Rittenhouse Digital Imaging Tech: Dane Brehm Camera Utility: Farisai Kambarami Digital Utility: Richie Fine Crane Operator: Corey Checketts Head Tech: Rodney Sandoval WOODBRIDGE PRODUCTIONS “BETTER CALL SAUL” SEASON 4 Director of Photography: Marshall Adams Operators: Paul Donachie, Matt Credle Assistants: Chris Norris, Cherilyn Barnard, Rob Salviotti, Dorian Blanco Digital Loader: Jesse Heidenfeld Digital Utility: Kyle Jacobs Still Photographer: Nicole Wilder

MAY 2018

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Directors of Photography: Andrew Priestley, Jon Delgado Operators: Pyare Fortunato, Peter Ramos, John Romer Assistants: Andrew Smith, Aleksandr Allen, Liz Singer, Christian Bright, Kyle Clark, Deborah Fastuca Steadicam Operator: Pyare Fortunato Digital Imaging Techs: Chloe Walker, Jeff Cirbes Loaders: Kjerstin Rossi, Brian Grant Still Photographers: Phil Caruso, Elizabeth Fisher, Zach Dilgard, David Giesbrecht, Linda Kallerus, Eric Liebowitz, Jeff Neuman, Barbara Nitke, Christopher Saunders, Peter Zimmern

www.kinoolo.com

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CREW PHOTO: #JOSH

L to R: (Standing) Lead actor Joshua Jean Baptiste, A Camera Second AC Sean Lunski, A Camera First AC Stephen Ciffone, B Camera Second AC Willem van Vark, B Camera First AC Abdiel Thorne (Sitting on dolly) Director Edson Jean , DP Daniel Fernandez, A Camera Operator Cesar Chacon / Photo credit: Jeff Daly, Local 600 Photographer

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COMMERCIALS

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A WHITELABEL PRODUCT “DUNKIN’ DONUTS” Director of Photography: Martin Ahlgren Assistants: Rick Gioia, Peter Morello, Jeff Taylor, Nate McGarigal Steadicam Operator: Alec Jarnagin Digital Imaging Tech: Bjorn Jackson BOB INDUSTRIES “BOB INDUSTRIES” Director of Photography: Kristian Kachikis Assistants: Robert Ragozzine, Dan Keck Digital Imaging Tech: Jeff Flohr B-REEL FILMS “AMICA” Director of Photography: Stoeps Langensteiner Operator: Michael Merriman Assistants: Lila Byall, Eric Matos Digital Imaging Tech: Stan Paik CMS “CKI” Director of Photography: Benoit Delhomme Assistants: Peter Morello, Nate McGarigal Digital Imaging Tech: Jeff Flohr “THE NORTH FACE” Director of Photography: Rob Hauer Assistant: Tiffany Aug Digital Imaging Tech: Fracesco Sauta

MAY 2018

COMPANY FILMS “RUBY TUESDAY” Director of Photography: Igor Jadue-Lillo Assistants: Ryan Rayner, Noah Thomson Digital Imaging Tech: Bret Suding COMPULSIVE PICTURES “THE FAMILY” Director of Photography: Jeff Dutemple Assistants: Joe Metzger, Jonathan Monk CONCRETE + CLAY “TOYOTA” Director of Photography: Jesse Green Operator: Vincent Vennitti Assistants: Nina Chien, Sam Elliot, Mitch Malpica Digital Imaging Tech: Tyler Isaacson CONTRAST EYE “RAM” Director of Photography: Paul Meyers Assistants: Jeph Folkins, Lucas Deans, Aaron Kirby Digital Imaging Tech: Fabricio DiSanto FANCY “HONDA” Director of Photography: Tim Hudson Assistants: Erik Stapelfeldt, Daisy Smith Digital Imaging Tech: Eric Yu FREE MARKET FILMS “THE HOME DEPOT” Director of Photography: Maz Makhani

Assistants: George Hesse, Dan Taylor Digital Imaging Tech: Dean Georgopoulos GENTLEMAN SCHOLAR “EXXONMOBIL” Director of Photography: Steve McGehee Assistants: Rick Gioia, Kyle Repka Digital Imaging Tech: Robert Cauble HB COLLECTIVE “GATORADE” Director of Photography: Max Goldman Operator: Matt Baker Assistants: Ethan McDonald, Tobin Oldach, John Veleta, Marcus Del Negro Digital Imaging Tech: Erica McKee HEY WONDERFUL “BURGER KING” Operators: Tom Greco, Chong Pak, Ian Duffy, David Schwartz Assistants: Jim Mayfield, Leon Sanginiti, Michael Leonard, Dustin Raysik, George McCartin, Sean Galczyk Digital Imaging Tech: Mariusz Cichon, Joe Belack HIGH NOON ENTERTAINMENT “AMERICA UNTOLD” Operator: Rob Macey HOUND “DIGIORNO” Director of Photography: Kai Saul Assistants: Shaun Mayor, Jordan Martin Digital Imaging Tech: Tom Heigl

HUNGRY MAN “GEICO” Director of Photography: Adam Beckman Operator: Michael Berg Assistants: Peter Morello, Rick Gioia, Nate McGarigal Digital Imaging Tech: Joe Belack ICONOCLAST “DH” Director of Photography: Matias Boucard Assistants: Rick Gioia, Marvin Lee, Jordan Levie Steadicam Operator: Maceo Bishop Loader: Jeff Taylor MERMAN “RALPH LAUREN” Director of Photography: Nicola Marsh Operator: Laela Kilbourn Assistants: Laura Nespola, Sarah Hendrick, Katie Waalkes Digital Imaging Tech: Malika Franklin O-POSITIVE “AICP” Director of Photography: Adam Kimmel Operator: Ian Clampett Assistants: Eric Matos, Sooz Edie “E ENTERTAINMENT” Director of Photography: Adam Kimmel Operator: Ian Clampett Assistants: Ian Congdon, Tim Clarke, Jeremy Cannon Digital Imaging Tech: Nina Chadha

“THE ATLANTIC X HBO” Director of Photography: Maryse Alberti Operator: Michael Berg Assistants: Nina Chien, Mitch Malpica, Sam Elliot Digital Imaging Tech: Paul Schilens

“WILDCAT” Director of Photography: James Laxton Operator: Aaron Medick Assistants: Robert Ragozzine, Dan Keck Camera Utilities: Ron Travisano, John Harkins Phantom Tech: Jeff Flohr

PULSE “TOYOTA PRIUS” Director of Photography: Autumn Durald Operator: Josh Medak Assistants: Chris Strauser, John Parson Digital Imaging Tech: Lonny Danler Jib Arm Operator: Rob Rubin Remote Head Tech/Operator: Yuriy Fuks

RSA “INDIAN MOTORCYCLES” Director of Photography: Sal Totino Assistants: Andrae Crawford, Lucas Deans, Seth Peschansky Digital Imaging Tech: Francesco Sauta Tead Tech: Willis Chung

PSYOP “CRICKET” Director of Photography: Igor Jadue-Lillo Assistants: Ryan Rayner, Noah Thomson Digital Imaging Tech: Bret Suding RADICAL MEDIA “AUDIBLE” Director of Photography: Maryse Alberti Operator: Luke McCoubrey Assistants: Nina Chien, Walter Rodriguez, Sam Elliot, Mitch Malpica Still Photographer: Emily Aragones “HONDA” Director of Photography: Eric Schmidt Operators: Ross Coscia, Ian Clampett, Robert Arnold, Chris Bottoms Assistants: Lila Byall, Kira Hernandez, Bill Robinson, Dan Hanych, Yen Nguyen, Ryan Monelli Digital Imaging Tech: John Spellman

RAUCOUS CONTENT “BUDLITE ANHEUSER BUSCH” Director of Photography: Eric Zimmerman Operators: Twojay Dhillon, Trey Clinesmith Assistants: Steve Mattson, Matt Blea, Erik Stapelfeldt, Lauren Gadd, Neal Morell Digital Imaging Tech: Casey Sherrier SIBLING RIVALRY FILMS “LEXUS” Director of Photography: Paul Meyers Assistants: Lucas Deans, Noah Glazer Digital Imaging Tech: Rohan Chitrakar SMUGGLER “BAI” Director of Photography: Andrij Parekh Operator: Geb Byers Assistants: Stanley Fernandez, Malcolm Purnell, Brett Checkelsky, Chris Eng Digital Imaging Tech: Mariusz Cichon “PROGRESSIVE” Director of Photography: David Jones Assistants: Ethan McDonald, Marcus Del Negro

MAY 2018

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Technocrane Operator: Chris Dickson Remote Head Tech/Operator: Christian Hurley

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Digital Imaging Tech: Daniel Applegate SOMOROFF STUDIOS “RED LOBSTER” Director of Photography: Michael Somoroff Assistants: Tom Bracone, David Flanigan Digital Imaging Tech: David Berman Phantom Tech: Steve Romano, Ed Richardson SOS FILMS “GRISHAM FOR GOVERNOR OF NEW MEXICO” Director of Photography: Jim Simeone Assistant: Lane Luper Drone Operator: Luke Davis SPARE PARTS “JCS LAUNCH” Director of Photography: Chuck Ozeas Operator: Brant Fagan Assistants: Al Rodgers, Alan Wolfe, Yayo Vang, Eric Lichtenstein Digital Imaging Tech: Paul Schilens Head Tech: Lance Rieck Crane Tech: Junction Wen SUPERLOUNGE “CHRYSLER STREET SMARTS 2.O” Director of Photography: Michael Svitak Assistants: Darin Necessary, Noah Thomson Digital Imaging Tech: Pat Paolo “SCOTTER 4” Director of Photography: Michael Svitak Assistants: Mark Santoni, Grace Thomas Digital Imaging Tech: Pat Paolo

2ND UNIT Director of Photography: Michael Merriman Assistants: Bill Robinson, Ryan Monelli Digital Imaging Tech: Steve Harnell SUPPLY & DEMAND “API” Director of Photography: Steve Gainer BTS Director of Photography: Rob Macey Assistant: Jonathan Goldfisher Digital Imaging Tech: Nate Kalushner TASTE IN MOTION, INC. “PAPA JOHN’S” Director of Photography: Thomas Schauer Operator: Paul Goroff Assistant: John Clemens Digital Imaging Tech: Joe Belack THE ARTIST’S COMPANY “GARRETT’S DANCE” Operators: Rick Sarmiento, Charlie Libin, Peter Vietro-Hannum Assistants: Chris Del Sordo, Jim Hair, Walter Rodriguez, Daniel Fiorito, Sam Elliot, Sarah May Guenther, Matt Degreff Digital Imaging Techs: Anthony Hechanova, Tyler Isaacson Loader: Billy Holman Libra Tech: Sean Folkl

TOOL OF NORTH AMERICA “HP” Director of Photography: Emmanuel “Chivo” Lubezki, ASC, AMC Assistants: Stanley Fernandez, Chris Eng Digital Imaging Tech: Arthur To UNTITLED “NESPRESSO” Director of Photography: Phedon Papamichael, ASC Assistants: Adam Gonzalez, Dante Corrocher Digital Imaging Tech: Jeff Flohr Ultimate Arm Crane Operator: Michael Nelson Ultimate Arm Tech: Mike Indursky WONDROS “BANK OF AMERICA” Director of Photography: Paul Ryan Assistant: Peter Morello Digital Imaging Tech: Robert Cauble Z TRIBECA “WOMEN IN NEED-WINNYC” Director of Photography: Derek McKane Assistant: Robert Ragozzine Digital Imaging Tech: Mariusz Cichon

THE CORNER SHOP “U.S. CELLULAR” Director of Photography: Corey Walter Assistants: Lucas Deans, John Parson Digital Imaging Tech: Erica McKee

SUPER PRIME “UNDER ARMOUR” Director of Photography: Jody Lee Lipes Operator: Josh Medak Assistants: Mark Santoni, Noah Thomson Digital Imaging Tech: Steve Harnell

TESSA FILMS “T-MOBILE” Director of Photography: Wyatt Troll Operaor: Michael Merriman Assistants: Garret Curtis, Peter Parson Digital Imaging Tech: Raffaele Vesco

//////PRODUCTION CREDITS

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ARRI 5 Backstage Equipment 80 Blackmagic 15 Chapman Leonard 11 Cinegear Expo 4 Cinemoves 9 CL Enterprises 13 Cooke Optics 21 CW Sonderoptic 39 DJI 32 ECA Awards 91 Elation Lighting 7 Fiilex 29 Filmotechnic 23 Fujinon 17 JL Fisher 81 Kino Flo 85 MBS 87 NBC Universal Lightblade 36 Panasonic 19 Produced By Conference 77 Quasar Science 83 Schneider Optics Teradek 2,3,92 Warner Bros Photo Lab 82 Zeiss 27

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MAY 2018

89

[stop motion]

TYLER GOLDEN

FOR THIS SPECIAL JURASSIC WORLD SET OF AMERICAN NINJA WARRIOR, THERE WAS EXTRA EXCITEMENT IN THE AIR AS WE PREPPED FOR A PHYSICALLY DEMANDING OVERNIGHT SHOOT. THERE WERE MORE THAN 15 CAMERAS COVERING THE COURSE, SO AWARENESS WAS KEY. I WAS SURROUNDED BY AT LEAST THREE CAMERAS AS WE SPRINTED AHEAD OF EACH CONTESTANT TO COMPOSE FOR THE NEXT SHOT. RUNNING WITH CONTESTANT AFTER CONTESTANT WITH GEAR WAS EXHAUSTING, BUT THE LIGHTER WEIGHT OF THE MIRRORLESS SONY A9 AND THE MIRRORLESS FUJIFILM X-T2 MADE IT MORE MANAGEABLE. FOR EVERY RUN, I MADE IT A POINT TO BREAK OUT OF MY RHYTHM TO SHOOT AN ANGLE LIKE THE ONE PICTURED HERE. AS I MOVED TO THE SIDE TO CAPTURE THIS MOMENT, I WAS STRUCK BY THE DIFFERENCE IN SIZE OF THE CONTESTANT AND THE T. REX, EVEN THOUGH THEIR STRENGTH AND FIERCENESS FELT THE SAME. 90

MAY 2018

LOS ANGELES

Sunday, September 30, 2018 Directors Guild Theater / 5pm

NEW YORK CITY

Sunday, October 28, 2018 SVA Theatre / 3pm

ATLANTA

Sunday, November 4, 2018 SCADshow / 3pm

CHICAGO

Sunday, November 4, 2018 The Logan Theatre / 3pm

www.ecawards.net