ICG Magazine - May 2019 - Regional Spotlight by ICG Magazine

ICG MAGAZINE

May 2019 / Vol. 90 No. 4

THE RED LINE RUSSIAN DOLL -- TRINKETS

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CONTENTS REGIONAL SPOTLIGHT May 2019 / Vol. 90 No. 4

specials

Safety Heroes .... 62

departments gear guide ................ 14 zoom-in ................ 22 on the street ................ 26 exposure ................ 30 production credits ................ 70 stop motion ................ 82

the red line CBS TV’s new drama, shot by Kira Kelly, visualizes the impact of a police shooting on three different American families.

russian doll DP Chris Teague and a New York-based Guild camera team dive down the “rabbit hole” for Netflix’s absurdist comedy.

trinkets Union production in Portland, OR is second to none, as this new Netflix YA series demonstrates.

44 52

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PRESIDENT'S LETTER //

Parts Unknown I was recently watching a rerun of Anthony Bourdain: No Reservations, with the celebrity chef traveling down the Congo River to a village he had visited 10 years prior. In that first visit, the village of indigenous Congolese people Bourdain visited had just given up cannibalism and was in the midst of a three-day food and alcohol binge that Bourdain was now returning for. So what did he see when his dugout canoe pulled into the village’s dock a decade later? A group of locals now holding smartphones and taking pictures of Bourdain’s arrival! If this type of technological change can come in just 10 years to an isolated village in Africa, what does that portend for the rest of the world? For me, that type of radically disruptive social change will come in the form of 5G networks – not just another technological advancement, but a worldbending change, perhaps as profound as was the printed word. 5G allows for the transfer of digital information in near real time. And it’s not a few years away – some of the major studios will be equipped with 5G networks by this summer. It’s the kind of technological disruption that will create ripples throughout our industry, and directly impact this Guild – now. 5G will allow the digital files our camera teams capture on set to arrive almost simultaneously to postproduction, and to production executives who watch over our work on a daily basis. It will usher in new ways to control and move our cameras and change how we access image files; how multiple cameras are interconnected; communications and the demand for VR (virtual reality), AR (augmented reality), XR (extended reality), motion capture, and volumetric and photogrammetric imaging. Combined with other swiftly moving technologies, 5G will have a profound impact on how we tell our stories. Consider the use of game engines to manipulate the worlds we photograph. Tools like Unity and Unreal, both of which are used across every major game platform on the market, will make going on location, in many cases, a thing of the past. We already are seeing instant compositing on set, with photorealistic 3D worlds that interact with the camera the same way an on-location production would: if the camera moves, the reflections of a puddle on the ground move the same way as in the real world. And let’s be clear: the driving factor behind

these ultrafast networks is not the love of storytelling. Indeed, the companies that will own these networks are more interested in interactive entertainment and e-sports than traditional narrative. Basically, they want to sell bandwidth. There are major entertainment companies building venues like MSG Sphere Las Vegas. Due for completion in 2021, Sphere – a joint venture of MSG (The Madison Square Garden Company) and Las Vegas Sands Corp. (operator of The Venetian, The Palazzo and Sands Expo and Convention Center) – is an 18,000-seat venue with 19,000-by13,500–resolution LED panels spread entirely across the interior as one single massive display screen. All of Sphere’s 18,000 seats will have high-speed Internet access, with sound delivered through the floorboards, and a 360-degree IMAX display on the exterior mirroring the entertainment inside. Performances will be prerecorded, and the audience will be encouraged to share them with the rest of the world. And, remarkably, everyone will be able to hear the performance in his or her own language, without wearing a headset. Maybe concepts like Sphere will succeed, or maybe they won’t. But either way, we are certainly on the precipice of new forms of technology-based entertainment experiences. The rapid development of new capture and display technologies like 360-degree video, computational imaging, VR, AR, XR, motion capture, volumetric imaging, game-engine cinematography, procedural cameras, photogrammetry, stereo holography and the still-distant world of light-field-image capture all contain elements that should fall under the jurisdiction of ICG Local 600. And certainly as this Guild becomes more enlightened about these challenging new technologies, we will be at the forefront of discovery, training, and member preparedness. Our frontiers are not limited to traditional entertainment, sports and news; we must embrace the creation of all visual experiences. After all, those indigenous peoples pointing smartphones at Anthony Bourdain on his return trip had a completely different weapon in their hands just 10 short years before. In the end, which do you think is more powerful?

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

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May 2019 vol. 90 no. 04

Publisher Teresa Muñoz Executive Editor David Geffner Art Director Wes Driver EDITORIAL ASSISTANT Tyler Bourdeau STAFF WRITER Pauline Rogers ACCOUNTING Glenn Berger Dominique Ibarra COPY EDITORS Peter Bonilla Maureen Kingsley CONTRIBUTORS David Geffner Margot Lester Allyson Riggs Pauline Rogers

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

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

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WIDE ANGLE //

ast month in this department, I raved about the Hawaii-based Local 600 camera crew working on Magnum P.I., our April cover story. That New Technology issue highlighted leading-edge workflows, key to the Pacific Island–shot series. But with this May Regional Spolight issue, we get to officially showcase production cities across this Guild that, like Hawaii, don’t get as much love as they deserve. Those bright rays begin with The Red Line (page 34), whose pilot was shot by Marvel TV veteran Manuel Billeter and its 7-episode first season by Kira Kelly (“KK,” as her Instagram fans call her). As its title suggests, The Red Line takes place in Chicago, a city with not only a great batting average of hits – Shameless, Chicago Fire, Empire, and Mike & Molly are recent examples – but also one that makes safety (see Red Line’s sidebar, page 42) a huge priority, i.e., crews shooting on an active railroad. I love KK’s work for many reasons (see East Los High, ICG September 2016 and Generation NEXT, ICG December 2017), but with The Red Line, executive produced by Ava DuVernay and centered on the shooting death of a black physician by a white policeman, and its aftermath in three different families, KK is able to marry her substantial photographic talents to a subject of true social power and significance. Working with Producing Director Kevin Hooks (Exposure, page 30), she created a different look for each family’s journey – unsettling handheld for the shooter (Noel Fisher), rigid and fixed frames for the grieving husband (Noah Wylie) and adopted daughter (Aliyah Royale), and a loose and free Steadicam for her birth mother (Emayatzy Corinealdi), who has rising political ambitions. Once the characters began to intersect, Kelly says she had “to figure out whose scene it was, with the answer being whoever had the most power.” Thankfully, finding that core came much easier with the support of a Chicago-based camera team that included A-Camera Operator Scott Thiele; A-Camera 1st AC Jason Bonner; A-Camera 2nd AC Nina Pilar Portillo; B-Camera

Operator/Steadicam Blaine Baker, SOC; DIT John Waterman and Unit Photographers Parrish Lewis (First Look, ICG June/July 2018) and Elizabeth Morris. (There were many other Local 600 members in Chicago who day-played and/or worked on the pilot.) Okay, so you’re thinking a story about a Chicago TV show in a regional-diversity issue is a no-brainer; but what about the hard-working union members on a new Netflix show called Trinkets, shot entirely in Portland, OR? With just a few past hits to their credit – most notably Leverage, Grimm, and Portlandia – Rip City crews take a backseat to no one. As Trinkets B-Camera operator/2nd Unit DP Shawn Sundby shares in the article: “Most of the [Portland] crews came from a made-for-TV or narrative film background back in the early 1990s, and that knowledge has filtered down. We’re all storytellers, and I think DP’s and directors who come to shoot [from somewhere else] really love that level of talent and efficiency.” Trinkets DP Jason Oldak (Casual, Sword of Trust) and Director Sara St. Onge (who helmed four episodes) certainly did. They were the rare L.A. birds on-set, enticed by Portland’s famous cloud cover, which creates, as Gaffer Neil Holcomb, a 30-year Northwest resident describes, “a giant softbox” in the sky, “with many moods and looks, depending on the angle of the sun and the layer of clouds.” Clouds, of course, bring rain – a big concern for Oldak, who says he was put at ease by his department’s local knowledge of how not to let the frequent wet stuff impact the schedule. But even busy L.A. filmmakers like Oldak and St. Onge were not quite prepared for the unique family vibe of Portland’s tight-knit Guild team, which included A-Camera Operator/Steadicam Gary Camp, B-Camera Operator Shawn Sundby, B-Camera 1st AC Eric Macey, B-Camera 2nd AC Rodrigo Melgarejo, DIT John Spellman and Still Photographer Allyson Riggs. In fact, St. Onge became so “obsessed” (her word) with the PDX, she came home and promptly rewrote her next series to take place in Portland! “I have to go back and do another series with that crew,” she told me. “They are amazing.”

CONTRIBUTORS

Pauline Rogers

(Bound for Glory, Safety Heroes) “This month I was able to write about two topics close to my heart – safety and inclusion. I wish everyone was like those I spoke with for Safety Heroes and The Red Line sidebar, who are proactive and think “safety first” at all times. It’s devastating to hear of close friends dying because of an unsafe prop gun or an illprepared stunt. Talking to the diverse camera crew on The Red Line gives me hope that stories about women and people of diverse backgrounds – once controversial – will be more prominent moving forward. We all need to keep pushing the envelope – I know I will at ICG Magazine!

Allyson Riggs

(Pick-Me-Up, Stop Motion) “It’s wonderful to have a show like Trinkets choose to film in Portland. We may have a smaller market up here, but there’s a fantastic crew base in the Pacific Northwest, and much of it is made up of strong camerawomen (like me!) who are exceptional at their crafts, and very proud members of Local 600.”

ICG MAGAZINE

David Geffner

Executive Editor

Twitter: @DGeffner Email: david@icgmagazine.com

May 2019 / Vol. 90 No. 4

THE RED LINE RUSSIAN DOLL -- TRINKETS

Cover photo by Elizabeth Morris

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atherine Greene is from a town that is literally four square miles in size – Cave City, Kentucky, home of incredible caves, hiking trails, and beautiful views. Did it feed her creative mind? Probably. Greene dabbled in acting, and played with a camcorder, before taking a film course in Hawaii – Kailua-Kona, a long story that took ten years to develop – where she got hooked on cameras and lighting. For a few years, Greene freelanced, but she considers working on The Hunger Games: Mockingjay – Part 2 her first real paycheck in the industry.

“I remember standing on a stage set looking in the doorway, trying to be available,” she recounts. “I hadn’t really noticed, but Donald Sutherland was sitting nearby. He looked at me and asked, ‘What do you do?’ I was embarrassed to talk to him and said, ‘I’m a PA.’ He said, ‘No. What do you do?’ I was so mortified that it looked like I wasn’t doing anything!” Greene joined Local 600 in 2014, working in various camera-department roles, before becoming a camera operator based out of Atlanta, GA. As a utility and 2nd AC, she not only created a union family for support, but

she also learned how to do things – the right way. “One of the best last-minute decisions of my life was taking the operator class in Chicago a couple of years ago,” Greene shares. “Holding a camera on set is far less stressful than practicing in front of a group of peers, but I survived. The Tiffen Steadicam course and the SOC operator class were fun – and I learned a lot that helps me today.” Greene brings an upbeat attitude to everything she does, which has helped turn day-playing jobs into something more. Doing insert shots on IFC’s Brockmire, she was able (cont'd on page 24)

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to join the main unit for the last part of the day. “Some of the guys in charge were so apologetic,” she laughs. “I think they were embarrassed to be talking to a woman about what they were shooting [watch Season 3 for more details], but I assured them it is my chosen profession and I was there to do my job. I wasn’t embarrassed.” Greene also went back to shoot for Brockmire the last day in Alabama, extending her support network and a crew she hoped to work with again. She says the 2017 Universal Pictures release, American Made, was the hardest show she’s worked on. “Intense creatives and ready to change gears in a moment,” Greene explains. “Most days were over 100 degrees, and I lost 15 pounds – and was solid muscle. That camera team was amazing – watching César Charlone and Chris McGuire work was inspiring. I became more conscientious of my handheld stance so that the shots are clear and I can move with the action.” B-Camera operating for a day on Black

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Lighting, with DP Michael Watson and Director Jeff Bird, was like “working with friends, although we had just met,” she remembers. “I got to go up in my first lift to get a fun shot of Black Lightning taking out the bad guys. Watching Steadicam operator Rick Schutte nail a full 360 rotation in one take – with no practice – was very cool.” Greene says it’s an exciting time to be a camera operator. “Holding a camera is the most natural thing in the world. I plan on working hard until I can be the best at this craft.” One important concern, she says, is to be surrounded by industry peers who really want to improve the care of workers. “I would love to see a union-created position equivalent to a camera PA – so many shows need them and want them, and it is not sanctioned – yet. I think creating such a position is possible and could answer a lot of needs.” Greene is also vocal about how to become good at what you do, which she attributes to

all the training she’s received over the years. “The first guys I worked for had higher demands than most, but they taught me some really good habits,” she adds. “I learned that it’s not only important for you to get to know your own position’s duties inside and out – but also the positions of those around you. I also learned it’s okay to recognize you can’t know everything right away, and that it’s good to ask questions. It’s much less helpful if you don’t ask and do the wrong thing.” The operator says that while learning from peers and mentors is essential, so is charting your own path. “I tell people not to be afraid to step out and when necessary, step up,” she concludes. “It can be scary and hard, but there are always friends and family who will support you along the way – and you will get there. I have been an operator for two years and finally got my first full feature last fall as A-Camera. Honestly, it was really inspiring and felt good.”

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“O

ur careers are driven by relationships and are dependent on learning from others as part of a team-building, constantly changing production community,” describes Washington, D.C.-based operator Sheila Smith, whose credits include everything from day-playing on Really Love, Veep and The Wire, to doing independent features, documentaries and dance videos. Her other passion? Bringing more young women into the camera and lighting departments. Smith credits her own mentors for her drive to pay it forward. “If it weren’t for Garrett Brown and Ted

Churchill,” she shares, “I wouldn’t have been able to integrate Steadicam into my work. I also credit camera operating classes with Rob Draper, ASC, and working with DP’s like Uta Briesewitz, ASC, Dave Insley and Jendra Jarnagin. I’ve also learned from the best gaffers – Bob Waybright, Louise Hernon, Mike Yoder and Mike Wilson.” Smith’s first big break was from a news director at the ABC affiliate in Kansas City who brought her on as vacation relief, and launched her career as a production camera operator. Smith says she will meet with anybody who wants to have coffee or interview her for their school projects. “I’ve

spoken to schools to show young girls that being a camera person is something they can do,” she recalls. “It’s fun, and if they are willing to work hard, they can earn a living doing what they love.” Smith also gives seminars through Women in Film and Video in D.C. on Steadicam operating, lighting and cameras to help encourage young people to follow their dreams through hands-on-experience. “Whenever possible, I try to hire women as operators or production assistants,” she continues. “If anybody wants to come over and try on my Steadicam, they get a free lesson, practicing with my rig in a private, (cont'd on page 28)

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non-intimidating environment.” And this varied approach to mentorship is working. Producer-to-be Izzy Atlyah was part of a 20-year-long oral-history project at St. Andrew’s Episcopal school before she connected with Smith. Her assignment was to interview a DP about changing digital technologies. “Ms. Sheila has become a mentor to me, and her life and career advice has been invaluable,” Atlyah now shares. “If she hadn’t spent long and dedicated time and worked hard on our project, I wouldn’t have been able to write this 80-page paper on my lifelong passion, and I wouldn’t have absolutely loved my project. Her thoughtful insights and experiences made my project and my absolute favorite school experience. She is an inspiring woman and made me believe that if my dream is to be a producer, and I work at it hard enough, it will come true.” “Izzy’s project won the honor of being presented to her school,” Smith says proudly. “And she’s been accepted to UCLA for a screenwriting and entertainment business program.” Others tell similar tales. Emily Wathen sought Smith out at a Women in Film and Video seminar. “I was looking for a female DP to talk to about navigating the industry and how to keep elevating my work,” Wathen explains. “Sheila is open about her experiences and easy to talk to. I was immediately comfortable asking her anything, and she is always game to listen and offer practical advice. It’s motivating and inspiring to have an example like Sheila, who is local and accessible, and out there doing it. There’s no

guidebook or roadmap to a career in film. It can be daunting, so talking to someone who has ‘been there and done that’ can be really valuable.” Smith says she gets tremendous satisfaction watching those she has mentored grow in the industry. “Emily is a documentary filmmaker, photographer and visual journalist working for the Environmental Working Group,” she explains. “Every time we meet for coffee, I hear more about her work. She’s even come over and tried on my Steadicam to become confident in using another tool to do what she loves.” Dominique Marro reached out to Smith about seven years ago, after Marro had finished the five-week cinematography residency at the Maine Photographic Workshops, which sparked an interest in Steadicam. They kept in touch, even when Marro broke off her career to concentrate on stunt work. “When Sheila facilitated an awesome cinematography series last year through Women in Film and Video, I attended,” Marro says. “It was inspiring to meet and learn from other professional women in many of the technical fields of film production. “Through influences from Sheila, and the classes she’s helmed, I’ve learned a valuable lesson that brings stunt and camera together,” Marro adds. “I realize how important it is for the camerawork to be choreographed and designed intricately with the action, performers, and story. Integrating camera, choreography, performance, sound design, and editing, I believe, are all essential to creating a successful action-based project.”

Recently Marro decided to return to practicing Steadicam with Smith. The two are looking at working together on a women’s roller derby documentary this year. “Young people entering this industry need to see that a woman can do our job and be successful,” Smith insists. “The production world is one of the slowest industries to include women and minorities, and that needs to change. I’ve seen some progress for women DP’s, but it’s been slow. Young women need to be mentored by other women to give them the encouragement they need and to show by example how they can succeed.” Smith says she talks to those she mentors about everything – career choices, best practices, how to get work, how to physically operate, anything they have questions about. “I try to give them concrete examples of ways I operate that can make it easier for them and encourage them in all aspects of their work, including reminding them of the importance of staying physically fit and ways they can gain clients’ confidence,” she adds. For Smith, it isn’t necessarily about apprenticeship, as she doesn’t consider herself responsible for the careers of those she touches. “It’s really just about helping anyone I can and keeping in touch with some women over the years to see how their careers are going,” she concludes. “The film community, especially in our Washington/ Baltimore region, is a close-knit family, and I feel almost everyone is very friendly and encourages others to succeed. I am still learning from others above me, and I hope I am helping the next generation in a meaningful way.”

“It’s really just about helping anyone I can and keeping in touch with some women over the years to see how their careers are going.”

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EXPOSURE

Kevin Hooks PRODUCING DIRECTOR BY PAULINE ROGERS PHOTO BY ELIZABETH MORRIS

At 12 years old, Kevin Hooks was nominated for a Golden Globe for Best Newcomer in the landmark African-American film, Sounder (1974). At 14, Hooks was able to speak with Al Pacino, whom he met working on his father’s series, NYPD, about acting, and saw (in person) Marlon Brando’s bold Oscar moment in sending out a Native American woman to accept his award for The Godfather. Hooks’ three-year stint on White Shadow was the longest he’s lived with a single character, and he says it was his friendship with series creator Bruce Paltrow that steered him toward a career in directing, rather than acting.

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Clearly it was the right choice, as in the last three decades, Hooks has won a Prime Time Emmy for Outstanding Children’s Programming (The Color of Friendship) and been nominated for a DGA Award for the 2003 Sounder miniseries and four Image Awards (Madiba, Last Resort, Drop Dead Diva and Lincoln Heights). His involvement with the Ava DuVernay-produced CBS drama series, The Red Line, has allowed him to do what he likes best – work closely with actors on a personal story and collaborate with a talented DP (in The Red Line’s case, Kira Kelly) to elevate broadcast TV into mustsee status. ICG: What were some of your favorite roles as an actor? Kevin Hooks: Sounder, because it was life-changing. I came of age in that film in so many ways, as a character or living with a character. Working with Cicely Tyson and Paul Winfield was a master class in acting and subtext. They were superb at speaking an unspoken language with their expressions. One other role that has been significant was a guest spot on Ossie and Ruby! We did a recreation or dramatization of the Langston Hughes play Thank You Ma’am, where a boy tries to steal a woman’s purse to buy a pair of blue suede shoes. The woman overpowers him, takes him to her home, and teaches him life lessons. In that project, Ruby taught me how to be patient as an actor, to let the moments happen and develop before you play them. What was it like being a young black man stepping behind the camera as a director? One day on White Shadow, Bruce Paltrow asked me what I wanted to do after the show was over. I thought he was trying to tell me we’d been canceled, but he wanted to know my actual career plans. Bruce and MTM Productions were known for fostering talent. And so they offered me all their resources and I began learning to direct. I would go to editing, watch the work on Hill Street Blues, and attend casting sessions and production readings. A year and a half later, I directed the first of four episodes of St. Elsewhere. I was lucky. The opportunities for AfricanAmericans to work as a director were few and far between, but thanks to MTM and Bruce, I became one. As I developed, I would look to directors like Ivan Dixon and Georg Stanford Brown (who won a Best Director Emmy for Roots). They talked to me about opportunities, gave me advice, and told me that attitude is most important to being successful.

E32 XPOSURE

What do you think you bring to a project because you’ve been in front of the camera? I would hope it’s a collaborative environment. It’s vitally important to me that we have a foundation for people to feel comfortable in their creativity. Having been an actor is a bonus – I am able to navigate and anticipate what actors are feeling, their motivations and goals. And, my long experience as a director really helps foster that creativity with the crew – particularly with the camera department, as we make decisions and create a look for a show. As a Producing Director, it also helps to be able to understand and articulate to the cast and crew the ultimate goal for the entire production. It puts everything into perspective – and will help people feel more comfortable and creative. What was one of your most interesting directing jobs? My first thought would be the 2016 six-hour mini-series shot in South Africa, Madiba. It spans over 50 years of Nelson Mandela’s life. It was very challenging in a number of ways. There were the cultural differences – me as an American with a rudimentary understanding of Mandela’s life story. Suddenly, I was in Johannesburg with people who knew Mandela and how he impacted their lives. They were more passionate, collaborating with the actors, with the crew, a lot of them who had met and worked with him in documentaries or promos. This informed us of things we never anticipated. The passion of the South African people and their love for the man took over the project. How has the landscape for AfricanAmerican directors or producers changed in the past few years? It’s been changing for a long time but much too slowly. I feel as though the #MeToo movement has done a lot to shake up the industry and create awareness. It rattled doors and they opened, allowing an enormous amount of people to enter, walk in and show what they have. We are in a place now where there is no going back. Talent abounds in places where we never looked because we, as an industry, didn’t want to look. It’s the best thing that happened to the film and TV business. Looking at the landscape now, as opposed to 10 years ago, it’s a pretty remarkable change. I want to be clear that this is what we should have been doing a long time ago. There really

was no excuse for it. I’m happy to see so many opportunities – new projects – powerfully told stories that are very painful. We’ve crossed over and there is no going back. How did you get involved with The Red Line? [Executive Producer] Ava DuVernay approached me while I was in New York on another project. I read the script and was blown away. I was shocked that this was for network television! The storytelling was so rich and different and honest. It’s exactly why I do what I do, and what I want to be involved with – projects that tell the truth. I thought the honesty of the characters and the human challenges they faced were so relevant, visceral and, most importantly, emotionally accessible for the audiences. The material just spoke to me. What was it like working with a young black female DP in Kira Kelly, who had worked with DuVernay on Queen Sugar and the documentary 13th? It was a master class in lighting and camera. Kira is a perfectionist in every sense of the word. Her ideas are always refreshing. She thinks out of the box. I learned a lot from her about building narratives and really paying attention to detail. We clicked on some of the elements created in the pilot and we had a conversation about how to create a consistency over eight episodes. We clicked on the need to anticipate where stories were going, and we talked about that a lot. The collaborative environment was really well formed as we both wanted to create a different look and visual feel for each family, but with different rules and parameters for each look. We also formed a clear formula for week-to-week movement so that directors who came in would work with the plan and bring their own ideas. Kira was a huge part of that. What’s unique about Kira as a creative partner? Her ability to keep an open mind and learn from everyone was wonderful. Working with her, any idea good or bad influences the thought process, and hopefully you land on something that is constructive and useful, even if it comes from something not quite effective. Kira’s insight into what to do was invaluable because it wasn’t the same kind of things that I had been hearing from other DPs. She has a unique voice. A specific way of working that is incredibly valuable.

Is there a sequence/shot in The Red Line that really stands out for you? There is a moment early on where two of the characters collide at an event and have a conversation. There is a near miss between Noah Wyle’s character (Daniel Calder), and his adopted daughter’s birth mother, Tia Young (played by Emayatzy Corinealdi). Audiences know the trajectory, but the two characters don’t know the history. Emma turns to look at her daughter (played by Aliyah Royale), dancing. We push into her face, and it’s such raw emotion. It’s a revealing beat in the story arc as well in the arcs of these main characters. It’s subtle, but it’s a huge moment in the series, for sure. And the power was only really revealed to me as we were shooting. Seeing Emma’s performance, watching the young lady that she has a connection to, was heartbreaking. It was where the potential of the story was fully proven to me. You have said that today’s technology has impacted more than how we shot but also how we plan – especially in safety? Our infrastructure has gotten so much larger in television, and so our safety measures and awareness have to increase as that technical infrastructure grows. Working with so much more equipment and so many areas of the set that we haven’t looked at before, we have to be

careful about leaving ourselves vulnerable. Today there is more than one video village. I have to be near my monitor. Makeup and so forth have their monitors. Placement of people and equipment isn’t always well thought out for the day, and so we can get naturally complacent. It’s not just planning in the morning where things are going to be but in every part of the day. Where there is too much equipment, it needs to be put in safer areas. This helps the workflow but also avoids a situation that can be dangerous or at least slow us down. What do you see happening in the future? Two exciting things that combine to create one major thing: Young filmmakers are able to tell their stories unencumbered by big budgets or budding networks that have kept voices out for too long. It’s very exciting to see short films or any films on the iPhone or iPad in 4K. It’s probably the best time for these things to come together. The technology and ability for younger filmmakers can now be heard and it benefits audiences in all areas. When I started it was pushing a rock uphill. Now I see a bounty of talent emerging, and I’m really proud and happy to be a part of it. I’m excited to see what will happen over the next 10 years – I hope to be around to be part of it!

“When I started it was pushing a rock uphill. Now I see a bounty of talent emerging, and I’m really proud and happy to be a part of it.”

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CBS TVâ&#x20AC;&#x2122;s new drama, The Red Line, shot by Kira Kelly, visualizes the impact of a police shooting on three different American families.

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GLORY 35

Bringing their play, A Twist of Water, to an episodic series was an exciting challenge for writers Caitlin Parrish and Erica Weiss. The four-character story takes place over a month’s time and is focused on a gay white father and his adopted African-American daughter, in Chicago, attempting to rebuild their lives after the death – from a car accident – of the man’s husband. The pilot and subsequent eight-part series based on the play, led by Executive Producers Ava DuVernay and Greg Berlanti, offered Parrish and Weiss the chance to “rethink the circumstances around the husband’s death in the context of a more relevant national conversation on race and police violence. We could expand the story to include all three families, and the larger picture of Chicago’s divisions and connections in the present day,” the pair explained. The connecting thread and subsequent title of the series was the city’s famous Red Line train. Most notably, Weiss explains, “the inciting death of Harrison Brennan went from offstage to onscreen. And, the circumstances changed from a car crash to a police shooting, which brought a whole new character, Officer Paul Evans, into the story. Rather than meeting Tia Young [the birth mother] at the end of the play, we see her family’s story unfold from the start.” For the pilot, the two turned to Director Victoria Mahoney and Cinematographer Manuel Billeter to create a look that was “simple and elegant, without too many flourishes but with a lushness and palatte that still made it stand out visually from other network dramas,” Parrish explains. “When we went to series with Cinematographer Kira Kelly and Producing Director Kevin Hooks, a more complete vocabulary for the camera was developed,” Weiss adds. “When I came in, two days before the camera and prep, Kira had already chosen her package,” recalls 1st AC Jason Bonner. “ALEXA Minis with Panavision PVintage lenses. We decided not to use filtration, just ND3s and grads to shoot as close to wide open as possible.” “Kira chose detuned Panavision Primos to flesh out the focal length range of the PVintage,” adds DIT

John Waterman. They also used Panavised Angénieux and detuned Primo zoom lenses for exterior work. “The PVintage primes [which are re-housed Ultra Speeds] and the detuned Primos gave us some challenges,” Waterman adds. “The color cast of the lenses varied throughout the set, and even from shot to shot, based on the flaring and lighting kick angle.” Waterman set Kelly’s intended look with CDL adjustments and captured reference grabs for every shot and actor position. He employed a custom Wi-Fi network for camera control on his cart that gave Kelly and him the ability to “tunnel into any camera at a moment’s notice and change any setting,” he explains. “We could use this remote-control ability of each camera’s EI [Exposure Index] to get a quick half-stop exposure adjustment without changing the camera’s iris or depth-of-field.” Digital loader Drew Fulton handled all of the media, downloading, and shuttle drives. “On a television schedule it’s so important to maintain the speed of setups,” Waterman adds. “Working with a digital loader, I was able to devote 100 percent of my time to working with Kira and managing the cameras.” Kelly says she played with a lot of color contrast on set, “and [Company 3 colorist] Dave Hussey was really able to bring that out in the final grade,” she notes. “We were also able to highlight the visual differences in each of the three storylines. I was so pleased to be able to work with an artist like Dave, who does such beautiful work, but can do it at the pace TV demands.” Once the workflow was set, Kelly and Hooks created a different look for each family impacted by the shooting. “We wanted viewers to feel the Calders being immobilized by grief,” Kelly explains. “The Paul Evans story became handheld, emphasizing that he’s

Director of Photography Kira Kelly

“ KIRA CHOSE DETUNED PANAVISION PRIMOS TO FLESH OUT THE FOCAL LENGTH RANGE OF THE PVINTAGE.” DIT John Waterman

unstable, never at peace. And the Young family, alive and vibrant, showed hope and possibility.” To emphasize the grief of Daniel Calder (Noah Wylie) and his daughter, Jira Calder-Brennan (Aliyah Royale), the decision was made to never move the camera, aka “Calder Rules,” which, Kelly says, created some interesting frames. “If someone is walking toward the camera,” she describes, “you have to frame them in such a way that the frame works for their rear position and their closer position without any panning and tilting during their walk. We also maintained as much negative space as possible. I wanted the compositions to show that someone, and something, was missing from their lives. That the emptiness was oppressive.” Adds A-Camera operator/2nd Unit DP Scott Thiele: “Noah’s willingness to embrace Kira’s vision was instrumental in making the whole strategy viable. We would watch a rehearsal, Kira would have the finder with a short zoom on it, searching for the one frame that would provide the setting and space for all of Noah’s actions, often riding the very edge of the frame.” To make sure they didn’t miss the action, the team would put long runs of tape on the ground so that the actors could sight the edge of the camera frame. “We tried to use strong architectural cues and lines to highlight the weight of the family situation, often relegating the characters to the extreme bottom or corners of the frame,” Thiele says. Not being able to adjust the frame posed some challenges, especially for B-Camera/Steadicam

operator Blaine Baker. “I often did these shots on a 125- or 150-millimeter lens,” he explains. “Not a lot of wiggle room for adjustment. Ultimately,” he admits, “these were the most beautiful and unique shots that we were able to create for the show.” “Many of the Calder scenes were day interiors at a school,” adds Gaffer Addae Shelby. “We bounced HMIs into some 12-by-12 or 12-by-20 ultra bounces. We always had two M90s and one 18K Arrimax with an extra layer 12-by-12 diffusion that would work outside when the windows were completely off camera. Inside, we used smaller LED units like S60 SkyPanels and Freestyle 31s through an 8-by-8 diffusion frame. Kira also asked to have overhead tungsten fluorescent fixtures installed and would switch them on or off to taste.” Officer Paul Evans’ storyline was always shot handheld. “Paul is a very unstable character, and never at peace,” Kelly offers. “I love that his frames show this. He was always composed in a very stacked frame, he was squeezed.” “[Evans’] story centers on the shame, guilt, and denial of his role in the death of an innocent man,” Thiele adds. “As he’s pulled between his human decency and desire to preserve his career, he becomes swallowed up in the frenzy. Our handheld was claustrophobic with little headroom, and on the longer end of the lens to compress his world.” Much of Evans’ story was shot in his home and in bars, the latter of which, Shelby says, were lit with Quasar tubes with cyan gel, placed on the ceiling in an 8-by-8 box pattern. “All the tubes never worked at once,” the gaffer describes. “Each was turned on depending on the coverage. On the ground, it was small LEDs through 4-by-4 frames with LCD grids. We almost always had completely different colors and color temperatures working on a character’s face [with the Key being 2700K and other colors filling in the shadows].” In contrast to the Calder and Evans scenes, Jira’s birth mother, Tia Young [Emayatzy Corinealdi] and her family were made to look alive and vibrant. “Definitely a little brighter,” Kelly states, with a lot of crane work. “We were free to move with talent, and find more moments with the camera,” Baker recounts. “We did a fair amount of Steadicam, but we wanted it to emulate clean dolly looks – particularly for the many long walk-and-talks.” To light the Young family, Kelly leaned into softboxes, with ultra-bounce and magic cloth as a front element. “Instead of Duvetyne or black grid cloth to tease the sides, it would be more ultra-bounce material hanging down about 18 inches,” Shelby explains. “They could be raised and lowered between 2700K and 3200K. We would also use some M18 and M40 HMIs bouncing into ultra-bounces through the windows, and small LEDs [Freestyle 31] into 6-by-6 or 8-by-8 diffusion. We used a 6-by-6 softbox on the ground with a 6-by-6 LCD on the front.” Kelly says that once the characters began to appear in each other’s storylines, “we had to figure out whose scene it was, with the answer being

“whoever had the most power.” There are two such moments when Daniel Calder and Paul Evans are at depositions. “In the first, Daniel is more in control, so we shot it using Calder Rules,” Kelly recalls. “The second scene, Daniel loses it, so we shot it handheld and tighter, as we would normally for Paul Evans.” The deposition scene is a good example of how Kelly, Shelby, and Key Grip Randy Garcia exploited soft top-light in the series. “The location was a room with dark wood–paneled walls in the South Shore Cultural Center, where the Obamas were married,” Kelly smiles. “We were on the second floor, and because of the trees outside there was no good Condor placement,” she continues. “So we decided to hang a softbox over the large table.” Rigging Gaffer Dan Gianneschi and Rigging Key Grip Jorge Reyes-Ortiz constructed an aluminumframed softbox that was 18 inches deep and 4×8 feet long. The box was skinned with Magic Cloth and had an ultra-bounce skirt. Inside the box were two 2×8inch LiteTiles. “We had two really long scenes with lots of characters in that space and had to move fast,” Kelly describes. “Randy and his team worked quickly to shape the one overhead source with bounces and negative fill. This ended up being one of my favorite sequences. The actors glowed in the warm, dim top light, and the dark wooden walls fell off into the background beautifully.” According to Thiele (and the series’ other operators), Episode 108 (the last of the season) “encapsulated all the emotions” of working on The Red Line’s camera team. Directed by Thomas Carter, it combined two additional characters and the show’s most powerful visual element – the constantly moving Red Line train. “For that, we broke the Calder Rules,” Kelly shares. “Something pivotal happens to Daniel and Jira Calder that finally breaks them out of this static place of grief. The father and daughter take a walk along the coast of Lake Michigan, toward the famous Chicago skyline. The scene was about two pages long. I was concerned about making it Steadicam because there was so much ice on the pavement. However, it didn’t seem to faze Blaine at all. “We discussed the shot, put down a lot of salt for both Blaine and the cast, and then Blaine proceeded to shoot the most stunning Steadicam shot of the season,” she continues. “The move was perfect and the overcast sky opened up so we could see some beautiful cloud detail and gorgeous glints of morning sunlight on the horizon.” Carter and Kelly also staged a 50-foot Technocrane move that ties character, city, and train together. “We were on the second day/night split of a large interior scene in the South Loop and wanted to jump outside at night to catch the Red Line train heading into the city on the elevated portion of the tracks,” Kelly remembers. “While we were shooting the last interior scene, we broke off the A-body, allowing [1st AC] Jason [Bonner] to bring it to the waiting crane.”

“ WE WERE ON THE SECOND FLOOR, AND BECAUSE OF THE TREES OUTSIDE THERE WAS NO GOOD CONDOR PLACEMENT. SO WE DECIDED TO HANG A SOFTBOX OVER THE LARGE TABLE.” Director of Photography Kira Kelly

EVERYTHING ABOUT THE RAILROAD WANTS TO KILL YOU

Chicago Transit Authority (and The Red Line) consultant Bill Reilly on making safer sets. by Pauline Rogers photo by Elizabeth Morris

“Everything on the railroad wants to kill you, and it’s my job to make sure that doesn’t happen.” That’s exactly how Bill Reilly, a 30-year veteran of the Chicago Transit Authority (CTA) and current consultant on all filming in and around the city’s L-System, including this month’s cover story, The Red Line, starts every scouting, logistics, and safety meeting. Given the series title, viewers will expect Chicago’s famed elevated transit system to be a major part of CBS’s new drama. And, in fact, The Red Line was shot on platforms, in trains and on the street. “They also filmed a scene where a woman is knocked to track level and a police officer jumps down to the track to save her,” Reilly describes. “It’s probably the most interesting and involved sequence – because we were actually on the tracks.” When production notified Reilly about the scene, his first priority was to find a location that could work and a way to get the shot safely. Post tech-scout, Reilly turned his attention to CTA, putting in a request for employees that he knew could handle the workload. “CTA trains run on 600 volts DC, so the power was removed on that section of track,” Reilly explains. Using a “wiggy” (voltage meter), he then demonstrated to the Red Line production crew that the power was off. He then put a “hold” on the power over the radio. This

meant that he would be the only person who could request restoration of power. “I then measured rail height and clearances at track level so a platform could be built over the rails where we were working,” Reilly adds. “Pads for the fall were placed on the platform and, as a precaution, it further isolated us from the third rail – even though the power was off.” Access was restricted to being job-specific. “Each one had to have the proper Personal Protective Equipment (PPE), which in this case was proper foot wear, long pants, and a safety vest. Actors were exempt from safety vests, by the way,” Reilly states. Before anyone who would be going to track level set foot on the location, they had to go through site-specific safety training. They were taught how to walk on the track and step over the rails when needed. “Anyone who could not master the track training procedures or who didn’t bring proper PPE was not allowed on the track,” he adds adamantly. Reilly placed a CTA Flagman at each end so that no one wandered outside the work zone. The track was removed from service and a stop sign and Portable Track Trip (safety device used to stop trains) was installed. He also had a Rail Service Bulletin describing the work and the out-of-service area issued. The towermen at each end and Rail Supervisors were also given

briefings. And the Rail Control Center made periodic announcements over the CTA radios. The ultimate control of any filmed sequence on the CTA line falls to Reilly. “And in the event that the safety procedures are not followed, filming will come to a halt,” he says. “At this time, the infraction would be evaluated, and I would decide with the CTA if filming would be allowed to continue. A blatant violation will cause the person in question to be escorted from CTA property even if filming is allowed to continue. Sometimes there are bets on how many times I will say, ‘Everything about the railroad wants to kill you,’” he laughs, and then gets serious. “But we really do need these film crews to pay attention.” Production needs to know how to capture the story, and CTA has to help make it safe. The railroad needs to know when to hold and release commuters, when to open and close the doors, when to move the train, adjust the speed, stop the train, and pull the train back into the starting position. “It’s all about cooperation,” Reilly describes. “Everything about the Railroad wants to kill you, and it is my job to make sure that doesn’t happen. “See, I did it again!” he laughs. And, yes, Bill, The Red Line crew got the message.

LOCAL 600 CREW Director of Photography Kira Kelly A-Camera Operator Scott Thiele A-Camera 1st AC Jason Bonner A-Camera 2nd AC Nina Pillar Portillo B-Camera Operator/Steadicam Blaine Baker, SOC B-Camera 1st AC Matt Rozek B-Camera 2nd AC Matt Feasley DIT John Waterman Loader Drew Fulton Digital Utility Litong Zhen Still Photographers Parrish Lewis Elizabeth Morris PILOT Director of Photography Manuel Billeter A-Camera Operator Scott Thiele A-Camera 1st AC Chris Wittenborn A-Camera 2nd AC Ron Ruanphae B-Camera Operator/Steadicam Sebastian Audinelle B-Camera 1st AC Hunter Whalen B-Camera 2nd AC Torey Lenart Digital Utility Josh Smith Loader Tom Zimmerman Additional Utility Mark Irion Still Photographers Parrish Lewis

“As soon as we were built and ready to rehearse, a northbound train was approaching, so we shot it with our phones off the monitor to show Kira and Thomas,” Thiele explains. “The move would be a retraction of the arm from under the tracks to a boom up and extension to safely clear the track structure and power feed while having the train fill the frame on a blind reveal and pull the shot to a wide of the train going into the city.” “The first rehearsal was with a constrained environment and complicated timing, with [Dolly Grip] Xavier Otten on the arm, [Crane Technician] Brandon Dawkins on the pickle, and Jason pulling focus,” Thiele adds, “and we nailed it! After Kira and Thomas’ approval, we headed back for a few more rehearsals.” And that’s when things got more complicated. Trains come every 10 to 12 minutes, so Chicago Transit Authority (CTA) liaison Bill Reilly (See sidebar, page 42) was trying to find the best position to see the train emerging from between the buildings and give the crew enough time to get the pace of the head of the shot current and time-out the train crossing. “We had been approved by the CTA, but we were not in direct communication with or in control of the train movements, so Bill had to eyeball the train’s approach to a signal to best guess its speed,” Thiele adds. “The next two rehearsals we alternated between early and late, in terms of our timing. Then we get the word that we only have three train runs left before the CTA abandons that track for a reroute into the subway. One more rehearsal before the company joins us, and our timing is early again. We’re down to just two chances, and we’ve yet to recreate our very first attempt, and the group of us outside are starting to feel the pressure.” With only two passes left before the train submerged out of sight, Thiele says that “after Kira got to video village, we rolled and got our best guess as to movement from Bill. We started the crane move, cresting the tracks, just as the second train car filled the frame and pulled our eye to reveal the skyscrapers in the distance. Jason, Xavier, and Brandon all executed the move flawlessly. Everyone was excited that we got the shot and could wrap knowing we made our day. It was an exciting closing moment for The Red Line.” As Kelly adds: “It’s always a little nerve-wracking to come into a new city and try to crew up. I really couldn’t have been more fortunate to find the camera and lighting crew I had in Chicago. It was beautifully inclusive, inspired by Kevin Hooks and our show creators, Caitlin and Erica, and our other showrunner Sunil. This is an important and timely story and we need to be telling more like [The Red Line], which challenges audiences about the levels of gun violence and institutionalized racism we all live with today. “Working on The Red Line was an experience I’ll never forget,” Kelly concludes. “I love how having the three different shooting styles for each family was so much in service to the narrative. I was constantly asking myself: ‘whose scene is it’? It made every single decision very intentional.”

TWISTED S

DP Chris Teague and a New York-based Guild camera team dive down the “rabbit hole” for Netflix’s absurdist comedy, Russian Doll.

M ARG OT C AR M I CH AEL LES TER

PH O TO S BY

J OJ O WH I LDEN , S M PS P LI N DA KÄLLÉRUS

F RAM E G R AB S CO U R TES Y O F

N ETFLI X

In Netflix’s new dark comedy, Russian Doll, starring Natasha Lyonne, color and light are integral to the story. As Local 600 DP Chris Teague (Broad City, Obvious Child) relates: “In most straight-up comedies the cinematography mainly supports the dialogue and performance. In this show, it felt like it was our job to build a world in which a story like this could take place.”

his odd narrative, co-created by Lyonne, Leslye Headland, and Amy Poehler, centers on New Yorker Nadia Vulvokov (Lyonne), who’s caught in a recurring time loop in which she keeps dying on her 36th birthday. With that kind of premise, Teague says he knew he could take more chances, and that “things that felt offkilter, rough around the edges, dark, surreal or extremely colorful would only enhance the feeling as opposed to detracting from it,” he shares. “We attempted to manipulate elements of the real world to fit within a sort of surreal or absurdist framework.” The show was shot with the ultra-high-resolution RED HELIUM and Leitz (formerly named Leica) Summilux-C lenses, because, as Teague adds, “shooting wide open with such pristine glass would allow Nadia to kind of ‘pop out’ from the world around her, and it had the added benefit of increasing the effect of our background color washes by making them bloom more when out of focus.” First AC Rebecca Rajadnya explains further. “While dying multiple deaths doesn’t seem like it would be true to life, the themes of a dark comedy often ring truer to our every-day, sometimes depressing, experiences. This allowed Chris and our gaffer, Joel Minnich, to go with a much more contrasty lighting scheme, implementing neon and the hazy streetlights of New York City streets, rather than going for the high-key, cheery look that a lot of straight-up comedies utilize,” she says. In fact, Minnich was able to embrace a rainbow of colors to create a more magical world, “almost fantasy-like,” he describes, “with the lighting its own character in the story. The higher contrast and deep shadows help to mirror Nadia’s intensity and her dark, twisted world.” Teague and Colorist Nat Jencks, with Goldcrest Post, built an in-camera LUT to establish the starting point for grading. “This is really important,” Jencks explains, “as [Teague] can visualize more accurately and, when needed, ‘light through the LUT,’ which can have a profound impact on exposure and color. We knew we wanted to use some degree of film emulation, so it was just a matter of dialing in the amount and the flavor and testing how it would interact with the actors’ wardrobe, makeup, hair, and, of course, the sets and lights.” Adds DIT Jaime Chapin, “Chris has a great understanding of the technical side of digital cinematography and was able to give me a good sense of what he wanted me to keep my eyes on while we were shooting.” The director and DP employed a wireless Flanders CM250 monitor on a rolling stand; Chapin had the larger setup on her cart. In addition to the Colr system, they also used RED’s IPP2 pipeline for a more traditional workflow with CDLs from set to post. Right as Russian Doll begins, so do those strange and persistent time loops – in the bathroom of a New York loft during Nadia’s birthday party. The mirror, the door, and the pistol-handle doorknob were in the script. Production Designer Michael Bricker made them “meaningful and powerful, since any one of them could be a clue to unraveling the mystery,” he explains. “I wanted the door to feel like a void, a gash, a portal to something

galactic. The shape of the door and hallway is a nod to Alice in Wonderland. As soon as Nadia leaves the bathroom, she’s down the rabbit hole and entering a magical world where the rules of reality don’t apply. As she moves further away from this place, toward the unexplored edges of the map, the world starts to flatten and desaturate.” There is a “oner” very early in Episode 1, directed by Headland, as Nadia enters the party for the first time. “This is the most colorful space in the show, and where Nadia should feel most comfortable,” Bricker continues. “But it’s also a maze, with many possible paths, and the layout needed to provide Nadia with choices. Her pathways through the space are based on a Russian doll – a set of concentric circles – where she can explore the entire loft or leave quickly out the front door. There’s always a space beyond a space, and I kept imagining how the camera would follow Nadia as she explored.” Versions of this sequence repeat over the entire season. As Bricker adds: “I mapped out all the timelines with Post-it notes showing what each character was doing at which time in each loop. From there, Leslye knew broadly what needed to change/ disappear and by when. The Art Department filled in the gaps. We created a master set of rules for the onset dressers, Kara Haas and Michael Landsman, who executed for the camera.” Operator Clint Litton says the Guild camera team had “to be very deliberate in how we would set frames or move the camera, sometimes across multiple episodes and shooting blocks.” After Teague and Steadicam Operator Kyle Wullschleger established the first sequence, they stayed focused on “how to replicate and break it as needed depending on what the directors wanted as Nadia’s world evolved. “Although it can be daunting to execute repeating symmetry through skinny doorways,” Wullschleger admits, “when you get it right it’s incredibly satisfying.” Since no two loops are identical, Jencks had some latitude in color grading. “In each loop, there were subtle variances and evolutions to what was happening, so we didn’t want to be a slave to that in terms of continuity, and really prioritized the flow and mood,” the colorist describes. “Certain locations, like the party, were important to keep an eye on in terms of consistency, so if we were shifting things we were doing it with intention.” In Episode 2 (also directed by Headland), the audience experiences things from Nadia’s POV. To enable her to roam the set freely, Rajadnya, A-Camera 2nd AC Tsyen Shen, and the grips configured a body rig onto Wullschleger’s extra vest to mount the smallfootprint Sony a7S. A battery belt with a Teradek transmitter and single HC battery ensured there would be plenty of power. “We figured out how to patch into a SmallHD 503 HDMI input on the back of her belt, power it through a battery and then go through the SDI output and the transmitter,” Shen recalls. They tested the rig with Lyonne’s stand-in, Tawny Sorensen. “That was a huge help. It took about an hour to figure out, but it came out beautifully.”

“ CHRIS [TEAGUE] AND I BOTH COME FROM THE INDIE WORLD, SO WE LIKED THE IDEA OF HAVING AS MANY PRACTICALS AS POSSIBLE SO THAT HE COULD RELY LESS ON STAGE LIGHTS.” Production Designer Michael Bricker

Sightlines were also a concern. “When we put the rig on Natasha, she was asking what she could and couldn’t do, because, since it’s a stage, when she moved around you could see things you shouldn’t,” Shen continues. Lyonne was a champ, even executing a tricky move to reveal large carnival-style string lights with lots of colored medium-base practical bulbs tacked to the hallway ceiling without showing anything off limits. Minnich used a range of lighting sources for the loft, including Sourcemaker LED tubes, Chimera strip banks, Photoflex half domes, Kino Flos and tungsten fresnels. Bricker’s team added multicolored fluorescents and neon practicals to complete the unique look. “The more I do this job, the more I believe production design is really about lighting,” Bricker allows. “Chris and I both come from the indie world, so we liked the idea of having as many practicals as possible so that he could rely less on stage lights. Given our quick schedule and tight locations, this approach hopefully helped us move a little faster.”

photos by JoJo Whilden, SMPSP

photo by Linda Källérus

LOCAL 600 CREW Director of Photography Chris Teague A-Camera Operator Clint Litton A-Camera 1st AC Rebecca Rajadnya A-Camera 2nd AC Tsyen Shen B-Camera Operator Kyle Wullschleger B-Camera 1st AC Tim Trotman B-Camera 2nd AC Olivia Kimmel DIT Jaime Chapinn Still Photographer Linda Källérus JoJo Whilden, SMPSP

Russian Doll also features night exterior scenes and multiple locations, where, Rajadnya says, “fast lenses were integral, especially in Tompkins Square Park.” Teague developed a special technique for these nighttime exteriors. “We’d take away as much available light that was on our actors as possible, either by flagging street lights or turning them off, and then recreating that streetlight feel with our own units that produced the kind of color, quality and direction we wanted,” the DP recounts. “We shot most of the show at 1600 ISO at T1.4, so if anything we had too much available light to work with and were, at times, wearing ND at night on the street.” The go-to lighting for location work was a mix of ARRI SkyPanels, LiteGear LiteMats

and Astera AX1 LED tubes that had the low profile necessary in confined locations. “Astera tubes were a godsend,” Teague says. “We could quickly place them anywhere – up in a ceiling, tucked around the corner of a building entrance, behind a piece of furniture – and dial in whatever wash of color was appropriate for the space, without having to run power.” Several locations, like the tiny apartment of Nadia’s friend Alan (Charlie Barnett), were especially challenging. “We hated that place,” Shen laughs. “It had one elevator and a set of stairs we had to use for load-in. There was a little escalator over the staircase for wheelchairs that was small and slow, but one of the carts could just fit in. The loaded carts were too heavy for it, though, so we’d have to

take the batteries off the cart, walk them up, and then put them back on the cart at the apartment.” Adds Litton: “There was almost no room for staging, so every department had to be judicious in deciding what equipment to stage near set. Oftentimes, the camera needed to be in a position that hampered access to the set, which obviously made it difficult for the crew to do their jobs efficiently. Between the low ceilings and Charlie Barnett’s height, it was challenging to frame for his blocking and still leave room for lighting, not to mention a second camera position or a boom operator. It was a constant dance.” The final sequence of Season 1, shot in Tompkins Square Park and a tunnel in

Harlem, was equally daunting. Wullschleger says, “it was important to Natasha, who was directing this episode, that we effectively show both timelines simultaneously, using a split screen during the moments when the characters had opportunities to save each other’s life.” Teague and Lyonne worked with a storyboard artist to outline the action. The loops enter the tunnel from opposing sides and converge, as Nadia and Alan walk through and are met by a large impromptu street parade. “Despite having an excellent and detailed plan,” Teague smiles, “executing them in real life was a significant challenge, especially on a tight schedule. Working through it meant being clear and deliberate about every shot and trying to anticipate

moments where things might not work.” Parallel actions and edits had to happen at the exact right moment on both sides of the tunnel, with “framing in the proper half of the screen so that the arches would line up as much as possible as the shot cuts into an individual timeline,” Wullschleger describes. “Chris came prepared and had shot a simple pre-visualization on his phone during the scout that he was able to edit together and show me what he was looking for.” “We accomplished a lot with very little,” Rajadnya notes. “We didn’t have a loader, so our whole team, even the operators, banded together to make this project the best that it could be. Whether that be our Steadicam operator pushing his own cart on a push move, or my second AC covering

me as I stepped off set to receive and prep day-playing gear, we always watched each other’s backs and tried to do the most we could for Chris. Months of overnights and shooting the same scene over and over can mess with a person’s head,” she laughs. “But if you surround yourself with a team of genuinely amazing people, you forget about all of that and just remember the good that comes of it.” The talent and camaraderie are why Teague says, “I love my crew. In addition to the official roles they play on set, they are also all filmmakers, which is to say that they are able to have a big-picture perspective and see how their roles work within the greater story that we are all telling.”

PHO T O S BY

DAVID GEFFNER

A L LY S O N R IGGS

PICK-

ME-

Union production in Portland, OR is second-to-none as the new Netflix YA series, Trinkets, demonstrates. 53

Visitors to Portland, OR, aka “Rip City,” “Stumptown,” “PDX,” (insert your favorite Portland nickname here) have probably seen the local marketing efforts to “Keep Portland Weird.” They’ve no doubt ventured to Voodoo Donuts (overrated), sampled the hundreds of local micro-brews (not overrated!), and seen more tattoos in a few square miles than anywhere else in America (no lie).

hey may have been to Nike (suburbs), to the science museum (across the river and great for kids), or enjoyed the many hiking trails/river activities just outside downtown. But what tourists don’t typically see when they visit Portland are film crews commandeering streets and local venues. That’s not to say they’re not here, or hiding – episodic series like Grimm, Leverage, and Portlandia have all been popular hits. But they’re the exception, not the rule. That means Portland’s supremely talented (and well-caffeinated) union film crews must fill out their dance cards with the many car commercials (and the infrequent indie features) that visit the Northwest. So when a new TV series lands in Portland, like the 30-minute Netflix show Trinkets, about a trio of teen girls who become friends through a shared addiction to shoplifting, the “local” Local 600 team is on it in a big way. As L.A.-based DP Jason Oldak (who had

never shot in Portland) observes: “I had mixed emotions, because when I walked on set I had no one from my regular team. But I was also excited because the crews in Portland work together all the time, and really know how to work in weather. My biggest worry – shooting from October to December – was the rain; and I knew this crew could cover a camera faster than anything we’re used to in L.A.” Oldak, who graduated from NYC’s prestigious Cooper Union with a degree in fine art before moving into filmmaking (Casual, Sword of Trust, and Social Fabric) says he was also excited about shooting in the Northwest, where the frequent cloud cover makes for a more painterly palette. As Trinkets Gaffer Neil Holcomb, a 30-year veteran of the region and a member of IATSE Locals 728, 600, and 488, describes: “There is a quality to the Northwest light that is conducive to filming. It’s why we get so many car commercials. The low clouds create a big softbox, and the effect can vary greatly depending on the layers of the clouds and the angle of the sun. Sometimes the best option is just taking away light with negative fill. You start with a grey palette then add your accents – it’s easier to augment lighting from a grey base level than a sunny one.” L.A.-based director Sara St. Onge (who lived in Seattle, WA) helmed Trinkets’ first and last two episodes. She found an immediate connection with

Oldak and Production Designer Schuyler Telleen used large practical windows and natural light to create a “warm, inviting” space for the Shoplifters Anonymous meetings.

Gaffer Neil Holcomb calls the frequent Portland cloud coverage “a giant soft box,” that’s easier to “augment lighting from a grey base level than a sunny one.”

Director of Photography Jason Oldak says he was concerned about “the constant rain” shooting October to December his first time in Portland. “But we actually had a bunch of sunny days early in the shoot.”

Oldak built around a shared aesthetic for Portland’s visual moods. “We wanted to create a heightened naturalism that defined each girl’s home/school life from the world they were discovering in downtown Portland,” St. Onge recalls. “They feel confined and alienated in the suburbs, and free in the city, where they go to SA [Shoplifters Anonymous] meetings and hang out at the Paper Tiger [music club/bar]. “Working with Schuyler [Portland-based Production Designer Schuyler Telleen] and Jason,” she adds, “we used light, color, and locations to achieve that. For example, we wanted the SA meetings bright and welcoming – not some fluorescent-lit dungeon like they’re usually portrayed. We found a space [also the show’s production office] with a wall of windows. Schuyler made it look way better than it deserved, and Jason and Neil poured light through to make the room inviting.” To visually underscore the suburban alienation in Episode 1, main character Elodie (Brianna Hildebrand), newly relocated from New Mexico after her mother’s passing, wanders around her first house party in social distress. Holcomb says the Victorian home had places to hide lights, so he utilized credit card-sized Aladdin A-Lite and Eye Lite placed behind lampshades. “I also used the Quasars and Matchsticks behind set dressing to pull off the shot,” he adds. “The best thing about these small LED’s is that

you can run them on batteries and don’t need to hide a cable. All the lighting [for Trinkets] was controlled from an iPad running the Luminair 3 App transmitting through WiFi to a RatPac AKS unit to RatPac Cintennas or to RatPac Lunchbox dimmers. This made it very easy to make quick lighting changes and facilitate light cues on camera.” To convey Elodie as an outcast, A-Camera/Steadicam Operator Gary L. Camp (another Portland local whose résumé includes Leverage and The Librarians) executed a Steadicam move throughout the entire downstairs. B-Camera Operator/2nd Unit DP (and Portland resident) Shawn Sundby not only touts Camp’s Steadicam skills, but also his open nature toward the B-Camera team. “The first time I worked with Gary was on Leverage,” Sundby reflects, “and it’s so nice to feel like A and B camera are pulling on the same oars. Gary always made sure our team [Shawn Sundby, B-Camera 1st AC Eric Macey, and B-Camera 2nd AC Rodrigo Melgarejo] got the shots we needed, which often were

the longer-lens stuff, and the many close-up inserts [in the shoplifting scenes]. The goal of any B-Camera team is to be seamless with A-Camera, and Gary was so generous with his time.” St. Onge, who says Sundby’s dual experience as a DP was key to 2nd Unit’s success, also singles out Camp for his on-set demeanor. “Gary comes at everything with this collaborative spirit,” she effuses. “In Episode 9 we had this crazy sequence at an amusement park with a Technocrane. I was trying to describe what I wanted with words like ‘swooping,’ ‘flying’ and ‘soaring.’ Gary just said, ‘Ok,’ and then went off and designed these Techno moves way beyond what I imagined. The Steadicam oner Gary and Jason helped me design in Episode 1, where Elodie visits the support group for the first time, is perfect because it puts us into her headspace. “But it’s not just Gary’s technical skills,” St. Onge continues. “I heard back from our actors, many of whom were young and inexperienced and didn’t know from hitting marks, or being in another actor’s light, that he was helping them out – in a gentle and non-patronizing way. They all said: ‘Gary is teaching us so much about how to relate to the camera!’” Relating to anyone is the last thing Elodie wants after the house party; she lands at a late-night convenience store for Trinkets’ first big plot reveal – shoplifting as an escapist drug. Oldak says Elodie’s first “lift” needed to be impactful and, “as we dim the light on her face outside, it’s as if the store is speaking to her,” he describes. When Elodie enters the store, it’s fairly standard stuff. But when she turns down one aisle, the framing goes low and wide, as if a giant playground has appeared. “The final edit came out a little different,” Oldak adds. “But Neil and I remotely lit up each shelf light as she walked by, ending with her in this subtle spotlight.” Holcomb says the scene was shot at 48fps “to give us the potential to ramp up and down to isolate and glamorize the shoplifting.” Also, at every ‘lift’ point, Holcomb panned in a spotted ARRI L7C to help emphasize the moment. “We were in a store with a mixture of LED tubes and LED spotlights, so finding a shutter angle where nothing flickered was a challenge,” he says. St. Onge calls it the very first scene she

“ I WANTED THOSE EARLY SEQUENCES OF SHOPLIFTING TO BE FUN AND EXCITING – IT’S BEFORE ELODIE LOSES CONTROL OF HER ADDICTION AND WE GET DARKER.” Director Sara St. Onge

LEFT: Holcomb and Oldak remotely triggered lights on each product shelf to heighten Elodie’s first shoplifting scene. BELOW: A-Camera/Steadicam Operator Gary Camp lines up a dolly shot for the first shoplifting scene. Also pictured: Dolly Grip Bryan “Fro” Waters, Key Grip Mark Tomlinson, and A-Camera 1st AC Nico Wachter

visualized in pre-production. “I was in L.A., sick with the flu, and I went to a CVS to get some Nyquil,” the director laughs. “‘Everlasting Love’ was playing over the speakers, and it all just unfolded before my eyes! I wanted those early sequences of shoplifting to be fun and exciting – it’s before Elodie loses control of her addiction and we get darker. That scene needed to feel both outer-body and empowering.” Speaking of empowerment, Sundby credits DIT John Spellman (who relocated to Portland from Los Angeles four years ago) with a workflow that provided everyone on set with the same looks Spellman and Oldak were generating at Video Village, including applied LUTs. Spellman used Teradek’s COLR WiFi/LUT boxes, which are the same size as HD transmitters and could reside on the Sony Venice cameras. (Portland vendor Koerner Camera purchased two Venice systems specifically for Trinkets.) “The Sony Venice outputs a log feed into the COLR,” Spellman explains, “to which I remotely connected and graded via WiFi. Everyone, including the operators, is looking at the same thing, without having to run cables back and forth. Because none of us is tethered to each other – cameras, AC monitors and my DIT cart – we can all move independently. It’s an extremely fast and robust workflow, with Ubiquiti hardware for my WiFi network and LiveGrade Pro software for grading.” Oldak praises the Venice for its built-in Neutral Density dial that he says saved his “rock star ACs” precious time on set. As Spellman adds: you can dial in every ND from .3 to 2.4, and the change is nearly instantaneous. We didn’t put a glass ND filter in front of any camera the entire shoot!” Trinkets was shot at UHD 4K (3840 × 2160) using XOCN-ST, a new compressed SONY RAW format that saves roughly 30 percent off the data rate of standard RAW files, with no visible loss of quality/resolution. Oldak says the Venice sensor is the closest he’s seen to the ALEXA, and its footprint is suitable for handholding. “We shot 4K because it was close to a Super 35 sensor, and covered our Cooke S4 prime lenses,” he adds. “We only went 6K for super-wide-angle shots, and that was rare.” “Another nice feature of the Venice,” Spellman notes, “is the dual-base ISO. We shot a lot at 2500, and it was amazingly clean. It allowed us to shoot on the deck of a cruiser at night on the Willamette River, and capture not only the lights of downtown

Portland but also the building façades and night sky. We even salvaged a dusk scene where we lost the light, and cranked up the ISO to 4000.” Aside from the high school in Lake Oswego, the Paper Tiger is the location Trinkets often revisits and where the girls first become friends. Production Designer Telleen says that because so much of his TV work is now first-season runs straight into series (like Trinkets), his partnership with the DP is never more crucial as it was for the Paper Tiger – a bar that was, in reality, dull and dirty. “When you are shooting a pilot and then go straight through a full season,” Telleen explains, “every single on-the-fly creative choice [like those made at the Paper Tiger] is set in stone. Four weeks to establish a [visual] palette for what could be a three- or four-season run is a short runway.” Episode 2 is the first time the girls visit the Paper Tiger. Elodie walks in, hearing and seeing a (mostly all female, and local) band, which is a cue she’s in a safe place. “I had that feeling when I was a teenager of walking into an all-ages venue for the first time and worrying if I’d be called out or hassled,” St. Onge recounts. “And then understanding this was my sanctuary. I wanted those positive representations for a young woman like Elodie to be there in-camera in that first scene.” To create an “urban sanctuary,” Telleen’s art department mounted Astera AX1 tube lights on historical brick columns and LED PARs as wall dressing, all controlled by Holcomb on the Luminair app. Telleen says modern practical lighting can be placed anywhere, “and you can change motivation very quickly. Jason and I wanted this to be a true hangout spot, which was challenging because it’s an all-ages club,” the designer shares. “I brought in three mismatching chandeliers and immediately we had warm pools of light hovering in between the neon Astera tubes. This look also allowed for some vintage table lamps that now didn’t seem too out of place – the kicker was an old pinball machine that I completely changed out so we could have a light element for the wides by the entrance.” Oldak says Telleen’s additions “really brought in color for the first time and, like some of the design Schuyler did in each girl’s bedroom, created a warmth we don’t have in the high school or with their parents.” Later that same night, when a girl steals a jacket Elodie has shoplifted (and is selling to get plane fare back to New Mexico), a chase ensues, ending in a major bonding moment outside the club. “Sara and I came up with this plan to cover the jacket theft in a dynamic way,” Oldak continues. “The last piece [of the chase] is us behind Moe [Kiana Madeira] as she’s running after the thief, who drives away with the jacket. The car driving

St. Onge wanted the Paper Tiger music club to feel like an “urban sanctuary” for the girls. So Telleen’s art department mounted Astera AX1 tube lights on columns and LED PARs as wall dressing, all controlled by Holcomb on the Luminair app.

LOCAL 600 CREW Director of Photography Jason Oldak A-Camera Operator/Steadicam Gary Camp A-Camera 1st AC Nicolas “Nico” Wachter A-Camera 2nd AC Michael Greenman B-Camera Operator Shawn Sundby B-Camera 1st AC Eric Macey B-Camera 2nd AC Rodrigo Melgarejo C-Camera Operator TG Firestone Additional 1st AC Justin O’Shaughnessy DIT John Spellman Digital Utility Alison Hoffman Still Photographer Allyson Riggs

off motivates the camera to pan back around on all three girls. The location had all of these string lights outside, which Schuyler enhanced. The shot looking back at them is on a long lens, with those beautiful practicals, as they first connect.” While Holcomb says the naturalistic look Oldak wanted throughout the series was achieved with large single sources, with little fill light and backlight only motivated by something in the frame, occasionally they’d go off the grid. He cites a homemade lighting rig [a photo of it is on Instagram] used for a flashback scene in Episode 6, done Poor Man’s Process on green screen. “Elodie’s driving in the Southwest with her mom in this bright sunlight,” Oldak recalls, “and then a flash of light hits the dreamcatcher on her rearview mirror, and it’s suddenly a rainy Oregon day!” Holcomb says he asked Key Grip Mark Tomlinson to rig 12× Ultrabounce over the car, with rig pulleys that could ride a black rag over the bounce on cue. “We bounced four M40’s into the Ultrabounce to give us our New Mexico skylight ambiance and set up several smaller ‘gag’ lights panning through the car to sell the driving motion,” the gaffer explains. “The dreamcatcher glint special was an irised-in SF Leko,” he continues. “On a four-second cue, the grips pulled the solid over the car, killing the daylight ambiance, the lamp operators all doused their lights, and the effects crew started the rain, leaving just one gloomy LED fill light bouncing into a muslin. It took a few rehearsals to perfect, but it worked wonderfully.” In summing up the tight Portland crew base, Sundby says, “You typically have worked with everybody at one time or another, and that creates a family vibe where everyone has each other’s backs. Portland’s never been a big news market, so most of the crews came from a made-for-TV or narrative film background back in the late 1980s/early 1990s, and that knowledge has filtered down. Portland crews really understand narrative filmmaking, and I think DP’s and directors who come to shoot [from somewhere else] really love that level of talent and efficiency.” After just one series, Oldak says he’s a true believer. “Portland is this small, kick-ass community of filmmakers, where everyone on the set knows their craft inside out,” the DP offers, “and they know their city and its many locations inside out as well. That means when you encounter weather, which you will a good part of the year, they’re totally prepared and don’t miss a beat. Even in the very last week of shooting, we never got behind.” St. Onge goes one step further, noting that she became so “obsessed” with the Trinkets crew, “I rewrote the show I’m currently writing to take place in Portland!” the director laughs. “I have to go back and do another series with those guys and gals. They are amazing.”

ICG National Executive Board 62 1st AC, Western Member and Region Melissa Roth / photo by Beth Dubber

Experts agree on this point: when it comes to safety, the film and TV industry has been complacent for too long. In the 1980s, if filmmakers needed to capture the majesty of the Cabrillo Highway in California’s stunning Big Sur region, they would find camera operators willing to hang out of an open helicopter, one arm through a strut, the other holding a camera on their shoulders. The same went for visualizing the real power of a horse stampede. Producers could easily hire an operator to ride backward in the saddle, in the middle of the pack, with a camera on their shoulder. And there are many more such stories. One is a sequence in the 1992 Orion Pictures feature Love Field, where the crew was doing a tractor-trailer jackknife accident stunt that was so dangerous there was a good possibility the stunt actor would be fatally injured! Everyone on his team came up and hugged him before the stunt, in case he didn’t survive. (No lie.) Unbelievable? Outrageous? Unthinkable? Yes to all of the above, but back in the (not so long ago) day, accidents were considered a part of the job. Some are still referenced, while others have receded from the industry’s collective memory. Take, for instance, the grip who fell to his death from the perms at Sony Studios on The Indian in the Cupboard (1995); or the fatal electrical injury to a grip on the plate unit for Dinosaurs (2000) caused by a too-close crane. Twenty-six years ago, Brandon Lee (the son of martial artist legend Bruce Lee) died from injuries sustained from a homemade dummy round unknowingly jammed in a prop gun. The Miramax feature, The Crow, was days away from completion when Lee, who was not yet 30, was fatally wounded. The most prominent accident in modern movie history was the crash of a stunt helicopter (due to nearby pyrotechnics) during the John Landis-directed Twilight Zone: The Movie, in 1982. The lead actor in the sequence, Vic Morrow, lost his life, along with two child actors (the sequence was shot in Santa Clarita, CA but set in Vietnam) who had been hired illegally to circumvent California’s child labor laws. The deaths led to a high-profile case, where no one individual was found criminally culpable. While some of these incidents have faded from view, allowing for a culture of safety complacency, others brought about lasting changes. (The Indian in the Cupboard accident led to the creation of Local 80’s Safety Committee and the development of high-fall protections, harnesses, lifelines and fixed systems at all the studios.) Without question, the 2014 death of Local 600 camera assistant

HEROES SAFETY

Meet the Union Workers Who Are Creating a Culture of Safer Sets Every Single Day. BY

PA U L IN E ROGERS

Sarah Jones, on the Georgia set of the indie feature Midnight Rider, inspired the presentday rallying cry for safer industry sets. IATSE Local 798 (New York City) makeup artist Joyce Gilliard, who was struck by the train that killed Jones, says her first lesson from that horrible day was to “never assume everyone did their job. I thought we were safe and safety precautions were met prior to arriving onto the set,” Gilliard reflects. “And, as we all know, that wasn’t the case. I’ve also learned to speak out if I feel unsafe and not be afraid to question anything when it comes to my safety, even if it means losing my job.” Gilliard, who travels the country to provide safety panel discussions with filmmakers and crews, has established a nonprofit organization, iSAFE! TV & FILM (www. isafetvandfilm.com), to help ensure a tragedy like Midnight Rider never happens again. Gilliard is a union safety hero, and she’s not the only one. The checklist her organization provides is echoed by initiatives throughout the industry and this Guild. They include visiting Local 600’s online Safety Awareness Center (www.icg600.com/ SAFETY), downloading the Local 600 Safety App (developed after the Sarah Jones accident as an industry-standard source for safety information, hazard reporting and long-hours reporting via the Local 600 safety app (www. icg600.com/SAFETY/SAFETY-App), and the IATSE Safety App (available on Android and Apple platforms). Recently, at the request of the international film community, Local 600 made the code for the Safety App freely available and customizable to local requirements. New Zealand is currently working on a test deployment), and online guides to Daily Safety Questions every crewmember should ask before shooting. www.icg600.com/Portals/0/ Safety/DAILYSAFETYQUESTIONS.pdf Some IATSE safety heroes have created accessible ways to get the message across. Take the crew of the (recently canceled) Showtime series Happyish, which was fully stage-bound, where safety should (in theory) be a nobrainer. But even sustaining simple fire lines and knowledge of all fire exits was a problem,

Local 798 makeup artist Joyce Gilliard

as was convincing Production to hold safety meetings – or even look at the safety card. The solution for the AD department was a unique one. “We just encouraged a different crew member to run the meetings every day,” recounts Happyish 2nd AD Abi O’Reilly. “They could do anything they chose. Rap. Poem. Speech. Anything that held the crew’s attention!” In fact, what happened was everyone began relating his or her own safety story, and it changed the culture on set. Local 600 Safety Committee Co-chair Chris Taylor, SOC, has tried the lighthearted approach as well, going back two decades, actually. “I would joke about all the precautions we demanded for situations that weren’t very dangerous but warranted a safety meeting,” Taylor remembers. “We might be doing a quarter-load gunshot or a single blood squib, after being asked if we wanted any eye or ear protection, and we would list things like Lexan shield, fire extinguisher, helicopters, and so on. Looking back, I’d like to think that we weren’t making fun of safety – because quarter-loads and squibs can be dangerous – but having fun with it.” Flash forward to Taylor’s appointment to

“ I’ve also learned to speak out if I feel unsafe and not be afraid to question anything when it comes to my safety, even if it means losing my job.” IATSE Local 798 (New York City) makeup artist Joyce Gilliard

the ICG Safety Committee, where he then had the chance to put his comedy/educational skills to the test. With no budget and a Panaflex borrowed from the SOC, he made the short video Fire in the Hole - www.vimeo. com/251228856 - based on his past efforts. “I sprung it on everyone as a secret project,” Taylor recalls, “because I wanted to present it in its purest form and get their honest opinions. It works because this very old inside joke finally had a grounded objective besides humorously making fun of ourselves.” IATSE Local 80 Key Grips have always been on the frontline of safety, and there may be no better Union Safety Heroes than J. Patrick Daily, who founded Local 80’s Safety Committee (after The Indian and the Cupboard accident), and IATSE Safety Chair Kent Jorgensen, who has been Local 80’s Safety and Training Representative since the committee was formed. “So much of what we do is dangerous, but we don’t often realize it,” Daily shares. “I remember a show that was built on a stage to resemble shops at a Glendale Galleria-type mall. We had grills that rode up and down, and a character was supposed to be locked on the other side. But there was no exit for that actor or the crew. What if the power went out and there was a fire? No one could get in or out. We went to the Safety Coordinator, and then the Art Department. Redesign didn’t sit well with them – until the producers got into it and things changed.” For union camera departments the issue of “free driving” – essentially the practice of a camera operator handholding a camera in a moving vehicle – has become a major concern. Local 600 safety heroes leading change on this issue are Operator Dave Chameides, SOC and ICG 2nd National Vice President John Lindley, ASC, who, after two Guild members raised concerns, contacted Dr. Cynthia Bir, a Professor at the Keck School of Medicine at the University of Southern California and the Director of USC’s Center for Trauma, Violence, and Injury Prevention. Chameides asked Bir about “blowing airbags with dummies in cars that were holding cameras,” and he, Lindley

and Bir went to a company that was able to set up that very test. Lindley and Chameides witnessed six airbags blown into dummies with cameras on their shoulders and were – horrified. From this, the ICG free-driving crash test video (www.vimeo.com/241251141), featuring Dr. Bir, was born. “There is no more effective way to viscerally express the damage a camera propelled by an airbag can do to occupants inside a car than with this video,” relates Local 600 1st AC Chris Silano. “When the producers on Netflix’s Maniac saw the Local 600 video, they made sure resources were provided for proper insert car/tow rig and blue screen, instead of free driving.” “Last year, while working on Fox’s The Resident,” adds A-camera/Steadicam Operator Mark Karavite, SOC, “I received the Local 600 email showing test results for free driving and shooting handheld. By chance, I saw on the advance schedule that we had a free-driving shot scheduled for the next day. I forwarded the video to our UPM and raised the question. Within an hour, he contacted me, letting me know he’d hired a technician to disable the airbags. “Later that day, they said they had canceled the free driving,” Karavite adds, “and came up with a safer plan via insert car. Production has instituted a regular protocol such that, in the case of possible free driving, they will deactivate the airbags or create a safer plan. The video did this.” [The Industry Wide Labor-Management Safety Committee issued a safety bulletin in record time.] www.icg600.com/Portals/0/ Safety/Research/Free%20Driving%20Safety%20Bulletin.pdf And Chris Taylor is quick to note that the free-driving video should not leave viewers with the impression that “disabling the airbags of a picture vehicle is an acceptable safety solution to free driving. Operating a camera in a moving ‘free driving’ vehicle in any position other than that of a normal forward-facing passenger with a seat belt is unsafe in an accident, with or without an airbag,” he insists. “In this situation, one only needs to imagine the airbag be substituted with the dash and windshield of the vehicle. I’ve also heard from grips and Transportation that disabling an airbag may carry with it legal liabilities, as it is considered ‘tampering with a safety device.’” Either way, the problem persists, particularly in the Unscripted genre, where one-on-one handheld with subjects out in the real world dominates. As Guild DP/Operator Brennan Maxwell, SOC, shares: “Shooting the show Restored for DIY, we were doing our wraps with the host, who was self-driving. I was filming from the passenger’s side backward with no seatbelt. We’d done this a couple of times a week, for the entire season. About two-thirds of the way through the season, the ICG safety email about free driving came out, and I told the producer how unsafe these shots were, and we shouldn’t do them. The answer he gave me was that ‘it’s a good thing this isn’t a union show,’” Maxwell says incredulously. “It wasn’t just

ICG 2nd National Vice-President John Lindley, ASC / photo by Beth Dubber

Operator Mark Karavite, SOC / photo by John Brawley

Carefully considered language will protect those afraid to speak up:

“ I feel this is unsafe for the entire crew – you have a legal situation” and “I believe it’s a liability.”

Operator Dave Chameides, SOC / photo by Bonnie Osborne

Operator Selene Richholt, SOC / photo by Sarah Shatz

about me but a real culture of safer sets. I went to another producer, and this time they asked me for other options on how to accomplish the same task and said we didn’t have to do it unsafely anymore.” Extended takes with heavy equipment is another safety issue being addressed with great success. Local 600 Business Representative and Technology Expert Michael Chambliss says that after “addressing extended takes was negotiated into the new Video Tape Agreement, the Industry Wide Labor-Management Safety Committee hired an ergonomics expert to tour sets with business reps of multiple IATSE locals, and producers’ representatives, to help develop guidance for proper practices.” [Another industry-wide safety bulletin will be developed that incorporates the ergonomics data.] Such efforts can’t come soon enough for someone like Unscripted Operator Selene Richholt, SOC (ICG Magazine, December 2018, Generation NEXT), who, after taking over as DP on the non-union BET show Hustle in Brooklyn, attempted to switch out the Panasonic Varicam 35 (which is not designed for handheld) to the Varicam LT, which is half the weight. And producers wouldn’t do it. For another reality series, America’s Next Top Model, Richholt stood her ground. “We were shooting with Sony F55s and Canon 17120 zooms,” she recalls. “Built out, the cameras were almost three feet long and weighed 35 pounds, and it was a pre-production/rental house/budget decision.” Richholt says the rig as built resulted in the show’s operators being under cameras that were heavier or more cumbersome than they needed to be. She references one day, outside of the studio, where operators were asked to jump into a Mercedes Sprinter van with the cast and shoot in the car on the way to locations. “The cameras weren’t secured,” Richholt explains. “They’d been hand-holding or more accurately, lap-holding, these giant cameras, and I resisted. At the end of the day, I went to the First AD and the director and explained the situation. Our operators had side-barred and discussed what an alternative could be, and we decided that we would be okay filming with a smaller camera.” The team was able to switch to smallerfootprint units, like Canon 5Ds and GoPros. “I was shocked by how quickly they agreed to it,” Richholt smiles. “It was barely even a discussion. They both said, ‘Of course, we will do that from now on. The safety of our cast and crew is paramount.’” Dave Chameides (who was part of the Happyish crew) recalls an un-named pilot for the SyFy Channel, where in the 14th hour of

a long day, at 3 a.m., “we were doing a scene indoors – a pawn shop cut in half with glass,” he explains. “Robbers are supposed to come in and set off flares, and we did it twice. We were resting between takes, and the dolly grip suddenly held up his phone. He had pulled up the SDS (Safety Data Sheet) for flares, which showed them to be ‘toxic’ and ‘unsafe’ indoors. We went to the AD, and then Special Effects, and were told, ‘Oh, we do this all the time.’ When the producers were brought in, we all expected a big fight.” But the producers’ first question was: “Do you feel this is unsafe?” When he received a unanimous “hell yeah!” his answer was: “We don’t do things that are unsafe and we didn’t plan well. Let’s come up with another way.” Chameides says he learned a valuable lesson that day, something every union film worker should remember: Carefully considered language will protect those afraid to speak up: “I feel this is unsafe for the entire crew – you have a legal situation” and “I believe it’s a liability.” “That second one really opens the door when a crew is in a situation, because it creates a legal framework that can no longer be denied,” Chameides explains. “The way this industry is set up now, safety is a constant concern,” adds 1st AD Robert Albertell, a DGA member working on the long-running CBS hit, Madam Secretary. For Albertell, getting the production what it wants, safely, is all about experience. Even the DGA’s own Safety Course isn’t enough. “While Madam Secretary isn’t a stunt- or effects-driven series,” he offers, “there are elements that must be addressed correctly. We recently had an episode where a car is blown up, and I worked closely with the show’s producers to ensure the stunt was completely safe.” Those efforts began with scheduling, “to make sure we had time to test, and for layers of prep meetings,” Albertell recounts. “We allowed time for special effects and the stunt team to set up and rehearse – 15 times before I was satisfied that everyone had their cues and knew when SFX would blow the car. We also had enough stunt people – who knew what they were doing – to drive in the traffic around the blowup.” Albertell insists proper on-set safety takes time, money and, most importantly, an educated voice willing to stand firm if things appear unsafe. Producers must stand firm for safer sets as well. Or as Thomai Hatsios, an outspoken participant in the Safety For Sarah and David Allen Grove’s Facebook Safety pages, relates: “Producing can be like parenting a teenager, which is not always that fun.” True crime, a genre that Hatsios says can be “dangerous and messy,” is of prime

ICG National Vice-President and Local 600 Safety Committee Co-Chair Heather Norton / photo by Paul Sarkis

Local 600 Eastern Region Director of Photography Ted Wachs working with film students in his mandatory safety classes at New York Universityâ&#x20AC;&#x2122;s Tisch School of the Arts / photo courtesy of Sonya Sio Artis

concern. “What works for me when safety protocol resistance comes up,” she explains, “is to inform the production company that I’m protecting them from being charged with criminally negligent homicide if someone is killed, or from child endangerment charges when labor laws are being challenged on set.” Hatsios says a competent producer will think along the same lines as a 1st AD, which means identifying issues in prep and urging all departments to work together to prevent unsafe situations. It’s not one unsafe decision that creates a hazardous workplace; it’s the accumulation of last-minute bad decisions that leads to tragedy. “Not too long ago I was producing a series, and the director and showrunner wanted to change the first scene of the day to an exterior,” Hatsios remembers, “including two actors playing cops, in picture vehicle cop cars, pursuing actors who are playing criminals, who would be hanging out of a car, and then running with realistic looking Glocks [handguns] through the streets of Pasadena. The change request came to us at 5:30 p.m., the night before the morning scene. “The AD and I said we either needed to push the scene to another day – to get the proper permits, hire stunts, hire police officers, put up a barricade – which would take us over budget and off schedule, or remain interior,” she adds. “The change was dangerous.” In fact, Hatsios says the showrunner’s response was to “take the day off ” so the scene could be shot guerrilla style. “Even if we were to ‘take the day off,’” Hatsios bristles, “the actors would still be in danger. When the showrunner said, ‘We’ve never had this problem on other shows,’ I patiently explained how following safety protocols would protect the company. It all ended with the EP approving the additional costs to shoot the scene as an exterior another day. Had the EP not approved the budget, and the director and showrunner insisted on shooting in a way that endangered the actors, we would have had to call the Sheriff’s Department to shut it down. The message producers must share is, ‘If you see something, say something.’ It’s important we empower our cast and crew to speak up by creating a ‘safe space’ environment.” Social media has been a game-changer for those hesitant to speak out, including links like Safety Pages on Facebook, which David Allen Grove, a Local 600 operator, created and co-administers with Dan Kneece, SOC, and others. The sites, “I Refuse To Work on Midnight Rider! For Sarah!” www.facebook.com/groups/ IRefusetoWorkOnmidnightriderForSarah/ – 7,000 members strong and counting – “Sarah Jones Safety Verification System”

www.facebook.com/groups/sjsvs/ - and the long hours link (www.facebook.com/ IRefuseForBrentandGary) have all become online hubs for safety education, reporting and key advice. Grove says one camera assistant posted “that he was concerned about filming in the street when they didn’t have a police presence to control traffic. He brought up his concerns to the AD and the AD said, ‘You worry about your job,’ and that was it. After posting on our Facebook page and getting advice from several members, he left the show the next day.” Another person working on a film on a remote Hawaiian location contacted Grove through a private message about unsafe hours, and crew members driving two hours each way to work and back. “Some were so tired they decided to sleep in their cars in the parking lot,” Grove relays. “The person reported that four people had fallen asleep at the wheel in just one week and crashed their cars.” Grove says he reported the complaints to a rep at the Guild, and that person immediately contacted a rep in Hawaii. “Fortunately, the reps in Hawaii were on top of things,” Grove adds, “and within three weeks of reporting, I heard back from this crewmember that the hours had improved, and they were getting hotels for those in need.” Speaking up, posting articles about onset accidents, calling the union, and creating a Safe Buddy System – through Facebook, Twitter, Instagram, or word of mouth – are strategies all of these Union Safety Heroes have put into practice. So is education. Local 600 Eastern Region Director of Photography Ted Wachs has been grooming film students in his mandatory safety classes at New York University’s Tisch School of the Arts (See Camera Angles, Spring 2019). Wachs’ efforts began after an NYU electrician on a student film suffered fatal injuries. He was standing in the mud without the proper shoes on a shoot where it had rained the entire week. “The NYU office of insurance and list management told the school they wouldn’t be insured, and that NYU wouldn’t be a production school, without proper supervision,” Wachs recalls of the tragic incident. “Local 600 Cinematographer Geoffrey Erb helped the school establish a Safety program. And, since I came on, first as a consultant in 2010, and now full time – every student must take an intensive safety class.” There are other safety concerns percolating – the danger of radio frequency waves, blue light from LEDs, strength training, and more. That’s why Local 600’s Safety Committee is such an essential part of making

this industry a safe place to be employed. “Tackling safety issues head-on requires member involvement,” describes Committee Co-chair Heather Norton. “Anything that helps two-way communication open and document both safe and unsafe practices gives us the tools to win safer and saner working conditions. By dealing directly with productions that have become known for safe or unsafe practices, we can make a real change, immediately, by acknowledging liability and working together to come up with solutions.” Union safety heroes also advocate for a closer partnership with industry vendors. Case in point: when drone manufacturer DJI revealed an advertising campaign that promoted unsafe practices, they were contacted and immediately removed the ads. “There are so many safety issues to address,” Norton adds, “and it comes down to members of all IA Locals and Guilds getting the right information and reporting wrongdoings. Our campaign to fight unsafe hours is a great example. It communicates the severity of that issue and gives union members the information – and the ability to report – at their fingertips. Solidarity will force productions to change current practices.” [See Local 600’s Unsafe Hours video at: www.vimeo.com/220880990 ] Norton says new and ongoing campaigns – like the Local 600 Shop Stewards Program and Mandatory Safety Training for certain crafts – need to be ramped up. “There’s an initiative to educate members about gun safety on our sets,” she adds. “And we’re in the educational stages of dealing with the increasing information about blue light exposure/retinal damage and sleep disruption hazards to any crew member on sets. The list changes as the technology changes.” The longtime New York City-based AC, who began her career in the early 1990s, when safety was often an afterthought, concludes that, “even when we find solutions, it’s only a solution if it is adhered to. Do you know what toxins are on your camera truck, or on your set? Do you have a list of those toxins posted at the door? Do you know why this paperwork is required on every truck and in every stage? If you are on the roster you do, but that education is only mandatory for our Western Region members.” That’s why Norton, Daily, Chameides, Taylor, Gilliard, Hatsios, Grove and so many other safety heroes across all industry unions and guilds are standing up, speaking out, and advocating for best practices in every industry genre and format. After all, clichés like the often-heard “Safety is no accident” come about because they’re true!

PRODUCTION CREDITS COMPILED BY TERESA MUÑOZ – AS OF APRIL 1, 2019 The input of Local 600 members is of the utmost importance, and we rely on our membership as the prime (and often the only) source of information. In order for us to continue to provide this service, we ask that Guild members submitting information take note of the following requests: Please provide up-to-date and complete crew information 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 addressed to Teresa Muñoz at teresa@icgmagazine.com

First Man / Photo by Daniel McFadden

(including Still Photographers, Publicists, Additional Units,

20th CENTURY FOX “911” SEASON 2

DIRECTOR OF PHOTOGRAPHY: JOAQUÍN SEDILLO, ASC OPERATORS: BRICE REID, DUANE MIELIWOCKI, SOC, PHIL MILLER, SOC ASSISTANTS: KEN LITTLE, NOAH THOMSON, ERIC GUERIN, DAVID STELHORN, MAX MACAT, JIHANE MRAD STEADICAM OPERATOR: BRICE REID STEADICAM ASSISTANT: KEN LITTLE CAMERA UTILITY: PAULINA GOMEZ DIGITAL UTILITY: JOSHUA SMITH STILL PHOTOGRAPHER: RON JAFFE

“BLESS THIS MESS” SEASON 1

STEADICAM ASSISTANT: TIM COBB DIGITAL IMAGING TECH: RYAN DEGRAZZIO DIGITAL UTILITY: MIKE RUSH

“AMERICAN HOUSEWIFE” SEASON 3 DIRECTOR OF PHOTOGRAPHY: ANDREW RAWSON OPERATORS: RICH DAVIS, TIM WALKER, LISA STACILAUSKAS ASSISTANTS: MAX NEAL, ROBERT GILPIN, JOE TORRES, ELIZABETH ALGIERI, KARL OWENS, JASWINDER BEDI DIGITAL LOADER: LESLIE PUCKETT DIGITAL UTILITY: STEVE ROMMEVAUX

“AMERICAN IDOL” SEASON 2

DIRECTOR OF PHOTOGRAPHY: JAMES BAGDONAS, ASC OPERATORS: CHAD PERSONS, TOBY TUCKER ASSISTANTS: NOAH BAGDONAS, MICHAEL BAGDONAS, JOHN STRADLING, REBECCA MARTZ SPENSER CAMERA UTILITY: COREY GIBBONS DIGITAL UTILITY: SEAN KEHOE

LIGHTING DESIGNER: KIERAN HEALY STEADICAM OPERATORS: RON LEHMAN, FREDDY FREDERICK, SEAN FLANNERY TECHNO JIB OPERATORS: KEITH DICKER, BRAD ZERBST, DANNY WEB, BRIAN REASON, STEVE MARTYNIUK HAND HELD OPERATORS: EASTER XUA, DYLAN SANFORD, DAMIEN TUFFEREAU, ANDREW WARUSZEWSKI HOT HEAT OPERATORS: JEFF JOHNSON, MARK KOONCE PEDESTAL OPERATORS: BETTINA LEVESQU, DARYL STUDEBAKER, JORGE FERRIS, CARY SYMMONS, STEVE THIEL, MICHAEL CARR, ANDREW WARUSZEWSKI, NAT HAVHOLM TOWER OPERATORS: DAVE EASTWOOD, ROB PALMER, BERT ATKINSON, CARY SYMMONS SPYDERCAM OPERATOR: ADAM MARGOLIS HEAD UTILITY: CHARLIE FERNANDEZ UTILITIES: RANDY PULLY, BYRON BLADES, TIKERI THOMSON, SHAWN JOHN, ROBERT CADE STEADICAM UTILITY: ROBERT LORENZE

“LOVESTRUCK” PILOT

“EMERGENCE” PILOT

DIRECTOR OF PHOTOGRAPHY: BRETT PAWLAK OPERATORS: J. CHRISTOPHER CAMPBELL, ROB ROBINSON, SIDARTH KANTAMNENI ASSISTANTS: EMIL HAMPTON, DWIGHT CAMPBELL, MARY-MARGARET PORTER, BLAIR WINDERS, AMANDA ETHERIDGE, STEPHAN DEKEMPER STEADICAM OPERATOR: J. CHRISTOPHER CAMPBELL STEADICAM ASSISTANT: EMIL HAMPTON DIGITAL IMAGING TECH: STUART HUGGINS LOADER: STEVE WORONKO DIGITAL UTILITY: JOSH WISENBAUGH STILL PHOTOGRAPHER: JACE DOWNS

DIRECTOR OF PHOTOGRAPHY: SHAWN MAURER OPERATORS: ELI ARONOFF, PIERRE COLONNA ASSISTANTS: JOSEPH METZGER, GUS LIMBERIS, JONATHAN MONK, ROBERT CLINE DIGITAL IMAGING TECH: PAUL SCHILENS LOADER: TYLER SWANEK

DIRECTOR OF PHOTOGRAPHY: JASON OLDAK OPERATORS: GARY CAMP, BRIAN OUTLAND ASSISTANTS: JOHN RUIZ, JENNA HOFFMAN, KYLE PETITJEAN, HEATHER BALLISH STEADICAM OPERATOR: GARY CAMP STEADICAM ASSISTANT: JOHN RUIZ LOADER: JORDAN CANTU

“EMPIRE” SEASON 5 DIRECTOR OF PHOTOGRAPHY: JOE “JODY” WILLIAMS OPERATORS: KIRK GARDNER, SPENCER GILLIS ASSISTANTS: ANDY BORHAM, BETSY PEOPLES, URIAH KALAHIKI, SHANNON DEWOLFE LOADER: AMANDA KOPEC DIGITAL UTILITY: MARK IRION STILL PHOTOGRAPHER: CHUCK HODES

“HAPPY ACCIDENT” PILOT

ABC STUDIOS

“AGENTS OF S.H.I.E.L.D.” SEASON 7 DIRECTORS OF PHOTOGRAPHY: ALLAN WESTBROOK, KYLE JEWELL OPERATORS: BILL BRUMMOND, JOSH LARSEN ASSISTANTS: COBY GARFIELD, TIM COBB, DEREK HACKETT, JOSH NOVAK STEADICAM OPERATOR: BILL BRUMMOND

“GREY’S ANATOMY” SEASON 15 DIRECTOR OF PHOTOGRAPHY: HERB DAVIS OPERATORS: FRED IANNONE, STEVE ULLMAN ASSISTANTS: NICK MCLEAN, FORREST THURMAN, CHRIS JOHNSON, LISA BONACCORSO STEADICAM OPERATOR: STEVE ULLMAN STEADICAM ASSISTANT: FORREST THURMAN

“JIMMY KIMMEL LIVE!” SEASON 17 LIGHTING DIRECTOR: CHRISTIAN HIBBARD OPERATORS: GREG GROUWINKEL, PARKER BARTLETT, GARRETT HURT, MARK GONZALES STEADICAM OPERATOR: KRIS WILSON

JIB OPERATORS: MARC HUNTER, RANDY GOMEZ, JR., NICK GOMEZ CAMERA UTILITIES: CHARLES FERNANDEZ, SCOTT SPIEGEL, TRAVIS WILSON, DAVID FERNANDEZ, ADAM BARKER VIDEO CONTROLLER: GUY JONES STILL PHOTOGRAPHERS: KAREN NEAL, MICHAEL DESMOND 2ND UNIT DIRECTORS OF PHOTOGRAPHY: BERND REINBARDT, STEVE GARRETT

“STATION 19” SEASON 2 DIRECTORS OF PHOTOGRAPHY: OLIVER BOKELBERG, ASC, DARYN OKADA, ASC OPERATORS: STEVE CLANCY, MARIANA ANTUÑANO ASSISTANTS: TONY SCHULTZ, CHRISTOPHER GARCIA, DIANA ULZHEIMER, TIM TILLMAN STEADICAM OPERATOR: STEVE CLANCY STEADICAM ASSISTANT: TONY SCHULTZ DIGITAL IMAGING TECH: ANDREW LEMON DIGITAL UTILITY: GEORGE MONTEJANO, III

AFN PRODUCTIONS-TELEPICTURES “THE REAL” SEASON 5

LIGHTING DIRECTOR: EARL WOODY, LD OPERATORS: KEVIN MICHEL, NATE PAYTON, STEVE RUSSELL, CHRIS WILLIAMS STEADICAM OPERATOR: WILL DEMERITT CAMERA UTILITIES: HENRY VEREEN, SALVATORE BELLISSIMO, ANDRES VELASQUEZ, JR. JIB ARM OPERATOR: JIM CIRRITO VIDEO CONTROLLER: JEFF MESSENGER

A VERY GOOD PRODUCTION, INC. & WAD PRODUCTIONS

“THE ELLEN DEGENERES SHOW” SEASON 16 LIGHTING DIRECTOR: TOM BECK PED OPERATORS: DAVID WEEKS, PAUL WILEMAN, TIM O’NEILL HAND HELD OPERATOR: CHIP FRASER JIB OPERATOR: DAVID RHEA STEADICAM OPERATOR: DONOVAN GILBUENA VIDEO CONTROLLER: JAMES MORAN HEAD UTILITY: CRAIG “ZZO” MARAZZO UTILITIES: ARLO GILBUENA, WALLY LANCASTER, DIEGO AVALOS

BEACHWOOD SERVICES

“DAYS OF OUR LIVES” SEASON 54 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

MAY 2019 PRODUCTION CREDITS

ERICKSON, DOUG FROEBE (VIDEO) ASSISTANTS: JAMES TROOST, HELEN TADESSE NATHAN LOPEZ, YUSEF EDMONDS LOADER: ANNA FERRARIE STILL PHOTOGRAPHERS: RON JAFFE, MIKE KUBEISY

“NCIS: LOS ANGELES” SEASON 10 DIRECTOR OF PHOTOGRAPHY: VICTOR HAMMER OPERATORS: TERENCE NIGHTINGALL, TIM BEAVERS ASSISTANTS: KEITH BANKS, RICHIE HUGHES, PETER CARONIA, JACQUELINE NIVENS STEADICAM OPERATORS: TERENCE NIGHTINGALL, TIM BEAVERS STEADICAM ASSISTANTS: KEITH BANKS, RICHIE HUGHES DIGITAL IMAGING TECH: JOHN MILLS DIGITAL UTILITY: TREVOR BEELER  STILL PHOTOGRAPHER: RON JAFFE PUBLICIST: KATHLEEN TANJI

“NCIS: NEW ORLEANS” SEASON 5 DIRECTOR OF PHOTOGRAPHY: GORDON LONSDALE, ASC OPERATORS: JERRY JACOB, VINCENT BEARDEN, TONY POLITIS ASSISTANTS: BROUKE FRANKLIN, PETER ROOME, JEFF TAYLOR, DAVE EDWARDS, TONI WEICK, STEPHEN VICARI STEADICAM OPERATOR: VINCENT BEARDEN DIGITAL LOADER: LEVI WELLS DIGITAL UTILITY: KOLBY HEID

CALLING GRACE PROUCTIONS, LLC “THE UNDOING” SEASON 1

DIRECTOR OF PHOTOGRAPHY: ANTHONY DOD MANTLE, ASC, BSC, DFF OPERATOR: PAUL DALEY ASSISTANTS: NINO NEUBOECK, GLENN KAPLAN, COURTNEY BRIDGERS, ANTHONY DEFRANCESCO STEADICAM OPERATOR: ROBERTO DE ANGELIS DIGITAL IMAGING TECH: ABBY LEVINE LOADER: HOLLY MCCARTHY

CBS

“BULL” SEASON 3 DIRECTORS OF PHOTOGRAPHY: JOHN ARONSON, DERICK UNDERSCHULTZ OPERATORS: BARNABY SHAPIRO, DOUG PELLEGRINO ASSISTANTS: ROMAN LUKIW, SOREN NASH, MIKE LOBB, TREVOR WOLFSON DIGITAL IMAGING TECH: GABE KOLODNY LOADERS: WYATT MAKER, NIALANEY RODRIGUEZ

“ENTERTAINMENT TONIGHT” SEASON 39 LIGHTING DESIGNER: DARREN LANGER DIRECTOR OF PHOTOGRAPHY: KURT BRAUN OPERATORS: JAIMIE CANTRELL, JAMES B. PATRICK, ALLEN VOSS, ED SARTORI, HENRY ZINMAN, BOB CAMPI, RODNEY MCMAHON, ANTHONY SALERNO CAMERA UTILITY: TERRY AHERN VIDEO CONTROLLERS: MIKE DOYLE, PETER STENDAL

MAY 2019 PRODUCTION CREDITS

“EVIL” PILOT DIRECTOR OF PHOTOGRAPHY: FRED MURPHY OPERATORS: AIKEN WEISS, JOHN PIROZZI ASSISTANTS: ROBERT BECCHIO, NICHOLAS HAHN, ALISA COLLEY, JULIAN BASS LOADERS: BRIANNA MORRISON, HAROLD ERKINS

“JANE THE NOVELA” PILOT DIRECTOR OF PHOTOGRAPHY: CHECCO VARESE, ASC OPERATORS: JOSH TURNER, TAJ TEFFAHA ASSISTANTS: IGNACIO MUSICH, JOSH BENAVIDEZ, LARRY NIELSEN, HARRISON REYNOLDS LOADERS: BRIANNA MORRISON, HAROLD ERKINS DIGITAL IMAGING TECH: LANLIN WONG DIGITAL UTILITY: COURTNEY MILLER STILL PHOTOGRAPHER: LISA ROSE

“MAN WITH A PLAN” SEASON 3 DIRECTOR OF PHOTOGRAPHY: GARY BAUM, ASC OPERATORS: GLENN SHIMADA, TRAVERS HILL, LANCE BILLITZER, ED FINE ASSISTANTS: ADRIAN LICCIARDI, JEFF GOLDENBERG, ALEC ELIZONDO, CLINT PALMER, JASON HERRING UTILITIES: DANNY LORENZE, SEAN ASKINS DIGITAL IMAGING TECH: DEREK LANTZ VIDEO CONTROLLER: JOHN O’BRIEN

“NCIS” SEASON 16 DIRECTOR OF PHOTOGRAPHY: WILLIAM WEBB, ASC OPERATORS: GREGORY PAUL COLLIER, CHAD

“STRANGE ANGEL” SEASON 2 DIRECTORS OF PHOTOGRAPHY: CYNTHIA PUSHECK, ARMANDO SALAS OPERATORS: JOSHUA HARRISON, DEAN MORIN ASSISTANTS: NEIL CHARTIER, KIRA MURDOCK, TRACI CHARTIER, PRESTON PHILLIPS DIGITAL IMAGING TECH: AARON PICOT LOADER: CARMAN SPOTO CAMERA UTILITY: ANDY MACAT TECHNOCRANE OPERATOR: NAZARIY HATAK TECHNOCRANE TECH: BRIAN LOVE REMOTE HEAD TECH/OPERATOR: JAY SHEVECK

“THE CODE” SEASON 1 DIRECTOR OF PHOTOGRAPHY: JIMMY LINDSEY, ASC OPERATORS: LAWRENCE MCCONKEY, CHRIS SCARAFILE ASSISTANTS: SCOTT KOENIGSBERG, JOSEPH METZGER, DEAN MARTINEZ, JONATHAN MONK DIGITAL IMAGING TECH: MATTHEW SELKIRK LOADERS: JAMES ABAMONT, ALYSSA LONGCHAMP STILL PHOTOGRAPHER: MARK SCHAFER

“THE GOOD FIGHT” SEASON 3 DIRECTORS OF PHOTOGRAPHY: FRED MURPHY, ASC, TIM GUINNESS OPERATORS: ALEC JARNAGIN, DIANA MATOS ASSISTANTS: RENE CROUT, DANIEL FIORITO, ELIZABETH CASINELLI, MILLY ITZHAK LOADERS: VINNIE LARAWAY, SANCHEEV RAVICHANDRAN STILL PHOTOGRAPHER: PATRICK HARBRON

“THE TALK” SEASON 9 LIGHTING DIRECTOR: MARISA DAVIS PED OPERATORS: ART TAYLOR, MARK GONZALES, ED STAEBLER HAND HELD OPERATORS: RON BARNES, KEVIN MICHEL, JEFF JOHNSON JIB OPERATOR: RANDY GOMEZ HEAD UTILITY: CHARLIE FERNANDEZ UTILITIES: MIKE BUSHNER, DOUG BAIN, DEAN FRIZZEL, BILL GREINER, JON ZUCCARO VIDEO CONTROLLER: RICHARD STROCK STILL PHOTOGRAPHER: RON JAFFE

“THE UNICORN” PILOT DIRECTOR OF PHOTOGRAPHY: KRISTIAN KACHIKIS OPERATORS: TREY CLINESMITH, HASSAN ABDUL-WAHID, ERIC ZIMMERMAN ASSISTANTS: RICHARD CARLSON, SCOTT KASSENOFF, JASON KNOLL, MICHAEL CRANKSHAW, BRANDON SZAJNER STEADICAM OPERATOR: TREY CLINESMITH DIGITAL IMAGING TECH: CASEY SHERRIER LOADER: ROB REAVES

CONACO

“CONAN” SEASON 9 OPERATORS: TED ASHTON, NICK KOBER, KOSTA KRSTIC, JAMES PALCZEWSKI, BART PING, SETH SAINT VINCENT

HEAD UTILITY: CHRIS SAVAGE UTILITIES: BARON JOHNSON, JOSH GWILT

COOLER WATER PRODUCTIONS, LLC “MRS. FLETCHER” SEASON 1

DIRECTOR OF PHOTOGRAPHY: JEFFREY WALDRON OPERATORS: PETER NOLAN, ROD CALARCO ASSISTANTS: CHRISTOPHER SILANO, OLGA ABRAMSON, TROY SOLA, EDDIE GOLDBLATT LOADER: BRITTANY JELINSKI STILL PHOTOGRAPHER: SARAH SHATZ

CRANETOWN MEDIA, LLC

“DAYBREAK” SEASON 1 DIRECTOR OF PHOTOGRAPHY: DUANE MANWILLER OPERATORS: HENRY TIRL, STEPHEN ANDRICH ASSISTANTS: MATTHEW HORN, GABRIEL PFEIFFER, LIZA BAMBENEK, ROBERT VELIKY, TAYLOR HILBURN, ARTU ARIN STEADICAM OPERATOR: HENRY TIRL DIGITAL IMAGING TECH: TIM GREGOIRE LOADER: KATHRYN JONES DIGITAL UTILITY: DIANA DE AGUINAGA STILL PHOTOGRAPHER: URSULA COYOTE

“NO GOOD NICK” SEASON 1 DIRECTOR OF PHOTOGRAPHY: JOHN SIMMONS, ASC OPERATORS: BRIAN GUNTER, ROBERT MCCALL, SKETCH PASINSKI, VICTORIA WALKER

ASSISTANT: ELENA GOMEZ DIGITAL IMAGING TECH: CLIFF JONES JIB TECH: JORGE VALENZUELA VIDEO CONTROLLER: DAVE DEMORE STILL PHOTOGRAPHER: LISA ROSE

“THE RANCH” SEASON 4 DIRECTOR OF PHOTOGRAPHY: DONALD A. MORGAN, ASC OPERATORS: BRIAN ARMSTRONG, RANDY BAER, CHRIS HINOJOSA, MICHELLE CRENSHAW ASSISTANTS: DON DAVIS, MISSY TOY, VITO DE PALMA, ADAN TORRES, AL MYERS DIGITAL IMAGING TECH/VIDEO CONTROLLER: RICK DUNGAN CAMERA UTILITIES: ERINN BELL, STEVE MASIAS

“UNDER THE BRIDGE” PILOT DIRECTOR OF PHOTOGRAPHY: ROBERT GANTZ OPERATORS: KENNY BROWN, JOEL PERKEL ASSISTANTS: JAMIE FELZ, CASEY MULDOON, JAMES BARELA, LUIS GOMEZ STEADICAM OPERATOR: KENNY BROWN DIGITAL IMAGING TECH: KEVIN BRITTON DIGITAL LOADER: KYLE JACOBS UTILITY: NATT VINYUWONGE TECHNOCRANE OPERATOR: NAZARIY HATAK REMOTE HEAD TECH/OPERATOR: JAY SHEVECK STILL PHOTOGRAPHERS: MITCH HADDAD, RON JAFFE

MAY 2019 PRODUCTION CREDITS

“BLESS THIS MESS” SEASON 1

“YOUNGER” SEASON 6

DIRECTOR OF PHOTOGRAPHY: JOHN THOMAS OPERATORS: HOLLIS MEMINGER, SCOTT SANS ASSISTANTS: ELIZABETH SINGER, JAMES DALY, VANESSA MORRISON, EMILY DEBLASI DIGITAL IMAGING TECH: JAMES STROSAHL LOADER: JESSICA CELE-NAZARIO STILL PHOTOGRAPHERS: KAROLINA WOJTASIK, CHRISTOPHER SAUNDERS

“HAPPY ACCIDENT” PILOT DIRECTOR OF PHOTOGRAPHY: JAMES BAGDONAS, ASC OPERATORS: CHAD PERSONS, TOBY TUCKER ASSISTANTS: NOAH BAGDONAS, MICHAEL BAGDONAS, JOHN STRADLING, REBECCA MARTZ SPENSER CAMERA UTILITY: COREY GIBBONS DIGITAL UTILITY: SEAN KEHOE

“LOVESTRUCK” PILOT DIRECTOR OF PHOTOGRAPHY: BRETT PAWLAK OPERATORS: J. CHRISTOPHER CAMPBELL, ROB ROBINSON, SIDARTH KANTAMNENI ASSISTANTS: EMIL HAMPTON, DWIGHT CAMPBELL, MARY-MARGARET PORTER, BLAIR WINDERS, AMANDA ETHERIDGE, STEPHAN DEKEMPER STEADICAM OPERATOR: J. CHRISTOPHER CAMPBELL STEADICAM ASSISTANT: EMIL HAMPTON DIGITAL IMAGING TECH: STUART HUGGINS LOADER: STEVE WORONKO DIGITAL UTILITY: JOSH WISENBAUGH STILL PHOTOGRAPHER: JACE DOWNS

MAY 2019 PRODUCTION CREDITS

“WU-TANG: AN AMERICAN SAGA” SEASON 1 DIRECTOR OF PHOTOGRAPHY: GAVIN KELLY OPERATORS: JON BEATTIE, KATE LAROSE ASSISTANTS: ANDREW JUHL, CHRISTOPHER WIEZOREK, YALE GROPMAN, DANIEL PFEIFER DIGITAL IMAGING TECH: J. ERIC CAMP LOADERS: SEAN MCNAMARA, ADAM DEREZENDES

DC COMICS

“DOOM PATROL” SEASON 1 DIRECTORS OF PHOTOGRAPHY: MAGDALENA GORKA, SCOTT WINIG OPERATORS: TIM FABRIZIO, RYAN WEISEN ASSISTANTS: CHRIS LARSEN, JACKSON MCDONALD, PAUL SAUNDERS, SAGAR DESAI DIGITAL IMAGING TECH: MARK GILMER DIGITAL UTILITY: TOREY LENART LOADER: CAROLINE OELKERS

DIVA GAMES, LLC

“GAMES PEOPLE PLAY” SEASON 1 DIRECTOR OF PHOTOGRAPHY: FRANK PERL OPERATORS: HILTON GORING, TONY GUTIERREZ ASSISTANTS: ALAINA MCMANUS, CRISTINA ARBOLEDA, MARK REILLY, ALDO PORRAS DIGITAL IMAGING TECH: OLIVER MANCEBO DIGITAL UTILITY: MISSY BURGESS STILL PHOTOGRAPHER: RON JAFFE

EYE PRODUCTIONS, INC.

“BLUE BLOODS” SEASON 9 DIRECTOR OF PHOTOGRAPHY: GENE ENGELS OPERATORS: STEPHEN CONSENTINO, GEOFF FROST ASSISTANTS: GRAHAM BURT, JACOB STAHLMAN, CHRIS SEEHASE, KENNY MARTELL DIGITAL IMAGING TECH: RYAN HEIDE LOADERS: NEICY MCFADDEN, CALEB KEELER

“HAWAII FIVE-O” SEASON 9 DIRECTORS OF PHOTOGRAPHY: KURT JONES, NEWTON TERMEER OPERATORS: GREG LUNDSGAARD, JIM JOST ASSISTANTS: JEFF PELTON, KANOA DAHLIN, ULYSSES DOMALAON, BRANDON HO, MIKE PRIOSTE, WILL WACHA DIGITAL IMAGING TECH: DAVID CRANS LOADER: RYAN CHARLTON-HALWEG DIGITAL UTILITY: GERALDO MORALES

“MADAM SECRETARY” SEASON 5 DIRECTOR OF PHOTOGRAPHY: LEARAN KAHANOV OPERATORS: JAMIE SILVERSTEIN, PETER VIETRO-HANNUM ASSISTANTS: HEATHER NORTON, JAMIE FITZPATRICK, AMANDA ROTZLER, DAMON LEMAY DIGITAL IMAGING TECH: KEITH PUTNAM LOADERS: CHRISTOPHER PATRIKIS, KRISTINA LALLY STILL PHOTOGRAPHER: MARK SCHAFER

“MACGYVER” SEASON 3 DIRECTORS OF PHOTOGRAPHY: MIKE MARTINEZ, JAMES L. CARTER, ASC OPERATORS: IAN FORSYTH, ALLEN D. EASTON, PAUL KRUMPER ASSISTANTS: AL COHEN, STEFAN VINO-FIGUEROA, TREVOR RIOS, EASTON HARPER, MIKE TORINO, DANNY VANZURA STEADICAM OPERATOR: IAN FORSYTH DIGITAL IMAGING TECH: GREG VANZYCK UTILITY: TYLER BASTIANSON

FOX 21

“QUEEN OF THE SOUTH” SEASON 4 DIRECTOR OF PHOTOGRAPHY: ABE MARTINEZ OPERATORS: MATT VALENTINE, BOB FOSTER ASSISTANTS: JASON GARCIA, RIGNEY SACKLEY, STEFAN TARZAN, DAN MCKEE, ZANDER WHITE DIGITAL LOADER: ADAM LIPSCOMB

FUQUA FILMS

“THE RESIDENT” SEASON 2 DIRECTOR OF PHOTOGRAPHY: JOHN BRAWLEY OPERATORS: MARK KARAVITE, KRIS HARDY, HILDA MERCADO ASSISTANTS: ERIC LEFTRIDGE, SCOTT FORTE, TREY TWITTY, JOHN METCALFE, AUSTIN TAYLOR, BESS JOHNSON STEADICAM OPERATOR: MARK KARAVITE LOADER: TREY VOLPE CAMERA UTILITY: RYAN ST CLAIR DIGITAL UTILITY: MAX CARTER 2ND UNIT DIR. OF PHOTOGRAPHY: HILDA MERCADO

GOLDEN DRAGONS, LLC

“THE OUTSIDER” SEASON 1 DIRECTOR OF PHOTOGRAPHY: IGOR MARTINOVIC OPERATORS: BEN SEMANOFF, ARI ISSLER

ASSISTANTS: LIAM SINNOTT, KATE ROBERSON, STEPHEN EARLY, MICHAEL FISHER DIGITAL IMAGING TECH: MICHAEL KIM LOADER: KAT SOULAGNET

GRAVITATIONAL PRODUCTIONS “ZOMBIELAND 2”

DIRECTOR OF PHOTOGRAPHY: CHUNG-HOON CHUNG OPERATORS: BJ MCDONNELL, CHRIS CAMPBELL, RICHARD CANTU ASSISTANTS: GREG IRWIN, ANDY HOEHN, PAUL WOODS, JAMIE PAIR, PAUL WOODS, NICHOLE CASTRO, LAUREN GENTRY DIGITAL IMAGING TECH: KYLE SPICER LOADER: DJ PHILLIPS DIGITAL UTILITY: REBECCA FOWLER STILL PHOTOGRAPHER: JESSICA MIGLIO PUBLICIST: ELIZABETH DRISCOLL

HORIZON SCRIPTED TELEVISION, INC. “YOU” SEASON 2

DIRECTORS OF PHOTOGRAPHY: SEAMUS TIERNEY, CORT FEY OPERATORS: BUD KREMP, NICOLE LOBELL ASSISTANTS: MICHAEL ALVAREZ, STEVE PAZANTI, SUMMER MARSH, RICHARD KENT

DIGITAL IMAGING TECH: PAUL MALETICH DIGITAL UTILITY: HUNTER JENSEN TECHNOCRANE OPERATOR: NAZARIY HATAK TECHNOCRANE TECH: BRIAN LOVE REMOTE HEAD TECH/OPERATOR: JAY SHEVECK

IT’S A LAUGH PRODUCTIONS

“SYDNEY TO THE MAX” SEASON 1 DIRECTOR OF PHOTOGRAPHY: THOMAS T. ECKELBERRY OPERATORS: KEN HERFT, CORY GUNTER, TOM CONKRIGHT, JACK CHISHOLM, VINCE SINGLETARY CAMERA UTILITIES: TERRY GUNTER, KATE STEINHEBEL DIGITAL UTILITIES: MIKE PUSATERE, MONICA SCHAD VIDEO CONTROLLERS: KEITH ANDERSON, BRIAN DODDS STILL PHOTOGRAPHER: RON TOM

JAY SQUARED PRODUCTIONS, LLC “BLINDSPOT” SEASON 4

DIRECTORS OF PHOTOGRAPHY: ANDREW PRIESTLEY, JON DELGADO OPERATORS: PYARE FORTUNATO, PETER RAMOS, JOHN ROMER ASSISTANTS: ANDREW SMITH, ALEKSANDR ALLEN, KYLE CLARK, CHRISTIAN BRIGHT, BRYANT BAILEY, DEBORAH FASTUCA, KJERSTIN ROSSI, DARNELL MCDONALD STEADICAM OPERATOR: PYARE FORTUNATO

MAY 2019 PRODUCTION CREDITS

NBC Booth #98

May 31 – June 1, 2019 Paramount Studios Hollywood, CA

“CHICAGO FIRE” SEASON 7 DIRECTOR OF PHOTOGRAPHY: LISA WIEGAND, ASC OPERATORS: WILL EICHLER, VANESSA JOY SMITH ASSISTANTS: LUIS FOWLER, ZACH GANNAWAY, BRIAN ROMANO, GARY MALOUF STEADICAM OPERATOR: WILL EICHLER DIGITAL LOADER: DEREK ASHBAUGH DIGITAL UTILITY: AMY TOMLINSON STILL PHOTOGRAPHER: ELIZABETH MORRIS

“CHICAGO MED” SEASON 4 DIRECTOR OF PHOTOGRAPHY: LEX DUPONT, ASC OPERATORS: FAIRES ANDERSON SEKIYA, CHRIS HOOD, JOE TOLITANO ASSISTANTS: GEORGE OLSON, LAURA DEFIGLIO, KEITH HUEFFMEIER, PATRICK DOOLEY, SAM KNAPP, JOEY RICHARDSON STEADICAM OPERATOR: FAIRES ANDERSON SEKIYA LOADER: MATT BROWN UTILITY: EMMANUEL BANSA STILL PHOTOGRAPHER: LIZ SISSON

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DIGITAL IMAGING TECH: CHLOE WALKER STILL PHOTOGRAPHER: PHIL CARUSO

JONAS & CO.

“SPONGEBOB, BEST YEAR EVER” DIRECTOR OF PHOTOGRAPHY: JOSHUA REIS OPERATOR: NIELS LINDELIEN ASSISTANTS: LIAM MILLER, CURTIS DAVIS, LOIE TEMPLETON, PAULINA BRYANT DIGITAL IMAGING TECH: RYAN PROUTY

LEGENDARY PICTURES

“GODZILLA VS. KING KONG” DIRECTOR OF PHOTOGRAPHY: BEN SERESIN OPERATORS: MARTIN SCHAER, JAMES GOLDMAN ASSISTANTS: SIMON ENGLAND, JIMMY WARD JUSTIN ZAFFIRO, NATHAN STERN DIGITAL IMAGING TECH: ROBERT HOWIE LOADER: DANNY PARK STILL PHOTOGRAPHER: CHUCK ZLOTNICK PUBLICIST: DEBORAH SIMMRIN

MINIM PRODUCTIONS, INC. “BASKETS” SEASON 4

DIRECTOR OF PHOTOGRAPHY: JOSEPH MEADE

MAY 2019 PRODUCTION CREDITS

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OPERATORS: TYSON WISBROCK, NOAH DILLE ASSISTANTS: CAMERON CAREY, JERRY TURNER, DANIELLE CARROLL, PATRICK LAVALLEY LOADER: CARL HELDER STILL PHOTOGRAPHER: ERICA PARISE

“LEGION” SEASON 3 DIRECTORS OF PHOTOGRAPHY: DANA GONZALES, ASC, POLLY MORGAN, ASC, BSC, AMY VINCENT, ASC, ALEX DISENHOF, BEN KUTCHINS OPERATORS: MITCH DUBIN, BRIAN BERNSTEIN, WILL DEARBORN ASSISTANTS: DAVID EDSALL, CHELI CLAYTON, ALEX SCOTT, JASON ALEGRE, AMANDA DAROUIE, GARY BEVANS DIGITAL IMAGING TECH: CHRIS CAVANAUGH UTILITY: EMMA MASSALONE STILL PHOTOGRAPHER: SUZANNE TENNER

MIXED BAG PRODUCTIONS, LLC

“THE RIGHTEOUS GEMSTONES” SEASON 1 DIRECTOR OF PHOTOGRAPHY: MICHAEL SIMMONDS OPERATORS: PAUL DALEY, SIMON JAYES ASSISTANTS: JUSTIN SIMPSON, MATTHEW MEBANE LOADER: NICHOLAS BROWN

“CHICAGO PD” SEASON 6 DIRECTOR OF PHOTOGRAPHY: JAMES ZUCAL OPERATORS: RICHARD CROW, DARRYL MILLER, SETH THOMAS ASSISTANTS: JOHN YOUNG, DON CARLSON, DAVID “YT” WIGHTMAN, JAMISON ACKER, PHILLIP WALTER, KYLE BELOUSEK STEADICAM OPERATOR: SCOTT DROPKIN, SOC LOADER: NICK WILSON UTILITIES: MARION TUCKER, ALAN DEMBEK STILL PHOTOGRAPHER: SANDY MORRIS 2ND UNIT DIRECTOR OF PHOTOGRAPHY: DARRYL MILLER

“LITTLE AMERICA” SEASON 1 DIRECTOR OF PHOTOGRAPHY: DAVID FRANCO OPERATORS: JEFFREY DUTEMPLE, JOHN R. MACDONALD ASSISTANTS: GREGORY FINKEL, BRADLEY GRANT, EMMA REES-SCANLON, SUREN KARAPETYAN DIGITAL IMAGING TECH: MALIKA FRANKLIN LOADER: DONALD GAMBLE, DEREK DIBONA STILL PHOTOGRAPHER: SEACIA PAVAO

“SONGLAND” SEASON 1 LIGHTING DIRECTOR: SAM BARKER OPERATORS: NATHAN MEADE, BRIAN TAYLOR MOVI OPERATOR: KYLE STRYKER JIB OPERATOR: RANDY GOMEZ ASSISTANTS: KATIE DETEMPLE, CRAIG ASATO, VERLON ALLEN DIGITAL IMAGING TECH: JANE FLECK STILL PHOTOGRAPHER: TRAE PATTON STAGE CREW STEADICAM OPERATORS: ANDREW JENSEN, TORE LIVIA, DAVE KANEHANN, TRAVIS HAYS PED OPERATORS: GEORGE APONTE, JEFF JOHNSON,

NATHANIEL HAVHOLM, MARC STUMPO, ZEKE HERNANDEZ, STEVE THIEL, ALLEN MERRIWEATHER, SUZANNE EBNER, ROB PALMER, JEFF WILKINS, HELENA JACKSON, ALEX HERNANDEZ, QUIN DEVARONA, CARY SYMMONS, DARYL STUDEBAKER, DAVE ORTIZ TECHNO JIB OPERATOR: RANDY GOMEZ, NICK GOMEZ VIDEO CONTROLLERS: TERRANCE HO, JOHN PALACIO, JR.

PENNY LANE PRODUCTIONS, LLC

SONY

DIRECTOR OF PHOTOGRAPHY: YARON ORBACH OPERATORS: PHILIP MARTINEZ, LUCAS OWEN ASSISTANTS: WARIS SUPANPONG, BECKI HELLER, RANDY SCHWARTZ, NATHALIE RODRIGUEZ LOADER: BRIAN LYNCH STILL PHOTOGRAPHER: PAUL SHIRALDI

“SUPERSTORE” SEASON 4

POPCORN PRODUCTIONS, LLC

DIRECTOR OF PHOTOGRAPHY: JAY HUNTER OPERATORS: ADAM TASH, HASSAN ABDUL-WAHID, DANNY NICHOLS ASSISTANTS: JASON ZAKRZEWSKI, BRANDON MARGULIES, ERIC JENKINSON, RYAN SULLIVAN, ESTA GARCIA, RIKKI ALARIAN JONES LOADER: GRACE THOMAS

DIRECTOR OF PHOTOGRAPHY: JEFF ENGEL OPERATORS: DIANE L. FARRELL, SOC, MIKE TRIBBLE, JEFF SCHUSTER, L. DAVID IRETE JIB ARM OPERATOR: MARC HUNTER HEAD UTILITY: TINO MARQUEZ CAMERA UTILITY: RAY THOMPSON VIDEO CONTROLLER: GARY TAILLON STILL PHOTOGRAPHER: CAROL KAELSONTHE

DIRECTOR OF PHOTOGRAPHY: JO WILLEMS, ASC OPERATORS: DAVE THOMPSON, IAN SEABROOK ASSISTANTS: STEPHEN MACDOUGALL, KINGSLEA BUELTEL, RYAN BUSHMAN, DAN BAAS STEADICAM OPERATOR: DAVE THOMPSON DIGITAL IMAGING TECH: ADRIAN JEBEF

“ZOEY’S EXTRAORDINARY PLAYLIST” PILOT DIRECTOR OF PHOTOGRAPHY: VANJA CERNJUL OPERATORS: SEAN ELLIOT, STEPHEN BUCKINGHAM ASSISTANTS: TIM GUFFIN, ANNE LEE, JEPH FOLKINS, SAM LINO, JONATHAN BOWERBANK, THERESA WONG DIGITAL LOADER: ROBERT JULIAN DIGITAL UTILITY: JORDAN LIVINGSTON

NZK PRODUCTIONS

“THE BACHELORETTE” SEASON 15 DIRECTORS OF PHOTOGRAPHY: DENNIS WEILER, CHAD GRIEPENTROG, ANDRE MARTINEZ LIGHTING DESIGNER: OSCAR DOMINGUEZ OPERATORS: DOUG HENNING, MARK JUNGJOHANN, IVAN DURAN, ANDREW RAKOW JIB OPERATOR: RANDY GOMEZ ASSISTANTS: BRANDON NEELY, TYLER DETARSIO, JERRY HUDGENS, DAVE OSTERBERG, CHRISTOPHER LEE, ERIC SCHEINER, GUDMUNDUR FRIDLEIFSSON, APPLE SCHLOSSER JIB ARM TECH: JORGE VALENZUELA DIGITAL IMAGING TECH: MARC SURETTE CAMERA UTILITY: RUBEN SANDOVAL VIDEO CONTROLLER: RICHARD STROCK

PALLADIN PRODUCTIONS

“SWAMP THING” SEASON 1 DIRECTORS OF PHOTOGRAPHY: FERNANDO ARGUELLES, ASC, AEC, NATHAN GOODMAN, ASC OPERATORS: MATTHEW DOLL, MICHAEL REPETA ASSISTANTS: PATRICK BOROWIAK, SEAN YAPLE, ROY KNAUF, DARWIN BRANDIS STEADICAM OPERATOR: MATTHEW DOLL DIGITAL IMAGING TECH: ANDY BADER

“THE DEUCE” SEASON 3

“BIOS”

2ND UNIT DIRECTOR OF PHOTOGRAPHY: IAN SEABROOK

POSSIBLE PRODUCTIONS “BILLIONS” SEASON 4

DIRECTOR OF PHOTOGRAPHY: GIORGIO SCALI OPERATORS: JONATHAN BECK, NICOLA BENIZZI ASSISTANTS: EDWIN EFFREIN, CAI HALL, LEONARDO GOMEZ, II, ANDREW HAMILTON LOADERS: CHRISTOPHER CHARMEL, KANSAS BALLESTEROS

“THE AFFAIR” SEASON 5 DIRECTORS OF PHOTOGRAPHY: STEVEN FIERBERG, ASC, JIM DENAULT, ASC OPERATORS: ERIC SCHILLING, NICOLE LOBELL, ASSISTANTS: MICHAEL ENDLER, DON BURGHARDT, RUDY PAHOYO, ROBYN BUCHANAN STEADICAM OPERATOR: ERIC SCHILLING STEADICAM ASSISTANT: MICHAEL ENDLER DIGITAL IMAGING TECH: KEVIN CELI LOADER: EMILY GOODWIN DIGITAL UTILITY: GLEN LANDRY TECHNOCRANE OPERATORS: CHAD ESHBAUGH, NAZARIY HATAK TECHNOCRANE TECH: BRIAN LOVE REMOTE HEAD TECH: JAY SHEVECK STILL PHOTOGRAPHER: PAUL SARKIS

SHOWTIME PICTURES

“CITY ON A HILL” SEASON 1 DIRECTOR OF PHOTOGRAPHY: JOSEPH COLLINS OPERATORS: EDGAR COLON, LAURA HUDOCK ASSISTANTS: ERIC ROBINSON, JOHN REEVES, SARAH SCRIVENER, QUINN MURPHY DIGITAL IMAGING TECH: JEFFREY HAGERMAN LOADER: MAX COLLINS STILL PHOTOGRAPHER: FRANCISCO ROMAN SANCHEZ

“JEOPARDY!” SEASON 35

“OUR HOUSE” PILOT DIRECTOR OF PHOTOGRAPHY: GARY BAUM, ASC OPERATORS: GLENN SHIMADA, TRAVERS HILL, LANCE BILLITZER, EDDIE FINE ASSISTANTS: ADRIAN LICCIARDI, JEFF GOLDENBERG, ALEC ELIZONDO, CLINT PALMER, JASON HERRING UTILITIES: SEAN ASKINS, DANNY LORENZE DIGITAL IMAGING TECH: DEREK LANTZ VIDEO CONTROLLER: STUART WESOLIK

“THE GOLDBERGS” SEASON 6 DIRECTOR OF PHOTOGRAPHY: JASON BLOUNT OPERATORS: SCOTT BROWNER, KRIS DENTON ASSISTANTS: TRACY DAVEY, NATE HAVENS, GARY WEBSTER, JEN BELL-PRICE DIGITAL IMAGING TECH: KEVIN MILLS DIGITAL UTILITY: DILSHAN HERATH STILL PHOTOGRAPHERS: NICOLE WILDER, ADAM TAYLOR

“WHEEL OF FORTUNE” SEASON 36 DIRECTOR OF PHOTOGRAPHY: JEFF ENGEL OPERATORS: DIANE L. FARRELL, SOC, JEFF SCHUSTER, RAY GONZALES, STEVE SIMMONS, L. DAVID IRETE, MIKE CORWIN CAMERA UTILITY: RAY THOMPSON HEAD UTILITY: TINO MARQUEZ VIDEO CONTROLLER: GARY TAILLON JIB ARM OPERATOR: RANDY GOMEZ, SR. STILL PHOTOGRAPHER: CAROL KAELSON

SOURDOUGH PRODUCTIONS, LLC “SUCCESSION” SEASON 2

DIRECTOR OF PHOTOGRAPHY: PATRICK CAPONE OPERATORS: FRANCIS SPIELDENNER, ALAN PIERCE ASSISTANTS: ETHAN BORSUK, CORY STAMBLER, TONY COAN, CORNELIA KLAPPER LOADERS: BILLY HOLMAN, JAMES DRUMMOND

STALWART FILMS

“LODGE 49” SEASON 2 DIRECTOR OF PHOTOGRAPHY: GLENN BROWN OPERATORS: MICHAEL GFELNER, JAN RUONA ASSISTANTS: JUSTIN DEGUIRE, JOSH GILBERT, TAYLOR CASE, CAMERON SCHWARTZ STEADICAM OPERATOR: GLENN BROWN DIGITAL IMAGING TECH: NICK HILTGEN LOADER: DUMAINE BABCOCK STILL PHOTOGRAPHER: JACKSON LEE DAVIS

MAY 2019 PRODUCTION CREDITS

STARS POWER, LLC

“POWER” SEASON 6 DIRECTOR OF PHOTOGRAPHY: MAURICIO RUBINSTEIN OPERATORS: SCOTT MAGUIRE, ALAN MEHLBRECH ASSISTANTS: MICHAEL GAROFALO, HAMILTON LONGYEAR, RODRIGO MILLAN GARCE, ALIVIA BORAB DIGITAL IMAGING TECH: DOUGLAS HORTON LOADER: ANJELA COVIAUX STILL PHOTOGRAPHER: MYLES ARONOWITZ

“P-VALLEY” SEASON 1 DIRECTORS OF PHOTOGRAPHY: NANCY SCHREIBER, ASC, RICHARD VIALET OPERATORS: DAVE CHAMEIDES, JANICE MIN ASSISTANTS: ALAN NEWCOMB, CALLIE MOORE, BRIAN DECROCE, NUBIA RAHIM LOADER: ERIN STRICKLAND DIGITAL UTILITY: CHANDRA SUDTELGTE STILL PHOTOGRAPHER: TINA ROWDEN

STU SEGALL PRODUCTIONS, INC.

“THE LOUDEST VOICE IN THE ROOM” SEASON 1 DIRECTOR OF PHOTOGRAPHY: EIGIL BRYLD OPERATOR: PETER AGLIATA ASSISTANTS: HAMILTON LONGYEAR, SARAH HENDRICK, KEVIN HOWARD LOADER: ANNE STRAUMAN

STX PRODUCTIONS, LLC “HUSTLERS”

DIRECTOR OF PHOTOGRAPHY: TODD BANHAZL OPERATORS: STEW CANTRELL, JENNIE JEDDRY ASSISTANTS: REBECCA RAJADNYA, TSYEN SHEN, NICHOLAS HUYNH, JAN BURGESS DIGITAL IMAGING TECH: LOIC DE LAME LOADER: JEFF MAKARAUKAS STILL PHOTOGRAPHER: ALISON COHEN ROSA PUBLICIST: AMY JOHNSON

THE CW NETWORK

DIGITAL UTILITY: GOBE HIRATA STILL PHOTOGRAPHER: EDDY CHEN 2ND UNIT DIRECTOR OF PHOTOGRAPHY: PATRICK O’BRIEN OPERATORS: JAMIE STERBA, MIKE VEJAR, RAY MILAZZO ASSISTANTS: BRAD PETERMAN, MARK CONNELLY, MIKE VEJAR, KEVIN MILES, JOE PROVENZANO, MICHAEL YAEGER, TERRY WOLCOTT DIGITAL IMAGING TECH: BRETT SUDING DIGITAL UTILITY: TYLER DENERING

TOPANGA PRODUCTIONS, INC.

“LETHAL WEAPON” SEASON 3 DIRECTORS OF PHOTOGRAPHY: ANDY STRAHORN, WILLIAM WAGES, ASC OPERATORS: VICTOR MACIAS, JOSEPH BRODERICK ASSISTANTS: JAMES RYDINGS, KAORU “Q” ISHIZUKA, TROY BLISCHOK, KELSEY CASTELLITTO DIGITAL IMAGING TECH: PETER RUSS DIGITAL UTILITY: SPENCER SHWETZ STILL PHOTOGRAPHERS: RON JAFFE, JOHN P. FLEENOR

UNIVERSAL

2ND UNIT DIRECTOR OF PHOTOGRAPHY: BRIAN PEARSON, ASC OPERATOR: STEFAN VON BJORN ASSISTANTS: CARLOS DOERR, PHIL SHANAHAN, RON ELLIOT DIGITAL IMAGING TECH: SCOTT RESNICK CAMERA UTILITY: NICHOLAS MARTIN

“LAW & ORDER: SVU” SEASON 20 DIRECTOR OF PHOTOGRAPHY: MICHAEL GREEN OPERATORS: BRANT FAGAN, SOC, MIKE LATINO ASSISTANTS: CHRIS DEL SORDO, MATT BALZARINI, EMILY DUMBRILL, JUSTIN ZVERIN LOADER: JASON RASWANT STILL PHOTOGRAPHER: MICHAEL PARMELEE

“MR. ROBOT” SEASON 4 DIRECTOR OF PHOTOGRAPHY: TOD CAMPBELL OPERATORS: JEFF MUHLSTOCK, BRIAN JACKSON ASSISTANTS: ROBERT MANCUSO, WESLEY HODGES, MICHAEL DERARIO DIGITAL IMAGING TECH: DOUGLAS HORTON LOADERS: AMANDA URIBE, TYLER MANCUSO

“SUNNYSIDE” PILOT DIRECTOR OF PHOTOGRAPHY: GRANT SMITH OPERATOR: SAMUEL PINGER ASSISTANTS: RYAN GUZDZIAL, JESS FAIRLESS, KEVIN ANDERSON, KOKORO LEE UTILITY: JOHN NITZ LOADER: MIMI PHAN STILL PHOTOGRAPHER: COLLEEN E. HAYES

DIRECTOR OF PHOTOGRAPHY: LOREN YACONELLI OPERATORS: SCOTT DROPKIN, BROOKS ROBINSON ASSISTANTS: RAY MILAZZO, PATRICK BENSIMMON, BLAKE COLLINS, KIRSTEN LAUBE STEADICAM OPERATOR: SCOTT DROPKIN DIGITAL IMAGING TECH: JEFFERSON FUGITT

MAY 2019 PRODUCTION CREDITS

DIRECTOR OF PHOTOGRAPHY: BRENDAN UEGAMA OPERATORS: THOMAS SCHNAIDT, PAUL BODE ASSISTANTS: THOMAS HUTCHINSON, STEPHEN KOZLOWSKI, EVE STRICKMAN, SOMER MOJICA LOADER: OREN MALIK DIGITAL UTILITY: KATE NAHVI

DIRECTORS OF PHOTOGRAPHY: FRANCIS KENNY, ASC, CRAIG FIKSE OPERATORS: TIM DOLAN, BRIAN PITTS, MICHAEL OTIS ROPERT ASSISTANTS: RYAN PARKS, LOGAN TURNER, THANE CHARACKY, RILEY PADELFORD, ESTHER WOODWORTH, MIKE FAUNTLEROY CAMERA UTILITY: CARL LAMMI LOADER: JONATHAN TAYLOR STILL PHOTOGRAPHER: RON JAFFE

DIRECTORS OF PHOTOGRAPHY: LOWELL PETERSON, ASC, JOE GALLO OPERATORS: RORY ROBERT KNEPP, SOC, PAUL PLANNETTE ASSISTANTS: JOHN C. FLINN, IV, JOHN POUNCEY, JAI CORRIA, DON BURTON STEADICAM OPERATOR: RORY ROBERT KNEPP, SOC STEDICAM ASSISTANT: JOHN C. FLINN, IV CAMERA UTILITY: MORGAN JENKINS STILL PHOTOGRAPHER: LISA ROSE

“ANIMAL KINGDOM” SEASON 4

“KATY KEENE” PILOT

“SWAT” SEASON 2

“JANE THE VIRGIN” SEASON 5

TNT

CAMERA UTILITIES: COLIN BROWN, JEANNETTE HJORTH VIDEO CONTROLLER: JOHN O’BRIEN DIGITAL IMAGING TECH: BENJAMIN STEEPLES STILL PHOTOGRAPHER: MICHAEL YARISH PUBLICIST: MARC KLEIN

WARNER BROS

“BIG BANG THEORY” SEASON 12 DIRECTOR OF PHOTOGRAPHY: STEVEN V. SILVER, ASC OPERATORS: JOHN DECHENE, RICHARD PRICE, SOC, JAMIE HITCHCOCK, BRIAN ARMSTRONG ASSISTANTS: NIGEL STEWART, CHRIS HINOJOSA, STEVE LUND, MEGGINS MOORE, WHITNEY JONES

UNDERWATER UNIT OPERATOR: DAVID WILLIAM MCDONALD ASSISTANT: COREY BRINGAS

“PRODIGAL SON” PILOT DIRECTOR OF PHOTOGRAPHY: NIGEL BLUCK OPERATORS: CHRISTOPHER MOONE, CHRISTOPHER RAYMOND ASSISTANTS: JOHN OLIVERI, GAVIN FERNANDEZ, SARAH MAY GUENTHER, DAVID ROSS DIGITAL IMAGING TECH: MICHAEL KELLOGG LOADERS: CAROLYN WILLS, JEFFREY MAKARAUSKAS

WOODBRIDGE PRODUCTIONS

“THE BLACKLIST” SEASON 6 DIRECTORS OF PHOTOGRAPHY: MICHAEL CARACCIOLO, SAADE MUSTAFA OPERATORS: DEREK WALKER, DEVIN LADD, JACK DONNELLY, PETER RENIERS ASSISTANTS: DANIEL CASEY, JAMES GOURLEY, GARETH MANWARING, EDWIN HERRERA MIKE GUASPARI, EDGAR VELEZ LOADERS: KATHERYN IUELE, JAMES PARSONS STILL PHOTOGRAPHERS: CHRISTOPHER SAUNDERS, WILL HART, VIRGINIA SHERWOOD

VIRTUOSO PRODUCTIONS, LLC

CAVIAR

DIRECTOR OF PHOTOGRAPHY: FRANK PRINZI, ASC OPERATOR: JAY SILVER ASSISTANTS: ADAM GONZALEZ, BRENTON AYERS DIGITAL IMAGING TECH: LEWIS ROTHENBERG STILL PHOTOGRAPHER: JESSICA KOURKOUNIS

DIRECTOR OF PHOTOGRAPHY: ANDREW WHEELER OPERATOR: AASHISH GANDHI ASSISTANTS: JON JUNG, SEBASTIEN THIBEAU, JESSICA RAMOS DIGITAL IMAGING TECH: STEVE HARNELL

“THE VIRTUOSO”

“AT&T”

CHARLEX

“CENTRUM”

COMMERCIALS

DIRECTOR OF PHOTOGRAPHY: JEFF KIM ASSISTANTS: ERRIN ZINGALE, ADAM TSANG DIGITAL IMAGING TECH: STEVE HARNELL

1ST AVENUE MACHINE

CMS

DIRECTOR OF PHOTOGRAPHY: SANTIAGO GONZALEZ OPERATORS: CAROLYN PENDER, CHRIS ARAN ASSISTANTS: TIM TROTMAN, CHARLEE HARRISON, CODY SCHROCK, KYLE PARSONS DIGITAL IMAGING TECH: JOE BELACK

DIRECTOR OF PHOTOGRAPHY: ROB WITT ASSISTANTS: NICOLAS MARTIN, RYAN GUZDZIAL, ALAN CERTEZA, JESS FAIRLESS DIGITAL IMAGING TECH: CJ MILLER STEADICAM OPERATOR: CHRIS CUNNINGHAM

“MORGAN STANLEY MINUTE WAVE 2”

BISCUIT “GMC”

DIRECTOR OF PHOTOGRAPHY: ERIC SCHMIDT OPERATOR: CHRIS BOTTOMS ASSISTANTS: JD MURRAY, DANIEL HANYCH, NATE CUMMINGS, MATT SUMNEY DIGITAL IMAGING TECH: JOHN SPELLMAN

“MOMS” DIRECTOR OF PHOTOGRAPHY: ERIC SCHMIDT OPERATORS: CHRIS BOTTOMS, GILBERT SALAS, DJ HARDER, ROSS COSCIA ASSISTANTS: JD MURRAY, NICOLE MARTINEZ, DANIEL HANYCH, CHRIS SLANY, RYAN VOISINE, NATE CUMMINGS, JORDAN PELLEGRINI DIGITAL IMAGING TECHS: JOHN SPELLMAN, JAMIE METZGER

“NATIONWIDE” DIRECTOR OF PHOTOGRAPHY: ERIC SCHMIDT OPERATORS: CHRIS BOTTOMS, IAN CLAMPETT, COLLIN DAVIS ASSISTANTS: JD MURRAY, DANIEL HANYCH, LILA BYALL, NATE CUMMINGS, MATT SUMNEY DIGITAL IMAGING TECH: JOHN SPELLMAN

“SUBARU” DIRECTOR OF PHOTOGRAPHY: TIM HUDSON ASSISTANTS: ERIK STAPELFELDT, DAISY SMITH DIGITAL IMAGING TECH: ERIC YU DIGITAL UTILITY: HOLDEN MILLER

BROTHER

“TOYOTA” DIRECTOR OF PHOTOGRAPHY: LARRY FONG, ASC ASSISTANTS: JIMMY WARD, SEAN KISCH DIGITAL IMAGING TECH: STEVE HARNELL

“L’OREAL”

“NBCU UPFRONT” DIRECTOR OF PHOTOGRAPHY: ANDREW TURMAN ASSISTANTS: DENNIS LYNCH, JAY HARDIE STEADICAM OPERATOR: BRAD GRIMMETT DIGITAL IMAGING TECH: STEVE HARNELL CAMERA UTILITY: BEN BRADY

FANCY CONTENT “STARZ”

DIRECTOR OF PHOTOGRAPHY: JEFFREY KELLY ASSISTANTS: FRANZISKA LEWIS, HILARY BENAS STEADICAM OPERATOR: SERGEI FRANKLIN DIGITAL IMAGING TECH: LOIC DE LAME

FRAMESTORE PICTURES “UNIVERSAL STUDIOS”

2ND UNIT DIRECTOR OF PHOTOGRAPHY: JOHN BAKER

HHG DBA BONEFIDE PRODUCTIONS “OITNB SEASON 7 PROMO”

DIRECTORS OF PHOTOGRAPHY: WELLES HACKETT, KIP BOGDAHN ASSISTANTS: NINA CHIEN, JOHN CLEMENS, MABEL SANTOS HAUGEN, MATT INFANTE STEADICAM OPERATOR: MEGAN MASUR DIGITAL IMAGING TECH: JOHN OSTERMAN

LIGHT SWITCH, INC. “OLD NAVY”

DIRECTOR OF PHOTOGRAPHY: MICHAEL SVITAK ASSISTANTS: DEREK EDWARDS, JACOB ROSENBLATT

MACGUFFIN FILMS “PIZZA HUT”

DIRECTOR OF PHOTOGRAPHY: ANDY LILIEN ASSISTANTS: NEIL KELLY, OLIVER LANZENBERG, MABEL SANTOS HAUGEN DIGITAL IMAGING TECH: ANTHONY HECHANOVA

MELLOW MEDIA, LLC “KIA”

DIRECTOR OF PHOTOGRAPHY: RICHARD HENKELS ASSISTANTS: LUCAS DEANS, EDGAR GONZALEZ DIGITAL IMAGING TECH: ERICA MCKEE

M ISS NG P ECES “HONDA”

DIRECTOR OF PHOTOGRAPHY: JONATHAN CHEMA OPERATORS: CONNOR O’BRIEN, DAVID HIRSCHMANN ASSISTANTS: BENJAMIN STEEN, JARED WENNBERG, BIANCA GARCIA DIGITAL IMAGING TECH: COLIN WEINBERG

DIRECTOR OF PHOTOGRAPHY: JOHN SCHWARTZMAN, ASC OPERATORS: IAN FOX, MATTHEW TUCKER KORTE, ERIC LAUDADIO ASSISTANTS: TODD SCHLOPY, CRAIG GROSSMUELLER, JONAS STEADMAN, MILAN JANICIN, ROGER SPAIN DIGITAL IMAGING TECH: BRET SUDING DIGITAL LOADER: LANCE HASHIDA

MOVING PARTS

GIFTED YOUTH/CAVIAR LA, LLC

“CONSTANT CONTACT”

“DAZN”

DIRECTOR OF PHOTOGRAPHY: TIM HUDSON ASSISTANTS: ERIK STAPELFELDT, DAISY SMITH DIGITAL IMAGING TECH: ERIC YU

HEY BABY FILMS “CAPITAL ONE”

DIRECTOR OF PHOTOGRAPHY: ROB HAUER, ASSISTANTS: TIM GUFFIN, DENNIS ROGERS, ANNE LEE, SHANNON BRINGHAM DIGITAL IMAGING TECH: JORDAN LIVINGSTON

“INDY CAR 500” DIRECTOR OF PHOTOGRAPHY: ERIC SCHMIDT OPERATOR: CHRIS BOTTOMS ASSISTANT: JD MURRAY DIGITAL IMAGING TECH: ADRIAN HATTING h

O POSITIVE

DIRECTOR OF PHOTOGRAPHY: ZACH GALLER OPERATOR: KOREY ROBINSON ASSISTANTS: BEN SPANER, REBECCA RAJADNYA, TSYEN SHEN LOADER: SARA BOARDMAN

PARK PICTURES

“GOOGLE CLOUD” DIRECTOR OF PHOTOGRAPHY: DONAVAN SELL OPERATOR: GREG BENITEZ ASSISTANTS: ERRIN ZINGALE, ADAM TSANG DIGITAL IMAGING TECH: STEVE HARNELL STILL PHOTOGRAPHER: DANIEL GOLDWASSER

MAY 2019 PRODUCTION CREDITS

“MAYBELLINE” DIRECTOR OF PHOTOGRAPHY: FRANCK TYMEZUK ASSISTANTS: JOHN CLEMENS, SCOTT MILLER DIGITAL IMAGING TECH: GEORGE ROBERT MORSE

“SUBARU” DIRECTOR OF PHOTOGRAPHY: LANCE ACORD, ASC OPERATORS: JOSEPH MESSIER ASSISTANTS: JIMMY WARD, DAVID SEEKINS, SEAN KISCH DIGITAL IMAGING TECH: STEVE HARNELL

PRETTYBIRD “ADIDAS”

DIRECTOR OF PHOTOGRAPHY: MATTHEW LLOYD OPERATOR: DANA MORRIS ASSISTANTS: BRIAN AICHLMAYR, JOHN SHEEREN, ANDRES QUINTERO DIGITAL IMAGING TECH: RYAN NGUYEN BEHIND-THE-SCENES STILLS: ANNE MARIE FOX

RADICAL MEDIA, LLC “FOSTER MORE”

DIRECTOR OF PHOTOGRAPHY: PETER DONAHUE OPERATOR: ROBERT RAGOZZINE ASSISTANTS: DAN KECK, KYLE REPKA, JORDAN LEVIE DIGITAL IMAGING TECH: JOE BELACK

RAUCOUS CONTENT “COMCAST”

DIRECTOR OF PHOTOGRAPHY: MATTHEW WOOLF OPERATORS: FRANK RINATO, VINCE VENNITTI ASSISTANTS: JOE VOLPE, ALEX WATERSTON, MEGAERA STEPHENS, AUSTIN KITE, JORDAN LEVIE DIGITAL IMAGING TECH: MARIUSZ CICHON

SIBLING RIVALRY “ADP”

DIRECTOR OF PHOTOGRAPHY: DAN STEWART ASSISTANTS: JON COOPER, YAYO VANG STEADICAM OPERATOR: CHRIS LOH DIGITAL IMAGING TECH: JOE BELACK

SOMOROFF STUDIOS “RED LOBSTER”

DIRECTOR OF PHOTOGRAPHY: MICHAEL SOMOROFF ASSISTANT: TOM BRACONE DIGITAL IMAGING TECH: DAVID BERMAN

SUPERPRIME

“BANK OF AMERICA” DIRECTOR OF PHOTOGRAPHY: GILES DUNNING OPERATOR: WAYNE GORING ASSISTANTS: JUAN SERNA, CHRIS SLANY, GREG WILLIAMS, NOAH GLAZER DIGITAL IMAGING TECH: SCOTT BECKLEY

MAY 2019 PRODUCTION CREDITS

SUPPLY AND DEMAND “S&D”

DIRECTOR OF PHOTOGRAPHY: JOE AGUIRRE ASSISTANTS: NINA CHIEN, SCOTT MILLER DIGITAL IMAGING TECH: TYLER ISAACSON

SYNERGY FILMS “AT&T”

DIRECTOR OF PHOTOGRAPHY: JORDAN MCMONAGLE ASSISTANTS: KEVIN ANDERSON, SASHA WRIGHT DIGITAL IMAGING TECH: EVAN MCINTOSH DIGITAL UTILITY: BRENNAN MILLER

TECHNOBABBLE PRODUCTIONS, LLC “MICROSOFT-TEW”

DIRECTOR OF PHOTOGRAPHY: GARY NARDILLA ASSISTANT: DAVID FLANIGAN

THE DIRECTORS BUREAU “MCDONALD’S”

DIRECTOR OF PHOTOGRAPHY: ARNAU VALLS COLOMER ASSISTANTS: NICOLAS MARTIN, ALAN CERTEZA DIGITAL IMAGING TECH: IAN SPOHR

VICTORHOUSE FILMS “FX NETWORKS”

DIRECTOR OF PHOTOGRAPHY: PAUL TOLTON ASSISTANTS: GUS BECHTOLD DIGITAL IMAGING TECH: STEVE HARNELL STILL PHOTOGRAPHER: PAUL SHIRALDI

CREW PHOTO: JEOPARDY! ALL STAR GAMES

(L to R) Derek Lantz, Steve Simmons, Jordan Hristov, L. David Irete, Mike Tribble, Marc Hunter, Manny Bonilla, Ray Thompson, Carol Kaelson, Clay Jacobsen (director), Michael Corwin, Ray Reynolds, Tino Marquez, Jeff Engel photo Carol Kaelson

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MAY 2019 PRODUCTION CREDITS

STOP MOTION //

Allyson Riggs UNIT STILL PHOTOGRAPHER

This scene from Trinkets was a pivotal moment in Tabitha’s [Quintessa Swindell’s] character arc. A-Camera/Steadicam Operator Gary Camp executes a straight-on, very slow creep as she pours her heart out to a group of strangers in a Shoplifters Anonymous meeting. I wanted to capture that tension

between the actor being vulnerable in her character and the camera right in her face, but also show the trust she and the operator must share. [Swindell] is delivering this confession to a whole room of people, which you’ll see in the scene, but at this moment it’s really all about her and Gary, and the camera.

EMERGING CINEMATOGRAPHER AWARDS 2019

LOS ANGELES OCT. 6 NEW YORK CITY OCT. 27 ATLANTA NOV. 3 CHICAGO NOV. 3 WWW.ECAWARDS.NET #ECAWARDS pictured: 2018 ECA Honoree Alicia Robbins

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