ICG Magazine - November 2017 - Reality/Live Production

ICG MAGAZINE

THE

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REALITY/LIVE PRODUCTION ISSUE FEATURING

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[contents]

THE VOICE NBC’S HIT REALITY

PERFORMANCE SERIES IS A DREAM COME TRUE FOR ANY YOUNG VOCALIST, AND THAT EXCITEMENT IS JUST AS PALPABLE FOR THE LARGE GUILD CAMERA TEAM BEHIND THE SCENES.

36

DEPARTMENTS

GEAR GUIDE / 14 DEEP FOCUS / 22 ZOOM-IN / 26 EXPOSURE / 30 PRODUCTION CREDITS / 78 STOP MOTION / 90

54

72 6 NOVEMBER 2017

SPECIAL: LIVE TV

DAYS OF OUR LIVES LIKE “SANDS THROUGH

THE HOURGLASS,” DAYS OF OUR LIVES CONTINUES TO ENTERTAIN AFTER 52 YEARS!

LBJ BARRY MARKOWITZ,

ASC, ILLUMINATES ONE OF HISTORY’S MOST FASCINATING (AND EFFECTIVE) LEADERS IN ROB REINER’S NEW BIOPIC, LBJ.

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2017 UNIT STILLS GALLERY

ICG MAGAZINE

THE

VOICE

REALITY/LIVE PRODUCTION ISSUE FEATURING

Cover photo by Tyler Golden

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PRESIDENT’S

LETTER NOVEMBER 2017 • VOL. 88 NO. 09

Steven Poster, ASC

TELL ME AGAIN… Cinematography and cinematographers are on the ascendency, and one simple proof is the popularity and longevity of Camerimage, the world’s only film festival devoted entirely to cinematography, now celebrating its 25th year.

Having said that, there is some irony at play; while cinematography has never been more noticed, talked or written about (or given so much love by critics and audiences alike), the advent of new technology has created the impression that what we do is easily achieved.

In fact, we have to continually remind the world that there are very unique skills and talents required to tame today’s image-making processes that go far beyond just “really cool technology.” The idea that images can just be captured onto a chip by pointing the camera and pushing the button, and then, perhaps, fixed later in post-production to match the director’s vision, is a completely false interpretation of the value this Guild holds to any type of production.

That’s why reminders like Cameraimage, and more specifically, cinematic talents like the Guild’s own, John Toll, ASC, who will be honored at Camerimage as the cinematographer of the year, are essential to combat, correct, and educate such wayward myths and clichés.

John’s body of work is, of course, extraordinary. His two Oscars were for epic films (Braveheart and Legends of the Fall) that rose to another level of visual storytelling because of his subtle touch. But that kind of sensitivity on the set is present in all areas of John’s life. I’ve known him for many years and we’ve worked closely together as officers in this union, and as board members of the ASC; his quiet command of all he surveys makes for a life that needs little extraneous machination, on or off the set. Simply put, John has a gift for hitting the right notes no matter the stage he’s on.

Celebrating John Toll’s life and work at Camerimage is good for cinematography in every possible way. Consider that John’s rapid embrace (and ease of use) with new technology, which is always at the service of great storytelling, is a wonderful way to remind the world of our value to this industry. Last year, 8 NOVEMBER 2017

National President International Cinematographers Guild IATSE Local 600

for Ang Lee’s Billy Lynn’s Long Halftime Walk, John created a 3D/4K image at 120 frames per second, with cameras weighing as much as 120 pounds. That kind of visual fluidity, marshaled under those circumstances, speaks volumes to his mastery, of course, but it also says a lot about the heart and soul of this membership. John Toll is a premiere example of the kind of character and talent that it takes to do this work, no matter the job name on the call sheet.

When technology intervenes to change our work, as it continually has, literally overnight, it creates a very short learning curve for any crewmember to adapt. Look at the work of the camera assistant and the sheer amount of knowledge, craft and talent now required to transition from the steady predictable workflow of film to the inherently opaque journey that is digital capture. Preparing for (and succeeding at) such transitions isn’t necessarily a natural occurrence. It must be developed throughout a career, whether that’s as an assistant, an operator, or a digital imaging technician. And, especially for what we do as cinematographers, the skills to swiftly adapt are nurtured by education and experience, and can become (hopefully) as natural as breathing.

In the last fifteen years, every area of this industry that involves ICG members has gone through tremendous changes. Examples of extreme transitions abound on set with capture systems/devices, color-management tools, and workflows, but how about the challenges our publicity members have faced with new communication technologies, like a voracious digital universe that thrives on 24/7 social media and scavenging information pre-release of a project?

For all of these reasons, it’s key the International Cinematographer’s Guild stands tall and united as a reminder (one among many) of the inherent value union crewmembers bring to a rapidly changing and ever-more complex industry.

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November 2017 vol. 88 no. 09

Publisher Teresa Muñoz Executive Editor David Geffner Art Director Wes Driver ACCOUNTING Glenn Berger Dominique Ibarra COPY EDITORS Peter Bonilla Maureen Kingsley EDITORIAL ASSISTANT Tyler Bourdeau STAFF WRITER Pauline Rogers CONTRIBUTORS Margot Carmichael Lester Adger Cowans Anne Marie Fox Nicola Goode, SMPSP Matt Hurwitz David Lee Trae Patton Sarah Shatz D. Stevens Bruce Talamon Glen Wilson PUBLICATIONS & PUBLICITY COMMITTEE Henri Bollinger, Chair

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10 NOVEMBER 2017

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

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

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

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

POSTMASTER: Send address changes to ICG 7755 Sunset Boulevard Hollywood, California 90046 Copyright 2017, by Local 600, International Alliance of Theatrical Stage Employes, Moving Picture Technicians, Artists and Allied Crafts of the United States and Canada. Entered as Periodical matter, September 30, 1930, at the Post Office at Los Angeles, California, under the act of March 3, 1879.

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

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WIDE ANGLE

REALITY/LIVE PRODUCTION

T

his is not a trick question: how many Guild members would one hazard a guess it takes to get the 2017 Emmy winner for Outstanding Reality-Competition Program, The Voice (the show’s sixth Emmy, by the way), on the air? Three dozen? Four dozen? More than 50 union camera and lighting technicians?

The exact number (according to the crew list in our cover story, page 36) is 58, nearly threedozen of which are camera operators shooting on everything from pedestal rigs to a 50-foot Super Technocrane to handheld. The work is demanding, operators are divided into teams – “live” on-stage, as well as “reality,” who shoot behind-the-scenes and on-location footage with The Voice’s superstars-in-the-making.

Almost 60 ICG members on a single onehour TV show is a very impressive call sheet (not that we’re keeping score). And such union saturation is not limited to reality work; major live-event shows like the Oscars can push those numbers almost twice as high. We’re talking about utilities, video controllers, camera operators, and lighting directors who work multiple aspects of a sprawling live production – red carpet arrivals, backstage, the main event, and even the little bald guys given out for the Academy’s Science and Technical Achievements staged on an entirely different night.

Newsflash: the portion of this membership not shooting more visually heralded genres – like features, episodics, and commercials – is crazy-good. It includes the lighting directing team of Mark Levin and Ted Polmanski and their tight-knit crew, who capture television’s longest running soap opera, Days of Our Lives.

(See Margot Lester’s feature on page 46.) It also includes the unpredictable world of late-night talk shows, where the subject of this month’s Zoom-In, camera operator Kris Wilson, reveals insights about working on Jimmy Kimmel Live!

Wilson, who received the first of his 21 Emmy nominations shooting The 3 Tenors in Concert at Dodger Stadium, back in 1994, describes the merry band of Guild members who 12 NOVEMBER 2017

work in live (and live-to-tape) as “carnival workers.”

“We get in and get out, without the benefit of multiple takes to redo what we just shot,” he describes. Wilson once crawled on his belly to get a reverse shot of a standing ovation that ended a Reba McEntire Special, knowing he’d be either the “hero or the idiot who was caught in the middle of the stage” when director Alan Carter switched angles.

(Carter loved the shot.)

Such do-or-die moments that make up Reality/Live Production, the theme of this month’s issue, are not only commonplace, they’re basically just another bullet point on the résumé – the stakes are always high when it’s “one and done,” and the skill, craftsmanship, and adrenaline that fuel these genres are givens.

Teamwork is the ultimate guarantee of success. As in ICG staffer Pauline Rogers’ piece Coming At Ya!, where we hear voices from the front lines (game and talk, realitycompetition and live-awards shows) like operator Dylan Sanford, who recounts a harrowing moment from The Billboard Music Awards. Sanford had two minutes (during a tape playback) to thread himself through hundreds of fans and get from one side of the stage to another before a live performance began.

“My utility set down a stack of cables on a folding chair while we swapped lenses,” Sanford recounts. “When we turned back, the chair had collapsed inward, sending hundreds of feet of cable under the adjacent jib platform, and tangled like spaghetti.”

Other utilities jumped in to help when they heard the countdown back to live, and as Sanford tells it, threw out his cable as he began sprinting to the foot of the stage.

“I wasn’t going to make it before they cut to the presenter,” he remembered. “So, as soon as they cut to the close-up, I ran past [the presenter] and darted behind the closedown, just as they called to raise it. I made it by one second.”

Or, as the fearless men and women of reality/live production would otherwise describe it: a world of time.

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

CONTRIBUTORS

Trae Patton

(Over the Rainbow, Stop Motion)

“The diversity of projects in television is boundless. In any given week I can go from a reality competition show like The Voice, where I’m shooting among a crowd of 800-plus screaming fans, to a deadquiet set on a scripted drama. Shooting across multiple genres keeps things fresh and enjoyable, and keeps boredom or complacency at bay. It continually pushes me to be a more effective commercial publicity photographer.”

Bruce Talamon (History Makers)

“I love the problem-solving aspect of being a still photographer, because, in the end, no matter what anyone says, there is no excuse for not coming back with the shot. I’m also very proud of my upcoming collection of soul music photography, to be published in February 2018 by Taschen Books – Bruce W. Talamon Soul, R&B and Funk: The Photographs, 1972-1982.

Anne Marie Fox (History Makers)

“Capturing the bright sparkle in the eyes of actors and other creatives, makes my work as a still photographer a cathartic experience on so many levels. And when the talent is thoroughly engaged in such Oscar-caliber performances (as on Dallas Buyers Club), my job is ultimately a matter of keen observation and compassion. This specialized career has awarded me profound creative and professional satisfaction. Sheer determination, perseverance and opportunity have also contributed to my ‘living the dream.’”

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[deep focus]

JOSHUA HUTCHINGS

WHAT KIND OF NERVE DOES IT TAKE TO WAIT OUT A FIVE-MINUTE SYSTEMS CRASH, JUST BEFORE GOING LIVE TO 20 MILLION PEOPLE? EMMY WINNER JOSHUA HUTCHINGS CAN TELL YOU, SAVING AMERICAN IDOL 40 SECONDS BEFORE GOING ON AIR. PHOTOS BY SARAH SHATZ 22 NOVEMBER 2017

FOR LIVE @@ AUDIENCES ENTERTAINMENT, LIKE THOSE FOR

TOURS AND FESTIVALS, have always had a desire for large, complex lighting systems, and this has had an impact on the look of many of the performance reality shows on TV, and even on the look of game and talk shows. The expectations placed on lighting designers are very high, as the lighting is key to the experience. The performance and singing competition shows are in a race for “bigger is better” and seem to keep trying to top each other. (continued on page 24)

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[deep focus]

TELEVISION, WITH THE @@ LIVE KNOWLEDGE OF MILLIONS OF

PEOPLE watching your work and the fact that there are no do-overs, keeps you on your toes. The show goes on no matter what happens, so you might as well enjoy the ride.

EIGHT MINUTES UNTIL WE @@ ABOUT WENT LIVE (TO 15 TO 20 MILLION

VIEWERS) for an American Idol finale, both my primary and backup lighting consoles crashed. With crew running through the ceiling and into basements to get to the different electronics locations, I was slowly downloading the show into the console and the rest of the system.

THEATER WENT DARK AROUND @@ THE SIX MINUTES UNTIL LIVE, AS THE BIG CHANGE IN LIGHTING LIVE-EVENT @@ THE WORK IS HOW FAST LEDS HAVE BEEN

INFLUENCING all the fixtures and how quickly the manufacturers come out with new gear. There are now many options for specific tools to fit any need, and creativity is rarely capped by the capability of the equipment.

SYSTEM was taking the download. After about five minutes of our sheer terror, the system was done downloading – 40 seconds before we went live. All the lights came to life just in time for Ryan Seacrest’s famous line, “This – is American Idol! ” The next night was the show for which the team won the Primetime Emmy for Lighting Design and Lighting Direction – so it made it all worth it!

MAIN DIFFERENCE IN REALITY GENRES GET TO WORK WITH THE BEST @@ THE @@ ICREWS is time management. On a game show, you spend IN THE BUSINESS; AS most of the time before shooting starts working out the integration with the game electronics and other variables involved. Most of your time while taping is working to maintain the show, with minor variables.

COMPETITION [TALENT] @@ PERFORMANCE SHOWS REQUIRE YOU TO DESIGN UPWARDS of 18 performances per week. All your time is spent making each performance unique and trying not to repeat yourself too much throughout a season, where you can end up with more than 150 performances.

24 NOVEMBER 2017

THE SHOWS and lighting designs get more complicated, the only way that we can succeed is through the dedication and professionalism of our teams. My heart, obviously, has a special place for the lighting and electrics teams, but we couldn’t do it without the many camera operators, carpenters and grips, production, EFX and audio teams. It truly takes a village to produce any production, be it for broadcast or live entertainment.

[zoom-in]

KRIS WILSON Photo by Randy Holmes

by Pauline Rogers

“LIVE TV CREWS ARE LIKE CARNIVAL WORKERS: WE GET IN AND OUT, NO RE-TAKES.”

Yuma, Colorado, population 2,000, is a ranching and farming community more known for breeding animals than artists.

Yet Kris Wilson, admittedly an inveterate ham, found a creative outlet in school plays and then as a “cowboy extra” on Centennial and The Frisco Kid. “Mickey Gilbert was the stunt coordinator,” he recalls. “And I was convinced that, given my background [Wilson was on the Rodeo Team at Colorado State University], I should be the next great stuntman.” In fact, right after his first taste of a movie set, Wilson changed his major from Agricultural Economics to TV/Radio/Film in the Speech and Theater department.

“I found out fast that none of Shakespeare’s characters say ‘y’all’,” he laughs.

“It was then that I realized I belonged behind the scenes. The camera felt natural.”

Soon after college, Wilson was hired to shoot rodeos. One of the operators was Bill Philbin. “He was, in my opinion, the best live-TV guy of all time,” Wilson now reflects.

“Bill convinced me to move to L.A., and he mentored me for 30 years.”

Wilson has worked virtually every type of live genre over the years, but there are a few moments that stand out. “Christmas Eve, and we were at an airbase in Saudi Arabia with Bob Hope,” he begins. “It was just a few weeks before Desert Shield would end and Desert Storm would commence. Four thousand troops waited on the tarmac, for hours, in front of a makeshift stage. I was wearing a USO jacket that had several unit patches sewn on the sleeves and back.

“I heard a voice from a few rows behind me. ‘Hey, Patches, you have one from the 82nd (continued on page 28)

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[zoom-in]

Airborne?’ I turned; ‘Nope, pass it up.’ He answered, ‘No Sir, I’ll give it to you in person.’

He crawled over several of his buddies, pulled out a huge knife and cut the patch off his uniform. When he looked up, two big tears cut through the dust on his cheeks. ‘This is the only Christmas present I’m able to give in person this year,’ he said. I remember like it was yesterday.”

Wilson describes crews in live television as “kind of like carnival workers. We get in and get out, unlike feature and commercial folks, who have multiple takes. I prefer working live. Why waste time redoing something we just did?”

Another treasured stage memory comes from the close of a special honoring Reba McEntire. “We had shot several artists singing Reba’s songs and she took the stage for the finale,” Wilson recounts. “I was upstage offering shots of the drummer, the background singers and guitars. As the song finished, I looked out into the house and saw the standing ovation, with Reba, center stage, center spotlights bearing down, and instantly knew a dead-center reverse was how the show needed to end. So I crawled on my belly, pushing the camera in front of me. I was

going to be a hero or the idiot caught in the middle of the stage! Fortunately, the risk paid off. Alan Carter was directing and took the shot. There was a gasp in the control room. It was that beautiful.”

These days, Wilson is kept very busy

by Jimmy Kimmel Live, which presents its own unique challenges. “Several years ago, Bobcat Goldthwait was directing,” Wilson remembers. “He informed me that he was bringing a Steadicam for Billy Idol’s music performance. ‘Great, who’s operating?’ I asked. ‘You are.’ I gulped. ‘Uh, Bob. I’ve never operated a Steadicam before.’ He grinned.

‘Sure you have. Hundreds of times. Don’t worry. I’ve got your back.’”

Wilson is nothing if not self-critical about the experience.

“I was horrible,” he smiles. “And that’s one of the problems of being a seasoned operator: You know when you are bad. Lots of younger operators strap on the rig, bounce around the stage, with the horizon taking on a nautical theme, and then they wear the vest to crafty with a ‘Hey, look at me, I’m the Steadicam operator.’ I suppose I was the same 25 years ago.

“But in this case, I knew my operating was

sub-par, and they still loved it! I struggled for months, eventually taking a workshop from Garrett Brown [SOC] and Jerry Holway [SOC]. Only then did I feel like I was starting to get a handle on operating the Steadicam.

I’m still learning.”

Wilson’s first of 15 Emmy nominations was for The Three Tenors In Concert, live from Dodger Stadium (1994). “I went to the ceremony convinced that I would be going home with a trophy,” he admits. “We didn’t win. One of the other guys at our table won in a different category. He passed the trophy around the table and everyone was taking photos with it. I wouldn’t even hold it. Why in the world would I pose with something I hadn’t won?”

The following year, Wilson won for a Frank Sinatra Special. “I had no problem posing with that trophy,” he smiles. And while Wilson says it is nice to be acknowledged, his main beef with the Television Academy is that the Emmys differentiate between live shows and those that have been edited. It’s unreasonable since, as he says, “an editor can and does fix mistakes. When we shoot a live show, our mistakes are out there for everyone to enjoy.”

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VER CONGRATULATES

DAVID MILLER ASC Winner — Emmy® Award for VEEP Outstanding Cinematography for a Single-Camera Series (Half-Hour)

‘

As Bernstein says in Citizen Kane, “It’s no trick to make a lot of money if all you want is to make a lot of money.” We don’t go into cinematography for profit. It’s not a job but a calling. There’s no such thing as a simple shoot—every project takes our special brand of care. You really have to love it. Fortunately I get to work with outstanding crews who share that love affair and make it all worthwhile.

David Miller trusts his eye. And well he should, his arresting visuals bring life to some of television’s most intriguing episodics and comedies. His shots are straight forward—making way for the intense dialog-driven scripts that come his way.

Whether it’s HBO’s quick-paced VEEP, thoughtful moments of The Good Place, or the unforgettable, plot-driving shots on The Newsroom, Parenthood, and so many more memorable hits—his sure-footed imagery deftly maps its way through the sight lines on set, regardless how many actors fill the scene.

Watch the interview at ver.com/DavidMiller

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LOS ANGELES | NEW YORK | CHICAGO | NEW ORLEANS | ATLANTA | MIAMI NOVEMBER 2017 29

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ROB REINER

by Matt Hurwitz photo by Kyle Kaplan

30 NOVEMBER 2017

Actor and director Rob Reiner has spent the last several decades creating funny and offbeat entertainment, while never shying away from reality-based narratives.

The son of legendary comedy writer/ producer/director Carl Reiner, he came to prominence in the early 1970s, playing the ultraliberal son-in-law foil to Caroll O’Connor’s bigoted Archie Bunker in the groundbreaking CBS series All in the Family. Even as Reiner continued acting, he soon shed his “Meathead” character to become a director.

NOVEMBER 2017 31

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In 1984, Reiner made a fake rockumentary called This Is Spinal Tap, which followed the exploits of a savagely dysfunctional heavymetal band attempting a comeback.

Soon after, his directing career took off with mainstream hits like Stand By Me (1986), When Harry Met Sally (1989), A Few Good Men (1992), The American President (1995), The Bucket List (2007) and many others.

32 NOVEMBER 2017

Reiner has never been shy about mixing his social consciousness with cinema, as in films like Ghosts of Mississippi (1996), about the murder of Civil Rights hero Medgar Evers, and A Few Good Men, an examination of U.S. military culture gone awry. His two newest films, LBJ and Shock and Awe examine the person and politics of John F. Kennedy’s successor, while the latter looks at the Bush Administration’s campaign of misinformation leading up to the second Gulf War. Now more than ever, Reiner is in the business of reality-based entertainment and remains an active voice in the American political landscape.

The story focuses a lot on his getting Kennedy’s Civil Rights Act signed into law, which is interesting given his relationships with Southern senators. Well, Johnson understood

What drew you to a film about Lyndon Johnson? Rob Reiner: It

presidency doesn’t have ego problems – often, like Johnson, a desire to be liked and the ensuing mental frailties. But the hope is they also have compassion, empathy and a desire to do good for people – and that will overcome their self-interest. They all had it – Johnson, Nixon, Kennedy, Clinton. But, honestly, Trump is a sociopath, because there’s no empathy, just a desire to be loved. He doesn’t seem to have a capacity to want to help people or have empathy for others.

He only has interest in himself. It’s not only sad; it’s scary, not only for us but for the rest of the world.

was an interesting journey. As a kid, during the Vietnam War, I was of draft age, and [LBJ] was the enemy. I mean, he could have sent me to my death, so I was against the war and had nothing but bad feelings about him. And it’s only since I’ve spent time in politics and government, understanding how things get done and how difficult it is to effectuate significant legislation, that I started to appreciate more of who and what he was.

What did you learn that needed to get on screen? Everyone knew LBJ

was the consummate legislator: that he knew how to twist arms, how to cajole and sweet-talk people. I wanted not only to show that, but to show his human side also. How, at times, he felt unloved, and that would paralyze him. I thought if I could not only show this strong-willed, larger-than-life bull in a china shop, who could push people around and get things done but also see this frightened, insecure person who was worried about being loved – that would make for an interesting film.

poverty; it was embedded deep in his psyche. He grew up in the hill country of West Texas, and there was a lot of poverty around him. So when it came time to get this bill passed, it was a combination of what he knew he could get accomplished and what he felt was the right thing to do. Like he says in the film, “I’m the only one that can speak southern and also speak Kennedy.”

You’ve now made two films about presidents. What do you see that can be applied to this current administration? Nobody that seeks the

You shot this film with Barry Markowitz, ASC, with whom you’ve now made three films. What’s that working relationship like? What I love about Barry, first of all, is that he’s funny, wacky and crazy – but he works very fast, just like I do. We knew each day exactly what we needed to do, and we just get in there and do it. To do a complicated film that’s a period piece in 27 days, the only way it works is if you have somebody like Barry. My feeling is, if you’re working more than 9 or 10 hours, what are you doing?

(continued on page 34)

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A lot of your crew talked about how funny it was to watch you work together. (Laughs.) We’re like two old

Jewish guys from New York. Barry will usually operate the 2nd camera, and I’ll be looking at the monitors and yelling, “Tilt up, will ya? Tilt down! Tilt down!” I’m screaming, and people will go, “God – I can’t believe this!” I’m in Video Village, yelling, “Barry – what are you doing? You’re not framing!” and he would yell back, “I’m not on the camera, Rob!”

Your first big hit as a director was This Is Spinal Tap, which you shot with Peter Smokler. What was that experience like? I hired Peter

because he had shot a lot of rock-and-roll documentaries and rock-performance footage. He was actually at Altamont in 1969 with The Rolling Stones when that guy was killed by the Hell’s Angels [documented in the Maysles Brothers’ Gimme Shelter]. We were making the film, and it’s all 16-millimeter handheld, and at one point he says to me, “What’s funny about this? This is what they really do?

There’s nothing funny.” I told him, “No, you gotta trust me, it’s funny.” He never understood why it was funny, because, to him, it was like every other rock-and-roll documentary he’d ever shot!

All in the Family addressed important social issues of its era. What did you learn from producer Norman Lear about that kind of storytelling?

Norman taught me that you could use your celebrity for good. Not just to entertain, but also to effectuate change in the world.

And I really liked that message. What’s interesting is, here we were, doing the very kinds of things that I really enjoy doing – marrying theater, essentially, and entertainment with the subject matter.

Political and social issues that are facing people in their everyday lives. To be able to blend those things, to me, is great. I mean, sometimes you want to tell a love story, but you also want it to be real, and, at the same time, entertaining. I like being able to tackle subjects that people are facing in their everyday lives and try to find a way to make it entertaining. That’s the challenge.

You did that quite well with Ghosts of Mississippi. Race relations are something this country has been challenged with forever – and it’s still going on now. Like many others, I can tell you exactly where I was and what I was doing when John

34 NOVEMBER 2017

“GOOD, BAD OR INDIFFERENT, PEOPLE GET THEIR HISTORY FROM MOVIES. SO, WE AS FILMMAKERS, HAVE A RESPONSIBILITY TO CREATE SOMETHING ACCURATE.” Kennedy died. But I can also tell you where I was when I heard that Medgar Evers was assassinated, because race relations were what was talked about in my household growing up. So I always wanted to tell a story on that subject. But, as a white person, I didn’t feel entitled to. I certainly don’t know what it feels like to be black.

But I could identify with this prosecutor, Bobby DeLaughter, who had been raised in a racist environment and saw that these wrongs needed to be made right. That was my way into the story. I can understand a white person wanting to contribute to the betterment of race relations.

you also carefully recreate moments that match shots in very well known archival images. Good, bad

There’s a fine line a director has to walk when recreating historic events and making them entertaining, without cheapening them. How do you do it? It’s really developing an instinct

How do these real-life subjects get chosen? I’ve been very lucky, because, in

for how to blend a lot of things. You have to find ways of making things palatable.

But at the same time, you don’t want to shortchange the reality and the history of it. For instance, in Ghosts, the protests were always on television, so there’s footage – and footage in the way people are used to seeing it. People can relate to it. And I try to mix things in a way that will draw people into it, and, at the same time, not get them so upset that they don’t want to see it. And you also want to present it in a way that’s also entertaining. It’s a very fine line that you tread.

You use stock footage in LBJ, but

or indifferent, people get their history a lot of times from movies. I feel, as a filmmaker, you have a responsibility to create something that is accurate. That reflects whatever story you’re telling in an honest way. So that you’re not only giving real information, you’re also giving the real feel of the time and the characters, so that if people do stumble upon the film, not only as entertainment, but, in a sense, as a historical document, they’ll be able to learn from it.

the early days, I had Norman Lear, who was very generous, like having a patron of the arts, who supported me in the first four movies I did. And then five of us started Castle Rock – we had financing, so I could make the kind of movies I wanted to make.

What I try to do is find something that I think will entertain other people, but mainly I start with, “Is this something I’m interested in?” If the answer is “yes,” then hopefully other people will be interested in it, too. Now that I’m getting older, I love making movies, but I also don’t want to do anything that I don’t want to do. I’m 70, so maybe I’ll have another 10 or 15 years, if I’m lucky, and I don’t want to spend a lot of time doing things that aren’t meaningful to me. And you always hope they’re meaningful to other people, too!

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36 NOVEMBER 2017 Photo by Tyler Golden

FEATURE

REALITY/LIVE PRODUCTION

OVER THE RAINBOW NBC’S HIT REALITY PERFORMANCE SERIES IS A DREAM COME TRUE FOR ANY YOUNG VOCALIST, AND THAT EXCITEMENT IS JUST AS PALPABLE FOR THE LARGE GUILD CAMERA TEAM BEHIND THE SCENES. BY

PAULINE ROGERS PHOTOS BY

TYLER GOLDEN & TRAE PATTON

NOVEMBER 2017 37

@@ EVERY SINGER HAS THE DESIRE TO BE HEARD; EVERY BUDDING STAR CRAVES SOMEONE TO SUPPORT HIS OR HER

DREAMS. AND FOR THOSE FORTUNATE ENOUGH TO BE FEATURED ON NBC’S EMMY-WINNING REALITY PERFORMANCE SERIES THE VOICE, THEY GET SOMETHING ELSE AS WELL – POSITIVE REINFORCEMENT FROM MUSIC INDUSTRY TITANS LIKE ADAM LEVINE, BLAKE SHELTON, MILEY CYRUS AND JENNIFER HUDSON, WHO ARE ALL ABOUT DREAM-BUILDING THROUGH ENCOURAGEMENT.

T 38 NOVEMBER 2017

THOSE QUALITIES FROM THE “COACHING PANEL” ALONE make The Voice unique

in a genre stacked with ego-shattering competition series. But it’s also the flawless teamwork behind the scenes that has helped The Voice croon with glee come Emmy night for 13 seasons.

The show is a three-phased singing competition that shifts directors and crew for each phase. As director Alan Carter explains, “The Blinds [auditions shot like a reality show] comprise the first phase.

And even though the music is at the core, it’s about human emotions and is therefore shot with that in mind. Every angle possible is used to capture the looks, stares, thoughts and hopes – so moving cameras are not as prominent here.” Phase Two, the Battles, (which include the Knock Out and Playoff Rounds), are shot in the same set, where, Carter says, “the music is far more important,” and the camerawork reflects that fluidity and movement.

The final phase, known as the Lives, is 100 percent focused on the singing and is

described by Carter as basically “a weekly Grammy Awards–style show,” meaning there are more moving cameras, extreme close-ups, dramatic lighting and staging to mirror the drama.

Carter says selecting the camera team (and the camera each member operates) is one of the most important decisions he makes as a director. “Music is emotion,” he states. “There’s a beat, and the progression in a song is very important. So I need camera people who have that musical feeling inside them. You can’t teach it. You either have it or you don’t.”

The director goes on to note that most of the operators play instruments and have some degree of musical performance in their backgrounds. “I can’t tell every cameraperson what speed to zoom or how fast to swing the crane, because it’s all happening too fast,” he continues. “They just have to feel the music and have it come naturally.”

Carter creates an “open dialogue” on the headset that encourages operators to

Top: Live Unit Steadicam Operator Manny Bonilla / photo by Tyler Golden Middle: L-R: Reality Unit Operators Steve Lopez, John Sandoval, Nick Tramontano / photo by Trae Patton Bottom: Reality Unit Operator Steve Lopez / photo by Trae Patton

NOVEMBER 2017 39

“sell” him shots. “There is no way for me to be able to see everything all the time,” he adds. “So, I let them be my eyes out there on the floor. ‘If you see something good, shoot it and show me.’ If I don’t like it, I won’t take it. But usually it’s all great stuff.”

With such criteria, it’s no surprise The Voice is captured from every possible angle, with almost every kind of equipment. The show uses Sony 4300s (4K-capable) and a variety of lenses including Canon (86X, 95X) and Fujinon. There are Vinten Vector pan heads, Vinten Fulmar pedestals, a 50-foot Super Technocrane, a Techno-Jib, a wireless Jimmy Jib and two Steadicams.

Carter builds each number in rehearsal around the Steadicam and cranes/jibs, knowing that he’ll typically get three close-ups from which to choose, and a default wide or head-to-toe shot from the pedestal operators to go to whenever he needs it.

THE VOICE’S ELITE GROUP OF CAMERA TEAMS

car batteries) that allows him to move freely without being tethered to a cable.

“Last season there was a performance with a piano center stage,” Hernandez recounts. “I know what Alan likes and wanted to give him something cool, so I rolled out the shot from the top above the piano.

Because I was wireless, I could get close – sometimes I’m even 10 to 12 inches away from the performer – and then I have to get out quick.”

Such complex movements, with many operators crossing at once, could cause a train wreck if the team weren’t completely in sync. That’s why Hernandez is quick to credit his Utility, Tim Bower, who has, literally, saved the day.

“I remember once the 15-foot jib was center stage,” Hernandez continues, “and everyone could see me. One of the songs had been swapped out – and no one told us. ‘Oh, my God, I’m on the wrong side!’

I realized. We literally had three seconds to get back – and Tim helped me get around with half a second to spare.”

(nominated six times and overdue for an Emmy) says it’s unlike any other job in THE VOICE LOOKS GREAT the industry. Or as Steadicam FOR A LOT OF REASONS, Operator Manny Bonilla but there’s little doubt that describes, “If shooting in the featuring shots from a 50-foot round, on a huge multi-level Super Technocrane is a cut black-on-black set, in one of the above the rest. Or as Crane world’s largest soundstages, for Operator Marc Hunter puts a live TV show, doesn’t get your it, “How many times have you blood pumping, nothing will. seen one used in live weekly “Shooting [The Voice] is like TV these days outside of our one of those whack-a-mole show? Zero. Yes, it’s a daunting games at the carnival – with prospect to think about fitting an artistic touch,” Bonilla adds. that arm into a show shot in “Knowing exactly where and 360 degrees. But my crew, Jim when to be on stage in direct Lay and Chris Sweeney, are correlation to another camera the best in the business. Not LIVE UNIT OPERATOR ALEX HERNANDEZ or the artist, and trying to avoid only can they do film-style A making an unannounced cameo to B stuff, but they think and on live TV, is a huge challenge. Of course, none of change on the fly.” that would be doable without a great assistant.”

To accomplish this aerial dance, Hunter and Bonilla draws a picture of the stage, makes a circle Carter, along with three-time Emmy winning with an X to represent the artist and a square with an Lighting Designer Oscar Dominguez (see page 45), X to represent himself. “I also note how many bars work closely with Production Desginer Anton Goss of music I have with which to execute my move, so and Art Director Zeya Maurer. Although, as Hunter it’s all about logistics and how can I connect all my observes, “Any change you make is a domino that will shots. A song might start behind the coaches on the affect many aspects, so you can’t make a suggestion live stage; I split the coaches’ chairs and make it onto lightly. Fortunately set design and lighting start early. the stage-right ramp, cross in front of the artist and And I have some input as to getting the Techno in as end on a camera-right close-up. Now I’m standing close to the action as possible.” on stage right next to the artist. Alan will usually go Hunter admits that the show’s glossy visuals to one of several close-ups, buying me a few seconds present logistical challenges for a Technocrane. “Draw to scurry off stage left to a set of escape stairs. Since yourself a circle and put eight points evenly spaced I’m wireless and have a full range of motion, I am around the circle all pointing toward the center, and constantly thinking how I can complement the shot.” you can start to see the problems of shooting 360 Being wireless has advantages for more than just degrees,” he details. “Now make one of those points Steadicam on The Voice. Operator Alex Hernandez a big long crane, now two points, now three. And the uses a wireless Jimmy Jib (powered by four 12-volt issues can pile up.”

“SOMETIMES I’M 10 TO 12 INCHES AWAY FROM THE PERFORMER – AND THEN I HAVE TO GET OUT QUICK.”

40 NOVEMBER 2017

Live Unit Operator Scott Kaye / Photo by Tyler Golden

NOVEMBER 2017 41

Video Controller Mark Sanford / Photo by Tyler Golden

Photo by Tyler Golden

42 NOVEMBER 2017 Reality Unit AC Vessie Kazachka / Photo by Trae Patton

Cranes, wireless jibs, and Steadicams are not the only moving parts on The Voice. Jofre Rosero works handheld and with the Porta-Jib, mounted on a tripod mounted on wheels. Like the many live awards shows Rosero has shot, for The Voice he looks for the frame that “my grandmother is going to see at home watching; without her knowing, it is going to take her for a ride. Climbing, diving, or even something really embarrassing – I will do it,” he insists, “because [operating] is my passion and this show feeds it.”

It ’s a dance ever y operator understands – and respects. Rosero says with all of the controlled chaos on the stage, he’s mindful about landing in someone else’s shot. Handheld camera operator Guido Frenzel feels the same, and notes that Carter likes to use him for unusual perspectives from places the others can’t reach. “Handheld shots vary from low-angle wide shots showcasing Oscar’s array of lights to ECU’s of the performers and instruments,” Fre n z e l describes.

“Sometimes we even end up in the middle of the ‘band.’”

In fact, in 2016, during Wé McDonald’s performance of the song “Don’t Rain on My Parade,” Rosero and Frenzel were “hiding” amongst the musicians on stage and had precious few choreographed seconds to come out to their exposed camera positions on the floor between the string players, all while trying to stay unseen by a circling Steadicam SENIOR PEDESTAL OPERATOR DIANE BIEDERBECK and Technocrane. “It’s those kinds of situations shoots three-quarter close-ups from stage left, that make you keenly aware that you are Carson Daly’s introductions and “friends and working on live TV,” Frenzel states, “as you family” in the audience post-performance. are staring up from the floor at some pretty “How close I zoom, for example. Alan often incredible musicians.” lets each of us make the shots that we find the most pleasing without micromanaging.”

Kaye recounts an episode where the EVEN THE MORE TRADITIONAL performer was in front of an LED screen ASPECTS OF THE VOICE’S CAMERA that started out black before a neon heart COVERAGE, i.e., shots from pedestals, was slowly animated out. “I was able to frame take on added complexity with Carter my shot much wider than I would normally, at the helm. “Alan doesn’t number the allowing for the heart that wasn’t yet there to shots, even though he scripts them out, so make my composition around,” he explains.

I have a fair amount of freedom,” relates “I offered it up to Alan – and he asked me to Operator Scott Kaye, who typically

“ AN OPERATOR’S FUNCTION IS NOT SIMPLY TO GIVE A PRETTY SHOT, BUT TO INTERPRET THE MOOD AND TELL THE STORY VISUALLY.”

Live Unit Operator Scott Kaye / Photo by Tyler Golden

feed it during the show.”

Senior Pedestal Operator Diane Biederbeck also likes the freedom The Voice affords, noting that if she, or any one of the operators, sees something, even under a time crunch, Carter has been known to stop everything during a rehearsal to move a set piece, or a band member, or to try a different angle. And often what ends up on air changes yet again from the rehearsal.

“An operator’s function is not simply to give a pretty shot, but to interpret the mood and tell the story visually,” Biederbeck shares. “Of course, I believe that none of us NOVEMBER 2017 43

Photo by Tyler Golden

“WE HAVE A LOT OF TRUST AND FAITH IN ONE ANOTHER; COMMUNICATION IS PARAMOUNT.” REALITY UNIT: 2ND UNIT DP/SEGMENT DIRECTOR EDGAR MARTIN can take credit without acknowledging the symbiotic relationship of the lighting designer, Oscar Dominguez, and his crew.

Sometimes I can point the camera, and it’s just there, like God showed up and made the shot beautiful.”

Another key partner in creating The Voice’s Emmy-winning look is Video Controller Terrance Ho, who works closely with Dominguez to make sure the talent is lit properly. Ho works with the screen techs and maintains consistency for all the cameras.

“VC’s have to improvise at times,” Ho relates, “especially during the live segments if plans change. One time we had an outdoor camping set piece where The Swon Brothers sang by the bonfire.

During the rehearsal, it was decided that there would be no front lights and the only source of illumination for their faces would be from the fire. The problem was that the bonfire’s flames varied and weren’t all that strong, so the consistency wouldn’t be there during the performance. Even 44 NOVEMBER 2017

though I was anticipating the potential mishap, it was still a scramble to get all 14 cameras to expose properly and to be able to see the faces and then reset all of them when the performance was done.”

THE VOICE’S REALITY TEAM, LED BY ALEX VAN WAGNER (Segment Director/

DP) and Edgar Martin (2nd Unit DP/ Segment Director), experiences a different set of hurdles than the live team. The high-energy camera crew is tasked with telling the stories of the contestants: their backgrounds and personal challenges.

The content, which makes up about 30 percent of each episode, is key in building a connection with the audience, especially during the Blinds.

“Our camera operators are DPs and help bring out the best of the beautiful sets that James Connelly and his team create,” reflects Martin. “Our gaffer and Reality [lighting director], James Barker, and Best Boy electric AJ Taylor always light

beautifully, no matter how fast we move.”

In addition to handheld, the Reality team uses a Jib and Dolly for movement and energy. Martin says that, “Key Grip Jeremy Spinney and Best Boy Grip Steve Redondo are always on point. If it’s a simple dolly move or a sweeping jib shot on a dolly with 50 to 80 feet of track, they make it happen.” Some of the most important in-the-studio shots are backstage. “This is where the artists prepare mentally for their performance,” explains assistant Vessie Kazachka.

“They are shot on ALEXA, mostly high speed, from 48 frames per second to 96 frames per second, mostly with Cooke S4 primes.” The main cameras are Sony F55s.

“I love the collaboration and the freedom we get,” Kazachka adds. “The operator and I receive our guidelines from Alex Van Wagner, then we have creative freedom in execution. Certain operators prefer I pull focus for them, in which case I have the freedom to be creative within the focus as we observe and try to capture the individuality of each artist. There is an open flow to the shooting as we place the artist in an area and ask him or her to be mentally in that space, ready to go onstage.

Then, both the operator and I get to use our creativity to express what we see.”

The reality portion of The Voice is a huge undertaking – and those who capture it are cognizant of their contributions to the series. What raises the bar for the reality team is the fact that they don’t rehearse anything with the coaches or artists.

(The same goes for when they are out on location visits.) Like a documentary crew, the team shoots on instinct and intuition, anticipating the key emotional moments that might well sum up a young singer’s journey.

“The artists have soft marks where we have lit for the scenes and space, but they basically roam around the set as needed and we need to be able to cover them,” Martin explains. “This is where we have to be really quick on our feet. A big objective is to have the artists and coaches feel these real moments and experience everything first hand, without interruption on our end.”

Merging the reality and live portions of The Voice has become an art for both of these talented Local 600 camera teams.

And as Martin concludes: “We have a lot of trust and faith in one another, and communication is paramount. It’s the only way to actually make this work. I don’t know of any other show that has been able to merge both of these worlds together so successfully, especially for as long as we have.”

CREW LIST LIGHTING Lighting Designer Oscar Dominguez Lighting Director Samuel Barker Chief Lighting Technician Ron Wirsgalla Programmer/Media Server Operator Johnny Bradley

Handheld Camera Operators Danny Bonilla Guido Frenzel Ed Horton Garrett Hurt Nathanial Havholm Jofre Rosero Steadicam Operators Manny Bonilla Steve Simmons Super Technocrane / Techno Jib Jimmy Jib Operators Alex Hernandez Marc Hunter Steve Martyniuk Danny Webb Super Technocrane / Techno Jib Jimmy Jib Hothead Techs Jim Lay James O’Hara Eugene “Sketch” Pasinski Chris Sweeney Video Controllers Terrance Ho Mark Sanford John O’Brien Utilities Tim Bower Delvin Careathers Dustin Ford Steve Fournier Byron Harris Kirk Kamisato Jeff Knowlton Wally Lancaster Frank Linder Chad Lovegren REALITY DP/Directors Alex Van Wagner Edgar Martin Operators Markos Alvarado Steve Lopez Tim Murphy John Sandoval Nick Tramontano Jeff Wilkins AC Craig Asato Dave Hawes Vessie Kazachka Jeremiah Thorne Utility Chris Antes Jib Scott Carrithers Still Photographers Tyler Golden Trae Patton

Photo courtesy of Oscar Domnguez

LIVE PED Operators Rob Burnette Diane Biederbeck Martin J. Brown, Jr. Suzanne Ebner Larry Heider Scott Hylton Kathrine Iacofano Scott Kaye Dave Levisohn Bart Ping George Prince Steve Thiel

LIGHTING

THE VOICE OSCAR DOMINGUEZ

BY PAULINE ROGERS

“The Live Rounds are an animal unto themselves,” describes three-time Emmy winning Lighting Designer Oscar Dominguez, safely ensconced in the booth above the controlled chaos that is The Voice set below. “They are the zenith of the overall experience and one that can have a blistering pace with up to 26 performances per week.”

Dominguez says the show’s live performances can vary from a softly stated but powerful Chris Stapleton song, “Either/Way,” where the lighting designer will apply a global tungsten feel, to a frenetic and equally visually arresting “My Money’s on You,” by Season 12 winner Chris Blue.

“If it spits out light, chances are we have or will use it on this show,” he laughs. Dominguez’s go-to unit is the VL500, which he calls the greatest tungsten wash ever made. He also employs TMB’s Solaris line, Mozart fixtures (which can be operated on their own as fixtures or driven through a media server), and Flare Strobes – for their digital feel and ability to act as both a lighting source and a strobe effect.

“We pride ourselves on delivering the best every week, but none of it would be possible without the immense talent of our camera department and [video controller] Terrance Ho,” Dominguez continues. “Having some of the industry’s best camera operators means that, from rehearsal to the live show, each frame is captured with care that is second to none. Week to week, Terrance and I try and find the edges of what the Sony 4300s can do – and have fun doing it.”

Among Dominguez’s many challenges is crafting light into recesses of custom-built sets or around operators.

Often that involves the massaging of key light swaps during Steadicam or Jib moves. It’s also a delicate touch from the follow-spot team. “Their timing can really define the emotional response of a particular piece,” Dominguez notes.

“Our front-of-house team members, including Daniel Boland, Craig Housenick, Johnny Bradley and Phillip Webber, are a huge part of the visuals and masters of their craft. As for Lighting Director Samuel Barker and Chief Lighting Technician Ron Wirsgalla – I simply couldn’t do this show without them.”

As with all live-event work, some challenges are beyond the pale, i.e., the simple matter of an air-conditioning malfunction. “It was more than 100 degrees outside [the studio] when the AC failed,” Dominguez recounts. “The inside heat jumped – no doubt amplified by an active lighting rig – making conditions less than ideal for hundreds of fixtures with sensitive electronics. We went live, and the problem was so apparent, our host, Carson Daly, addressed it on air. Luckily, the AC came on about a quarter of the way through the show – and we didn’t lose a single light!”

NOVEMBER 2017 45

46 NOVEMBER 2017

FEATURE

REALITY/LIVE PRODUCTION

A DAY IN THE LIFE

LIKE “SANDS THROUGH THE HOURGLASS,” DAYS OF OUR LIVES CONTINUES TO ENTERTAIN AFTER 52 YEARS! BY

MARGOT CARMICHAEL LESTER PHOTOS COURTESY OF

NBC/UNIVERSAL

NOVEMBER 2017 47

NBC’S DAYS OF OUR LIVES IS THE LONGEST-RUNNING SOAP OPERA ON TELEVISION. IT’S FIRST AIRING WAS IN NOVEMBER 1965, AND, FIVE DECADES AND CHANGE LATER, IT’S STILL FOLLOWING CHARACTERS EXPERIENCING REAL-LIFE CONFLICTS LIKE PTSD, PREGNANCY, DEATH AND INFIDELITY, AND MORE FANTASTICAL ONES LIKE DEMONIC POSSESSION, BURYING ENEMIES ALIVE OR TRAPPING THEM ON A CRUISE SHIP. THE FICTIONAL HUB OF SALEM HAS EVEN BEEN TERRORIZED BY A SERIAL STRANGLER NICKNAMED JAKE THE RIPPER.

A

AND IN 52 YEARS, DAYS HAS EARNED A LOT OF AWARDS,

many Daytime Emmys, including Outstanding Daytime Drama in 2015, plus People’s Choice, GLAAD Media and Prism awards.

All that longevity (and quality) is proof that despite the popularity of celebrity-based “real” soap operas, like the Real Housewives or Kardashian franchises, traditional soaps still resonate. University of Nebraska film studies professor Wheeler Winston Dixon says that’s because “[soaps] take us into an entirely fictional world, away from our own problem-filled existences.

Particularly in an uncertain political era, it’s more essential than ever to ‘unplug’ and enter the world of the soaps.”

Another academic – Christopher Irving, who teaches English and rhetoric at Beacon College – adds that in an age of constantly streaming information technology, “where essentially any question can be answered with Siri or Google or a live chat helpline, we are no longer used to not knowing information. Social media, 48 NOVEMBER 2017

reality TV, and the behind-thescenes nature of popular culture have molded us into a people that simply love to know what everybody is doing, all the time, whether it interests us or not.

Soaps, to their credit, appreciate and utilize the usefulness of the cliffhanger, so our desire to stare at the train wreck persists because, well, we’re not used to not knowing what happens.”

W hil e t he st or y l ines swing between real-life issues and outlandish melodramatic scenarios, and viewers are left

hanging almost every Friday, the production of the show is highly structured and predictable.

The Days crew shoots 7.5 to 8 shows a week on two stages with sets running the length of each.

That’s 135 pages and 8 to 12 sets a day for three to four cameras.

“Five days a week, 30 weeks a year, about 8 hours of camera time a day,” explains Mark Levin, one of the show’s two DP’s (lighting directors or LD’s in TV parlance).

Levin and Ted Polmanski have worked together since the 1980s on various shows and have an easy

NOVEMBER 2017 49

“ DOWNTIME TO MAKE CHANGES IS ABOUT $110 PER MINUTE WHILE THE CREW WAITS. THAT MEANS THE MARGIN OF ERROR IS LESS THAN 1 PERCENT.” DP MARK LEVIN

rapport and convenient shorthand. Polmanski has shot 7,000-plus one-hour soap episodes since 1985. For his part, Levin has logged 2,750 hours of scenes over the past 15 years.

“Experience does speak volumes,” Polmanski asserts. “The consecutive repetition of practicing your craft leads you into creating shortcuts to meet the time constraints. Preparation, anticipation, thinking out of the box and working with seasoned coworkers makes it possible to meet budgetary concerns.”

Operator John Sizemore agrees. “In this new world of ‘what’s it gonna cost?’ television production, we are often reminded that time is money. Actors and technicians are encouraged to know our stuff when we take the stage. I have been blessed to work with some of the most talented and professional crews in the business, and this one is no exception. Between Vicky Walker on Camera One, Mark Warshaw on Camera Three and myself, we have about 200 years of TV experience combined. Alright, 200 years is a bit exaggerated, but we’re all matured TV veterans.”

PRODUCTION PLANNING FOR THE DAYS TEAM STARTS EARLY. Levin works with producers, directors

and designers up to three weeks in advance of a shoot, drafting lighting plots for each set to scale. The crew receives the approved plots a week prior to shooting to prepare their equipment and execute fast.

“The clock is always ticking on our show, and our crew’s performance can expedite or slow down the rest of production,” Levin informs. “Downtime to make changes is about $110 per minute while the crew waits.

That means the margin of error is less than 1 percent.”

Each production day begins between 10 and 11:45 p.m. the night before, when seven to nine crewmembers pre-light the next day’s sets. Then the art department dresses the sets, and scenic artists and carpenters touch up. Levin arrives with his crew to address last-minute changes.

“I start with the exterior and practical sources of light,” Levin explains. “From there I look at the acting areas and artistic concepts. To give the camera operators latitude, we shoot at a f4/5.6, giving them approximately seven feet of focus, which also helps the directors when they want to roll focus from one character to another quickly.” The cameras are set at f3.5 with -3bd gain to reduce some of the innate graininess in the image.

Levin creates a look for each light to enable several options. “A single backlight is one possible look,” he offers. “Adding a key light is another look. Used together, they create a third look. When you lay out a set like that, you create flexibility during on-camera time for most situations.”

Lighting, of course, is what gives the soap genre its iconic look and feel, which Polmanski describes as a homogenization of classic dramatic Hollywood lighting – key, backlight and fill – and multi-camera sitcom lighting – back-cross lights with fill or key light

*

Top/Bottom: Photos Courtesy of Ted Polmanski

50 NOVEMBER 2017

coming from where cameras are positioned.

“We use less fill to create contrasty tableaux that conjure images of fantasy and romance,” Polmanski shares. “Often, we use noir lighting to produce dark, gritty and deceiving visuals that are a reflection of the story and/or characters.”

That’s made easier with CCD or CMOS sensors. “Tube cameras required more light and had tendencies to retain unwanted comet and trailing artifacts from bright or highly reflective objects in the image frame,” Polmanski recalls. “Currently we shoot using Sony HSC-300 cameras, and with CCD sensors, we are able to light scenes at lower light levels while creating realistic and pleasing imagery.”

BY 7:30 A.M., THE DIRECTOR HOLDS A DRY REHEARSAL TO RUN LINES AND BLOCK, and by 8:30 a.m., camera and sound

equipment are in place for the first set, and Polmanski arrives. A scant 15 minutes later, they go to camera.

There’s usually one rehearsal before taping “unless an actor blows a line – then we pick up the scene from that point,” explains Operator Mike Denton, who’s been with the show off and on since 1989. “We rarely get a

chance to redo a shot, which means we have to nail the scene perfectly – every time.”

Rehearsal is more important since the show went to lower light levels and more in-camera filters. “Years ago, we could track focus on a tight close-up, following an actor across a room on the fly,” Denton continues.

“Now we are relying more on focus marks set during rehearsal, and tweaking our [Sony HDVF-C950W ] viewfinders to optimum detail.”

Levin says the softer filtration reduces the harshness of native HD. “Thus, the actors, sets and the look of the show overall have a less ‘reality’ feel,” he states.

During production, Levin creates a detailed lighting plot with each fixture and dimmer channel noted, as well as where lamps are focused. He hands that off to Polmanski to make any necessary adjustments on a scene-by-scene basis during rehearsal.

“I instruct my lighting board operator on what lighting instruments are to be added or eliminated to create the mood needed for the scene being shot,” Levin continues. “While shooting, I work with our video controller, Alexis Dellar Hanson, who makes sure that all the cameras are at their proper F-stop, and that the colorimetry of

each camera matches.”

Guild members whose sole backgrounds are in film/episodics may be unfamiliar with the role of the video controller, but those in live and live-to-tape production know the craft is absolutely vital.

Hanson says her job is to set up camera parameters and “basically color-correct on the fly.” Before joining Days, she was a DaVinci colorist at CBS News for 48 Hours.

“Our cameras support the hybrid growing pains of our analog remnants and use triax cable with a Sony Legacy platform,” Hanson adds. “I use a gamma cross at .55 and use 240M matrix preset to push color.

We work at an incredibly fast pace, and often lamps produce a mix of color temps simply due to time constraints, which means I basically have my hand on that blue ‘whites’ pot to battle voltage settings of our lamps – and saturation and red gain. The challenge is to keep flesh tones looking the way the show likes.”

When Polmanski’s shooting, Levin meets with the next day’s director (there’s a new one each day!) and department heads to review a blocking plot within all the sets. Each director marks up his/her script to include all the camera shots, blocking diagrams and other information needed.

NOVEMBER 2017 51

“ IN THE LAST 27 YEARS, I’VE SEEN POISONINGS, STABBINGS, SHOOTINGS, DRUGGINGS, CAR CRASHES, AND NECKTIE STRANGULATIONS – THE NORMAL SOAP MAYHEM.” OPERATOR JOHN SIZEMORE

52 NOVEMBER 2017

Levin reviews it and the shooting schedule for potential conflicts.

He and Polmanski discuss the notes.

Shot cards for each camera include a brief description of the framing and sizing of the shots, the characters involved and any camera movement required. Levin keeps a library of every setup, “as we may come back and shoot a scene connected to an episode two or three months later,” he notes.

Operator Sizemore, who’s been on Camera Two since 1991, adds that the show shoots a lot of talking heads.

“Traditionally, soaps shoot a little tighter than your average sitcom,” he explains. “I don’t want to give away our secret formula, but every time we do those slow tightens to close-up shots, we are actually drawing the viewer deeper into the story.” Before calling it a day, Levin orders equipment, reviews the script and creates the lighting plot.

Polmanski is on set until shooting wraps.

DAYS HAS FEATURED SOME ICONIC AND MEMORABLE SEQUENCES. Sizemore laughs

when he notes that “in the last 27 years, I’ve seen slapped faces, a punch in the nose, poisonings, stabbings, shootings, druggings, car crashes, necktie strangulations – you know, the normal soap mayhem.”

But his favorite sequence was far more poignant.

Salem’s first family was Tom (MacDonald Carey) and Alice Horton (Frances Reid, who played the role into her nineties), and the real-life death of a longtime and well-loved character needed to be handled with care. Sizemore recounts how “when Mac passed away, we shot a scene where Alice sits in her old chair with Tom’s picture in her lap and she gives a powerful two-minute goodbye speech. I did a very slow zoom-in and ped-up move. Right at the end of her speech and the end of my move, the lens picked up a flare from one of the ground lights I was shooting over and it looked like Tom’s spirit went right through the frame and right out of the building. I still get chills.”

Many of Levin’s favorite moments harken back to when bigger soap budgets could support large action sequences.

Among them: the sinking of a car, recorded with an underwater camera crew capturing the actor struggling to escape and eventually succumbing to his situation; a riverside sequence keeping characters in the water and on land in view with the camera on an underwater housing attached to a telescoping pole for low-angle shots; an airplane fuselage built on a gimbal that rocked like a

rollercoaster to simulate the plane crashing and replicate the gravitational forces for the actors; and an exterior car crash featuring one in-car camera and three outside to record a stuntman shattering the windshield as he rolled over the car and landed on the pavement behind the moving vehicle.

Big location shoots are rare, given today’s tight budgets. But last year the Days crew used an empty warehouse at The Burbank Studios for a high-action sequence that included bad guys descending from the rafters, pyrotechnics and lots of gunplay.

“We assessed the existing lighting conditions and tried to incorporate whatever sources were available,” Polmanski recalls.

“I’m a firm believer in using mixed color temperatures to mimic real life. To meet that goal, we used a package of HMIs, 9-lights, small tungsten Fresnels, Astra 1-by-1 BiColor Litepanels along with industrial and architectural LED instruments, 12-by12s and bounce board. We shot with three cameras that were used either on sticks, jib or handheld, depending on the needs of the storyline and the desires of our directors.”

When husband-and-wife writers Betty and Ted Corday created Days, a cornerstone theme was – and still is – family. The creators’ son, Ken, is one of the executive producers (alongside Albert Alaar and Greg Meng), and he treats everyone involved with the production like family. Luckily, the cast and crew aren’t nearly as dysfunctional as the

citizens of Salem.

As Co-Executive Producer Alaar relates: “The look and feel of a show is dependent on the skill level of its crew. As a producer and director, I rely upon their expertise, focus and willingness. Whatever “vision” I bring to the show is based on their creative skill.

“But journeyman work aside,” he adds, “we also must work together as a team in harmony. At the end of the day, we are the best of what a family needs to be. We trust and nurture each other and have a great time while we do it. I’ve often said [the Days crew] trained me how to be a director and producer. I am honored and delighted to be in the trenches with them every day.”

CREW LIST Directors of Photography Mark Levin Ted Polmanski Operators Steve Clark Mike Denton John Sizemore Victoria Walker Mark Warshaw Utilities Steve Bagdadi Gary Cypher Video Controller Alexis Dellar Hanson

NOVEMBER 2017 53

54 NOVEMBER 2017

FEATURE

REALITY/LIVE PRODUCTION

TALL IN THE SADDLE

BARRY MARKOWITZ, ASC, ILLUMINATES ONE OF HISTORY’S MOST FASCINATING (AND EFFECTIVE) LEADERS IN ROB REINER’S NEW BIOPIC, LBJ. BY

MATT HURWITZ PHOTOS COURTESY OF

ELECTRIC ENTERTAINMENT/ VFX FRAMEGRABS COURTESY OF PIXEL MAGIC

NOVEMBER 2017 55

“HEY, BARRY! IS IT DARK ENOUGH FOR YOU?” ROB REINER WOULD OCCASIONALLY BE HEARD SHOUTING TO HIS CINEMATOGRAPHER ACROSS THE SET DURING THE FILMING OF HIS NEW FEATURE, LBJ. “WHAT??”

BARRY MARKOWITZ, ASC, WOULD RESPOND IN KIND, PROMPTING A FURTHER CLARIFICATION FROM HIS DIRECTOR. “BARRY, IT’S LIKE WE’RE SHOOTING A RADIO SHOW HERE! WHAT IS THIS – I CAN’T SEE ANYTHING!” BUT A GLANCE BY MARKOWITZ OVER TO DIT DAREN SMITH WOULD USUALLY RESULT IN THUMBS UP – THE SHOT WAS FINE AND THE COMPANY COULD MOVE ON.

56 NOVEMBER 2017

S

SUCH PLAYFUL GIVE AND TAKE BETWEEN REINER AND HIS CINEMATOGRAPHER BELIES just how efficiently the

pair staged and shot this biopic about former President Lyndon Baines Johnson (Woody Harrelson), sometimes moving so quickly they’d wrap before lunch. As Markowitz, who shot Reiner’s last feature, Being Charlie, as well as the director’s upcoming Shock and Awe (recently premiered to standing ovations at the Zurich International Film Festival) recounts: “There’s no talking or coffee. It’s just one to the next. Rob works that way, and so do I.” The mutually no-nonsense workflow resulted in a story of how the ambitious, politically savvy Texan (known for advancing his agenda via a face-to-face “treatment”) went from being one of history’s most powerful Senate Majority Leaders, to being tapped to be John F. Kennedy’s running mate, and, eventually, through tragic circumstances, his successor, remaining in office until January 20, 1969. For much of LBJ, the story hopscotches between Kennedy’s first three years in office and that fateful day in November, 1963, before continuing on to chart Johnson’s seminal victory as Commander-in-Chief: the passing of JFK’s Civil Rights Act in 1964.

The film was shot almost entirely in New Orleans.

Production Designer Chris DeMuri and his team constructed two main sets at Quixote Studios New Orleans: The Oval Office and the House of Representatives’ chamber.

In addition, a unit led by VFX Supervisor/Producer (and Pixel Magic VFX producer) Ray McIntyre Jr. and shot

by A-camera/Steadicam operator Michael Stumpf, SOC, visited Washington D.C. to collect establishing and plate shots for several remarkable – and imperceptible – VFX shots. Markowitz used his long-time 1st AC, Steven Search, who assisted Stumpf (who was new to the team.)

“Barry has no filter,” Stumpf describes. “If he’s thinking it, he’ll vocalize it. And that’s quite refreshing.” Reiner was immediately taken with Stumpf ’s skill and keen eyes.

“Some guys are good at using the equipment but have no artistic instincts,” the director states. “Michael has both. We’d

(Top) photo by Cook Allender (Middle) photo by Sam Emerson (Bottom) photo by Kyle Kaplan

collaborate on everything.”

LBJ used ARRI ALEXA XT camera systems from Panavision New Orleans, as well as AMIRA (Stumpf ‘s AMIRA outfitted Steadicam comprised nearly 75 percent of the film). “I like a little bit of girth and weight on the rig, but the XT is a little too heavy and the Mini is a little too light,” he explains. “The AMIRA has the perfect balance.” Though a dolly was sometimes used, usually by Markowitz working as the unit’s B-camera operator – there was a total absence of dolly track. “It’s a waste of time these days,” Markowitz explains. “I was [Steadicam inventor] Garrett Brown’s assistant for eight years, and I learned: why lay 50 feet of track when you can just keep walking?”

And with the camera moving only when the actors did, Stumpf ’s Steadicam work was essentially invisible. Markowitz also has a preference for bringing actors toward the lens. “I like to have him enter a door 20 feet away in a big room, and come in and sit down two feet away, and then another camera covers the other guy in the scene,” the DP describes. “Then I have a shot already, with no cuts.”

Stumpf ’s rig typically was outfitted with an Angénieux 15-40-mm zoom, while the B-camera mounted on a dolly had a 17-80-mm zoom, or, occasionally, an older Panavision 25-250-mm 10:1, affectionately nicknamed “the bazooka.”

“Panavision was constantly tweaking it for us,” Search laughs. “It was very old with a lot of play, making focus a constant challenge.”

NOVEMBER 2017 57

LBJ’S SIGNATURE LOOK IS DARK INTERIOR SCENES TYPICALLY LIT FROM OUTSIDE, OR A SINGLE PRACTICAL (even in rooms

where other fixtures, such as main overhead lights, are visible to the camera and are kept dark). Notes DeMuri: “One of Barry’s favorite phrases is, ‘This is not a lamp store.

Please turn all of those lights off !’” Or, as DIT Smith relates, “Barry uses ‘light,’ not ‘lights.’”

For his part, Markowitz prefers one lamp (not 10) to be the source for an entire room. “Good lighting,” he explains, “is the absence of light. When I give lectures, I tell them, ‘Start with a dark room. Turn one light on at a time. If the first one is sufficient, and you like that look, go with it.’ And if you can get a grip who knows how to cut light and knows what you’re looking for with cutting it, then the game’s half over.”

“Barry loves naturalistic lighting that’s really distinct,” Reiner adds, “He hardly ever uses stage lights and always tries to find sources from windows and lights that are in a room.” Colorist Leandro Marini (with Santa Monica, CA-based Local Hero Post) agrees.

Barry shoots in a way that I don’t see that much from other DP’s. It’s not overly polished or ultra-modern, and definitely not fussed over in a Hollywood way. The end result is something that feels very authentic.”

In fact, Markowitz rarely even lights an actor’s face. “I’m not sure how he does it,” Marini continues, “but on Barry’s films, actors don’t feel like they are falling into magical pools of perfect light. They feel like they are living in the light of the room. And yet, they never really fall into overly dark pools either. The light looks 100 percent natural and it’s always where it needs to be. Young cinematographers should study that technique.”

There are certainly lots of darkly obscured faces and heavy shadows in LBJ. In one key scene, Robert Kennedy (Michael Stahl-David) visits Johnson in his Biltmore Hotel room to talk him out of accepting the vice-presidential nomination. The men speak in front of a window (backlit by gaffer Allen Parks from an outside terrace ringing the suite at the Windsor Court Hotel location), their faces hardly visible. “I try to always keep what the audience is looking at eating up the frame – either as the hottest thing in the frame or the darkest thing in the frame,” Markowitz explains. “Your eye is there.”

On set, the cinematographer uses Smith (with Radar DIT) as more of a sounding board than color technician. “I’m more of a technical safety net,” Smith offers, “to make sure he doesn’t print too dark, because Barry will get down to the very bottom of what 58 NOVEMBER 2017

an ALEXA can shoot, basically at what amounts to 20 percent IRE. That’s dark!”

Working in Radar DIT’s Remote Vehicle (a lab inside a Range Rover), Smith created what he calls “a naked workflow” for Markowitz. A base LUT, rooted in a Rec.709, but with 18 percent less saturation to give the image an old film look, is accompanied by a set of LUT’s that are +1, +2 and +3 to give to Editorial to add to the base LUT, if needed.

“If the editor looks at it on his system,” Smith elaborates, “and says, ‘That’s too dark for my taste, I can’t see the action going on,’ I can apply a +2 or +3 LUT and lift the whole image.”

That means that when the footage lands with Marini for color timing, it’s not only close to being final but also contains one other important element: grain.

“One of the problems with everyone using the ALEXA,” Marini explains, “is that everything looks too perfect and similar – what people sometimes call ‘the Alexa malaise.’ And in a film set in the 1960s,

clean, neutral and crisp are your enemies.

The way Barry uses the ALEXA [and the AMIRA] the image has grain and grit built in that doesn’t require us to add any more.

It’s some of the best ARRI footage I’ve ever seen, actually.”

ALONG THOSE SAME LINES, REINER (SEE EXPOSURE, PAGE 30) WAS A STICKLER

for historical accuracy, especially about recreating moments indelibly etched in the public consciousness. For Kennedy’s assassination, seen the world over via Abraham Zapruder’s 8-mm home-movie from Dealey Plaza, the director placed operator Brown Cooper, SOC (local to Dallas) in exactly the same spot Zapruder had been in to capture the action.

“We did a tremendous amount of research in just who was there, where people were positioned, how they were dressed and what they were doing,” Reiner shares. “We had four cameras for the day

photo by Sam Emerson

“GOOD LIGHTING IS THE ABSENCE OF LIGHT.” BARRY MARKOWITZ, ASC

NOVEMBER 2017 59

of the assassination, including Zapruder’s exact location. We dressed [Brown] up like Zapruder, stood him up on this platform, and gave him a handheld ARRI. So when you see Kennedy come out from behind the sign and get hit in the throat, we see exactly what Zapruder saw.”

Dallas officials were, at first, leery of granting a permit, given problems with traffic snarl-ups from earlier shows, so Reiner made a personal appeal to the mayor, guaranteeing he would only affect traffic during non-peak hours. The team, which also added another veteran local operator, Rick Anderson, received a fourhour window to shoot on a Sunday – which was rained out and pushed into Monday.

“We did two passes and still got it done 60 NOVEMBER 2017

within our window,” Markowitz recounts.

Audiences might well assume the original Air Force One was located and brought to New Orleans’ Lakefront Airport, but it was merely a remarkable feat of VFX craftsmanship and skill.

“Rob wanted to dolly along with the airplane and come under the belly to see the crowd waiting,” describes Ray McIntyre Jr. “So the very first shot in the movie is dollying along a CGI airplane,” complete with perfectly inherent reflections and rivet flaws. The only practical set piece was the aircraft stair and door at its top, from which Kennedy and the First Lady emerge.”

Pixel Magic created a previsualization showing the move and a roughed-in plane model, both for Reiner’s approval and for

camera and grip shot planning. On location, McIntyre then placed markers on C-stands denoting the limits of the fuselage and wings, to guide Stumpf and his team around the non-existent plane. [A prop newspaper Johnson holds in the scene contains a gag photo of Kennedy with a crowd and two familiar extras: Markowitz holding a camera and Reiner behind him!]

REINER RELAYED TO MCINTYRE THAT HE WANTED TO SEE the Johnson motorcade

exiting the White House onto Pennsylvania Avenue and driving off. Since shooting on the White House grounds with vehicles is not allowed, the shot had to be designed with

“YOU REALLY ARE REENACTING HISTORY – EVEN INFAMOUS HISTORY. AND WHEN IT COMES TOGETHER, IT’S PRETTY CHILLING.” PRODUCTION DESIGNER CHRIS DEMURI

CREW LIST Director of Photography B-Camera Operator Barry Markowitz, ASC A-Camera Operator/Steadicam Michael Stumpf, SOC A-Camera 1st AC Steven Search A-Camera 2nd AC Cody Gautreux B-Camera 1st AC Rob Baird Zach Sieffert B-Camera 2nd AC Rome Julian Aeron McKeough

visual effects. McIntyre went to D.C. and scouted the White House to take precise measurements of the gate and street to create a layout in New Orleans for the cars to follow. (Through Reiner’s relationships, McIntyre was allowed on foot onto the White House grounds for exterior shots.)

Thus the Presidential motorcade was shot driving on a parking lot of the New Orleans Zephyrs baseball stadium. McIntyre and Stumpf then returned to D.C. to shoot VFX tiles of the White House outside the gate (with the camera and sun in the same relative positions as in New Orleans). VFX then generated a matte painting of the White House to help create the seamless final image.

Another important scene takes place in the House chamber, where Johnson delivers his speech to the full body of Congress. With construction of a full House-chamber set a no-go budget-wise, DeMuri built a pie-shaped wedge of the chamber seating (with center aisle), which Reiner filled with 200 extras. Based on careful calculations, McIntyre and Stumpf shot the set pieces and extras at specific angles, later allowing Pixel Magic’s artists to tile the images together to create the full chamber, including a second gallery level.

One other small set recreated the interior of Air Force One, depicting the swearing in of Johnson as President, hours after Kennedy’s death. Like many shots in LBJ that recreated known imagery, DeMuri had to rely on intensive research – in this case, the famous still photo – for Stumpf to reference to assist with his framing.

“It’s even the same lens size,” the operator explains. “I even made sure to cut a certain window in half by placing the camera and zooming in to get to see half of a particular person in the frame, just like in the photo. Even if the audience doesn’t notice those details, it’s still important, in an overall sense, to give a feeling of reality.”

The shot, like so many others in LBJ, left indelible marks on the crew, as well.

“The first time we drove the motorcade through [Dealey Plaza],” DeMuri concludes, “and we were rolling cameras with everybody in costume and makeup – everyone got chills down their spines. You really are reenacting history – even infamous history.

And when it comes together, it’s pretty chilling.”

DIT Daren Smith Digital Utility Chad Taylor Still Photographers Cook Allender Sam Emerson Kyle Kaplan Justina Mintz

NOVEMBER 2017 61

HISTORY MAKERS TEN GUILD SHOOTERS WHO CHANGED OUR WORLD

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THE WOEFUL STATE OF DIVERSITY IN THE FILM AND TELEVISION INDUSTRY HAS MADE BIG HEADLINES LATELY. BUT TRY TO IMAGINE WHAT IT MUST HAVE BEEN LIKE FOR UNIT STILL PHOTOGRAPHERS WILLIAM W. GILLOHM, HOWARD BINGHAM, SIDNEY R. BALDWIN, ADGER COWANS AND JOHN SHANNON, WHO, IN THE EARLY 1970’S, WERE OFTEN THE ONLY BLACK CREWMEMBERS ON THEIR RESPECTIVE SETS.

IT WOULD BE HEARTENING TO SHARE THAT IN THE ENSUING 46 YEARS SINCE COWANS SHOT STILLS FOR PANIC IN NEEDLE PARK OR BILL GILLOHM LENSED IMAGES FOR BROTHER JOHN, THEREBY BREAKING THE COLOR BARRIER IN THEIR CLASSIFICATION, THERE HAVE BEEN GENERATIONS OF NEW BLACK UNIT-STILL SHOOTERS RIDING THOSE PIONEERS’ SHOULDERS. BUT THAT’S SIMPLY NOT THE CASE. IN FACT, WHEN LONGTIME NATIONAL EXECUTIVE BOARD MEMBER BRUCE TALAMON TOLD ICG THERE HAVE BEEN ONLY 16 BLACK STILL PHOTOGRAPHERS WORKING IN MOTION PICTURES SINCE 1971 (INCLUDING HIMSELF), WE KNEW A RETROSPECTIVE WAS LONG OVERDUE. FOR THOSE JUST DISCOVERING THESE TALENTED ARTISTS (GILLOHM, BINGHAM, AND SHANNON ARE NO LONGER WITH US), THE ICONIC DURABILITY AND UNIVERSALITY OF THEIR WORK MAY TAKE THE BREATH AWAY. FOR THOSE ALREADY FAMILIAR, IT WILL BE A REMINDER OF WHAT CRAFTSMANSHIP, DIGNITY, AND ARTISTRY ARE ALL ABOUT IN THE FACE OF VERY LONG ODDS. FOR AS MICHELLE OBAMA FAMOUSLY OBSERVED: “HISTORY HAS SHOWN THAT COURAGE CAN BE CONTAGIOUS AND HOPE CAN TAKE ON A LIFE OF ITS OWN.”

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NICOLA GOODE, SMPSP

“I REMEMBER EARLIER IN MY CAREER WORKING BACK-TO-BACK ON SEVERAL HIGHPROFILE AFRICAN-AMERICAN–THEMED FILMS, WHICH HAD AN OVERWHELMINGLY POSITIVE RESPONSE. WHEN I INQUIRED OF THE STUDIO PHOTO EDITOR ABOUT UPCOMING PROJECTS, I WAS TOLD THEY LOVED MY WORK BUT UNFORTUNATELY DIDN’T HAVE ANY OTHER ‘URBAN’ FILMS COMING UP! WHILE I HAVE SEEN INCREASED DIVERSITY ON SET, I’VE BEEN A UNIT PHOTOGRAPHER SINCE 1989 AND AM AWARE OF ONLY ONE OTHER BLACK FEMALE UNION PHOTOGRAPHER [ANNE MARIE FOX]. WHEN WE MET A FEW YEARS AGO, IT WAS LIKE SEEING ANOTHER UNICORN IN THE FOREST!” 64 NOVEMBER 2017

Ray (2004) We were shooting in New Orleans inside small neighborhood nightclubs and dive bars that were authentic to Ray’s time. The cramped stages, the dancing, the sweat and the enthusiasm for the music were real. The concert sequences were difficult but my favorite to shoot. I often chose color negative for the amber tones and film grain, and shot medium format portraits whenever possible.

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ANNE MARIE FOX

Dallas Buyers Club (2013) “It was inspiring to witness [lead actor] Matthew McConaughey, weak from extreme weight loss for his role and having filmed several physically demanding rodeo scenes, fight through the fatigue (toward what became an Oscar-winning performance). This was one moment of serenity at the end of a grueling day – reposed, and communing with background players.”

“I AM LOATH TO THINK MY RACE AND SEX ARE TRIGGERS FOR LIMITED OPPORTUNITIES AND/OR MEAN-SPIRITEDNESS. ON THE CONTRARY, I WOULD LIKE TO BELIEVE MY INCLUSION IN THIS VERY SPECIALIZED CAREER SERVES AS AN INSPIRATION TO ASPIRING STILL PHOTOGRAPHERS OF EVERY AGE, SEX AND CREED.” ELI REED 8 Mile (2002) 66 NOVEMBER 2017

DAVID LEE

“THE MOST INTERESTING SIDE EFFECT OF RE-STAGING REAL-LIFE IMAGES OF MALCOLM X IS THAT I STILL, TO THIS DAY, EXPERIENCE A MOMENT OF CONFUSION WHEN I COME ACROSS THE REAL THING. MY MIND SHORT- CIRCUITS, I HAVE TO PEER CLOSER TO DISCERN: IS THAT DENZEL? OR MALCOLM TAKEN WHEN I WAS TWO YEARS OLD? THE CREDIT IS WHOLLY DUE TO DENZEL’S IMMERSION AND TRANSFORMATION. HIS DEDICATION AND INTENSITY CARRIED OVER TO THE ENTIRE CREW, AND WE HAD THE FEELING THAT NOT ONLY WERE WE TELLING THE STORY OF THIS HISTORIC FIGURE, WE WERE ALSO CARRYING A WEIGHT AND AN EXCITED CHARGE. HOPEFULLY, THERE WOULD BE SOME HISTORICAL AND INSPIRATIONAL VALUE IN THE MOVIE ITSELF. THIS WAS OUR WAY OF HONORING MALCOLM.”

Malcolm X (1992) “I selected this wedding shot of Malcom and Betty Shabaz simply because it is my favorite photo out of everything I shot on X. Denzel and Angela held the moment for me to take the still after they had completed the scene. In the movie, it is a much tighter two-shot, but I used my Rolleiflex to compose them into a square frame.”

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BRUCE TALAMON “A NUMBER OF YEARS AGO, I WAS APPROACHED

BY A PROMINENT EAST COAST AFRICAN-AMERICAN PHOTOGRAPHER WHO PULLED ME ASIDE AFTER SEEING SOME OF MY WORK AT A CONFERENCE. HE SAID, ‘I KNEW YOUR NAME ALL THESE YEARS, BUT I THOUGHT YOU WERE A WHITE BOY. I THOUGHT THE FILM INDUSTRY WAS CLOSED TO US. WE NEED TO LET THESE KIDS COMING INTO THE INDUSTRY KNOW.’ THAT ENCOUNTER HAS STAYED WITH ME ALL THESE YEARS.”

Beverly Hills Cop 2 (1987) “In addition to shooting the movie, I was hired as ‘special’ photographer for the poster. I wanted to do it right, so I hired Dulan’s Soul Food Restaurant as the caterer and set up for a noon shoot. Four executives from Paramount came to supervise. But Eddie Murphy wasn’t coming out of his trailer.

I knocked, was invited in, and pleaded my case – asking him to try the sweet potatoes and baked chicken. Eddie came out of his trailer and we shot for 45 minutes. I learned a valuable lesson that day: there’s no excuse for not coming back with the shot.”

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D. STEVENS “UNTIL 2010 THERE EXISTED GREAT RELATIONSHIPS BETWEEN THE UNION LABS AND PHOTOGRAPHERS. THEY WERE THE LIFELINES BEFORE YOUR SHOTS EVEN GOT TO A STILLS EDITOR. BUT, SADLY, NOT TOO MANY BLACKS ENJOYED THAT, EVEN WHEN THOSE LABS EXISTED – WHEN YOU ARE CUT OFF FROM RELATIONSHIPS, YOUR CAREER WILL BE STUNTED. CULTURAL AUTHENTICITY IN THE ARTS ONLY HELPS OUR NATIONAL DIALOGUE.” Get On Up (2014) “The shot of James Brown and Bobby Byrd (Chadwick Boseman and Nelsan Ellis) shows the loyal, creative partnership between the two singers. It shaped the way they dialogued with their art. The same can be said for the way this film was made. Cinematographer Stephen Goldblatt, ASC; Operator Patrick McArdle; 2nd Unit Camera Operator Brian T. Pitts; Camera Production Assistant Eddie Goldblatt and the rest of the 17-man crew worked together in the same way, to interpret the James Brown story so beautifully.”

GLEN WILSON

Little Fockers (2010)

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On Golden Pond (1981) “The scene was in a small gazebo over water. The shot was tight and there was not much room for me, so I fell into the water off the track. It was a good-hearted crew, who laughed and helped me out of the water. Henry [Fonda] said, ‘Adger, did you get your shot?’ I said, ‘No, I’ll get the next one.’ And he says, ‘Kate, let’s do one for Adger.’ After that – the director was mad at me!”

ADGER COWANS “THE VOTE FOR ME TO GET INTO [LOCAL 644] WAS A TIE, AND THE PERSON WHO BROKE THE TIE [DP JOSH WEINER] CALLED TO SAY, ‘ADGER, I BROKE THE TIE BECAUSE I THINK YOUR WORK WOULD BE A CREDIT TO THE UNION.’ I HAD A BFA IN PHOTOGRAPHY FROM OHIO UNIVERSITY; I HAD WORKED WITH GORDON PARKS AT LIFE MAGAZINE; I WAS EVEN IN MISSISSIPPI RIGHT AFTER MEDGAR EVERS WAS ASSASSINATED. SO, LIVING WITH PREJUDICE WAS NOT NEW TO ME. BUT, HOLLYWOOD HAD A SPECIAL COVERT BRAND. I HAD TO LEARN HOW TO TAKE NEGATIVE ENERGY AND TURN IT INTO CREATIVE OUTPUT.”

JOHN SHANNON Flashdance (1983)

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HOWARD BINGHAM The Electric Horseman (1979)

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COMING ATYA! WORKING IN LIVE TELEVISION (OR LIVE TO TAPE) IS LIKE NO OTHER INDUSTRY JOB. WE TALKED TO GUILD MEMBERS IN VARIOUS REALITY FORMATS TO FIND OUT HOW CRAZY THINGS GET.

BY PAULINE ROGERS

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Host Stephen Colbert’s opening number for the 73 NOVEMBER 2017 Awards 69th Primetime Emmy Photo by Trae Patton/CBS

For Local 600 members who specialize in all forms of “live” production, the equipment isn’t always that important – sometimes it’s just what comes off the trucks (usually Sony 1500s, 2500s, or 4300s). And because they move around and do so many different styles of shooting, they’ve become intimately familiar with what’s out there. What is common among all Guild camera people working live events is one very special talent – the ability to think on their feet. And, of course, to work together. They know, as Hector Ramirez said at a department meeting before the Grammys, “when the red light goes on – you are the network.”

AWARDS SHOWS During the dress rehearsal for a recent Oscar broadcast, a massive piece of the set fell and crashed – everything (and everyone) froze in place. Director Glenn Weiss took a deep breath and turned to the crew, “You are the best in the world at what you do, and we’ll just do The Oscars without a dress rehearsal.

Hang tight.”

Video Controller Guy Jones says live-event shows can be smooth as silk, or as crazy as Mr. Toad’s Wild Ride.

“On one Grammy Awards, it was Keith Winikoff ’s show as V1 and me as his V2. We had five scene file changes,” Jones describes. “That meant five times during the show we had to change the ‘look’ for specific acts. Beyonće was the most complicated, because we were flipping filters between the director’s live cut of the show. One mistake, and the world would know. There were at least three occasions when the second the scene file was recalled, the camera was taken on air – and nobody at home was the wiser.”

And it is even trickier out there in the crowd. On The Oscars, handheld operators are often on top of each other and in a kind of box. When they hear “the winner is,” everyone drops to the ground and hides, so the operator on the winner can get the shot.

“It’s also important to know whom you are shooting,” adds Ted Ashton, SOC, who often has to follow the star with his Steadicam, right up on the stage, and then scoot down the stairs, hoping that the director will cut so he isn’t on camera. “When you are on a nominee in rehearsal, you will see a likeness of that person pinned to the seat,” Ashton continues, “so you know who you’re shooting. For one Emmy Awards, I was focused on ‘the nominee’ during the announcements. But, my 74 NOVEMBER 2017

person didn’t get up. Was I on the wrong seat? A minute later, the woman I was focused on got up – and the nominee came back from the bathroom! I was shooting a seat filler.”

Not to be outdone, Allan Merriweather recalls an Emmy broadcast where he wasn’t sure whether the person sitting in the seat was the nominee. He politely asked. Got his answer. Then had one more question.

“I wanted to know if the woman next to him was his wife,” he says. “So, I asked and that person lost control – ‘Why would I be sitting with someone else’s wife?’”

Dylan Sanford says teamwork is the ultimate guarantee when shooting awards shows. He recounts a recent situation at The Billboard Music Awards in which he had two minutes (during a tape playback) to get from the houseleft stage to the house-right stage and get preset behind a closedown for the Imagine Dragons performance – all through hundreds of fans in the audience.

“My utility set down a stack of cables on a folding chair while we swapped lenses,” Sanford remembers.

“When we turned back, the chair had collapsed inward, sending hundreds of feet of cable under the adjacent jib platform, and tangled like spaghetti.”

Other utilities soon joined in the rescue as they heard the countdown back to live.

“When my utility felt I had enough to make it, I began sprinting while he threw out line. I got to the foot of the stage, but knew I wasn’t going to make it before they cut to the presenter. So, as soon as they cut to the close-up, I ran past her and darted behind the closedown, just as they called to raise it.

I made it by one second.”

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7 (1) The 69th Primetime Emmy Awards / Photo by Trae Patton/CBS (2) The 89th Oscars / Photo by Patrick Mymore/ABC (3) Operator Allen Merriweather shooting live from the Emmys / Photo by Rob Vuona/CBS (4) Awards show Operator Dylan Sanford / Courtesy of Dylan Sanford (5) The Talk / Courtesy of CBS (6) Ellen Operator Tim O’Neil / Courtesy of Tim O’Neil (7) Jimmy Kimmel Live / Photo by Randy Holmes/ABC (8) The Tyra Banks Show Operator Jeff Johnson / Courtesy of Jeff Johnson/CW (9) Operator Ed Horton on The Talk / Courtesy of Ed Horton

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TALK SHOWS “YOU’VE GOT TO BE ONE STEP AHEAD OF EVERYTHING AND BE AWARE OF YOUR SURROUNDINGS.” OPERATOR ED HORTON

9 Jimmy Kimmel loves to tell a story to interviewers about an episode directed by Bobcat Goldthwait (who comes out of single camera), and a guest who brought a dog onto the show, who promptly barfed on the stage. As is typical in live television, director Goldthwait was urging the camera crew to “shoot the vomit, shoot the vomit.” And the Guild camera team – all six of them – got the shot. The only problem was, there was nothing to cut to!

“The actual operation of the camera is probably only about 10 percent of what [we] do,” observes handheld operator Jeff Johnson, who also works with Ed Horton on The Talk. “The other 90 percent is paying attention, listening, and dodging other cameras. [We] need to anticipate someone talking or reacting and basically give directors what they need – before they even know they need it.”

“You have to be on top of everything from makeup faux pas to wardrobe malfunctions,” adds Horton. “You’ve got to be one step ahead of everything and be aware of your surroundings as you navigate a 300-pound studio camera and pedestal across a sometimes crowded floor, while talent is talking, singing, dancing, cooking, or doing a Halloween karaoke show.” And, Horton recounts, you must not start giggling, like during

a moment on Larry King Live when Whoopi Goldberg did an interview with a purple tongue after grabbing one of Horton’s gumballs just before going live.

Shooting Ellen, Tim O’Neil has seen or done just about everything – and probably nothing twice. “On any given day, I may go from a ped to handheld to robotic and back,” O’Neil explains.

“Shooting varies for us from covering a seated guest, being hidden behind a two-way mirror, and embedded in the audience during music to following tight action of a guest performing jumps and stunts on a motorcycle in the parking lot.

“My primary responsibility is to get the guest entrance by following focus as they walk toward me at F2.8, while dollying right, and then cover them during the interview,” he adds. That may sound simple enough, but think about the people the operator is covering. “Insert the likes of Wanda Sykes, Nathan Lane, Ricky Gervais and a host of others – and then think about [that operator] trying to hold the shot while doubling over with laughter,” he says.

It wouldn’t be normal not to laugh when shooting a talk show. As Ellen once said, when O’Neil apologized, “You don’t have to apologize for laughing.” It’s part of the job.

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GAME SHOWS 1

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4 (1) So You Think You Can Dance / Photo by Adam Rose/FOX (2) Lets Make a Deal / Courtesy of CBS (3) Video Controller Jay Griffiths, Jr. / Courtesy of Jay Griffiths, Jr. (4) Steadicam Operator David Kanehann / Photo by Tyler Golden

Anyone who thinks game show production is simply Vanna White on a small stage with various contestants, shot by three or four ped cameras, hasn’t been paying attention. These days productions include moving sets, large screens, stunts and much more.

“Game shows, where someone wins something, are bound by certain rules, standards and practices to maintain fairness, especially when large sums of money are involved,” explains Steadicam operator Dave Kanehann, SOC. “As technical people, you never want to interfere with the competition.

A ‘stop down’ in a game for any reason can cause big problems for production and eat up a lot of time establishing a fair and proper reset.”

Kanehann says that no matter how many rehearsals with stand-ins are done, “we never really know how a contestant will react to winning – or losing – a life-changing sum of money. If a contestant in an adrenaline-filled moment misses a mark or ends up on the wrong side of the line,” he adds, “Steadicam must be ready to supplement coverage, reestablish a wide shot as a cover, or serve as a carry shot to bring all the elements back together.”

One of Kanehann’s most important partners is his utility. “I was day-playing on So You Think You Can Dance? and the utility and I were on stage completing a very large 360-degree move with about 25 or so dancers, and my utility stopped me right before the scripted end of the move

“WE NEVER REALLY KNOW HOW A CONTESTANT WILL REACT TO WINNING – OR LOSING – A LIFECHANGING SUM OF MONEY.” STEADICAM OPERATOR DAVE KANEHANN

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because he saw that a dancer about to do a stage slide was off their mark,” he recalls. “The dancer slid right between my legs – live – on air. The shot looked great and no one knew, but one step further and it would have been a disaster.”

Video controllers have different variables. “Projection, LED walls, plasma screens, consumer TV ’s, computer monitors, iPads – all showing show/game elements that need color correcting to look as close to what the graphics designer intended as possible,” explains Jay Griffiths, Jr. “On Family Feud, I work closely with our Gaming department to make their graphics on camera look as close as possible to the source material.

It’s sometimes challenging, when you have equipment that was never intended to be used on camera.”

Let’s Make a Deal is even more complicated. “We have about 30 color-corrector units correcting everything from GoPros that shoot a winner of a car – from inside the car – to POV cameras all over the set, and TVs that display show logos and graphics.”

Griffiths, Jr. says proper setup is key: if a camera or lens fails in the middle of a show, it’s usually the utilities to the rescue with a spare camera. “They’ll plug it in, I’ll set it up as fast as I can and we’ll make it look like nothing ever happened,” Griffiths, Jr. concludes. “We don’t want to put a damper on the energy we need to keep the audience and contestants engaged.”

“THE CAMERA OPERATORS MUST BE AWARE OF NOT JUST CAPTURING THE ACTION BUT WHERE EACH AND EVERY CAMERA IS AT ALL TIMES.” CAMERA UTILITY HILLARY M. CARROLL

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REALITY SHOWS Reality TV has changed a lot in the last decade – everything from a single camera following a subject to 30-plus cameras all shooting a performance competition show.

“Often on Union reality shows there is no director, so knowing absolutely everything about the shoot is vital,” describes Operator Andrew Rakow. “On those shows, I work closely with the producers to figure out their vision and goals. This can be more challenging than a studio shoot, where you know exactly what the director is looking for.”

Rakow says good reality camerawork means constantly thinking about how to make things interesting. “Skills like being able to find a cinematic wide shot, an interesting cut-away, detail shots (nervous tics, etc.) are most important,” he adds.

“Once, on ABC’s Great Christmas Light Fight, a competition show with a prize, we used two Sony F800 XD cameras and a Techno-Jib for an episode that had neighborhoods in Arizona, Florida and Hawaii competing,” he continues. “In Arizona, the Techno couldn’t get high and wide enough to shoot the entire 15-house street and see the light display at the same time. So, a hot-air balloon was hired to fly over the street. That episode was nominated for an award.”

According to Utility Hillary M. Carroll, on Master Chef, no day is the same.

“The pace of multi-camera reality moves

3 (1) American Ninja Warrior / Courtesy of NBC (2) Finale of Master Chef / Photo by Greg Gayne/FOX (3) On set with American Ninja Warrior / L to R: Director Patrick McManus, Lead AC Dominic DeFrank, AC Shelby Cipolla / Courtesy of Dominic DeFrank/NBC

much more quickly than a dramatic feature or narrative episodic,” she observes. “The camera operators must be aware of not just capturing the action but where each and every camera is at all times. Many reality operators started out as camera assistants [now specifically titled camera utilities].”

Carroll recalls a day (on another multicamera chow) where she had to leap from a hitched and moving Porta Potty. “It was a race up one of the large paved hills in Griffith Park,” she begins. “There was a helicopter shooting aerials and camera operators shooting the contestants [running up the hill] out the backs of cars. It was a strenuous and physically demanding day, so much so that I had not had time to 10-1 [code for going to the bathroom]. As soon as I had entered the Porta Potty, I heard a truck engine start, and the bathroom I’m using begins to lurch forward. You have no idea what went through my head. I honestly thought I would end up stranded in Santa Clarita, where the transport trucks park after each day. I stepped out onto the metal platform and it is really moving. I’m thinking, ‘Maybe this is how a stunt actors feel on a daily basis. I managed to duck and roll, and was relatively unscathed.

But it was pretty crazy.”

Dominic DeFrank, lead assistant camera on American Ninja Warrior, is also no stranger to large moving objects. “We’ve got 15 to 20 cameras – Techno-Jibs, a Steadicam atop a

Grip Trix cart, and a small army of sprinting camera operators – all going at once, with some cameras responsible for keeping up and covering up to eight positions, each time a contestant runs the course,” he explains. “All of which we do as many as 120 to 130 times on qualifier nights. “[Director] Patrick McManus and I create plots of each camera position in each city, which we utilize for walk-throughs and rehearsals, always drilling safety before creativity into all of my team,” he adds. “It’s like a huge, intense ballet, and I have to know that every one of our 20 cameras operators and their AC’s look out for each other.”

Things can get complicated when new still photographers join the traveling mobile circus. “They are running along with the cameras,” DeFrank explains, “and, going for their shots, they aren’t always aware of a speeding Grip Trix or camera operators at full sprint from behind.”

This is where DeFrank says he becomes a traffic cop and is not always popular. “My crew is used to me shouting, ‘Clear! Or Watch your back!’ The person I’m focused on might not get hit – but if that person is in the path, others behind them may have to swerve – sometimes into someone else. Safety is always the main priority in these big live shows. Always!”

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

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

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

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

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

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

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“EMPIRE” SEASON 4 Dir. of Photography: Paul M. Sommers Operators: Joe Williams, Barnaby Shapiro Assistants: Betsy Peoples, Shannon DeWolfe, Andy Borham, Uriah Kalahiki Loader: Torey Lenart Utility: Amanda Kopec “FRESH OFF THE BOAT” SEASON 4 Dir. of Photography: Brandon Mastrippolito Operators: Greg Matthews, Brian Morena Assistants: Ray Dier, Tomi Izumi, Christian Cobb, Steve Whitcomb Camera Utility: Adam Kolkman “GHOSTED!” SEASON 1 Dir. of Photography: Grant Smith Operators: Taj Teffaha, Harvey Glen Assistants: Ryan Guzdzial, Matt LaRoche, Cristy Arboleda, Jess Fairless Steadicam Operator: Taj Teffaha Steadicam Assistant: Ryan Guzdzial Digital Utility: Missy Burgess “LIFE IN PIECES” SEASON 3 Dir. of Photography: Mike J. Pepin Operators: Jacob Pinger, Jeremiah Smith Assistants: Chris Workman, Edward Alfred Nielsen, III, Sergei Sorokin, Jason Sharron Camera Utility: Noel Vidal “THE GIFTED” SEASON 1 Dir. of Photography: Bart Tau, Frank Perl Operators: Marcis Cole, Andy Fisher Assistants: Christian Satrazemis, Brandon Dauzat, Jonny Quintana, Mike Fisher Steadicam Operator: Marcis Cole Steadicam Assistant: Chrisitan Satrazemis Digital Imaging Tech: Mark Gilmer Loader: Peter Johnston Digital Utility: Becca Bennett Still Photographer: Eliza Morse “THE MICK” SEASON 2 Dir. of Photography: Alan Caudillo Operators: Joel Schwartz, April Kelley, Kris Krosskove Assistants: Chad Rivetti, Chris Flurry, Roger Wall, Matt Gaumer, Winona Wacker, Chris de la Riva Steadicam Operator: Kris Krosskove Steadicam Assistant: Chad Rivetti “THE RESIDENT” SEASON 1 Dir. of Photography: John Brawley Operators: Mark Karavite, Dave Drzewiecki, Jessica Lopez Assistants: Kris Hardy, John Metcalfe, Mark Boyle, Oren Malik, Sebastian Boada, Austin Taylor Loader: Trey Volpe Digital Utility: Amanda Gianneschi Still Photographer: Guy D’Alema “THIS IS US” SEASON 2

Dir. of Photography: Yasu Tanida Operators: James Takata, Beau Chaput Assistants: Sean O’Shea, Rich Floyd, Brian Wells, Jeff Stewart Steadicam Operator: James Takata Steadicam Assistant: Sean O’Shea Loader: Mike “Mad Dog” Gentile Still Photogapher: Ron Batzdorff ABC STUDIOS “CODE BLACK” SEASON 3 Dir. of Photography: Spencer Combs Operators: Jason LeBlanc, Mike Sharp, Brian Garbellini Assistants: Jon Sharpe, Stephen Franklin, Jim Thibo, Yusef Edmonds, Bill Marti, Tim McCarthy Digital Loader: Joe Pacella “CRIMINAL MINDS” SEASON 13 Dir. of Photography: Greg St. Johns Operators: Darcy Spires, Mike Walsh Assistants: Keith Peters, Tim Roe, Todd Durboraw, Robert Forrest Steadicam Operator: Mike Walsh Steadicam Assistant: Keith Peters Utility: Jacob Kuljis “FOR THE PEOPLE” SEASON 1 Dir. of Photography: Alan Caso Operators: Stephen Collins, Cybel Martin, Jamie Sterba Assistants: Bianca Bahena, Darby Newman, Carlos Lopez-Calleja, Chris Sloan, Tim Luke, Matt Williams Digital Imaging Tech: Ethan Phillips Utility: Lauro Avila Still Photographer: Nicole Wilder “HOW TO GET AWAY WITH MURDER” SEASON 4 Dir. of Photography: Michael Price, ASC Operators: Joe Broderick, John Hankammer, Scott Boettle Assistants: Heather Lea-LeRoy, Vanessa Morehouse, Darrell Herrington, Drew Han, Mark Sasabuchi, Michael Stampler Digital Imaging Tech: Andrew Osborne Digital Utility: Wil Sterner “JIMMY KIMMEL LIVE!” SEASON 15 Lighting Director: Christian Hibbard Operators: Randy Gomez, Parker Bartlett, Kris Wilson, Garrett Hurt, Marc Hunter, Mike Malone Camera Utilities: Charles Fernandez, Scott Spiegel, Travis Wilson, David Fernandez, Adam Barker Video Controller: Guy Jones Still Photographers: Karen Neal, Michael Desmond 2ND UNIT Dir. of Photography: Jimmy Lindsey “SCANDAL” SEASON 7 Dir. of Photography: Oliver Bokelberg, ASC, Daryn Okada, ASC Operators: Ron Baldwin, Bill Boatman Assistants: Jon Zarkos, Jorge Pallares, Anthony Schultz, Hannah Levin Digital Imaging Tech: Andrew Lemon Utility: George Montejano, III Still Photographer: Mitchell Haddad “SMILF” SEASON 1 Dir. of Photography: Brian Burgoyne Operators: Abby Linne, Shelly Gurzi

Assistants: Evan Wilhelm, Giselle Gonzalez, Sharla Cipicchio, Evey Franceschini Loader: Nicola Caruso Utility: Eric Kim Still Photographer: Lacey Terrell “KEVIN (PROBABLY) SAVES THE WORLD” SEASON 1 Operators: Steve Fracol, Michael Gfelner Assistants: Lex Rawlins, Thomas Nemy, Christy Fiers, Sherri Leger Loader: Erin Strickland Digital Utility: Darrell Lane Still Photogarpher: Guy D’Alema AFN PRODUCTIONS-TELEPICTURES “THE REAL” SEASON 4 Lighting Dir./Dir. of Photography: Earl Woody Operators: Kevin Michel, David Kanehann, Steve Russell, Bob Berkowitz Steadicam Operator: Will Demeritt Camera Utilities: James Magdalin, Henry Vereen, John Markese Jib Arm Operator: Jim Cirrito Video Controller: Jeff Messenger AVALON PRODUCTIONS “TASKMASTER” SEASON 1 Lighting Designer: Kieran Healy Operators: Brian Reason, Chris Darnell, Dave Plakos, Hank Geving, Hector Ramirez, Jim Rohrig, JR Reid, Dave Rudd Head Utility: Jon Zuccaro Utilities: Dustin Stephens, Sean Woodside Video Controller: Chris Gray A VERY GOOD PRODUCTION, INC. & WAD PRODUCTIONS “THE ELLEN DEGENERES SHOW” SEASON 15 Lighting Director: Tom Beck Ped Operators: David Weeks, Paul Wileman, Tim O’Neill Hand Held Operator: Chip Fraser Jib Operator: David Rhea Steadicam Operator: Donovan Gilbuena Video Control: James Moran Head Utility: Craig “Zzo” Marazzo Utilities: Arlo Gilbuena, Wally Lancaster AVOCA PRODUCTIONS “THE JOKER’S WILD WITH SNOOP DOGG” SEASON 1 Lighting Designer: Kieran Healy Operators: Daryl Studebaker, Mike Carr, Kathrine Iacofano, Jeff Johnson, Scott Acosta, Mark Schneider, Jeff Watt Lead Utility: David Feliciano Utilities: Jeff Kearney, William Im, Diego Avalos, Adam Feliciano, Will Wolf, Henry Vereen, Al Alaimalo Video Controller: Chris Gray BEACHWOOD SERVICES “ALEX, INC.” SEASON 1 Dir. of Photography: Eric Edwards Operators: Lawrence “Doc” Karman, John Pingry Assistants: Jon Lindsay, Jim Apted, Scott Whitbread, Kyler Jae Steadicam Operator: Lawrence “Doc” Karman Steadicam Assistant: Jon Lindsay Digital Imaging Tech: Kevin Britton Loader: Wiley Schott “DAYS OF OUR LIVES” SEASON 52 Dir. of Photography: Mark Levin, Ted Polmanski Operators: John Sizemore, Mark Warshaw,

//////PRODUCTION CREDITS

20TH CENTURY FOX “AMERICAN CRIME STORY: VERSACE” SEASON 2 Dir. of Photography: Simon Dennis Operators: Andrew Mitchell, SOC, Brice Reid, Jesse Feldman, SOC Assistants: Penny Sprague, Ben Perry, Greg Williams, Jared Wilson, Eric Guerin, Dawn Nakamura Digital Utility: Justin Steptoe Camera Utility: Baird Steptoe, II

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Vickie Walker, Michael J. Denton, Steve Clark Utilities: Steve Bagdadi, Gary Cypher Video Controller: Alexis Dellar Hanson

Rodney McMahon, Anthony Salerno Camera Utility: Terry Ahern Video Controllers: Mike Doyle, Peter Stendal

BONANZA, INC “ORIGINALS” SEASON 5 Dir. of Photography: Roger Chingirian, John Smith Operators: Ian Forsyth, Brian Davis Assistants: Matt Brewer, Kyler Dennis, Uly Domalaon, Andy Lee Steadicam Operator: Ian Forsyth Utility: Jesse Eagle Digital Imaging Tech: Billy Mueller

“MAN WITH A PLAN” SEASON 2 Dir. 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

“SHAMELESS” SEASON 8 Dir. of Photography: Kevin McKnight Operators: Matt Valentine, Ric Griffith Assistants: John Szajner, Ryan Jackson, Brandon Szajner, Gaston Richmond Digital Loader: Ken Williams Digital Utility: Kat Soulagnet Still Photographer: Paul Sarkis

“NCIS” SEASON 15 Dir. of Photography: Wilson Webb, ASC Operators: Gregory Paul Collier, George Loomis Assistants: Chad Erickson, James Troost, Nathan Lopez, Helen Tadesse, Anna Ferrarie

CBS “CRAZY EX-GIRLFRIEND” SEASON 3 Dir. of Photography: Todd Dos Reis, ASC Operators: Ian Dodd, Richard Crow Assistants: Eric Dyson, Megan Morris, Joel Perkal, Eric Wheeler Steadicam Operator: Richard Crow Digital Imaging Tech: Sam McConville Utility: Andres Raygoza Still Photographer: Ron Jaffe

“NCIS: LOS ANGELES” SEASON 9 Dir. of Photography: Victor Hammer Operators: Terence Nightingall, Tim Beavers Assistants: Keith Banks, Richie Hughes, Peter Caronia, Jacqueline Nivens Steadicam 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

“ENTERTAINMENT TONIGHT” SEASON 36 Dir. of Photography: Kurt Braun Operators: Jaimie Cantrell, James B. Patrick, Ed Sartori, Henry Zinman, Bob Campi,

“NCIS: NEW ORLEANS” SEASON 4 Dir. of Photography: Gordon Lonsdale, ASC Operators: Jerry Jacob, Tony Politis, Vincent Bearden

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Assistants: Peter Roome, Brouke Franklin, Jeff Taylor, Toni Weick, Dave Edwards, Sienna Pinderhughes Steadicam Operator: Vincent Bearden Digital Loader: Christian Wells Digital Utility: Kolby Heid Still Photographer: Sam Lothridge “SCORPION” SEASON 4 Dir. of Photography: Ken Glassing, Fernando Arguelles Operators: Paul Theriault, Chris Taylor Assistants: Scott Ronnow, John Paul Rodriguez, Chris Mack, Tim Sheridan Digital Imaging Tech: Greg Gabrio Utility: Tyler Ernst Still Photographer: Ron Jaffe Publicist: Kathleen Tanji “THE INSIDER” SEASON 14 Dir. of Photography: Kurt Braun Operators: Jaimie Cantrell, James B. Patrick, Ed Sartori, Henry Zinman, Tom Van Otteren, Bob Campi, Rodney McMahon, Anthony Salerno Camera Utility: Terry Ahern Video Controllers: Mike Doyle, Peter Stendal “THE TALK” 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

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Video Controller: Richard Strock Still Photographer: Ron Jaffe COLUMBIA “TOSH.0” SEASON 9 STAGE CREW Operator: Jason Cochard Camera Utilities: Benjamin Steeples, Kyle Kimbriel, Roger Cohen FIELD CREW Dir. of Photography: Andrew Huebscher Operator: Jason Cochard Assistants: Benjamin Steeples, Kyle Kimbriel, Roger Cohen, Delfina Garfias CONACO “CONAN” SEASON 7 Operators: Ted Ashton, Nick Kober, Kosta Krstic, James Palczewski, Bart Ping, Seth Saint Vincent Head Utility: Chris Savage Utilities: Baron Johnson, Josh Gwilt CRANETOWN “THE QUAD” SEASON 2 Dir. of Photography: Richard Vialet Operators: Marco Naylor, Aaron King Assistants: Brian DeCroce, Jamie Marlowe, Nubia Rahim, Rose Ashikyan Steadicam Operator: Marco Naylor Steadicam Assistant: Brian DeCroce Loader: Steve Woronko CRASH FOR GOLD PRODUCTIONS, LLC “CRASHING” SEASON 2 Dir. of Photography: Brian Burgoyne Operators: Ari Issler, Rod Calarco Assistants: Toshiro Yamaguchi, Stephen Kozlowski, Elizabeth Casinelli,

Chris Cafaro Loader: Carolyn Wills Still Photographers: Peter Kramer, Craig Blankenhorn Digital Utility: Brian Bresnehan EYE PRODUCTIONS, INC. “ELEMENTARY” SEASON 6 Dir. of Photography: Thomas Houghton, ASC Operators: Carlos Guerra, Jeremy Weishaar Assistants: Kate Larose, Jason Cleary, Charlie Foerschner, Kyle Blackman Loaders: Dylan Endyke, Patrick O’Shea Still Photographer: Christopher Saunders “MADAM SECRETARY” SEASON 4 Dir. of Photography: Learan Kahanov Operators: Jamie Silverstein, Peter Vietro-Hannum Assistants: Heather Norton, Jamie Fitzpatrick, Amanda Rotzler, Damon LeMay Digital Imaging Tech: Keith Putnam Loaders: Zakiya Lucas-Murray, Christopher Patrikis “VALOR” SEASON 1 Dir. of Photography: Yaron Levy, Robert Altman Operators: Ramon Engle, Tiko Pavoni, Hilda Mercado Assistants: Mary Stankiewicz, Jason Lancour, Zach Junquera, Kevin Wilson, Amanda Etheridge Loader: Dwayne Green Digital Utility: Brejon Wylie FINALE PRODUCTIONS, LLC “OPERATION FINALE” Dir. of Photography: Javier Aguirresarobe, ASC, AEC Operator: Matias Mesa

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Steadicam Operator: Matias Mesa Publicist: Amy Johnson FREEFORM “THE FOSTERS” SEASON 5 Dir. of Photography: Kees Van Oostrum, ASC Operators: Aaron Schuh, Michael May Assistants: Carlos Doerr, Tammy Fouts, Nathan Lewis, Nicholas Neino Steadicam Operator: Aaron Schuh Steadicam Assistant: Carlos Doerr Digital Utility: Duncan Robertson Loader: Daniel Benny Bailey FRITZIE PRODUCTIONS “ALEXA & KATIE” SEASON 1 Dir. of Photography: Chris La Fountaine Operators: George La Fountaine, Kevin Haggerty, Chris Wilcox, John Dechene Assistant: Craig LaFountaine Camera Utilities: Chris Todd, Vicki Beck, Andy Dickerman Digital Imaging Tech: Ryne Niner Still Photographer: Nicole Wilder FOX 21 TELEVISION STUDIOS “THE CHI” SEASON 1 Dir. of Photography: Loren Yaconelli Operators: Scott Dropkin, Darryl Miller Assistants: Paul DeMarte, Chris Dame, Eric Arndt, Nina Portillo Steadicam Operator: Scott Dropkin Steadicam Assistant: Paul DeMarte Digital Utility: Max Moore Loader: Tom Zimmerman 2ND UNIT Dir. of Photography: Abe Martinez Operators: Darryl Miller, Joe Fitzgerald Assistants: Keith Hueffmeier, Dean Simmon,

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NOVEMBER 2017 81

MARVEL ENTERTAINMENT “AGENTS OF S.H.I.E.L.D.” SEASON 5 Dir. of Photography: Feliks Parnell, Allan Westbrook Operators: Kyle Jewell, Bill Brummond Assistants: Coby Garfield, Derek Hackett Steadicam Operator: Bill Brummond Digital Imaging Tech: Ryan Degrazzio Digital Utility: Josh Novak Remote Head Operator: Clay Platner Still Photographers: Kelsey McNeal, Ron Jaffe 2ND UNIT Dir. of Photography: Kyle Jewell Operators: Tony Cutrono, Miguel Pask MESQUITE PRODUCTIONS “SHUT EYE” SEASON 2 Dir. of Photography: Marshall Adams, ASC Operators: Matt Credle, Jordan Slovin Assistants: Beaudine Credle, Charles Murphy, Andrae Crawford, Dustin Keller Digital Utility: Claudio Banks Steadicam Operator: Mike May Loaders: Bryan Jones, Claudio Banks Still Photographers: Richard Foreman, Nicole Wilder 2ND UNIT Dir. of Photography: Mike Ozier Operators: Mike May, Mike McEveety, John C. Flinn Assistants: Jim Nygren, Charles Murphy, Tim Clarke, Claudio Banks, Aaron Tichenor Loader: Mikey Luntzel Camera Utility: Danny Park

Wil Hughes, Brian Romano Digital Utility: Denis DuBrock

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FOX SEARCHLIGHT “ARRESTED DEVELOPMENT” SEASON 5 Dir. of Photography: Patrick Stewart Operators: Patrik Thelander, Phil Miller, Parker Tolifson Assistants: Palmer Anderson, Rachel Wiederhoeft, Joseph Soria, Tash Gamper, Brian Udoff Camera Utility: Zack Marchinsky Digital Utility: Jenny Woo IFP “I FEEL PRETTY” Dir. of Photography: Florian Ballhaus, ASC Xavier Grobet, ASC, AMC Operators: Brian Nordheim, Terrence Hays Assistants: Zack Sieffert, Zack Shultz, Jason Brignola, John McCarthy Digital Imaging Tech: Nick Pasquariello Still Photographer: Mark Schafer Publicist: Peggy Mulloy IT’S A LAUGH PRODUCTIONS, INC. “K.C. UNDERCOVER” SEASON 3 Dir. of Photography: Joseph W. Calloway Operators: Cory Gunter, Brian Gunter, Larry Blumenthal, Helena Jackson, Ken Herft, David “Boomer” Dougherty, Deborah O’Brien, Vito J. Giambalvo Digital Utilities: Selvyn Price, Terry Gunter Jib Arm Operators: Devin Atwood, John Goforth, Brian Gunter Video Controller: Nichelle Montgomery KFILMS WOLFBOY, LLC “THE TRUE ADVENTURES OF WOLFBOY” NY UNIT

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Operator: Michael Wilson Assistants: Andrew Juhl, Blake Johnson, Brett Roedel Digital Imaging Tech: Travis Cannan Still Photographer: Seacia Pavao LADY PRISON PRODUCTIONS, INC. “ORANGE IS THE NEW BLACK” SEASON 6 Dir. of Photography: Ludovic Littee Operators: Scott Tinsley, Denny Kortze Assistants: Beka Venezia, Rebecca Arndt, Justin Mancuso, Maxwell Sloan Digital Imaging Tech: Matt Selkirk Loader: Joshua Waterman LEGENDARY “GODZILLA: KING OF THE MONSTERS” Dir. of Photography: Lawrence Sher Operators: Chris McGuire, Tom Lappin Assistants: Greg Irwin, Jerry Patton, Andy Hoehn, Paul Woods, Joe Thomas, Sherry Day Digital Imaging Tech: Nick Kay Digital Loaders: Violet Jackson, DJ Phillips Digital Utility: Zach Holloran Libra Head Tech: Aaron York Still Photographer: Dan McFadden 2ND UNIT Dir. of Photography: Paul Hughen, ASC Operators: Nikhil Paniz, Bob Gorelick, Jeff Crumbley Assistants: John Woodward, Lou DeMarco, Manning Tillman, Daniel Wurschl, Chris Dawson, John Hoffler Steadicam Operator: Bob Gorelick Loader: Lauren Elizabeth Cummings Digital Imaging Tech: Stuart Huggins Digital Utility: Nick Cannon

UNDERWATER UNIT Dir. of Photography: David William McDonald Assistant: Nicholas Martin NBC “A.P. BIO” SEASON 1 Dir. of Photography: Blake McClure Operators: Nick Medrud, Grant Culwell Assistants: Jason Wittenberg, Dan Marino, Chris Geukens, Paulina Bryant Loader: Jack Nitz Utility: Gennna Palermo Still Photographer: Vivian Zink “CHICAGO FIRE” SEASON 6 Dir. of Photography: Jayson Crothers Operators: Rob Stenger, William R. Nielsen Assistants: Melvina Rapozo, Zach Gannaway, Brian Romano, Gary Malouf Digital Loader: J’mme Love Digital Utility: Nathan D. Sullivan Still Photographer: Elizabeth Morris 2ND UNIT Dir. of Photography: William R. Nielsen “CHICAGO MED” SEASON 3 Dir. of Photography: Lex duPont, ASC Operators: Scott Steele, Faires Anderson Sekiya, Joseph Fitzgerald Assistants: George Olson, Laura Difiglio, Keith Hueffmeier, Sam Knapp, Jason H. Bonner, Patrick Dooley Loader: Joey Richardson Utility: Matt Brown Still Photographer: Elizabeth Sisson “CHICAGO PD” SEASON 5 Dir. of Photography: Rohn Schmidt Operators: James Zucal, Will Eichler, Seth Thomas

2ND UNIT Dir. of Photography: James Zucal “LAW & ORDER: SVU” SEASON 19 Dir. of Photography: Michael Green Operators: Jonathan Herron, Michael Latino Assistants: Christopher Del Sordo, Matthew Balzarini, Emily Dumbrill, Justin Zverin Steadicam Operator: Jonathan Herron Loader: Jason Raswant Digital Utility: Brianna Morrison “REVERIE” SEASON 1 Dir. of Photography: Joe Gallagher Operators: Dan Ayers, Mark Laskowski, Paige Thomas Assistants: Tony Gutierrez, Rob Monroy, Naomi Villanueva, Aldo Porras, Jr., Darin Krask Steadicam Operator: Dan Ayers Steadicam Assistant: Tony Gutierrez Digital Imaging Tech: Paul Maletich Camera Utility: Rachel Mangum “RISE” SEASON 1 Dir. of Photography: Tim Bellen Operators: Peter Nolan, Jennie Jeddry Assistants: Scott Koenigsberg, Alex S. Bellen, Dean Martinez, Elizabeth Casinelli Digital Imaging Tech: Paul Schilens Loaders: James Abamont, Jay Kidd Still Photographer: Peter Kramer

“SUPERSTORE” SEASON 3 Dir. of Photography: Jay Hunter Operators: Adam Tash, Hassan Abdul-Wahid, Danny Nichols Assistants: Jason Zakrzewski, Ryan Sullivan, Brandon Margulies, Sean Mennie, Eric Jenkinson, Rikki Alarian Jones Camera Utility: Estefania Garcia Digital Imaging Tech: Paul Maletich “THE BRAVE” SEASON 1 Dir. of Photography: Mike Spragg, BSC, Jimmy Lindsey, ASC Operators: Matthew Pearce, Sean Maxwell Assistants: David Leb, Sebastian Vega, Betty Chow, Ryan Bushman Steadicam Operator: Matthew Pearce Steadicam Assistant: David Leb Digital Imaging Tech: Giovanni Carranza Loader: Taylor Hilburn Digital Utility: Katy Jones Still Photographer: Ursula Coyote “WILL & GRACE” SEASON 9 Dir. 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: Stuart Wesolik Still Photographer: Chris Haston NETFLIX “SANTA CLARITA DIET” SEASON 2 Dir. of Photography: Paul Maibaum, ASC Operators: Craig Fikse, Heather Brown Assistants: Chuck Katz, David Seekins, David O’Brien, Mike Cahoon

Steadicam Operator: Craig Fikse Steadicam Assistant: Chuck Katz Loader: Kyle Sauer Digital Utility: Sarah Lankford Still Photographer: Saeed Adyani “SUPERSTITION” Operator: Lou Chanatry Assistants: Nathan McConnell, Erik Olson, Armanda Costanza, Marc Casey Digital Imaging Tech: Jonny Revolt Utility: Rodell Francis NEW REGENCY “AD ASTRA” Dir. of Photography: Hoyte Van Hoytema, ASC Operator: Kristen Correll Assistants: Keith Davis, Justin Zaffiro, Sarah Brandes, Rio Noel Zumwalt Loader: Harry Heng Still Photographer: Francois Duhamel Publicist: Spooky Stevens 2ND UNIT Dir. of Photography: Chris Mosley Assistants: Chris Toll, Kevin Miles Loader: Benny Bailey Digital Imaging Tech: Elhanon Matos Still Photographer: Melinda Sue Gordon NEXT TAKE “SCREAM” SEASON 3 Dir. of Photography: David Daniel Operators: Ross Sebek, Brett Mayfield Assistants: Ian Campbell, Matt McGinn, John Thorpe, Lauren Gentry, Griffin McCann Steadicam Operator: Brett Mayfield Steadicam Assistant: Lauren Gentry Loader: Caroline Oelkers Digital Utility: Pedro Escobar Still Photographer: Curtis Baker

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Assistants: John Young, Don Carlson, David “YT” Wightman, Jamison Acker, Phillip Walter, Kyle Belousek Steadicam Operator: William Eichler Digital Loader: Nicholas Wilson Digital Utilities: Michael Gleeson, Marion Tucker

NOVEMBER 2017 83

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NICKELODEON “HENRY DANGER” SEASON 4 Dir. of Photography: Mike Spodnik Operators: Tim Heinzel, Scott Ostermann, Dana Ross, Mike Tribble Camera Utilities: Jim Elliott, Frank Maronski, Doug Minges, Bill Sedwick Jib Tech: Ryan Elliott Video Controllers: Jim Agnor, Bob Kaufmann Still Photographer: Lisa Rose

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NIGHT SCHOOL FILMS, LLC “NIGHT SCHOOL” Dir. of Photography: Greg Gardiner Operators: Mick Froehlich, Daniel Eckler Assistants: Josh Hancher, Rodrigue Gomes, Saul McSween Loader: Jennifer Braddock Digital Utility: Chandra Sudtelgte Still Photographer: Eli Ade PARAMOUNT PICTURES “A QUIET PLACE” Dir. of Photography: Charlotte Bruus Christensen Operator: David Emmerichs Assistants: Stanley Fernandez, Paul Colangelo, Christopher Eng, Anthony Defrancesco Digital Imaging Tech: Travis Cannan Still Photographer: Seacia Pavao PACIFIC 2.1 ENTERTAINMENT “HOMELAND” SEASON 7 Dir. of Photography: David Klein, ASC Operators: Giorgio Scali, Rick Davidson Assistants: Dominik Mainl, Courtney Bridgers, Elizabeth Silver, Shawn Mutchler Steadicam Operator: Rick Davidson Steadicam Assistant: Courtney Bridgers Utility: Rinny Wilson PERDIDO PRODUCTIONS “WOODY ALLEN SUMMER PROJECT 2017” Dir. of Photography: Vittorio Storaro, ASC, AIC Assistants: Robert Mancuso, Connie Huang Steadicam Operator: William Arnot Digital Imaging Tech: Simone D’Arcangelo Loader: Eddie Goldblatt Still Photographer: Jessica Miglio PICROW, INC. “GOLIATH” SEASON 2 Dir. of Photography: Edward J. Pei, ASC

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Operators: Andy Graham, Rob Carlson, Brian Bernstein Assistants: James Sprattley, James Dunham, Maryan Zurek, Jim Gavin, Tracy Davey, Eric Guthrie Steadicam Operator: Rob Carlson Loaders: Jeremy Hill, Peter Pei POSSIBLE PRODUCTIONS, INC. “ESCAPE AT DANNEMORA” Operators: Craig Haagensen, Matthew Pebler Assistants: Eric Swanek, James Madrid, Michael Guthrie, Samatha Silver Digital Imaging Tech: Luke Taylor Loaders: Brittany Jelinski, Tyler Swanek PP21 PRODUCTIONS, INC. “BLACK LIGHTNING” SEASON 1 Dir. of Photography: Scott Peck Operators: Brian Nordheim, Bob Newcomb Assistants: Anthony Zibelli, Alan Newcomb, Nelson Moncada, Catherine Greene Steadicam Operator: Brian Nordheim Steadicam Assistant: Anthony Zibelli Digital Imaging Tech: Justin Warren Camera Utility: Alfredo Santiago SHOWTIME “BILLIONS” SEASON 3 Dir. of Photography: Jake Polonsky Operators: Justin Foster, Radium Cheung Assistants: Edwin Effrein, Gus Limberis, Leonardo Gomez Loaders: Derrick Dawkins, Sean McNamara Still Photographer: Elizabeth Fisher SIDE STREET ENTERTAINMENT “PORTLANDIA” SEASON 8 Dir. of Photography: Joe Meade Operators: Simon Miya, Tyson Wisbrock Assistants: Cameron Carey, Peggy Knoebel, Danielle Carroll Loader: Justen Hundley SONY PICTURES “JEOPARDY!” SEASON 34 Dir. of Photography: Jeff Engel Operators: Diane L. Farrell, SOC, Mike Tribble, Jeff Schuster, L. David Irete Jib Arm Operator: Marc Hunter Head Utility: Tino Marquez

Camera Utility: Ray Thompson Video Controller: Gary Taillon Still Photographer: Carol Kaelson “THE GOLDBERGS” SEASON 5 Dir. of Photography: Jason Blount Operators: Scott Browner, Kris Denton Assistants: Tracy Davey, Nate Havens, Gary Webster, Jen Bell-Price Digital Imaging Tech: Kevin Mills Digital Utility: Dilshan Herath Still Photographers: Nicole Wilder, Adam Taylor “WHEEL OF FORTUNE” SEASON 35 Dir. of Photography: Jeff Engel Operators: Diane L. Farrell, SOC, Jeff Schuster, Ray Gonzales, Steve Simmons, L. David Irete, Mike Corwin Camera Utility: Ray Thompson Head Utility: Tino Marquez Video Controller: Gary Taillon Jib Arm Operator: Randy Gomez, Sr. Still Photographer: Carol Kaelson STALWART FILMS, LLC “LODGE 49” SEASON 1 Dir. of Photography: Jeffrey Jur, ASC Operators: Glenn Brown, Jan Ruona Assistants: Justin DeGuire, Josh Gilbert, Taylor Case, Cameron Schwartz Digital Imaging Tech: Nick Hiltgen Digital Utility: Dumaine Babcock Still Photographer: Jackson Davis “THE WALKING DEAD” SEASON 8 Dir. of Photography: Paul Varrieur, Duane Manwiller Operators: Deke Keener, Cooper Dunn Assistants: David Galbraith, Bruce Robinson, Matt Horn, Robert Veliky Steadicam Operator: Deke Keener Steadicam Assistant: David Galbraith Loader: Daniel Irons Camera Utility: Chris Morales Still Photographer: Gene Page Publicist: Brandee Brooks STANO FPS “STANO” Dir. of Photography: Barry Markowitz, ASC Operators: Matt Fleischmann, Gabor Kover, Shane Duckworth Assistants: Colin Sheehy, Edwin Shimko,

Steadicam Operator: Bud Kremp, SOC Digitual Utility: George Ballenger Utility: Ben Shurtleff Technocrane Operator: Chris Mayhugh Technocrane Tech: Colin Michael West Remote Head Tech/Operator: Jay Sheveck

TNT “GOOD BEHAVIOR” SEASON 2 Dir. of Photography: Brendan Galvin, ISC Operators: Matt Doll, Mike Repeta Assistants: Patrick Borowiak, Roy Knauf, Sean Yaple, Zach Smart Digital Imaging Tech: Andy Bader Still Photographer: Brownie Harris

TV LAND “HEATHERS” SEASON 1 Dir. of Photography: Adam Silver Operators: Mike Jechort, Luke Rocheleau Assistants: Alaina McManus, Robyn Buchanan, John Ruiz, Brian Freeman Digital Imaging Tech: Chase A. Abrams Digital Utility: Ryan Murray Still Photographer: Dale Berman

2ND UNIT Dir. of Photography: Derek Tindall Operator: Greg Magidow Assistants: Will Hand, Alan Aldridge, Darwin Brandis, Courtney Bridgers, Will Cooper NC UNIT Dir. of Photography: Brendan Galvin Operators: Matthew Doll, Michael Repeta Assistants: Patrick Borowiak, Sean Yaple, Roy Knauf, Zach Smart Digital Imaging Tech: Andy Bader Still Photographers: Brownie Harris, Fred Norris “THE LAST SHIP” SEASON 5 Dir. of Photography: Chris Baffa, ASC, Peter Kowalski Operators: Bud Kremp, SOC, Wally Sweeterman, Ben Spek Assistants: Michael D. Alvarez, Roger Spain, Jeff Lorenz, Ana Amortegui, Ulysses Domalaon, Scott Whitbread

UNIVERSAL “HAPPY!” SEASON 1 Dir. of Photography: Niels Alpert, Andrew Voegeli Operators: Jon Beattie, Frank Larson Assistants: Robert Lau, Chris Wiezorek, Casey Johnson, Daniel Pfeifer Loader: Todd Rawiszer Still Photographers: Michele K. Short, Jon Pack “UNBROKEN: PATH TO REDEMPTION” Dir. of Photography: Zoran Popovic Operators: BJ McDonnell, Warren Yeager Assistants: Wade Whitley, Michael Skor, Geoff Waters, Kelly Mitchell Steadicam Operator: BJ McDonnell Steadicam Assistant: Wade Whitley Loader: Colleen Haley Digital Utility: Jenise Whitehead Still Photographer: Tony Rivetti “UNSOLVED” Dir. of Photography: Sidney Sidell

Operators: Chris Cuevas, Brooks Robinson, Eric Leach, Todd Barron Assistants: Liam Sinnott, Patrick Bensimmon, Timothy Kane, Ryan Rayner, Mark Figueroa, Paul Tilden, Kirsten Laube, Doug Price, Gus Bechtold Steadicam Operator: Chris Cuevas Steadicam Assistant: Liam Sinnott Loader: Brandon Gutierrez Remote Head Tech/Operator: Jay Sheveck WARNER BROS. “BLINDSPOT” SEASON 3 Dir. of Photography: Andrew Priestley, Jon Delgado Operators: Pyare Fortunato, Peter Ramos, John Romer Assistants: Andrew Smith, Aleksandr Allen, Liz Singer, Andrew Smith, Christian Bright, Kyle Clark, Deborah Fastuca Steadicam Operator: Pyare Fortunato Digital Imaging Tech: Chloe Walker Loader: Kjerstin Rossi, Brian Grant “LETHAL WEAPON” SEASON 2 Dir. of Photography: David “Mox” Moxness, ASC, Andy Strahorn Operators: Victor Macias, Robert Givens Assistants: James Rydings, Kaoru “Q” Ishizuka, Troy Blischok, Kelsey Castellitto Digital Imaging Tech: Mike DeGrazzio Digital Utility: Spencer Shwetz “LUCIFER” SEASON 3 Dir. of Photography: Christian Sebaldt, ASC, Tom Camarda Operators: Kenny Brown, Eric Laudadio Assistants: Ryan Pilon, Nathan Crum, Rob Magnano, Jason Kinney

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John Pope, Joseph Robinson Steadicam Operator: Matt Fleischmann Digital Imaging Tech: Daren Smith Still Photographers: Elizabeth Fisher, Linda Kallerus, Jon Pack

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CREW PHOTO: SANTA CLARITA DIET SEASON 2

(L to R): Kawika Ahuna, B Dolly Grip / Jan Ruona, B camera 1st AC / Mike Cahoon, B camera 2nd AC / Heather Brown, B camera operator / Jeff (JD) Douglas, A camera dolly grip / Kyle Sauer, Loader / Paul Maibaum, ASC, Director of Photography / Sarah Lankford, Utility / Craig Fikse, A camera-Steadicam operator / David O’Brien, A camera 2nd AC / Chuck Katz, A camera-Steadicam 1st AC (and hiding behind the small monitors, Bac Delorme, 1st Assistant Director) Photo by: Saeed Adyani

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Digital Imaging Tech: John Reyes Digital Utility: Bryce Marraro Still Photographers: Ron Jaffe, John P. Fleenor, Michael Desmond “MACGYVER” SEASON 2 Dir. of Photography: Gabriel Beristain, ASC, Mike Martinez Operators: Mark Moore, Greg Faysash, Paul Krumper Assistants: Al Cohen, Kate Roberson, Trevor Rios, Stefan Vino-Figueroa, Mike Torino, Danny Vanzura Steadicam Operator: Mark Moore Digital Imaging Tech: Greg VanZyck Digital Utility: Anna-Marie Aloia Publicist: Kathleen Tanji “MAJOR CRIMES” SEASON 6

Dir. of Photography: David A. Harp, Kenneth Zunder, ASC Operators: Chris Hood, Tim Roarke, Duane Mieliwocki Assistants: Matt Guiza, Randy Shanofsky, Dan Squires, Adam Tsang, Russ Miller, Veronica Bouza Digital Imaging Tech: Evin Grant “ME, MYSELF AND I” SEASON 1 Dir. of Photography: Craig Kief Operators: Dave Sammons, Todd Barron Assistants: Jarrod Oswald, Richard Avalon, Joe

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Solari, John Roney Digital Imaging Tech: Aaron Biller Still Photographer: Michael Desmond “MOM” SEASON 5 Director of Photography: Steven V. Silver, ASC Operators: Cary McCrystal, Jamie Hitchcock, Larry Gaudette, Candy Edwards Assistants: Meggins Moore, Nigel Stewart, Damian Della Santina, Mark Johnson, Benjamin Steeples Camera Utilities: Alicia Brauns, Andrew Pauling Video Controller: Kevin Faust Digital Imaging Tech: Robert “Bob Z” Zeigler Publicist: Kathleen Tanji “THE BIG BANG THEORY” SEASON 11 Director of Photography: Steven V. Silver, ASC Operators: John Dechene, Richard Price, SOC, Jamie Hitchcock, Brain Armstrong Assistants: Nigel Stewart, Chris Hinojosa, Steve Lund, Meggins Moore, Benjamin Steeples Camera Utilities: Colin Brown, Jeannette Hjorth Video Controller: John O’Brien Digital Imaging Tech: Robert Zeigler Publicist: Kathleen Tanji “THE MIDDLE” SEASON 9 Dir. of Photography: Blake T. Evans Operators: John Joyce, Bret Harding Assistants: Jefferson T. Jones, Roger Spain, Bryan Haigh, Suzy Dietz

Steadicam Operator: John Joyce Steadicam Assistant: Jefferson T. Jones Loader: Richard Kent

COMMERCIALS 1ST AVENUE MACHINE “DROPBOX” Dir. of Photography: Scott Cunningham Assistants: Pergrin Jung, Nate McGarigal Steadicam Operator: Ian Woolston-Smith Digital Imaging Tech: Dave Berman “RAG & BONE” Dir. of Photography: Darius Khondji, ASC Operators: Maceo Bishop, Christopher Raymond Assistants: Robert Ragozzine, Walter Rodriguez, Sara Boardman, Kyle Repka Digital Imaging Tech: Thomas Wong AGGRESSIVE TV “ACURA” Dir. of Photography: Ross McLennan Assistants: Paul Santoni, Tyler Emmett Digital Imaging Tech: Matthew Love

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ARTS AND SCIENCES “BEATS” Dir. of Photography: Autumn Cheyenne Durald Operator: Robby Baumgartner Assistants: Ethan McDonald, Garret Curtis, Lila Byall, Marcus Del Negro, Seaton Trotter Steadicam Operator: Brian Freesh Digital Imaging Tech: Conrad Radzik “COCOA” Dir. of Photography: Autumn Cheyenne Durald Operator: Robby Baumgartner Assistants: Ethan McDonald, Garrett Curtis, Lila Byall, Marcus Del Negro, Seaton Trotter Steadicam Operator: Brian Freesh Digital Imaging Tech: Conrad Radzik BACON AND SONS “ROBOT” Dir. of Photography: Eric Haase Assistants: Ethan McDonald, Jordan Martin BISCUIT “AT&T” Dir. of Photography: Phedon Papamichael, ASC Assistants: Cary Lalonde, Brendan Devanie Digital Imaging Tech: Matthew Love Crane Operator: Clay Platner Scorpio Tech: George Dana

“TARGET” Dir. of Photography: Marten Tedin, Rebecca Baehler Assistants: Stephen MacDougall, Mike Farrell, Jesse Cain Digital Imaging Tech: Bret Suding, Nick Theodorakis Hot Gear Tech: Mehran Salamati CHELSEA PICTURES “WIX” Dir. of Photography: Kip Bogdahn Operator: Joe Hokanson Assistants: Dan Hersey, Kyle Repka, Sam Elliot Digital Imaging Tech: Dave Berman CMS “HOLIDAY HELP” Dir. of Photography: Matt Lloyd Operator: Jim McMillan Assistants: Keitt, Greg Principato, Dan Keck Digital Imaging Tech: Tom Wong “HOPE” Dir. of Photography: Stefan von Borberly Operator: Pierre Colonna Assistants: Jim Hair, Kevin Walter, Joe Robinson Digital Imaging Tech: George Robert Morse COMPANY FILMS “CONSUMER CELLULAR” Dir. of Photography: Richard Henkels Assistants: Ethan McDonald, Marcus Del Negro Digital Imaging Tech: Shawn Aguilar

DONE & DUSTED “VICTORIA’S SECRET FASHION SHOW PACKAGES 2017” Dir. of Photography: Luke Geissbuhler Opertor: Brian Wengrofsky Assistant: Michelle Clementine EPOCH “WELLS FARGO” Dir. of Photography: Peter Donahue Operator: Steve MacDougall Assistants: Eric Jensch, Conrad Castor, Noah Glazer, Jordan Pellegrini Digital Imaging Tech: Adrian Jebef FREE MARKET FILMS “THE HOME DEPOT” Dir. of Photography: Maz Makhani Operator: George Hesse Assistants: John Scivoletto, Glen Landry Digital Imaging Tech: Will Chung FURLINED “TD AMERITRADE” Dir. of Photography: Corey Walter Assistants: Bob Ragozzine, Pedro Corcega, Dan Keck Digital Imaging Tech: Robert Cauble GLORIA PRODUCTIONS “WALMART” Dir. of Photography: Randy Arnold Assistants: Matt Arnold, Chad Nagel Digital Imaging Tech: Michael Borenstein

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Motion Control Operator: Mike Leben ANONYMOUS “BANK OF AMERICA/MERRILL EDGE” Dir. of Photography: Tobias Schliessler, ASC Assistants: Paul Santoni, Dan Schroer Digital Imaging Tech: Matthew Love Loader: Sean Goller

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GOODOIL “TACO BELL” Dir. of Photography: Tim Hudson, ACS Assistants: Erik Stapelfeldt, Daisy Smith Digital Imaging Tech: Eric Yu Digital Utility: Holden Miller HEY WONDERFUL “TOMMEE TIPPEE” Dir. of Photography: Daniel Bombell HOUND “MEANING OF LIFE” Dir. of Photography: Pete Konczal Assistant: Walter Rodriguez Digital Imaging Tech: Tyler Isaacson HUNGRYMAN “FLYWHEEL” Dir. of Photography: Matthew Lloyd Assistants: Keitt, Sara Boardman Digital Imaging Tech: Tom Wong “MARUCHAN” Dir. of Photography: Tami Reiker, ASC Assistants: Daniel Hanych, Kira Hernandez Digital Imaging Tech: Ben Longsworth “MCDONALD’S” Dir. of Photography: Christophe Lanzenberg Assistants: Sharla Cipicchio, Evey Franceschini Digital Imaging Tech: Kevin Zanit “UPS” Dir. of Photography: Jonathan Freeman Assistants: Liam Miller, Sam Elliot LEFT HOOK COMMUNICATIONS “KARRIE DELANEY FOR DELEGATE” Dir. of Photography: Jim Timperman Assistant: Aidan Gray

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LUCKY DOZEN ENTERTAINMENT “SCARED FAMOUS” Dir. of Photography: Jake Kerber Operator: Brett Smith Assistant: Nicholas Martin Digital Imaging Tech: Shawn Aguilar MODOP FILMS “23ANDME” Dir. of Photography: David Morrison Operator: Micah Bisagni Assistants: Michael Farrell, Daniel Ferrell, Reed Koppen, Kymm Swank, Noah Glazer Digital Imaging Tech: Dan Moses PALMER PRODUCTIONS “JOSH CELLARS” Dir. of Photography: Jimmi Kniest Operator: Thom Valko Assistants: Thomas Barrios, Doug Price, Wade Whitley Digital Imaging Tech: Michael Borenstein PARTIZAN “SPRINT” Dir. of Photography: Igor Jadue-Lillo Assistants: Brad Rochlitzer, Isaiah Fortajada Digital Imaging Tech: Michael Borenstein PASSION PICTURES “CHARLES SCHWAB” Dir. of Photography: Eric Schmidt Assistants: Lila Byall, Kira Hernandez Digital Imaging Tech: John Spellman

88 NOVEMBER 2017

PRETTYBIRD “AUDI” Dir. of Photography: Michael Svitak Operator: Jim Orr Utilities: Pete Quijano, Salvatore Bellissimo

TOOL OF NORTH AMERICA “COMCAST” Dir. of Photography: Tobias Schliessler, ASC Assistants: Paul Santoni, Tyler Emmet Digital Imaging Tech: Matthew Love

“SEVENTH GENERATION” Dir. of Photography: Giles Dunning Operator: Vincent Foeillet Assistants: Nito Serna, Ryan Guzdzial Digital Imaging Tech: Kyle Hoekstra

“NDSS” Dir. of Photography: Andy Lilien Assistants: Peter Morello, Nate McGarigal Digital Imaging Tech: Anthony Hechanova

“VERTIGO” Dir. of Photography: Max Malkin Operator: Henry Tirl Assistants: Michael Blauvelt, Andrew Porras Digital Imaging Tech: Matthew Love RADICAL MEDIA, LLC “NY LOTTERY, MAGICIAN” Dir. of Photography: Adam Newport-Berra Assistants: Johnny Sousa, Mike Derario Digital Imaging Tech: Tom Wong RESET “BRAND JORDAN” Dir. of Photography: Darius Khondji, ASC Assistants: Faith Brewer, Laura Goldberg, Daisy Smith Loader: Russell Prior Digital Utility: Holden Miller SANDWICH VIDEO “TRUECAR” Dir. of Photography: Lowell A. Meyer Assistants: Jared Wennberg, Josh Vandermeer Digital Imaging Tech: Colin Weinberg SIBLING RIVALRY “CALPHALON” Dir. of Photography: Peter Konczal Assistants: Al Rodgers, Yayo Vang Digital Imaging Tech: Tyler Isaacson SMITH & JONES FILMS “AT&T” Dir. of Photography: Andrzej Sekula Assistants: Michael Caparelli, Terry Wolcott Digital Imaging Tech: Matthew Love SMUGGLER “FEDEX” Dir. of Photography: Matthew Woolf Assistants: Walter Rodriguez, Jeff Taylor “VERIZON FIOS” Dir. of Photography: David Devlin Assistants: Rick Gioia, Jordan Levie STATION “COLD-EEZE” Dir. of Photography: Matthew Woolf Assistants: Walter Rodriguez, Jeff Taylor Digital Imaging Tech: Joe Belack STINK FILMS USA “INFINITI” Dir. of Photography: Ross McLennan Operator: John Skotchdopole Assistants: Chris Strauser, John Parson, Niranjan Martin Digital Imaging Tech: Matthew Love

TRIAGE, INC. “FALL 2017 INTERNATIONAL PROMO SHOOT” Dir. of Photography: AJ Raitano, Maximiliam Schmige Assistants: Chris Jones, Lynda Wu, Tyson Smith, Matt Williams, William Hayes Digital Imaging Tech: Stuart Hammond

COMPANY PAGE Adorama 17 ARRI 19 Backstage Equipment 84 Blackmagic 7 Camerimage 91 Chapman Leonard 27 Cinemoves 9 Cineo Lighting 35 Cooke Optics 19 Creative Solutions LA/NY 23 CW Sonderoptic 33 DJI 81, 83 Filmotechnic 25 Fujinon 21 IDX 80 JL Fisher 85 Kino Flo 87 Lindsey Optics 28 Matthews Studio Equipment 13 NBC Universal Lightblade 5 Newport Beach FF 4 Paralinx 92 Teradek 2,3 The Rag Place 89 Tiffen 15 VER Camera Facilities 29 Warner Bros 83

URL

www.adorama.com www.arri.com/alexa/sxt-w www.backstageweb.com www.blackmagicdesign.com www.camerimage.com www.chapman-leonard.com www.cinemoves.com www.cineolighting.com www.cookeoptics.com www.creativesolutions.io www.cw-sonderoptic.com www.dji.com/ronin-2 www.filmo-usa.com www.fujinon.com www.idxtek.com www.jlfisher.com www.kinoflo.com www.lindseyoptics.com www.mse.com www.lightbladeled.com www.newportbeachfilmfest.com/submit www.paralinx.net www.cinema.teradek.com www.theragplace.com www.tiffen.com www.ver.com www.wbphotolab.com

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NOVEMBER 2017 89

[stop motion]

TRAE PATTON THE VOICE

“I remember a high-school photo trip to Yosemite, where we came across a huge, multi-point deer. All us students were snap-happy trying to get ‘the shot.’ But afterward, our teacher, who also taught at Brooks Institute of Photography, asked if anyone had thought to take an image of him photographing the beast. No one had (of course), and that’s when he reminded us to never get tunnel vision with our subject matter, as he would have paid handsomely for a story-telling photograph of his morning at Half Dome! Shooting a reality competition show like The Voice, today, I’m able to get more dynamic imagery because I’m not always creatively limited to only what’s right in front of my lens. For this shot, I had what I needed of The Voice’s on-air talent for publicity and tried to reveal the whole environment (which included Reality Unit Operator Steve Lopez) yet still keeping that familiar Voice coach feel. ”

90 NOVEMBER 2017

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