Camera Operator Summer 2017 by Society of Camera Operators

SOC.ORG Â· SUMMER 2017 VOL. 26, NO.3

SOCIETY OF CAMERA OPERATORS . SUMMER 2017

Game of Thrones

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第 1 版 2016 年 8 月 1 日ソニー株式会社プロフェッショナル・ソリューション＆サービス本部メディアセグメント事業部門ビジネス戦略部 Phone: 050-3141-1776 Fax: 050-3809-1399

confidential

CONTENTS DEPARTMENTS 4 LETTER FROM THE PRESIDENT 6 NEWS & NOTES Awards Show, Drone & Aerial Workshop, and more

8 SMOOTH OPERATOR Mark Goellnicht, SOC

36 SOC OUTREACH Derek Stettler

40 TECH TALK 100 Years of ARRI by Kate McCallum

44 LOOKING BACK Michael Frediani, SOC

56 SOCIAL SOC Ian S. Takahashi, SOC

FEATURES 14 DETROIT "Shooting the Riot” Christopher McGuire, SOC

20 GAME OF THRONES "A Shoot of Ice and Fire” with Sean Savage, SOC, ACO, Associate BSC an interview by Derek Stettler

26 STRANGER THINGS "Shooting in Other Dimensions” Robert Gorelick, SOC

30 MR. ROBOT "No, There Aren't Any Robots” Aaron Medick, SOC

50 IN MEMORIAM 52 INSIGHT Meet the Members

26 CAMERA OPERATOR · SUMMER 2017

53 SOC ROSTER 55 AD INDEX ON THE COVER: GAME OF THRONES/HBO

30 1

Society of Camera Operators Board of Governors OFFICERS President George Billinger 1st Vice President Mitch Dubin 2nd Vice President Dan Turrett Secretary: Susan Campbell Treasurer Bill McClelland Sergeant-at-Arms Michael Frediani

BOARD MEMBERS Mark August Rochelle Brown Eric Fletcher David Frederick Frank Kay Hugh Litfin Alicia Robbins Eric Roizman David Sammons Chris Taylor

COMMITTEE CHAIRS Awards George Billinger, Mitch Dubin, Dan Gold, Bill McClelland, Dave Thompson, Dan Turrett Charities: Alicia Robbins Events Mark August

Historical Mike Frediani Membership Eric Roizman, Dan Turrett Technical Standards: Eric Fletcher

STAFF AND CONSULTANTS Membership Services & Operations Coordinator Madison Burgess Bookkeeper Angela Delgado Calligrapher Carrie Imai Business Consultant Kristin Petrovich and Createasphere

CAMERA OPERATOR MAGAZINE Publishing Consultant Kristin Petrovich Managing Editor Kate McCallum Layout & Production Stephanie Cameron Advertising Matt Price and Derek Stettler

CONTRIBUTORS Colin Anderson, SOC Paul Babin, SOC Stephen Campanelli, SOC Kenny Dezendorf, SOC Michael Frediani, SOC

Mark Goellnicht, SOC Robert Gorelick, SOC Kate McCallum Christopher McGuire, SOC Aaron Medick, SOC Sean Savage, SOC, ACO, Associate BSC P. Scott Sakamoto, SOC Derek Stettler Ian S. Takahashi, SOC Dale Vance Jr., SOC Stefan von Bjorn, SOC

PHOTOGRAPHY Myles Aronowitz Curtis Baker Jasin Boland François Duhamel Tom Faehrmann Michael Frediani, SOC Steve Gilmore Nate Hosseini Frank Massi Laura Layera Don McFadden Aaron Medick, SOC Michael Parmelee Macall B. Polay Sean Savage, SOC, ACO, Associate BSC

Helen Sloan Carter Smith Lacey Terrell Dale Vance Jr.

TRIVIA

Source imdb.com

TO SUBSCRIBE or for subscription information questions: SOC.org or 818-563-9110

FOR ADVERTISING INFORMATION (818) 563- 9110 or socoffice@soc.org For digital editions and back issues: SOC.org Camera Operator is a quarterly publication, published by the Society of Camera Operators.

SOCIETY OF CAMERA OPERATORS · SOC.ORG

Russell Carpenter, ASC

COMPROMISE IS OVERRATED. After putting it to the test in his latest project, cinematographer Russell Carpenter, ASC was impressed by the flexibility and color output of the new Canon EOS C700. It’s a Super35 format camera combining 4K onboard recording, a 15-stop dynamic range, and 4.5K resolution. Designed to match industry standards, operating the EOS C700 is instantly intuitive. Your story deserves no less.

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CAMERA OPERATOR · SUMMER 2017 3 © 2017 Canon U.S.A., Inc. All rights reserved. Canon and EOS are registered trademarks of Canon Inc. in the United States and may also be registered trademarks or trademarks in other countries.

Letter from the President Dear SOC Members and Camera Operator Readers: Welcome to summer. Wishing our entire membership some quality time with family and friends this beautiful time of the year. It was a busy successful and productive spring. The SOC presented five distinguished panels in the recent months. Including the Chapman/ Leonard Atlanta Open House, NAB 2017 in Vegas, and the Chapman/Leonard Product Showcase in Los Angeles. In addition, we also participated in the J.L. Fisher Mixer & BBQ and the CineGear Expo 2017. Thanks to all of the panelists who volunteered their time to share their experiences and Incredible talent with the audiences across the country. Along with the panels, these events allow us to see the current state of production technology, but also to witness the revolution in new storytelling approaches. We appreciate the past and our indelible continued legacy as filmmakers. We are in good company with true artists and valued associates. In this issue we hope to take a moment to appreciate our roots and where we came from. We explore and illuminate our history as a society with an article by Mike Frediani, SOC our esteemed Historical Chair. We, along with the entire worldwide filmmaking community, congratulate and salute ARRI on their fantastic 100 year achievement. The SOC has a deep appreciation for those operators, associates, and corporate members who paved the way so brilliantly before us. This is a cornerstone of our mission statement. We hope you enjoy a fresh perspective on where we are going and how our history shaped us to who we are. We also will be taking a closer look at the mastery behind Game of Thrones in the article, “A Shoot of Ice and Fire,” featuring 2017 Camera Operator of the Year – Television Nominee, Sean Savage, SOC, ACO, Associate BSC. Discover more about how this HBO smash builds its own historical narrative through the camera lens. Thank you to all who contributed to this issue, who shared their experiences and knowledge. We hope that the rest of the summer brings good times and exciting projects to our readers! Sincerely,

George Billinger, SOC Society of Camera Operators, President

SOCIETY OF CAMERA OPERATORS · SOC.ORG

NEW LENSES October 2016

15 18 21 25 29 35

June 2016

40 50 75 100 135

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PARKING LOTS I’VE EATEN IN Parking Lots I’ve Eaten In by SOC founding member and first Co-President, Owen Marsh, SOC is finally available again in print and as an eBook! Small acting roles as a child, military service in Korea, followed by work at the film labs in Hollywood later led Owen to production work as a visual effects artist, camera assistant, director of photography—and then as an award-winning (CAMMY) camera operator. Owen's career spans some of the most iconic movie productions in the world, from How the West Was Won and The Greatest Story Ever Told, to ever-popular TV series such as; The Brady Bunch and Beauty and the Beast. Owen writes about the people, places, and situations he experienced firsthand—and with a sense of humor, wit, and truth that is undeniable. One our industry's premiere storytellers, Owen Marsh, SOC. Buy the book on lulu.com and amazon.com.

SOC MEMBERS ACCEPTED INTO THE ACADEMY OF MOTION PICTURE ARTS AND SCIENCES The SOC is honored to report that three camera operators were accepted into the Academy of Motion Picture Arts & Sciences this past month—Stephen Campanelli, SOC, Mitch Dubin, SOC, and P. Scott Sakamoto, SOC. A camera operator has not been accepted in 30 years. Thank you to Mike Benson, SOC, past SOC President, SOC Charter member, and an Academy member, as he was a large part of insuring that the role of the camera operator once again has a place within the Academy. He truly supported the SOC as well as Steve, Scott, and Mitch’s participation. This is a major achievement and recognition for all of us as camera operators.

CONGRATULATIOS TO THE EMMY-NOMINATED CAMERA OPERATORS A special congratulations to those SOC members; Jamie Hitchcock, SOC, Jeff Latonero, SOC, and Richard Price, SOC for their nominations.

SOC TECHNICAL ACHIEVEMENT AWARDS The SOC is now accepting nominations for the 2018 SOC Technical Achievement Awards are now open until the deadline of October 16, 2017. Interested parties can apply for participation online by visiting the SOC website: soc.org/techawards.

News & Notes second workshop in Atlanta. Please call the office to reserve your spot and detail will be shared with the membership shortly. The Underwater Camera operating Workshop in Los Angeles will be held on Friday, September 29 - Sunday October 1, 2017 hosted at HydroFlex and Tank One Studios. This workshop is currently sold out but we are taking a wait list. Please call or email the office for more details.

Calendar

AUGUST •

August Board of Governors’ Meeting August 20 @ 10:00 am – 1:00 pm

SEPTEMBER • •

September Board of Governors’ Meeting September 24 @ 10:00 am – 1:00 pm Underwater Camera Operating Workshop September 29 – October 1

OCTOBER •

• •

Operating in the 4th Dimension: Working with Telescopic Cranes October 8, Burbank, California, Local 80 Stage One day hands on workshop in partnership with Local 80 NAB NYC Wednesday, October 18 – 19, 11:15 – 11:45 am SOC Panel: The Role, Art and Craft of the A Camera SOC General Breakfast Meeting October 22

NOVEMBER • •

Lifetime Technical Achievement Award Demo Days November 11 – 12, Burbank, California November Board of Governors’ Meeting November 12 @ 10:00 am – 1:00 pm

DRONE & UNDERWATER CINEMATOGRAPHY WORKSHOPS The SOC Drone and Aerial Camera Operating Workshop took place on March 11, 2017 at the Stullick Memorial Field, Simi Valley Flyers and was a big success! Members of the PGA: Producers Guild of America were also invited to attend. The Society will be hosting a

MORE EVENTS Please log onto the home page, soc.org and click the navigation button, Events, to see all upcoming happenings.

SOCIETY OF CAMERA OPERATORS · SOC.ORG

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CAMERA OPERATOR · SUMMER 2017

Smooth Operator by Mark Goellnicht, SOC

PERFORMANCE THROUGH THE LENS

On the set of MAD MAX FURY ROAD. Photo by Jasin Boland

People often ask me the question, “Why do I like being the camera operator on films so much?“

that, as it needs to be driven by what would enhance telling the story

My answer to that question is that I believe that the camera operator holds the key that unlocks the magic of the performance and guides the audience to see into the emotional heart of the story through navigating and choosing the best vantage point of the lens.

a shot, as opposed to simply capturing pretty pictures. George Miller,

WHY MOVE THE CAMERA? I’ve always felt that the camera operator is like one of the actors in the scene where you need to be in sync and respond to the performance in an intuitive way to best portray and enhance the drama or impact of the story. I’ve never forgotten a lesson that had great impact to the way I approach operating, was when I was working with John Seale, ASC on Mad Max Fury Road. He always instilled in me the importance of asking yourself before you execute a shot why you would choose to move the camera a certain way or when and how you choose to do

the best way. This same mantra can be applied to how you compose the director on Mad Max Fury Road, drummed into me the symmetry and linear way of composition that places the focus of the audience to the center of the frame which can sometimes go against your instinct of a balanced and pleasing frame. Given the speed at which he was looking to edit the movie, together with the speed of the camera movement, he felt it was best to keep the main subject symmetrically in the center of the frame as much as possible and liked the action to take place in a linear form across the frame.

PUSHING THE BOUNDARIES Another style that was strongly adopted on this film, which evolved from the nature of the environment we were shooting in, was the use of wide lenses up close to the actors in the tight confines of the vehi-

SOCIETY OF CAMERA OPERATORS · SOC.ORG

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CAMERA OPERATOR · SUMMER 2017

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cles where most of the drama takes place. George Miller liked the lens often pushing the boundary of minimum focus and was constantly calling out to push in tighter on the close-up of the actors, to give the audience the visceral connection to the desperation of the characters in the peril of the situation. Luckily, with the evolution of smaller digital cinema cameras like the ALEXA M camera, the precursor to the now popular ALEXA Mini, it allowed us to get the camera in places you ordinarily wouldnâ&#x20AC;&#x2122;t, and gave us the freedom to move the camera around the cabin of many of the vehicles we were shooting in, primarily The War Rig. The film would not have looked the same if we were limited to the constraints of full-sized camera bodies.

THE ART OF HAND-HELD One of the other great lessons I took away from my experience with George and John, was the use of very simple but effective tools to move the camera hand-held but in a smoother and more controlled fashion, by the use of bungee rigs on Harken Sailing Tracks, like those used on sailboats. This allowed the camera to be suspended by the adjustable bungee and move freely on the line of the Harken Track. Given this technique was adopted mostly to negate the extreme shake whilst on and in the moving vehicles, it is used to capture the coverage of the actors in a real and visceral manner without being uncomfortable for the audience. I learned that no one method of camera operation works for every setup, and to approach each shot with fresh consideration that's appropriate for that specific setup. Having the freedom to engage the right tools meant we were able to move the camera in the best way, whether

it was handheld suspended, Steadicam, on an Edge Arm Crane, or a remote head on an all-terrain tracking vehicle.

COLLABORATION IS KEY The unique demands of this film with all the complexities and difficulties of filming in the Namibian Desert meant that you had to be quick to adapt and work as a strong team, knowing that the only way to truly achieve all the shots the way the director wanted them was to collaborate with the other members of the camera and grip team. This approach lead to the success of capturing most of the action and stunts on camera without much green screen work, which is always better for a richer more intimate, real experience. Thankfully, I have been able to employ many of the learnings and techniques I picked up on Mad Max Fury Road, and have applied this to subsequent movies I have worked on, in particular Captain America, Civil War, and Hacksaw Ridge.

ON SHOOTING HACKSAW RIDGE Working alongside Mel Gibson, the director on Hacksaw Ridge, as A camera operator, was somewhat a different experience from the one I had with George Miller. Even though they worked intimately together many decades ago on the original Mad Max movies, Mel liked to approach every scene with a heavy focus on performance, and was happy for the DP, Simon Duggan ACS, and myself to offer input in working out the intricacies of the shots, and the best way to cover the scenes. The technique that worked very well to capture the inside thoughts of the main character, Desmond Doss, was the use

On the set of MAD MAX FURY ROAD. Photo by Jasin Boland

SOCIETY OF CAMERA OPERATORS Âˇ SOC.ORG

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of a point-of-view camera perspective on several of the scenes. Mel, wanted the camera to purvey the feelings and anguish of Doss, so we moved the camera using hand-held or Steadicam shots to simulate his movements, and his POV of the devastation of the war that he was witnessing and placed in. This worked particularly well when he was seeing the path of death and destruction that he was about to embark on before the full on battle started. Mel was adamant about getting the audience to feel the real life emotional turmoil and suffering of battle, and he wanted the camera movement and angles to express that in the best way possible. He wanted the audience to feel fatigued when the soldiers were on their last legs and couldn't go further. Hence, the reason we placed the camera right in the thick of the action and explosions, not unlike how George Miller approached Mad Max. Camera placement and the choice of the right focal length was carefully considered in order to allow the audience to feel close and connected to the characters.

WHAT DO YOU WANT TO FEEL? Again, it always comes back to the same teachings I have learned over the years of working with the many master directors and cinematographers is the question of “What is the meaning and feeling you want to achieve in executing the shot?” Every shot I perform I try to make myself feel like I am one of the players in the scene so I can be in sync with the timing and flow of the action or drama that is being portrayed. There are so many ways we can change and influence one’s

experience of a motion picture and understanding the importance of that has always motivated me to engage fully and wholeheartedly in bringing the story to life through the camera lens in the best way I know how. I live by that… Happy shooting. MARK GOELLNICHT, SOC Mark Goellnicht’s fascination with cameras bgan at an early age. His passions growing up were photography and drama performance, which drove him to start a career in film as a camera assistant trainee in his hometown of Perth, Australia. His goal was to be operating behind the camera, and an opportunity presented itself in television where he worked for over ten years. Goellnicht continued his experience over the next 12 years, building his credits on U.S. movies shooting in Australia. In order to fulfill his dream of working alongside the world’s greatest filmmakers, he relocated to Los Angeles in 2009, continuing his career thanks to the support of some of the finest directors and cinematographers in the industry. Goellnicht’s most notable credits are: Mad Max: Fury Road, The Great Gatsby, Hacksaw Ridge, Captain America: Civil War, Avengers, In The Land Of Blood and Honey, Secretariat, San Andreas, and most recently OKJA.

On the set of MAD MAX FURY ROAD. Photo by Jasin Boland

SOCIETY OF CAMERA OPERATORS · SOC.ORG

From set to post, ARRI has helped filmmakers bring their artistry to the big screen for the past century. Here’s to the next 100 years. Let’s make history together.

www.arri.com

CAMERA OPERATOR · SUMMER 2017

DETROIT Shooting the Riot by Christopher McGuire, SOC

T E C H O N S E T:

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TRIVIA: This is the first film to be distributed by Annapurna Pictures. By sheer contrast, Metro-Goldwyn-Mayer (MGM), once one of the major film studios in Hollywood and also the largest, most glamorous, and most revered film studio in the world, is only producing the film, rather than distributing it.

DETROIT. Photo by François Duhamel.

SOCIETY OF CAMERA OPERATORS · SOC.ORG

Detroit is an upcoming American period crime drama film directed by Kathryn Bigelow and written by Mark Boal based on the Algiers Motel incident during Detroit's 1967 12th Street Riot. The film stars John Boyega, Will Poulter, Algee Smith, Jason Mitchell, John Krasinski and Anthony Mackie and is being released to commemorate the 50th anniversary of the event. Getting a call from Barry Ackroyd, BSC had been a mere pipe dream of mine after watching Captain Phillips and Parkland. So, when I received news that he would like me to join him on his latest project, I was ecstatic and couldn't wait to travel to Europe to start work on Jason Bourne. Five months later after completing principal photography and a whole load of exciting hand-held sequences, shooting multi cameras, he asked me if I would be interested in joining him on his next project with director, Kathryn Bigelow!

BACKSTORY That project would be one of the most intense films I’ve been a part of. A film set in the middle of the Detroit riots of 1967. To prepare myself I researched various articles representing facts surrounding the event, and found the historical references invaluable towards understanding the time and the unrest of the period. For Jason Bourne the production team had recreated the Athens, Greece riot scenes, which had come about from the murder of a young student by the police, and then developed into austerity demonstrations and rioting across the country, and internationally. Sadly, it seems we haven't come any further down the line with respect to how communities across the world have, and are being treated. Hopefully this film will highlight frustrations of the horrific violence and mental abuse that humans inflict upon each other.

COLLABORATING ON SET After spending time with Barry, I learned that he likes collaboration with operators that won’t overpower his own thought process. You have to think like your shooting a master shot to tell the story of that particular

CAMERA OPERATOR · SUMMER 2017

sequence as the beats develop. You need to keep one eye open all the time to see how he's telling the story, and then move to complement his path of visual narration. Barry had come from the world of documentary filmmaking where a story would and could develop before you eyes, so having to make committed decisions, and point the camera at a certain event to objectively enable the audience to be immersed in the drama, is an important aspect of Barry’s language of visceral storytelling. I had followed Barry through the documentary world as we had both worked on an investigative documentary series in the UK called World in Action, which had week to week investigations into all sorts of subjects nationally and internationally. The last subject matter that I had shot for World In Action submersed me into the world of football hooligans in and around the UEFA: European Football Championship in 2000. Being in large crowds and in the middle of large group skirmishes became a day to day occurence. I feel that with our similar backgrounds, I was able to work cohesively with Barry, and it certainly was going to be needed on Detroit.

THE STORY Although the film was set against the backdrop of the riots, its main story was about a very dark incident that happened in all the confusion of a particular night, that then drove into a chasm of racist violence. We started principal photography at what would be known as “The Annex,” a building attached to the Algiers Motel complex that used to stand one mile southeast of

where the riots in Detroit began. We were, however, shooting in an area outside of Boston, Massachusetts.

PRACTICAL LOCATIONS All of the sets for filming were practical locations which had to be similar in their layouts according to information about the actual locations. The production was lucky to have one of the survivors of the actual night on set at all times. Kathryn Bigelow would always ask her opinion of whether we were true to the circumstances, both physical and mental, surrounding the incident. Being in a domestic (real location) as we all know very well, meant we weren't going to have much room to fit our bulky equipment in, but nonetheless we were able to shoot three cameras hand-held all of the time! Josh Medak came in to also operate, and he had already established a good working dialogue with Barry working on The Big Short, so was a must in the camera machinery to keep the flow of visceral narrative that Barry liked.

ON SET PROCESS Generally, we weren't invited to see rehearsals as Kathryn wanted us to be surprised and react to the scene unfolding. Pretty much most of the time the first and second takes would be the best for developing the story, and then the takes that would involve shaping the narrative, both editorially and how we covered the exposition. We would all rush back to the quad split monitor to see playback of the scene, and Kathryn would point out her preferred angles for that particular moment in the scene. We’d then discuss if any of us could move to a better

position to complement a different camera's objective view—knowing that Josh or I were already in a good position for the story point. Camera operator, John Garrett joined us for the production, and he remembers a particular anecdote about the camera style of the movie, “It was my first day when we were shooting a looting scene of a guy running with a bag of groceries. He was being chased around the corner by the cops with guns drawn. I was eager to impress, and without any rehearsals I tried to get an idea of where the actor was going to start, and which direction he was going to run. I asked Barry and he pointed to a door and said, "I think he'll come from there, but now you already know too much." With a wink of his eye, he was off and I was left to be ready for anything.”

TEAMWORK The main police station set location, that the three police officers in the film were stationed

in while the riots were in progress, was a working precinct—again, just outside of Boston. The scene in the film was to be full of background actors that were being booked for looting and rioting, as well as police officers and national guard soldiers, so all the time the set had to be classed as a full 360 degree hot set. As with most of the sets, Barry and I would figure on the main angle for exposition and possible tradeoffs, including camera focal lengths, and Josh would look for developing interactions. Barry always likes to punctuate moments with possible manual zooms, just enough for the viewer to make a realization at the same time the moment becomes apparent narratively. Barry generally likes using the Canon S16mm zoom lenses, so we all used these most of the time.

TRIVIA: The movie was filmed in Hamtramck, Michigan a city which lies entirely within Detroit and also in Dorchester, Massachusetts.

Markus Mentzer, key 1st AC mentions, “35mm zooms wouldn't have given us the flexibility we needed to shoot the way he and Katherine wanted to shoot as we wouldn't have been able to fit all those cameras into all the places we needed to be to see all the action.”

TIGHT FIT ON SET Back at the room upstairs in the Algiers Motel annex it was to prove very difficult to shoot from three positions. We were still trying to cover the scene from one side of the line, but trying to get three cameras on one side was never an option, so we tried to take up positions that covered certain parts of the scene that may not have been directly cut to the main exposition. Knowing what to get became apparent after a couple of takes. With eight characters, all with dialogue, it became a symphony of camera operators and

Three cameras capture the moment Congressman Conyers ( Laz Alonso) tries to calm the fervor of the angry crowd. Photo by François Duhamel

SOCIETY OF CAMERA OPERATORS · SOC.ORG

actors all cramped in a small space, shooting low, high, and though door cracks. Luckily we had three 1st AC’s; Markus Mentzer, Greg Wimer, and Darryl Bryne who would all work hard to enable themselves to be as low-key but effective as possible. Markus Mentzer recalls, “The main thing with Katherine is that she wants to always shoot whole scenes from beginning to end, without cutting. I spent a fair amount of time with the operator squeezing into Dodge Coronet police cars, usually with three other actors inside.  We would start scenes in a car, cover the dialogue and jump out with them as the scene continued, while trying to avoid three other cameras.  It wasn't comfortable, but it worked really well and felt incredibly real.” The room upstairs was the precursor for the main scene of the film that led to what was the worst part of the night when the police

subjected the young people to a horrendous lineup which held each of them in mental torture, all the time not knowing what was going to happen next. Filming the scene in the main hallway of the house was a logistical challenge for the three cameras, as not only would we fight each other for the perfect spot, generally for a scene that now covered 14 people, it would have to be lit as well as heard!

BUTT DOLLIES We each had to step up our game to move effectively into different positions while the actors performed, and this meant employing butt dollies! I myself own three different butt dollies now, as I find that each model has a strength in particular situations. Josh and I both own crawler dollies, and these were adapted quickly for different length tubes for specific heights.

AC, Greg Wimer observes, “Obviously, the first thing that comes to mind is all the work in the annex, mainly due to the intensity and duration of the scene but also because, by design, we never really knew exactly what was going to happen. It was as if at times it was unfolding in front of us and we just there to capture it. The job itself was one of the hardest I’ve ever done (along with Patriot’s Day which was shot in much the same style) given the approach—no rehearsals, no actor marks, no focus marks, and no real sense of how the scene would play out. Truly flying by the seat of our pants. Very difficult and challenging, and as a focus-puller, especially tough because you have to give up all of your safely nets and control, and literally go purely off instinct (and hopefully a little luck). As hard as it was, it was also fun and in a way freeing as you didn’t need to obsess over every detail or be so rigid while memorizing 10-20 focus marks for any one given setup.

Chris McGuire readies himself under the watchful eye of DP, Barry Ackroyd, to shoot long lens, Dismukes' (played by John Boyega) chance to escape the cops. Photo by François Duhamel

CAMERA OPERATOR · SUMMER 2017

SHOOTING THE LINEUP A very specific challenge was that a lineup generally happens against a wall, and because Kathryn wanted to shoot objectively we had to fight to find angles that you could see the actors, below looking up, looking down, trying to lean out to unstack the actor—hoping that the actor would turn their face enough for us to catch the emotion. Everything about that domestic set was against us, except…you wouldn't have known that when you watched playback! I was dumbfounded for most of the time when we viewed playback, collectively we had 90% of the important moments, and thankfully caught many of them by accident not by design. The precursor which led to the heavy-handed raid on the Algiers was reports of sniper attacks on various law enforcement throughout the troubled areas which had become part of the outrage and panic of all the local citizens. 1st AC, Greg Wimer remembers, “The riot scenes all made an impression, how could they not, and the visual images of tanks and troop trucks rumbling down the residential city streets. The scene in which the tank opens up with the .50 caliber machine gun on the little girl in the apartment window sticks in my mind as something that couldn’t

possibly have actually happened, but did.“

Towards the end of shooting the crew finished

After being introduced to two of our characters through the background of their hopes and dreams of becoming professional singers, they traverse throughout the city via a bus which drives through firebombing and looting.

principal photography in Detroit itself, Josh

We managed to fit three cameras into a period bus with the group of actors, and the AD department orchestrated with stunts and special effects in various vignettes at certain locations along our bus’s predesignated route.

one of my favorite things about movie making, is to film in famous locations and to be able to go back in history. On Detroit, to shoot in the actual Motown recording studio took my breath away. To see the actual recording equipment, instruments, and to be in the same rooms that have been used by so many amazing artists really was a high point for me.”

Again, we were able to collectively cover the exposition and set pieces that were occurring, while the story developed of the characters finding a safe pace to stay that night.

With every day comes a new challenge as we

At various times it felt incredibly like we were all submerged into that night, and that the young men were looking for somewhere to be safe.

in situations that are super sensitive can be

HELFPUL TECH ON SET

Katherine Bigelow was moving toward,

I had recently worked with some Squaritos on Baywatch and managed to buy a couple to use on the bus. They worked great, as they could sit on your lap and the camera would be supported steadily, yet still enable me to operate it comfortably both off the shoulder as an elbow support, or resting it on my lap. These were especially useful in the bus and cars.

night, and also the aftermath of the tragic

Photo by Lacey Terrell

Medak thoughtfully concluded, “I must say

all know in this industry, especially in the role of camera operator, and trying to understand and translate a director’s vision while very intensive. I felt my concentration levels were knuckle tight as we evolved with the tension that to intelligently highlight the events of the event that took place in Detroit in the summer of 1967. CHRISTOPHER T.J. MCGUIRE,

SOC, ACO

Christopher T.J. McGuire, SOC started his career in the UK working mostly in documentary and light dntertainment, assisting various cameramen on national and international. He traveled extensively covering locations such as Chernobyl in the Ukraine, and traveled transatlantic on the QE2. McGuire made a commitment to focus on Steadicam, and following that route he worked for nothing on several short films. Getting as much experience and flying time as he could in the rig enabled him to move slowly but surely into his big break working on Harry Potter and The Order of the Phoenix. Since then, McGuire been lucky to have worked on motion pictures here in the USA, and he is especially grateful to have accepted into the SOC and was also the recipient of the SOC’s 2015 Camera Operator of the Year Television.

SOCIETY OF CAMERA OPERATORS · SOC.ORG

CAMERA OPERATOR Â· SUMMER 2017

Game of Thrones A Shoot of Ice and Fire with Sean Savage, SOC, ACO, Associate BSC an interview by Derek Stettler

Lena Headey as Cersei Lannister and Nikolaj Coster-Waldau as Jaime Lannister. Photo by Helen Sloan/HBO

TRIVIA: This is the first TV series in history to be screened in IMAX theaters.

SOCIETY OF CAMERA OPERATORS Â· SOC.ORG

George R.R. Martin's best-selling book series, A Song of Ice and Fire, is vividly brought to life in HBO’s highly-successful medieval fantasy series, Game of Thrones. It's the epic story of powerful families—kings and queens, warriors and spies, heroes and traitors—playing a fatal game in the quest to sit atop the Iron Throne and control the mythical continent of Westeros. But winter is coming, and while the battle for power wages on, an ancient and supernatural enemy gathers force in the frozen wasteland to the North. Known for its immense scale, cinematic style, and intricate storytelling with memorable characters interlinked across multiple storylines, Game of Thrones, now in its seventh season, helped announce and define what many call the “Golden Age of Television.” To achieve the show’s epic scale in a reasonable time frame, the production makes use of two crews shooting simultaneously across Europe: the “Dragon Unit” in cold and snowy locations, and the “Wolf Unit” in sunnier, warm locations. With the new season premiering to massive views and critical acclaim, Camera Operator reached out to Dragon Unit A camera operator, Sean Savage, SOC, ACO, Associate BSC to learn more. Camera Operator: How did you get the job of an A camera operator on Game of Thrones? Sean Savage: I was booked to be the A camera on 2nd unit halfway through Season 1. When there, I met Alik Sakharov, ASC and we formed a good working relationship. He then returned as a director on Season 2 and I was asked if I would become the A camera operator on the Dragon Unit. CO: Who is a part of your team? Savage: I have an amazing team, many of whom have been with me since Season 1 and 2, and indeed will be there on the final season later this year. My 1st ACs have been Sebastian Barraclough and Tom Taylor. My 2nd ACs have been Jon Evans, David Churchyard, and Rich Davis.

CAMERA OPERATOR · SUMMER 2017

My B camera operator is David Morgan, a man of great experience who has spent more than 40 years in the camera department. He is ably assisted by 1st AC, Marc Atherfold and 2nd AC, Sam Donaghy-Bell. My grip team is led by my very good friend and righthand man, key grip, Pat Garrett, best boy, Kirk Thornton, B camera dolly grip, Guy Bennett, and A camera dolly grip, Andy Woodcock. There’s also the crane and head techs, Duncan More, John Crawford, and Ben and Laurence Edwards. CO: What is the shooting schedule and budget like? Savage: The season is typically around 25 to 26 weeks long, about 110 days per unit. We have two units, Dragon and Wolf, so we likely get through over 220 shooting days to produce the typically 10-episode season. The budget for the show has gone from approximately 40 million dollars for Season 1 to a reported 165 million dollars for Season 6, with the “Battle of the Bastards” sequence alone costing about a million dollars a day during its 23-day shoot. On certain days, if it’s a controlled environment, we’ll average about 6-7 pages a day. On other days, we’ll shoot only 1/4 of a page in a huge battle.

yards where the Titantic was built. Northern Ireland can supply beaches, mountains, quarries, forests, and caves all within an hour’s drive of our studios. CO: What gear do you use on set? Savage: On a daily basis, I have access to a Moviebird 44-foot telescopic crane paired with a GEO stabilized remote head. This is all mounted on Alfagrip’s fantastic Mark III Scarab, an all-terrain motorized crane base/ tractor that was very much designed to service Game of Thrones. In addition to this, I have a 15-foot GF-Multi Jib Arm paired with a Scorpio EZ Head. We have one Chapman/Leonard Hybrid Dolly and two Mark IV Super PeeWees, and a wealth of grip bits spread over another two trucks. We have over the seasons used many tracking vehicles such as The Vampyre Batt mounted with a Bickers Russian Arm and the Shadow Tracker. Steadicam is also one of our often used tools. And of course we shoot with the ARRI ALEXA Camera and Cooke S4 primes as well as Angenieux Optimo zooms. And within one season we'll use the Libra, Mini Libra and Scorpio remote heads, along with Grip Trix tracking vehicles.

CO: Can you talk a bit about the locations?

CO: Can you tell us about the cinematic style of the show?

Savage: Game of Thrones has shot in Northern Ireland, Malta, Morocco, Spain, Croatia, Canada, and Iceland. The vast majority of work, both exterior and interior, is done from our production base, the Titantic Studios located at the Harland and Wolf Ship-

Savage: People often comment that Game of Thrones looks very cinematic. I believe this is partly because of how the budget and schedule allow us to shoot it on the scale that we do. Everyone from the writers, directors, cinematographers, and operators have great

vision and imagination, and are always pushing to achieve the big shots and sequences. I really feel that as an operator, you always try your best to present the best shot that you can, maybe this will be constrained by time, etc. but try you must! I think the two creators, David [Benioff] and Dan [D.B. Weiss], need enormous credit because they’ve created such a creative environment where there’s not a lot of politics, it’s a great atmosphere and incredibly constructive. And I think the style of the show is a testament to that. CO: How do you shoot such intimate battle scenes and what is it like having to work in those conditions? Savage: The benefit of working on a show for seven years is that you form very close and trusting relationships with the stunt team and horse team. Due to this under-

T E C H O N S E T:

standing, we are able to achieve what we ALEXA XT’s; ALEXA Mini’s ; require fairly quickly, and for instance Full Set of C ooke S4 Prim es; Angenieux O Rowley Irlam, our Stunt Coordinator, ptimo Zoom s: 15-40, 17 knows that I am not going to deviate 28-76, 24-2 -80, 90; Preston LC S; ARRI LCS Easyrigs; Ro from his plan during a stunt sequence. ; nford Baker Sliders; Cha Leonard Sup If you remember the sequence in the p m a n / er PeeWee IV & Hybrid Do “Battle of the Bastards” episode where GF-Multi Jib ll ies; ; 44' Movieb ird w/Scarab Jon Snow goes to ground apparently Mechanized Base; EZ Sco rpio Remote drowning under the weight of many Head; GEO A lpha Remote Head; bodies, we were able to achieve that senGore-Link, a n d E a sy -R sation because Kit and I were happy that ig a load of stunt guys would literally be falling on top of us and we would both have to fight our way to the surface. We had in place a safe word if we felt the crush was rather remarkable fact when you consider too much or dangerous. how many battle sequences involve horses. We are also lucky to have an amazing horse team, the Devils Horseman, led by Camilla Naprous, who like the stunt team are incredibly professional, and I don't think we have had any incidents at all in the last seven seasons. A

CO: How are you protected? Savage: We take all the necessary safety precautions but sometimes we've found that a simple wooden shield sported by a

TRIVIA: Natural brunette Emilia Clarke has stated that she has never dyed her hair for the show. Daenerys Targaryen's impressive platinum blonde locks are achieved via an elaborate wig and makeup system that takes considerable time to get into place. Emilia Clarke as Daenerys Targaryen. Photo by Helen Sloan/HBO

SOCIETY OF CAMERA OPERATORS · SOC.ORG

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E Q U I P M E N T E S T. 1 9 4 5

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Ask about our Orlando Sound Stages. Made in the USA

grip is our most useful piece of safety equipment when axes, swords, arrows, etc. are raining down.

ry last year, we had such a severe rainstorm it caused the side of the quarry to collapse, which formed part of the Ice Wall!

When I operated the oner in the middle of the “Battle of the Bastards” sequence, the safety boiled down to many, many rehearsals, and my stunt coordinator following me through the battlefield, reminding me of where the next horse or warrior was coming from.

CO: Speaking of the Ice Wall, how does VFX play a role on the show?

CO: How do you work with the challenges of weather and light? Savage: We have a saying: "If you don't like the weather, wait ten minutes." Filming exterior sequences in Northern Ireland are challenging. Last season we experienced bright sunshine, snow, and 80 mph winds all whilst located on a clifftop overlooking the Atlantic Ocean. During filming in a quar-

Savage: Game of Thrones has an enormous amount of VFX work produced and designed by the amazing Steve Kullback and Joe Bauer. I work incredibly closely with these guys, and really enjoy our creative relationship. I think the VFX team is unique on Game of Thrones in how they know when to expect excellence, and when to meet us halfway because of weather or location constraints. CO: Game of Thrones has a lot of secrecy surrounding it. Can you talk about how secrecy is handled on the set and what that experience is like?

Savage: It’s very similar to other large productions these days, we control our sets even to the point of police enforcement, and the Northern Irish government sets up no-fly zones for drones, and the production has limited release of sides—all of which does make it a bit difficult at times, but such is the risk these days. Thankfully, the wildness of the locations Dragan Unit visits, often hours outside of major cities, combined with the frigid weather means journalists can’t find us, and we don’t usually get bothered by anyone. CO: What’s it like to work with the cast? Savage: A great deal of the cast of Game of Thrones were relatively new faces to the screen. I have had the privilege of being part of their journey, and have enjoyed helping them to understand the craft—whether that's the importance of hitting their marks, or understanding the impact of the various

TRIVIA: Winning a total of 12 Emmys in 2015, the show took home more Emmys in a single year than any other show, surpassing The West Wing (1999), which took home nine. Sean Savage on set of GAME OF THRONES, Season 3, Episode 4 entitled “And Now His Watch Is Ended.” Photo by Helen Sloan/HBO

SOCIETY OF CAMERA OPERATORS · SOC.ORG

lens sizes with regard to their performance. We have all worked together for such a long time now that we are really like a family. A lovely feeling indeed! CO: What are you most grateful for as an operator on this show? Savage: One of the privileges of being an operator on Game of Thrones is that more often than not we are asked by our director or DP team to operate a truly standout shot or sequence. For example, the 360-degree crane shot at Castle Black in Season 3, the “Red Wedding” sequence conceived by the great David Nutter, the remarkable sequence “Hard Home,” and “Battle of the Bastards” directed by Miguel Sapochnik and lit by Fabian Wagner, BSC, ASC. All these sequences call on every ounce of skill and experience that I have gained over 21 years of operating. It

is always a privilege to watch a sequence evolve and develop. As the operator, you are privy to all the discussions with cast, director, DP, and in the case of Game of Thrones, able to contribute a vast amount. This show has really pushed my limits, and I enjoy living up to what it demands of me. It is very gratifying! CO: What are you working on next? Savage: I'm currently working on the Paramount film, Overlord. It’s a supernatural WWII movie centering around a military mission on the eve of D-Day. Directed by Julius Avery, produced by J.J. Abrams, with cinematography by my Game of Thrones compatriot, Fabian Wagner, ASC, BSC, as well as Laurie Rose, BSC. My 1st AC's are Rene Adefarasin and Jamie Phillips.

SEAN SAVAGE, SOC, Associate BSC & ACO Sean Savage walked through the gates of Ealing Studios in 1984 as a 16-year-old trainee. He observed firsthand the structure of the camera department, and knew from an early age that to be a camera operator was his ultimate target. He was fortunate enough to be paired up with the likes of Remi Adefarasin and Martin Kenzie, who mentored him through his formative years. He’s also been privileged to have worked with directors such as Richard Loncraine, Jack Clayton, David Nutter, Miguel Sapochnik, and Shekhar Kapur, on such films and television shows as; Elizabeth, Game of Thrones, Penny Dreadful, and Phantom of the Opera, and feels as excited about the next filming day as he did 34 years ago.

Sean Savage on set. of GAME OF THRONES, Season 4, Episode 5 entitled “First of His Name.” Photo by Helen Sloan/HBO

TRIVIA: Executive producers, David Benioff and D.B. Weiss, said the production of the show is a massive undertaking. It lasts the entire year and they shoot the show like a 10-hour movie. Season 5 alone was shot in five countries, on 151 sets, for 240 days, having 166 cast members, over 1,000 crew members, and over 5,000 extras.

CAMERA OPERATOR · SUMMER 2017

Stranger Things Shooting in Other Dimensions  by Robert Gorelick, SOC

TRIVIA: Gaten Matarazzo's voice had changed so much by the time production ended that the sound team could not use him for additional dialogue recording. STRANGER THINGS, photo courtesy of Netflix

SOCIETY OF CAMERA OPERATORS · SOC.ORG

TRIVIA: Sheriff Hopper's trailer reportedly only cost the art department $1 to buy.

Stranger Things is an American science fiction-horror web television series created, written, directed and co-executive produced by the Duffer Brothers, as well as co-executive-produced by â&#x20AC;ŻShawn Levy and Dan Cohen, and producer Ian Patterson with Director of Photography, Tim Ives. The first season stars Winona Ryder, David Harbour, Finn Wolfhard, Millie Bobby Brown, Gaten Matarazzo, Caleb McLaughlin, Natalia Dyer, Charlie Heaton, Cara Buono and Matthew Modine, with Noah Schnapp and Joe Keery in recurring roles.

CAMERA OPERATOR Âˇ SUMMER 2017

Set in the fictional town of Hawkins, Indiana in the 1980s, the first season focuses on the investigation into the disappearance of a young boy by his friends, older brother traumatized mother, and the local police chief, amid supernatural events occurring around the town including the appearance of a psychokinetic girl who helps the missing boy's friends in their own search.

GETTING HIRED AND THE TEAM I got the job for Stranger Things via a phone call from the DP, Tim Ives about two months prior to shooting. Tim told me that he got my name from several people when he was researching local Atlanta camera operators. We had a fantastic phone conversation. I remember being taken by his passion for the script and the look he was describing for the project, but also by his interest in cinema, music and photography. We had a very in-depth phone conversation, and I remember hanging up be-

ing very excited by him. He told me that he was coming to Atlanta from New York soon and wanted to meet. So, a few weeks later, we met at a coffee shop, sat and just talked for about an hour. The connection I thought we would have, was affirmed, and he basically offered me the job there. Because Tim was new to the Atlanta film scene, he approached me for suggestions on  crew. I was fortunate to convince one of my long-standing focus pullers, Clyde Bryan to jump into this long (six months) television…well okay, “streaming” project, and Tim was over the moon to have Clyde on the team with his impressive credits. We ended up with Clyde on A camera, with Jamie Pair as his 2nd. Jeff Crumbly was the B camera operator with Jason Lancour on focus, and Nelson Moncada was our B 2nd.  Kevin Wilson was the digital utility.  It is a fantastic crew, with all of us contributing, supporting each other, and having fun as a team.

TECH ON SET:

Red Dragon 6k Leica Summilu x primes Optimo zooms 18-80 or 45-2 50 Technocrane w ith Libra Head Taurus Base

THE SHOOTING SCHEDULE Regarding the shooting schedule, well…that was probably one of the most challenging aspects of the show for us. Because the show features a cast of five child actors, there was a constant juggle to get them to “set school” every three hours, and to work around their nine hour per day on set allowance. It was an AD’s nightmare, but the consequences be-

TRIVIA: The quarry scene in Chapter Two: The Weirdo on Maple Street is the same location used in The Walking Dead (2010) Season 1, most notably Episode 4, Vatos. From left to right: Ross Duffer, Matt Duffer, Robert Gorelick, and Jeff Crumbley. Photo by Curtis Baker/Netflix

SOCIETY OF CAMERA OPERATORS · SOC.ORG

came real for all of us. We had a significant amount of night exteriors, including many “Fraturdays,” followed by early a.m. call times on Mondays. This took a toll on the crew, especially on a six-month shooting schedule.

THE ART OF WORKING WITH CHILD ACTORS One of the challenges for myself and Clyde, was the fact that we often had all five kids in scenes together.  It was hard enough to get one 12-year-old to focus, stand still or hit a mark, let alone five at one time! We joked that corralling them for a shot was like trying to pin antlers on a mouse!  It really was a challenge for us. We all did our best to make connections with the kids, and apply those relationships to getting their attention at the right time. The cast on this show is truly what made this show so special. All of the kids; Millie Bobby Brown, Gaten Matarazzo, Caleb McLaughlin, Noah Schnapp, and Charlie Heaton—and the adults; Winona Ryder, David Harbour and the supporting cast are all incredibly dedicated, and so approachable.  In fact, Winona and David often helped us wrangle the kids when they got really crazy. We would joke about keeping them away from the chocolate at craft service!

airport. We had sets on three stages at Screen Gems. The interior Byer’s house, interior Wheeler house, Nancy’s room, and the black void. Locations included; the police station, the woods—netherized by visual FX, the bus graveyard, and exteriors of most of the houses.

2 of Stranger Things. So, everything I’ve talked about was from Season 1. But Stranger Things Season 2 was not much different, and I can only hope that I get to write this article again next year, as a nominee for SOC Camera Operator of the Year Television for Stranger Things Season 2!

THE TECH While shooting locations we used Steadicam and almost always a 50’ Technocrane with the Libra head on the Taurus base. The Duffer brothers really enjoyed having these tools as it afforded them the ability to get moving shots with great variations very quickly. And when I say quickly, I mean fast!  We could not have done this without the talents of our amazing dolly grip, Chris Chapman on the arm, Jason Talbert, Patrick Barnes, Joe Allegro, Jason Sutton, Jayden York and all of the techs from ProCam. As operators we know all too well that we are only as good/fast as our support team of moving parts: the focus puller, dolly grip and crane techs. I was fortunate to have the best alongside me.

IN AND ABOUT ATLANTA

We shot the series with Red Dragon 6k and used Leica primes with an occasional Optimo zoom, either 18-80 or 45-250. Cameras and lenses were supplied by Sim Digital who gave us fantastic support.

We shot on both sound stages and locations around Atlanta, mostly south of the

It’s funny, because I’m writing this article just four weeks away from wrapping Season

ROBERT GORELICK, SOC Nominee for SOC Camera Operator of the Year – Television I’ve been an active camera operator for 30 years.  I truly love my job and look forward to the many challenges that the job puts on the table. It’s incredibly rewarding to meet these challenges, and then get to watch the results in the final edit. It’s a job that is never stagnant, and both creatively and physically fulfilling. I still believe that the camera operator is one of the best jobs on a set. I’m proud to be a member of the SOC—the organization that understands what we do and helps promote and validate our craft.

Photo by Colleen Hayes

TRIVIA: The state trooper guarding the morgue is reading Cujo by Stephen King. This is one of the show's many hat tips to the author's work.

STRANGER THINGS, photo courtesy of Netflix.

CAMERA OPERATOR · SUMMER 2017

MR. ROBOT No, There Aren't Any Robots by Aaron Medick, SOC

Christian Slater in MR. ROBOT, Episode 209. Photo by Michael Parmelee/USA Network

TRIVIA: Every episode name in Season 2 ends in an "encrypted file" format. Whereas every episode in Season 1 uses a "video file" format.

SOCIETY OF CAMERA OPERATORS Â· SOC.ORG

Mr. Robot is an American drama–thriller television series created by Sam Esmail. It stars Rami Malek as Elliot Alderson, a cybersecurity engineer and hacker who suffers from social anxiety disorder and clinical depression. GETTING THE GIG Of course my first step when looking for work is to invoke the spirits to bring the winds of success and financial domination. And then with that extra bit of luck, DP, Tim Ives, a friend and collaborator who shot the pilot for Mr. Robot reached out to me. I had worked with Tim on HBO’s Girls a few years earlier and he knew I was looking for my next adventure. He recommended me to the series DP of Mr. Robot, Tod Campbell, and director/creator, Samuel Esmail. I had previously met Tod Campbell when we were both honored at the ICG Emerging Cinematographer Awards. It was great to reconnect. After a few conversations with Tod, I knew I wanted to work on the series. I would also be able to bring my camera family, A camera 1st AC, Michael Garafalo, A camera 2nd AC, Patrick Bracey, B camera 1st AC Wesely Hodges, Loaders, Kaih Wong and Rodrigo Milan, and DIT, Doug Horton. Most of my team has worked together for the past six years straight. I’ve known and worked with Mike, "The Godfather," Garafalo for 20 years. Having a strong, close-knit team makes all the difference.

HOW WE DO IT On Mr. Robot we work as if we are filming a 10-hour feature film.  Locations and sets are shot out for the entire season instead of per episode. This is possible because Sam Esmail directs every episode. It also makes for a strong camera operator/director relationship. Sam and Tod welcome my input as we design the shots. Since Sam is very precise with every frame and prefers to capture the look of the location as well as the actors’ performance in static images, we put great care into each shot. It’s not uncommon to hear

CAMERA OPERATOR · SUMMER 2017

Sam yell, “I love that we care so (add adjective here) much about the frame.” When I first met Sam and Tod, they showed me a “look book” for the series. As I thumbed through the photos, they explained why each was chosen to represent the show. I turned to Sam and said, “If I had to boil this down to the influence of two films, the look you are going for is a mix of Bernardo Bertolucci’s The Conformist (shot by Vittorio Storaro, ASC) and Ingmar Bergman’s Persona (shot by Sven Nykvist, SFS, ASC). Sam stared at me for a long beat, smiled and said, “I love those films.” He walked away and we went to work.

doing it. And all of the departments work together to create these bold shots. This couldn’t be achieved without the actor’s willingness to fit their acting into the frame.

THE LOOK

The look of Mr. Robot starts in pre-production with Sam, Tod, and production designer, Anastasia White. They work closely with locations to find and/or create all of our sets. Sam treats the sets as characters and wants to showcase them in the shots. One set built to make the character feel trapped was constructed to be framed exactly to the aspect ratio of the camera.

Mr. Robot has a distinctive look. It's dark, moody, and the framing is an exercise in the use of negative space. Did I mention it’s dark? It all originates from the big brain of Samuel Esmail. The lead character, Elliot Alderson, played by Rami Malek, is an isolated drug addicted computer hacker. We are trying to make the viewer feel his isolation and the weight of the world pressing down on him. The camera only moves to forward the story. Dolly moves and booming up and down are the only accepted ways to adjust the frame. There are no walk-and-talks on Steadicam—unless there is a true narrative reason to do it. The actors have to hit their marks perfectly to make the shots work. And this is very tough on a TV schedule. If the shot falls apart, it’s time to find the next camera angle.

With production design playing such a major role, I often have to go up to Rami Malek or any of the actors really and say “Okay, first I’m sorry to ask this of you…For this one I need you walk from point A to B straight then banana left to point C then banana right to point D, and land with your weight on your right foot. Then say all of your lines to the pink tape mark when you’re talking to Christian (Slater). The yellow mark is for looks to Portia (Doubleday). The red mark is for when you are ignoring them both.” On a different job this could get me fired. On Mr. Robot I get a sincere thank you and sometimes a “show me.” I then do some sort of a Monty Python-esque “silly walk” through the points. We work hard, but we have fun

In Season 2, we pushed this even further. To better reveal the characters and sets simultaneously in the frame, we shifted from a 32mm lens for close-ups to a 21mm. This required a change from Cooke S4s to Leica Sumilux-Cs. I think Sam didn’t like the distortion of the S4 lenses wider than 32mm for close-ups on the large 5k Red sensor. In Season 2 with the Leicas, we felt the 21mm distortion was so minimal, it was acceptable for close-ups. This opened up the world to us and to the viewer. The locations and architecture could be a bigger part of the story. The production design could shine. The straight lines that these lenses produce at wide angles are remarkable. No other lenses can capture the image with such straight lines.

Although the show is built with strong, static frames, when Sam and Tod move the camera, they like to push the limits of visual storytelling. Seasons 1 and 2 both end with five-minute-long Steadicam shots. Each starts on a moving vehicle and includes a step off that deliberately slows down the move to tease the coming season. Sam calls them his “coda” shots for good reason. He tends to boldly move the camera when revealing a new world. And since the lead character and unreliable narrator, Elliot, is often unable to distinguish reality from fantasy, this happens more often on Mr. Robot than it would on most series.

THE STEADICAM SHOTS Season 1 Finale To make these shots possible, key grip, Richard Guiness, had a set of stairs built onto the camera car. For Sam’s first “coda” shot, I started at the top of the stairs wearing my PRO Sled Vest and Arm alongside dolly grip,

Joe Belschner. We drove through the night at a steady 15 miles-per-hour as the camera follows a limo down a tree-lined driveway leading to a mansion. As the camera car slows, Joe steadies me and unclips my safety harness. I descend the steps where the B dolly grip takes over as my spotter. BD Wong exits the limo. I stay behind him to obscure his identity, and follow him up the steps of the mansion and continue inside. For safety reasons, we end the move after reaching a VFX wipe point. We pick the shot up just inside the mansion. BD Wong picks up a glass of champagne and then crosses behind a pillar. This provides the edit wipe point for post. BD disappears into the party and the camera moves over the other guests, a harp player, and then rediscovers BD on a dialogue cue, ending the shot and the season.  We did three takes of part one because there was a pothole that messed up the frame right before the step off. Part 2 took eight takes to get all

TECH ON SET:

RED weapon ca meras; Leica Sumiluxc prime lenses 18mm – 100m m; Angenieux 24 mm 290mm; Steadi cam

of the intricacies of the shot to come together. That gives a little insight into the pace we have to shoot at despite the complexity of these camera moves. Season 2 Finale We end Season 2 with a nod to the Season 1 shot. Again we start on the stairs attached to the camera car. For this season, we follow a vintage limo through a large electronics store parking lot—with help of the same team as

TRIVIA: The main cast along with creator Sam Esmail went to hacking seminars in preparation for their roles. In addition, Rami Malek had a typing instructor to prepare scenes involving programming. On the set of MR. ROBOT—setting up to bring Mr. Robot into get away van. Photo by Aaron Medick

SOCIETY OF CAMERA OPERATORS · SOC.ORG

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CAMERA OPERATOR · SUMMER 2017

last year—but this time it is a true single take with no seams. The limo leaves frame before the step off, but then reappears pulling into a parking space just as my feet step down from the camera car. I slowly push into Trenton (Sunita Mani) and Mobley (Azhar Khan). They talk about being on the run and plot their next moves. We make a full 360 degree move around the characters and reveal Leon (Joey Bada$$), teasing the coming season.

THE YARD Another world reveal is our over four-minutelong Steadicam shot in the yard in Season 2. This shot introduces new characters to the show and reveals details about each of them. We move with Elliot and Leon first through the interior of the prison, and then out into the yard. After making it out the prison door, I have to move 180 degrees around the actors without revealing the ramps that were built for me to achieve the shot. Since the basketball court plays a major role in Season 2, I needed to cover a page of dialogue introducing it. Then I back up a ramp and sit Elliot and Leon. The lock-off is broken on a dialogue cue to reveal Hot Carla (Eve Lindley). I push into her fire fetish. Then the camera tilts up to Kevin (Sean Allan Krill) and his crew of bad dudes. They lead the camera back to Elliot and Leon—still sitting on the bleachers—concluding the shot.

AARON MEDICK, SOC Aaron Medick was 6-years-old when his love affair with photography started at a Burger King in Kingston, NY with a 110 camera toy in his kids meal. After a childhood of cameras and photography classes, Aaron attended NYU Tisch School of the Arts film and TV program. At NYU, Aaron was introduced to the Steadicam when Alain Onesto did a one-day seminar for the cinematography students. Aaron then operated Steadicam on a few student films and music videos. After graduation, he worked his way up the NY ranks as a grip, electric,

gaffer, camera operator, and DP on commercials, music videos, and indie features. In 2003, Aaron joined the ICG and bought his first steadicam. Over the last 14 years, he has filmed U.S. Presidents, First Ladies, Vice Presidents, and their families. Aaron has also worked on great indie films including The Wackness and Margin Call. He is currently the A camera operator on Starz’ Power, Season 4, and plans to start Season 3 of Mr. Robot in April. Aaron’s work has garnered him two Emmy wins and two Emerging Cinematographer Awards from the International Cinematographers Guild.

The AD, Justin Ritson and his department did a great job timing and moving the background players. There was a live basketball game going on during the entire shot as well as at least 30 other extras moving through the location. This type of shot could take a few days to put together and pull off. We had six hours. In fact that’s all we had for each of the above shots. That’s the speed of television production. This is the challenge and joy of working with this incredible team. I look forward to shooting season three in April.

TRIVIA: Elliot's black hoodie is from Rami Malek's own personal wardrobe.

On the set of MR. ROBOT— Carly checks the frame. Photo by Aaron Medick

SOCIETY OF CAMERA OPERATORS · SOC.ORG

CAMERA OPERATOR Â· SUMMER 2017

SOC OUTREACH by Derek Stettler

SOC NAB Tech Tour.

In April, May, and June this year, the SOC attended three industry events and also presented three educational panels. In April, the SOC was in Las Vegas for the annual NAB Show—the world’s largest gathering of professionals in the entertainment industry. Throughout the show, the SOC worked to educate NAB’s attendees about the SOC’s mission and programs, expand Camera Operator’s subscriber base, as well as build new and strengthen existing relationships within the industry. The first day of the show was a busy one for the SOC. Featuring livestreamed interviews with SOC President, George Billinger, SOC and first Vice-President, Mitch Dubin, SOC, the day was also filled with meet-and-greets with key SOC corporate members who provided private tours and demos of the latest tools on display.

Later in the day, the SOC headed to the upper level of Las Vegas Convention Center’s South Hall to present the panel: How I Got the Shot. The highly popular panel was open to all NAB badge holders and moderated by Derek Stettler, SOC Associate Member and writer for Camera Operator and American Cinematographer. With a completely packed room, the panelists—George Billinger, SOC, Mitch Dubin, SOC, Eric Fletcher, SOC, and David Sammons, SOC—screened selected clips of their work on some of the biggest films and television series on the air. They discussed how they pulled the shots off, their onset challenges, and behind-the-scenes stories. After a clip from Munich, Mitch Dubin, SOC spoke of how it demonstrated a key aspect of his approach: “It’s not about a fancy shot, but a sequence of shots to move the story forward. And that’s what camera operating is to me…There’s

SOCIETY OF CAMERA OPERATORS · SOC.ORG

point A and there’s point B and everything in between is what we do.” Dave Sammons, SOC screened several short clips from various series he’s shot and spoke about the joys of working on comedic projects and the close connection that develops amongst cast and crew over the course of long days throughout several seasons. He also spoke of the immense trust that actors place in the operators, and the comfort and familiarity that is essential for many scenes, especially intimate scenes. George Billinger, SOC talked about the two clips he screened, one from Birth of a Nation and the other from Oblivion, before speaking about his approach to operating Steadicam and his belief in being sensitive to the scene and reacting to what happens. When it comes to long takes, Billinger notes that, “The thing is that you need a great director and you need good stuff in the frame. Just because it’s a long continuous shot doesn’t mean it’ll impress the audience. They might just get bored.” Eric Fletcher, SOC followed with a couple clips, one of which was from Dexter, which Fletcher remembers fondly as, “… seven years of the most fun I’ve ever had operating.” The clip demonstrated an example of creative problem-solving on set and the contributions an operator can make to help a scene work better. Fletcher also spoke of the value of rehearsals for allowing an operator to anticipate what will happen, likening what operators do to playing in a symphony, “If you know the music, you can play along. The scenes are music and if you watch the rehearsal, it tells you how to shoot it.” Billinger had earlier echoed those sentiments in reference to his work

with Steven Spielberg, saying that “Steven writes the music and it’s my privilege to play it… But Mitch has played it a lot longer than I have, he can bend all the notes.” The hour-long panel was then opened up to a Q&A with the audience and all the panelists stayed afterward to chat and take photos with numerous audience members. Later that night, SOC members had a chance to unwind and connect with each other at the SOC Mixer at Gordon Ramsey’s Pub and Grill in Caesar’s Palace. Sponsored by Chapman Leonard and Panasonic, the mixer’s open bar, appetizers and good company was possibly the highlight of the day. On the second day, SOC members attending NAB had the chance to get an inside look at some of the latest products from several SOC corporate members and recipients of the SOC Technical Achievement Awards during the SOC NAB Tech Tour, led by Technical Standards Chair, Eric Fletcher, SOC. With over 40 people registered for the tour, it was a great opportunity for SOC members to learn about the newest gear affecting operators and get hands-on time surveying the various booths. Everyone in the tour also came away with swag and goodies from the various companies visited. Overall, it was quite a successful third year for the SOC at NAB and we look forward to our next. On Saturday May 20, the SOC attended and participated in the 11th Annual J.L. Fisher Mixer and BBQ. The event started early to give

SOC at NAB.

CAMERA OPERATOR · SUMMER 2017

participants the chance to mingle with each other and meet with over 35 exhibitors and equipment suppliers to learn about their latest products in a warm and friendly atmosphere. Along with the exceptional BBQ and fantastic array of products on display, tours of the J.L. Fisher facility were provided by Jim Fisher, who shared the intriguing history of the company's origins and revealed the inner workings of several J.L. Fisher dollies with a literal inside look. Along the tour, Mr. Fisher also gave guests an in-depth look at various other J.L. Fisher products including booms, bases, and jib arms while demonstrated how the company's advanced computerized machines create the precision parts needed to build their industry-leading products.

Panelists at the J.L. Fissher Mixer and BBQ.

From 10:45am to 2:00pm the SOC, along with the Local 600 and the Local 80, presented an enlightening seminar titled, The Moving Camera Seminar. The panel focused on the collaborative working relationship between camera operators, cinematographers, AC's, and grips when it comes to putting the camera in motion. Moderated by Naida Albright, founder and CEO of Conshimfree Productions and former publisher of industry magazine Below the Line, the panel included professionals from the SOC, Local 600 and Local 80— Nicholas Davidoff, SOC, Andrew Mitchell, SOC, DeJon Ellis, Tammy Fouts, Jim Saldutti, and Jeff Smith.

ated by Kate McCallum, managing editor of Camera Operator, and featured 2017 SOC Camera Operator of the Year Television nominee, Steven Matzinger, SOC and cinematographer, Rob McLachlan, ASC. Speaking about the creative process of defining the visuals for this HBO hit, they screened clips from the series and discussed how the specific look and feel was achieved. Matzinger spoke of how the show was the biggest project he’s done thus far, and the show was finding its unique look at the beginning of production. McLachlan expanded on that by describing how the look of the show developed from the nature of the narrative itself, mentioning initial feedback to keep the camera constantly in motion to help create tension. “But attention has to be earned, not imposed” McLachlan stated, “and one of the creators of the show, Jonathan Nolan, wanted the camera to feel as mechanical as possible, as if there was a robot operating it.” Out of this edict came camera choices such as utilizing a geared head for nearly every shot to get a very precise and mechanical look, along with a focus on beautiful compositions with camera movement only used when necessary. The audience erupted in laughter at several points during behind-the-scenes stories. But despite the challenges and tough shooting conditions, Matzinger talked about the joys of operating on a big-budget, film-based modern western in iconic locations and how “Westworld was just so much fun to shoot!” Throughout the hour-long panel, the two screened clips and spoke of their techniques and challenges, the gear they used, the decision to shoot film, the relationship with actors, and the focus on practical effects in every possible instance. This focus led to surprising solutions on set, such as a holographic table projection, which would be CGI in almost every single film or show, being in fact a practically-achieved optical illusion on set.

The SOC also sponsored a raffle to raise funds for our charity, the Vision Center at the Children's Hospital of Los Angeles. We would like to take the opportunity to send a heartfelt thank you to those of you who bought tickets and to the generous vendors who provided the raffle prizes. Most recently, on June 2nd and 3rd, the SOC attended CineGear Expo held at Paramount Studios in Hollywood. The SOC hosted a booth on the famed backlot where visitors could engage with the SOC and learn more about the organization, pick up issues of Camera Operator, and test out a working Panaflex film camera. On the first day, the SOC also presented an engaging and informative panel on the HBO hit series, Westworld. Held in Paramount’s Screening Room 5, the room was standing room only. The panel was moder-

SOC booth at CineGear.

“When producers even suggest I work without an operator, it’s absurd…I’m a big fan of operators, they are absolutely essential.” Rob McLachlan, ASC. At one point, the conversation turned to the dynamic between the cinematographer and the camera operator, with McLachlan stating

SOCIETY OF CAMERA OPERATORS · SOC.ORG

unequivocally that, “Your operator is your right arm, especially when you’ve worked together for a long time and there’s a shorthand. I have absolutely always relied on operators.” McLachlan continued, “I love lighting, and as much as I love operating, I have no problem letting that go. But when producers even suggest I work without an operator, it’s absurd. Because it’s the worst false economy you can engage in, especially on an episodic series where you have to work very fast. To me, the lighting is very important and I want to focus on that and not be tied up working with the dolly grip to figure out the minutiae of a dolly move. So I’m a big fan of operators, they are absolutely essential.” Matzinger also mentioned how much he appreciates when a cinematographer doesn’t try to micromanage him, but instead lets him apply his sensibilities to a shot. “Having a headset on and being told exactly what to do takes you out of the game. If you’re not allowed to be intuitive and feel the shot, you’re lost.” McLachlan echoed the feeling, “Yeah, I would hate that myself as an operator, therefore I would absolutely never do that. You can’t get the best out of people by micromanaging them. The more engaged everybody is, the more they feel they’re contributing, the better everybody’s work is going to be. And as a DP, I’m happy to take credit for all their good ideas! But that’s how you get those ideas, and it also makes for a much nicer working environment.” The panel then turned to the audience for a Q&A, with questions ranging from working with different directors, shooting with primes compared to zooms, working with film compared to digital, and successfully shooting in tough conditions.

Derek Stettler An Associate Member of the SOC since 2015, Derek Stettler is a filmmaker who also writes for the ASC's American Cinematographer. Derek discovered filmmaking as his life's passion after graduating high school in 2010, having since made a number of short films and commercials. He currently works as a freelance video editor, camera operator, and writer. Photo by Carter Smith

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CAMERA OPERATOR · SUMMER 2017

100 YEARS OF ARRI

Tech Talk

by Kate McCallum rytelling and technology. If you walk around ARRI today, you’ll see that same enthusiasm and passion—it defines who we are and what we do.” Executive Board member Franz Kraus comments, “ARRI prides itself on being a long-term professional partner to the global film industry. We have never walked away, instead facing difficult times by redoubling our efforts and increasing investment in R&D. The fact that we offer such varied products and services, covering all sides of the industry, gives us a unique perspective and allows each division to benefit from the expertise of all the others. For example, it was our work in digital postproduction that helped us make such a successful transition from film to digital cameras.” Robert Richer and August Arnold. Photos ourtesy of ARRI

2017 marks 100 years since two enthusiastic teenagers, August Arnold and Robert Richter, rented a small former shoemaker’s store in Munich and set up shop as a film technology firm. The two young friends started with just one product: a copying machine they built on a lathe Richter had received as a Christmas present from his parents. Taking the first two letters of their surnames, they christened their new enterprise ARRI. Arnold and Richter were camera operators, film producers and an equipment rental outfit before they ever manufactured an ARRI camera. From the very beginning they worked directly with filmmakers and the insight they gained helped them to develop equipment that met real on-set needs. In today’s industry, with technology driven at breakneck speed by marketing hype, this philosophy of listening to what filmmakers want–rather than telling them–is more important than ever. Today, the company is headquartered at the same address on Türkenstrasse, though the premises has expanded to the size of an entire city block and is just one of numerous facilities around the world. Truly a global player and active in every international market, ARRI has major branches in Europe, the Americas and Asia. ARRI, is a family-owned enterprise–handed down through generations and overseen by custodians with an emotional investment in the brand. Despite its grand age, ARRI is a company that places great value in youthful exuberance and passionate dedication. Dr. Jörg Pohlman, one of two Executive Board members at ARRI AG, notes, “I still find it amazing that this company was founded by two teenagers; they were so young that their parents had to sign the incorporation documents. First and foremost, they were film enthusiasts, driven by a love for visual sto-

The quality and reliability for which ARRI is renowned remain vitally relevant traits. At every level of the industry there still exists the need for durable tools that are fit for purpose and deliver long-term returns. These days that means more than just build quality and durability, it means flexible system architecture for cameras and lights that are essentially computers. It means software updates that respond to evolving needs and continually transform the functionality of the hardware. The long history of ARRI sits predominantly in the celluloid age and it is a wonderful legacy to look back on. But now, in the digital era, the company is bigger than it ever has been, with more employees, more products and more international market share than ever before. At 100 years old, the future has never looked so exciting. In honor of the 100th anniversary we asked members of the SOC for their recollections of using ARRI cameras and equipment: COLIN ANDERSON, SOC 2011 SOC Camera Operator of the Year - Film Awardee

1st AC circa 1990, photo courtesy of Colin Anderson.

SOCIETY OF CAMERA OPERATORS · SOC.ORG

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“Upon entering the business in 1983, ARRI was the first camera system that I was introduced to. Little did I realize that I was starting out with one of the most revered camera systems around! As a fledgling camera assistant in South Africa, I started off in 16mm, using the 16mm BL as well as the SR and grey-bodied, high-speed SR. The SR’s were beautifully designed cameras renowned for their quality and ease of use.  What could have been more simple than a mag change on an SR?! Upon moving into the world of 35mm I got to work with BL3’s and BL4’s, 2C’s, and of course, the legendary ARRI 3.  Few cameras can claim to have had the workhorse pedigree of the ARRI 3. Over the years I have worked with all the various camera bodies that ARRI has released, and they have never failed to deliver, from both a quality and a reliability point of view. Their viewfinder optics, which as an operator I find extremely important, have always been an industry leader, and the entire camera system has a simplicity and ease of use that has yet to be surpassed. I have owned an ARRI Geared Head for the last 15 years, and since then have never done a film without it.  Its feel, wedge-plate, and swing-away tilt-wheel make it indispensable to me on set.

I worked for about a month as a runner, a job which I did not execute well, so they threw me in a backroom to work with Howard Preston, another technical genius and Ron Dexter's brother-in-law. Howard would go on to market his inventions and have significant impact in cinematography. Again, using modified ARRI 2C camera bodies, Howard and I shot footage for Invasion of the Body Snatchers and Woody Allen's Manhattan. We used ARRI cameras on The Abyss and T2.  The piece of ARRI gear that I fell in love with was the ARRIHEAD. I remember on Always using the ARRIHEAD in conjunction with the Panaflex camera body. That was considered sacrilege by the folks at Panavision, but I was able to get my way.

ARRI has always been a name synonymous with excellence, and it continues to be true with ARRI’s dominance in the digital world. They continue to set the pace in innovation and design, and already the Alexa is the flagship camera in the industry.  This is my 34th year in the business, and ARRI has been a constant companion on the journey, helping to capture the magic that unfolds in front of the lens.” I have used my ARRIHEAD on every film I’ve worked on in the past 15 years, and I have used ARRI cameras most recently on Argo, Silence, and Live by Night. My most recent credits are Phantom Thread with Paul Thomas Anderson, 2017 (post-production), Suburbicon, 2016 (post-production), The Mummy, 2016, and Gold, 2015.

Here's an instance of using the ARRI gear head to support the competition's camera. VAN HELSING (2003). Photo by Frank Massi

STEPHEN CAMPANELLI, SOC 2016 SOC Camera Operator Lifetime Achievement Awardee

PAUL BABIN, SOC 2012 SOC Camera Operator of the Year Lifetime Achievement Awardee

VAN HELSING

“I entered the industry in 1977. One of the first jobs I had was working at a commercial house called The Dexter's. Ron Dexter was the director/cameraman. Bill Bennett was a young man working there at the time. He and Ron were continually adapting ARRI 2C camera bodies. Their modifications were so bizarre, there were few people beyond Ron or Bill who were qualified to use them.

Photo courtesy of Stephen Campanelli

The first time I used a camera was the SR 16 in film school. It was a great camera because it was light can be loaded easily and was a real workhorse. That would've been in 1982. It was relatively quiet and was used by a lot of film students that's for sure.

SOCIETY OF CAMERA OPERATORS · SOC.ORG

My first “professional" use of an ARRIFLEX camera was a BL3 with 1,000 foot mag on it, and I had to use it on the Steadicam, in weighed so much, luckily I was young! My main memories of using any ARRI cameras, is that this company builds incredible products, that really work well in various extreme conditions. I have been using their product since 1982 all the way up to this year with our new Clint Eastwood movie, 15:17 Train to Paris, where we will once again, we will be using the ARRIFLEX ALEXA XT, and the MINI. I remember in my early stages of being a camera assistant we used the BL cameras in 30° weather, and they performed flawlessly. Then the next workhorse I remember was the ARRI 435 and 535. Incredible cameras that we could always could rely on.

One of my fondest memories was being able to use a speed aperture computer (developed by Preston Cinema) on Haskell’s ARRI III which gave us an in-camera normal to slow motion effect and back, all in one shot. We used this effect on many movies and commercials in the 80’s. Matewan and Blaze were shot with ARRIFLEX cameras and Haskell received Academy nominations in cinematography for both of those films. We did many other movies as well including; Colors, The Babe, and The Secret of Roan Inish. Recently I used the ARRI ALEXA on The Revenant, Alien: Covenant, Black Panther, and my current project, A Star is Born. ARRIFLEX cameras have been an important part of my career since the onset and continue to be. Congratulations to ARRI from the SOC on this important milestone!

The biggest compliment I recall is when we switched from film cameras to digital cameras on, Clint Eastwood's, Jersey Boys there was no other choice for us than using ARRI, the ALEXA was our "go to" camera, because of its durability, and because of its cinematic look. Clint does not like a lot of technical delays, or fussing about, and ARRI has constantly given us a camera that is free of problems to basically get the job done. Simply, the camera should be invisible. On Sully we used the ARRI 65 mm IMAX camera, which was a pleasure to work with. The resolution was outstanding, and the picture speaks for itself. I am proud to say I've been a fan and customer of ARRI for over 36 years and will continue to do so into the future. P. SCOTT SAKAMOTO, SOC 2016 SOC Camera Operator of the Year - Film Awardee

Franz Kraus and Joerg Pohlman. Photo by Tom Faehrmann

ABOUT ARRI: Arnold & Richter Cine Technik (ARRI) is a global company within the motion picture industry, employing around 1,300 staff worldwide. In 2017 ARRI is celebrating its centenary, having been founded in 1917 in Munich, Germany, where the headquarters is still located today. Other subsidiaries exist in Europe, North and South America, Asia and Australia.

Photo courtesy of P. Scott Sakamoto

I began my career in the early-80s with Haskell Wexler, who owned several ARRIFLEX cameras. Haskell had an ARRI BL and an ARRI III. I became a fan of those cameras because it gave us the opportunity to use various lenses from Zeiss, Angenieux, Cooke, Nikon and Canon. That variety allowed us to explore many looks and styles that Haskell became known for.

CAMERA OPERATOR · SUMMER 2017

The ARRI Group consists of five business units: Camera Systems, Lighting, Media, Rental and Medical. ARRI is a leading designer and manufacturer of camera and lighting systems for the film industry, with a worldwide distribution and service network. It is also an integrated media service provider in the fields of postproduction and equipment rental, supplying camera, lighting and grip packages to professional productions. ARRI Medical focuses on the use of core imaging technologies for surgical applications. The Academy of Motion Picture Arts and Sciences has recognized ARRI’s engineers and their contributions to the industry with 19 Scientific and Technical Awards. For locations and more information please visit www.arri.com.

Looking Back by Michael Frediani, SOC, Historical Chair

Long-time members of the Society of Camera Operators (formerly Society of Operating Cameramen), recall when our magazine was merely a Xeroxed newsletter in splendid black and white. Under the auspices of dedicated members, this magazine developed into what you have in your hands (or reading online). What was once The Operating Cameraman magazine was rebranded as Camera Operator. We are now highly cost-effective with every issue, and at four annually—we’ve come a long way during the past 38 years! Thanks to you, our contributors, members and subscribers. After serving as your editor, I wrote an extended compilation outlining past articles in our Spring/Summer 2004 edition. Check it out at this web link: issuu.com/cameraoperators/docs/ soc_co_2004springsummer From the outset, newsletters were (and continue to be) an informative outreach to the membership, now exclusively distributed via email. Please make sure your email and other contact information is up-to-date by emailing socoffice@soc.org. Looking back at some of the old SOC newsletters and early documents (donated by Peter Hapke, SOC), I had them scanned, and now archived on our website. You’ll appreciate the historical significance of the early SOC members and events mentioned—a true snapshot of our heritage. Here is a brief compendium, yet you can find the more detailed historical documents online.

Find Historical Documentation at: issuu.com/cameraoperators/docs/soc-historical-scans. The numbered circles below represent the page numbers in the online document for further information. After initial meetings in 1979 at Dupar’s Restaurant in Studio City, California attended by a small group of camera operators, plans were formulated to create what would become the SOC. Other meetings were held at the home of Bill Clark, Jim Hoover, and Bill Swearingen who recently passed away.

1979

ASSOCIATION OF CAMERA OPERATORS Newsletter:

“Because of the tremendous interest displayed at the camera operators meeting held at Local 44 on Sept. 4, 1980 a group of 14 operators followed up with a get-together Sept. 18, 1980 at the home of Bill Swearingen to pursue the possibilities of forming an Operators Association. Statement: The Association is not to be a labor union or guild, but one of brotherhood whose creed is to “Promote the classification of Camera Operator and his or her creative contribution to film and video production.” All present agreed to go forward.

November 9, 1980 1981

It is interesting to go back in time when the first SOC Lifetime Achievement Awards were discussed and then planned for August 22, 1981 at the Friar’s Club in Beverly Hills. There were a multitude of craftspeople that were awarded.

President Bob Marta wrote an impassioned plea to members regarding the need for participation on all levels in order to build the organization.

The view from inside the pursuit vehicle as the crew prepares to shoot the LAPD slow-speed chase down the 405.. Photo by Penny Sprague

2 Karen Slaton’s early design with final sketch by Dale King. A logo is born.

1982

CAMERA OPERATOR Â· SUMMER 2017

The March 1982 newsletter describes the Panavision PanaCam Workshop hosted by their Founder and President Robert Gottschalk—an interesting piece.

1982

Guest commentary by noted cinematographer, Conrad Hall, ASC about the dynamics of “Above/Below the Line” and a rebuttal letter that followed by SOC Founding Member Owen Marsh, SOC.

An informative article from the minutes regarding the upcoming 1984 SOC Awards Banquet, who will volunteer, who will be considered for awards, etc.

1984

27 32

“Archie,”“Ernie,”“Lennie,” and “Opie”—these names were considered for our SOC statue. Read the article to learn how these were tossed into the hat.

1985

19 1982

Outlines the calendar year of events for 1983 by Peter Hapke, SOC and the amazing number of members who participated on various committees.

This 1983 newsletter outlined the upcoming SOC screenings, and certain constitutional amendments to our C&BL handbook. A timely read as your Board of Governors has been working diligently on modifications, which will be (or recently) mailed to all Active members for ratification.

On page 37 find out what happened to the 1984 Lifetime Achievement Awards?

1983

62 The musings of Founding member and past President, Bill Clark, SOC commences on page 62.

Who came up with name CAMMY. Learn the answer on page 35.

Page 51 is a bit out of order date-wise but an interesting letter to the membership by Bill Clark when he was 1st VP. Entitled On Being Part of Something, Bill speaks about the early stages of the SOC, those who helped form it and those who supported it — he also mentions the dire need of member participation, which is the never-ending plea from presidents of any fraternal organization. Thank you, Bill.

As there are many documents saved to this site, more than you may wish to view at one sitting, take your time to enjoy and research the early years. There are a few more newsletters added from the 1990’s, and more that can be added online if someone contribute to this project. 46 issuu.com/cameraoperators/docs/soc-historical-scans. SOCIETY OF CAMERA OPERATORS · SOC.ORG

SOC Lifetime Achievement Awards SATURDAY, FEBRUARY 3, 2018 Loews Hollywood Hotel, Hollywood

Celebrate the Art and Craft of the Operator and Crew Hosted pre reception, three-course, sit down dinner with Awards Ceremony and hosted after party.

FOLLOW THE CONVERSATION

#SOCAwards

SEATS GO ON SALE OCTOBER 16: SOCAWARDS.COM

CAMERA OPERATOR Â· SUMMER 2017

In a letter from Bill Swearingen’s widow, Terri: During a meeting at our house, I remember Bill Clark, Bob Marta, Mike St. Hilaire, Mike Benson, Jack Green, Peter Hapke, and my husband Bill.  I don't remember what the straw was that 'broke their backs,' but they were serious about getting recognition from the Academy. The demeanor was annoyed and anxious: How would it be accomplished?  I think they were hoping for 'blanket' credits; operators would be named like the DP.  There was a criteria involved, how long on a show A or B camera, etc. They also talked about honoring people, i.e., stunts, wardrobe, makeup, etc.  I do remember the big dinner at the Friars Club, early 1980/81. I think it’s wonderful how the SOC has flourished and grown with time. My best regards, Terri Swearingen MICHAEL FREDIANI, SOC

Photo by Eric S. Smith

Michael Frediani, SOC has been a member of the Society since the mid1980s when he was a camera assistant sponsored by Bob Marta. In 199596 Frediani served as President and editor of this magazine, also contributing several articles over the years. He has been a Board Member since then, served again as President in 2011, and is currently Sergeant-at-Arms and Heritage Chair.

TRIVA: A fledgling society, numbering among its aims the proper recognition of the operating cameraman, sets forth high  ideals for its activities. The Society of Operating Cameramen is a newly-formed organization intended to outline and enhance the  image of operating cameramen in the film and television industries. The SOC elected a 30-member Board of Governors and installed the following officers: Bob Marta, President; Bill Clark, Vice-President; John Stevens, second Vice-President; Peter Hapke, third Vice-President; Jay Nefcy/ Gil Haimson, Co-Treasurers; Jack Green/Elliot Davis, Co-Secretaries. Plans for a series of membership activities will, "Bring the role of the operating cameraman back to basics," said  Marta. "The role of the organization is professional and non-political." Bill Swearingen, Sergeant-at-Arms said, "The 1980s began with changes in almost every aspect of our society.  Modern technology looms over the horizon of film and television professionals. We at the SOC will expand the  artistic recognition of the operating cameramen through professional scientific knowledge." Harry Wolf, President of the American Society of Cinematographers, encouraged members of the new organization at their June meeting saying, "This is a great forum for the edification of the membership regarding scientific  advancements. With the advent of the new technologies, clubs like the SOC offer its members social gatherings  for the purpose of interaction and information." Another ASC member, and President of IATSE 659 International Photographers Local, Frank Stanley, stressed the  importance of the operator to the director of photography. "I stand in awe of you and what you do," Stanley said. —American Cinematographer, August 1981

SOCIETY OF CAMERA OPERATORS · SOC.ORG

14 - 19 September RAI, Amsterdam

IBC - THE WORLD’S LEADING MEDIA, ENTERTAINMENT AND TECHNOLOGY SHOW

The Big Screen at IBC PROGRAMME HIGHLIGHT - HBO CAMERA ASSESSMENT SERIES Making full use of the Dolby Vision and Dolby Atmos theatrical installation, the fifth season of HBO’s Camera Assessment Series is just one of the many highlights of the Big Screen at IBC this year. Taking place on Saturday 16 September, the 60-minute documentary provides insight into the imaging capabilities of each camera while also offering commentary from Directors of Photography, Producers and HBO Executives about how these types of tools are currently being used. Cameras being assessed this year include the ARRI Alexa 65, RED Epic Helium 8k, Panavision Millennium DXL, Canon EOS C700, Panasonic Varicam PURE and the BlackMagic Ursa Mini.

Featuring the latest in cinema technology with state-of-the-art cinema projection and sound installation, IBC Big Screen provides insight into the art, science and business of cinema. Visit show.ibc.org/bigscreen today to find out more about the Big Screen Programme and to register for a free pass. Media Partner

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In Memoriam

Gary Armstrong Retired Associate Member Photo provided by Lynn Lanning (Gary is on Right)

The Society of Camera Operators pays homage to those members weâ&#x20AC;&#x2122;ve lost this year.

Bob Marta, SOC Charter Member Photo provided by Michael Frediani, SOC

Jennifer Ann Henry Associate Member

Photo provided by Richard Hench

Lawrence Moody, SOC Active Member Photo provided by Paul Overacker, SOC

Bruce MacCallum, SOC Active Member Photo by Craig Blankenhorn

Bill Swearingen, SOC Charter Member

Photo provided by Terri Swearingen

SOCIETY OF CAMERA OPERATORS Âˇ SOC.ORG

Society of Camera Operators SOC TECHNICAL ACHIEVEMENT AWARD 2018 SOCAWARDS.COM

Online Submission Open! The Society of Camera Operators’ Technical Achievement Award online submission is now open until October 16, 2017. The Awards is given for a technology that is used by the camera operator, camera crew and on-set productions. Technologies that increase the safety, efficiency and ease of production are given special consideration. There is a $450 administrative fee, per submission. Submissions will be reviewed, by the Technical Committee in person during the demo days November 11 – 12, 2017. SOC membership are also invited to participate this this industry event. The SOC’s Lifetime Technical Achievement Award will be presented at the Awards on February 3, 2018 at the Loews Hollywood Hotel. Past awards recipients can be found on the Awards site – SOCAwards.com.

CAMERA OPERATOR · SUMMER 2017

Insight KENNY DEZENDORF, SOC How long have you been a jib operator? I am fortunate to have pioneered the use of jib arms in the Southwest since 1990, later going to larger, more complex devices.  What was one of your most challenging shot or challenging day in the industry? While shooting a resort travelog in Mexico and leaving for the local airport, we were held for ransom by the cab locals, who also had our equipment. What is your most memorable day in the industry? Having a stunt go wrong with a flaming, uncontrolled stock car, missing me by six feet.  What is the job you have yet to do but most want to do? Shooting some wilderness projects with drones and other tools. Photo by Nate Hosseini

Credits: Genesis -We Can’t Dance World Tour 1992, Atlanta Olympics - Garrett Brown’s Go-Cam Team 1996, Dallas Cowboys - Event Presentation Staff, Austin City Limits - PBS

DALE VANCE JR., SOC What was one of your most challenging shots in the industry? Running up and down the hills of San Francisco doing Steadicam on a small film called Please Stand By. What is your most memorable day in the industry? Hands down, working with Jamie Lee Curtis for the first time on Scream Queens S1. What is the job you have yet to do but most want to do? I really feel I could direct episodic TV if there were a little hand-holding thru the prep.  I’ve been on sets for 16 years and I always think, “I could do that!" Photo courtesy of Dale Vance Jr.

Credits: The Wedding Ringer, Dope, Scream Queens, Freakish,  The Real O’Neals

STEFAN VON BJORN, SOC What was one of your most challenging shot or challenging day in the industry? One of my most challenging days as a camera operator was when shooting the opening sequence for Six Days Seven Nights on a fishing trawler off the coast of Kauai, Hawaii, in high seas.  The Steadicam shot required framing an aircraft flying overhead, tilting down to the bow wave of a yacht that travels through the frame and reveals a pirate ship pursuing the vessel.  There were so many talented people involved in coordinating these elements to happen at the precise moment, and all in one take. What is your most memorable day in the industry? My most memorable day was when they called wrap on the finale season of Justified. It was truly an honor to be involved in that series. Photo by Laura Layera

Credits: Justified, House of Lies, Mad Men, Paycheck, Six Days Seven Nights.

SOCIETY OF CAMERA OPERATORS · SOC.ORG

SOC ROSTER CHARTER MEMBER Lou Barlia Parker Bartlett Paul Basta Michael Benson Stephanie Benson Rupert Benson Jr. Bob Bergdahl Howard Block Donald Burch Jerry Callaway David Calloway Philip Caplan Mike Chevalier Bill Clark Dick Colean Steve Conant Jim Connell Rick Cosko Jack Courtland Elliot Davis Sam Drummy Joe Epperson Michael Ferra Ron Francis William Gahret Jim Glennon Ray Gonzales Jerry Good Jack Green, ASC Gil Haimson Peter Hapke Lutz Hapke Bill Hines Jim Hoover Bill Howard John Huneck Wayne Kennan, ASC Bob Keys Gary Kibbe David Kurland Norm Langley Thomas Laughridge Steve Lydecker Brice Mack III Joe Marquette Jr. Owen Marsh Bob Marta Bob McBride Ed Morey Tom Munshower Fred Murphy Al Myers Lee Nakahara Jay Nefcy Rik Nervik Leigh Nicholson King Nicholson John Nogle Dan Norris Skip Norton David Nowell, ASC Wayne Orr Richard Price Ernie Reed Arnold Rich Randall Robinson Parker Roe Sam Rosen Peter Salim

Lou Schwartz Chris Schwiebert Michael Scott Bob Seaman Hal Shiffman Roger Smith Fred Smith Michael St. Hilaire Ray Stella Joe Steuben John Stevens Carol Sunflower Bill Swearingen Joseph Valentine Ron Vidor Sven Walnum

ACTIVE MEMBER Peter Abraham Jonathan Abrams Michael Alba Bret Allen Colin Anderson Kevin Andrews Andrew Ansnick Francois Archambault Joseph Arena Will Arnot Ted Ashton Jr. Kjetil Astrup Mark August Andrei Austin Grayson Austin Jacob Avignone Daniel Ayers Christopher Baffa Lonn Bailey James Baldanza David Baldwin Jr. Jerry Banales Christopher Banting Jeff Barklage Angel Barroeta John Beattie Jonathan Beattie Tim Bellen Nils Benson Peter Berglund Corey Besteder George Bianchini George Billinger Howard Bingham Maceo Bishop Michel Bisson Bonnie Blake Jason Blount Jeff Bollman John Boyd Katie Boyum Kevin Braband Hilaire Brosio Garrett Brown Kenny Brown Pete Brown Scott Browner Neal Bryant Stephen Buckingham Robin Buerki Gary Bush Rod Calarco

CAMERA OPERATOR · SUMMER 2017

Stephen Campanelli J. Christopher Campbell Susan Campbell Jose Cardenas Robert Carlson Jeffrey Carolan Michael Carstensen Peter Cavaciuti Dave Chameides Lou Chanatry Joe Chess Jr. Jeffrey Clark Anthony Cobbs Steven Cohen Marcis Cole Kris Conde Andrew Conder Michael Condon Brown Cooper Dan Coplan Luke Cormack Javier Costa Richard Cottrell Tom Cox Jeff Cree Rod Crombie Richard Crow Jeff Crumbley Grant Culwell Francois Daignault Nicholas Davidoff Markus Davids Rick Davidson Richard Davis Mark Dawson Andrew Dean Michael Dean Anthony Deemer Kris Denton Kevin Descheemaeker Joel Deutsch Don Devine Kenny Dezendorf Twojay Dhillon David Diano Troy Dick Matthew Doll Rick Drapkin Scott Dropkin Mitch Dubin Simon Duggan, ACS Mark Duncan Allen Easton William Eichler David Elkins Jason Ellson David Emmerichs Kevin Emmons Ramon Engle Alex Escarpanter Steve Essig Brant Fagan Diane Farrell Dianne Farrington Jesse Feldman Michael Ferris George Feucht James Firios Lance Fisher Eric Fletcher

Michael Flueck Houman Forough Felix Forrest Ian Forsyth Steve Fracol Keith Francis Nick Franco Tom Fraser James Frater David Frederick Michael Frediani Brian Freesh Steven French Dan Frenkel Mick Froehlich Jeff Fry Paul Gardner David Gasperik Rusty Geller Michael Germond William Gierhart Laurie Gilbert Harvey Glen Mark Goellnicht Daniel Gold James Goldman Allen Gonzales Robert Gorelick Afton Grant Chad Griepentrog George Griffith Robert Guernsey Pedro Guimaraes John Gunselman Craig Haagensen Chris Haarhoff Jess Haas Kevin Haggerty Geoffrey Haley John Hankammer Tim Harland Joshua Harrison Kent Harvey Chris Hayes David Haylock Nikk Hearn-Sutton Mike Heathcote Dawn Henry Alan Hereford Steven Heuer Kevin Hewitt David Hirschmann Jamie Hitchcock Petr Hlinomaz Abe Holtz Jerry Holway Paul Horn Casey Hotchkiss William Howell II Bradley Hruboska Colin Hudson Christian Hurley Philip Hurn Spencer Hutchins Frederick Iannone Alexa Ihrt Dave Isern Christophe Ivins Eugene Jackson III Alec Jarnagin Gary Jay Simon Jayes Andrew "AJ" Johnson

Christopher Jones Steven Jones Jacques Jouffret John Joyce David Judy Mark Jungjohann David Kanehann Mark Karavite Lawrence Karman Dan Kavanaugh Adam Keith Brian Kelly David Kimelman Dan Kneece Rory Knepp David Knox Robert Kositchek Bud Kremp Kris Krosskove Per Larsson Jeff Latonero Kristian Lawing Eric Leach Sergio Leandro da Silva Richard Leible Alan Lennox Rachael Levine Sarah Levy David Liebling Jimmy Lindsey, ASC Hugh Litfin John Lizzio Patrick Longman George Loomis Jessica Lopez Greg Lundsgaard Kenji Luster Rob Macey Vincent Mack Paul Magee David Mahlmann Giuseppe Malpasso Kim Marks Jared Marshall Cedric Martin Philip Martinez Justin Marx Daniele Massaccesi J. Steven Matzinger Parris Mayhew Peter McCaffrey Bill McClelland Jim McConkey David McGill Ian McGlocklin Michael McGowan Christopher McGuire Ossie McLean Aaron Medick Alan Mehlbrech Hilda Mercado Olivier Merckx Jack Messitt Mike Mickens Duane Mieliwocki Marc Miller Phillip Miller Andrew Mitchell William Molina Raphy Molinary Machado Michel "Mitch" Mommaerts K. Neil Moore

Mark Moore Matthew Moriarty Josh Morton Manolo Moscopulos John "Buzz" Moyer Jeff Muhlstock Michael Mulvey Scott Mumford Sean Murray Saade Mustafa Dale Myrand Leo Napolitano Marco Naylor Robert Newcomb Julye Newlin William Nielsen, Jr. Kurt Nolen Randy Nolen Austin Nordell William O'Drobinak Michael Off Mark O'Kane Andrew Oliver John Orland Brian Osmond Georgia Packard Heather Page Nick Paige Curtis Pair Victor Pancerev Andrew Parke Patrick Pask Christopher Paul Al “Tiko” Pavoni Paul Peddinghaus Douglas Pellegrino John Perry George Peters Matthew Petrosky Jonathan Phillips Alan Pierce Theo Pingarelli Jens Piotrowski Joseph Piscitelli James Puli Louis Puli Ryan Purcell Yavir Ramawtar Juan Ramos James Reid John Rhode Ari Robbins Alicia Robbins Peter Robertson Brent Robinson Brooks Robinson Eric Roizman Peter Rosenfeld Dave Rutherford P. Scott Sakamoto Sanjay Sami David Sammons Joel San Juan Juanjo Sánchez Bry Sanders Milton Santiago Rafael Sahade Daniel Sauvé Gerard Sava Sean Savage Martin Schaer Ron Schlaeger Mark Schlicher

Mark Schmidt Vadim Schulz David Schweitzer Fabrizio Sciarra Brian Scott Brian Scott Benjamin Semanoff Barry Seybert Barnaby Shapiro David Shawl Osvaldo Silvera Jr. Gregory Smith Teddy Smith Vanessa Smith Needham Smith III Dean Smollar John Sosenko Andy (Andrew) Sparaco Mark Sparrough Benjamin Spek Francis Spieldenner Sandy Spooner Lisa Stacilauskas Robert Starling Thomas Stork Michael Stumpf David Svenson Ian Takahashi Yousheng Tang Gregor Tavenner Christopher Taylor Peter Taylor Paige Thomas David Thompson Henry Tirl John Toll, ASC David Tondeur Remi Tournois Neil Toussaint Jamie Trent Bryan Trieb Michael Tsimperopoulos Chris Tufty Dan Turrett Brian Tweedt Joseph Urbanczyk Matt Valentine Dale Vance, Jr. Paul Varrieur Ron Veto Adi Visser Andrew Voegeli Stefan von Bjorn Rob Vuona Bill Waldman Michael Walker Timothy Walker Gareth Ward Gretchen Warthen Raney "Bo" Webb Aiken Weiss Dale West Clay Westervelt Mande Whitaker Robert Whitaker Kit Whitmore Peter Wilke Ken Willinger Chad Wilson David Wolf Ian Woolston-Smith Peter Xiques Santiago Yniguez Brian Young Chad Zellmer Brenda Zuniga

ASSOCIATE MEMBERS

Christine Adams Brian Aichlmayr Colin Akoon Jamie Alac Ana Amortegui Philip Anderson Michael Artsis Scott Auerbach Ryan Baker Tyson Banks Michael Barron Matt Bell Alicia Blair Peter Bonilla Jean-Paul Bonneau Massimo Bordonaro David Boyd Warren Brace Mary Brown Rochelle Brown Donald Brownlow Clyde Bryan Sasha Burdett Anthony Caldwell Jordan Cantu Jack Carpenter Marc Casey Quaid Cde Baca Kirsten Celo Libor Cevelik Ian Chilcote Damian Church Ricco Ricardo Clement Gregory Collier Mack Collins Antoine Combelles Gabriel Copeland Gareth Cox Richard Crudo, ASC Chad Daring Farhad Dehlvi Enrique Del Rio Galindo James DeMello Johnny Derango Caleb Des Cognets Ronald Deveaux Jorge Devotto Vincent DeVries Adam Dorris Orlando Duguay Adam Duke Keith Dunkerley Brian Dzyak David Eubank Allen Farst Nicholas Federoff Kristin Fieldhouse Stephanie Fiorante Jessica Fisher Tom Fletcher John Flinn III, ASC Mark Forman Mike Fortin Chuck France Jerry Franck Michael Freeman Fred Frintrup Hiroyuki Fukuda Dmitrii Fursov Benjamin Gaskell Hank Gifford Michael Goi, ASC Wayne Goldwyn Al Gonzalez Erik Goodman John Goodner Brad Greenspan John Greenwood

Phil Gries Josef "Joe" Gunawan Marco Gutierrez Jason Hafer Bob Hall Tobias Harbo James Hart John Hart Jason Hawkins Adam Heim Andres Hernandez Anthony Hettinger John Hill, Jr. Tammy Hineline Andrew Hoehn Scott Hoffman Chris Horvath Nichole Huenergardt Toshiyuki Imai Andrew Irvine Gregory Irwin Michael Izquierdo Neeraj Jain Keith Jefferies Lacey Joy Henry Joy IV Johnny Juarez Jessica Jurges David Kane Timothy Kane Brandon Kapelow Ray Karwel Frank Kay April Kelley Alan Kelly Kevin Kemp Jeremiah Kent Mark Killian Douglas Kirkland Christian Kitscha Michael Klaric Michael Klimchak Nick Kolias Brian Kronenberg Robert La Bonge Laurence Langton Jose-Pablo Larrea Dr. Thomas Lee Gerardo Leon Alan Levi Mark Levin Adrian Licciardi Ilya Jo Lie-Nielsen Eamon Long Gordon Lonsdale Jasmine Lord Christopher Lymberis Dominik Mainl Aaron Marquette Chris Martin Jose Martinez Nicole Martinez Jim Matlosz Nathan Maulorico Brett Mayfield Ray McCort Marcus McDougald Mike McEveety Marcel Melanson Mengmeng “Allen” Men Sophia Meneses Jonathan Miller K. Adriana Modlin-Liebrecht Kenneth Montgomery Mark Morris Matthew Mosher Jekaterina Most Nick Müller Hassan Nadji Navid Namazi

Zach Nasits Jimmy Negron Michael Nelson Michael Nelson Benjamin Nielsen Dennis Noack Russell Nordstedt Ing. Jose Noriega C.A.S. Louis Normandin Casey Norton Crescenzo Notarile, ASC Jorel O'Dell Jarrod Oswald Paul Overacker Justin Painter Larry Parker Steven Parker Florencia Perez Cardenal Mark Petersen Jon Philion Mark Phillips Tyler Phillips W. S. Pivetta Ted Polmanski Robert Primes, ASC Joe Prudente Delia Quinonez Jem Rayner Marcia Reed Brice Reid Claudio Rietti Ken Robings Andy Romero Tim Rook Peter Rooney Sam Rosenthal Jordi Ruiz Maso Dylan Rush Jake Russell Kish Sadhvani Danny Salazar Steve Saxon Joshua "JC" Schroder Christian Sebaldt, ASC Christopher Seehase Yael Shulman Stephen Siegel Peter Sikkens Michael Skor Jan Sluchak Robert Smith Laurent Soriano David Speck Don Spiro Owen Stephens Derek Stettler Michael Stine Darren Stone Scott Stone Skyler Stone Aymae Sulick Jeremy Sultan Andy Sydney Tiffany Taira Brian Taylor Fabian Tehrani Andres Turcios John Twesten Daniel Urbain Sandra Valde Thomas Valko Ioana Vasile Aimee Vasquez Christopher Vasquez Michael Velitis Nick Vera Benjamin Verhulst Marshall Victory Jesse Vielleux Breanna Villani Miguel Angel Viñas

Terry Wall W. Thomas Wall Justin Watson Thomas Weimer Alex White Tim Wu Tim Yoder Scot Zimmerman

CORPORATE

Abel Cine Adorama Rental Co. Arri, Inc. B&H Foto & Electronics Corp Band Pro Film & Video Brother International Corporation Canon, USA Inc. CarL Zeiss Microimaging, Inc. Chapman/Leonard Studio Equipment Cineverse CW Sonderoptic Diving Unlimited International Inc. Filmtools Inc. Fujifilm/Fujinon Geo Film Group, Inc. History For Hire Imagecraft Productions, Inc. JL Fisher Inc. Keslow Camera Manios Digital & Film Matthews Studio Equipment Panavision Preston Cinema Systems Red Digital Cinema Sigma Sony Electronics Spacecam Systems, Inc. The Vitec Group Tiffen Transvideo Wooden Camera

EDUCATOR

John Grace Ralph Watkins

HONORARY

John Bailey, ASC Tilman Buettner James Burrows Alexander Calzatti Trevor Coop Roger Corman Dean Cundey, ASC Bruce Doering Clint Eastwood Tom Hatten Ron Howard Gale Anne Hurd Sarah Jones Michael Keaton Ron Kelley Kathleen Kennedy-Marshall Jerry Lewis Gary Lucchesi Larry McConkey A. Linn Murphree M.D. Diana Penilla Steven Spielberg Robert Torres George Toscas Roy Wagner, ASC Alfre Woodard

RETIRED MEMBER

Aldo Antonelli Paul Babin Tom Barron Al Bettcher James Blanford Bruce Catlin Ivan Craig Richard Cullis George Dibie, ASC Robert Feller Dick Fisher Jerry Fuller Anthony Gaudioz Wynn Hammer Ken Hilmer Gary Holt Robert Horne Douglas Knapp Michael Little Heather MacKenzie James Mann Stan McClain Michael McClary Ron McManus Mike Meinardus Emmanuel Metaxas Robert Moore Sol Negrin, ASC David Parrish Aaron Pazanti Richard Rawlings Jr., ASC Andy Romanoff Frank Ruttencutter Carl Schumacher, Sr. Chuck Schuman Philip Schwartz Guy Skinner George Stephenson Gene Talvin Joseph Tawil Adam Ward

STUDENT

Veronica Aberham Michael Acosta Reynaldo Aquino Nathan Bachmann Melissa Baltierra Zakrey Barisione Daniela Bornstein Ziryab Brahem Emmett Bright Jiayao Chen Petr Cikhart Autumn Collins Meghan Cullen Sabrina Cullen John Darian William Dauel Annor Doeman Michael Garcia Sean Garry Christian Hall Mufeng "Derek" Han Rita Hansen Tyler Harmon-Townsend Kendra Hillman Myles Holt Carolyn Hunt Crystal Kelley KC Kennicutt John Lansdale Jun Li Eric Liberacki Guilherme Lima Ari Linn Deidre Locklear Vincent Lomascolo Jose Lora Carl Loven

SOCIETY OF CAMERA OPERATORS · SOC.ORG

Ivan Velazquez Tianyi “Christopher” Wang Anthony Worley Watcharawit "Koon" Ya-inta Linxuan "Stanley" Yu Lucia Zavarcikova Qiaoyu "Joy" Zhang Yiyao Zhu

Current as of July 20, 2017.

Michael Frediani, SOC

Aedan McHugh Jeff-Steven Mojica Fabian Montes Joshua Montiel James Nagel Lucien Night Rui Jiang Ong Lorenzo Pace Weerapat “Art” Parnitudom Ryan Petrolo Connor Pollard Karina Prieto Macias Matthew Psyllos Cheng Qian Ryan Richard Jackson Rife Marco Rivera Tiye Rose-Hood Edgar Santamaria Esther Santamaria Emil Schonstrom Brittany Shank Sathish Shanmugam Alexandria Shepherd Jennifer St. Hilaire-Sanchez Davin Stanley Kezia Supit Grace Thomas William Torres

CAMERA OPERATOR · SUMMER 2017

AD INDEX AJA Video Systems C2 www.aja.com ARRI 13 www.arri.com Blackmagic Design 11 www.blackmagicdesign.com Canon - 360i 3 www.canon.com Carl Zeiss 33 www.zeiss.com Chapman/Leonard Studio Equipment 23 www.chapmanleonard.com Cinematography Electronics 2 www.cinemaelec.com CW Sonderoptic 5 www.cw-sonderoptic.com Glidecam 45 www.glidecam.com

IBC 49 show.ibc.org 19 J. L. Fisher www.jlfisher.com 39 Lindsey Optics www.lindseyoptics.com Matthews Studio Equipment 39 www.msegrip.com 41 Paralinx www.paralinx.net 9 RED Digital Cinema www.red.com 7 Schneider Kreuznach www.schneideroptics.com C3 Sigma www.sigmaphoto.com Back Cover Teradek www.teradek.com 35 Tiffen www.tiffen.com

Browse our online store to see the inventory of water bottles, T-shirts, hats, pins, and more...

SOC.org 55

Social SOC

Curated by Ian S. Takahashi, SOC society_of_camera_operators

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(society_of_camera_operators) The SOC is proud and honored to have Sean Savage, Assoc BSC, ACO & SOC host this week!! @seancamop ----------------------Sean is a camera operator and Steadicam operator, based near London, who’s worked on many movie and television projects. As the Dragon Unit A camera operator for Game of Thrones, Sean has shot many of the now famous epic battle scenes. Other credits include Elizabeth, Victor Frankenstein, Clash of the Titans, Phantom of the Opera, Shackleton, and Penny Dreadful. Sean is an Associate member of the BSC, a board member of the ACO and a proud member of the SOC. #thesoc #camera #cameraoperator #dop #societyofcameraoperators #gameofthrones #film #dolly #television Photo by Jake Koenig

society_of_camera_operators

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(@seancamop) Another great still from Battle of the Bastards taken by our lovely producer Chris Newman. You can see the fantastic detail that our wonderful make-up/hair and costume department go into this photo. ---------------------------------------------------I'm standing out from the mud in the blue jacket shooting a two shot of our heroes, Jon Snow and the wilding Tormund deciding on their next course of action. ---------------------//-----------------------------#bestJobEver  #thesoc #cameraOperator  #Photographer #Camera #Lens #DirectorOfPhotography #Cinematography #Cinematographer #Videography #Photography #Videography #PhotographyIsLife #CameraSupport #CameraAccessories #SOC #bts #movies #film #gameofthrones

Follow the SOC membership on Instagram. See iconic photos from behind-the-scenes, on-set backstories, and images that inspire. Join in the conversation! @ Society_of_Camera_Operators 56

SOCIETY OF CAMERA OPERATORS · SOC.ORG

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Camera Operator Summer 2017

Articles inside

Game of Thrones