Camera Operator: Spring 2022 by Society of Camera Operators

SOC.ORG VOL. 31, NO. 2

SPRING 2022

CAMERA OPERATOR SPRING 2022

CODA • INVENTING ANNA TICK, TICK . . . BOOM! • A QUIET PLACE PART II 1

U.S. WEST COAST: 1-888-80CRANE • U.S. EAST COAST: 1-888-CRANE52 • DIRECT: (941) 492-9175 • CINEMOVES.COM •EMAIL: INFO@CINEMOVES.COM

SOCIETY OF CAMERA OPERATORS · SOC.ORG

CONTENTS DEPARTMENTS

FEATURES

4 MESSAGE

12 CODA

from the President

6 SOC AWARDS CELEBRATION 28 WHAT'S YOUR STORY?

by Jennie Jeddry

30 INSIGHT Meet the Members

32 ITS Insights, Tips & Stories

Learning a New Cinematic Language by Alec Jarnagin, SOC

16 INVENTING ANNA SOC Creative Spotlight A conversation with Tom Verica, Director; Nzingha Stewart, Director; Tim Norman, Cinematographer & George Bianchini, SOC, Camera Operator

20 TICK, TICK . . . BOOM! Lensing Larson by Michael Fuchs, SOC

24 A QUIET PLACE PART II A Symphony in Silence by Matthew Moriarty, SOC

20 CAMERA OPERATOR SPRING 2022

24 ON THE COVER: Alec Jarnagin, SOC, on the set of CODA. Photo by Mark Hill

28 1

Society of Camera Operators Membership Dan Gold, Dan Turrett, Gretchen Warthen

Board of Governors OFFICERS

Corporate Members Craig Bauer, George Billinger, Mitch Dubin, Dave Frederick, Simon Jayes, Sarah Levy, Bill McClelland, Jim McConkey, Matt Moriarty, Dale Myrand, Dan Turrett, David Sammons

President George Billinger 1st Vice President Mitch Dubin 2nd Vice President Matthew Moriarty Secretary Daniel Turrett Treasurer Bill McClelland Sergeant-at-Arms Dan Gold

Education Colin Anderson, Will Arnot, Craig Bauer, Bonnie Blake, Dave Chameides, Mitch Dubin, Dave Emmerichs, Mick Froelich, Craig Haagensen, Geoff Haley, Sarah Levy, Simon Jayes, Jim McConkey, Larry McConkey, Matt Moriarty, Jeff Muhlstock, John “Buzz” Moyer, Jamie Silverstein, Dave Thompson, Chris Wittenborn

BOARD MEMBERS George Billinger Mitch Dubin David Emmerichs Michael Frediani Daniel Gold Geoffrey Haley Nikk Hearn-Sutton Bill McClelland Matthew Moriarty John “Buzz” Moyer Sharra Romany David Sammons David Thompson Daniel Turrett Gretchen Warthen

Technical Standards & Technology Eric Fletcher (Chair), Andrew Ansnick, William Arnot, Luke Cormack, David Emmerichs, Steve Fracol, Dan Gold, Jamie Hitchcock, Simon Jayes, Doc Karmen, Mark LaBonge, Rocker Meadows, Matthew Moriarty, John Perry, Manolo Rojas, David Sammons, Lisa Stacilauskas, Gretchen Warthen

COMMITTEES Awards Craig Bauer, George Billinger, Dan Gold, Geoff Haley, April Kelley, Bill McClelland, John “Buzz” Moyer, Dale Myrand, Jan Ruona, Benjamin Spek, Dave Thompson, Rob Vuona

Inclusion Sharra Romany (Cochair), Nikk Hearn-Sutton (Cochair), Olivia Abousaid, Shanele Alvarez, Alfeo Dixon, Pauline Edwards, Alexandra Menapace, Jeremiah Smith, Lisa Stacilauskas, Gretchen Warthen, Mande Whitaker

Charities Brian Taylor, Ryan Campbell Historical Mike Frediani

Social Media & Content Ian S. Takahashi (Chair), Sharra Romany, Gergely Harsanyi, Ryan Lewis, Brandon Hickman, Emily Lien, Agnelia Scuilli, Gloria Bali, Julio Tardaguila

STAFF AND CONSULTANTS Executive Director Kristin Petrovich Finances Angela Delgado Calligrapher Carrie Ima

CAMERA OPERATOR MAGAZINE Publishing & Executive Editor Kristin Petrovich Art Director Cyndi Wood Studio Liaison & Clearances Kate McCallum Writer David Daut Advertising Jeff Victor Video Editor Alex Hemingway

PHOTOGRAPHY Jonny Cournoyer Derek Klein Films Aaron Epstein Mark Hill Luis Pena Macall Polay Nicole Rivelli Wilson Webb

ADVERTISING & SUBSCRIPTIONS Advertising: Membership@SOC.org Digital subscriptions: SOC.org/co Newsletters: SOC.org Camera Operator is a quarterly publication of the Society of Camera Operators.

CONTRIBUTORS Brian Aichlmayr George Bianchini, SOC David Daut Stanley Fernandez Michael Fuchs, SOC Alec Jarnagin, SOC Jennie Jeddry Derek Johnson Matthew Moriarty, SOC Tim Norman Emmanuel Perez, SOC Kristin Petrovich Nzingha Stewart Tom Verica

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THE OF American Horror Story:DOWNSIZING Freak Show THE POST Birdman iOS MONITORING AT YOUR Sully Only the BraveLa La Land

DARKEST HOUR Animals Nocturnal THE DISASTER ARTISTby the Sea Manchester TechnicalWONDERSTRUCK Achievement Awards

SOCIETY OF CAMERA OPERATORS · SOC.ORG

ACADEMY AWARD NOMINATIONS ®

including

BEST PICTURE BEST CINEMATOGRAPHY ARI WEGNER

WINNER

CRITIC S CHOICE AWARD S including

BEST PICTURE BEST CINEMATOGRAPHY ARI WEGNER

“Incredible and beautiful.

ari wegner is on her way to making oscar history.” ®

VARIETY

ASC AWARD NOMINEE

BRITISH SOCIETY OF CINEMATOGRAPHERS

OUTSTANDING ACHIEVEMENT IN CINEMATOGRAPHY (FEATURE FILM)

ARI WEGNER, ACS

WINNER

ARI WEGNER, ACS

BEST CINEMATOGRAPHY IN A FEATURE FILM

CRITICS GROUP WINS BEST CINEMATOGRAPHY

ARI WEGNER INCLUDING

LOS ANGELES FILM CRITICS ASSOCIATION BOSTON ONLINE FILM CRITICS ASSOCIATION CHICAGO FILM CRITICS ASSOCIATION NEW YORK FILM CRITICS ONLINE

A FILM BY JANE CAMPION

to watch a conversation with Academy Award ® nominee Ari Wegner and Rachel CAMERA OPERATOR SPRING 2022 Morrison.

SCAN HERE

FILM.NETFLIXAWARDS.COM

Message from the President The Society of Camera operators hosted the virtual Awards Celebration on March 5, 2022. The evening celebrated the Camera Operators of the Year Film and Television nominees and announced the winners, Danny DeVito received the Governors Award, and the recipients of the Technical Achievement Awards were honored. As a special feature, members weighted in with photos and videos of what inspired them in 2021. SOC President George Billinger welcomed the community from an in-person party hosted at Cinemoves Movie Ranch in Atlanta. George’s opening and closing messages were inspiring, so if you missed them, take a look now:

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At left, George Billinger live from the Cinemoves Movie Ranch Awards Party

SOCIETY OF CAMERA OPERATORS · SOC.ORG

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SOC Awards Celebration

 WATCH THE AWARDS ON THE MEMBERSHIP CONTENT PORTAL Celebrating the Art & Craft of the Camera Operator On March 5, the SOC hosted the the virtual 2022 Society of Camera Operators Awards Celebration, with hundreds of industry professionals from all over the globe tuning in to partake in the festivities.

Beyond the announcement of the Camera Operators of the Year, the celebration also featured the SOC Technical Achievement Awards, which were given to Motion Impossible for their AGITO Remote Dolly Systems and Cinema Devices for their Ergorig System.

This year, for the first time, the SOC opened up the nominations for Camera Operator of the Year to include operating teams, allowing camera operators the chance to be recognized together.

Actor, producer, and director Danny DeVito was recognized with this year’s Governor’s Award, and his warm and humorous acceptance speech is not to be missed!

Fittingly, the camera operating team of Mitch Dubin, SOC, and John “Buzz” Moyer, SOC, were awarded with the evening’s top prize in film for their work on West Side Story.

Finally, Dr. Thomas Lee from the Vision Center at Los Angeles Children’s Hospital took to the virtual stage to thank the SOC for their continued support.

Manolo Rojas, SOC, and Pauline Edwards, SOC, took home Camera Operator of the Year in Television for their collaborative work on “Betrayal,” the eighth episode of Snowfall’s fourth season.

The SOC would like to thank everyone who was able to attend this year’s virtual ceremony and wish hearty congratulations, once again, to all of the evening’s winners.

SOCIETY OF CAMERA OPERATORS · SOC.ORG

 WATCH NOW

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WATCH ACTOR, PRODUCER, & DIRECTOR DANNY DEVITO ACCEPT THIS YEAR’S GOVERNORS AWARD

 WATCH NOW

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CAMERA OPERATOR SPRING 2022

WATCH THE HIGHLIGHTS OF THE TECHNICAL ACHIEVEMENT AWARDS GIVEN TO MOTION IMPOSSIBLE & CINEMA DEVICES

Camera Operator of the Year, Film Camera Operator of the Year, Film, was awarded to Mitch Dubin, SOC, and John "Buzz" Moyer, SOC, for their work on West Side Story. Congratulations to Mitch and Buzz, and to all the nominees, for their stellar contributions to their film projects.

NOMINEES

SOCIETY OF CAMERA OPERATORS · SOC.ORG

Camera Operator of the Year, Television Camera Operator of the Year, Television, honored Manolo Rojas, SOC, and Pauline Edwards, SOC, for their work on “Betrayal,” an episode of Snowfall. Congratulations to all the nominees for their excellent work in television.

NOMINEES

CAMERA OPERATOR SPRING 2022

Cinemoves Movie Ranch Awards Party

Dave Thompson, SOC, George Billinger, SOC & Mike Heathcote, SOC

George Billinger, SOC President

Marta McClelland, Lindsay Howell & Bill McClelland, SOC

Dave Thompson, SOC, George Billinger, SOC & Mike Heathcote, SOC

THANK YOU TO OUR SPONSORS

SOCIETY OF CAMERA OPERATORS · SOC.ORG

LOCAL 600 CONGRATULATES The Outstanding Camera Operators of the Year, Film and Television. CAMERA OPERATOR SPRING 2022

PHOTO BY ATSUSHI NISHIJIMA

CODA

Learning a New Cinematic Language by Alec Jarnagin, SOC CODA [Child of Deaf Adult(s)] is a coming-of-age story set in Gloucester, Massachusetts, that follows Ruby Rossi through her senior year in high school as she balances being the only hearing member of her family, working on her family’s fishing boat, and exploring her talents as a gifted singer, all while navigating the struggles of her first love. Emilia Jones as Ruby Rossi in CODA. Photo courtesy of Apple

SOCIETY OF CAMERA OPERATORS · SOC.ORG

CODA was written and directed by Siân Heder and is loosely based on the French film La Famille Belier. The film stars Emilia Jones as Ruby Rossi, Troy Kotsur as Frank Rossi, Daniel Durant as Leo Rossi, Marlee Matlin as Jackie Rossi, Eugenio Derbez as Bernardo “Mr. V” Villalobos, Ferdia Walsh-Peelo as Miles, Amy Forsyth as Gertie, and Kevin Chapman as Brady. TECH ONotSaEtT6K, 2:1 CODA has been nominated for three Academy Awards: Best ice Sh Sony Ven ignature Picture, Best Actor in a Supporting Role (Troy Kotsur), and Best • ARRI S io t • a R t c ate Sled Aspe CS Ultim X Adapted Screenplay (Siân Heder). • s y e x s o e Len ther F Prim est • Pan Arm & V genieux GPI PRO ead • An H ra ib L Crane • ra 12x ptimo Ult O 0 9 2 4 2

In this article, A camera and Steadicam operator Alec Jarnagin, SOC, talks about the making of CODA. To ground the film in the reality of the deaf experience, writer/director Siân Heder was insistent that the film be cast with actors who are genuinely deaf. With that came challenges and a steeper-than-usual learning curve, but also a unique opportunity to question some of the standard filmic conventions and create a cinematic style that embraces a language that is seen rather than heard. Also of note are the challenges that came with shooting on fishing boats, in historic houses, and under pandemic restrictions. ...

Read the story here on SOC.org

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WATCH THE TRAILER

ALEC JARNAGIN, SOC Read the story for Alec's bio, and then learn more about his career and projects at IMDb.com. Photo by Mark Hill

CAMERA OPERATOR SPRING 2022

Alec Jarnagin, SOC, on the set of CODA. Photo by Mark Hill

SOCIETY OF CAMERA OPERATORS · SOC.ORG

BY: MICHAEL GOLDMAN

Inventing Anna SOC Creative Spotlight A conversation with Tom Verica, Director; Nzingha Stewart, Director; Tim Norman, Cinematographer & George Bianchini, SOC, Camera Operator; hosted by Kristin Petrovich Netflix’s new original series Inventing Anna, based on a May 2018 article in New York Magazine, follows journalist Vivian Kent as she investigates Anna Delvey, a German heiress and Instagram superstar who has entrenched herself with New York City’s social elites—and who uses that standing to steal their money. The series is created and produced by Shonda Rhimes and stars Anna Chulmsky as Vivian Kent and Julia Garner as the titular Anna “Delvey” Sorokin. Julia Garner as Anna Delvey in INVENTING ANNA. Photo by Aaron Epstein/Netflix

SOCIETY OF CAMERA OPERATORS · SOC.ORG

Multimedia Feature In this Camera Operator video interview, we got to talk with series camera operator George Bianchini, SOC, as well as cinematographer Tim Norman and directors Nzingha Stewart and Tom Verica. From shooting locations that spanned the globe to being one of the first productions in New York to restart following the outbreak of COVID-19, the series had its fair share of challenges.

TECH ON PSREOT • KFX

dicam s GPI Stea • Variou te Head o m e R a d He ds Aurora Stabilize & s e n ices Technocra ema Dev in C • rs e s Slid ice • • Variou held Dev d n a H g Ergori Mode ice Rialto n e V Y N SO

With a structure that demanded five directors and four cinematographers trading responsibilities across the series’ nine episodes, Bianchini—as the camera operator for each episode of the series—was one of the constants in the production, helping to create a cohesive feel to a show that featured such varied talent and locations. ...

Watch the conversation here on SOC.org

 WATCH NOW

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CAMERA OPERATOR SPRING 2022

GEORGE BIANCHINI, SOC, INTRODUCES THE SOC CREATIVE SPOTLIGHT CONVERSATION ABOUT THE MAKING OF INVENTING ANNA

George Bianchini, SOC, with Julia Garner as Anna Delvey on the set of INVENTING ANNA. Photo by Nicole Rivelli/Netflix

SOCIETY OF CAMERA OPERATORS · SOC.ORG

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Tick, Tick . . . Boom! Lensing Larson by Michael Fuchs, SOC

Adam Pascal, Daphne Rubin-Vega, and Wilson Jermaine Heredia in TICK, TICK . . . BOOM! Photo by Macall Polay

SOCIETY OF CAMERA OPERATORS · SOC.ORG

In the wake of the generation-defining success of Rent, Jonathan Larson’s small, semi-autobiographical “rock monologue,” Tick, Tick . . . Boom! was restructured and expanded into a full stage musical, premiering Off-Broadway in the summer of 2001. Two decades later, the film adaptation—directed by the world’s most famous theatre kid and Hamilton creator TECH ONs S• ESTteadicam Lin-Manuel Miranda—is now nominated for two Academy Awards, Dollie foot Chapman cope 15s including Best Actor for Andrew Garfield’s performance as Larson. ra d y H ro man

onst • Chap ex RED M fl ro d y H nodolly Crane • g • Tech in s u o H ter Libra & Underwa amwok • C • s g ri • Easy Heads Mo-Sys

Writing for Camera Operator, Michael Fuchs, SOC, recounts his experience working on the film, from his history as a fan of Larson’s work to his excitement at working with Miranda on his feature film directorial debut. Whether it was filming a scene with actors who were not able to physically share the same space or shooting musical numbers in and around an actual pool, there were plenty of challenges that came along with making this movie, and thus plenty of opportunities for clever solutions to overcome them. Also featured is Stanley Fernandez, offering his perspective on the production working as B camera operator. ...

Read the story here on SOC.org

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WATCH THE TRAILER

MICHAEL FUCHS, SOC Read the story for Michael's bio, and then learn more about his career and projects at IMDb.com. Photo courtesy of Michael Fuchs

CAMERA OPERATOR SPRING 2022

Andrew Garfield and Michael Fuchs, SOC, on the set of TICK, TICK . . . BOOM! Photo by Macall Polay

Filming the pool scenes for TICK, TICK . . . BOOM! Photo by Macall Polay

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A Quiet Place Part II A Symphony in Silence by Matthew Moriarty, SOC

Emily Blunt as Evelyn and Noah Jupe as Marcus in A QUIET PLACE PART II. Photo by Jonny Cournoyer

SOCIETY OF CAMERA OPERATORS · SOC.ORG

A Quiet Place Part II, the follow-up to the 2018 smash hit, picks up immediately in the aftermath of the previous film as the Abbott family searches for a new home in a post-apocalyptic world stalked by ferocious alien creatures that hunt based on sound. The sequel, ON SET • Titan H C E T written and directed once again by John Krasinski, was met with ne Technocra ripTrix 50-foot critical acclaim when it released in early summer of last year. Head • G ra ib L • COS ne

Cra e • CMO Miniscop t o fo Moves 2 •1 m • Cine e t s y S l ontro Slider • Motion C otorized M & d a He Lens Remote n 20mm io is v a n a P

Matthew Moriarty, SOC—fresh off his nomination for Camera Operator of the Year—took time to write about lessons learned while working on this picture. From the value of assembling a strong team of talented artists and technicians to the importance of adhering to a decisive visual philosophy, Moriarty shares his insights into what made the film the success it was, and along the way provides a few glimpses at what went into making some of the film’s most dynamic scenes. ...

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Read the story here on SOC.org

WATCH THE TRAILER

MATTHEW MORIARTY, SOC Read the story for Matthew's bio, and then learn more about his career and projects at IMDb.com. Photo courtesy of Mattehw Moriarty

CAMERA OPERATOR SPRING 2022

Matthew Moriarty, SOC, with director John Krasinski. Photo by Jonny Cournoyer

Millicent Simmonds as Regan and Cillian Murphy as Emmett in A QUIET PLACE PART II. Photo by Jonny Cournoyer

SOCIETY OF CAMERA OPERATORS · SOC.ORG

Emily Blunt in A QUIET PLACE PART II. Photo by Jonny Cournoyer

Matthew Moriarty, SOC, with director John Krasinski on the set of A QUIET PLACE PART II. Photo by Jonny Cournoyer

CAMERA OPERATOR SPRING 2022

BY JENNIE JEDDRY

What’s Your Story?

I grew up surrounded by 20,000 acres of logging land in the Snow Belt of western New York State. It was me and my mom, off the grid, in a house that she had built while putting herself through college in the 1960s by cleaning horse barns. It was a solitary childhood and, though lonely at times, it cultivated in me an ability to take time to observe the world around me. My dad bought an Argus C3 on shore leave during his time in the war in Vietnam. That was the first camera I loaded. My grandfather—“Grandpire,” as we called him—was a chemist. He was a film preservationist in his spare time and loved old horror films. Thanksgiving dinners were often followed not by a football game, but a family viewing of Nosferatu. My grandmother, who lived in a fishing village in Nova Scotia, used to hold our attention for hours with her big-hearted humor. We would pour more hot water over our Red Rose tea bags, listen and laugh, only to find midnight had come and gone.

From the rental house, I entered the union as a loader when most projects were still being shot on film. I worked as a camera assistant for a decade before becoming an operator, and then added Steadicam to my skill set. Through operating, my craft had become my passion, a place I could spend the rest of my life. What I find most rewarding is the element of cohesion, of being in step with a dolly grip, an actor, a focus puller—all silently working toward a common goal while the rolling lights are flashing. On the best days, it gives me that transcendent sense of synchronicity I’d experienced in the band, rowing on the crew team, or cooking on the line. Every day on set there is a chance to invite someone to see what I see or, perhaps, to feel the story through my frame. That is the poetic collaboration we all crave. I have always been a storyteller like my ancestors. I feel so grateful that through this craft I’ve found my favorite way to do it.

When I was 18, I moved to New York City. I was a drummer in a Queer feminist punk band, waking up to using my voice and sharing my reality through art. That same year I was invited through my university to take a course at the (then free!) Cooper Union School of Art—Film One. The class had six students in it—incredible young artists working in other disciplines. It was a chance to explore the “seventh art” with no strings attached. There was no pressure to produce, no mention of the word “industry.” It was a chance to fall in love or not. I did. In the years following, my devotion to filmmaking grew. I committed my time to working as a cameraperson. I shot for free on many documentaries. I made my living as a line cook. These were rich years. Not financially, but for me as a person. I never felt I was capturing images, as camerawork is sometimes described. I felt I was inviting other people to see what I saw, introducing people to the world who deserved introduction, but had no stage. What power! What responsibility! What would it be like to make my living behind a camera? The summer my grandmother passed, I walked into the old Panavision on 36th Street and was hired as a prep tech. I felt at home among the shelves of camera parts and aging custom gear reserved for legendary assistants. I stayed late to make sure the BarTechs were working, organized drawers of ground glass, and enjoyed dinners from the vending machine on the third floor.

JENNIE JEDDRY Jennie Jeddry is a devoted camera/Steadicam operator based in New York City. When she is not behind a camera, Jennie can be found in a bike lane or in the kitchen cooking with her family. Most recently, Jennie’s remote head tech accompanied her from set to a Manhattan hospital where, in the days to follow, her second son was born. Jennie lives in Brooklyn with her amazing wife, Kim, and her beloved sons, Émile and Marcel. She is proud to have contributed to such notable projects as The Humans, Reservation Dogs, Billions, The Politician, Hustlers, and The Punk Singer. Photo by Wilson Webb, SMPSP

SOCIETY OF CAMERA OPERATORS · SOC.ORG

CAMERA OPERATOR SPRING 2022

Insight BRIAN AICHLMAYR What was one of your most challenging days in the industry? One of my most recent challenging days was doing high-speed Russian arm work on the Circuit of the Americas racetrack in Austin, Texas, focusing on high-speed vehicles while grabbing beauty shots during sharp turns and hard stops. Who is the person who helped you most in your career? The person who helped me the most in my career is the late Larry McKee. He was the one who got me started and pushed me to tackle bigger and better projects through the years. I wouldn’t be where I am without his confidence in me early on. Photo by Luis Pena

What is the most important improvement you would like to see in our industry? I would like to see equal and diverse opportunities for all. Credits: Untitled Mo Amer Project, Season 1, Netflix; Frybread Face and Me; USAA Currently Serving, GoGo (NSX Reveal), Houston Methodist Hospital (commercials)

DEREK JOHNSON

Photo by Derek Klein Films

What is your most memorable day in the industry? I was working as unit stills photographer for Grey’s Anatomy in Seattle. I truly love the big productions, and this one was exceptionally big for our market. We had five camera teams, one heli unit, production owned a section of downtown, we took to the ferry for some exteriors, and we worked 20 hours for three days in a row. We used dollies, Steadicam, gibs, drones, three semi’s full of everything, and we used most of it. I worked side-by-side with the A camera team and the DP. This was my third gig with this crew and we had a great rapport. This was a great opportunity to flex our creativity and I had an active role in collaboration with the camera team. This was a dream for me, and I often refer to it as my “aha” moment for moving into filmmaking full time. Credits: Grey’s Anatomy; Healing Waters; In Memoriam: New York City, 9/11/01 (HBO)

EMMANUEL PEREZ, SOC What is your most memorable day in the industry? Any time I get to work with a musician I like it is always memorable, but the most was getting to work with Snoop Dogg on his New Year’s special in 2021.

Photo courtesy of Emmanuel Perez

What is the job you have yet to do but most want to do? I have shot all types of television—reality TV, game shows, late-night talk shows—but I have always wanted to be a part of a multi-cam sitcom comedy. I grew up watching them so I would love to do one. What is the most important improvement you would like to see in our industry? I would like to see a better work/life balance and a higher appreciation for camera operators because it’s a technical skill and also the job takes a toll on our bodies. Credits: Bait Car, truTV; Tengo Talento, Mucho Talento, Estrella TV; Lo mejor de ti con Chiquis, NBC Universo; Attack of the Show, G4; Chickenfoot: Get Your Buzz on Live, DVD

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ITS: Insights,Tips & Stories Video tutorials by SOC Active members sharing their personal insights into camera operating, tips that they have learned throughout their career, and on-set career stories.

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 Working with the On-Set Dresser

Being a Chameleon

Camera operator Mitch Dubin, SOC, touches on the importance of the camera operator working closely with their on-set dresser at all times.

Camera operator Andrew Mitchell, SOC, explains what it means to be a "chameleon" on set.

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Unscripted Versus Scripted

Getting Started as a Steadicam Operator

Camera operator Gretchen Warthen, SOC, breaks down the difference in the “unscripted” camera hierarchy compared to the scripted.

Camera operator Kirk Gardner, SOC, shares a few helpful tips for getting started as an aspiring Steadicam operator.

SOCIETY OF CAMERA OPERATORS · SOC.ORG

Being a member of the Society of Camera Operators gives you access to the Camera Operating Series in partnership with AFI; priority and discounts on training; invitations to events and screenings; over seventy hours of videos; members only mentorship program. JOIN NOW

The Society offers multiple levels of membership: Active, Associate, Student, Educator, and Corporate. For a full description of benefits, costs, and qualifications, visit SOC.Org/Membership-2021.

CAMERA OPERATOR SPRING 2022