THE ART OF CAMERA MOVEMENT
OPERATE OUTSIDE THE LINES WITH OUR NEW TRX OFF ROAD TRUCK
Gretchen Warthen,
OPERATE OUTSIDE THE LINES WITH OUR NEW TRX OFF ROAD TRUCK
Gretchen Warthen,
I hope this message finds you healthy, happy, and excited to be part of the SOC. Our 2024 Awards celebration was a rousing success, acknowledging the amazing work of 2023 and honoring those who cut the trails the rest of us have been fortunate to follow. I was proud to host an event that lifted everyone’s spirits while remaining faithful to what our industry has faced over the last several years, and I again express my huge thanks to the SOC’s Executive Director, Kristin Petrovich, and her amazing staff, for pulling off a magical feat yet again.
But the SOC isn’t resting on its laurels. Education Committee Co-Chair Geoffrey Haley led another hugely popular Operating for Action workshop in Atlanta just this past February. We’re planning another hands-on crane and gimbal workshop for East Coast members on May 31st in New York City (follow us on Instagram @SocietyofCameraOperators for breaking news and signup info).
The SOC hosted three workshops at NAB this year: Women’s Operating; Cranes, Dollies, and Motion; and Designing the Shot. A big thanks to Shanele Alvarez, SOC; Bonnie Blake, SOC; Dawn Fleischman, SOC; Dave Frederick, SOC; Jenny McShane; and Aymae Sulick, SOC, for their leadership and contributions, and for the critical support of Local 80; DeJon Ellis, II; Sergio Gutierrez; and Corporate Members Chapman Leonard, Able Cine, and PRG, not to mention the many volunteers that gave their time and expertise.
We’re also looking at custom-tailored hands-on workshops for the growing contingent of live broadcast and sports operators within our membership, which, by the way, continues to expand faster than we might ever have imagined.
I wish this message could be entirely positive but I must inform you of the recent passing of former SOC President David Diano. In addition to his long and storied relationship with the legendary cinematographer William Fraker, ASC, David was among the industry’s most universally beloved people. I worked with David in 1999 and will never forget his kindness, calm, and astonishing skill as a camera operator. He was one of the greats, and on behalf of the SOC, I extend our deepest sympathies to his wife, photographer Gemma LaMana, and his two sons, David and Sean.
I hope those of you reading this are back at work, gainfully employed practicing the craft we all love. If not, we wish you resilience and courage, and we pledge to continue the important work of educating not only our members, but the whole industry, on the craft of the camera operator.
Fraternally,
Matt MoriartyThe Society offers different levels of membership for individuals and manufacturers in the production community – Active, Associate, Educator, Student and Corporate.
President Matt Moriarty
1st Vice President Mitch Dubin
2nd Vice President David
Emmerichs
Secretary Dan Gold
Treasurer John “Buzz” Moyer
Sergeant-at-Arms Gretchen Warthen
BOARD MEMBERS
Dave Chameides
Don Devine
Mitch Dubin
David Emmerichs
Michael Frediani
Dan Gold
Geoffrey Haley
Nikk Hearn-Sutton
Rachael Levine
Sarah Levy
Jim McConkey
Matt Moriarty
John “Buzz” Moyer
Sharra Romany
Gretchen Warthen
Awards
Craig Bauer, George Billinger, Dan Gold, Geoff Haley, Bill McClelland, John “Buzz” Moyer, Jan Ruona, Benjamin Spek, Dave Thompson, Rob Vuona
Charities
Brian Taylor, Ryan Campbell
Historical
Mike Frediani
Membership
Dan Gold, Dan Turrett, Gretchen Warthen
Corporate Members
Craig Bauer, George Billinger, Mitch Dubin, Dave Frederick, Simon Jayes, Sarah Levy, Bill McClelland, Jim McConkey, Matt Moriarty, Dan Turrett, David Sammons
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
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
Inclusion
Sharra Romany (Co-chair), Nikk HearnSutton (Co-chair), Olivia Abousaid, Shanele Alvarez, Alfeo Dixon, Pauline Edwards, Alexandra Menapace, Jeremiah Smith, Lisa Stacilauskas, Gretchen Warthen, Mande Whitaker
Executive Director Kristin Petrovich
Finances Angela Delgado
Calligrapher Carrie Imai
Publishing & Executive Editor
Kristin Petrovich
Art Director Cyndi Wood
Studio Liaison & Clearances
Kim Fischer
Features Writer & Producer
David Daut
Copy Editor Cyndi Wood
Social Media Producer
Ashlie Sotelo, Your Voice Social
Advertising Jeff Victor
Video Editor Alex Hemingway
Manuel Branáa, SOC
Neal Bryant, SOC
David Daut
John Densmore, SOC
Mitch Dubin, SOC
Braden Haggerty, SOC
Robert Hollingworth
Henry Keep
Sarah Levy, SOC
Juanjo Sánchez, SOC
Ashlie Sotelo
Lisa Stacilauskas, SOC Gretchen Warthen, SOC
Cyndi Wood
Julien Zeitoutni, SOC
Courtesy of Manuel Branáa
Courtesy of National Geographic
Courtesy of Netflix
Jairo Cruz
Rob Gilbert
Liane Hentscher/HBO
Peter Kramer
Kristina Lally-Berceau
Mariana Morales
National Geographic/Tom Oldridge
National Geographic/Nathan Small
National Geographic/Euan Smith
Imani Nelson-Grant
Ethan M. Sigmon
Advertising: Membership@SOC.org
Digital subscriptions: SOC.org/co
Newsletters: SOC.org
Camera Operator is a quarterly publication of the Society of Camera Operators
The ALEXA 35 Live - Multicam System brings the cinematic 4K ARRI look, unrivalled HDR, and a new level of creative control to live productions in a dockable multi-camera setup. The system combines the ALEXA 35 Live camera with ARRI’s new fiber offering, the Live Production System LPS-1, and a slew of bespoke accessories. Incorporating the full functionality of a system camera, it offers a complete solution that seamlessly integrates into existing live production environments, including sports, esports, concerts, live stage events, corporate productions, talk shows, and many more.
Meet the Crew introduces you to the team that brings Camera Operator to life, like Cyndi Wood, Art Director and Copy Editor.
My role with the SOC is . . .
As Camera Operator's Art Director and Copy Editor, I have the honor of working with the rest of our team on the design and production of each new issue. This includes the online multimedia magazine, web stories, and emails promoting each issue.
What about your involvement in the SOC is the most gratifying for you?
I find everything that we do to tell the stories of camera operating through the magazine to be extremely gratifying, from helping refine the stories to selecting the images. I am especially grateful to have been able to design and produce the multimedia version of Camera Operator to better tell these stories.
What do you find inspiring about the SOC?
The behind-the-scenes aspects of each story are so facinating, and I am in awe of the inventiveness and dedication of the camera operators and crew to excell in what seems, to me, to be extreme conditions and almost insurmountable challenges. In just this issue alone we have two great examples: shooting in snow and extreme cold in Society of the Snow and filming the tiniest of insects with miniscule lights and lenses in A Real Bug's Life.
What might surprise members about you?
I'm a bit of a science nerd and an avid science fiction fan, so I especially enjoy learning about the evolving virtual technologies being employed in this genre and beyond. Also, in an interesting turn of events, I traveled to Uruguay for the first time while working on this issue, which has Society of the Snow as one of our feature stories. What a lovely country!
Outside the office, I . . .
I live in northern New Mexico, land of divine light and magnificent landscapes, so being out in nature, especially hiking, is always a treat.
Consorting with capybara in Uruguay— truly Rodents of Unusual Size!
The Society of Camera Operators celebrated both Black History Month and Women’s History Month by giving Black and womanidentifying Members a platform to share their work and career through collaborative posts.
Members prepared their features to publish through the months of February and March, and they were showered with love from their SOC community, crews, and those aspiring. The 2024 organic social celebrations collectively reached over 225,000 and received nearly 30,000 engagements, further advancing the SOC Diversity and Inclusion Committee’s efforts in the industry. Thank you to all Members who were featured this year—we continue to celebrate your work!
SOC Members featured included Adeshola Adigun; Joshua J. Argue, SOC; Amber Bournett-McClain; Chels Briseño, SOC; Michelle Clementine; Kate Eccarius; Jennie Jeddry, SOC ; Quenell Jones, SOC; Meg Kettell, SOC; Kate Larose; Rachael Levine, SOC; Megan Masur, SOC; NAOE; Lisa Sene, SOC; Jeremiah Smith; and Marques Smith, SOC. Check out SOC's Instagram @societyofcameraoperators to see the full series of posts.
The SOC offers online and in person workshops and learning for members in all categories.
LOG ON TO SOC.ORG FOR EDUCATION OFFERINGS.
A Conversation with Juanjo Sánchez, SOC & Manuel Branáa, SOC
By David DautOF
Nominated for Best International Feature at the 96th Academy Awards and winner of the SOC’s Camera Operator of the Year in Film, Society of the Snow recounts the harrowing true story of the survivors of Uruguayan Air Force Flight 571.
Camera Operator had the chance to speak with A camera operator Juanjo Sánchez, SOC, and B camera operator Manuel Branáa, SOC, about working on the film—from shooting in the four different sets used to recreate the fuselage of the crashed plane to what it was like working with the young ensemble cast that portrayed the stranded rugby team. We also discussed their recent wins for Camera Operator of the Year in Film and what that recognition has meant for their careers.
TECH ON SET
• RED Dragon Camera
• ARRI ALEXA LF & ALEXA Mini Cameras
• GoPro • Leica SL2 Camera • Sony FX3 Camera • Panavision T Series & Panaspeed Lenses • DJI Ronin 2 • GPI
Pro 2 Steadicam • DJI Drones •
See the Online Story for More Tech
In October of 1972, a flight carrying the young members of an Uruguayan rugby team crashed in the midst of a storm, leaving 29 people stranded in the Andes mountains with no hope of rescue until the snow thawed. For 72 days, the survivors of the crash had to endure extreme cold, brutal storms, starvation, an avalanche, and the mental toil of isolation as they work together to stay alive and ultimately escape the glacier in search of help. Society of the Snow is directed by J. A. Bayona from a screenplay by Bayona, Bernat Vilaplana, Jaime Marques-Olarreaga, and Nicolás Casariego. It stars Enzo Vogrincic, Agustín Pardella, Matías Recalt, Esteban Bigliardi, Diego Vegezzi, Fernando Contigiani García, Esteban Kukuriczka, Francisco Romero, Rafael Federman, and Valentino Alonso.
A Conversation with Neal Bryant, SOC Hosted by David Daut
At this year’s Society of Camera Operators Lifetime Achievement Awards, Neal Bryant, SOC, and Carey Toner took home the award for Camera Operator of the Year in Television for their work on The Last of Us. For this issue of Camera Operator, we were able to sit down with Bryant to discuss his award-winning work on The Last of Us along with his history in the industry, career highlights, and the awards show itself.
The Last of Us is set 20 years after the outbreak of a fungal infection that transforms those infected into mindless ghouls, the world is in shambles as survivors try to carve out an existence amidst the ruins of society. It is in this world that the gruff, world-weary smuggler Joel meets Ellie, a young girl whose apparent immunity to the infection might represent humanity’s last, best hope for a better future. The Last of Us is based on the video game by developer Naughty Dog and is created by Craig Mazin. It stars Pedro Pascal and Bella Ramsey.
In 1998, Pixar’s sophomore feature film A Bug’s Life showed audiences an “epic of miniature proportions,” cleverly blending the fable of The Ant and the Grasshopper with the structure of Akira Kurosawa’s Seven Samurai. Now, more than 25 years later, National Geographic’s A Real Bug’s Life similarly aims to give audiences a “bug’s-eye view” of the world, this time by showcasing real insects—as well as arachnids and other assorted arthropods—in their natural habitats.
To learn about the unique challenges and groundbreaking technology used to shoot this documentary series, Camera Operator spoke with photographer Robert Hollingworth and focus puller Henry Keep. Whether it was working closely with entomologists to ensure that not even one cockroach was misplaced or creating camera lenses barely bigger than a hypodermic needle, the work that went into capturing these tiny subjects was anything but small.
From the bustling streets of New York City to the pastoral beauty of a country farm, bugs are everywhere. In cracks and crevices, in hay bales and on flowers, and even, occasionally, on your food. Despite their creepy, crawly reputation, bugs are an essential part of our ecosystem, and National Geographic’s new documentary series aims to give viewers a better appreciation for these creatures by letting us see the world through their eyes. A Real Bug’s Life is produced by National Geographic and is narrated by Awkwafina.
In the fast-paced world of filmmaking, handheld camera operating requires skill and technique to achieve smooth and steady footage. In this article we will explore three essential tips for successful handheld camera operating.
First, finding the right balance is crucial to minimize camera shake, so we’ll discuss techniques for maintaining stability and reducing fatigue. Second, we’ll delve into the importance of using support gear such as shoulder rigs or stabilizers to enhance control and precision while lowering the chance of injury. Lastly, we’ll emphasize the significance of active listening to anticipate movements and capture the essence of the scene. By mastering these three techniques, you'll be well on your way to achieving professional-looking handheld shots.
Before we get into support gear, I think it is important to address the key to all handheld, and that is balance. A well-balanced camera build is the key to stable shots and fewer injuries. To know if a camera is well balanced, an operator should be able to simply let go of the camera and it should not fall forward, backward, or sideways off the shoulder.
A centered and balanced build will rest easily on the shoulder and allow the operator to intentionally tilt up or down. If a camera is frontheavy, the simple physical action of pushing the camera up will add instability. If the camera tips/lists to the right because too much support gear has been added to the side, the simple act of pushing the camera back to a level position on the shoulder will cause instability. Instability adds up and can be seen in the shot, especially when the operator begins to fatigue. Instability is quite often not a reflection of an operator’s skill but rather a reflection of a poorly balanced camera.
A handheld camera should be thought of just like a camera on a tripod. The sliding baseplate is used to balance the camera on the tripod head so it will not tip forward or backward. We would never allow an operator to shoot with an unbalanced head. Why then would we ever allow an operator to shoot with an unbalanced handheld build? Think of the tripod head the same as the shoulder and balance that camera!
Six points of contact. The more points of contact between the operator and the camera, the more stable the shot will become. Pointcounterpoint. The weight of the camera coming down is met by the shoulder pushing up. The right hand holding a zoom rocker has a natural push which is met by the left hand holding the barrel for focus. I move my viewfinder so my head rests against the camera and counter push in with my right shoulder. (Yes, my right shoulder is pushing up and in.) When these six points of contact are in place, a shot will be more stable.
Shooting from the hip. I rarely take a knee or sit on an apple box. The human body’s onepoint or center of balance is the belly button. When shooting from the shoulder, the balance is 50/50, when taking a knee it drops to 35/65, when shooting from the hip stability increases to 100% of the potential. This is accomplished using a HipShot, AC Pouch, or anything else at waist level to rest the camera.
Stability aids. Support rigs like the EasyRig, Ergorig, monopods, and Cine saddle-style bags can help add stability for long takes.
EasyRig vs. HipShot vs. Ergorig
Perhaps the oldest camera support system is the EasyRig. This system is a vest which suspends the camera from a cable running through an arm. The EasyRig shifts the weight of the camera to the operator’s hips. Depending on the adjustment of the arm, the weight of the camera can still partially be left on the shoulder for the look and feel of traditional handheld. Besides redistribution of the full weight of the camera off of the right shoulder, the EasyRig also allows the operator to put the camera at exact heights easily. The downside of the EasyRig is that without special attachments, once an operator begins
to move or walk with the rig, the shot can become unstable. The arm also has the tendency to hit low doorways and become caught in low hanging branches, decorations, and other obstacles. This rig is used primarily for narrative, competition reality, or unscripted series where scenes unfold slowly and more predictably.
The second oldest support is the HipShot. Designed 20 years ago by a handheld run-and-gun operator for the grueling world of reality television and follow docs where shooting 5 to 10 handheld hours a day, every day is expected. The HipShot is exactly what it sounds like—a camera support for shooting from hip level. The HipShot takes the weight of the camera off of the shoulder and puts it on the right hip. The body’s center of balance is the belly button and this device gets the camera as close as a camera can be to an operator’s most stable position. The HipShot is perfect for shooting low angles, people sitting at tables, soaking in a hot tub, swimming in a pool, or many other positions lower than standing height. The HipShot folds quickly out to use and away to store when shifting from shooting from the shoulder to the hip. This rig is used primarily in unscripted and documentary where the use of apple boxes, butt dollies, and simply taking a knee are not possible.
The newest of these three go-tos is the Ergorig, which was designed by Jesse Feldman, an operator who, due to an injury, had to stop operating handheld. Jesse’s love of operating led him to create the Ergorig so he could once again run with a camera on his shoulder. The Ergorig is a vest system which distributes the weight of the camera to the hips. Depending on the adjustment of the shoulder piece, part of the weight of the camera can still be kept on the shoulder for haptic interaction between the camera and operator. The Ergorig is perfect for traditional shoulder-mounted shooting where the operator will be backpeddling, moving quickly, or needing to shoot “live” a lot. Another plus to the Ergorig is that a HipShot can be mounted to the side for capturing those stable low angles easily. The downside is that, depending on the camera build, it can be impossible to use the HipShot and the eyepiece at the same time. A monitor mounted to the top of the camera for hip-level shooting would be needed.
Camera Comfort Cushion (CCC) vs. Letus vs. Holzier
The oldest of these three shoulder pads is the Camera Comfort Cushion. Its adjustable strap keeps the pad firmly in place on the operator’s body. The foam construction makes long periods of handheld more friendly to the shoulder, especially when the shoulder rig system is not well thought out. The downside of this shoulder pad is that the straps can be uncomfortable over time, especially for women.
The Letus 35 Pad attaches via Velcro directly to the bottom of the camera and is not attached to the operator. This is often more comfortable for operators than straps. The leather cover makes the pad comfortable when it contacts the skin on a shoulder and helps keep the camera from slipping. The downside is the foam construction does squish down during long takes.
The newest pad on set is the Holzier Pad. What makes this pad unique is the three-layer construction which includes a layer of steel. The top layer is leather, which mimics human skin and helps keep the camera from sliding off of the shoulder. The second layer is steel, which distributes the weight across the shoulder and never squishes down over time. The third layer, which contacts the shoulder, is a firm foam layer for comfort. The pad arrives in the mail flat and you will need someone to help you bend it to the shape of your shoulder. Once this is finished, the pad straps to the operator much like the CCC. This is the answer for narrative camera builds, which are tripod builds without shoulder pads. I know, I know, why assemble a handheld build without proper padding options? Quite often this comes down to poor design by the manufacturers who focus more on chip design than actual user-friendly builds (don’t get me started).
But, before we get into gear to help listening, let’s talk about dialoguedriven coverage.
I always start any conversation about documentary and reality shooting with a lecture on “dialogue-driven” content. In dialoguedriven unscripted and reality productions, the camera operator’s role extends beyond just capturing visuals. They must also be an active listener to the ongoing conversations and interactions. Here’s why it’s important:
Anticipation. By actively listening, the camera operator can anticipate who is going to speak next or react, allowing them to position the camera accordingly and capture the moment effectively.
Capturing Reactions. Often, the reactions to what is being said are as important as the dialogue itself. By listening, the operator can swiftly capture these reactions, adding depth to the narrative.
Understanding the Story. Active listening helps the camera operator understand the unfolding story better. This understanding is crucial to make informed decisions about what to focus on and when to change angles or shots.
Maintaining Continuity. In unscripted and reality shows, conversations can take unexpected turns. By listening, the camera operator can ensure continuity and coherence in the visual storytelling despite the unpredictability.
Enhancing Drama. The operator can use the camera to heighten the drama or emphasize certain aspects of the dialogue. This can only be done effectively if they are actively listening to the conversation.
Avoiding Mistakes. If the operator misses a crucial piece of dialogue, they might also miss an important shot or reaction. Listening helps avoid such mistakes.
In essence, a camera operator in dialogue-driven unscripted and reality productions must be as engaged in the conversation as the participants themselves to effectively capture the essence of the narrative.
To achieve the greatest flexibility while listening, 99.99% of my career is spent wearing a surveillance-style headset—the small, low-profile, comfortable, hardly noticeable in-ear style made by Arch Wireless. The version with the coiled cable works best because it adjusts as I move quickly from shoulder to hip to floor with no problem. I can also wear this style of earpiece under over-the-ear HME/PL/ Helecopter headsets if needed.
Over-the-ear headphones are great if you are a one-person-band and doing both audio and camera. In these situations being able to hear audio in stereo in both ears is critical. Over-the-ear headphones are also great when shooting in a noisy environment like a nightclub, assembly line, sporting event, or concert. I prefer low-profile Bose headphones because they don’t interfere with my comfort while the camera is on my shoulder.
Hunting headphones are perfect when you need to stay on walkie and listen to cast audio while shooting in loud environments like a concert, near a helicopter, or in a nightclub. Walker’s Razor Slim or ProHear make great low-profile options which don’t interfere with handheld operating. Both have versions with microphones that are built into the headset to allow the operator to hear what is around them if needed, or turn completely off. They also have headphone jacks so I can plug cast audio into them and hear dialogue.
Honestly, price matters for smoothness but all will get the job done when it comes to shooting from the shoulder and moving smoothly while shooting “live.” The nicer butt dollies appear on narrative shoots and usually come from the Key Grip. In unscripted the butt dollies usually belong to operators and are mechanics’ butt dollies from Harbor Freight or an automotive supply store. These butt dollies are perfect for unscripted environments and competition reality where the action is limited to a specific space like a workroom, stage, or other flat-surfaced areas like sports floors.
The custom-made CineStisles slider is limited in movement and only goes side-to-side, which is perfect to protect the over. These butt dollies are perfect for narrative environments where action is controlled. More information about the CineStisles slider can be obtained by emailing cinestisles@gmail.com
Get ready to elevate your handheld game with gear trusted by industry professionals and take your handheld operating skills to new heights.
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OCTOBER 9–10, 2024
How long have you been a camera operator?
I have been an underwater camera operator since 1997 and started assisting in 1991.
What was one of your most challenging shots or challenging days in the industry?
1923 was shot in the underwater tanks in Malta. All equipment had to be brought in from elsewhere, which meant a lot of organizing.
What is your most memorable day in the industry?
Working with Florian Hoffmeister, BSC, on Pachinko shooting a beautiful sequence of a young Korean girl oyster diving. He was really open to my thoughts and the sequence is something I am very proud of.
Who has helped you most in your career?
Rob McLachlan, ASC, gave me my first real operating gigs on Millennium years ago and more recently on 1923 in Malta. He also introduced me to the Sony family, which has really opened up my networking.
What is the job you have yet to do, but most want to do? I would like to direct film and television. I think directing/coordinating second unit water sequences on a big show would be a really cool job.
Credits: Pachinko; 1923; Keep Breathing; Haunting of Bly Manor; Power Rangers
How long have you been a camera operator?
I moved up to camera operator five years ago after being a focus puller for 14 years.
Who has helped you most in your career?
DP Learan Kahanov hired me on Madam Secretary when I re-rated. I was very nervous. His patience and mentorship gave me the confidence that I needed.
What is the job you have yet to do, but most want to do?
I am looking forward to being the A camera operator on the full run of a project.
What is the most important improvement you would like to see in our industry?
As a new parent, achieving shorter days would make the biggest difference in my personal life, while allowing me to pursue this career that I love.
Credits: Billions, Season 6 (Showtime); Severance, Season 1 (Apple TV+); Madam Secretary, Season 6 (CBS)
Video excerpts from SOC Active members sharing personal insights into camera operating, tips learned during their careers, and stories from the set.
Camera operator John Densmore, SOC, gives advice to young and aspiring filmmakers.
Camera operator Sarah Levy, SOC, gives us a look inside the signature camera moves on The Office
Camera operator Lisa Stacilauskas, SOC, offers guidance on getting experience as a camera operator.
Parker Bartlett
Paul Basta
Michael Benson
Rupert Benson Jr
Bob Bergdahl
David Calloway
Jerry Calloway
Steve Conant
Jim Connell
Rick Cosko
Jack Courtland
Elliot Davis
Sam Drummy
Joe Epperson
Ron Francis
William Gahret
Ray Gonzales
Jack Green
Gil Haimson
Peter Hapke
Jim Hoover
John Huneck
Wayne Kennan
Bob Keyes
Norm Langley
Thomas Laughridge
Steve Lydecker
Brice Mack III
Owen Marsh
Bob McBride
Ed Morey
Tom Munshower
Al Myers
Lee Nakahara
Rick Neff
Rik Nervik
Dan Norris
Skip Norton
David Nowell
Wayne Orr
Richard Price
Ernie Reed
Arnold Rich
Randall Robinson
Sam Rosen
Chris Schwiebert
Michael Scott
Bob Seaman
Hal Shiffman
Fred Smith
Roger Smith
Michael St. Hilaire
Ray Stella
Joe Steuben
John Stevens
Carol Sunflower
Joseph Valentine
Ronald Vidor
Jonathan Abrams
Christine Adams
Grant Adams
Mira Ainbinder
Colin Akoon
Daniel Alaniz
Michael Alba
Shanele Alvarez
Craig Anderl
Colin Anderson
Nathan Anderson
Philip Anderson
Dave Anglin
Zefred Ansaldo
Andrew Ansnick
Mariana Antunano
Christopher Aran
Christopher Arata
Greg Arch
Francois Archambault
Joseph Arena
Joshua Argue
Jay Mack Arnette II
Wayne Arnold
Eli Aronoff
Ted Ashton Jr.
Sébastien Audinelle
Mark August
Grayson Austin Andrei Austin
Daniel Ayers
Lonn Bailey
Blaine Baker
Scott Baker
James Baldanza
James Ball
Steven Ballou
Kenton Barber
Jeff Barklage
Peter Barta
Dominic Bartolone
Craig Bauer
Vincent Bearden
Jonathan Beattie
Jonathan Beck
Stefano Ben
Adam Berman
Justin Besser
George Bianchini
George Billinger
Daniel Bishop
Bonnie Blake
Simon Blouin
Jeff Bollman
Manuel Branaa
Chels Briseño
Hilaire Brosio
Garrett Brown
Scott Browner
Neal Bryant
Stephen Buckingham
Barret Burlage
Jake Butler
Justin Cameron
Stephen Campanelli
Jeffrey Canfield
Stewart Cantrell
Jake Capistron
Jose Cardenas
Michael Cardenas
Jeffrey Carolan
Gaston Carrizo
Michael Carstensen
Eric Catelan
Quaid Cde Baca
Vincent Cerone
Frederic Chamberland
Dave Chameides
Benjamin Chaves
Charles Chen
Joe Chess Jr.
Damian Church
Jessica Clarke-Nash
Craig Cockerill
C. Scott Coleman
Nathan Conant
Kris Conde
Andrew Conder
Robin Darius Conz
Brown Cooper
Fares Corbani
Gilles Corbeil
Luke Cormack
Ross Coscia
Javier Costa
Richard Cottrell
Tom Cox
Donnie Crawford
Rod Crombie
Bradley Crosbie
Jeff Crumbley
Chris Cuevas
John Christopher "Chris"
Cuthbert
John Dabrowski
Dani Dagher
Joshua Dallera
Nicholas Davidoff
Brian Davis
Richard Davis
Peter Davis
Collin Davis
Andrew Dean
Thomas Dean
Michael Deitch
William Demeritt
John Densmore
Joel Deutsch
Don Devine
Vincent DeVries
Kenny Dezendorf
Troy Dick
Alfeo Dixon
Timothy Dolan
Matthew Doll
Tim Dowling
Rick Drapkin
Megan Drew
Scott Dropkin
David Drzewiecki
Mitch Dubin
Orlando Duguay
James Duhon
Daniel Eckler
Doriane Ede
Pauline Edwards
Sam Ellison
Chris Ellison
Jason Ellson
David Emmerichs
Kevin Emmons
Ramon Engle
Daniel Erbeck
Erdem Ertal
Alex Escarpanter
Steve Essig
Timothy Fabrizio
Gregory Faysash
Jesse Feldman
Jeffrey Feller
George Feucht
Yvonne Feucht Chu
Simon Firsht
Montgomery Fisher
Andrew Fisher
Dawn Fleischman
Matt Fleischmann
Michael-Ryan Fletchall
Eric Fletcher
Michael Flueck
Dave Forrest
Felix Forrest
Ian Forsyth
Justin Foster
Ian Fox
Keith Francis
James Frater
David Frederick
Claus Frederiksen
Michael Frediani
Brian Freesh
Steven French
Guido Frenzel
Mick Froehlich
Jeff Fry
Michael Fuchs
Hiroyuki Fukuda
Michael Fylyshtan
Leslie Gaddis
Carlos Gajardo
Aaron Gantt
Kirk Gardner
Paul Gardner
Eric Gerber
William Spencer Gillis
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