Camera Operator Spring 2024

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1 CAMERA OPERATOR SPRING 2024 SPRING 2024 SOC.ORG VOL. 33, NO. 4 SOCIETY OF THE SNOW • A REAL BUG'S LIFE • CAMERA OPERATOR OF THE YEAR: TELEVISION

THE ART OF CAMERA MOVEMENT

OPERATE OUTSIDE THE LINES WITH OUR NEW TRX OFF ROAD TRUCK

Gretchen Warthen,

1 CAMERA OPERATOR SPRING 2024 CONTENTS DEPARTMENTS 2 Letter from the President 6 Meet the Crew 8 SOC on Social 26 Insight Meet the Members 28 ITS Insights, Tips & Stories FEATURES 10 SOCIETY OF THE SNOW No Easy Shots A Conversation with Juanjo
SOC & Manuel Branáa, SOC By David Daut 14 CAMERA OPERATOR OF THE YEAR: TELEVISION A Conversation with
SOC Hosted by
18 A REAL BUG'S LIFE Shrinking
Camera Crew A
Keep By
22 WHAT'S IN MY BAG, PART 2 Behind the Scenes of SOC's NAB Training By
SOC ON THE COVER:
Sánchez,
Neal Bryant,
David Daut
the
Conversation with Robert Hollingworth & Henry
David Daut
SOCIETY OF THE
Netflix Courtesy of Netflix Ethan M. Sigmon 14 10 National Geographic / Nathan Small 18 22
Shooting SNOW in the Sierra Nevada mountains of Spain. Photo courtesy of

Letter from the President

Greetings Members!

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,

2 SOCIETY OF CAMERA OPERATORS · SOC.ORG
Matthew Moriarty SOC President

The Society offers different levels of membership for individuals and manufacturers in the production community – Active, Associate, Educator, Student and Corporate.

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Society of Camera Operators

Board of Governors

OFFICERS

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

COMMITTEES

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

STAFF AND CONSULTANTS

Executive Director Kristin Petrovich

Finances Angela Delgado

Calligrapher Carrie Imai

CAMERA OPERATOR MAGAZINE

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

CONTRIBUTORS

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

PHOTOGRAPHY

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 & 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

4 SOCIETY OF CAMERA OPERATORS · SOC.ORG
Registered trademark / All rights reserved
subscribe now to the multimedia CAMERA OPERATOR and never miss an issue soc.org/magazine/subscribe

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.

www.arri.com/alexa35live
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Meet the Crew

Cyndi Wood

Art Director & Copy Editor

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!

6 SOCIETY OF CAMERA OPERATORS · SOC.ORG

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.

SOC on Social

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.

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Adeshola Adigun, Associate, with DP Tanisha Moreno Rachael Levine, SOC, filming SUCCESSION Chels Briseño, SOC Peter Kramer Jairo Cruz Marques Smith, SOC (as a teen) Kate Eccarius, Associate Jeremiah Smith, Associate Imani Nelson-Grant Mariana Morales

SOCIETY OF CAMERA OPERATORS EDUCATIONAL WORKSHOPS

The SOC offers online and in person workshops and learning for members in all categories.

LOG ON TO SOC.ORG FOR EDUCATION OFFERINGS.

CAMERA OPERATOR SPRING 2024

Society of the Snow No Easy Shots

A Conversation with Juanjo Sánchez, SOC & Manuel Branáa, SOC

OF

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.

10 SOCIETY OF CAMERA OPERATORS · SOC.ORG
Shooting SOCIETY THE SNOW in the Sierra Nevada mountains of Spain Courtesy of Netflix
 WATCH THE
TRAILER

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.

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. . . Read the story here on SOC.org
Courtesy of Manuel Branáa
READ THE STORY FOR THEIR BIOS, AND THEN LEARN MORE ABOUT THEIR CAREERS & PROJECTS AT IMDB.COM
MANUEL BRANÁA, SOC & JUANJO SÁNCHEZ, SOC
12 SOCIETY OF CAMERA OPERATORS · SOC.ORG
Juanjo Sánchez, SOC, shooting SOCIETY OF THE SNOW Courtesy of Netflix Juanjo Sánchez, SOC & Manuel Branáa, SOC, shooting SOCIETY OF THE SNOW Courtesy of Netflix
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Shooting SOCIETY OF THE SNOW in Spain's Sierra Nevada mountains Manuel Branáa, SOC, shooting SOCIETY OF THE SNOW Courtesy of Netflix Courtesy of Netflix

Camera Operator of the Year: Television

A Conversation with Neal Bryant, SOC Hosted by David Daut

14 SOCIETY OF CAMERA OPERATORS · SOC.ORG
Neal Bryant, SOC, accepts the award for Camera Operator of the Year in Television. Photo by Ethan M. Sigmon
Watch the Full Awards Show

Multimedia Feature

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.

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Watch the conversation here on SOC.org WATCH THE CONVERSATION WITH NEAL BRYANT, SOC ABOUT THE LAST OF US AND MORE WATCH NOW  
16 SOCIETY OF CAMERA OPERATORS · SOC.ORG
Nick Offerman in THE LAST OF US, Episode 3 Bella Ramsey & Anna Torv in THE LAST OF US Liane Hentscher / HBO Liane Hentscher / HBO
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Shooting Nick Offerman & Murray Bartlett for THE LAST OF US, Episode 3 Filming Pedro Pascal & Bella Ramsey for THE LAST OF US, Episode 9
/ HBO
Liane Hentscher
/
Liane Hentscher
HBO

A Real Bug’s Life

Shrinking the Camera Crew

A Conversation with Robert Hollingworth & Henry Keep

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.

18 SOCIETY OF CAMERA OPERATORS · SOC.ORG
Animal wrangler Tim Cockerill handles a praying mantis during a shoot for "The Big City" episode of A REAL BUG'S LIFE.  WATCH THE TRAILER National Geographic / Tom Oldridge

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.

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Read the story here on SOC.org ROBERT HOLLINGWORTH READ THE STORY FOR THEIR BIOS, AND THEN LEARN MORE ABOUT THEIR CAREERS & PROJECTS AT IMDB.COM TECH ON SET • RED Gemini • Sony Venice • Phantom VEO 4K • Mamiya M645 • Primes & Macro Primes • Nikon AIS Primes & Nikon Macro Lenses • Macro Gantry–Motion Control • Ronin R2 • GF8 Crane & Dolly Track • Atlas Slider 1.2m • RT Motion Follow Focus
Photos courtesy of National Geographic HENRY KEEP
20 SOCIETY OF CAMERA OPERATORS · SOC.ORG
The crew films an elephant hawk moth emergence in a controlled environment for "The Busy Farm" episode. National Geographic / Nathan Small Assistant producer Euan Smith, animal wrangler Tim Cockerill & DP Robert Hollingworth film a praying mantis. National Geographic / Tom Oldridge
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Animal wrangler Lucia Chmurova & DP Robert Hollingworth on set for the "The Big City" episode National Geographic / Euan Smith A hummingbird hawk moth flies across the moon in "The Busy Farm" episode
of National
Courtesy
Geographic

What's In My Bag Behind the Scenes of SOC's NAB Training

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.

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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!

STABILITY

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.

SUPPORT RIGS

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.

SHOULDER PADS

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.

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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).

LISTENING EAR PIECES & HEADPHONES

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.

EAR PIECES & HEADPHONES

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.

BUTT DOLLIES

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

GEAR LIST

Get ready to elevate your handheld game with gear trusted by industry professionals and take your handheld operating skills to new heights.

FOR THE GEAR LIST, CLICK HERE TO GO TO THE ONLINE STORY

24 SOCIETY OF CAMERA OPERATORS · SOC.ORG

Get Down to Business

New York City is the unrivaled media capital of the world. It’s where cultures, creativity and commerce converge to redefine broadcast, media and entertainment. NAB Show New York is your connection point to it all. Here, innovation is discovered, ideas are shared and connections flourish. Join industry leaders, innovators and influencers to foster collaborations that spark new possibilities and propel careers forward.

OCTOBER 9–10, 2024

25 CAMERA OPERATOR SPRING 2024
JAVITS CENTER | NEW YORK, NY

BRADEN HAGGERTY, SOC

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

JULIEN ZEITOUNI, SOC

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)

26 SOCIETY OF CAMERA OPERATORS · SOC.ORG
Kristina Lally-Berceau
Insight
Rob Gilbert
cinegearexpo.com

ITS: Insights,Tips & Stories

Video excerpts from SOC Active members sharing personal insights into camera operating, tips learned during their careers, and stories from the set.

Advice for Young & Aspiring Filmmakers

Camera operator John Densmore, SOC, gives advice to young and aspiring filmmakers.

Framing for Spielberg

THE OFFICE Camera Moves

Camera operator Sarah Levy, SOC, gives us a look inside the signature camera moves on The Office

Getting Experience as an Operator

Camera operator Lisa Stacilauskas, SOC, offers guidance on getting experience as a camera operator.

28 SOCIETY OF CAMERA OPERATORS · SOC.ORG
 
Camera operator Mitch Dubin, SOC, walks us through framing shots for Director Steven Spielberg.

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29 CAMERA OPERATOR SPRING 2024
AS OF MAY 1, 2024

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30 SOCIETY OF CAMERA OPERATORS · SOC.ORG

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Will Zang

Aiden Zanini

Matan Zanzuri

Shreyans Zaveri

Yiqiao Zhao

Haoxiang Zheng

Scot Zimmerman

Evan Zissimopulos

Andriy Zvir

Timothy Zwicky

EDUCATOR MEMBERS

Cynthia Harrig

Erika Houle

Jae-mo Koo

Gyorgy Laszlo

Rafael Nobre

Ralph Watkins

STUDENT MEMBERS

Genevieve Agar

Reynaldo A. Aquino

Jessica Arzate Cerecedo

Gloria Bali

Zakrey Barisione

Kyle Baughman

Kaeley Beam

Leo Behrens

Ryan Boles

Jarriel Bolusan

James Bragg

Marco Brochier

Raleigh Capozzalo

Salahudeen Cook

Isabelle Cotney

Mihika Das

John Devecka

Mathew Dirnfeld

Erik Eiser

David Ettedgui

Zhili Feng

Jackson Geary

Jonathan Gelfond

Tyriek Gibson

Christian Hall

Christian Heiche

Jamison Huang

Tristian Ibarra Martin

Piankhi Iknaton

Shi Hyoung Jeon

Kate Ketcham

Hannah Kopek

Patrick Krum

Shih-Hsuan Kuo

Shangche Lee

Bocong Lin

Ari Linn

Hanqing Ma

Luisa Madrid

Steven Mangurten

Aaron Martens

Maryn McGaw

William McGinn

Fabian Montes

Zach Morrison

Julie Nhem

Jeongwoo Noh

Andi Obarski

Ivan Oyarzabal

Alexis Patton

Fryderyk Potoczek

Marco Rivera

Paloma Ronquillo

Bailey Salwey

Claudia Sepulveda

Timothy Shin

Nevo Shirazi

EmilyFaye C. Sidorovich

Sika Stanton

Carley Ann Steichen

Evan Swords

Justin Tamayo

Grace Thomas

Mads Fridolin Vejlby

Lydia Velitis

Joewi Verhoeven

Yijun Wang

Eva Wu

Chen Yuan

RETIRED ACTIVE MEMBERS

Anthony Cobbs

David Elkins

Randy Feemster

Bob Hagerty

Kevin Hewitt

Robert Horne

Philip Hurn

Mark LaBonge

Michael Mulvey

David Parrish

Martin Schaer

Kit Whitmore

31 CAMERA OPERATOR SPRING 2024
32 SOCIETY OF CAMERA OPERATORS · SOC.ORG SOC.ORG

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