Camera Operator Jan/June 1998 by Society of Camera Operators

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THE OPERATING CAMERAMAN MAGAZINE

7, NuMBER 2 JANUARY-JUNE 1998 VoLUME

CoNTENTS oF THIS IssuE:

2 3 4 6 10

SOC Web Page Letter from the Editor In Memory of jacques-Yves Cousteau A Tribute to j. David jones Ken Ralston, President of Sony Pictures lmageWorks by Stan McClain SOC 18 Shooting Visual Effects by Dave Stump SOC 22 SOC News and Notes ~> 49 Skydiving Cinematography by Tom Sanders SOC 64 "Let's Start a Camera Company" A Brief History of Cl airmont Camera Inc

by Stan McClain SOC VistaVision and Technirama (5th in the Widescreen Series)

84 85

by Rick Mitchell The Art & Craft of the Camera Operator by Bill Hines soc Advertisers' Index Operating Cinematography for Film and Video, by Bill Hines a book review

by Michael A. jones Roster of the Society of Operating Cameramen, Winter 1997

soc

SOC NEWS AND NOTES 22 ShowBiz Expo West by Emme Headroom 24 TechnoCrane Award 26 Tyler Camera Workshop by Stan McClain SOC 29 CineGear Expo 31 Practical Experience 2nd Annual Crane & Remote Head Seminar

by Emme Headroom 38 A New Way of Imaging a Sony Video Seminar

by Emme Headroom 42 Rock & Roll-SOC Style the 1997 picnic

by jacques Arnet 46 Unique People Caring for Unique People: This is What MPTF is All About 47 www.soc.org

January-June 1998

The Operating Cameraman

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EDITOR

Stan McC lain ASSOCIATE EDITORS

Jeff Go ldenberg Bill Hine P osT-PRODUCTION MANAGER

Douglas Knapp A DVERTISING/SALES

Bill Hines

This society has been established to 1 advance the arts and creative contribution of the Operating Cameraman (Second Cameraman, Camera Operator) in the motion picture and video industries. To fo ster and strive f or excellence, artistic petfection and scientific knowledge in all matters pertaining to film and video photography.

C IRCULATION

Amanda Thom pson D ESIGN

PRODUCTION

Lynn Lanning, Double L Design, Glendale DIGITAL I.MAG l G

John R. Clemens ELECTRONIC IMAG ING

Lightni ng Process, Cul ver City PRODUCTION C o oRDINATOR

T Ji.sion, the essential ingreY dient that we as Camera Operators use in our work intrinsically bonds us to children with vision problems. Our organization contributes its full support to the Eye Care Clinic of the Childrens Hospital of Los Angeles.

Katy Colleen O' Harra Tara, Playa del Rey CONTRIBUTORS

Jacq ues Amet Rick Mitchell Bill Hine Georgia Tomai Packard Michael A. Jone Tom Sa nders Stan McC lai n Dave Stump The Cousteau Society PHOTOGRAPHY

Denny Clairmont Bill Hine Chris Con idine Stan McClain Fran~o i Duhamel Tom Sanders Steve Essig Georgia Tornai Packard Sony lmageworks Mike Fredi ani The Cousteau Society

CovER PHoTo

The Operating Cameraman Magazine is

published semi -annually by the Society of Operating Cameramen. For advertising information and artic le submi ssions, please contact: SOC Attn Bill Hines PO Box 2006 Toluca Lake, CA 91610 Phone (818) 382-7070 Copyright © 1997 by the Society of Operating Cameramen

SOC O FFICERS

Stan McClain . . . . . . . . . . . . . . . President Phil Schwartz . . . .. ..... . Vi ce President Amanda Thompson .. .. .. Vice President Terry Harki n . . . . . . . . . . . . Vice President William Molina . . . . . . . . . . . . . . Treasurer Georgia Tornai Packard . . . . . . . Secretary Steve Essig . . . . . .. Membership Chairman Michael E Little . . ... . . Sergeant-at-Arms Bill Hines . . . . . . . . . . . Corporate Liaison Harvey Genki ns . . . . . . . . . . . . SOC Wear Patty Walsh . ... . . . . . . .. . . Administrator BOARD OF GOVERNORS

Mike Genne Michael Jones Alan Lum Li

Joe Epperson Lance Fisher Tom Fraser Bill Waldman

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About the

s.o.c.

Omissions from issue dated July-December, 1997: • Photos accompanying the Mitchell Camera article are © L. Sprague Anderson. • Photo of retired filmmakers on page 8 is © Daily News . • Photo of Michael Frediani with his Cammy was taken by Steve Essig.

The

Operatbtg OnLine Cameraman NEW Magazbte

www.soc.org Chauncey Chapman Michael Frediani

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January-June 1998

Webmaster

Supervising Editor

I'm pleased to announce that this marks my first issue as editor, as I shared these duties with Bill Hines, SOC on the last issue. Bill was very instrumental in guiding me along (my first time ever as an editor) and we worked hard and feverishly to complete the last issue on time. We missed our target completion date by only one week, but the magazine then experienced many delays in postproduction beyond our control and belief. As you can see, those obstacles were eliminated and this issue met all of the production and postproduction schedules. I'd like to thank Bill Hines, SOC for his constant loyalty , and Lynn Lanning for her design and layout work. The last issue created a historical first for us, as Operating Cameraman is now distributed through Barnes & Noble, WaldenBooks , Crown, Borders Books and Music, Hastings, Bookstop, and Bookstar stores nation wide. I'm now beginning the 2nd year of a two-year term as President of the Society of Operating Cameramen, and I look back at '97 as a great year for the SOC. Our 2nd annual crane seminar was well received, and virtually every manufacturer of crane equipment joined us at Universal Studios for a most enjoyable and educational experience. We learned quite a bit on how to produce this event, and we look forward to a less expensive admission fee for the attendees at this year' s hands-on workshop. Our summer picnic and concert drew a much larger crowd too, again with the proceeds going to The Childrens Hospital Eye Care Clinic. This has been a very expensive program to produce and hopefully we'll be able to reduce these costs too, so more can attend, yet raise more money for the Eye Care Clinic in the process. In 1997 we held our first aerial cinematography seminar and practical workshop where several of our members took their first flights as aerial camera operators. This will be an annual event, and we'll start by holding the next one in the summer of ' 98. We're looking forward to this year, as we have several more projects slated. At our Lifetime Achievement Awards, to be held on April 26th, we will pay tribute to the unsung camera operators with our first "Shot of the Year" award. As you know, there are several awards for Directors of Photography, but none exists for a camera operator' s individual merit. (There is a group Emmy award for an entire camera crew.) Our members are quite excited about this truly one of a kind award. 路 The SOC and this magazine have come a long way since its inception, and we are working diligently to expand our horizons. With membership rising in other film production states , it's our goal to spread our training programs into those regions within the next few years. Be sure and visit our website at www .soc.org for a list of upcoming events. Sincerely and fraternally ,

Stan

/Jtcelat;n

Stan McClain President, SOC Janumy-June 1998

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In Memory of Jacques-Yves Cousteau

1910-1997 Honorary SOC member, Captain Jacques Cousteau passed away on June 25, 1997. Original ly, hi s life' s work was devoted to observing and recording the vitality of the living sea. Over the years, however, he became increasingly aware of a constant deterioration of seawater and a substanti al reduction in the abundance of marine life. The years of observation and study eventually revealed that our oceans, the largest part of the earth 's water system, are endangered bodies, thu s linking man to the list of nature's endangered species. With this immediate danger in mind, he created the Cousteau Society in September 1973, dedicated to the protection and improvement of life fo r present and future generation s. Becoming operational in 1974, the non-profit, membership-supported organization now numbers more than 150,000 members , principally in the United States. Today, The Cousteau Society addresses world environmental, economic and social issues, drawing on Captain Cousteau ' s unique status

as a global witness, conscience, and catalyst. Michael Fredi ani , past President of the SOC was honored to have met Captain Cousteau at the Ninth Annual SOC Awards (see Operating Camera man fall/winter 1995/96). Fredian i, a Cousteau Society member since 1977, has this recollection: "Captain Cousteau was just as gracious in person as he was graceful in water and eloquent in speech. Humankind has lost a great leader. " Vilmos Zsigmond, said this of Jacques Cousteau ; "I was deeply saddened to learn of Captain Cousteau ' s passing. As a film student in Hungary his film Silent World inspired me .. . He pioneered the modem day documentary style, which was not only entertaining but also educational. All of my life I had wanted to meet him, and I consider it a great personal honor to have been asked to present him with the SOC 's Governor' s Award .. . His absence has left a tremendou s void, not only in the documentary world, but for all of the human race."

A Partial Filmography Early Films: Silent World (1956), The Golden Fish (1959), World without Sun (1964) The Undersea World of Jacques Costeau: The Desert

Vllmos Zsigmond presented the Governors Award Cammy to Cousteau at the 1996 Awards Banquet, honoring his lifetime achievements as a filmmaker.

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January-June 1998

Whales (1970,1990), Coral Jungle (1970,1990), Sharks ( 1970) Whales (1970,1990), Those Incredible Diving Machines ( 1971 , 1990), Seals (1971,1990), The Water Planet (197 1), Sunken Treasure ( 1972), The Tragedy of the Red Salmon (1974, 1990), The Singing Whale (1975), The Unsinkable Sea Otter(l975), Voyage to the Edge ofthe World (1975), Lilliput In Antarctica (1990), The Flight of Penguins (1975, 1991 ), Beneath the Frozen World ( 1977, 1991 ), Antarctica: South to Fire and Ice (1991), 500 Million Years Beneath the Sea (1977,1990), A Sound of Dolphins (1977,1991), Calypso 's Search for the Britannic (1977), Calypso's

Captain Cousteau made more than 120 natural history documentaries. These film s were a testimony of hi s dedication to educating the world 's population on the importance of understanding the delicate balance of our Eco-systems that nature once provided on its own. His early films were unique in their time and won major awards. In 1968 he began his TV series The Undersea World of Jacques Cousteau which was viewed worldwide. In 1986 he shot a series Discovering the World and ended his career with The Great Rivers. Cousteau made more than 120 natural history documentaries. His early films were unique in their time and won major awards. In 1968 he began hi s TV series The Undersea World of Jacques Cousteau which was viewed worldwide. In 1986 he shot a series Discovering the World and ended his career with The Great Rivers. Even though Captain Cousteau is gone, hjs films and the research through The Cousteau Society will continue to live on. Hopefully the actions of this generation takes towards preserving the world 's waters will continue, and keep his legacy alive for the future children of our planet.

Search f or Atlantis (1978), Blind Prophets of Easter Island (1978), Time Bomb at 50 Fathoms (1978), Diving for Roman Plunder (1978), The Dragons of the Galapagos (1978, 1990), Mysteries of the Hidden Reef (I978 ), The Nile (1979), The Mediterranean, Cradle or Coffin ? (1980), Lost Relics of the Sea (1980), Cries from the Deep (1981 ), Cliperton, Island that Time Forgot (1981), Warm-Blooded Sea: Mammals of the Deep (1982), The Night of the Squid (1990), The Return of the Sea Elephants (1990), The Legend of Lake Titicaca (1990), The Smile ofthe Walrus (1990), Hippo! Hippo! (1990), Octopus Octopus (1990), The Living Sea (1990), Riders of the Wind (1990), La Vie au Bout du Monde (1991 ), Le Poisson Qui a Gobe Jonas (1991 ), The Sleeping Sharks of Yukatan (1991), The Coral Divers of Corsica (1991 ), Great White Shark-Lonely Lord of the Sea (1992), The Green Sea Turtle, Search in the Deep, The Sea Birds of Isabella, The Inc1~edible March of the Lobster, Storms at Hope Bay, The Singing Whales. Rediscovery of the World: Cape Horn, Waters of the Wind (1986), Sea of Cortez, Legacy of Cortez (1986), Haiti-Waters of Sorrow (1986), Channel islands: Troubled Waters, Waters of Contention (1987), Channel Islands: At the Edge of a Human Tide, Days of Future Past (1987), Les Requins de L'fle au Tresor (1988), Pacific Northwest: Lands

of the Living Totems (1988), Tahiti-Fire Waters (1988), New Zealand: The Rose and the Dragon (1988), New Zealand: The Heron of the Single Flight (1988), Bering SeaTwilight of the Alaskan Hunter (1989), Papua New Guinea: River of Crocodile Men, Papua New Guinea: Into the Time Machine, Papua New Guinea-Center of Fire (1989), Thailand-Convicts of the Sea (1989), Borneo, Ghost of Sea Turtle (1989), Borneo, Forests Without Land (1989), Australia, The Last Barrier (1989), Australia, Out West Down Under (1991) , Nauru: The Island Planet (1991), Indonesia I, (1991), Indonesia II, Sumatra (1991), The Last Refuge (1991), Alaska-Outrage at Valdez (1991), Secret Societies of Dolphins and Whales (1993), The Gift of Water (1993), South Africa: Diamonds of the Desert (1996). The Great Rivers: StLawrence: Stairway to the Sea (1982), Amazon-Rigging for the Amazon (1982), Amazon-Journey to a Thousand Rivers (1983), Amazon-New Eldorado, Invaders and Exiles (1983), Amazon-Legacy of a Lost World (1984), Amazon-The New Eldorado, Shadows in the Wilderness (1984), Amazon-The New Eldorado, River of Gold (1984), Amazon-River of the Future, Blueprints for Amazonia (1984), Amazon-Snowstorm in the Jungle (1984). Biographical: The First 75 Years (1990), Pioneer of the Sea, and The Legend of the Calypso (1995).

Janua ry-June 1998

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1-800-621-FILM

A Tribute to

J. David Jones By Stan McClain, SOC President

n July 14th, 1997 we lost a u路ue friend and colleague-motion picture pilot David Jones . He passed away from cancer at a very young sixtyone years old. He was loved and admired by many , and he was fortunate to have

J. David Jones cameraship pilot and aerial unit director May 13, 1936- July 14, 1997

all of his family and many friends with him at his home in the Northern California Redwoods during his last days. At our 1996 Lifetime Achievement Awards Banquet, David was presented our first ever "Mobile Camera Platform Operator Award" for his unparalleled accomplishments as a motion picture pilot He was recognized as perhaps the finest and most gifted motion picture pilot to have ever graced the skies. Few will argue differently. David was a complex person who was kind and considerate, yet demanded those who worked with him be 110% competent He did not tolerate sloppiness or average attentiveness. When David met someone who ate and breathed aerial

cinematography, whether they were a pilot or cameraman, he would share his knowledge, but if you were on the receiving end, you had better have absorbed all of it David did not like to waste people's time, nor would he tolerate people who wasted his . Mr. Jones, as we called him, was a firm believer in the studio system and everyone he helped or worked close with had to earn his or her way to be a part of his team, without exception. Years passed as I paid my dues as an assistant, and in 1982 David asked me to join him in Hawaii on Magnum, P.I. for my first job as an aerial camera operator. I packed my bag for a week's worth of aerial shooting, and twenty-two episodes later, we returned home and began another Don Bellisario TV series Ailwolf For four years straight, David was my pilot, coach, mentor and friend. For the next several years I worked with other pilots and transitioned to the ground, but I found out that no one had mastered the profession of "aerial dolly grip and aerial unit director" like Mr. Jones. We would unite again on Saul Zaentz' sAt Play in the Fields of the Lord, Firebirds, and a few dozen commercials. David had an exceptional reputation and was a no-nonsense guy while on the clock. Off the clock he showed his softer side, his humor, and compassion for his crew. I am very privileged to have been at his side during my formative years and I am indebted to him for his friendship and generosity as my mentor. Bill Hines, SOC, had this to say: "Davy Jones was more than a helicopter and fixed wing pilo路t He was one

January-June 1998

Stan McClain (right) presents the Cammy Award for lifetime achievement to J. David Jones at the 1996 SOC Awards Banquet.

who cared deeply about others with whom he worked and about the shots he was responsible for delivering. Davy had a synergetic relationship with his aircraft and cameramen. When he was delivering a shot, he saw to it that he, the aircraft and the aerial cameraman became one entity, totally dedicated to making the best shot possible under any given set of circumstances. He knew the limits of the aircraft he flew and the cameraman aboard and he flew those limits to get the assigned shot Davy always had the chopper crabbed correctly for a clear shot His expertise and caring dedication will be missed by all who knew and worked with him. " Aerial Cinematographer David Butler wrote: "I value all the times I had with 'Mr. Jones ' and I will always remember him as he was . He was the Admiral and he did a fantastic job of keeping us alive all those years. When we were flying together, I never had to worry about what he was doing, whether we were upside down or heading straight up or straight down. I'm sorry 'Mr. Jones' is gone because he was the best of the best and he will be missed. He elevated the pictures that we worked on and they are better films because of him."

The Operating Cameraman

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The Making of Contact, Part I

Ken Ralston has won four Academy Awards for his work in Visual Effects for Return of the Jedi, Cocoon, Who Framed Roger Rabbit? and Forest Gump. He is currently president of Sony ImageWorks. He was interviewed for this issue by Stan McClain, SOC president. Operating Cameraman: Ken, before we get started perhaps you can give us a brief background on yourself and how you turned your childhood hobby into running one of the most prestigious visual effects companies. Ken Ralston: I started when I was very young and I was fascinated in this line of work and movies like The Seventh Voyage of Sinbad by Ray Harryhausen. I started making movies when I was in grammar school, using an old Kodak 8mm-movie camera, and I started learning by those experiences and stumbling around. There wasn't any information around about visual effects, not like now, where everywhere you look there's another magazine article about what's going on and how to do it with all the tricks. I was fascinated with a magazine called Famous Monsters of Filmland that Corey Ackerman used to edit. It didn' t have much in it about the business , but it did

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have a little taste and a lot of photographs in it. Corey (I had written him a letter) connected me with Ray Harryhausen who was working at a place called Cascade Pictures right here on Seward and Romaine Streets where they did a lot of visual effects commercials-it might have been the first of its kind. Based on an 8mrn movie a friend of mine and I made when we were fourteen, called The Bounds of Imagination, we got a job there. I wound up doing Pillsbury Doughboy, Cricket Lighters and Green Giant commercials, on down the whole line of really bizarre things. I learned an awful lot of things like building sets, stop motion which was my main interest at the time, how to sculpt and cast things in rubber, and a lot of camera work using old rackover Mitchells. And of course, as everyone has done, leaving it racked over while you do a twelve or fourteen hour stop motion shot and realize that you

January-June 1998

didn 't get a frame of film shot, so you learned while doing it. While I was at Cascade, Dennis Muren got a script for some goofy movie called Star Wars and no one knew much

about it except George Lucas was involved and I hadn ' t even seen American Graffiti yet, I had only seen THX1138 , and loved it. Dennis went on to it and called me to see if I wanted to work on it. I said "Oh, OK," and the next thing I knew after Star Wars had done its thing and George had become "a god," I got a call about doing Empire Strikes Back up at ILM. I said "Well, what the heck." I

thought I'd have six months worth of work and I ended up staying there for about eighteen years. I decided to come down here and try something bigger and more grandiose, so now I'm president of this and also still supervising off and on as you know. OC: Some of the concerns that the camera operators have are that a lot of the work is going in new directions, such as CGI and visual effects types of photography. Can you give us as an idea of what the daily requirements or regiments are for these camera people and what an average day is like for them ? KR: An effects operator varies. If you're doing motion control work, a camera operator is really someone I rely on more as a DP with all the other skills that are involved with programming all the material into the computer, so it's really a cross between a cameraman and an animator. Basically they do all the lighting and are in charge of the whole deal. That' s just what I used to do when I was starting up . Then it varies. Like for high speed photography, they ' re relied

With this issue The Operating Cameraman will begin covering current major films and TV shows as a part of our new outlook. In this issue we feature two articles about the motion picture Contact. This interview with four time Academy Award winner for Visual Effects Ken Ralston is followed by an article written by visual effects cameraman David Stump, SOC. upon to know as much about the effects OC: There' s one shot in Contact that side of the business as they can because a lot of people are discussing. On America there' s so many oddball quirky things Online' s Cinematography Board, everythat you need to do to shoot this stuff. one was talking about the shot where the The more they bring to the table, the young girl runs up the stairs. She turns a happier I am, and the more I can trust corner, goes into a bathroom and when she them and I don't have to oversee every reaches for a mirrored medicine cabinet, little thing they ' re doing. So, I appreciate you realize that you ' ve been watching this the more knowledgeable they are about whole scene take place as a reflection in the history of effects, (which is somethe cabinet's mirror. There's a lot of specuthing I generally rarely find, especially in . lation on how that was done. I assume the digital world) , then know what the there was a blue screen process there, but heck is going on with the camera so they since you ' re the horse' s mouth, it would know how to shoot it so it's believable. be fun to hear how that shot was done. =*>

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KR: There' re a lot of other things I am that' s on a horse. But really, the toughest thing about that shot originally was when Bob Zemeckis first threw it at me, it was just trying to get it in my head, exactly what it was I was seeing and try to imagine it and then start to break it down into sections. First of all, I try to approach everything with "What's the simplest possible way to shoot the raw material I need to make this work later so it takes less time on the set?" So I knew I had to get this running shot of

shot because I could move in a little on her to re position her later. So she reached her hand up and pantomimed grabbing at a point in space I gave her (the knob on the mirror) and pulled it open. So as I was watching the takes, I wanted to make sure that how she positioned herself, how she positioned her hand and where it was, the look she was giving, and the believability of the "pull open" all made sense to me. So once we got that piece, and we had it on video, I don ' t think we shot the

medicine cabinet knob in the first element, what actually was there? KR: For a while I had a C-Stand arm there for her to reach to, and removed it later. We also had to have crew removal in the shot because the shot was so complicated and the lens was so wide. There was a point where someone was bobbing up and down in the bottom of frame, so we had to paint him out. So, you cameramen out there, you better work out a little more and run a little faster. OC: Don Burgess, ASC was the first

her starting on the first floor. She gets up and runs up the stairs. We ' re following her with the Steadicam and we also have Bob, who can ' t pile enough things into a shot. He also has the speed control unit hooked up to the Steadicam, so while she' s running, suddenly it ramps up so she' s in slow motion. She runs up, she has to open the cabinet and you realize that you are seeing her reflection-you have been traveling through this reflection throughout the whole shot. The fust thing we shot was her running because that would give me the key to what I had to do for the over the shoulder shot of her. So we spent a good part of the day with Greg Lundsgaard, SOC the Steadicam operator. He had quite a workout; he was basically running backwards up a bunch of stairs with this thing, trying to keep her in frame . The guys were doing the speed control shift at a very specific spot, and Bob knew exactly the second where he wanted that to happen. She ran up towards us, and I knew I wanted to shoot her a little wide towards the end of the

other piece for a few weeks. The back end shot had a mirror with a blue screen in it, and had no glass or mirror whatsoever. We started with full blue in frame and on the dolly, pulled back and out of the bluescreen. During this move she reached up (shooting over her left shoulder), grabbed the real knob and pulled the mirror open. She grabbed the medicine and left, and someone slowly, just by hand, closed the mirror back, just at the right speed, and that was that element. Then we shot an element of the wall, which had the photograph of the father and daughter on it, and placed it on the blue screen area on the return of the mirror to its closed position. We also added dirt and a beveled edge on the mirror. It took a lot of work to match the hands up because when she reached up in both shots, they really weren ' t exactly right. So we did a lot of cutting and pasting on her arm, removing fingers, shifting fmgers, and changing the speed of her reach so it would all make sense. OC: When she actually did her pantomimed reach to the invisible

cameraman. For being such a young man and succeeding the way he has, he obviously has to have a lot of positive attributes on his side. As the cinematographer he had to capture all of Bob's visions, and in many cases the two of you had to collaborate. Can you tell us about the dynamics of your relationship with him? KR: Normally, because I have a strong camera background, I like to connect with the Director of Photography as close as I can, and Don and I have worked together in a lot of different ways when he was 2nd uniting on Bob' s other shows. With Gump and now this, we get along great. At the pre-production meetings with Don, the operator, Bob LaBonge, SOC would be there also. We'd hear all the visions that Bob Zemeckis wants, then as time goes on we' d start to break down what's really necessary, away from the director, and talk about the kinds of things we need to do and the kinds of things I'm looking for. Now when we' re really shooting on the set, Bob LaBonge would take note =*>

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while I would describe as clearly as I could, about what we were going to see in the shot that would be put in later. This way the (1st unit) camera department could get an understanding on what we might want to do , and frame the camera or position it so as to leave room for the effect that would come in later. There ' s a lot of give and take and a lot of talking back and forth , and after they'd shoot a shot, the operator would come back and ask, "Does this make any sense at all ? Am I framing too high or too low?"

I might respond, "The machine in the background (which will be CGI'd in later) will be taller, so give the talent a little more head room so I can see more sky." I try to get everyone' s imagination going so they can visualize where these invisible things are on the set, which is not very easy to do. In a lot of cases when there's nothing in there you have to talk everyone through the shot, especially like a Roger Rabbit, where these invisible characters are running around and the talent has to react to the animated

characters' constant movements. Even in this show, where you had a lot of odds and ends going on, we all had to pay attention. "If we were really here and that machine was out there or that Harrier Jet was over here and corning in, how would you shoot it?" So what you don't want to have is a shot look like, is too controlled. So if this thing (the jet) blasted in you ' d probably move the camera a certain way so that you feel like you ' re just catching it or look like a real situation where the operator is just

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The Operating Cameraman

January-June 1998

grabbing the shot sometimes. So those kinds of movements get designed into some of the sequences . It' s more like you ' re grabbing that image as if you were flailing around, trying to find what was going on, and there's a lot of that kind of discussion happening . You also bring a lot of art work or model s, if you have them, to show every-

along the cliffs and water with the Wescam where the second CGI time machine was later placed and I noticed that only the footage near the water's inlet was used. (See the illustration, p.14.) Why was that? KR: We never used any of the cliff footage because the movie changed so dramatically. We used more of the stuff we shot before we got into the inlet and

one so they can see what the dynamics of that (invisible) shape is , and they can think abo ut these future elements while they 're doing the shot. OC: You and I spent a fair amount of time in Newfoundland shooting plates

the mountains and all the other elements to piecemeal all of the background that was outside of the control room. OC: In your line of work I would think that you try to put as little as possible on the cutting room floor.

That's timely and awfully expensive. KR: This show wasn ' t too bad that way as far as us getting too down far the line, but there were a couple of real beautiful shots that got taken out of the movie. There's one scene where John Hmt's character, which died towards the end of the movie, gets zipped up in a bag, kind of like a sircoffigas. You then see the space station with earth in the background and the door opens up, where particles and dust fly out, and they jettison his body out. It was a beautiful shot and for some reason it always elicited laughs fro m the audiences during the sneaks, so they cut it out. It was painful because I thought it was a great shot. OC: Ken and I stopped our chat here. His busy schedule included a meeting across town that he had to get to and as we sipped the last of our coffee I asked him what big plans were on his horizon . He responded with "A vacation-my first in many years. " I thanked him for his time and hopefully we'll visi t him again after another one of his great adventures in the world of visual effects.

I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I

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Assistant Cameraman Chuck Bemis In the large Pod Catch Basin, setting up a shot.

The Making of Contact, Part II

by Dave Stump, SOC, Visual Effects Camera ""-a ct is a film that relies heavily ~r. on visual effects to tell a very "non visual effects" kind of story. The visual effects photography had to tell the story without upstaging it, a difficult task under the circumstances. There were several sequences that could only be accomplished with Computer Generated Images and Visual Effects. The story turns around a message from space, a set of instructions to build a huge machine Page 18

The Operating Cameraman

to transport a person to and from another world. The design of the machine itself was such that a model just could not be built, so the task was accomplished using a mix of CGI and Effects Photography. I met with Visual Effects Supervisor Ken Ralston and Visual Effects Producer Debbie Denise to discuss the project during my work on Batman and Robin and we discussed the intangible nature of the kind of visual effects work that the film would need. Some films are set out

January-June 1998

in every minute detail from the start, and some films are a collaborative discovery . Ken had a firm grasp on the work that needed to be done, but somehow still, Contact.was going to be a film that defined itself as it went along . We talked about how to zero in on some of the very ambitious shots Robert Zemeckis wanted for the film, and I quickly realized that I would need lots of good production management help. I suggested that we interview John Radulovic, with whom

I was working on the gigantic second unit of Batman and Robin. John had proven himself priceless with his patience, experience and unflappable sense of humor. With storyboards in hand, I went to the Sony model shop to discuss model construction and model lighting design for the effects sequences. Dave Emery and his crew had many good ideas, and we set out to establish the look of several sequences, first from the study models, then from the actual models as they went together. In particular, we were very concerned with the Pod Catch "Stadium" model , which was to be built over 30 feet tall and almost as wide. The shot was to be:! a quick but elaborate cut of the Pod (containing Ellie) returning from its journey to splash down into a net/water catch basin at the bottom of the Hokkaido machine. We decided that the most effective way to shoot the Pod Catch shot was to do as much of the finished shot in place as possible. A complicated catch net motion control rig was built by Barry Walton and the crew at Sony Imageworks ' camera department. It was a set of clever endless-loop wire rigs to simultaneously move the four comers of the net and the pod model. Motion Control Prep began at the Sony Imageworks' camera department and several other special rigs were begun. Construction on a large vertical track mover was begun to accomplish several shots looking up at the Pod Launch area as Ellie began her voyage. A very large model mover was built to handle the flying shots of Ellie's Harrier flight to the Hokkaido machine. Camera prep began in earnest; an odd combination of motion control, single frame, high speed and VistaVision cameras were readied for the shoot. Assistants Chuck Bemis, Michael Condro and Ned Martin certainly had their work cut out for them. We began our shooting schedule with a long list of elements that the Computer Graphics department would need for compositing many of the live action and miniature shots on the =*>

Gaffer Dave Morton and Greg Banta check the Pod Catch Net In the large Pod Catch Basin.

January-June 1998

The Operating Cameraman

Page 19

Dave Stump In rowboat, reading a light meter while setting up a shot to be used In composltlng the Pod Catch.

film. A 10,000 gallon water tank was set up in the Imageworks parking lot, and we tried a wide variety of techniques to generate huge splashes of water against black to use in compositing shots of the Pod Catch and shots of the destruction of

It was refreshing

and encouraging to learn that [Steve] understood the value of good photographic elements as a basis for compositing. the NASA machine. We also shot numerous nights of pyrotechnics to be composited into the NASA machine destruction shots. Several additional nights were spent shooting rain elements against black. We shot fine rain, large rain, blowing rain, howling gales, rain, rain, and more rain to be added to scenes that needed rain.

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At this point I met and began to work with Steven Rosenbaum, supervisor of Computer Graphics and Composing for the film. It was refreshing and encouraging to learn that he understood the value of good photographic elements as a basis for compositing. Every cameraman knows the surge of morale that a crew feels when they know that their effort expended to do quality photography is appreciated. Several weeks into the schedule we moved to Culver Studios to begin setting up for the body of the visual effects work. Eighty feet of motion control track was set up for the Harrier shots. There were three basic Harrier model shots to be done, Ellie's arrival and landing on the ship deck, her departure toward the Hokkaido machine viewed from the bridge of the ship, and a flyaway wide shot of the Harrier headed for the distant machine. Les Bernstein began to rough in moves to fit a model Harrier "passenger" jet into VistaVision aetial plates shot on location by Stan McClain, SOC. I used a special encoder read microscope to track the angular displacements on the aerial plates to add the same movements to motion control moves on the model plane. Several other shots were being set

January-June 1998

up at the same time on adjacent stages so that we could quickly move from one setup to another. A small aircraft eleva-

I used a special encoder read microscope to track the angular displacements on the aerial plates ... tor and a section of flight deck for a shot of Ellie heading for the Harrier were built, set up and shot on the other side of the same stage. Large black velvets were hung so the we could shoot an enormous variety of liquid nitrogen rocket exhaust, smoke and cloud element . A small enclosure was built for a motion control camera to shoot lens flares for the opening "Cosmic Pullback" sequence. The Pod Launch shots were begun on an adjacent stage using a very small motion controlled VistaVision camera to simulate a live action view cut alongside the live action footage. The scale of the model made camera placement and lighting enormously difficult in this

model, but the costs of building larger models far outweighed the difficulty of shooting in such cramped quarters. Because the shot would be distorted by the tremendous illumination of the machine at full power below, the composite could hide more than the usual sins of a normal miniature shot. We did our level best to get thrown out of Culver Studios by shooting dust cloud tests for the machine destruction sequence on another of our stages. The scene called for a huge cloud of flying debris from the machine' s destruction to fly toward and hit the control center. John Cazin and Eric Cook, our physical effects magicians, concocted a system of air mortars to fire mixtures of Fuller' s earth, Bentonite, bone black and micro balloons at our high speed cameras in spectacular fashion . There were a variety of other places in the same scene where dirt elements were used by the compositing crew, but only the camera assistants can really appreciate the cleanup work that goes into getting elements like these. On our third model stage, the construction of the large "Pod Catch" model was near completion. A section of the permanents had been removed in order to rig the endless wire for the motion controlled Pod. Gaffer Dave Morton and his capable crew were busily rigging and hanging 20K lamps everywhere in order to get the 3 to 4 stops over-exposure that we would need for the energy effect of the machine. The motion controlled net tig was placed, three Vista Vision cameras were positioned on motion controlled Pan Tilt heads , and we began programming the move. The actual Pod descent was a simple program, but the voodoo involved in synchronizing cameras with three different shutter angles, three different capping shutters, and three different exposure times was awesome. It took our crew almost a week to produce the elements required to composite the "Pod Catch" shot. There were beauty elements of the model, practical lighting elements, catch net mattes, catch net tower mattes, pod beauty elements, pod bluescreen mattes, pod glow elements, machine glow elements, all used to create a critically important

Filming pyrotechnics for the destruction of the NASA machine scene. This shot became an element in the illustration on page 15.

shot. It is an exhilarating effect that goes by very quickly in the fastest, most consuming part of the story. It is the best kind of visual effect. It is an effect that doesn't get noticed. At this point I must thank the many people who helped make Contact such a great film and such a great experience for me: Ken Ralston and Debbie Denise, who know the importance of good film as the foundation for visual effects; and

Steve Rosenbaum, who always had a refreshing suggestion for something to help. Thanks, too, to the crew at Sony Imageworks ' camera department and to Thunderstone models. Finally, thanks to my hardworking camera crew, and to John Rad and his tireless production staff-and for the dependable dailies at Sony Imageworks-a great experience!

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The L.A. Convention Cernter played host to ShowBiz Expo West.

ShowBiz Expo West by Emme Headroom The Society of Operating Cameramen launched a busy and productive exhibitor's booth at this year's ShowBiz Expo West at Los Angeles' Downtown Convention Center. A crack team of SOC volunteers made sure experienced camera operators were always there to chat and answer questions for the busy three day event June 13-15. Several ASC Directors of Photography such as George La Fountaine and Roy Wagner, made themselves available as supportive members of the team. The long week-

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end flew by in a wonderful flurry of people, equipment, information, and television-film networking. Lance Fisher, with the strong assistance of Georgia Packard, David Robman, Jack Arnet, and Ernie Reed, put together the eye-stunning booth. Georgia assembled a beautiful photographic montage of the SOC Crane Seminar to add to this year's booth displays of the Childrens Eye Care Clinic and the Summer Charity Picnic and Concert Poster. T -shirts, hats, belt

January-June 1998

buckles , and other assorted SOCwear were on sale to raise funds for the Childrens ' Eye Care Clinic, a beloved charity of the organization. Membership applications and technical information spanned a large table creating a wide assortment of conversation topics ranging from "How To" operate many different types of cameras and camera platforms to "Networking and Making Contacts" in order to keep on top of the pulse of those working in the Industry . Assorted SOC members who contributed their time and expertise included and were not limited toSteve Essig, Chuck Barbee, Jim Garvey, William Molina, Gary Armstrong, Dan Auerbach, Paul Babin, Amanda Thompson , Bob Feller, Howie Block, Mike Frediani, John Connell, Bill Hines, David Frederick, Rich Benda, Philip Schwartz, Guy Bee, Terry Harkins, and Bill Waldman. Panavision launched their amazing Millenium camera. Clairmont Camera, Bims and Sawyer, Location Sound and a gazillion fantastic vendors displayed their wares . Britain housed an entire Golden Pavilion tent. Kodak and Fuji offered samples and booklets on their filmstocks with comparisons to videotape and digital formats while editing systems ranging from Apple to IBM/ IBM compatible platforms rang bells and whistles on how wonderful they could make the finished projects look. Not to mention my bag running over with Production Support phone and address booklets, food samples from catering companies, Location tour guides, Actors Guild Directories, Stuntmen Resume Tapes , Special Effects and Make Up possibilities, information guides and rate booklets from Chapman Leonard Camera Support Systems, Shotmaker Company Camera Cars and Cranes, Advanced Camera Systems, Cranes and Dollies also from Technocrane, Cinema Products, Geo Film Group, H & S Logistics, lnnovision Optics, J.L. Fisher, Louma LA, Matthews Studio Electronics, Swiss Crane, Weaver/Steadman, Wescam, and many others. Initials abounded in DGA, PGA, UPMs, ASC, PERA, lA TSE, SAG, and WGA W exhibition booths lined up next to those providing almost any item essential (or not so ~>

essential) in filmmaking like the exquisite slates and front boxes crafted at Sobrante Films and packaged for a very reasonable purchase. I never knew just how many things could be displayed in a 10' x 10' space. My pack-ratting perfectionist mother would be impressed. I now have 6 new key chains, 4 handy flashlights , every trade magazine and periodical published in any format possible, Tshirts and baseball caps with assorted names emblazoned across the front, sunglasses and mugs reminding me of personable production companies, local and foreign film stages, addresses and phone numbers that I couldn't possibly speed dial through in a year, and vivid memories of a very large crane collapsing across a row of innocent vending booths. I was so relieved to see that my good friend Jay Nefcy was uninjured during the surprise event. All of this and the best chocolate chip cookies dunked in French Roasted Hazelnut Cappuccinos I have ever tasted. What more could a film buff want in a weekend? And that was without even signing up for any of the informative seminars and lectures given in the neighboring Convention Rooms . My Newton went through several sets of batteries - I still am adamant about someone needing to create a solar-battery operated power supply, and my Rolodex is overflowing with new additions of essential business cards. I caught up briefly with a zillion friends and met many other impressive Industry folk who I had only read about in darkened film theaters. I even got to shake Laslo Kovaks' hand and tell him how much I loved how he shot My Best Friend's Wedding- you could hardly tell Cameron Diaz had a zit on her chin. After surviving the incredibly busy Expo, I could only be thankful that I didn't have tickets for the event on the East Coast. I think it will take me a year to recover from this one alone. And you can bet I'll be standing behind the Society of Operating Cameramen booth next June ready to shake hands and have stimulating conversations with all of the people from so many different parts of the film world. Be sure to stop by.

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The Operating Cameraman

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Ernie Reed, Georgia Tornai Packard, David Robman, and Lance Fisher at the SOC booth at ShowBiz Expo 1997.

Technocrane Award Bill Hines, SOC Corporate Liaison, presents a certificate to Simon Jayes, President of Technocrane, honoring Technocrane as a new Corporate Affiliate member of the SOC. The presentation was made at the General Membership breakfast meeting at the Motion Picture Home on Sept 13, 1997.

January-June 1998

YOU CAN'T ARGUE WITH SUCCESS. Director of Photography, Julio Macat is no stranger to success. If you total up the worldwide box office receipts from four of his recent feature films, you will pass the one billion dollar mark rather quickly. On the set of "Home Alone 3", Mr. Macat used the new Aniflex Zeiss Variable Prime lenses for the first time. Initially he thought he would just shoot a few scenes with them, but he wound up shooting 90% of the film with the variable Primes.

"They're extraordinary lenses. Once they were mounted on the camera, they stayed there, particularly the 29-60mm VP2. Working with the Variable Primes gives you great advantages. When you're on a crane for example and need to adjust the frame slightly to compose the shot, the VPs make this process easy. That speeds up the production without sacrificing image quality. Everyone wants you to work fast. With the Variable Primes you can change the focal length without changing lenses. You have prime lens resolution and light sensitivity with the convenience of a zoom."

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Attendees listening to Stan's safety portion of seminar.

Pilots Dirk Vahle and Evan Jensen.

By Stan McClain,

soc

he SOC held its first training session for SOC assistants and operators interested in using aerial camera equipment, on September 20, 1997. The event was co-sponsored by Tyler Camera Systems and Helinet Aviation. I contacted Nelson Tyler in August and asked if he would be open to an in-depth training workshop, and an unprecedented event resulted from his company 's efforts. A group of twenty SOC members took advantage of this first ever practical aerial cinematography workshop and seminar. We met at Helinet, a wellrespected aviation company based at Van Nuys Airport and converged on the flight line around a Bell Jet Ranger helicopter. I spent a half-hour sharing my knowledge about helicopter safety, then turned the conversation to the professional relationships that occur between the assistant, operator and pilot. We moved into the hangar where George Tarub, the rental manager of Tyler Camera, had placed Page 26

The Operating Cameraman

Tyler Camera Workshop two Tyler Major Mounts unassembled in front of a Long Ranger and a Jet Ranger. He spoke for an hour and demonstrated how to assemble a mount from the bottom up and how to balance it. Then the members were invited to install the two Major Mounts, one with an Arri III, the other with a Mitchell Mk II. Leading aerial camera assistants Jacques Amet, Mark Leins, Kent Hughes and Greg Collier (all SOC members) were there to help guide the group through the procedures and spoke about the duties and responsibilities that are unique to camera assistants on an aerial unit. Once the mounts were installed, I spoke about techniques I use in my daily work and answered many well thought out questions. We concluded the SOC part of the workshop, then rolled the two helicopters out to the flight line. Those who wanted to experience the Tyler Mount in flight stayed for the next phase. Veteran movie pilot Dirk Vahle, and Helinet's main line pilot, Evan Jensen joined the group as we held a pre-flight production meeting. Dirk's mentor was the late David Jones (recipient of our Lifetime Achievement Award for Mobile Camera Platform Operator). He added January-June 1998

Dirk to his team on several major projects, which included Airwolf, At Play in the Fields of the Lord, Courage Under Fire, Co nAir, and Jag to name a few. There are two basic types of relationships between aerial cameraman and pilots. In traditional filming, the dolly grip or crane operator is subordinate to the camera department in that the DP and operator set the shots up and the grip moves the mobile camera platform per the DP's suggestion. A seasoned movie pilot understands this and knows how to accommodate the aerial operator or aerial DP. Sometimes the camera ship pilot, or mobile platform camera operator, is also the aerial unit director. In these cases, they sometimes like to set the shots up. The key to a successful aerial shoot is where a strong aerial cinematographer and a veteran movie pilot collectively apply their talents and bring together camera movement, composition, and light quality. If one has too much of an ego, only frustration results. Both Dirk and Evan work well with newcomers and seasoned veterans alike. I suggested to our operators, as it =*> was their first time behind the article ,page 29; participants' comments, page 2 7

Here's what some of those who attended had to say: A perfect spot away from the battling producer/ director. I was armed with a shot list, a talented hunk of a pilot, the wind beneath my feet, and a loaded mag. What more could an artiste ask for?! Check and double-check. Silent prayers and then lift off. The earth moved as pilot Evan jensen graced the helicopter off the ground. Quite literally breathless, we climbed high above the story ship for a practice run. I learned to trust that the Tyler mount would take out the shakes (mine and the flight's) and to ease the camera into position . We banked right and I moved forward using my loose seatbelt to measure exactly how far out of the helicopter I could go. What a great vantage point! Quickly my fingertips rolled the actor into focus and put up the correct millimeter. My aim was sterling as visions beyond my expectations danced onto celluloid. The pilot prepared me for any adjustments necessary due to wind/ air pressure/ and any other low flying objects. We danced as one across the sky .. .. I think I am falling in love .. . Sorry, babe. All too quickly we eased our way back across the Valley towards Helinet Aviation Services. Helpful hands aided me out of my safety straps as I planted my feet firmly onto the ground . The grin streaming across my face quickly

betrayed me, for I had left my heart climbing back up in the sky. junior Birdmen beware. -Georgia Packard, SOC ... It was a grand day for flying. A grand day for learning. When you combine the artistry of cinematography with the challenges of flight, you have a most exciting blend, as there's nothing quite so awe-inspiring as aircraft in flight. The SOC Helicopter Seminar, with the help of Tyler Camera Systems and Helinet Aviation, provided such a combination for one glorious day ... After extensive instruction, we finally were airborne where we were able to try out what we learned on the ground . It was so exhilarating that our twenty minutes of flight seems like it was over in seconds. This was a wonderful seminar that I will long remember and participate in again and again. .. -Lance Fisher, SOC The training session was a blast. After setting up and balancing a Tyler Major Mount, off into the wild blue yonder for some practical experience. I'm still exhilarated . Thanks to Nelson Tyler & Co., Stan McClain & the SOC, and to my pilot Dirk Vahle. -Dan Auerbach, SOC ... Stan, I completely welcomed the substantial and informative session you

organized through the SOC. Your personal expertise and tips were especially helpful, not only for those who have never used the system, but also for those of us who haven't used a Tyler mount for several years. This type of information sharing, unfortunately, is sometimes rare in our industry. It demonstrates not only your complete professionalism, but also illustrates the very basic foundation of the SOC. ... Thanks Again. -Bob Moore, SOC .. .I have to tell you, this marks my 35th year in the business and I have never seen this area of opportunity presented before. Aerial Photography and its equipment has virtually been kept a secret art practiced only by a few Pros ... The workshop dealt with every safety issue involved with being on an aerial unit, the theory of how aerial stabilization mounts work, how to balance them, choose the right camera, the do's and don'ts of filtering; in all, four hours of extensive knowledge was shared ... Six of us were able to execute the knowledge gained by participating in actual flight. For the serious cameraman that insists on knowing all equipment and being ready to handle any aspect of cinematography at any time, this course is a career value!. .. -Ronald Vidor, SOC

Georgia Packard and Dan Auerbach try aerial filming. January-June 1998

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Tyler Mount that they listen to Dirk and Evan. The pilots placed their helicopters in a shooting positions and the operators executed the shots. Upon reviewing the videotapes at the end of the training, it was obvious that the pi lots and operators were in sync. I was impressed. Dirk flew the Jet Ranger from the left seat with the Mitchell Mk II and a 5-l zoom mounted in the left rear doorway, while Evan flew a Long Ranger from the right side with an Arri Ill and a 10-1 zoom mounted in the right rear doorway . This way both operators could shoot air to air. In all six people tried their hand at shooting. ~

The Society of Operating Cameramen is a fraternal and educational society whose goal is to share our knowledge with others through our workshops and training programs. We applaud companies like Tyler Camera Systems and Heli net who understand our fosteri ng and nurturing ideals and join us in educating the film and video community. The SOC wishes to thank Dirk Vahle for donating his time; Rick Shuster, Gary Fanell , and Evan Jensen, of Helinet for donating their faci lities and giving our membershi p a disco unted rate for their flight time; Nelson Tyler, Chris Tyler,

Evan Jenson, Georgia Packard, Peter Palm, Lance Fisher, Chuck Schuman, Dirk Vahle, Dan Auerbach. Not pictured: Ron Vidor.

and George Tarub of Tyler Camera Systems for supplying the mounts and sharing a wealth of information; and Jack Arnet, SOC associate member, who helped coordinated the event. For those who would like to learn more abo ut aerial cinematography I

suggest that you go online to www .aerialcinematography.com. SOC associate members Mark Leins and Greg Coll ier have created this excellent site which contains a wealth of information pertinent to this field.

Cine Gear Expo The first Cine Gear Expo was held at Paramount Studios on June 14th. Precision Camera Supports invited us to partake in the festivities by providing us a complimentary table and we took them up on their generous offer. It was organized by Otto Nemenz International and Precision Camera Supports as a hands-on demonstration and it drew an appreciative crowd. They also added a great touch of class by supplying coffee, drinks , and sandwiches for everyone. We spoke with new and old acquaintances about the SOC while the equipment vendors demonstrated their latest equipment and offered hands-on experience for those who wanted to get a feel for the products. This Expo was very relaxing and not overcrowded; thus, we all had the opportunity to spend quality time with the many people who stopped by. Stan McClain, Rick Gunter, Otto Nemenz, and Mike Frediani In front of Paramount, where CineGear Expo was held.

Janua ry-June 1998

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The 2nd Annual Crane & Remote Head Seminar

Practical Experience by Emme Headroom

The Second Annual Crane and Remote Head Hands-On Seminar sponsored by the Society of Operating Cameramen was a smashing success on Universal Studios' backlot. International Photographers Guild Local 600, Motion Picture Studio Grips Local 80, Production Equipment Rental Association and the AMPTP gave assistance to the May 1Oth Saturday event. Enthusiastic support came from Sheryl Fulton, Special Projects and Events Coordinator, Hany Smith, Executive Vice President Studio Operations Group, Universal Studios Rental Division, Event CoChairs Tom Fraser and Bill Waldman of the SOC, and many volunteers to make the day run smoothly. Over 300 attendees gleefully played in the "Big Boys' Sandbox." We joined in for registration around 8:00a.m., ready to plan an attack of which "rides" first. Stan McClain (President of the SOC), George Spiro Dibie (Local 600), and Ed Clare (PERA) gave opening welcomes to orient us with our maps of nearly 30 different mobile camera platforms. Eager to learn how to use these tools efficiently and safely, I was pleased to see that all of the equipment was staffed with experienced grips , camera operators, stand-ins, and technical support to actually set up possible operating situations. I followed actors, fellow camera operators, assistants, and tour buses whizzing by to get a sense of how the different heads compared/ contrasted with one another. What a delight to be treated to the new Shotmaker Eagle dolly and then dash 30 yards to take a test-flight on Chapman ' s dolly systems. Precision Camera Supports' Phoenix Crane caught my attention next. ~>

SOC members experience hands-on practice at the 2nd Annual Crane & Remote Head Seminar. Clockwise from top: Georgia Tornai Packard, Doug Knapp, Amanda Thompson, Steve Essig.

Januwy-June 1998

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More SOC members at the crane seminar, clockwise from top left: Allan Lum Ll and John Connell; Mike Ferra (a vendor as well as a member); George Sprlo Dible addressing the crowd; Jay Nefcy (also a vendor & member); Harvey Genklns with SOC jacket from SOC Wear collection.

Spotting the Swiss Cafe on the corner, I pointed my camera in the direction of frothy cappuccinos and admiring smiles. The crane has great reach and flexibility without having to be too concerned with maneuvering space. Yet standing on ly a few feet away was the Aerocrane and the Aerocrane Jib Arm ready for my greedy hands to grab next. I was in hog heaven . And who was that young guy running aro und with the illuminating slate? What a great invention! J.L. Fisher brought several camera dolly models along with a few Jib arms and a 30' crane. My head was beginning to spin with all of this information. Yet everyone was so helpful in explaining what the equipment was designed for and how crews usually use them on location and/or at the studios. Even though Andy

Romanoff's Louma Akela crane may look like the Russian Filmotechnic International Corp.'s Cascade crane, they have many different operating points. Now I was getting down to brass tacks. Or in the case of the Doggicam, a license to collar all corners at a run . Who was this muscled-man who was holding onto the Movie Tech crane? He moved this heavy metal with the grace of a ballet artist, making my camera operating looking ever so smooth. Over and over again we would execute the "action" sequence to keep all eyes riveted to our large video monitor. Too bad I hadn ' t thought of bringing a tape to record the variety of maneuvers for posterity. What a great addition to a cinematographer' s storytelling. Advanced Camera' Systems'

January-June 1998

Bodycam and Cinema Products ' SteadicamTM were available to strap into, as was Innovision Optics's Campole. And these weren ' t the only pieces of camera support equipment they had to offer! Band Pro ' s digital remote head , Birns & Sawyer' s 90째 curved track, and Roy Isaia' s power pod were only steps away from Mike Ferra ' s Ferraflex and his zippy little remote-control car camera that managed to zig-zag between all of the professional operators' feet. W escam' s gyro-stabilized head soared high on an Akela crane while Weaver/Steadman ' s new DS remote (fully digitalized) head dueled for air space with Telescopic Crane' s 3-axis remote head on the Technocrane. I had to take a moment to catch my breath from all of this excitement! ~>

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Counterclockwise from above: The backlot of Universal Studios on the morning of May 10th, with SOC members flocking to the 2nd Annual Crane & Remote Head Seminar; Stan McClain (SOC hat) chats with Russell Ofria; Bill Hines; Rafael Ortiz-Guzman. Informal picnic box lunches allowed me a chance to compare technical and operating finesse notes with several of my camera compadres. We swapped "you won't believe" stories and "don ' t dare miss" toys for the second half of the day . Like the motorcycle sidecar rig, Geo Fi lm Group's Javelin and Libra Ill , and H & S Logi stics' Giraffe ... much better than any pair of platform shoes I had stashed away in my closet.

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Clockwise from above: another street in the Universal backlot, with SOC members eager to try all the cranes and remote heads available; Patty Walsh enjoys the view; Bill Molina tests some equipment.

And here were several producers and production managers I worked with aski ng about shot execution and design before renting the equipment for some faraway location. Talk abo ut a wonderful way to educate and enlighten motion picture making without the logistical nightmares. Get a clue, guys! A personal favorite was reconnecting with seasoned pros who not only make their livelihood from these mobile camera platforms , but also keep the shots exciting AND safe. Shotmaker' s camera car plaque "THINK SAFETY" is the first and last rule of camera coordination , especially with millions of dollars and egos riding behind these projects. Yes, I definitively wanted to get the very best shot possible and to bring the audience to new gasp levels ... I also wanted to make sure that when the shot was over that it was my driver Leo' s face smili ng at me with deli ght and not the scowl of an EMT medic . I took a moment of silent thanks . Not everyone has been so lucky . Eastman Kodak and Fuji Film provided fi lmstock fo r my stills camera to document this day. The SOC generously made special T-shirts for each participant (si lk-screened by Cinema Graphics) . The participating vendors were li sted on the back of my new souvenir T-shi11 for all to see. Panavision, Otto Nemenz International , Clairmont Camera, Hollywood Camera, =*>

Janumy-June 1998

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Lance Fisher & Bill Waldman try to decide which exhibit to check out next.

Jeff Goldenberg checks out the controls of a crane.

Cogswell Video , Stanton Video, and Wilcox Sound were all so generous to donate equipment and services for my instructional pleasure. Cooperation is ali ve and well and living in L.A .. My participation level was at an all time high. Here the SOC had once agai n brought talented people and equipment together to challenge my sense of imaginative fi lmmaking without the usual production constrai nts of time and money.

Let the Producers WOITY about the deal making while all of us concentrate on effectively and efficiently using our tools. My sandbox is quickly expanding to include many more options as to how to put my camera lens at even richer perspectives. After all, it is the art of picture making that keeps me challenged and alive.

BOGEN VIDEO TRIPODS AND HEADS FOR THE SERIOUS CAMERAMAN

Whether you choose the 3191 Video Tripod with spring -loaded spike t ips or the 3190 with spiked feet, you 'll get a Bogen/ Manfrotto tripod with a sophisticated design and with the features that have become the standard for today·s cameramen . • outstanding strength with double tandem legs • Quick-acting , sure-locking leg locks • 100mm ball leveller • Precision mach ined , high quality castings • variable leg angles And there's a professional fluid head perfect for your requirements. • 3066 - designed for cameras up to 22 lbs., this head offers outstanding , unsurpassed value. • 316 - capable of supporting cameras up to 35 lbs .. this head features an adjustable counterbalance spring , 100/ 150mm ball and smooth effortless operation . • 510 - The top of our line. this model incorporates a 3-position drag setting plus 0 freewheel , adjustable counterbalance spring and is designed with ultra precision in mind for cameras from 8.8 to 19 lbs. With Bogen/Manfrotto Video Tripods and Heads you'll have the perfect combination for the job you want to do and all at a price that's amazingly affordable. see your dealer or write: Bogen Photo corp., 565 East crescent Avenue , Ramsey, NJ 07446-0506 (201l 818-9500

Januaty-June 1998

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With so much riding on every scene, the filters you use must create the results you need , without causing image defects. With Schneider B+W motion picture filters, you will achieve unprecedented image quality without having to employ extensive laboratory timing correction.

We measure each filter 's flatness and thickness with an interferometer, and check its exact color performance with a spectrophotometer, so we can guarantee preci se continuity from your first to your fiftieth Schneider filter, and beyond . In fact, numerous inspections throughout the manufacturing process ensure that every Schneider filter meets our- and your -most critical demands .. . always with identi cal results .

Schneider B+W filters are diamond cut .fi"mn only the .finest crystal-clear. \\'(/fer-white optical glass.

Every Schneider filter is diamond cut from the finest crystal-clear, waterwhite optical glass , which allows maximum light transmission . Then they are ground and poli shed to the same hi gh-quality standards that have made Schneider lenses the finest in the world. So , whether you ' re stack ing filters or shooting in low light, if you want color saturation , special effects, or need to suppress glare or reflections - even when shooting with the longest lens Schneider filters deliver a higher level of quality than you ever thought possible.

Spectrophowmeter exwninmion !!{ e•·cry.filter guara111ee.1· that Schneider B+W.filters de!il'er the sm11e matched performance eve>y time. Superior manuf"acturing ensures plane-parallelism (the precisefla111ess and exact parallel relationship hetll'een .fiwll and !Jack st ufaces).

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Increased Creative Control By helping you produce the effect you want in-camera, Schneider filters put more creative control where it belongs - in your hands. The crystal clarity and precise repeatability of Schneider filters help you get the shot you want the first time and every time, without frustrating A consistemly superior light-path prol'ides more corrected light tltrough stacked Schneider B+W .filters 10 insure pe>fect images, c1ten with the longest lenses.

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high-end pm1able video camcorders." Pre-programming a special look by the cinematographer can be done prior to arriving on the set/location and without those additional committee inputs that usually murmur around the executives' video monitor. At last a chance to save a bit of our creative mystique. Setting up the system was aided by an II step Gray Scale and a Waveform Monitor. (The ll steps provide a 600% Dynamic Range.) Black was set at 7.5 IRE (the "toe") and White at I 00% with

DVW-700 must be opened up 2 stops greater than a 35 mm film to get the same depth of field. the Bloom at 120%. Sync Level registered at -40%. The digital camera system utili zes the same filter factors of 16 mm filmstock and manipulation of color. Standardizing the monitor is always one of the most critical steps and Jeff reminded us to verify 6300Â° Kelvin which is the recently revised Daylight Balance. The camera ' s aperture was set to f8.0, we lit the Chip Chart to achieve I 00 IRE White Level and adjusted our Light Meter to 30 frames per second/400 ASA. We took a light reading, adjusting E.I. to match the lens reading which adjusts an equivalent rating based on T stops. DVW-700 must be opened up 2 stops greater than a 35 mm film to get the same depth of field. Who knew " verifying the effective exposure index" was such a snap! Fortunately, the Sony DVW-700 comes with straight forward text and a guide for set-up. And the technical support people at Sony are extremely helpful with fielding calls. Our seminar' s informational packages were filled with Xerox data sheets , articles, brochures, and Sony ' s Digital Electronic Cinematography booklet to assist the user in cause-and-effect reprogramming, including essential information used at the engineering level. A Set-up card can be

programmed differently for individual cinematographer' s sensibilities, to respond as different filmstock, to handle cosmetic changes for different talent, and to retain effects utilized for certain projects. These reprogrammable cards are available directly through Sony at $325 per card and can be extremely useful to slave multi-cameras together to guarantee a perfect match. Jeff reminded us to be careful about different lens coatings - one of many small important factors that our Digital Electronic Cinematography booklets are filled with, as well as a Camera Operator' s Check list to make sure all options are fully realized . Several positions to choose off these cards include changing the S Curve/ Gamma, Matrix Table (Color Imagery) , Color Balance, Standard Detail , white and black shading, knee/slope, and Enhancements. The shutter may operate at 30 or 60 frames per second with 6 steps from II I 00 to I/2000 through Clearscan (CLS ). Say farewell to most of

those nasty computer monitor roll-bars . This feature also improves images for DI Playback (s low motion) and can be set at 30.4 Hz to 7000Hz (that' s 508 steps to you), limiting "smear" in fast action , bicycle spokes, European lighting correction (50 Hz), fluorescent phasing, and 48 Hz to rid projector flicker. Visions of a dynamite shower: poetry crystallized within individual water droplets, a beautiful curvy nymphet, and tons of foamy bubbles refracting all the luscious colors of the rainbow. And they dare to say we techies aren ' t sensitive artists?! Those cute little white and black detail clips allow me to limit overshoots, so none of those airy-fairy halos that usually pop up around the image's edges would dare show up on my brilliant footage. Heads shake with disbelief from hearing that the Super EVs provide an additional 50 lines of vertical definition, but shouldn ' t be used in fast motion. After gentle reminders to set the white/black balance with the Menu off, Jeff explained Auto Pixel Restoration =*>

SO SOn AND NATURAL, IT'S LIKE DAYLIGHT ON AN OVERCAST DAY Base~d on a unique reflector surfi:ICe des ign , Aurasoft Incorporates thousands of tiny sphwoidal convex mirrors that proOI.Jce a controllable light so soft and natural that shadows are barely perceptible , even when using multiple units. Aurasoft gives you a spread of light so well balanced that an extremely wide area can be covered. This means that fewer lights are necessary, and best of all, Aurasoft is interchangeable between tungsten and HMI. Aurasoft is available in both GOOmm 123 1/ 2"> and aoomm 131 1/2") diameters. Aurasoft is the answer to the quest for the perfect light, indoors or out.

see it at your dealer or write: Bogen Photo corp., 565 E. crescent Ave., Ramsey, NJ 07446 201-818-9500. FAX 201-818-91n

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January-June 1998

Th e Operating Cameraman

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Jeffrey Cree from Sony travelled with the equipment to Plus 8 Video for the hands-on seminar.

Digitally touching up my make-up and composing stored frames to select the most glamorous sesults on "Smart Card."

Video Seminar

A New Way of Imaging by Emme Headroom

n Saturday, November 16, special effects, digitally enhanced, enough, the 18 megabit compressed 1996, Sony Electronics Inc. 's straight news coverage under the worst format uses the 16 x 9 widescreen ratio Marketing Manager Jeffrey conditions, and "just darn good ol' transmission format, similar to news and Cree traveled from the Northern Califorpictures." And if that isn' t impressive Beta SP formats , and can be microwaved nia offices to give the at quicker speeds without loss Society of Operating of quality. Cameramen a remarkable Jeff Cree was knowledgeseminar on Sony 's DVWable not only about what we 700 Digital Betacam might want to do with thi s new system . Burbank's Plus 8 technology , but how we could Video provided space and achieve the best results possible support equipment for the by personalizing the removable 2 dozen people attending set-up card or "Smart Card." the hands-on workshop. "Sony uses Hyper-HAD 1000 Jeff dazzled the early Frame Interline transfer CCD morning camera people technology together with with a beautiful reel of advanced digital signal processdigital footage , taken ing microcircuits and Digital underwater, up in the air, Betacam and Betacam SP video Intent participants see how digital retouching works. across several continents, recording technology to introspeeded up, slowed down, duce a breakthrough in

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Duggy and make-up crew? Who had time to drag a powder puff across this lovable mug before picking up the Starbucks? Thank goodness I had brought my traveler's toothbrush with me. I fell limply into the make-believe set while a couple of guys tweaked the lights around me. Jeff came over to say out loud what everyone was quieting thinking to themselves regarding skin tone detail or flaws, hue/tone, saturation , and definition . Things were definitely heating up. My mind was racing on how to get thee to an airbrush expert quickly, yet all the guys were ogling the monitor. Something was up. Or should I say, enhanced? Those delicious silk French stockings had nothing on the DVW-700! Miraculously wrinkles were smoothed away as Watching the digital programming changes take place. Egads! I need all of my olive skin coloring was gently the enhancements available. warmed up and evened out. Years were dropping away from my face without so Still, the gap between film and video compatibility nanows as much as whispering a good plastic surgeon ' s name. Yet I CCD imaging systems keep advancing. Call me a cinema snob, didn ' t look blurry, as if a frustrated cameraman had thrown up but video people are doing their very best to capture a bonafi® his hands in despair and simply thrown up every piece of spun "film look." Back off my log curve.. . ~ in the house. I had texture, warmth, and individualitycharacter without the caricature. No wonder newscasters were racing out to add special clauses to their highpriced contracts. My own mother would have been proud of the finished results. More importantly, I could hold my illuminated head up proudly under these shake-and-bake skin tone effects. The selectable menu setup handles a wide variety of flesh tones and challenges. Maybe I could pre-record myself and extend my astral-travel self to precede my own arrival at business meetings, weddings, and high school reunions. Jeff was lecturing about "very natural and attractive skin tone reproduction ECONOMY WITHOUT COMPROMISE without affecting the ability to provide a clear crisp • Precision engineered for the professional cameraman • smooth, finger-tip control with return to center variable balance spring • image in other areas of the picture." I was extremely Advanced 3-step drag system with o freewheel setting. tempted to dash out and buy Memorex stock. • For cameras from 8.8 to 191bs. • Features 100mm ball , OR plate, All of this personally selectable high peiforlevelling bubble, and much more. mance programming shows up clearly in the viewfinder, and with Sony ' s digital cameras' fantastic self-diagnostic systems any system problems are brought quickly to your professional attention. Sony' s user friendly DVW-700 Digital Betacam system revives the recent campaign to See your dealer or contact: expand electronic cinematography. Even the way Bogen Photo corp ., the camera is ergonomically designed resembles 565 E. crescent Ave. Ramsey, NJ 07446 more of a film operation than that of a typical (2011 818-9500. video tweak. Suddenly I was having trouble remembering my old reliable reasons for why I hated tape. OK, you can't impress the producers with we wouldn"t buy ourselves. how quickly you can thread a Mitchell movement or identify the filmstock's speed simply by its emulsion color when you're using a digital camera.

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January-June 1998

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Betacam system that I knew I was going to impress the heck out of everybody at the telecine session . Everybody who is anybody swears that "luminance bandwidth relates to resolution and chrominance bandwidth relates to saturation," but did you know that the DVW-700' s Digital Error Correction limits drop-outs and that the 10 bit recording always provides low signal to noise ratio? You would have if yo u' d been at this SOC seminar. This day was definitely a smart investment in securing future employment with pride and confide nce. A true hip chick. It also helped morale that Jeff included his business card in each of our packets for those "after the event" questions that do tend to pop up once you leave the Jeff Cree explains the ease of crossing over from film to digital Betacam. building. Sated by the tasty feast, I was before we even broke for lunch. To remind those of you who hungry to get my own hot little hands on the camera. We broke may have fo rgotten, the black balance activates into small eager groups to give us voyeurs that personal touch, the APR circuit on most Sony models . I was going to ask more but somehow I found myself charmed into taking the hot seat abo ut these automatic pixels, but my rumbling tummy got the in front of the lens. Not only was I being drafted into this best of me. Already I was learning so much about this digital extremely vulnerable position , but oh, where was my beloved

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The Operating Came raman

S.C.O.R.P.I.O. II,

J anuaty-June 1998

3hai'IJ8:

Providing support. Above and beyond.

From left: Mardlne Muller and Mike Jones; Denny & Shannon Clairmont; Alan Albert & Jill Santero (Case of Blues).

donated or gave us reduced prices on their equipment: Chloe (Honeywagon), Ajr Light Industries (12' Isolarc Illuminated Balloon), AC/DC (Cable), and Young Generators. The Society of Operating Cameramen adopted the Childrens Hospital Eye Care Clinic as our charity and has raised more than $72,000 since we were

founded. Our contributions have helped many underprivileged chjldren and infants receive contact lenses, who otherwise would have been unable to receive these important corrective eye care services. We thank all of you who have helped us with our efforts, and donations are always welcome. You may contribute by sending a tax-deductible check made out to the SOC and noting in the memo area that funds are for the Eye Care Clinic.

Picnic-Goers Express Themselves: "The picturesque lakeside venue provided a restful change of scenery and pace for the guests-fishing, swimming, sunning and visiting with friends and associates while enjoying some great music-and the Childrens Eye Care Clinic was the beneficiary." -Bill Hines, SOC

for such a worthy cause as the Eye Care Clinic. The venue, live music featuring Eric Burdon and other activities on the pond created a wonderful ambience and made for a great day with the family. I look forward to next year." -Curtis jones of Kodak Motion Picture Division

"It was so nice to see so many in the industry donate their time and energy

"It was great to see my colleagues, listen to Eric, who I haven't heard in years, and

January-June 1998

Eric Burdon and the 12' lsolarc Illuminated Balloon.

support the Eye Care Clinic at an event all wrapped into one entertaining day. Both my wife and I enjoyed it immensely." -Ed Clair, PERA "We look forward to the SOC picnic more every year. My wife Karen and I always see friends that we missed during the busy year. The music is outstanding, the companionship is great and we can all let our hair down at this event. See you next year!" -Michael jones, SOC =*>

The Operating Cameraman

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Case of Blues, a local band with an unusual group of musicians, opened the SOC picnic.

Rock and Roll-SOC Style By Jacques Arnet

he SOC once again held its summer fund-raiser for the Childrens Hospital Eye Care Clinic. There are industry functions year round but this is the only one where film industry people can relax

outdoors with their friends and family and listen to first rate music at the same time. This year' s picnic and concert was held June 21st (the longest day of the year) at a private park which SOC President Stan McClain and his wife Kim share with a few of their neighbors. The fundraiser began with a new and upcoming band called "Case of Blues." If we didn ' t know different, we would have sworn that this group worked full time as blues musicians. They set the pace for an enjoyable day. Band members included drummer Alan Albert, Executive Vice President of Clairmont Camera; vocalist Jill Santero, Director of Client Relations at Clairmont Camera; guitarist Bob Tomer, camera operator; bassist Steve Rogers, assistant cameraman; harmonica player Richard Espinoza, 1st A.D. on Dr. Quinn Medicine Woman; and lead guitarist Jamie Sutton, President of Valley Sound Sales and Rentals . This group was an inspiration to all of us who would love to play music but feel that our schedules are all too busy with our day jobs.

Eric Burdon and his tambourine.

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1998

Next up were Billy Vera and the Beaters, an L.A. based rhythm and blues band with a premier horn section. Billy has been a mainstay act here on the West Coast for several years now, and his vocals can be heard on several sit-com series. Billy is always entertaining and well received. The headliner, Eric Burdon, once again blew our socks off. Many of us remember him as one of the forerunners of the British Rock Invasion with his hits that included "House of the Rising Sun," "We Got to Get Out of This .Place," "When I Was Young," "It's My Life," "San Franciscan Nights," "Down in Monterey, "Sky Pilot," "Don ' t Let Me Be Misunderstood" and "Spill the Wine," to name a few. It would be an understatement to say that he hasn ' t lost his touch ; in fact, his vocals and energetic performance have matured beyond description. Several SOC corporate members attended, including representatives from Kodak, Panavision, Chapman-Leonard, PERA, Shotmaker, and Clairmont Camera. The following companies

How Clainnont sees the Moviecam SL: Light weight is just the beginning. This is an excellent d11al-p1t rpose B camera. Silent-running, shares modules with the Moviecam Compact A camera. And you can switch it very quickly from studio mode to hand-held or Steadicam mode, so you don't need to rent a third camera.

Same movement

ow long does it take to switch an SL from one mode to another? We timed one man making two switches; the results impressed us.

Those are M.O.S. camera weights; but the SL is clearly a sync-sound production camera, in all three modes. It uses the same dual-pin registration movement as the Compact, it has the same adjustable shutter and it can be equipped with the same electronics.

Test results: At the top of the other page, you can see one of our SLs in full studio mode. At the bottom is an SL in Steadicam mode. We were able to switch from studio to Steadicam in two minutes, four seconds, including film threading.

Same accessories

Not long We asked Moviecam for a 150째 shutter setting. Here's what happened: On the phone with Moviecam designer Fritz Gabriel Bauer, Denny Clairmont mentioned that a 150 degree position on the Compact's adjustable shutter would be useful to people shooting at 25 fps with HMI lights in 60Hz countries. It was said only once - but in our next shipment, there it was, on all the cameras. The SL uses the same helpfu l shutter.

From studio to hand-held took our man four minutes, ten seconds. Most of the extra time was spent on the left handgrip with its bracket/rods and on the follow-focus.

Not heavy In hand-held mode, that SL

weighed 23 lbs with video tap, hand-held finder, handgrips/ rods, Zeiss 35mm T1.3, followfocus, MB3 mattebox and empty magazine. In Steadicam mode,with video tap, same lens/mattebox and empty magazine, it weighed 17lb 10 oz.

Plug-in accessories provide sync with video monitors and rear projection, speeds from 2 to 40 fps and an iris motor that automatically compensates. With the Compact's viewing module on the SL, you can use the long finder and swing it over. Spherical or anamorphic. Tach and footage counter on both sides. Movie glow.

Rental package So we see the SL as a dual-purpose B camera - and that's the way we're packaging it. The daily rate is for an SL in its basic hand-held mode. You can mount your 1000 foot Compact magazines. But if you want the Compact's viewing modules and electronics on your SL, you'll rent our studio mode kit.

Customized cost This way, you rent only as much SL as you need, when you need it. You can customize your SL's weight and its cost, from day to day. And you don't need to rent a third camera for hand-held and Steadicam shots.

Extremely quiet How quiet is the SL? "The Compact was the lightest-weight silent-running camera in the World before the SL came along," says Denny Clairmont. "The Compact is the quietest camera I've ever met and I've met them all. The SL is extremely quiet, but not quite as quiet as the Compact."

In studio mode, above, viewing system and magazine are from Compact. Camera body module weighs 8 lb 6 oz.

Kiss me Here's the rule of thumb: the SLis quiet enough to shoot anywhere except close in above a love scene where the actors are whispering to each other. For that shot, use your A camera.

ClAIRMONT CAMERA Hollywood, Toronto and Vancouver路 (818) 761-4440

Magazines are small because of active displacement.

Gerald Finnerman, ASC, and SOC Associate Member, Supports Entertainment's Own Charity

Unique People Caring for Unique People: This is What MPTF is All About Over the years, members of the Society of Operating Cameramen (SOC) have generously supported the efforts of the Motion Picture & Television Fund (MPTF). The Motion Picture & Television Fund is a service organization promoting the well being of Southern California's entertainment community. Health care and child care, retirement and charitable services are provided with compassion and respect for the dignity of the whole person. The MPTF Foundation provides leadership in development and fundraising support for MPTF, which was founded in 1921 by industry pioneers including Mary Pickford, Charlie Chaplain, Douglas Fairbanks and D.W. Griffith.

MPTF is grateful for the generous support given by individual members of the SOC. ASC Director of Photography and SOC associate member Gerald Perry Finnerman, whose career spans more than 40 years, recently named MPTF as the beneficiary of a $300,000 charitable trust. Mr. Finnerman decided that a charitable trust was an appropriate way to carry on his family name and give back to the entertainment community through MPTF. "I receive such great care from Dr. Armstrong (at the Woodland Hills Health Center), and it makes me happy to know that my friends receive that same wonderful care," Mr. Finnerman said. "I chose to support the Fund because I think it's the best, and I hope others will do the same to

SOC WEAR To see the complete line of JACKETS, SHIRTS, HATS & BELT BUCKLES Write to: Society of Operating Cameramen PO Box 2006 Toluca lake, CA 9161 0

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January-June 1998

continue MPTF's legacy of 'We Take Care of Our Own.'" In 1990, the SOC pledged to raise funds to rewire the sound and add drapery to the walls of the Louis B. Mayer Theatre for MPTF's retirement community in Woodland Hills. In order to do this, members of the SOC raised $10,000 during a nine-month period. Today, the quality of life for residents of the Motion Picture Country House and Frances Goldwyn Lodge has been enhanced by the efforts of SOC members. A plaque in the theatre honors the SOC, JBL and Dolby Sound for their generous contributions.

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ffi

fall nematography lly didn't get started until the 1960s, and has been considered a specialty talent in the motion picture business ever since. But to get a full appreciation on how it's the immense weight of the parachute evolved, we should travel back two equipment and make the jumps. Stabilhundred years in time to Paris when ~ ity in freefall was a problem then, and the first recorded jump took place. surviving the very hard landings without The date was October 27, 1797. An SJ?flotos li)1996 A._e•·iaf Cfocus/ Cfom S andet·s injury was not as common as it is today. intrepid airman/con artist named AndreJumping was a big enough challenge on Jacques Garnerin was making his living its own and there were few freefall photographers and fewer traveling around the countryside with a hot air balloon and had freefall cinematographers. Video was not even an option for the been charging people to watch him ascend in it. He evidently skydiving cameramen until the early ' 80s. had a track record of not being able to get airborne, and thi~ The first freefall events marking the style of jumping, we date was no exception. The public felt swindled and the police call relative work, took place in the early '50s in France and arrested him, but released him after giving him an ultimatum. Canada. It started out where two jumpers would maneuver close Either get up in the balloon and give the people their money's enough to pass a baton from one to the other. In 1958, the first worth, or go back to jail. He chose to go airborne. He arrived at Pare Manceau and took off at 5:28 PM. His Americans, Charles Hillard and Steve Snyder, accomplished this at Ft. Bragg, North Carolina. These maneuvers marked the tethered balloon rose to 700 meters, but caught fire! Much of beginning of sport skydiving and were the first time in its the crowd turned their heads fearing the worst, but astonishhistory where skydivers even got close enough to each other to ingly enough our hero descended under his homemade paratake pictures of one another. The baton pass is a tradition still chute. It was 10 meters in diameter with 36 lines suspending carried on today. For example, when the U.S. Army's Golden him. His ride was very unstable and air spilled uncontrollably Knights perform exhibition jumps, they pass a baton and later around the skirt of the canopy. This being the first successful present it to a celebrity at the event. working prototype, the relief hole in the center had not been California has some unique reputations and we' ve all heard invented yet. Fortunately, he landed safely about a kilometer of the saying "Only In California." Well, to some, skydiving north in the Plaine Manceau and returned to meet the crowd. may seem like an odd way to enjoy one's self, but here in Today there is still an old plaque at the park commemorating California, there were several people who pioneered the sport the event. and its now taken very seriously world wide. Aviation matured, and our own Union Army jumped from There were three main jump areas in the ' 60s, which tethered hydrogen balloons during the Civil War in the 1860s, and then out of airplanes during the First World War. However, included Lake Elsinore, Taft, and Arvin. As the early skydivers developed their skills, a friendly rivalry began between the in those days , no one really jumped out of aircraft for fun, let Arvin Good Guys and the Elsinore group. They both were alone having the presence of mind to take pretty black and striving to build the first eight-person star, which is a circle of white pictures on the way down . jumpers holding hands. When the Arvin Good Guys at Taft Fast forward to the 1960s. All of the parachutes used were accomplished it in 1965, freefall cameraman Bob Buquor was round and bought as military surplus. Packing them was a there to capture it on stills and film. =*> chore and even then, only very strong individuals could handle

C)om Sanders, SOC

January-June 1998

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Tom's view In freefall captured on film, video & stills.

Some of these pioneer skydivers were (and many still are) a part of the California beach crowd, and one of the favorite gathering places in Hermosa Beach was called the Rumbleseat Bar. Skydivers from all the nearby Southern California DZs (drop zones) would assemble there and screen their footage while music played from a tape recorder. You can bet that the Rumbleseat rocked when Bob' s history-breaking film was shown. In 1966, Bob Buquor drowned off Malibu while shooting the freefall footage for the feature film Don 't Make Waves staning Tony Curtis and Sharon Tate. Bob and the two other jumpers were still using the only equipment available them, the slow and round government surplus chutes. They had jumped too far off the coast and there was only one rescue boat which couldn't make it to all three of them in time. The other two jumpers were rescued and survived. In honor of Bob's accomplishment of shooting the first eight-person star, jumpers are now awarded the Bob Buquor Memorial Star Crest when a group of jumpers complete the

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eight-person star for the first time. Since video was not an option in the early days of skydiving, the few freefall cameramen would shoot 16mm film using military surplus gun cameras. They were relatively small and very rugged and designed to be mounted on aircraft to capture the action whenever the real guns were being fired. These cameras, known as GSAPs (Gun Site Aiming Point cameras), are still being used today for many uses where the 16mm format and 50' of film is sufficient. They have a single claw pull down with no pin registration, and frame rates are limited to 16, 32, and 64 fps without special modification. Most freefall cinematographers removed unwanted items, such as an ovenun switch that allowed the camera to run for a pre-determined number of seconds after the guns ceased firing, and heating parts, not really necessary, even on a skydive from 16,000 '. This made the cameras even lighter and the battery consumption even less. The N-9 version has the same body , but a film magazine with 100' darkroom loads replaces the 50' cartridge loads. Some of them also utilize 100' and 200' daylight loads, which are prefened, since you can still buy the film directly from Kodak or Fuji. There were many different manufactures for the government of these cameras, such as Bell & Howell , Perkin Elmer, and Leitz, but they were all very similar with very minimal improvements over the years. These cameras can be used with c-mount lenses once the military lens mounts are removed. There is no viewfinder and the camera can be sighted using a bore sight positioned in place of the film load, allowing alignment and pre-framing, which works fine for a fixed camera location, such as on an aircraft. It's surprising that since 1958, these cameras have shot most of the 16mm helmet camera footage. An incredible step forward was introduced with the Photosonics 1VN 16mm camera. Reliability, quality, and such refinements as speed options from 24 to 200 fps with dual claw and dual pin registration have made this the 16mm camera of choice for those who want and can afford the best in a small package. These cameras accept c-mount lenses so it is possible to utilize the fine optics in extreme wide-angle lenses made by Century Precision Optics and other lenses such as the 5.9mm & 1Omm Angenieux. The 1VN also has an assortment of film loads available; 50' darkroom for a super small package, 100' darkroom, 100' daylight, 200' daylight and a 200' coaxial magazine.

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In the early '60s freefall cinematographer Bob Sinclair strapped on a 35mm Eyemo and began filming for such projects as The Daring Game for Ivan Tors Films/Paramount and The Birds Do It, again for Ivan Tors, but at Columbia Pictures. He shot the vast majority of Hollywood projects through the '60s, such as thirty-nine episodes of the TV series Ripcord, as well as commercials for Kodak, Coca-Cola, and Oldsmobile, to name a few. In 1968, Bob trained Johnny Carson for his famous sixtysecond freefall that appeared on The Tonight Show. Bob was holding on to Johnny during that buddy assisted freefall while Milt Platt and George Speakman shot the 16mm helmet cameras. In 1968 the film Gypsy Moths with Burt Lancaster and Gene Hackman was released. This film held the record for the most skydiving stunts for the next 25 years, until the recent film Drop Zone, which may equal Gypsy Moths . During the bidding for the camerawork, the freefall cameramen wanted to be paid stunt scale ($100.00 per day) plus $25 per jump. MGM thought this new $25 per jump adjustment was too much and looked for someone who might be qualified to work for straight stunt scale. Kevin Donnelly, a very experienced skydiver was working at MGM as an assistant director and he suggested Carl Boenish. The studio bought some Eyemos, out-fitted them with electric motors and modified them with Arri bayonet mounts to accept Schneider, Cooke, Zeiss, and Taylor-Hobson primes. Carl and Jay Gifford landed the freefall cinematographer positions and David Butler and David Jones (see The Operat-

Tom Sanders with new ArriiiC on location with BJ Worth during filming of James Bond film "Tomorrow Never Dies."

ing Cameraman Volume 6, number 2, "A History of Aerial Cinematography") worked the aerial sequences from the helicopter. Carl bought these Eyemos after the filming and went on to become one of the primary freefall cinematographers until his death during a freefall jump off a cliff in Norway in 1984.

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By the '70s, projects over the next seven freefall cinematogyears that included rapher Ray Octopussy and The Right Cottingham and Stuff until he died of cancer skydiver Kevin at the young age of fortyDonnelly were three. He was the first to use getting a lot of film the Photosonics 1VN camjobs. The camera era for his freefall projects equipment was still and he also was the first to primarily the same use the Cine 35. modified Eyemos The Cine 35 is a oneand Ray often of-a-kind 35mm pin regisadded a still camera tered camera that uses 100' to his helmet. daylight loads. It was built Kevin was featured for Freddie Waugh who has in the IMAX film retired as a well-respected Flyers where his stuntman, 2nd unit DP, and character had fallen 2nd unit director. Freddie out of his airplane used his Cine 35 extensively without a chute and as Spiderman' s POV on the another pilot (Art TV series of the same name. Scholl) dove his When Freddie wasn't plane after him. shooting or directing the The plane caught 2nd unit he was the "on up with Kevin and camera" stunt double for he grabbed Art's Spiderman. It was used by Tom, Jake Lombard & BJ Worth on the net trailing the C-123 wing strut just in Rande and then by myself aircraft during the filming of "The Living Daylights." time for the plane on all of the James Bond to pull out and miss films , countless commerthe edge of the Grand Canyon. Although Kevin was wearing a cials, feature films and television shows. I still use it today for hidden chute, the narrow escape was real. shooting plates, as my backup, as a rigged camera on an airAnother similar stunt to Kevin's was in the 1979 movie plane, or attached to the belly of another jumper. Moonraker. James Bond's character had been thrown out of an By the mid '80s, skydiving had become a mainstream Apollo Airlines plane without a chute right after the Jaws sport. It had been on ABC Wide World of Sports with freefall character had left the plane with full gear. James dove after videographers Ken Crabtree and Norman Kent shooting with Jaws, and the two wrestled for several thousand feet. James large u-matic decks on their chests and large video cameras on stole Jaw's chute and made a good landing, while Jaws crashed their helmets. Many skydiving cinematographers such as onto a circus tent. myself added non-reflex video assist to our helmet packages so This opening sequence was perhaps one of the most we could have playback for the director and stunt doubles, as exciting shots of its type ever photographed to date. Rande well as to check our own performance upon landing. The video Deluca shot the freefall footage and David Nowell, SOC cameras were mounted next to the film cameras and we' d wear (assisted by Stan McClain, SOC) shot the in-fight sequence of the recorders on our chests. Mr. Bond and the bad guys in the doorway of the Apollo plane from an open window of a DC3 using an Arri II C. The stunt sequence was coordinated by three-time World Champion skydiver, Reflex Eymo BJ Worth. Hand Held or Video Assist Standard or Low Slung Mode BJ was the stunt double for Roger Moore, and Jake Lombard doubled for ALSO AVAILABLE Stunt Eymo Packages Jaws/Richard Kiel. During the actual 5" Eymo in a 6" tall Crash Housing freefall struggle, both of them had wellInfrared remote ; crystal and constant speed hidden chutes while they fought convincFor All Your SPECIAL CINEMA Needs ingly over Jake's prop parachute. It took WRITE, CALL OR FAX MIKE eighty-three well-planned jumps (818) 845-2192 â&#x20AC;˘ FAX : (818) 843-8608 to complete the complicated sequence. Rande Deluca would emerge as a Ferra Camera Mounts 3815- Y. West Burbank Blvd. â&#x20AC;˘ Burbank, CA 91505 leading freefall cameraman on film

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My first big movie was the James Bond movie The Living Daylights. I shot the opening pre-title freefall sequence over the Rock of Gibraltar and the ending sequence where Bond fought the bad guy "Necros" on a large cargo net that was trailing behind the open rear door of a C-130 cargo plane. Our hero James finally kicked the villain off the net and he fell to his death. In 1988, I was awarded a very special project that will forever stand out as one of my most memorable jobs. I was asked to shoot five groups of skydivers dressed in blue, yellow , black, green and red jump suits for the opening ceremonies at the Seoul Olympics. Each group joined together and created "The Olympic Rings" and descended into the arena below filled with thousands of President Bush In freefall with Golden Knight Andy Serrano and USPA safety officer Glen Bangs. spectators. The primary responsibility was to provide a LIVE freefall video feed to the big screen scoreboard below and to the worldwide television audience. All of our practicing paid off, as there was no take coverage. On a normal commercial or feature film, I wear only two, and the performance was executed flawlessly. For this three, leaving the Hasselblad behind. In the 1990s, there has been a continued rise in the use of skydiving for advertising, TV, and feature productions. In 1991, Ray Cottingham and I got to shoot the skydiving sequences for Point Break, starring Patrick Swayzee. We worked under the supervision of aerial coordinator Kevin Donnelly. This was particularly enjoyable for me because both Ray and Kevin were instrumental in my success in this industry. They taught me cinematography skills every step of the way as well as how to say no when a stunt is too dangerous or choreographed incorrectly. Ray jumped with a crystal controlled Eyemo and I jumped with the Cine 35 . We both provided video playback and production stills. Point Break increased public awareness in the sport of skydiving, and student enrollment at parachute centers in the U.S. tripled for the next few years. Tom's shot of the Olympic rings In freefall during the Opening Ceremonies Two more films featuring substanof the 1988 Seoul Olympics. tial skydiving sequences were produced just four years later: Terminal Velocity specialty jump . I wore four cameras, which included a 35mm and Drop Zone . Along with Norman Kent, I was fortunate film camera, 35mm still camera, Hasselblad still camera, and a enough to work on both films . Canon video camera with a live transmitter. On the three-month 's shooting of Drop Zone , I jumped In all jumps, custom batteries for the cameras are worn with an Arri III, with a 200 ' magnesium magazine and heavy inside my jumpsuit and a remote switch is held in my left hand Panavision anamorphic lenses. It wasn't until half way through for triggering the movie and still cameras. On the once-in-athe picture that I received a one-of-a-kind Panavision magnelifetime events, like the Olympics jump and this year' s skydive sium 40mm lens , but even with the magnesium components, it by President George Bush, I wear four cameras for maximum was the heaviest system I had ever skydived with. Norman

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January-June 1998

jumped a Russian camera with 170' loads and it proved to be quite reliable. Both of us always jumped with an additional still camera and an 8mm video camera. On one particularly memorable jump I had to follow skydiver Jake Brake under our open parachutes onto a 30'x30' landing pad on top of a skyscraper at night! Stan McClain, SOC was the 2nd unit DP and lit the landing area for my camera and the rooftop cameras but also had to accommodate us so we weren't blinded by any of the fixtures , even for a split second. I remember at the helicopter just before take-off that I could NOT hold up the weight and momentum of the camera for very long. (In freefall , the 125 mph wind helps to supp011 the weight.) Fortunately, after I opened my Patrick Swayzee in freefall during filming of Point Break. parachute I found that I could rest the bottom of my custom helmet on my chest and reduce the weight on my neck. I did not want to do that again for any amount of money . The jump went perfect. Jake, a world champion and On another night sequence over downtown Miami and at former U.S. Army Golden Knight, landed dead center on the the water' s edge, I was filming four bad guys and in freefall. I was directly above them, revealing the city lights below. In extremely small rooftop target. I followed him under my order to get an exposure we needed, three additional jumpers parachute with this aerial doll y shot for about 30 seconds until I landed on the target three seconds after him . The shot was the with lights mounted on their helmets were added. Stan worked best we could possibly do! We did several one-take shots with us on the ground to develop a lighting setup. One "glow worm," as we called the divers with the lights , flew next to me during our filming, but I was really glad about this one because to provide a moonlight fill-light. The other two flew below the four stunt doubles and well out of my frame, with their lights aiming up to give a realistic rim light, as though the city lights several thousand feet below us were supplying the light source. Everyone's distances from each other were critical. Proper framing, focus (wide open), and exposure were pre-determined by the rehearsals on the ground. The lights had a pre-dete1mined distance from the talent for exposure, and I had a pre-determined distance from the talent for framing with a set focus . Everyone had to be on his or her invisible marks because we had zero tolerance for error. In all, eight jumpers and a Bell 212 helicopter were needed to make the jump. At the end of the shot, the on-camera jumpers opened their parachutes one at a time. I had to hold the shot through the entire sequence. (We were falling at 200 ' per second.) After the last on-camera jumper deployed I had to let his parachute exit fra me, clear myself from the other three "glow worms" and then open my parachute. In essence, I was the last and the lowest to open my parachute. Now it gets fun. It' s at night, I am actually over the water at Miami Harbor, several hundred feet from land and my main parachute opens in a violent spin. I know that I have only one option: disconnect from the main chute, and pull the reserve. The cut-away went fine. I pulled the reserve- it opened fi ne but very fast and hard as they are designed to do . Then I had to fl y straight back to the concrete area surrounding a fountain at the edge of the harbor. The cut-away chewed up an additional400 ' -500 ' of altitude and by the time I reached dry Star over Lake Powell during the filming of Point Break. land (barely) I had all my cables disconnected in case I landed in the ocean. I had a very hard landing due to the reserve =*>

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Th e Operating Cameraman

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we had a very demanding itinerary. I would never say this kind of work is routine; however, all of the jumps were executed as planned. There are still a few freefall cameramen who use Eyemos with video cameras mounted next to them but that can be a real disadvantage. The different focal length lenses and formats, such as anamorphic, cannot be represented with a consumer video camera. It is also impossible to guarantee if the camera is rolling during the shot and if the talent is framed conectly. Combined with the inherent problems of parallax, the Eyemos and non video tap systems are on their way out. Last year I bought a highly modified Arri IIC from SL Cine in Santa Monica. The body is made of titanium and modern plastics. The electronic components, built by Cinematography Electronics, provide crystal speeds from 1 to 50 fps, and are housed in a lightweight plastic housing. The 200 ' low profile magazines are made of magnesium. Unique to only my camera is a built-in reflex video tap and recorder utilizing the new Sony PC-7 digital video system. This camera can easily be switched from either PL or Panavision mounts. The entire package is lighter than the standard Ani III used on Drop Zone and heavier than an Eyemo with video but has features that make it a significant advancement after all these years of using Eyemos and video cameras mounted next to the movie camera. The new setup has been working nicely and I just finished using it on the new James Bond filmTomorrow Never Dies. It balanced well, which in turn, allowed me to maneuver around the talent with great ease. Another part of my equipment which is pertinent to skydiving cinematography is a custom jump suit, which has an extra flat triangle-shaped panel on each side that starts at the armpits and extends to my wrists and joins Tom Sanders BASE jumping off an antenna for TV special, with film & live video cameras. at my waist. By spreading my arms out, the "wings" catch air, which in turn slows down my rate of descent, or I can place my arms at my sides to collapse the wings and chute's smaller size, but I received no injuries, just a lot of accelerate. Just like an airplane's aileron, I use the wings to spent adrenaline. As a part of our safety meeting days before the actual jump control my turns . (See cover photo.) With this added control I can fine-tune any shot. If I need we required a helicopter with a search light and rescue boats to lower the subject in frame, I extend my arms out a few with divers to be deployed during the jump. On every day of inches to slow my speed, until the subject appears lower, then I filming we had at least one ambulance at the drop zones. It's assume my original posture. this kind of planning that can remedy any "short falls" if they Besides working face down, I find it very comfortable to arise. Although the extra expense can add up on a three-month work on my back in a reclined position, especially when looking job, this is an area where financial corners up for extended periods. Quite often I have to perform 360째 cannot be cut; and they weren't. Fortunately, all of the predolly shots around the talent. These maneuvers are not included production planning and safety meetings paid off, for we never had to activate any of our rescue or emergency crew. in the Skydiving 101 lessons, as they take several years to master. In essence, like any learned skill, one reaches a state of The last two weeks of the job took place at Warner Center Zen, then all you have to do is "think"the move wanted, and it in Woodland Hills , CA, which doubled as the FBI Headquarhappens. Do not try this at home. ters in Washington D.C. where we had more night landings on In addition to shooting freefall scenes where we jump from a building top . Once in L.A. , Stan added two more SOC camplanes and helicopters, I also get calls for BASE-jumping. BASE era operators, Mike Fenis and Bill Waldman, and SOC associate assistant Mark Leins. is an acronym for objects that we can freefall from. Rather than out of an aircraft, these jumps are made off Buildings, AntenThis was the climax scene where our bad guys jump onto =*> the FBI building at night to steal computer files, and once again nas , Spans (bridges) and Earth objects (cliffs).

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Januai)'-June 1998

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installation of the Tyler Mount before dark. I get calls all the time to rent out helmet cameras, but I don ' t think most of these production assistants realize that this is a tool much like a Steadicam; a skilled operator will make all the difference in getting the shot an getting it done right. Just strapping on a helmet camera does not guarantee that they will get what they want, and we haven ' t even begun to discuss the safety aspects of conducting high precision work with non-movie oriented jumpers. I have to respectfully pass on these types of requests. In the last year, I have added communications to my helmet so that I can talk to the pilots or jumpers in certain situations. I've also begun testing a small video screen which is mounted in the front edge of my helmet to assist in framing and which is in addition to the Newton ring sight that is used by all professional skydiving cinematographers. The Newton ring is a special glasstargeting device that has concentric circles like a bull's eye. With experience, a helmet camera operator knows where to aim his sight finder and how close to get to the subject to get the desired framing for the shot. Tom with 4-camera helmet: Sony PC-7 digital video system, Arri IIC, Composition must also be taken into two Nlkons, and Newton ring for left eye. account without having the benefits of BASE jumping with a movie camera 路is much more deactually seeing the edges of the frame. This is a learned skill , one which traditional camera operators never experience, since manding and dangerous than skydiving with the same equipthey are always looking through the ground glass. ment. In skydiving we normally quit filming at about 3000' above the ground. In BASE-jumping we normally will start the Not actually looking through a viewfinder is imperative jump at 1000 ' to 2000' above the ground. On a jump from when you are caught in the middle of action sports, such as 1000' , such as the ones for some Mountain Dew commercials I skydiving and BASE-jumping. This allows you to perform the sport with accurate depth perception and unobstructed vision did last year, it is eight seconds from exit to impact. The shot must be made within the first four seconds. Within these few while at the same time getting the shot. seconds there are three danger factors, which cannot be comThe thing I like the most about my profession is the fact promised or miscalculated. You must make sure that you don' t that I love being a cameraman and also being a participant in hit the object you are jumping from , don't collide with the these activities. With the helmet camera work I am hired to do, subject jumper before or after he pulls his parachute, and don ' t I get the best of both worlds. pull your own chute a split second too late. And, by the way, you can't forget why you jumped in the first place: You have to concentrate on filming too! The helmet camera is a very versatile tool and more About the author: Tom Sanders, SOC began skydiving in 1979. 2nd unit directors are becoming aware of the potential uses. He was one of the first skydivers to jump with the so-called "portable " video systems in the early '80s. His company, Aerial A few years ago I was hired to shoot the skydiving sequence for the Chuck Norris film Delta Force in the Philippines. Focus, has coordinated and shot the majority of the sky-diving Before the project was over, I was able to demonstrate my and BASE-jumping cinematography done for television, f eature versatility with the helmet camera to 2nd unit director Dean films, and commercials for the past ten years. He produced, Ferandini. In the process, I shot several POVs from inside cars directed and filmed the one-hour aerial extreme sports film Over during chase sequences, a helicopter pilot's POV flying over the Edge which won nine first place awards in the nine contests the villages being bombed, mountain climbing shots that were entered. Recent credits include AT&T "Rad Mom," Phillips too difficult to get a regular camera to the location, and a car Cellular Phone, the James Bond movie Tomorrow Never Dies chase from the helicopter skids when time did not permit the and President Bush 's skydive.

Januai)'-June 1998

The Operating Cameraman

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"Let's Start a C.a mera Company" A Brief History of Clairmont Camera Inc.

by Stan McClain, SOC Denny with a Blrns and Sawyer Arrl 2C

s the old adage goes, Denny and skills, they opened a speed shop, housed In a model 120S blimp. Photo Terry Clairmont were born into which they operated until 1966. Circa 1967. . the movie business. Their Like many of us, the Clairrnonts father, Leonard, emigrated from reflected on their upbringing and made a Stockholm to Hollywood in the early decision to follow in their father' s footspecial items for the cameras and lenses ' 20s and worked as a DP until the in the rental department. late '60s. He was close to his boys In a recent interview Terry and introduced them into the said, "As a camera assistant in business when they were each six Hollywood in the late '60s, I found months old as extras and stand-ins. that people working in commercials You could honestly say that they on one to three day jobs would were teethed on Hollywood filmoften get bumped by camera rental making. During their formative houses for a longer rental. So you ' re years, most of their time was spent running around on your prep day "hanging around the movie stugetting a camera body from one dios" as they worked on over a place and a lens somewhere else ... hundred motion pictures when and I got fru strated. I bought a new they were children. XR35 camera and started renting it As the boys entered their and my brother would do the mainadolescent years, their interests tenance on it." turned towards girls and cars, and Terry In 1978 using a Cinema Products XR-35 Renting out pays off like many young boys, Auto Shop camera. Note the Clalrmont-Engel stickers. caught their attention in high The brothers pooled their school. Hot rods and sports cars became steps and become cameramen and they resources and in late '72 they made an a way of life and they participated in both found employment at Bims & agreement with Bims & Sawyer, and drag racing and time trials at the local Sawyer in Hollywood. Terry left after a placed two brand new Arriflex BL-1 dry lakes. With their entrepreneurial few months to become a camera assiscameras into their inventory on a fee-split tant, and by 1972 he had deal. Bims & Sawyer quickly became become a DP specializing in the place to rent the Arri BL from . TV commercials and he In 1976, Denny was discharged continued to do so for from Birns & Sawyer during a shake-up twenty years. in their management. Denny and Terry, Denny' s experience in now with six camera packages, joined modifying engines and cars forces with Mr. and Mrs. Ed Engel and for racing taught him a lot started a camera rental house called about high precision maClairmont-Engel. During the next four chining and engineering years, the company grew substantially. which he later applied to Terry and Denny had a parting of the camera equipment. He ways with the Engels and started remained at Birns & Sawyer Clairmont Camera in 1980 with seven and eventually became employees. Seventeen years later, Terry In 1961 with his '54 Corvette. supervisor of repairs and Clairmont camera now has close to modifications, and designed ninety employees in their

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January-June 1998

Focusing our best wishes toward all skilled professionals of the Society of Operating Cameramen .

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North Hollywood facility, and the company has more Arriflex cameras than any other rental house in the world, with the exception of Panavision.

Changes in Industry standards When the Clairmonts first began in the camera rental industry, BNC nonreflex Mitchells were the cameras of choice. Arri-2 cameras were just starting to displace the Mitchells as the prefen路ed MOS cameras. The Mitchell cameras had either 110/220 synchronous motors running off the mains or a complicated

The C/airmonts ... were at the right place at the right time ... system that ran on very large and heavy batteries that required a man to control the camera speed and a sync cable that ran to the recorder. There were Arri cameras with a governor motor and these also required a sync cable going to the recorder. There were no crystal motors. Zoom lenses were just beginning to be used on the reflex cameras such as the Arri 2C and the few reflex Mitchells that were around. Prime lenses with a speed of f2.3 were considered high speed. Zoom controls had a single DC motor, its speed was controlled with a rheostat and it ran off a heavy 49-volt battery. The major studios had their own cameras and lenses and only rented when they didn ' t have enough equipment.

plex that yields over 32,000 square feet, almost three times the space of their old Studio City office. Each depmtment has its own well thought out space, and the flow of equipment from storage to prep to shipping is closely monitored, as is the inflow from the customers ' returned packages. The camera prep areas are state of the art, with plenty of staff to aid each camera package being prepped, and there' s a specially constructed soundproof room for testing the cameras in a totally silent environment.

Still machining Clairmont Machine Works Inc. (CMW) is a corporation separate from that of Clairmont Camera (CCI) and occupies the first floor of the CCI building in North Hollywood. CMW's work is primarily for CCI but it also regularly does work for other customers who need custom machining done for equipment used in the motion picture industry. CMW was formed because Clairmont Camera found that finding a reliable outside shop for small rush jobs became increasingly difficult. Also, when an outside shop did a custom job, the shop would sometimes sell the item they machined to Clairmonts' competitors and take credit for the idea. While CCI patents some things, not everything is worth the trouble and expense of patenting. CMW is presently very busy making

the new squishy lens; however, other parts are also currently being manufactured whenever there's an available man and machine.

Entering Canada In the mid-eighties, a substantial amount of motion pictures and movies of the week began shooting in Vancouver. The Clairmonts found that a respectable part of their equipment was traveling over the border on a weekly basis and in 1987, the Clairmonts decided to make life easier for their long term and Joyal clients. In a good business decision, they decided to open a branch office in North Vancouver British Columbia. The Vancouver office is self sufficient with all the same equipment that is in the North Hollywood office. However this branch will have moved from its 7,000 square foot location to a 20,000 square foot facility by the time this article is published. The Vancouver business exceeded all expectations. Once again, the Clairmonts found themselves shipping equipment again, but this time to Toronto.

Three times the charm In June of 1996, Clairmont Camera opened its third office. The demand for equipment by Clairmont Camera' s Toronto customers had continually increased over the years, and the opening

Expansion The Clairmonts realized that they were at the right place at the right time, and as the studios disbanded their camera departments with their antiquated equipment, Clairmonts continued to grow at a brisk pace. They were in a two-story business complex for several years on Vineland in Studio City, first taking space in a few offices downstairs. As business grew, they eventually took over most of the building, which was never intended to be a rental complex. The latest building Clairmont Camera calls home was built three years ago. The Clairmonts and their head staff members designed the three-story com-

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Brent Andrews, machinist, at the computerized lathe.

January-June 1998

Clockwise from top left: Camera crew prep area in Toronto; Jan Madlener and Terry Kowalchuck in the Camera Operations Dept;Toronto warehouse; Small item storage area and part of camera service area, Toronto.

of this office afforded CCI the opportunity of being close to their customers and offer them service as well as equipment. "Toronto has a source of very good fi lm crews and we felt that they needed support with their camera and equipment needs. In addition to Toronto ' s resident DPs, there usually are at any given time several Directors of Photography from Hollywood, London, and elsewhere filming in the Toronto area. Although CCI saw thi s situation as a business opportunity, it was also believed that the competition generated by the new Toronto office would cause other rental houses in the area to improve their services and modernize their inventories. This would be a great help to the Toronto camera crews no matter what rental houses they used. " CCI has introduced many pieces of equipment to Canada that had never been there before. To name a few: the Moviecam Compact, Moviecam Superlight, Clairmont Swing/shift lens

system, Power Pod, Scubacarns, business happening you ' d think that the Hydroflex underwater housings, Wilcarn Clairrnonts are inaccessible. Quite the W-12 high speed cameras, Wilcarn contrary. Both Denny ' s and Terry ' s Vista Vision cameras, Image shakers .. . offices have large plate glass windows and the list goes on. that face the prep areas in L.A. More 'The marketplace for fi lmed prodlikely than not, you ' ll find their doors ucts has been increasing rapidly the past are open, and they always have time to few years and North American made say hello. ~ films are in the highest demand worldwide. Production has been increasing in Canada as rapidly as it has been in the United States. Clairmont Camera' s intention is not to primarily take market share from its competitors but rather to help keep production in North America so that production here will continue to increase. This will keep all of us working ." Terry and Denny Clairmont today. With all of this

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The Widescreen Revolution, Part V

VistaVision and Technirama by Rick Mitchell Page 68

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January-June 1998

pointed out in a previous installment of this series, in early

1953 studios other than 20th Century-Fox- the pioneer of CinemaScope - attempted to jump on the widescreen bandwagon by salvaging the considerable backlog of films that these studios

had shot in the 1.37:1 Academy aspect ratio. By having projectionists mask these Academy films on the top and the bottom during projection, the studios were able to advertise and distribute them as "widescreen" films with aspect ratios ranging from 1.66: 1 to 2:1. Yet this easy fix had its limitations. When the studios began to exhibit the masked films on the larger and wider screens of first-run movie palaces, the resulting images dimmer, less sharp, and visibly grainy. To improve the big-screen look of their spectacular "A" films , the studios instructed their technicians to find newer and better ways to improve the quality of the projected image. One of the earliest and most obvious solutions the technicians came up with was to have the camera crews photograph the films on the larger 65mrn film stock. Then they =*> January-June 1998

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Technico/or came up with a larger 35mm negative [by] shooting the film in full aperture. would have the lab optically reduce the camera negative for distribution prints. Unfortunately, this solution did not prove to be economically feasible because it fai led to optimize the existing 35mm laboratory technology. The "Full-Aperture" Approach Technicolor, with the help of Universal Studios, began to develop an alternative 35mm process to obtain a larger negative. Technicolor' s dye transfer Academy prints had not fared very well on the new larger screens. The image sharpness from this legendary printing process suffered due to "dye spread" which resulted from the pressing together of three different color dye layers on blank film stock. Prior to the widescreen revolution , Technicolor had experimented successfully with

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using mordants to control this dye spread. And by 1953, Technicolor was able to turn out 1.37 prints that could visually hold up on the 20 by 25 foot screens of premiere theatres such as the Radio City Music Hall, not to mention the more common 15 by 20 foot screens in the large movie palaces and the smaller I 0 by 15 foot screens in most hardtop theatres. Unfortunately, when Technicolor tried to use the mordant process on the new 35 foot widescreens, the image did not hold up as well and resulted in viewer eye strain . To complicate matters, Universal wanted its films projected in 2:1 , the largest degree of blowup. This was impossible to accomplish without stretching the dye transfer prints beyond their limit. To solve this problem, Technicolor needed to come up with a larger 35mm negative. Its technicians advanced a technique which they occasionally had used to reduce the apparent grain in optical effect shots: shooting the film in full aperture, compositing the elements onto the original negative in full apet1ure, and then reducing the composite to Academy aperture for the dupe negative. This technique worked well with the dye transfer process. The resulting projection prints were sharper and less grainy. In fact, by the late Fifti()S, this became the standard processing method used for all of the non-anamorphic films that came out of Technicolor' s four international labs in Hollywood, London, Paris, and Rome. Technicolor last used this process in 1972 on The Godfather, shortly before it sold

January-June 1998

the last of its dye transfer machines to China. Still viable today, the process was revived aro und 1985 by various producers and directors under the new name of "Super 1. 85."

Vista Vision Technicolor initially did not offer its full- aperture technology to any studios other than Universal. So Warner Bros., MGM, and Paramount - each working independently with Technicolor - began to experiment with another method of getting a larger negative: running 35mm film horizontally thro ugh the camera. MGM began experimenting with Fear's Super Pictures usi ng a camera that could photograph a hori zontal image across ten perforations. Paramount chose a smaller horizontal eightperforation image for which Technicolor modified fo urteen of its three-strip cameras, which had been made obsolete by the industry's adoption of color negati ve filmstock. HistoricaJJy, Paramount had initially experimented with horizontal photography in the Twenties ~> Taking a break on the set of Cecil B. DeMille's The Ten Commandments, camera technician Paul Hill gives actress Debra Paget, in costume for her role as Lilia, water bearer to the slaves, a lesson In focusing the enormous blimped VistaVIslon camera.

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using a camera that Fox had developed for two-color photograThe aspect ratio Paramou nt used on the first Vista Vision phy. Like Technicolor's two-color camera, the Fox camera fi lms varied fro m 1.43:1 on White Christmas (1954) to 1.63 :1 on Cecil B. DeMiJle's The Ten Commandments (1956). For u ed a beamsplitter to expose two frames simultaneously onto a single strip of 35mm negative. Now, by removing the those fi lms, the thicker frame line matting process worked well beamsplitter and laying the because the films were not camera on its side, Parawider than 1.66: 1. For its mount was able to get a 1.66:1, 1.75:1, and 1.85:1 larger negative. It first widescreen pictures, however, Paramount called the process "Para Vision," then later needed to add scribed settled on the name framing cuemarks for the "Vista Vision." When projectionist at the beginT echnicolor learned about ning of each reel. By the Paramount's work on these late Fifties, Paramount cameras, it abandoned its began to use the scribing own massive camera conprocess for its nonversion project and concenVista Vision films and trated, instead, on developreissues. ing new laboratory VistaVision techniques to produce Restorations optically corrected and red uced 35mm vertical dye During the mid '70s, matrices from the horizontal the correct widths of many Vista Vision negative. As a Vista Vision films were result of the larger negative, compromised when new 35mm restoration prints Technicolor's 35mm VistaVision release prints were struck from the skinny 1.33:1 interwere quite sharp and held negatives that had been up well when projected onto 路 used in making prints for giant screens. While Paramount television. To compound the problem, some revival generally favored using the houses projected these 1.66: I aspect ratio because films at 1.66: 1, favoring of its higher quality image - which it appropriately the upper two-thirds of advertised as "Motion the frame, resulting in a grainy image with its sides Picture High Fidelity" - it lopped off. agreed to project the longer Universal avoided th is VistaVision prints in 1.85:1. problem by using the full In theory, Paramount origiwidth of the Vista Vision nally intended to protect the negative when it restored frame for 1.37: 1 extraction Alfred Hitchcock' s The prints by asking its camera operators to compose their Trouble with Harry On Alfred Hitchcock's Vertigo, director of photography (1955), The Man Who shots from the top frame Robert Burks ASC filled the VlstaVIslon frame with emotion Knew Too Much (1956), line downward. In practice, and Intrigue to portray the complex and obsessive and Vertigo (1958). Yet however, operators comrelationship between retired detective Scottie Ferguson Universal went too far posed their images in the (James Stewart) and con woman Judy Barton (Kim Novak), when it restored The Ten center of the frame. As a who gains Scottie's love while Impersonating Madeline Commandments to an anares ult, microphone, dolly tracks, and lamps may often Elster. Above, the real Madeline Is thrown to her death mOTphic internegative. from the bell tower of a California mission by her husband, be seen in 16mm and Although the width of Gavin (Tom Helmore) while Judy looks on. television prints which use the epic was maintained, the full image height, much of its original image sacrificing the sides of the Vista Vision fra me. To make sure height was lost. Indeed, in the late Sixties, a considerable that these distracting elements were not shown during theatre controversy erupted among London 's film critics when a projection, Paramount originally had Technicolor matte off the 70mm print of the anamorphic restoration of The Ten image by using thicker frame lines on the 35mm release print. Commandments was released there. January-June 1998

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The finest example of a Vista Vision reissue occurred as recently as last year, when Robert A. Harris and James Katz meticulously restored Vertigo to its correct 1.85:1 aspect ratio by using the original Technicolor separation negatives and the original magnetic stereo music masters to create a stunning and artistically accurate 70mm release print. Harris and Katz delved into Universal's considerable archives on the film, researching everything from Alfred Hitchcock's original storyboards to Edith Head's fabric swatches to the fog filters used by director of photography Robert Burks ASC. Because the fil m' s sound effects only existed on an optical track, Harris and Katz chose to update the film with new six-channel digital effects then digitally remixed the entire soundtrack on the DTS 70mm sound system. This type of restoration is costly. Universal spent approximately two million dollars restoring Vertigo beyond its former glory. Yet by revitalizing a classic film for a new generation of film lovers, Universal may get a good return on its investment through the widescreen VHS and laserdisc editions of the restoration (the laserdi sc version includes storyboards, historical information, interviews, and a documentary on the restoration project).

Horizontal Projection of VistaVision In 1954, Todd-AO began to test shooting and projecting fi lms in 65mm. The test footage was so impressive that many studios began to consider using large format release prints for their first-run premiere pictures. MGM and Panavision began to test a 65mm process, while 20th Century-Fox chose a 55mm system. (Both of these processes will be covered in the next installment.) Paramount, however, was ahead of the game because it had already used horizontal projectors for Vista Vision rear projection plates. All that one of these projectors needed was a sound head to make it ready for use in movie theatres. One week before the first Vista Vision film , White Christmas (1954), premiered in New York, Paramount announced that it would show the film horizontally. Even though the decision to do so undoubtedly had been made at some earlier point, Paramount was unable to get its Century projectors modified in time for the premiere, and the film had to be shown in double system by having an optical soundtrack from a standard 35 mm print running in interlock with the VistaVision image. One unique feature of the horizontal projectors was that the film was fed from the bottom spindle to ease the load caused by having twice the normal amount of film on each reel. The sou ndhead remained in its normal position , causing the sound synchronization point to be behind, rather than ahead of, the picture. According to the Motion Picture Herald, there were ten horizontal Vista Vision installations in the United States, with two each in New York and Los Angeles. Films shown this way, some with aspect ratios as wide as 2:1 , were more impressive that the standard 35mm reduction prints. Because only a small number of horizontal prints were needed, they could be contact printed from the original negative rather than by a dyetransfer process, thereby increasing the overall image quality.

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Armed with dagger and shield, Kirk Douglas as Spartacus There is no official record of how many fi lms were exhibited horizontally yet articles and trade advertisements of the period mention the following 1955 films as having been released horizontally: Strategic Air Command, To Catch a Thief, The Far Horizons, Lucy Gallant, and Run for Cover. After 1955, however, there are no more mentions of any VistaVision films being shown horizontally in the United States, even though Strategic Air Command and Rank ' s The Battle of the

Janumy-June 1998

Is filmed by two Technlrama camera crews as he spars to the death against a trident- and net-wielding gladiator. River Platte (aka Pursuit of the Graf Spee) were shown horizontally in England.

The Demise of VistaVision Paramount's confidence in Vista Vision was so great that, around mid-1954, all of its color and black-and-white productions used the process. At one point, Paramount was shooting so many films in Vista Vision that Mitchell Camera ran out of

rental cameras, and the studio had to tum to Technicolor' s horizontally modified cameras. VistaVision's dominance continued until 1957 when, due to economic difficulties, Paramount scaled back its use of the process on B-movies. Paramount offered VistaVision to other companies, but found only a few takers such as: John Ford's independently made The Searchers (1956), on which Winton Hoch ASC, used the modified Technicolor cameras; Universal' s Away All Boats

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Since the dawn of Hollywood ...

(1956); MGM ' s High Society (1956); Alfred Hitchcock' s North by Northwest (1959), which he shot for MGM ; and several British fi lms produced by J. Arthur Rank. Although Vista Vision had been received fai rl y enthusiastically at industry test screenings, Fox pointed out that Paramount had cheated by showing its Vista Vision film clips on a screen that was higher but not as wide as the ones used for Cinema-Scope. When Vista Vision was projected onto a screen that was the same height as a CinemaScope screen, it did not appear to look significantly better than a regular spherical 35mm film shown in 1. 85: 1. Producers other than Fox agreed that the addi-tional expense of VistaVision could not be justified. By 1959, Paramount ceased to use Vista Vision fo r general production. Its use was relegated mostly to process work. In fact, by 1962, the use of the VistaVision cameras had decreased to the point where they were used for props on the behind-the-scenes sequences of The Errand Boy and My Geisha.

Technirama The poor quality of the early anamorphic lenses caused eye-strain when projected on increasingly wider screens. After Todd-AO demonstrated its product, some industry technicians began to consider using larger frames which could be reduced in printing to CinemaScope-compatible squeezed prints. Inevitably, Vista Vision was considered by these technicians because the basic patents for the format were in the public domain . Around 1955 , under the supervision of F. George Gunn at Technicolor London , technicians began their experiments with Vista Vision. For the anamorphic element, they chose the Delrama lens which was manufactured in Holland by the Oude Delft Optical Company. This lens avoided many of the aberrations associated with cylindrical lenses by using the reflecting surfaces of two pri sms or mirrors in a periscope arrangement to squeeze the image. The 1.5x squeeze which In The Music Man, the dancers in the musical number "Shipoopi," the technicians chose for CinemaScope comfeaturing Buddy Hackett, are filmed a Ia Busby Berkeley, from above patibility also improved the picture quality. the stage by an unblimped Technirama camera secured by a safety For first-run projection, Technicolor line. The film starred Shirley Jones as Marian the Librarian and Robert London decided to put a Delrama lens on a Preston as Professor Harold Hill. horizontal projector which was based on the Vista Vision model. The first Technirama film, lenses man ufactured by various optical companies, including The Monte Carlo Story, premiered in December 1956 in Turin, Bausch & Lomb (although Spartacus (1960) has a Panavision Italy. The film was projected horizontally and had a four-track credit, this only refers to the optical printer lenses which were magnetic soundtrack. In both Europe and the United States, used to make the 70mm prints and 35mm matrices) . Technirama cinematographers used modified Technicolor Technirama used three basic focal length lenses : 50mm, three-strip cameras that were equipped with Delrama-type

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75rnm, and 100rnm. The wide-angle 66째 fieldof-view seen by the 50mm lens was roughly equivalent to the widest field-of-view used in standard anamorphic or 65mm photography. Because the Technirama process used twice as much film as normal 35mm photography, the three-strip cameras were equipped with specially designed 2,000 foot coaxial magazines. After Technirama caught on, some European productions used newer cameras that had been expressly designed for the Technirama process. During the rise of the Roadshow Era, Technirama became a popular alternative to 65rnm photography, especially in Europe, because the 35mm camera negative could be processed by any lab. In fact, for location shoots in the early Sixties, Technicolor outfitted a lab van which could produce dailies overnight from Technirama negatives. For some reason, Technirama was not as popular in the United States as it was in Europe. Universal only used the process on two pictures: Night Passage (1957) and Spartacus (1960) . RKO used it on only one: Escapade in Japan (1957). On the other hand, Warner Bros., which by 1957 had abandoned CinemaScope, filmed five features in Technirama: Sayonara (1957), Auntie Mame (1958), The Miracle (1959), The Music Man ( 1962), and Gypsy (1962). Walt Disney, who wanted to exhibit a 70mm roadshow version of his animated feature Sleeping Beauty (1958) , used Technirama in a unique manner by making a three-color separation negative by sequentially exposing three differently gelled frames of each image onto black-and-white film. At Disney's insistence, Technicolor- which had Animation cameramen Edward Austin and Card Walker lift the platen considered the idea earlier- finally geared up to change a widescreen animation cell of the character Flora during to make 70rnm prints from Technirama negathe filming In Technlrama of Walt Disney's Sleeping Beauty. tives. In developing this process, Technicolor successfully used the same Panavision lens that Disney's Studios, however, kept the format alive as late as 1985 when it cameramen had used on Sleeping Beauty to make a 65rnm internegative from the black-and-white separation images. used it on The Black Cauldron , once again using a sequential exposure separation negative. In 1959, Technicolor made its firs t 70rnm print from a live-action color negative on Solomon and Sheba , and a new In 1991 , the restoration of Sparta cus by Harris and Katz format, "Super Technirama 70," was born. The ability to make sparked some curiosity about Technirama but, for the present, the lack of state-of-the-art camera lenses and the format' s 70mm prints enhanced the value of Technirama to European producers and was used by Samuel Bronston on almost all of special optical printing needs have deterred makers of large his epic films . However, not all films bearing the credit format films from reviving the process. Instead, modern "Filmed in 70rnm Super Technirama" actually were. For filmmakers have shown greater interest in producing 65rnm example El Cid (196 1) and 55 Days at Peking (1963) were films-the subject of the next installment of The Widescreen Revolution. fi lmed in horizontal 35mm with viewfinder markings allowing the camera operator to keep important action within the 70mm projection aspect ration of 2.2: 1. Rick Mitchell is a film editor, director, and historian who curLive-action use of Technirama continued only until 1968 rently lives and works in Hollywood. when it was last used to film Custer of the West. Walt Disney January-June 1998

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The

Art &Craft of the

Camera Operator by Bill Hines, SOC

One Craft, One Person In the earliest days of the moving image, the cameraman did it all. He built, dressed and propped the setting; wrote, produced, directed and shot the action; souped and edited the negative; made the print; and projected the finished product. It was all part of the craft of making moving pictures. The cameraman was the complete filmmaker. As commercial interest in filmmaking grew and as the projects became more complex, people from the legitimate theatre and other artistic di sciplines came to the aid of the cameraman. Now the cameraman had assistants to help set up, move and load film into the camera and to help with camera settings during a shot. It was no longer one person doing it all. It became a fully realized , collaborative medium with many skilled and creative artists, artisans and craftspeople contributing to the final result. The cameraman was responsible for the lighting setup and operating the ideally placed first camera whose negative would be used for domestic release. Placed next to the first camera would be a second camera which exposed the negative for fo reign release. The first cameraman operated the more important first camera and the second cameraman operated the less important second camera. Nevertheless, first and second cameramen were considered operating cinematographers because they operated film cameras.

Then Came Sound With the advent of sound, the first cameraman was separated fro m his precious black box. Multiple cameras, each with an operator, placed in immobile sound-proof cabinets, were used to fi lm the productions. In order to expedite filming, it was necessary for the cameraman to be on the floor at all times to check and supervise lighting alterations, principally because of the sound booms which placed the attached microphone =9> deep into the setting thus creating unwanted shadows. In

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abandoning the camera, the first cameraman was given the appellation of director of photography. Even after sound became an established addendum to filming, and cameras were blimped to contain their sound emanation, the practice of having the director of photography deal principally with the lighting and not with camera operating continued.

The Craft of Camera Operating The craft aspect of camera operating is composed of the mechanical elements and functional settings necessary to understand and apply to the manipulation of the camera during the process of image capture. The mechanical aspects are the working parts of the camera which make possible the capture of selected imagery. The functional aspects are those settings and adjustments which can be set and varied during a take. The manipulative controls which adjust

Developing a skill ... takes dedication, persistence and practice, practice, practice. image focus and sizing and which allow the camera to be directed toward specific areas of view are in the hands of the camera operator and the first assistant camera operator. A thorough knowledge of the craft aspects of camera operating is essential before skill can be developed.

The Skill of Camera Operating Developing a skill for camera operating takes dedication, persistence and practice, practice, practice. Being able to read body language, to be one with and be able to go with the flow of the action, to maintain pristine framing

throughout a shot, to have keen visual memory, are skills which must be mastered, maintained and improved. Once a high level of skill has been attained, entrance to the next level is possible.

The Art of Camera Operating Art in any endeavor is the result of a combination of factors-a thorough knowledge of the tools, a complete dedication to the craft and a high degree of skill in using the tools. But there is more. True art takes place when skilled craftsmanship, creativity, intuition and application take place in forming a created work in an appropriate and dedicated synergistic mix.

Bill Hines is the author of Job Descriptions for Film and Video and the just published Operating Cinematography for Film and Video.

FOR "JT IHl JE SHOOTER W J.Hl CO) WANTS 1T CO) KNOW ~

OPERATING CINEMATOGRAPHY for FILM & VIDEO Is a Complete and Practical Guide To Professional Camera Operating and Operating Cinematography WHAT RENOWNED DIRECTORS OF PHOTOGRAPHY HAVE TO SAY ABOUT OPERATING CINEMATOGRAPHY • "Must reading if you want to expand your visual capabilities."-Haskell Wexler, ASC • " ... a wonderful guide. In it you'll find everything you need to know to do my favorite job, the best job in cinematography--camera operating." -Conrad Hall, ASC • " ... a valuable one-of-a-kind book on operating cinematography."- Vilmos Zsigmund, ASC • " ... an excellent guide to the method and purpose of camera operating." -Gordon Willis, ASC • " ...includes a wide diversity of essential information ... on-set protocol, working with other crafts, and shot management." -Dean Cundey, ASC • " ...emphasizes two important areas, set etiquette and communication." -Allen Daviau, ASC

• "When you finish reading this book, you will know what camera operating and operating cinematography are all about." -George Spiro Dibie ASC

OPERATING CINEMATOGRAPHY is available at bookstores@ $24.95, or order direct from ED-VENTURE FILMS/BOOKS, P 0 Box 23214, Los Angeles, CA 90023 for $27.45, including shipping-California residents add $2 sales tax. JOB DESCRIPTIONS for FILM & VIDEO is at cinema and video booksellers @ $15. For more information, contact EdVentrFim@aol.com

Page 82

The Operating Cameraman

January-June 1998

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Advertisers' Index Alan Gordon Enterprises ....... ............. ................. .. 85

O'Connor Engineering .. ....................................... 60

Arriflex ......... ........................ ........................ ........ 25

Oppenheimer Camera .......................................... 11

Bogen Photo Corp .......... .... .... ..... ...... ..... .. 37, 39,41

Otto Nemenz ......... ......... .. ....... .. .... ........ ..... .. ..... .. 51

Carton i ........ ... ..... ...... ..................................... 70, 71

Panavision ...................................... Inside Back Cover

Chapm an Studio Equipment Inc .... .......... ... .... ...... 62

Panavision Remote Systems .. .. .... .. ........... ............. 48

Cine Video Tech ............. ................. ... .... .... ... ... .... 86

Panavision-Dallas ...... .. ..... ......... .... .. ........... ........ 32

Cinema Products ...... .. ................................. ... ...... 59

Philips ................. ... .......... .. .................................... 8

Cinematography Electronics .. ... ... ... ...... .. ... ..... ...... 14

Plus 8 Video ........ .............. .. .. .. ................. .... ... ..... 78

Clairmont ....... ...... .. ....... ..... ...... ............... .... .... 44-45

Precision Camera Support ........... ........... ......... .. .. . 72

Deluxe Labs .................... ........ ...... ......... ...... ........ . 76

Preston Camera Systems ... ..... .. .... ...... ...... .. ... ... ... . 53

Eastman Kodak Co ..... ......... ......... ...... ....... ....... .. .... 6

Reed Exhibition ........... ...... ......... .......................... 30

Ed-Venture Films/ Books .......... .... ........ ....... ... ..... ... 82

Sachtler ...... ....... ... ......... ....... .... ...... .. ... .... ....... .. .. .... 9

Ferra Camera Mounts .... ............. ................ .. ..... ... 54

Schneider Optics .... .... ......... ..... .. .. ...... ............ ...... 36

Foto-Kem Industries .. ............. .............. ... ......... .... 65

Shotmaker .................. ..... ........... ....... ..... ........ .. .... 40

Fuji Professional Motion Picture Division ... Back Cover

SOC Wear ......... ................................................... 46

Fujinon Inc ................ ...... ... ......................... .. ....... 1 3

Studio Film & Tape ................. ............................. 81

Geo Film Group .... ......... ..... ........ ...... .............. ...... 16

Technicolor ... .... .... ....... ........ ................................ 83

Gunner .................................. .. ........ ..... ........ ..... ... 63

Telescopic Crane Corp ..... ........ ......... ...... .... .. ... ... . 17

HydroFiex .................... ............... ......... ......... ........ 21

Tiffen .... ... .... ...... ....................... .. ...... ............. .... ... 28

lkegami .................. .. .............. ..... ........... ...... ........ 23

Tyler Camera Systems ....... ... .. ... ... ........ ... .. .......... . 52

lnnovision ..... ...... ........... ...... ...... ... ... ..... .. ....... ...... 84

Victor Duncan ....... .... .......... ..... ..... .... ...... ............. 32

J L Fisher Inc ......................................................... 80

Vinten Inc .... .... ........ ... .... ........ .... ....... ..... ..... ... .. .... 55

Mole-Richardson ... .......... ............. ..... ....... ............ 47

Weaver/Steadman ................................................ 87

Mr. Time Lapse ......................... ....... .................... 15

William F White Ltd ... ............ .......... Inside fron t cover

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The Operating Cameraman

January-June 1998

Reviewed by Michael A. Jones, SOC Director of Photography

ver the last forty years, I have read and collected many books on the art and craft of lighting and cinematography. Without exception these books have only repeated information written by the earliest authors. Most of the information given is of the most technical nature, and quite frankly , after the first few years became boring and repetitive. Operating Cinematography for Film and Video, by William E. Hines, SOC has changed my attitude! I feel like there is so much more to learn , and this is the first day of the rest of my life! I don ' t intend to waste it. Not only can the neophyte benefit from Bill 's experiences expounded in this book, but also the most advanced craftsman can learn from any one of the five sections in the book. SectionA:InterpersonalRelations tells us how important our attitudes, our conduct, and our networking abilities are, as well as our job skills. Not only is it important how smart we are, and how

well we know our jobs, but we must interact with our fellow craftsmen. For everything we do on the set, directly or

Be aware of the chain of command... and the lines of communication ... indirectly, is for presentation to the camera. This section also deals with the "Rules of Professional Conduct" and "Protocol" and "Set Etiquette." All are subjects never before broached in print. SectionB:ProductionPractices teaches us how to keep our jobs by being reliable self-starters with cooperative and collaborative attitudes. Be aware of the chain of command (to whom you are directly responsible) and the lines of communication (with whom you need to keep channels =*>

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JanuaJ y-June 1998

The Operating Cameraman

Page 85

open). Always keep SAFETY first and foremost in your mind while practicing our crafts. Do not let the excitement or pressure of the moment sidetrack you from doing a professional job. And realize how Budget, Shooting Schedule, and Logistics can present a potential for injury. Some of the peril and pitfalls that can be encountered while operating include: The lack of technical knowledge on the part of superiors that can create problems for the camera crew. Not knowing that actors are missing their marks or blocking other actors resulting in incorrect sizing or a performer swaying side to side causing corrective panning action

Section C... is about the skills required to manage and work with people and to operate the equipment. .. (fishing), and to keep the actor in frame. Some of the remedies discussed in the book include; personality conflict, lack of experience, personal relations, physical and mental conditioning, operating under pressure, communication errors, and other related subjects, are dealt with in this section. Operational Techniques are addressed; techniques for controlling fast panning, adjusting the tension and locking the control head, allowing for unplanned movement. Foreground and background checks. Stage area designations, such as camera right, camera left, stage right or stage left. Evaluating the production process, and using the mind's eye to answer "Is it art or craft?" Section C: OperatingCinematography is about the skills required to manage and work with people and to operate the equipment, in order to output a quality cinematic product within the constraints of time and budget. This section encompasses the most information pertaining to the job of operating the camera including the pros and cons of moving up from 1st assistant cameraman to camera operator and the change from the "abstract" to the "aesthetic." Instead of dealing with numbers and distances, the former assistant finds him or herself immersed in the visual result of the numerical settings and camera positions and how these factors affect focus and compositional framing. How do we deal with the big question, "How was it?" What are the camera operator's responsibilities? What is the function of the camera operator? Should the camera operator be involved in lighting, exposure, and setting up the shot? Why select any certain film stock? What are exposure modifiers , lenses, filters, frame rates , and the shutter? All of these subjects and many more are discussed in this very important section. SectionD: OtherCollaboratingCrafts: There are more than one hundred and fifty film and video crafts that can be utilized in a cinematic production! The principal emphasis in this section is from the perspective of those working in the camera category, and how to interact with and appreciate all the other crafts. SectionE: Production Type s deals with comparing film sitcoms and episodics. The difference in camera movement, the Page 86

The Operating Cameraman

Bill's plain talk was learned over 40 years in the film and video business, 25 years as Director of Photography. number of cameras used, coverage, lighting styles, actor positioning, operator to operator relationships as well as operator to dolly grip communications are discussed. And finally , Bill speaks about multi-cameras on video sitcoms. The experience of William "Bill" Hines, SOC, has never been more evident than it is in his book Operating Cinematography for Film and Video. Bill 's plain talk was learned over forty years in the film and video business, twenty-five years as Director of Photography. He has been busy as any one of us over the years I've known him, but he has always found time to write for us . And he has always given unselfishly to the various union and fraternal organizations that we all belong to. I give this book five stars.

OPERATING CINEMATOGRAPHY (ISBN 0-935873-01-5; Library of Congress Card Catalog #97-90057) has 256 pages, with illustrations. Published by ED-VENTURE FILMS/BOOKS, Los Angeles@ $24.95.

January-June 1998

dsRemote'" is manufactured by Weaver/Steadman , Inc . 16 46 20th Street San ta Monica CA 90404 31 0 .829 .3 296 310.828.5935 fa x

Dana Christiaansen Director of Photography

"We chose the new 3-axis dsRemote for a shoot with very demanding conditions. It was a spot for Cadillac Cetera and we shot three days high up in the Rockies above Aspen, Colorado. The camera was under路 slung only inches above the road off an extension bolted to a crane arm on a camera car out of Denver. With this setup we were flying down a less than perfect road at speeds of 40-45 mph, passing cars, panning in between them, booming up and over, sliding across fronts and rears, and in general working all the angles, corners and edges. Throughout this adventure, the dsRemote's feel and respon路 siveness was excellent. Prior experience with 2 and 3-axis remote heads has taught me to be very concerned with rigidity and dynamic/harmonic vibrations which affect the smoothness of the shot. This head's performance was absolutely solid and yielded one smooth shot after another. Congratulations to Weaver/Steedman!" Available at Camera Service Center (212) 757-0906

Roster of the Society of Operating Cameramen ACTIVE CHARTER MEMBERS Parker Ba rtl ett Paul Basta Michae l Benson Bob Bergdah l Howard Block Jerry Callaway M ike Cheva lier Steve Conant Sam Drummy joe Epperson Ron Francis Bi ll Gahret Peter Hapke Bi ll Hines Bob Keys Norm Langley Ed Morey Lee Nakahara jay Nefcy Rik Nervik Leigh Nicholson joh n Nogle Dan Norris David Nowell Wayne Orr M ichael Scott Hal Shiffman Roger Sm ith Mike St. Hil aire Ray Stella Joseph F. Va lentine Edward Ventura Ron Vidor ACTI VE MEMBERS Art Adams Derek M. All en Bret A llen Lee Alli son Aldo Antonelli Sa il. Aridi Ted Ashton Jr. Bil l Asma n Joh n H . Atk inson Dan Auerbach Paul Babin Christopher j. Baffa Vincent Ba ldino Gera rd Bana les Stewart Barbee jeff Bark lage Tom Barron Guy Bee Tim Bellen Richard Benda Bob Berry AI Bettcher George Billinger Ill joe Blaisdell james Blanford David Boyd Bi ll y Bragg Garrett Brown Bob Bryan Robin Buerki Susan A . Campbel l Robert Carm ichael Michael W . Chamb liss

Page 88

Louis Chanatry joe Chess Jr. Juli an Chojn ack i Dana Christiaansen Marc A. Cole john A . Connell Tom Connole Fredd ie Cooper John A. Corso Iva n Craig Richard Cu ll is Michael L Culp joseph C. D' Alessa ndro Edwa rd Dadu lak Rocky Danielson Richard W . Davis Mark T. Davison Ray de Ia Motte Eric DeBiackmere David Diane Troy D ick Glenn DiVincenzo Sean Doyle Alexis DuPont Dav id Elkins David Emmeri chs Steve Ess ig james Etherid ge Brant S. Fagan Tom Faigh jerom e Fauci Randy Feemster M ichael Ferris Ken neth Ferro Lance Fi sher Eri c Fletcher Howa rd Ford Heuman Forough lan Foster Thomas Fraser David j. Frederick Michael Fred ian i Michae l Richard Frift Rusty Gell er Michae l Genne Wayne Getche ll Wi lli am Gierhart All en Gonzales john Goode Anette Haell migk Dennis Ha ll Terry Harkin Chris Hayes David Haylock Steven F. Heuer Sean Higgins Ronald High Charles M. Hi ll , Jr. Jeffrey Hoffman Gary Hoffm an Joac him Hoffma nn Robert Chapman Horn e Casey Hotchki ss Gary Hudd leston Philip Hurn David Insley Levie Isaacks Simon jayes Tom jensen Michael A. John son

The Operating Cameraman

John H. Joyce David judy Mark D. Karen Michael Karp john Kiser Douglas H Knapp Dan Kneece Robert Kos itchek Kris Krosskove Robert La Benge Bria n Lataill e Henry Lebo M ark Levin Michael Little Lynn Lockwood Thomas Loizea ux Patrick Longman George Loomis Dona ld Luczak Allan Lum Li Gregory Lundsgaard Kenji Lu ster Hea ther MacKenzie James Mann Jam ie Maxtone-Graham Stan McClain Donald M. McCuaig Ron McManus Larry Meachum Robert L M ehnert Mike Meinardus Anastas N. Michos Robert Mi ll s W il liam E. Mills Wi ll iam Molina joseph Montgomery Lawrence P. Moody Chri stopher Moon Douglas R. Moore Robert Moore Jeff Moore Denis Moran Donald Morea Don Muirhead Michae l Negrin, ASC Chuck Nicklin Wi lli am R. Nielsen, Jr. Randy Nolen Tamas P. Nyerges Wi lli am O' Drobinak Philip Oetiker Russell Ofria Lucio O livieri Christopher Shaun Floris Sij besma Guy Skinner Michael D . Smith john Sosenko Sandy Spooner Stephen St. john Scott E. Steele Michael Stramisky Dav id Stump Brian Sweeney James H . Sweeney Bi ll Swinghamer Gene Talvin Ama nda Thompson Richard Tiedemann john Toll , ASC

Tsuneyuki Tometaka Chri stoph er Tufty Daniel Turrett Pernell Tyus Robert Ull and Pau l D. Va rri eur Bi ll Wa ldman Victoria Wa lker Wi lliam Webb David West Bil l Wil liams Christopher Wissinger lan D. Woolston-Smith McKeen Mick Worthen Elizabeth Ziegler ASSOCIATE MEMBERS Gary Armstrong jacques E. Arne t Chuck Barbee Phil lip Bishi rji an Peter Bonil la Richard Broun joseph Ca lloway Bruce Card ozo Cha uncey Chapman Kirk Chi swe ll Eel Clare Jeff Clark Greg Colli er Richard Crud e Egor Dav idoff Chri stopher Dawson James A Dennett Ronald Deveaux George Spiro Dibi e, ASC Patri ck Michael Dolan Kevin Downey Gary Eckert Michael Escobosa Robert Feller Rudy Fenenga, )r. Dan Fetl er john C. Flinn Ill, ASC Mark Forman Peter F. Frintrup Richard Garbutt james Garvey Harvey Genk ins Jeff Go ldenberg Wayne Go ldwyn Juergen P. Gottschalk Bud Gray Phi l Gries Wynn Ham mer John Hill Chri s Hood John C. Hora Kent Hughes Carri e lmai Gregory Irwin Chri s Ishii Thomas Patrick John son Frank E. Johnson, ASC Michael A. jones Francis Kenny Douglas Kirkland George La Fountaine, ASC Stevan Larn er, ASC Lee David Laska

January-June 1998

John LeB lanc M ark R. Lein s Alan J Lev i Roland j . Luna Dr. Ellen Matsumoto Ray McCort N ick Mclean, Sr. John McPherson Ri ck Mervis Charl es Minsky Karin Mod lin Ri cha rd Mosier joshua S. Narins Sol Negrin, ASC john Newby Richard Nezvaclovitz Bob Seaman George W. Singer Jr. Jan Sluchak Owen Stephens Kevin j . Stolpe Tara Sum mers john Tea l Ronald Turowski Roy H . Wagner, ASC Maja Broz Bram han Sathi sh Chandra Patty W alsh Cra ig W. Walsh Brian Watk ins Haske ll Wexler, ASC Shaun Wheeler Pol C. Wright Tony Ya rl ett Dav id R. Zera Vi lmos Zs igmond, ASC HONORARY Stephanie Benson Bruce Doering W ill iam A. Fraker, ASC Ron Kelley Kathleen Kennedy Jerry Lew is A. Linn Murphree M.D. Dav id Myers Steven Spielberg Frank Stanl ey, ASC George Toscas

Gary Holt john Hu ssey Bill john son David Ku rl and joseph Longo Steve Lydecker Owen Marsh Bob Marta M ichael McClary Emmanuel Metaxas King Nicholson Phil Stern David Sutton Sven Wa ln um Ben Wolf CORPORATE SPONSORS CLA IRMON T CAMERA Denny Cla irmont DELU XE LABORATORIES Richard L. Thomas EASTMAN KODAK COMPANY Curti s E. Jones John L. Mason GEO FILM GROUP, INC. David Nowe ll JL FI SHER COMPANY Dennis Knopf )ames L. Fi sher LEO NARD STU DIO EQU IPMENT Charles j . Huenergarclt Leonard T. Chapman MATIHEWS STUDIO ELECTRON ICS, INC. Ernst " Bob" Nettmann O ' CONNOR ENGINEERING LABS Joel Joh nson OTIO NEMENZ INTERNATI ONA L, INC. Karl Kresser PANAV ISION Tracy Langan PHOTO-SONIC$, INC. Conrad Kiel PRECISION CAM ERA SU PPORTS, INC. Rick F. Gu nter SCHNEIDER OPTICS, INC. Sta n Wa llace SHOTMAKER INC. Roy Atlas SONY ELECTRONICS, INC. Jeff Cree TECHN ICO LOR, INC. Adam Chu ck TECHNOCRAN E LTD. Simon ]ayes VICTOR DUNCAN, INC. Frank Marasco W ILLI AM F. WHI TE LIMITED Wil li am F. Wh ite

RETIRED Bernie Abramson Eugene Ashbrook Rupert Benson )r. Vee Bodrero Don Burch Phil Caplan Bruce Catlin Bi ll Clark Dick Co lean Cliff Conc iald i jim Connell Don Cropper Linwood Dunn, ASC Mike Ferra Gerald Perry Finnerm an, ASC Jerry Fu ller jerry Good Gil H aimson Lutz Hapke Roster current as of 11 / 1/ 9 7