Camera Operator 2011 Spring/Summer by Society of Camera Operators

Photo of Christopher Baffa by Adam Rose

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It Starts with the Glass tm

SPRING–SUMMER 2011

to shooting the pilots for the hit series The Closer, Nip/Tuck and Glee, he helmed seven seasons of Nip/Tuck and is now in his second season of Glee.

Christopher Baffa ASC, began his career as a gaffer and moved into off-beat features such as Suicide Kings, Running with Scissors and the cult movie Idle Hands. In addition

Display Until September 2011

US $7.00

WWW.SOC.ORG

CAMERA OPERATOR SPRING/SUMMER 2011

VOLUME 20, NUMBER 2

Sif (Jaimie Alexander) in Thor, from Paramount Pictures and Marvel Entertainment.

Features

SOC Awards by Harrie Phlex The Lifetime Achievement Awards return in a big way on the Warner Bros’ Backlot.

Camera Operators of the Year Cover

by Sawyer Gunn The SOC celebrates the very best in operating for Feature Films and, for the ﬁrst time, Television.

Thank You! I am extremely honored to have received the 2010

very gifted and loyal staff, my colleagues, my peers, my

Academy of Motion Picture Arts and Sciences John A.

family, but most importantly to all of you cinematographers

Bonner Award. This would not have been possible without

who inspire me. Thank you so very much!

all of you. I’d like to express my sincere gratitude to my

by Steve Fracol SOC and Jack Messitt SOC Camera Operator goes behind the scenes of Marvel’s comic book blockbuster.

Filming Conan the Barbarian

by Christopher TJ McGuire SOC A special sneak peek behind shooting the warrior tale reboot in Bulgaria.

Denny Clairmont

Departments

2 Letter from the President

42 Hi-Def with Jeff

6 Editor’s Message

47 Last Take 47 Advertisers’ Index 48 Roster of the SOC

by Michael Frediani SOC

by Jack Messitt SOC

8 News & Notes www.clairmont.com

What’s happening with members and in the industry

by Jeffrey Cree SOC

as of 4/30/11

CAMERA OPERATOR SPRING/SUMMER 2011

VOLUME 20, NUMBER 2

Sif (Jaimie Alexander) in Thor, from Paramount Pictures and Marvel Entertainment.

Features

SOC Awards by Harrie Phlex The Lifetime Achievement Awards return in a big way on the Warner Bros’ Backlot.

Camera Operators of the Year Cover

by Sawyer Gunn The SOC celebrates the very best in operating for Feature Films and, for the ﬁrst time, Television.

Thank You! I am extremely honored to have received the 2010

very gifted and loyal staff, my colleagues, my peers, my

Academy of Motion Picture Arts and Sciences John A.

family, but most importantly to all of you cinematographers

Bonner Award. This would not have been possible without

who inspire me. Thank you so very much!

all of you. I’d like to express my sincere gratitude to my

by Steve Fracol SOC and Jack Messitt SOC Camera Operator goes behind the scenes of Marvel’s comic book blockbuster.

Filming Conan the Barbarian

by Christopher TJ McGuire SOC A special sneak peek behind shooting the warrior tale reboot in Bulgaria.

Denny Clairmont

Departments

2 Letter from the President

42 Hi-Def with Jeff

6 Editor’s Message

47 Last Take 47 Advertisers’ Index 48 Roster of the SOC

by Michael Frediani SOC

by Jack Messitt SOC

8 News & Notes www.clairmont.com

What’s happening with members and in the industry

by Jeffrey Cree SOC

as of 4/30/11

Letter from the President

A New Day Dawns

SEE ATLANTA THROUGH A NEW LENS.

Randall Robinson (left) was SOC president when he started this magazine. Douglas Knapp (right) helped him print the first issue from his desktop computer.

CAMERA OPERATOR: LETTER FROM THE PRESIDENT

Spring / Summer 2011

Panavision opens its newest regional full-service camera facility in Atlanta. Local access, worldwide service — you can only get it with Panavision.

DAVID MAHLMANN SOC

Panavision.com

MICHAEL FREDIANI SOC

s the new president of the Society of Camera Operators, I am appreciative that you are taking the time to read this publication that is and always has been produced at a grass-roots level. Editor Jack Messitt has elevated Camera Operator magazine to its highest level yet. Take it from me, as a past-president as well as editor of this magazine (1995–96) I have marveled at the growth and sophistication of our publication. I thank those who took what was once a Xeroxed newsletter for members-only and elevated it into what you hold in your hands—an awesome periodical serving the television and movie Michael Frediani soc industry worldwide. Just as credits are important to us in our industry so are the credits in the masthead on page 5. Please take 20 seconds to Fisher and your staff who gave up their Saturday (with appreciate those who make this magazine possible. smiles) to open your house to all of us. We also thank you for donating an awesome tool set with proceeds to our designated charity, The Vision Center at Children’s HospiThere’s No Business Like Our Business tal Los Angeles. Kudos to Filmtools for donating a Go-Pro There are many reasons why those of us listed on page 48 camera. We couldn’t be more proud to count your companies have decided to join this Society but the bottom line is that as our Corporate Members. we are all committed to its goals. Whether we are Camera Operators, Associates or Corporates, we are by choice artisans who count on cameras to bring our creativity to light. Intellectual Property If we don’t love what we do, then why spend the majority of AFTRA, DGA, IATSE and SAG have joined forces to hours in a day to showcase our creativity worldwide? Fact is, combat digital theft and are working with Congress in we appreciate our livelihood and strive to perfect it, shot by crafting legislation to make it a felony. As creative people on shot, scene by scene, day by day. Even the worst days on the the set, behind the scenes and in the shops that create our set are better than the best days sitting at home wondering tools, we must realize that what we do for a living is in the when the phone will ring with our next job offer. crosshairs of those who have no creativity of their own. These people choose to steal from others. They impinge on our health plans, our pensions and our livelihood. Don’t add to Charity Begins at Home At the recent JL Fisher/SOC BBQ in Burbank I am proud the maelstrom that exists, and don’t turn a blind eye to what you see. If you, your friends or family cannot afford to buy it, to announce that we brought in almost $1,500 in donations from raffle tickets, including a huge donation from JL Fisher, please don’t steal—it’ll be a self-inflicted wound. on top of their generosity afforded to us and others who attended this awesome annual event. Thank you Jimmy Michael Frediani, SOC President

1250 Menlo Dr NW, Suite A Atlanta, Georgia 30318 Tel 404.347.3000

Letter from the President

A New Day Dawns

SEE ATLANTA THROUGH A NEW LENS.

Randall Robinson (left) was SOC president when he started this magazine. Douglas Knapp (right) helped him print the first issue from his desktop computer.

CAMERA OPERATOR: LETTER FROM THE PRESIDENT

Spring / Summer 2011

Panavision opens its newest regional full-service camera facility in Atlanta. Local access, worldwide service — you can only get it with Panavision.

DAVID MAHLMANN SOC

Panavision.com

MICHAEL FREDIANI SOC

1250 Menlo Dr NW, Suite A Atlanta, Georgia 30318 Tel 404.347.3000

SOCIETY OF CAMERA OPERATORS BOARD OF GOVERNORS OFFICERS President . . . . . . . . . . . . . . . Michael Frediani 1st Vice President . . . . . . . . . . . . . . Chris Tufty 2nd Vice President . . . . . . . . . . . . . Steve Fracol 3rd Vice President . . . . . . . . . . David Frederick Recording Secretary . . . . . . . . . . . . .Dan Gold Treasurer . . . . . . . . . . . . . . . . . . Daniel Turrett Sergeant-at-Arms . . . . . . . . . . . . .Mark August BOARD MEMBER COMMITTEE CHAIRS Awards . . . . . . . . . . . . . . . . . . David Frederick Charities . . . . . . . . . . . . . . . . . . . Bonnie Blake Communications . . . . . . . . . . . Gregory White Corporate Liaison . . . . . . . . . . . . Stan McClain COY Awards . . . . . . . . . . . . . . . . . . .Dan Gold East Coast SOC Rep . . . . . . . . . . Alec Jarnagin Events . . . . . . . . . . . . Mark August, Gary Bush Education . . . . . . . . . . . . . . . . . . . Steve Fracol Membership . . . . . . . . . . . . . Christopher Tufty Merchandising & Promotions . . . . . . . . Dan Coplan, Marc Miller Publications . . . . . . . . . . . . . . . . . Jack Messitt Technical Standards . . . . . . .David Emmerichs BOARD MEMBERS AT LARGE Robert Reed Altman Chris Haarhof Will Arnot Kenji Luster Stephen Campanelli Georgia Packard Mitch Dubin Heather Page Samuel “Buddy” Fries Peter Rosenfeld Robert Gorelick Michael Scott STAFF AND CONSULTANTS Ofﬁce Administrator . . . . . . . . . . Diana Penilla Publications Manager . . . . . . . Douglas Knapp Publications Layout . . . . . . . . . . Lynn Lanning Publishers . . . . . . . . . . . IngleDodd Publishing Calligrapher . . . . . . . . . . . . . . . . . .Carrie Imai Legal Reps. . . David Adelstein, Geffner & Bush

Aspire To Be Brilliant. Canon Puts the Power in Your Hands. Canon imaging expertise – including world-class optical and sensor technologies – produces professional tools of remarkable capability and quality. Combined with highly efficient integrated workflows and top-flight service and support, Canon innovations empower and inspire imaging professionals from acquisition to delivery. Learn more at usa.canon.com/professional

is a registered trademark. All rights reserved. CAMERA OPERATOR SPRING/SUMMER 2011 Editor . . . . . . . . . . . . . . . . . . . Jack Messitt SOC Managing Editor/Art Director . . . Lynn Lanning Post-ProductionManager . Douglas Knapp SOC Cover Photo . . . . . . . . . . . . . . . . Mark Fellman Production Coordinators. IngleDodd Publishing Advertising Director . . . . . . . . . . . . .Dan Dodd CONTRIBUTORS David Mahlmann SOC Jeffrey Cree SOC Steve Fracol SOC Christopher TJ McGuire SOC Michael Frediani SOC Jack Messitt SOC David Frederick SOC Denis Moran SOC PHOTOGRAPHY Carin Baer Ray Mickshaw Merrick Morton François Duhamel, SMPSP Ken Regan Dianne Farrington SOC Mark Fellman Zade Rosenthal Claire Folger Andrew Schwartz, SMPSP Michael Frediani SOC Guy Skinner SOC Greg Gayne Adam Taylor Prashant Gupta Simon Varsano Isabella Vosmikova David Mahlmann SOC Craig Mathews JoJo Whilden For display advertising information, contact: Dan Dodd (310) 207-4410 x236 fax: (310) 207-1055 Dan@IngleDodd.com For article submissions, please contact: SOC Attn Magazine PO Box 2006 Toluca Lake, CA 91610 Phone (818) 382-7070 © 2011 by the Society of Camera Operators Subscription Rates: USA $20/year Outside USA $28/year (U.S. Funds Only) Subscribe online at www.SOC.org Camera Operator is published 3 times a year by the Society of Camera Operators

Visit the SOC web site www.SOC.org

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© 2011 Canon U.S.A., Inc. Canon, EOS, PowerShot, imagePROGRAF, PIXMA and REALiS are registered trademarks of Canon Inc. in the United States, and may also be registered trademarks or trademarks in other countries. IMAGEANYWARE is a trademark of Canon. All rights reserved. Images and effects simulated.

Visit the SOC web site www.SOC.org

Personalized Support for the Imaging Professional

Online Resources for Imaging Professionals

Empowering Creativity

Editor’s Message

(yes, if you can believe it, I still have them). They were all filled with encouragement and some hard truth that I promptly ignored when I first received them. decided that I wanted to be a cameraman Here are two of my favorite when I was a junior in college. So I dropped words of wisdom that are just as out of my pre-med classes, switched to journaltrue today: ism just to get a degree, and started to ask “If you have the passion, talent around for advice. and most of all, the will to work My parents put me in touch with an accounlong hours for not-so-great pay, tant who happened to have a few cameramen without a guarantee that you as clients. Why? Because it was the only thing may ever ‘get there,’ and maybe close to a “Hollywood” contact that they had. never see a proper reward for He told me that it was a long road to being a your efforts, then at least you are cameraman. And it wouldn’t be until I was 40 in the right frame of mind.” —Mikael Salomon ASC that I would be “comfortably secure in my career.” I took this to heart and, from day one, knew that this would be a long “To get a start in this business, your very best bet is to road. marry a very rich producer.” —Michael Watkins ASC Being the enterprising young man I was, I wrote letters to I stayed in touch with many of these cameramen through many of the ASC members I admired, asking for career letters and then phone calls when I finally arrived in Los advice. Surprisingly, I received a very high percentage of Angeles. Sadly, I wore out my welcome with a few and letters in return: Juan Ruiz-Anchia ASC, William Fraker squandered away my relationship with the others… Unfortunately, those are lessons that cannot be taught in ASC, Vittorio Storaro ASC just to name a few. I cannot film school. Those types of things, we all must learn on our express to you what these letters meant to me (and still do). own. As my dad likes to say, “Good judgment comes from They were gold. experience. Experience comes from bad judgment!” In the I pulled out these letters the other day and reread them years since I started in this business, I have racked up plenty of experience. PICTURE THIS ... PRODUCTS & SERVICES While I have now passed 40, I am That makes banking just a little easier! not always “comfortably secure in my career.” Every hiatus seems an Here at MICU we’re showing off our talent and letting our creative side show, by finding ways to bring you simple banking. eternity, waiting for that call back to work. I guess that it keeps this career * Bill Pay - Convenient Money Management interesting, if not always for the * New Auto Loan rates as low as 3.25% up to 60 months * Used Auto Loan rates as low as 4.25% up to 60 months right reasons. * Free access to over 28,000 CO-OP Network ATMs and 800,000 Why this trip down memory ATMs worldwide through links to the NYCE, STAR, Cirrus, Pulse and Plus networks lane? Just the other day, a college * Car buying services through Autoland, Redbook, & Executive sophomore contacted me, asking for Car Leasing career advice. He was not the first, * Our free checking account offers you both ATM and free debit cards with REWARDS and most likely, will not be the last * We also offer CURewards™ for our VISA credit card (at least I hope not). * Free Online Teller and Money Maestro Audio Teller * Real Estate loan services through West Coast Realty (personal But I had to wonder when it was service). If we can’t fund the loan we’ll help you find a lender that I crossed the threshold from who can help you. novice to mentor. Somewhere, I must have. But I couldn’t tell you We offer guaranteed lowest loan rates for all consumer loans. when. We’ll MEET or BEAT other approved rates from financial institutions. So when I met this young man for For DETAILS, call us toll free at coff ee, I gave him a lot of encourage1-800-393-3833 or visit us online at www.musicianscu.org ment and a healthy dose of that same hard truth that was given to Hollywood Branch Studio City Branch me those many years ago. He 817 N. Vine Street, Suite 200 11440 Ventura Blvd, Suite 101 nodded and listened politely. But as Hollywood, CA 90038 Studio City, CA 91604 he left, I’m sure that he promptly Toll Free: 800 / 393-3833 Toll Free: 800 / 393-3833 ignored it all and will continue on Phone: 818 / 763-7005 Phone: 323 / 462-6447 this long, but rewarding road… Fax: 818 / 505-8407 Fax: 323 / 462-4411 Cuadpro Marketing 11-23

Words of Wisdom

COURTESY OF JACK MESSITT SOC

CAMERA OPERATOR: EDITOR’S MESSAGE

Spring / Summer 2011

Editor’s Message

Words of Wisdom

COURTESY OF JACK MESSITT SOC

CAMERA OPERATOR: EDITOR’S MESSAGE

Spring / Summer 2011

News & Notes

What’s going on with members and in the industry

Changing of the Guard ichael Frediani was inaugurated as the new president of the SOC at the “Inaugural Ball” at Filmtools on Saturday, May 7th. The evening was a New SOC Officers: Sergeant-at-Arms Mark August, Secretary Dan Gold, casual buffet with a good turnout of Treasurer Daniel Turrett, President Michael Frediani, 1st Vice President Chris people who enjoyed networking and Tufty, 2nd Vice President Steve Fracol, 3rd Vice President David Frederick. catching up with friends. Emcee David Frederick presented a Cammy and SOC outstanding work in producing the 2011 SOC Awards Gala. jacket to out-going two term President Dan Kneece. Dan Kneece then passed the official presidential gavel to As his last official act as president, Dan Kneece presented Michael Frediani, who in turn presented a long-overdue gavel a Cammy to David Mahlmann in appreciation for his to past president Stan McClain.

SOC raffle scores for Vision Center

lmost 600 people came to the 6th annual JL Fisher Open House & BBQ lunch to hear panels discussions and delight in outstanding food sponsored by Jimmy Fisher. Numerous camera venders displayed new products. The annual SOC raffle helped raise nearly $1500 with 100% of that money going to the Vision Center at Children’s Hospital Los Angeles.

Thanks go to Mark August SOC and Greg White for their extra efforts supporting the SOC booth. A panel of SOC members, Local 80 dolly grips and a camera assistant discussed such topics as working with your dolly grip, how an operator saves productions time and money, and most importantly was about safety on the set. Think safety first and contact your union business rep when issues occur. “This is only a movie. It’s not worth your life,” stated Michael Scott SOC.

THE

ULTIMATE GYRO-STABILIZED CAMERA EQUIPMENT

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W W W . P I C T O R V I S I O N . C O M CAMERA OPERATOR: NEWS & NOTES

Spring / Summer 2011

8 0 0 . 8 7 6 . 5 5 8 3

News & Notes

What’s going on with members and in the industry

SOC raffle scores for Vision Center

THE

ULTIMATE GYRO-STABILIZED CAMERA EQUIPMENT

WWW.ULTIMATEARM.COM /

CREDITS:

818-618-9988 / 805-375-3200

SANDY TORRES

Stabilized camera systems For motion picture & broadcast production worldwide Featuring • Eclipse • Eclipse 3D • Cineﬂex • Wescam

W W W . P I C T O R V I S I O N . C O M CAMERA OPERATOR: NEWS & NOTES

Spring / Summer 2011

8 0 0 . 8 7 6 . 5 5 8 3

by Harrie Phlex Photos by Craig Mathews

CAMERA OPERATOR: SOC AWARDS

Local 80 President Russ Nordstedt and SOC President Dan Kneece in front of the Warner Bros Theatre

Spring / Summer 2011

by Harrie Phlex Photos by Craig Mathews

CAMERA OPERATOR: SOC AWARDS

Local 80 President Russ Nordstedt and SOC President Dan Kneece in front of the Warner Bros Theatre

Spring / Summer 2011

Jost Vacano ASC

Peter Romano ASC

Michael Ferris SOC

Bonnie Blake SOC

Anette Haellmigk

Photographer David James and his good friend Ken Watanabe Alan Disler, Camera Technician

Michael Ferris SOC appreciates his Cammy for Lifetime Achievement as a Camera Operator

Bill Russell of ARRI

Bruce Carse

Steven Bernstein

Robert Primes

ASC

Amy Mellin

Frank Kay

Bill Bennett

Steven Poster

ASC

CAMERA OPERATOR: SOC AWARDS

George Peters and Joseph Bednar from Ultimate Arm; not pictured: Lev Yevstratov

Spring / Summer 2011

David Mahlmann SOC

Larry Caleb Mole Deschanel; Parker ASC

he 2011 Society of Camera Operators Lifetime Achievement Awards had a new home this year—the Warner Bros Theater on the studio backlot. In the elegant surroundings, the fantastic evening of peer recognition and celebration of accomplishment served up all of the gracious trappings of a classic Hollywood Premiere! With over 400 attendees, the theater lobby and connecting Warner Bros Museum were the site for cocktails and hors d’oeuvres, music and elegant industry networking at this black tie extravaganza. The SOC really stepped up its game and provided an industry gathering for all who wanted to see and be seen. The opening film clip montage by SOC editor Bob Joyce set the stage and provided a humorous and poignant glimpse of camera crews, both real and fictional, depicted throughout film history. Then Bruce Carse, returning for his fourth year as Emcee, kept the audience engaged and entertained. Legendary Cinematographer Caleb Deschanel ASC gave a poignant recollection of the work of Lifetime Achievement Award recipient Camera Technician Alan Disler. SOC President Dan Kneece next presented a special award to IATSE Grip Local 80 in recognition for the continued collaboration between camera operators and grips on set. Local 80 President Russ Nordstedt accepted this honor on behalf of the Local. The SOC continues to support the efforts and successes of the Vision Center of Children’s Hospital Los Angeles. SOC VP Bonnie Blake, Chair of the Charity Committee, shared the history of the relationship of the SOC and the Vision Spring / Summer 2011

Jack Messitt SOC

Ron Vidor

Towie

SOC Bixby Center. Bonnie talked about the SOC film shoot for the Vision Center. The footage was so powerful that even in an uncut state, the financial trustees of Children’s Hospital were so moved that they boosted the funding of the Vision Center. Dr Thomas Lee and Dr Natalia Uribe from the Vision Center were on hand to express their gratitude for the SOC’s unwavering support. Pete Romano ASC, world-renowned underwater camera operator and cinematographer, was next to receive his Lifetime Achievement for a Mobile Camera Platform Operator. Equally legend, Camera Operator Michael Ferris SOC introduced Romano and recalled some very exciting tales of camera work beneath the water’s surface. As a tribute to the incredible accomplishment in cinema history, the SOC presents an award for Best Historical Shot. This year’s award recipient was the handheld camera run the length of the diving submarine in Das Boot. Cinematographer Jost Vacano ASC was working in Germany and could not attend, but sent, in a video message, an incredibly moving recollection of making that shot happen. He asked cinematographer and long-time colleague Anette Haellmigk to accept the award on his behalf. Having worked together on The Last Samurai, Golden Globe nominated actor Ken Watanabe presented the Lifetime Achievement in Still Photography to friend and favorite photographer David James. The audience was treated to a cascade of James’ incredible portfolio and heard stories from the legendary photographer. CAMERA OPERATOR: SOC AWARDS

Jost Vacano ASC

Peter Romano ASC

Michael Ferris SOC

Bonnie Blake SOC

Anette Haellmigk

Photographer David James and his good friend Ken Watanabe Alan Disler, Camera Technician

Michael Ferris SOC appreciates his Cammy for Lifetime Achievement as a Camera Operator

Bill Russell of ARRI

Bruce Carse

Steven Bernstein

Robert Primes

ASC

Amy Mellin

Frank Kay

Bill Bennett

Steven Poster

ASC

CAMERA OPERATOR: SOC AWARDS

George Peters and Joseph Bednar from Ultimate Arm; not pictured: Lev Yevstratov

Spring / Summer 2011

David Mahlmann SOC

Larry Caleb Mole Deschanel; Parker ASC

Jack Messitt SOC

Ron Vidor

Towie

Steven Fracol SOC

Bonnie Blake SOC

David Mahlmann SOC

Dan Kneece SOC

Jack Messitt SOC

Mark August SOC

Christopher Tufty SOC

Michael is the epitome of Camera Operator grace and Distinguished Service to the SOC and Industry was next eloquence and richly deserved this honor. up. Presenter Larry Mole Parker spoke eloquently of the The evening ended with a farewell from departing SOC outstanding service that his dear friend, Frank Kay, has President Dan Kneece and a reminder to help the SOC provided and presented the award to him. support the Vision Center at Children’s Hospital Los Technical Achievement is one of the cornerstones of the Angeles. awards event. Past SOC President Dave Frederick presented See you at the 2012 SOC Lifetime Achievement Awards! the evening’s first SOC award for Technical Achievement to George Peters, Lev Camera Operator of the Year/Film Nominees; Winner with Yevstratov and Joseph trophy – more on following pages Bednar for the Ultimate Arm Gyro-Stabilized Camera Crane. Renowned cinematographer Bill Bennett ASC presented the second SOC Technical Achievement award to ARRI for the ALEXA Digital Cinematography Camera. Accepting the award, Bill Russell of ARRI US thanked the SOC for the honor. With the announcement of the Camera Scott Stephen Colin Geoffrey Peter Operator of the Year Sakamoto Campanelli Anderson Haley Rosenfeld SOC SOC SOC SOC Awards, the evening’s excitement was still Camera Operator of the Year/TV Nominees (Tony Gaudioz not in photo); Winner with climbing—especially trophy – more on following pages with the addition of the Television category this year. Presented by cinematographer Steven Poster ASC, the award for Television went to David J Frederick SOC for Sons of Anarchy and the Feature Film Award was awarded to Colin Anderson SOC for The Town. Capping the evening was the headline event: The Lifetime Achievement in Camera Operating. Director of Photography Steven Bernstein ASC gave an incredibly moving, humorous, Lawrence Greg Dave Guy poignant and inspiring introduction of “Doc” Collier Frederick Skinner his dear friend Michael Ferris SOC. Karman SOC SOC SOC Spring / Summer 2011

CAMERA OPERATOR: SOC AWARDS

Steven Fracol SOC

Bonnie Blake SOC

David Mahlmann SOC

Dan Kneece SOC

Jack Messitt SOC

Mark August SOC

Christopher Tufty SOC

CAMERA OPERATOR: SOC AWARDS

CAMERA OPERATOR OF THE YEAR Winner ~ Film

CAMERA OPERATOR OF THE YEAR Winner ~ Television

Cinematography, an ASC Nomination, and an Emmy Nomination in 1993. Frederick moved to Los Angeles in 1997 and has not looked back. “I am extremely honored to be ast SOC President David Frederick SOC’s passion for nominated for my camerawork was ignited at the age of 13 when his mother asked him to film his older sister’s Sweet 16 Party work on the show and to be in the company of these other with the family 8mm camera. Between staging the theatrically nominees,” says Frederick. “But the effort behind the camera oriented gals for the lens and then single frame animating the on Sons of Anarchy (SOA) is shared by so many hard working food on the buffet table, he saw what magic was created with crew members, all passionate about the show. “As A-camera operator,” adds Frederick, “I have the the movie camera. pleasure of co-operating with the perfect gentleman, Steve He started his training as a cinematographer at New York Fracol SOC on B-camera and Steadicam. Steve and I worked University, graduating in 1979 with a BFA degree in Film & Television. He went on to a 10 year career as a 1st AC with side-by-side on SOA for the first three seasons and look notable projects such as Driving Miss Daisy, Crossing Delancy, forward to the beginning of season 4. 9 ½ Weeks and Blood Simple. His first opportunity as an “A” camera operator was on NYC Police detective-turned-producer Sonny Grasso’s NBC-TV series Truck 1–ESU. This was largely filmed on NYC location and provided nearly every possible way for David to sharpen his skills as a camera operator—from hand held, dolly, and crane to 2nd unit DP in frequent helicopter sequences. Soon after, he started what was supposed to be a 3-month job in the Pacific Northwest on Northern Exposure. This ultimately lasted from 1991 to 1994. During that time the camera crew was recognized with the 1992 Emmy Award in “SOA is the most physically demanding camera operating job that I have ever had,” exclaims Frederick. “We use the Panavision Genesis handheld—a visually incredible imaging camera but it is a heavy one. My support team of Jeff Pelton on focus, Dolly Grip Jeff ‘JD’ Douglas and the ever ready 2nd AC Sal Alvarez all work as a team to serve the demands of the show. DP Paul Maibaum and the entire camera crew work fast and get a huge amount of stunning work done each day. It is very satisfying that the SOC membership recognizes this with this Television Camera Operator of the Year award for SOA. “It seems that most awards usually go to larger network series,” says Frederick. “So I am especially glad that our lower budget, lower pay, longer hours and mostly handheld cable show got recognized for the feisty and engaging program that it is.”

CAMERA OPERATOR: CAMERA OPERATOR OF THE YEAR AWARD

Spring / Summer 2011

CAMERA OPERATOR: CAMERA OPERATOR OF THE YEAR AWARD

PHOTOS BY PRASHANT GUPTA / FX

knowledgeable. Ben and Director of Photography Robert Elswit both gave me an enormous amount of freedom to make my own choices regarding setups and framing, which is so rewarding. They did, however, have a definite vision for the film and I think they struck the perfect balance as to when the camera was moving or stationary. “It is so gratifying to be recognized by the same people that we are on set with every day,” says Anderson. “They have such a clear picture of what our job entails. I think it is that part that makes this award so special. “Having said that,” Anderson continues, “we are all only as good as the sum of our parts. The amazing Robert Elswit is a constant source of inspiration. I am so privileged to have worked with him. Baz Iodine (1st AC) and Jeff Kunkel (Dolly Grip) make my job so much easier as they are both consummate professionals with a wealth of knowledge. I don’t think we can ever take for granted the amazing technicians that surround us and sometimes go unnoticed.”

FRANÇOIS DUHAMEL, SMPSP

fter working in the South Africa film industry for eleven years, Colin Anderson moved into assisting in Los Angeles. His early career as a 1st Assistant included such films as Stargate, Tank Girl and Species. Since then, he has operated cameras or Steadicams (or both) for such films as Rush Hour, The Haunting, Daredevil and The Rundown. Soon after making the leap to operating, he worked with DP Robert Elswit on Syriana, Good Night and Good Luck, and There Will Be Blood for which he also received a Camera Operator of the Year Nomination. Most recently, Colin has worked on Star Trek, Ironman II, The Town, John Carter of Mars, Super 8 and Welcome to People. “The Town was without doubt one of the most enjoyable sets I have been on because of Ben Affleck,” says Anderson. “One would be hard pressed to find a nicer person to spend your day with! He is extremely bright, humorous and

David Frederick soc for Sons of Anarchy

Colin Anderson soc for The Town

CAMERA OPERATOR OF THE YEAR Winner ~ Film

CAMERA OPERATOR OF THE YEAR Winner ~ Television

CAMERA OPERATOR: CAMERA OPERATOR OF THE YEAR AWARD

Spring / Summer 2011

CAMERA OPERATOR: CAMERA OPERATOR OF THE YEAR AWARD

PHOTOS BY PRASHANT GUPTA / FX

FRANÇOIS DUHAMEL, SMPSP

David Frederick soc for Sons of Anarchy

Colin Anderson soc for The Town

CAMERA OPERATOR OF THE YEAR Nominee ~ Film

CAMERA OPERATOR OF THE YEAR Nominee ~ Television

Stephen Campanelli soc for Hereafter

Tony Gaudioz for House MD

CAMERA OPERATOR: CAMERA OPERATOR OF THE YEAR AWARD

“you say, well that’s my job, sort of, you want to put your own input in there, you want to have your own freedom, you want to be able to contribute. With Clint I do get that; it’s a very rewarding feeling. I’ve been very lucky—I’ve worked with other DPs and directors where I do have that freedom. I think that as an operator, as long as you are personable and get along with everybody, make yourself known, know what you’re doing, you’re confident, they’ll hopefully give you a little more leeway. “On Hereafter, my 17th collaboration with Clint Eastwood, one of my favorite moments was shooting the opening tsunami sequence,” recalls Campanelli. ”With VFX supervisor Michael Owens, we mapped out where the tsunami would hit. Then I ran around both handheld and Steadicam to simulate the panic in the streets. Another great moment was shooting water work in London. It was a blast being in the underwater tank—having air cannons, swirling whirlpools and debris surrounding myself and focus puller Bill Coe. Those moments are why we love our jobs as camera operators so much. It’s always fresh and new, and “we see it first...” Spring / Summer 2011

COURTESY OF TONY GAUDIOZ

ony Gaudioz began his film career at age 15 in 1965 as an apprentice at Keith Ewart Studios in Chelsea, London. England. Ewart produced many commercials, sometime two on the same day. After 3 years and gaining Union membership, he went freelance. While on a commercial, he met Chic Waterson (Doug Slocombe’s long time operator). Chic asked Tony to join them on their next film: The Italian Job. He spent the next 8 years with them doing approximately 15 films including The Great Gatsby, Jesus Christ Superstar and Rollerball. In 1977, he reluctantly left the crew to become a 1st assistant. Clash of the Titans was his first film in that position with Ted Moore as the DP and Mike Roberts operating. Moving to the US in early 1985, he went to

on chain motors to rise up quickly to streamline shooting, as well as being extremely supportive with anything suggested to improve efficiency. “We are blessed,” says Gaudioz, “to have such great scripts by our writing staff led by David Shore. With Hugh Laurie’s passion for every aspect of the show, in addition to his brilliant portrayal of Gregory House, Gale and I want to give 110% to compliment their work.”

Alaska as an assistant on the 2nd Unit of Runaway Train with Don Burgess and Tom Priestley. Since then, he has since worked 30+ films as A-camera operator. In June 2006, Gale Tattersall asked him to operate for him on House MD and they have completed over 100 episodes together. Last year, Tony took over the role of DP on the overlap days and has now completed 7 episodes of the popular show himself. “House MD is a very challenging yet rewarding show to work on,” says Gaudioz. “Many changes have been made to the sets since Gale Tattersall offered me the position as operator at the start of Season 3. The composite sets on Stages 14 and 15 at Fox have many glass walls and partitions, which mean multiple problems with lights, microphone booms and cameras/crews being reflected. Almost every shot requires individual solutions. “The biggest challenge,” he adds, “is to creatively change composition and choice of lenses to try not to duplicate ourselves in the same rooms day after day. House’s outer office is the most challenging of all, as a large percentage of every episode is scripted there with the team. Gregg Yataines our Executive Producer/Director has had many of the walls put Spring / Summer 2011

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COURTESY OF STEPHEN CAMPANELLI SOC

n 1994, Steve Campanelli worked with Jack Green ASC on a movie in China. “Because Jack was Clint Eastwood’s DP at that time,” recalls Campanelli, “I figured if I work really hard on that movie that hopefully Jack would mention my name to Clint. Circumstances just happened and we all ended up in a corn field in Iowa doing Bridges of Madison County. It was my first film with him. I went up to him and said, ‘Mr Eastwood, it is a pleasure to work for you; thanks for having me.’ And he said, ‘Call me Clint.’ And that was it. I started out a huge huge fan of his and now I’ve been working with him for the last 15 years. It’s just insane. “Clint has an absolute trust in everybody in his crew,” explains Campanelli. “He doesn’t get involved in anybody’s job. He knows that you are a professional. If you give him your opinion, he’ll believe you. He’ll trust you. As a director, if he has a different vision he’ll guide you in that way. He will explain why; he won’t just force you to do it that way. Great freedom with Clint. With this long a relationship, he trusts me, does not use video assist. He’ll just say, ‘Steveo—how was it?’ and I’ll say, ‘good,’ or ‘I can use another one.’ If I ask for another one he usually asks me why. If I say it’s just a headroom issue, he may say, ‘we can live with it, let’s move on.’ Or ‘all right, let’s do another one.’ Sometimes I really have to beg for another. “When I see Clint’s films,” says Campanelli, “I feel really proud because I know that I was a huge part of it. Sometimes you’ll get with DPs or directors who do not give you, as an operator, a lot of freedom. There are DPs who say, ‘This is what you are going to do, this is your frame, you are going to start here and then you are going to go here. That’s it.’ End of story. OK… “As an operator,” continues Campanelli,

CAMERA OPERATOR OF THE YEAR Nominee ~ Film

CAMERA OPERATOR OF THE YEAR Nominee ~ Television

Stephen Campanelli soc for Hereafter

Tony Gaudioz for House MD

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COURTESY OF TONY GAUDIOZ

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COURTESY OF STEPHEN CAMPANELLI SOC

CAMERA OPERATOR OF THE YEAR Nominee ~ Film

CAMERA OPERATOR OF THE YEAR Nominee ~ Television

Peter Rosenfeld soc for The Social Network

Greg Collier soc for Bones

FRANÇOIS DUHAMEL, SMPSP

Rosenfeld has operated for are Oliver Stone, Rob Marshall, Kathryn Bigelow, Nancy Meyers and David Fincher. “From the beginning,” says Rosenfeld, “I felt like The Social Network was in great hands. David Fincher’s talent and eye for detail, Jeff Cronenweth’s subtle and beautiful light and Aaron Sorkin’s wonderful script made everyone feel like this was something special. In addition, I had such fine film craftsmen supporting me: Steve Meisler’s gift for focus and the solid work of Jim Wickman at the dolly. I really felt like we could handle anything. We are so fortunate, all of us, to be working where art, entertainment and technology intersect. When the mix is perfect, as it was in this case, the results are often incredible.”

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Spring / Summer 2011

a lot easier to pull it off—especially when something changes and we need to think on our feet. Luckily, Bones has one of the best camera crews I have ever worked with. Our first assistants ‘Spike’ Barnes and ‘Nino’ Dotto are in an elite league of their craft. That goes for dolly grip Gerrit Garretsen as well. Working with them makes it a lot easier to pull off the tricky shots we are asked for.”

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GREG GAYNE/FOX © GREG GAYNE

eter Rosenfeld SOC’s well-rounded career includes extensive experience shooting news and documentaries, having worked for the BBC and CBC in foreign bureaus such as China and Russia. Peter has covered many of the world’s hot spots and combat zones. He was assigned to Beijing during the Tiananmen Square crackdown, found himself in Baghdad for the first Gulf War and filmed the collapse of the Berlin Wall. Peter began his Steadicam career in Asia operating for directors such as Zhang Yimou and Chen Kai Ge. He speaks three foreign languages: French, Mandarin and Russian. Rosenfeld credits working as an editor early in his career for his success as a camera operator on award winning movies like Chicago and Memoirs of a Geisha as well as blockbusters like X-Men: Wolverine. Among the A-list directors

reg Collier SOC got his first chance to operate when Northern Exposure DP Gordon Lonsdale bumped him up from 1st AC. Since then, the former SOC Sergeant of Arms worked on the television series CSY:NY, The Magnificent Seven and Providence, the TV movie Houdini and the miniseries The Last Don. He has operates on Bones since 2006. “Bones is the sort of show that jumps from the dolly to handheld to Steadicam to remote head very easily,” says Collier. “But while certain things may change from episode to episode, there is always a consistency of structure that runs through every show. “One of my biggest contributions is my opinion and input to the composition and framing of each shot,” he explains. “I watch DP Gordon Lonsdale and the director as they walk around the set. I get a sense for where they want the camera and I can get that in motion before they ask for it. I’ve got a good relationship with Gordon and our returning directors on this show, so they give me the broad strokes and I fill in the finer points. “That’s one of the fun parts of working on episodic television,” says Collier. “You know the returning directors and know how to work with them. And when a new director comes in, it is exciting. You are hoping that they bring something fresh to the show. I won’t say something new to the show, because there isn’t a lot new you can bring to a series because we already have a style, we have a look. But that’s why they bring in new directors, to see what new blood they can bring to the show. “The interaction with the director can be a really tricky thing for an operator. I’ve walked onto some sets and started talking to the director or I start talking to a producer or DP and... they don’t want to talk to me. So I just go over and sit by the camera. Bones isn’t like that at all and I think that it shows on the screen. Because we all collaborate on the visuals, we are able to pull off some amazing shots. “And because I am included in the creation of the shot,” says Collier, “it is

CAMERA OPERATOR OF THE YEAR Nominee ~ Film

CAMERA OPERATOR OF THE YEAR Nominee ~ Television

Peter Rosenfeld soc for The Social Network

Greg Collier soc for Bones

FRANÇOIS DUHAMEL, SMPSP

CAMERA OPERATOR: CAMERA OPERATOR OF THE YEAR AWARD

Spring / Summer 2011

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GREG GAYNE/FOX © GREG GAYNE

CAMERA OPERATOR OF THE YEAR Nominee ~ Television

CAMERA OPERATOR OF THE YEAR Nominee ~ Film

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the audience a funny perspective they don’t usually see on television. “Like most TV shows,” he continues, ”we have many scenes to shoot each day. DP Walt Fraser’s extremely fast lighting helps us get through the day quickly, yet the show still looks great. Nearly everything we shoot is done on a dolly, Steadicam or sand bag—anything to keep things flowing and visually interesting.” Spring / Summer 2011

COURTESY OF LAWRENCE KARMAN

awrence “Doc” Karman is a native of New York City and has worked in the motion picture industry since graduating from The George Washington University. His career as a camera and Steadicam operator has spanned nearly two decades in addition to serving as 2nd Unit Director of Photography and DP on numerous music videos, commercials and feature films. Over the course of his career in film, television and advertising, he has worked with dozens of acclaimed directors including Robert Altman, Phil Alden Robinson, James Cameron, Michel Gondry, Judd Apatow, Tony Scott, Guillermo del Toro, Nora Ephron and Tony Kaye. Among the numerous award-winning Directors of Photography Karman has collaborated with on feature films are John Lindley, Jack Green, Bill Pope, Tim Suhrstedt, and Bill Fraker. His television credits include Big Love, ER, Invasion, Heroes, Nip/Tuck and American Idol. Karman is currently serving as an Executive Board Member of the International Cinematographers Guild representing the Camera Operator Category. He is the operator for Director of Photography Walt Fraser on Raising Hope, happy to be working with a wonderful cast and crew and delighted to be sleeping in his own bed on a nightly basis. “The photography on Raising Hope is designed to complement the original offbeat comedy of the show and its zany characters, much like creator Greg Garcia did on My Name is Earl,” explains Karman. “We use lots of extreme high and low camera angles and wide angle lenses. I don’t think there is an appliance in the kitchen that we haven’t cut up to allow placement of a camera inside or behind. If an actor is taking something out of a box, the camera looks up through the box. It gives

Geoffrey Haley for The Fighter

eoffrey Haley was born amongst the idyllic serenity of full-bodied Pilsners and Cuckoo Clocks in a tiny village near the northern tip of Germany’s Black Forrest. When he was 8, his family emigrated to Pennsylvania where he traded in his Lederhosen for a Scooby-Doo lunch box and a Huff y bicycle. Like many others who eventually bought a one way bus ticket to Hollywood, Haley’s passion for filmmaking began at an early age. In junior high school, he expressed his discontent for certain “dour” final act sensibilities: Haley shot alternate endings for the likes of Steinbeck and Twain novels, and projected them from his 8 mm Bell and Howell on “book report day” to audiences of delighted fellow classmates and often perplexed English teachers. At age 15, Haley wrote, directed and shot his first commercial for a Pennsylvania non-profit food bank, which redeemed him, if only briefly, in the eyes of those English teachers whose beloved American classics had been eviscerated by his 8 mm film camera. Following high school, Haley studied psycho-physiology at Stanford University and then moved to Los Angeles, where he began a short career in production sound. He quickly transitioned to camera, bound and determined to learn to operate the Steadicam after a Stanford professor loaned him the money to purchase his first rig. “Since that time,” says Haley, “I have worked with so many incredibly talented, visionary and generous cinematographers and directors in both television and feature films—collaborating and learning the art of visual story telling from that privileged vantage point of the eye-piece. “The Fighter was one of the most interesting experiences I’ve had as an operator,” continues Haley. “We were finding moments and frames organically and spontaneously without much of a plan ahead of time. I had always approached operating with a certain expectation of conscious control over the image I was capturing. On this film, I learned that losing control of certain parameters could be an incredibly freeing exercise. And once I embraced that possibility and allowed myself to adopt a more subconscious, reactive, mode of working, my experience on The Fighter became one of the most gratifying of my career. “The camera has always served as a welcoming and nourishing home from which my love of story sprang almost 30 years ago,” explains Haley, “and it is my hope to one day bring re-envisioned endings of classic American novels to mass audiences at a theater near you so that my junior high English teachers, who will hopefully not yet be in the grave, can roll their eyes once again.”

Spring / Summer 2011

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Lawrence “Doc” Karman soc for Raising Hope

CAMERA OPERATOR OF THE YEAR Nominee ~ Television

CAMERA OPERATOR OF THE YEAR Nominee ~ Film

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COURTESY OF LAWRENCE KARMAN

Geoffrey Haley for The Fighter

Spring / Summer 2011

CAMERA OPERATOR: CAMERA OPERATOR OF THE YEAR AWARD

Lawrence “Doc” Karman soc for Raising Hope

CAMERA OPERATOR OF THE YEAR Nominee ~ Film

CAMERA OPERATOR OF THE YEAR Nominee ~ Television

orn and raised in Los Angeles, P Scott Sakamoto grew up watching movies and admiring the great cinematographers of the times. His love of the arts led to photography classes, then to Cal State University Long Beach where he studied film and television. While working on his student film, Sakamoto met Haskell Wexler and landed a job as a PA on one of Wexler’s commercials. It was the beginning of many feature films with Wexler, and twenty-six years later, the two remain frequent collaborators and close friends. As an early mentor, Wexler taught Sakamoto about the art of camera movement and the beauty of naturalistic lighting and made an indelible impression on his style. Many great cinematographers that Sakamoto has worked with have influenced his shooting, notably Conrad Hall, Caleb Deschanel, John Toll, Tak Fujimoto, and Robert Elswit. “Without a doubt,” says Sakamoto, “the operator has the responsibility to help create an image through the camera that satisfies both the director and the cinematographer, with the added responsibility to watch for the other departments like make-up, hair, wardrobe, continuity and production design. All said and done, the operator must still execute the shot with precision, which makes him indispensable.” Before Salt, Sakamoto had worked with Elswit on Duplicity and Michael Clayton. “Like many action films the CIA spy movie Salt had

COURTESY OF SCOTT SAKAMOTO SOC

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Spring / Summer 2011

Season 2: The interior of an airplane crash sequence. We used bungee set-up with gyro systems to give the feeling of an in flight scene with crash landing. The entire set was gimbaled and in motion. BACKGROUND: ANDREW SCHWARTZ, SMPSP © 2010 COLUMBIA PICTURES

COURTESY OF SCOTT SAKAMOTO SOC

emotional, suspenseful, dramatic and cinematic challenges. Within the first ten minutes Salt (Angelina Jolie), a CIA agent, is accused of being a Russian spy and commences to escape the confines of her workplace, and from there the chase begins. “The camera follows her running throughout a storage floor only to be stopped several times by automated security doors,” explains Sakamoto. “Philip Noyce, the director wanted the camera to feel her panic, so along with [DP]Robert Eslwit we decided to use the Steadicam and run with her. This proved very challenging since Angelina is quite athletic and fast and the route consisted of many turns and obstacles. The scene continues with fast circular dolly moves around Salt as she manufactures a chemical bomb. Using her weapons she outwits the swat team and manages to escape the building, running down the street out of sight, again the Steadicam with her. “This chase scene,” recalls Sakamoto, “was one of many in Salt that involved numerous camera configurations and multiple ways to move the camera that kept me busy, challenged and especially rewarded. “It’s always an honor to be recognized for one’s work skills,” says Sakamoto, “especially by your industry peers. The nomination was a surprise and I am very thankful to the SOC and their commitment to the art.”

orn an identical twin, Guy Skinner SOC developed an interest in photography as a boy. By his teens, he carried his camera with him everywhere. While working as a high school teacher, a career day for his students changed his life forever. Skinner met Director of Photography Don Morgan and was inspired to change careers. He applied to the studios for any job available to get in the door. Starting as a stagehand at Paramount Studios, he devoted himself to the camera department after work, learning everything he could about cameras and the job. He progressed from stagehand to studio grip to film loader and eventually onto film crews as a camera assistant. From there he worked his way up to A-camera operator. Given the opportunity to push his performance levels and skills, he found his true passion for telling a story with the camera. During the 2001 pilot season, he chose to work on 24. This decision launched him into a decade of research and development. He was able to refine his own style of handheld camera operating. “As a camera operator,” explains Skinner, “it became a huge responsibility to be an integral part of creating a fast paced, intimate, impressionable and very innovative style of storytelling with the camera. My contribution was to get right in, as close as possible in the scene—physically, mentally and emotionally. We felt that the more involved the camera became, the more involved the audience would feel. We wanted my camera to represent our audience in first person. My camera was the audience’s eyes, so to speak. I took it on to get the audience to feel the emotion,

Spring / Summer 2011

the excitement and shock, and really surprise them. We wanted them to feel every big drop, every twist and unexpected turn of the rollercoaster ride that was those 24 hours. “24 was an absolute rollercoaster ride that lasted the better part of a decade,” he says. “In the beginning, the 24 team had to reinvent ourselves and our work in a way that we believed would capture and keep our audience. It is a challenge that is all too familiar to all of us in television. We called the 9 years on 24 the longest movie ever

made. Each 24-episode season was one day in the life of our characters, eight seasons, eight very long days! “Kiefer Sutherland never ceased to amaze us all with his uncanny ability to perform as well as engage every person to be their best,” recalls Skinner. “He would always pull us into the scene 100 percent. “Rodney Charters, our director of photography, is such a talented, supportive and caring individual who insisted that we charge hard with our instincts,” says Skinner. “Without him we would have never had such an incredibly versatile mastery of light, imagination, manpower and equipment, resulting in the ‘24’ look.” “After devoting such a large portion of my life to being a cameraman,” says Skinner, ”there is nothing more rewarding than to be recognized for it by my peers. It truly is my lifetime achievement!” CAMERA OPERATOR: CAMERA OPERATOR OF THE YEAR AWARD

PHOTOS COURTESY OF GUY SKINNER SOC

Guy Skinner soc for 24

BACKGROUND: GUY SKINNER SOC

P Scott Sakamoto soc for Salt

CAMERA OPERATOR OF THE YEAR Nominee ~ Film

CAMERA OPERATOR OF THE YEAR Nominee ~ Television

COURTESY OF SCOTT SAKAMOTO SOC

CAMERA OPERATOR: CAMERA OPERATOR OF THE YEAR AWARD

Spring / Summer 2011

COURTESY OF SCOTT SAKAMOTO SOC

Spring / Summer 2011

PHOTOS COURTESY OF GUY SKINNER SOC

Guy Skinner soc for 24

BACKGROUND: GUY SKINNER SOC

P Scott Sakamoto soc for Salt

Thor meets Jane (Natalie Portman)

CAMERA OPERATOR: THOR

Jack Kirby’s and Walt Simonson’s issues of Thor, Edward Hopper for the New Mexico look and David Doubilet’s underwater photography for the Asgard sequences. “Then came shooting tests—over 12 days of testing,” recalls Zambarloukos. “After which, there were lengthy discussions with Ken, production designer Bo Welch and my heads of department. We also storyboarded and pre-visualized sequences and then discussed those in detail.” To help bring Branagh’s vision to life, Zambarloukos brought in veteran camera operator Peter Cavaciuti SOC (Alice in Wonderland, Vantage Point, The Brothers Grimm) on the A-camera. “Peter is an exceptional operator and collaborator and was absolutely integral to the film and the look,” says Zambarloukos. “He participated in all the discussions about the execution and design of shots. I also look for someone who is calm and friendly and can communicate instructions and ideas efficiently. Plus it’s nice to have someone I can have a Guinness with later and recount the war stories…” “Having worked already with Ken, and really wanting to work with Haris, I was very very excited and honored at the prospect,” says Cavaciuti. “Superheroes are definitely not Shakespeare, so I knew it would be new territory for Ken—something different. Ken is very visual but is also an actor’s director. So I knew that it would be a very engaging challenge for me as a camera operator.” The 17 week (77 shooting days) production would be shot mainly at Raleigh Manhattan Beach Studios, as well as location work in rural Galisteo and Santa Fe New Mexico. With the size and scope of Thor, Spring / Summer 2011

Odin (Anthony Hopkins) banishes Thor to Earth

having a skilled B-camera operator was a must. “I shoot two cameras constantly and there is never ever a disclaimer on B-camera shots when you watch a film,” says Zambarloukos. “So my B-camera operator needs to be just as skilled as my A-camera operator.” To fill that role, Zambarloukos called on long-time ally Denis Moran SOC (Mad Men, Monk, CSI: New York). “I had gotten a call from Haris when he was first being considered for the job, so I knew it was in the pipeline,” remembers Moran. “It was a bit odd for me because I mostly do episodic television work, so being asked in June what my

availability was for January was a bit out of the ordinary.” “Denis and I went to film school together and have worked together since our first short films,” recalls Zambarloukos. “We barely have to speak to each other about a shot now!” “Pete had the luxury of having worked with Ken before,” says Moran. “Since he was coming in from out of town, I was luckily able to operate on all the camera, make-up, wardrobe, and VFX tests during pre-production. So by the time we were actually starting principal photography, Ken and I were comfortable with each other. And while Pete and I had never worked together, it was a pretty easy fit. We both got on the

COURTESY OF DENIS MORAN

he adaptation of the Marvel comic book series Thor is one of this spring’s most anticipated movies. Directed by Kenneth Branagh, the film follows the Mighty Thor (Chris Hemsworth), a powerful but arrogant warrior of the cosmic realm of Asgard. His reckless actions reignite an ancient war and as a result he is banished to Earth where he must live among humans. When dark and villainous forces from Asgard invade Earth, Thor must learn what it takes to be a true hero. To help tell this epic tale, Branagh brought on Haris Zambarloukos BSC (Mamma Mia, Venus) to help realize his vision. Having worked together on Sleuth, Zambarloukos and Branagh already had a comfortable working relationship. “Our visual ideas developed over our prep,” says Zambarloukos. “It was a long process… over 3 months that included still photography on location, referencing art books and films and, of course, reading comics! Our main influences were

COURTESY OF DENIS MORAN

Haris Zambarloukos BSC, Pete Cavaciuti SOC and Denis Moran SOC in Santa Fe shooting a scene that they were told takes place in the spring.

Denis Moran SOC and Patrick McArdle (B-camera 1st AC) freezing in a bucket in Santa Fe. Spring / Summer 2011

CAMERA OPERATOR: THOR

Thor meets Jane (Natalie Portman)

CAMERA OPERATOR: THOR

Odin (Anthony Hopkins) banishes Thor to Earth

COURTESY OF DENIS MORAN

Haris Zambarloukos BSC, Pete Cavaciuti SOC and Denis Moran SOC in Santa Fe shooting a scene that they were told takes place in the spring.

Denis Moran SOC and Patrick McArdle (B-camera 1st AC) freezing in a bucket in Santa Fe. Spring / Summer 2011

CAMERA OPERATOR: THOR

same page within the first few days and things went smoothly from the start.” “Peter and Denis worked together incredibly well, strategizing and executing in total unison,” says Zambarloukos. “Ken wanted to run two cameras as much as possible,” explains Cavaciuti. “So Denis and I made it work as well as we could for each other. There are no ego issues for either of us. I would say we were a very good team. Denis did his very best to be as unobtrusive as possible on B-camera and always succeeded. He is a master of camouflage and is great on the wheels!” “The B-camera was used mostly for tighter coverage,” says Moran. “But there was also a significant amount of leapfrogging to get the next shot set-up.” “We often had two cranes going on the larger sets,” recalls Cavaciuti. “Sometimes Denis would jump ahead to set a shot so we could keep going at the required pace.” “We had at least one Technocrane all the time,” explains Moran. “We probably had a second one for about half the show. If there was only one Techno in a shot, Pete would usually operate. But if there was Steadicam or he was setting up another shot, I would hop on. For some of the larger battles, we would both be on Technos. And during the times

CAMERA OPERATOR: THOR

Spring / Summer 2011

Advice to Students from the Crew of Thor Be the best you can be. I feel that it is wiser to be the best AC in the world than an average cinematographer. Not all will agree with me, but you should pick what you are best at and pursue it fully. It usually brings a lot of joy and fulfillment. Think outside the known areas. We need people who studied and loved cinematography in color correction, stereography and other visual fields as much as in lighting and camera. —Haris Zambarloukos BSC, Director of Photography My advice to student operators is experiment in as many different styles of operating as you can, so you are conversant with as many styles as possible. Experimenting with the hardware is vital—hand-held rigs, Steadicam, remote systems, friction heads. That way, whatever piece of equipment is thrown at you, you have the practical skills to use it for the shot. Be as comfortable as you can when you operate. Think about your physical choreography of how you move around the dolly for example. Plan your “dance steps” when you are with the camera. It’s your job to translate the director’s and DP’s instructions into camera moves, So always talk through your set up with your 1st AC and dolly grips so you are all on the same page. Every job will be different so be prepared to have different amounts of input on a daily basis. Be flexible and enjoy that flexibility of work pattern. Listen to your dolly grip and establish a good relationship: it is one of the most important you will have on set! The grip is your eyes when you are operating and locked in your world. They have a lot of valuable experience to draw on—so listen to their advice. They will not only aid the execution of your shot, but will look after your safety.

A good exercise is to sit down with the script of a film and then watch the film to see how the written word is told visually. Try to work out why the DP, director and operator have done things the way they have. Is the camera moving a lot? Not moving at all? Are the actors moving in a frame? Is the camera moving with the actors? How is the shot framed? Why is it framed in the manner it is? A simple example: I worked with Kubrick on Eyes Wide Shut. He always liked to place the center cross on the leading shoulder of the actor—which generally resulted in more headroom than normal. To Kubrick, this made the viewer more aware of the environment the actor was in and more threatened and dominated by that environment. Be especially attentive to editing styles. Come to a conclusion on how the shot is telling a story. That way you have a concept behind your set up and framing. Learn to communicate well with those around you. Be attentive; remember you are in a team. Learn about eye lines so it becomes second nature. Keep fit! That means strong, supple and agile. Look after your back! —Peter Cavaciuti SOC, A-camera operator I’ve worked with some great dolly grips and ACs over the years and when given the chance, they will make the shot so much better. That was the case on Thor with Patrick McArdle (B-camera 1st AC), Tim Guffin (B-camera 2nd AC), and Ryan Vonlossberg (B-camera Dolly Grip). Remember that you are part of a crew. Your First AC, Second AC, and Dolly Grip are there to make the shot as well. Try to keep everyone on the same page and it will make your life go much smoother. Remember not to micro-manage your team. Let them know what you want but then let them do their job. Study and read as much as you can on editing and VFX. Speaking the language makes your job so much easier. With so much post-production manipulation going on, you should know what you can do to make production’s job easier once it is handed off to post. —Denis Moran SOC, B-camera operator

Denis Moran soc, Patrick McArdle, Kenneth Branagh and Stellan Skarsgård working on the bar scene.

COURTESY OF DENIS MORAN

Idris Elba as Heimdall

when we would want another wider shot, our C-camera operator, Guido Frenzel, would do it.” “I was a very proud DP watching how well the camera unit was run and with what effortless joy it performed,” says Zambarloukos. “This also is a huge testament to the talent and character of 1st ACs Bill Coe and Patrick McArdle. I was lucky to have some of the hardest working and most talented crew members in the industry working on Thor. And I learned a lot working with them.” “We had a great key grip—Al La Verde,” says Cavaciuti. “And I had a fantastic dolly grip in Mike Moad. He was always there to back us up and help get the two cameras rolling. The camera team also helped each other a lot, especially our 2nd ACs Bobby McMahon and Tim Guffin.” Generally, Branagh and Zambarloukos would block out the scene in a private rehearsal before bringing in the team. “Even in the crew rehearsal, there was always room to suggest something,” recalls Cavaciuti. “But after two films with Ken, I trust his keen eye. I know he has thought about the many many permutations possible before getting on the set and knows what is good for the scene.” “Ken is a very astute director,” adds Zambarloukos, “and his theatre training means he has blocked the scene in his mind and rehearsed it a thousand times before the shoot day. Ken and the camera team would watch rehearsals on the day and prepare the shots for the day. I know it sounds simple, but nowadays it is so rare that you follow a procedure of rehearsing, watching, thinking, blocking and then shooting. That should never change—even if we invent cameras that float!” “Gods interacting with mankind directly on earth… To work, this film had to be epic,” says Cavaciuti. “I have visited Iceland and seen the mystical nature of its landscapes, its incredible almost eternal sunsets, fiery volcanoes and huge lightning storms. When you are there, you can see where Nordic culture has its roots. So when given the chance, the camera had to echo the epic quality of the Nordic gods and nature through unearthly angles and sweeping moves. We had to be brave.” “As a crew, we certainly had our share of trouble on location, especially with the New Mexico weather,” recalls Moran. “We would leave our hotels in the morning and it was 40 degrees. We’d get to location and it was 30 degrees and snowing. By lunch, it went up to 55 degrees, then plummeted again at sundown. The local crews were used to it but for the thin blooded LA crew, it was pretty trying.” “We shot scope for 2.40:1 on film (Kodak 5219, 5201, 5207),” says Zambarloukos. “We tested and discussed all types of formats, ratios and lens systems from 65mm to digital. Ultimately Ken and I chose 35mm scope because it has the best latitude, most pleasing colors and relative ease of use and adaptability.” “Haris is a fabulous team leader,” says Moran. “He has a

CAMERA OPERATOR: THOR

Spring / Summer 2011

Denis Moran soc, Patrick McArdle, Kenneth Branagh and Stellan Skarsgård working on the bar scene.

COURTESY OF DENIS MORAN

Idris Elba as Heimdall

Tom Hiddleston as Loki

real belief in the cohesiveness of the camera team. Part of that was making sure that anyone who wanted to go to dailies was welcome. It was great having projected dailies. There was one shot that we were shooting just as the sun was setting. Our actors were walking off into a low sunset—the camera looking directly into the sun… I couldn’t see anything through the eyepiece. It wasn’t until we saw dailies that I found out what the shot actually looked like. The film looked amazing. You forget how much latitude you get from film until you see shots like that.” The camera team utilized Panavision Platinums and XLs, plus an Arri 435. Zambarloukos chose the G-series anamorphics including the 40–80mm and 70–200mm short zooms. “The widescreen format is great for showing off actors in landscapes. And in this film in particular, that really helped us evoke the Nordic myth,” says Cavaciuti. “Ken and Haris gave me a lot of freedom to utilize every inch of the frame. So as well as placing the actors to best effect, we always made sure there was room to enjoy the created or real landscape or set.” “It was nice to be able to frame a shot and let the actors play the frame as compared to having to chase them around,” says Moran. “And I’m sure that style helped the 3D conversion.” “This picture was shot in 2D with a 3D conversion done in post,” explains Zambarloukos. “It is significantly faster and cheaper to do it this way, plus you can shoot on film and in scope. These benefits

far far outweigh the benefits of shooting 3D digitally or on a spherical system. “In the end, your 3D can only be as compelling, dynamic and deep as your 2D photography,” adds Zambarloukos. “I found I had to adapt very little for 3D. All the styles we used, the dutch angles and wide angle close ups, work very well for conversion but not always in 3D capture. So it was a relief. “I think one of the most memorable things on the shoot was during the coronation scene,” recalls Zambarloukos. “We had to shoot singles and 2-shots of the Warriors—three on one side and Sif, Frigga and Loki on the other. Ken turned round and said, ‘You know what would be really great is if you set them up at the same time. How many cameras do we have?’ I was like ‘What?’ But I love a challenge, so we had 3 operators and crew and a 4th camera in reserve. Since they were statics, I asked my crew if they could set up the 4th for me to operate. In their typical ‘give us a challenge please’ attitude, it was all possible. Now this meant 4 big movie epic introductions of character close ups at the same time. I scratched my head a lot and we figured out how to cheat the eyelines and do our best glamour lighting—but times four each time. I stepped back at some point and just looked at it. It seemed simple enough, but the camera crew knew what something like that entails... And we pulled it off. “The other favorite moment was in New Mexico,” Zambarloukos continues. “It was getting to the end of our stay there and I thought I had seen the worst the weather could have thrown at me with snow blizzards, sandstorms, blistering sun, 60mph winds—and that was all in one day! But by this point, we had blown

up our town and were at the end of the scenes were Thor has his powers restored and is about to face the Destroyer. I was in pain! I had shot this scene in noon sun, morning sun, cloud cover… I had lost all hope of any continuity. We had totally used up our weather cover by that point and the producers had said if it isn’t snowing we had to shoot! I said what about rain—as a joke. At that very moment, thunder rolled and lightning flashed and the movie town we built was flooded with rain! You couldn’t see 100 meters away, the rain was so thick... I was asked to shoot a scene that was meant to be outdoors in a shed by Smiths Motors. Thankfully it never made it into the movie...” “Thor’s adult entrance to the film and to his failed coronation is a favorite,” says Cavaciuti. “It’s shot from behind his torso and over his character-identifying hammer, revealing an incredible Bo Welch-designed set packed full of cheering Asgardians, a waiting Odin on his gigantic throne, his Queen Thor’s mother [Frigga] with Thor’s comrades in arms. It’s a great use of the anamorphic format and it’s quite a classically shot scene. It starts with a big fat glamorous wide shot craning down with Thor as he enters the throne

Director Kenneth Branagh and DP Haris Zambarloukos discuss a shot.

CAMERA OPERATOR: THOR

room to reinforce the epic sensibilities of the film. Then we piled in with sumptuous tracking shots following him along, arriving at the steps to the throne, interspersed with huge close ups. “We get a taste of what’s to come in the battle between father and son after the Destroyer dispatches the Ice Giants,” says Cavaciuti. “Thor confronts Odin in his mistaken assumption he is now King and is slapped down immediately by Odin. ‘Well, you’re not King.’ Odin exits over the shoulder as Thor turns to us in a dramatic profile close up. I had whispered to Chris Hemsworth before a take to favor us after Anthony leaves. I checked—Ken and Haris were OK with instruction to Chris. And it worked really well.” “One of the most memorable scenes for me,” says Moran, “was the confrontation between Odin and Thor before he was banished to Earth to learn humility. I had a profile shot on Tony (Hopkins) and we were told to make sure we had a full mag. What followed was one of the most intense scenes I have ever filmed. When it was over and the ‘smoke cleared,’ the crew broke into a round of applause. It was amazing thinking that I was standing there recording this incredible piece of acting. There were a couple of times when I would open my other eye and wonder… is everyone else seeing this? At the end of the day, it really was a joy to watch Ken work with the actors and help them bring out these performances.” “After seeing Thor for the first time a few hours ago… Frankly, I am ecstatic!” says Cavaciuti. “I trust Ken even more. His abilities as an actor influence his choices of camera choreography as a director. He is always attentive to the speed and style of move. Or the need for a static shot. He is a very brave director. It’s all about choosing the right shots for the emotion of the scene and their context in the film as a whole. “As operators, we are there to make it work for the director, DP and the production,” adds Cavaciuti. “It is our profession to make it work and Denis and I did that very well.”

Rene Russo as Frigga Spring / Summer 2011

Spring / Summer 2011

CAMERA OPERATOR: THOR

Tom Hiddleston as Loki

Director Kenneth Branagh and DP Haris Zambarloukos discuss a shot.

CAMERA OPERATOR: THOR

Rene Russo as Frigga Spring / Summer 2011

Spring / Summer 2011

CAMERA OPERATOR: THOR

Filming a new Conan the Barbarian by Christopher TJ McGuire soc

Conan (Jason Momoa) rides in with Rachel Nichols while Christopher McGuire operates Steadicam, Michael Moad keeps the dolly moving, and a barbarian checks it all out. Photos by Simon Varsano ÂŠ2011 Lionsgate Films. All Rights Reserved

Filming a new Conan the Barbarian by Christopher TJ McGuire soc

Christopher TJ McGuire SOC:

knew the producers of Conan from working on Thick as Thieves starring Morgan Freeman and Antonio Banderas. When I heard they were going into production on Conan, I made sure that I let all parties know I was ready and eager to work on the project. When I read the script, I was quickly reminded of the visceral comic book imagery of the Greg Ruth novel Conan: Born on the Battlefield — gritty and weathered. I knew that with Marcus Nispel set to direct, it was going to be one helluva ride. I‘m a big fan of his movies Pathfinder and Frankenstein because of their style. Marcus, I know, has a huge appetite for using Steadicam. So I knew this would be the tool of choice for the most part of the movie. I was impressed with the work of Director of Photography Thomas Kloss and was enthused that he was keen to use me as his operator. He has collaborated with Marcus Nispel many times on commercials and music videos, so they had a great shorthand already. Both Marcus and Thomas had very vivid visions of how a scene should look and how the camera should breathe some of its own life into the narrative. Sometimes the Steadicam should move slowly and more considered. Other times, the rig should be right in with the action, moving as dynamically as handheld. It was great to collaborate with them and we all

had a great on-set relationship. Bulgaria offers some amazing scenery and weather, so Conan was sure to be a very textured looking movie. I’d already spent some time working in Bulgaria on Thick as Thieves and was keen to go back to be part of a reboot that I knew had all the hallmarks of a new and refreshing take on an already epic adventure. Shooting in Bulgaria certainly gave production the opportunity to film in all four seasons over the three months of principal photography. We started with snow in the mountains surrounding Sofia, then mud and rain thru to the beautiful sunshine by the Adriatic Sea. Because of the terrain and the weather, the movie looks like it should—dirty, gritty and epic! As Thomas and Marcus were keen to use the Steadicam as the main tool, we kept the shots simple and moving at all times with the performance. This allowed the actors to develop their characters without locking them in too much to a certain area. When the actors would block the scene, we would get a sense of the staging and performance interaction. Then when the lighting was set, we would shoot the rehearsal. Marcus and Thomas would allow me the freedom to maintain a sense of movement, but were particular to keeping the shot within certain parameters. At times we had four cameras all shooting from different

CAMERA OPERATOR: CONAN

angles and sizes to allow for the scene to play out from beginning to end, with the Steadicam capturing the master shot. It was a very physical shoot for both myself and the actors. In a scene with Conan ( Jason Momoa) and Zhalar Zym (Stephen Lang) battling it out one to one, I was right there in the middle of the action—shooting a range of lenses starting with a 24mm, chasing the two as they circled each other and launched continuous attacks on one another. I ended up

having to borrow some Kevlar gloves off one of the stuntmen as both Jason and Stephen would sometimes smack the post of the sled with their bamboo swords—just millimeters from my fingers. I found myself walking on ship gangplanks, running down a snowy hillside with 4 teenagers in full sprint and being hard mounted on the back on an ATV capturing 30 mounted horse warriors charging into a village. And those are just a few of our extreme setups!

Readying the Fish Tank Arri LT for the sequence in the sewers.

Khalar Zym (Stephen Lang) takes on the Fighting Monks with monstorous ease. The sequence was shot high speed and with the Revolution getting in High and Low!

Christopher McGuire covers the violence of the attacking Dark force into the Cimmerian village.

Spring / Summer 2011

CAMERA OPERATOR: CONAN

Christopher TJ McGuire SOC:

CAMERA OPERATOR: CONAN

Readying the Fish Tank Arri LT for the sequence in the sewers.

Khalar Zym (Stephen Lang) takes on the Fighting Monks with monstorous ease. The sequence was shot high speed and with the Revolution getting in High and Low!

Christopher McGuire covers the violence of the attacking Dark force into the Cimmerian village.

Spring / Summer 2011

CAMERA OPERATOR: CONAN

As Conan ( Jason Momoa) and Ela-Shan (Said Taghmaoui) enter the Quarry in shackles, the Revolution swoops in through foreground pan.

Shooting Corin and Young Conan in the Foundry: sometimes using 4 cameras to cover a set piece, 2 Cameras using Optimo 24–290 zoom lenses.

To pull off the shots I was being asked to shoot, I often found myself standing or sitting on something with 4 wheels, pushed by 2 grips in order to move faster than I could myself ! For example, I used a doorway dolly for a scene where the Cimmerian teenage boys were being picked off one by one. I needed to precede them as they sprinted back to their village. Then as one of them realizes they’re being followed, he stops. We had to let the 2 boys peel off, then push gently back into the single boy. Like always, composition was important. So I got the Bulgarian grip brothers to screw an apple box into the dolly and I sat soft mounted and operated the shot with the required motivation. Scene after scene, I was right in the thick of things. The opening scene of the film morphs from Conan’s warrior mother’s womb into the middle of a huge battle being fought between the Dark forces and the Cimmerians. It was shot as a full 360 degree take, over a wide diameter enabling all the stunts and battle action to be right in front of the lens as the battle unfolds. This scene was shot in one day and will be an immensely powerful way to start the movie! But not all of the sequences were action motivated. We shot a sequence underneath the “City of Thieves,” an amazing sewer system set built at Boyana Studios by production designer Chris August. We used a fish tank to shoot most of the scene, bobbing in and out of the decrepit water to give a sense of something watching our characters. The camera really helped tell the story. Two days in the water was pretty intense but the crew was great, getting the job done quickly and effectively. Rick Osborn

CAMERA OPERATOR: CONAN

was my 1st AC and did a great job of keeping the locals in check AND everything sharp! Our A-camera second assistant Mish Yankiev was always ready for most situations, a great testament to some of the skilled English speaking ACs available in Bulgaria. I had the opportunity to use my Revolution system for a few scenes. The one I personally like the most was a shot that starts with the lens pretty much on the floor and follows a rumpling of sand to the feet of Conan. Then the lens cranes up Conan’s body to his shoulder revealing a sand demon blasting out of the ground. The Revolution came into its own on a few shots—rightly being used to create tension. Another Revolution shot worth mentioning was thought up by second unit director David Leitch. He wanted a very visual reveal of the young Conan being surrounded by the Warrior Picts. So we designed a shot where the camera swoops down onto Conan as he falls to the ground. Then as he raises his head, the camera booms up to reveal the Picts as they circle him. It was the perfect high to low mode transition, making for a great reveal. David had a real sense of what the Revolution can do and was pivotal in the execution of those shots. The Nexus sled system alone is a great tool. I could extend the post easily and was able to make the most out of the modularity. And being able to flip modes quickly for conventional Steadicam was great. The movie was 35mm on Kodak 5219 Vision3 500T color negative film and Kodak 5212 Vision2 100T color negative film. We shot primarily on the Steadicam with an Arricam LT Spring / Summer 2011

Corin (Ron Perlman) teaches his son Conan (Leo Howard playing a young Conan) the mastery and honor of being a Cimmerian Warrior.

Spring / Summer 2011

CAMERA OPERATOR: CONAN

As Conan ( Jason Momoa) and Ela-Shan (Said Taghmaoui) enter the Quarry in shackles, the Revolution swoops in through foreground pan.

Shooting Corin and Young Conan in the Foundry: sometimes using 4 cameras to cover a set piece, 2 Cameras using Optimo 24–290 zoom lenses.

CAMERA OPERATOR: CONAN

Corin (Ron Perlman) teaches his son Conan (Leo Howard playing a young Conan) the mastery and honor of being a Cimmerian Warrior.

Spring / Summer 2011

CAMERA OPERATOR: CONAN

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Final Cut Studio WorkďŹ&#x201A;ows for Digital Cinema Cameras Renderless Alexa LogC to Rec 709 WorkďŹ&#x201A;ow Marcus Nispel directs the trajectory of Conanâ&#x20AC;&#x2122;s prey.

Jason Momoaâ&#x20AC;&#x2122;s mastery of swordplay makes him a Conan to be reckoned with.

CAMERA OPERATOR: CONAN

with a full set of Ultra Prime Lenses and a 15-40mm Optimo zoom. Our high speed sequences were on the Arri 435. Thomas kept the lighting manageable, allowing the stage for Marcus and the actors to be unhindered, but also adding a highly stylized look to the movie. And utilizing the Steadicam for the majority of the show was the perfect choice. A movie like Conan is all about the hard ethereal feel of a place where violence is the only religion and Romance is for the weak. And working on it was just as big of an adventureâ&#x20AC;&#x201D;from the different locations and landscapes to the dense fighting action by the awesome stunt team. Iâ&#x20AC;&#x2122;ve been lucky enough to see a cut of the movie in the early stages and can say quite frankly that Iâ&#x20AC;&#x2122;m happy to say that it has the right sense of movement and is textured like the comic novels. It looks and feels like my initial hope of a decent Conan reboot!

Spring / Summer 2011

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Final Cut Studio WorkďŹ&#x201A;ows for Digital Cinema Cameras Renderless Alexa LogC to Rec 709 WorkďŹ&#x201A;ow Marcus Nispel directs the trajectory of Conanâ&#x20AC;&#x2122;s prey.

Jason Momoaâ&#x20AC;&#x2122;s mastery of swordplay makes him a Conan to be reckoned with.

CAMERA OPERATOR: CONAN

Spring / Summer 2011

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PMW-F3 as a very compact package. At just 5 lbs 4oz it is one of the smallest video camera systems to provide this level of performance. While PL is not the native mount for the camera, a PL mount adapter is supplied. This mount provides contacts for both Cooke and Zeiss lens data reporting as a standard feature. The Exmor Super 35 CMOS image sensor uses internal 12-bit A/D conversion to achieve its very low signal to noise specification. This digital information is then transferred to the Processing Board where the real-time Bayer processing is completed. White Balance, Black Balance, Color Matrix, and Detail are all controlled and processed in this digital domain. All other corrections such as Black Level, Knee and White Clip functions happen after this base processing. It is after this 4:4:4 RGB full-bandwidth full-resolution processing that the conversions to 1440 x 1080 and 1280 x 720 are completed for the various recording formats provided by the PMW-F3â&#x20AC;&#x2122;s internal XDCAM recorder. Conversions to the various iterations of DVCAM are also provided at this point. The reason that this is so important is you are receiving the full processing of the imager and processor no matter what format you are recording. It also allows optimization of the Optical Low Pass Filter to the pitch of the imager for By Jeffrey Cree SOC anti-aliasing. The current software level of the camera provides the Vice President/Technical Services normal controls for video setup with the use of Picture Band Pro Film & Digital Inc Profiles. This camera provides 10 of these setup files, which allows the user to customize the look of the camera. These he Sony PMW-F3 was released with some fanfare just settings include the standard Black Level, Knee and Slope, White Clip, Color Offset, and Matrix settings expected in a few months ago and its acceptance has been a this level camera. Additional Gamma surprise even to the marketsettings are provided beyond the six ing group at Sony. Supplies were standard tables in the form of Cine short even prior to the events files. The first two of these files are following the devastating earthdirect copies of the HyperGamma quakes that hit northern Japan. Sony tables first provided in the HDWhas found ways to continue producF900. Cine 1 duplicates the HG#4 tion to meet the demand of the gamma curve or HG4609G33 as market and this is all before the full indicated in an F35, while Cine 2 feature set of the camera is even duplicates HG#2 curve or available. HG4600G30. Both provide better The introduction of the PMW-F3 Sony PMW-F3 Image Sensor performance in high contrast situacamcorder was a departure from the tions with Cine 1 clipping at 109% normal direction for Sony. This was Sony PMW-F3 and Cine 2 clipping at 100%. Cine the first low-cost camera system Dual-link output curves 3 and 4 both provide improved using a large format imager. Previous shadow detail for lower contrast cameras in this product tier have situations. Just be aware that these always used smaller sensors to keep Cine curves remap White to 70 or 80 size to a minimum and cost at lower percent depending on the curve. levels. The PMW-F3 signals a new Images record internally using the direction and is the first of a family XDCAM codec at either 35Mbps or of cameras using the Exmor Super 35 25 Mbps sampling at 4:2:0 and 8-bits. CMOS Sensor. This newly designed Both interlace and progressive image sensor provides Super 35mm scanning are possible with the size (23.6mm x 13.3mm, 27.1mm PMW-F3. Resolutions of 1920 x Diagonal) with a high sensitivity rating (ISO800) while producing very low noise figures (S/N 1080, 1440 x 1080 and 1280 x 720 record at various selected frame rates. Selectable frame rate is available using the Slow 63dB). CMOS develops less heat than the CCD technology and Quick Shutter feature of the camera. The highest used in other cameras, which allowed Sony to build the

Hi Def with Jeff

The Sony PMW-F3: Whatâ&#x20AC;&#x2122;s Under the Hood and on the Horizon

CAMERA OPERATOR: HI DEF WITH JEFF

Spring / Summer 2011

Hi Def with Jeff

The Sony PMW-F3: Whatâ&#x20AC;&#x2122;s Under the Hood and on the Horizon

CAMERA OPERATOR: HI DEF WITH JEFF

Spring / Summer 2011

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progressive frame rate is 59.94P at 1280 x720. Standard definition recordings record at 25 Mbps using the DVCAM codec. All internal recording uses a pair of SxS cards as used in the PMW-EX1R and PMW-EX3. So what is so special that people are waiting for weeks to receive a PMWF3? As this magazine goes to press, Sony is preparing to release optional software that activates the 4:4:4 output of the camera. An additional cost of $3,300 is required to obtain these features, but for anyone pushing the PMW-F3 into the upper realms of its performance it is a necessary addition. The upgrade includes 4:4:4 via dual link or 3G HD-SDI from the two BNC connectors at the rear of the camera at the base of the handle. This output will be full bandwidth RGB at 10-bits. Along with this full bandwidth output, the upgrade adds the ability to use S-Log gamma to the camera. The combination of these two features will provide the ability to utilize the full capabilities of the new image sensor. Initial tests have indicated that a two to three stop advantage in dynamic range can be realized using this combination. Up to now Sony only used approximately 600% of the 800% dynamic range of the camera. Utilizing the S-Log curve allows the use of the additional range of the image sensor. If you have not used a log image you will find that the image is very flat looking. Sony has

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added a series of LUT tables for the monitoring outputs to correct the image to a more standard ITU-709 looking display. This will solve the on-set issues with directors and producers who want log for postproduction but do not understand how to evaluate it on a monitor. Depending on the level of your project, this 4:4:4 RGB S-Log image Spring / Summer 2011

can be recorded to any of a number of 10-bit compressed or uncompressed recording systems. Codex Digital, cineFLOW and S.two can provide uncompressed 4:4:4 RGB recordings today. A number of new products like the Convergent Design Gemini 4:4:4 and Sony SR-R1 are coming to the market in the near future. This opens up a completely new world of capability to the PMW-F3. While the 4:2:0 recordings of the standard XDCAM system would not hold up well in an effects-based or compositing situation, the 4:4:4 RGB of the upgraded model is the perfect solution for these applications. You have full bandwidth RGB and at 10-bits instead of the 8-bits, which relates to four times the level of sampling. If you are considering using the PMW-F3 in a 3D application this upgrade is a necessity. The 3D Link option, included with the 4:4:4 upgrade, locks the two cameras with common Timecode and Genlock. The best feature of this package is the common control. Using one remote control the operator can control both cameras. Match the two cameras, activate 3D Link and any changes made at the controls are common to both cameras. With its original feature set, the Sony PMW-F3 was a promising camera for many owner/operators who were comfortable with Sony’s XDCAM workflow and wanted an affordable large sensor and PL mount camera. However, the additional features available with the upgrade make the F3 one of Sony’s most flexible cameras to date. And at a fraction of the original camera price, many owners are expected to take the upgrade and turn a very good camera into a great camera. Spring / Summer 2011

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• Four PL Mount Zoom Lenses, 14.5 - 400 mm

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CAMERA OPERATOR: HI DEF WITH JEFF

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Thor director Kenneth Branagh works on all levels. Photo of Branagh and Jaimie Alexander (Sif ) by Zade Rosenthal/Marvel Studios

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The Warner Bros. Photo Lab Visit us online at wbphotolab.com and download a brochure The Warner Bros. Photo Lab - 4000 Warner Blvd. Bldg. #44 Lower Level Burbank, Ca. 91522 ph. 818.954.7118 fx. 818.954.6732 photolab@warnerbros.com WBSF Find us on Facebook @ www.facebook.com/wbphotolab www.wbphotolab.com

Clairmont Camera . . . . . . . . . . . . . . . IFC .www.clairmont.com

Pictorvision . . . . . . . . . . . . . . . . . . .9 . . www.pictorvision.com

Deluxe Laboratories . . . . . . . . . . . . . . 14 .www.bydeluxe.com

Schneider Optics. . . . . . . . . . . . BC . . www.schneideroptics.com

Filmtools . . . . . . . . . . . . . . . . . . . . . . . . . 4. .www.ﬁlmtools.com

Ultimate Arm . . . . . . . . . . . . . . . . .8 . . www.ultimatearm.com

FUJIFILM Motion Picture Division . . 11. .www.fujiﬁlmusa.com

Ultralight Control Systems . . . .46 . . www.ulcs.com

Fujinon . . . . . . . . . . . . . . . . . . . . . . . . . . 45 .www.fujinon.com

VariZooom . . . . . . . . . . . . . . . . . . .7 . . www.varizoom.com

Glidecam . . . . . . . . . . . . . . . . . . . . . . . . . 9. .www.glidecam.com

Warner Bros Photo Lab . . . . . . .46 . . www.wbphotolab.com

Photo Lab

Spring / Summer 2011

CAMERA OPERATOR: LAST TAKE