Camera Operator Summer 2014

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the boxtrolls

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into the storm

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how to get away with murder

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summer 2014

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Volume 23, Number 3

Features

Cover

Summer 2014

Celebrating 35 Years of the SOC

by various authors A trip down memory lane … Reflections about the SOC’s founding years from some of the people who were there to witness it.

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Bringing ‘The Boxtrolls’ to Life

by David Tolsky SOC An exploration of the moving camera within the latest stop motion animation feature from Laika (Coraline, ParaNorman).

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Getting ‘Into the Storm’ The SOC celebrates our 35th anniversary by recalling our history and members.

by Peter Rosenfeld SOC Multiple wind machines, sunny skies that needed to be overcast, rain, hail, fogged viewfinders, Detroit heat and humidity—what’s not to like?

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Starting to ‘Get Away With Murder’

by Eric Roizman A glimpse into Shonda Rhimes’ newest show about a defense attorney (Viola Davis), her students and the murder that entangles their lives.

Departments

12 News & Notes 14 Safety is Everyone’s Job 16 Establishing Shot

36 42 Hi Def with Jeff

by Jeff Cree SOC

47 Last Take; Advertisers’ Index 48 Roster of the SOC as of 8/3/14

Letter from the President SOC Members and Community, First and foremost, thank you. Thank you for allowing me to serve as the president of this esteemed organization, which is made up of such talented and generous members. I am personally honored and thrilled to be given this opportunity and feel that my 24 years of leadership experience gained while serving in the United States Navy as a Combat Photographer and Camera Operator will bring insight, service and leadership to our organization and to the membership.

The SOC originated 35 years ago.* And my, how things have changed in the industry in 35 years. The men and women that have served before me have done such an amazing job at designing and building what the SOC is today.

I look forward to building on what they created by taking on new relevant initiatives to further the purpose of the SOC and better serve our Membership. Providing valuable education to expand the craft and artistry of camera operators, delivering national events and education to our members outside of Southern California, serving our chosen charity – the Vision Center at Children’s Hospital of Los Angeles, and celebrating the best of the best at our SOC Awards Show are top of the list. Not to mention creating new ways to engage all of the membership and offering innovative ways for our SOC Corporate Membership to participate.

As we move into the second half of the year, it feels as if we’re just getting started. We will be announcing the details of these initiatives and upcoming events, such as our SOC Awards, on the website—SOC.org. Keep logging in to get the latest news and updates.

Mark August, SOC President

*The first meetings of the SOC were in 1979. The Society incorporated in 1981. In 2004 the SOC celebrated its 25th anniversary. In the newsletter it said we originated 33 years ago, but that count was based on when we incorporated, not how long we’ve been in existence. A couple of page turns from now and you’ll see that we’re celebrating our 35th anniversary this year.

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Camera OperatOr: Letter frOm the president

SOC Purpose The Society of Camera Operators (SOC) advances the art, craft, and creative contributions of the Camera Operator.

The SOC is an internationally recognized professional honorary society. The core activities of the Society are the annual SOC Awards, publishing the Society’s magazine Camera Operator, and our charitable commitment to The Vision Center at Children’s Hospital Los Angeles.

We serve the SOC membership through our commitment to advancing the role of the Camera Operator by providing education, supporting the development of technology and production methods, and honoring the members who have served before us.

Summer 2014

SOC Lifetime Achievement Awards & Camera Operator of the Year SAVE THE DATE: Sunday, February 8, 2015 at Paramount Studios SOCIETY OF CAMERA OPERATORS ~ BOARD OF GOVERNORS OFFICERS

President .................................. Mark August 1st Vice President .....................Michael Scott 2nd Vice President .....................Mitch Dubin 3rd Vice President ................ Lisa Stacilauskas Recording Secretary............. Bill McClelland Treasurer ..............................Douglas Knapp Sergeant-at-Arms .................... Mike Frediani

BOARD MEMBERS AT LARGE

Rochelle Brown Casey Hotchkiss Dan Coplan Rachel Hudson Rich Davis Hugh Litfin Twojay Dhillon Kenji Luster David Emmerichs David Mahlmann Eric Fletcher Tammy Fouts-Sandoval Brad Greenspan Chris Taylor John Hankammer Chris Tufty Dan Turrett

STAFF AND CONSULTANTS

SOC Office Manager ....... Heather Ritcheson Accountant ................... Rick Birnbaum, CPA Bookkeeper ............................Michelle Cole Web Administrator .................... Rick Gerard Publications Manager ...........Douglas Knapp Publications Layout ................. Lynn Lanning Publishers ......................... IngleDodd Media Calligrapher................................ Carrie Imai Legal Reps .................Jonathan Feldman Esq, Magasinn & Feldman

COMMITTEE CHAIRS

Awards ...................Mark August, Bill McClelland, David Mahlmann Charities ......................................Lisa Stacilauskas Communications .......................... Twojay Dhillon Constitution & By-Laws............Stephen Silberkraus Corporate Liaisons ........................ Bill McClelland COY Awards .................................Rochelle Brown Education & Mentor ............................Hugh Litfin Events .......................................... Brad Greenspan Historical....Mike Frediani, Tammy Fouts-Sandoval Magazine Editor ...................................................

Membership ................................. Rachel Hudson Merchandising & ........................ Brad Greenspan, Promotions ............................Rochelle Brown Newsletter Editor .............................Tara Summers Public Relations/Publicity ....................Rich Davis, Tammy Fouts-Sandoval Publications.................................. Douglas Knapp SOC Rep, East Coast ................. Bruce MacCallum SOC Rep, South Coast ......................Heather Page Technical Standards ................... David Emmerichs Website Manager................................ Chris Taylor

is a registered trademark.

All rights reserved.

CAMERA OPERATOR MAGAZINE Summer 2014

Acting Editor/Art Director ............... Lynn Lanning Assistant Editor ..........................Dan Coplan sOC Assistant Editor ...........................Jack Messitt sOC Post-Production Manager......Douglas Knapp sOC Production Coordinators...........IngleDodd Media Advertising Director.............................Dan Dodd

CONTRIBUTORS Paul Babin sOC Bob Marta sOC Paul M Basta sOC Lynn Lanning Erica Christensen Georgia Packard sOC Jeff Cree sOC Brian Pearson Twojay Dhillon Steve Quale Michael Frediani sOC Heather Ritcheson Brad Greenspan Randall Robinson sOC Kristin Glover Peter Rosenfeld sOC Steve Howell Eric Roizman Kristin Petrovich Kennedy Michael St Hilaire sOC Douglas Knapp sOC David Tolsky sOC

PHOTOGRAPHY Twojay Dhillon Michael Frediani sOC Brad Greenspan Douglas Knapp sOC

Craig Mathew Ron Phillips Nicole Rivelli Andy Tolsky

© 2014 Society of Camera Operators

WBSF

Subscription Rates: USA $25/year; Outside USA $35/year (U.S. Funds Only) Subscribe online at www.SOC.org Camera Operator is published 4 times a year by the Society of Camera Operators For display advertising information, contact: Dan Dodd (310) 207-4410 x236 fax: (310) 207-1055 soc@IngleDodd.com For article submissions, please contact: SOC Attn Magazine PO Box 2006 Toluca Lake, CA 91610 Phone (818) 563-9110 email: camopmag@soc.org

Visit the SOC web site www.SOC.org

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Celebrating 35 Years of the SOC

SOC—The Early Years

By Michael St Hilaire, SOC

T

he early years of the SOC were very “grass roots.” We had a camaraderie amongst those of us that pioneered the concept that was truly formed out of friendship and a common idea. That idea was that the position of Camera Michael Operator should be elevated on the set, and recognized for its importance and critical role in filmmaking.

Since we all worked on different productions, rarely having the opportunity to engage with one another except for our scheduled meetings, we began sponsoring annual family picnics. They were well attended and consisted of great food, fiercely competitive volleyball matches, and a lot of fun!

Business cards were passed around and, of course, there was the usual schmoozing for jobs.

Our 1st SOC banquet was a smaller affair, and was held at the Friars Club. After that they quickly grew to somewhat over-ambitious events. I’ll never forget one very well attended banquet at The Beverly Hills Hilton ballroom where we honored 27 recipients. Six hours later, as we were picking people up off the floor to go home, we thought it might be a good idea to scale back our list of honorees.

My memories of those earlier days are forever etched in my mind and I will remember them fondly for the rest of my life. I have made many lasting friendships through the SOC. I am grateful that the SOC is still thriving and continuing our original mission.

1983 SOC Awards Recipients Governors Award . . . . . . . . . . . . . . . . . . . . . . . . Ernest Laszlo, asc Camera Operator Film . . . . . . . . . . . . . . . . . . . . . . . . . Til Gabbanti Camera Operator Video . . . . . . . . . . . . . . . Robert “Curly” Fonarow Camera Operator Video . . . . . . . . . . . . . . . . . . . . . Edward Resnick Assistant Camera . . . . . . . . . . . . . . . . . . . . . . . . . . . Emilio J Calori Still Photographer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Mel Traxel Electrical . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Clifford Hutchinson Grip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Lawrence E Milton Sound Boom Operator . . . . . . . . . . . . . . . . . . . B Eugene Ashbrook Script Supervisor . . . . . . . . . . . . . . . . . . . . . Rose Stienberg-Wapner Property Master . . . . . . . . . . . . . . . . . . . . . . . Willard “Bill” Nunley Costumer, Men’s . . . . . . . . . . . . . . . . . . . Wesley “Mickey” Sherrard Costumer, Women’s . . . . . . . . . . . . . . . . . . . . . . . . . . Agnes Henry Makeup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Fred B Phillips Hair Stylist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Vivienne Walker Transportation . . . . . . . . . . . . . . . . . . . . . . . . . Gilbert “Gil” Casper Greens . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Glenn H Harman, Sr First Aid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ive Lewis Craftservice . . . . . . . . . . . . . . . . . . . . . . .Arthur S “Klondike” Jones Production Painter . . . . . . . . . . . . . . . . . . . . . . . . Robert T Lawless Studio Teacher . . . . . . . . . . . . . . . . . . . . . . Margaret “Peggy” Cobb Special Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . August J Lohman Stunts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Harvey Parry

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camera OperatOr: sOc 35th anniversary

Corporate Liaison Bill Hines SOC presents Toni Robertson with her SOC Corporate Representative Certificate.

A Brief History of the SOC

by Bill Hines, SOC (last updated in 1998; Bill died in 2000)

I

n late 1979, a group of leading camera operators affiliated with International Photographers Guild Local 659 met in the parking lot of DuPar’s Restaurant in Studio City and agreed among themselves to form an honorary society of camera operators. They had just finished discussing over dinner the lack of recognition given the film camera operator, particularly in work on television episodics and sitcoms.

From their number, they formed a provisional ad hoc guidance committee. The die was cast. The decision was made. The Society of Operating Cameramen was in process of becoming.

During the next several months, other camera operators were contacted and meetings were held to explain the proposed purposes of the embryonic organization, to invite these operators into membership, and to get input from those interested in becoming a part of the society.

Following several meetings during 1980 and a lot of preliminary work by the founders and charter members, the Operating Cameramen’s Society was formed, officers were elected, a Constitution and By-Laws were written, and more active and associate members were taken in. In early 1981, the decision was made to call the organization The Society of Operating Cameramen.

On 28 March 1981, the provisional membership approved the Constitution and By-Laws of the Society. On 25 April 1981, more than 100 members of SOC, who were also members of The International Photographers Guild, Local 659, IATSE, met to elect its first Board of Governors and install its first elected Officers.

On 13 June 1981, both Frank Stanley ASC, President of IATSE Local 659, and Harry Wolf ASC, President of the American Society of Cinematographers, attended the SOC general membership meeting. Both distinguished cameramen congratulated those in attendance for the formation of the Summer 2014

SOC and lauded the importance of the work of the camera operator. The first of the SOC Lifetime Achevement Awards Banquets was planned and presented in 1981 at the Friars Club.

The Presidents of the Society from 1980 were: Bob Marta (3 terms), followed by Bill Clark (2 terms), Mike Benson (1 term), Randall Robinson (2 terms), Michael Frediani (1 term) and Stan McClain (in office).

[Editor’s note: Stan was followed by David Robman, Georgia Packard, David Diano, SOC President Bill Dan Kneece, David Clark presents a Frederick, Mike certificate to an unusually somber Frediani again, Chris looking Stephanie Tufty, and currently Benson.

Mark August. After 2006 it became possible for presidents to serve only 1 year Michael Frediani SOC has headed rather than 2 years, up the anniversary although 4 years in recognitions for succession was the 2004 and 2014. maximum either way.]

The first elected Officers were: President, Bob Marta; First Vice-President, Bill Clark; 2nd V-P, John Stevens; 3rd V-P, Peter Hapke; Treasurer, Gil Haimson; Secretary, Jack Green; Sergeant-at-Arms, Bill Swearingen.

Today, the active SOC membership of several hundred men and women internationally is composed of the leading camera operators practicing today, along with an impressive associate membership which includes distinguished cinematographers as well as working camera assistants, still photographers, gaffers, grips and other crafts. A distinguished corporate affiliate membership includes leaders in the film and video industries.

The SOC: Foundation, Principles, Longevity, Membership

By Bob Marta, SOC President Emeritus

B

rothers and Sisters of the SOC: Bob Marta It is with a great deal of pride that I write this article in order to explain the establishment of our organization some 35 years ago.

Fifteen or so camera operators met at Bill Clark’s house to entertain the concept of forming a society comprised initially of camera operators. This was the first and only sanctioned meeting of what would become the SOC—the Society of Operating Cameramen.

The goals of that group were to enhance the professionalism and the longevity of our classification by showing strength in our numbers. Long ago (and it continues) the AMPTP had

Summer 2014

put the word out that they were going to propose the elimination of the Still Photographer classification in pending negotiations. If that happened we knew the trickle down theory would take place—we Operators would be next. The IA & AMPTP were looking for any and all “sacrificial lambs,” yet they could ill afford any associations to cloud their plans.

My main problem was that after being on Local 659’s Executive Board for 18+ years and the Executive Director, I could not divulge all that I knew or even talk about specifics, just small bits and pieces. The union had very little clout, but we as this proposed ad hoc group did not have to bow down.

My main concern was to try my best to keep the SOC as non-political as possible while speeding up the process of being a legitimate functioning club—all the while maintaining anonymity during our formation and growing our numbers simultaneously.

We were able to accomplish our goals and much more during our growing pains. We moved with deliberate speed and we were able to create our iconic logo, the slogan “We See it First” and then our spectacular Lifetime Achievement Awards that even pre-dated the ASC’s gala event.

In our efforts to become an official organization we compiled our own Constitution & Bylaws in addition to Founders, Charters, Active and Associate Member categories. I’m proud to be the spearhead of what became an industry standard, the long overdue Alcohol & Drug Abuse Committee as well as the Safety Committee in order to serve and protect all crew members in our industry.

All these early accomplishments were organized by the SOC’s Founding Fathers aided by our next group of joiners, the Active Charters and Associates.

I believe one of our most shining achievements was the Motion Picture and Television Industry Solidarity Picnic, held at the infield of Hollywood Park. Everyone was invited to bring their own picnic and family members. We even had our own wagering center sponsored by the Bob Marta and Bill Clark SOC, IA unions, DGA, SAG, IBEW, NABET, Local 33 and Teamsters. It was an industry first!

The infield was a sea of humanity comprised of 6000 exclusively industry members. A PA system was set up so that heads of the different groups could speak between the horse races—all were amazed at the turnout which showed camaraderie and solidarity from all.

I would be remiss if I didn’t mention that we could not have pulled this off without industry heavyweights such as Howard Koch Sr, Walter Matthau, Ed Asner and Jay Roth.

It was a great success.

The next week the DGA went on strike briefly in front of Warner Bros over impasses during negations with the AMPTP. The solidarity exhibited at our picnic brought everyone together again en masse. The DGA contract was camera OperatOr: sOc 35th anniversary

7

quickly signed on the sidewalk at the front gate.

Where the SAG negotiations had failed, solidarity prevailed again when negotiations ended on a positive note—the IA’s was next and also successfully signed. Your SOC managed to help bring about peace and harmony in chaotic times with no arguments!

Now into the 21st century the SOC has prevailed because of all of your positive efforts. Our SOC “Labor of Love” in the beginning is now history and it’s yours now and in the future. Leave sleeping gray haired old-dogs lie—you now carry the torch into infinity. History is history. God bless you all and the SOC.

Bob Marta Reminisces

M

ike Frediani reminded me we met at Bob Dupars in Studio City when we were getting started. We tried Denny’s in Toluca Lake, too.

The problem we had at both was too many “ears” inside and out, and we were not ready for a full blown coming out party, yet. The secrets were working: keep the curiosity and gossip going: more PR. And more time to get our act together.

Owen and Evelyn Marsh were instrumental in getting us the use of the Motion Picture Home for meetings. We left the doors open and a lot of the retirees living there would come by and wave. We’d ask them for input—DPs, assistant operators, wardrobe, makeup, all were welcome—and they loved us!

Stephanie Benson (wife of Michael Benson, who was the 3rd president) was a true SOC Heroine right from the start.

She was the first SOC Secretary, female member and house mother/baby sitter to a bunch of guys who had no idea what we were doing, only why! Of course we appreciated Mike for putting up with all the 24/7 panic phone calls to Steff, with all those “I need it done 5 minutes ago” requests.

God bless her, she was invaluable and precise with everything. For picnics, get togethers, fund raising, communications, mailings, meeting Stephanie and notices, she kept a list of members who Michael Benson volunteered to take care of different things, and would call each person in advance, to make sure they had taken care of their responsibilities and you had better have done it. Hence Steff our first female member, and loved by all!

Money was tough to come by. At the first meeting we all agreed to chip in $15–25 for seed money and wait for dues money to come in. From that point on we begged whatever we needed. I asked a prop man on a show I was doing if he could get us deal on beer for the picnic, but told him we were broke. That week 125 cases of Coors were ready to be picked up. The cost: $0 — just a picture of the whole group, with Academy Award winning DP Joe Birok in front with a Coors. What a smile he had.

Mike Chevalier always brought old bathtubs to cool the

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camera OperatOr: sOc 35th anniversary

Coors, and a big bbq. He and Bill Clark would cook hamburgers and hot dogs, the kids’ favorites. Mike was always yelling “Get your speedway tube steaks!”

[Editor’s Note: Doug Knapp remembers that for every picnic, Mike Chevalier, who had a restaurant in Venice CA, always brought a huge vat of his famous homemade chili.]

Everything we did was family oriented for everyone. The first SOC picnic was at the old Columbia ranch. They gave us the whole place. Then we moved around to parks, etc.

My wife Mary, on one of her trips to Baja with her sister’s church, found a young boy called Benji who had shot himself in the eye with a BB-gun. We contacted Children’s Hospital Los Angeles, and they took him under their wing, including making him a glass eye to match his real one.

Iconic Branding of the SOC: The 2nd Generation, 1991–1995

By Randall Robinson, SOC Past President

T

he fabulous founding now more than ten years old was in need of new blood Randall and energy to push the organization onward. I was elected the youngest and fourth president of the Society of Operating Cameramen in 1991 through 1995, and was touched by how so many members took the time and effort to come to my house to volunteer and give me their sincere energy. Bill Hines and Doug Knapp were the first to make such gestures. Bobby Feller invited me to his home following my first board meeting to show me designs he had to create new giant banners and large logos we would use at events.

It became our design to brand this new icon and bring the SOC into the forefront where in time we slowly became known for our integrity in the industry. Searching through the many papers and records handed down plus Bob Marta’s president’s newsletter gave me this burning desire for an SOC magazine. We made tiny steps, using Xerox machines to publish the first issue. But if we wanted color and prestigious look and quality, we needed to do something about the lack of budget.

With Doug Knapp as Managing Editor on the technical side of publication, I turned to Bill Hines who I had known early on when he worked at F&B Ceco. He knew many of the industry suppliers, so he became our Corporate Liaison as we reached out to the camera suppliers to help support our efforts. We spent a good year rewriting the Constitution and Bylaws creating Corporate membership.

The magazine was the impetus in framing the essence of the SOC. The content became eclectic, from latest camera equipment to historical articles on the industry.

With the desire to bring film screenings to cameramen we held regularly screenings of latest releases as well as our Summer 2014

Heritage Film Series at major studios lots.

Bolstering the wonderful restorations of great classics, articles were published in the magazine then called The Operating Cameraman. Audiences packed the houses at Universal’s Hitchcock Theater for Lawrence of Arabia, Gone With the Wind, Buster Keaton’s The General and Abel Gance’s 1927 three-panel Napoleon. We borrowed original cameras and displayed them in the lobbies. It was wonderful to see Herb Roberts happily behind the Mitchell NC camera on the Mitchell pan head, whipping it around.

Our efforts encouraged the camera guild to continue these joint screenings with the full IA Camera Guild. President George Spiro Dibie invited all to attend these screenings held at Directors Guild.

The SOC held the first crane seminar at Universal Studios, with huge camera cranes at the entrances. We filled European Street and Spartacus Square. I believe that this is where Cine Gear was born. Other seminars, such as underwater photography and aerial cinematography, soon followed, as the SOC Board and members wanted more.

Attendance grew at our membership breakfast meetings held at the Motion Picture Home, where many retired camera people joined us. With the newly created Corporate membership, we began regular weekday luncheons held close to the studios at the Sportsman’s Lodge. These became very popular mixers for the membership to meet with heads of various suppliers.

We invited speakers such as Vilmos Zsigmond, as the ASC embraced our new organization. Joe Longo was the founder and president of the Combat Cameraman Association. The Camera Guild turned to us for help as a delegation of Russian Combat Photographers were traveling out to Hollywood from Washington. The SOC held a luncheon at the Motion Picture Home in their honor. It was a major success and one of the most wonderful SOC events, the room packed with military veterans from the film industry and famous celebrities.

When a Russian cameraman at the podium spotted John Wayne’s camera assistant wearing his Marine Corp blues, he ran across the room and the two embraced, having not seen each Comrades in arms other since being comrades on the battlefield in WWII. A very touching moment.

Other touching moments came from our Charity for the Vision Center at Children’s Hospital Los Angeles. Through great efforts by our long time chairman Gil Haimson, we continued to create and sell SOC pins, which helped raise the annual contributions we presented to Dr Linn Murphree.

One outstanding volunteer was Rose Steinberg-Wapner, the famed script supervisor and dialogue coach for Marilyn Monroe, who embraced the charity and designed the special plaque we presented to a valiant young patient who had touched so many before dying from tumors.

Following the style set by Marta and the early board we brought the annual banquet into full glory. At the Ritz Summer 2014

Carlton in Marina del Rey, we presented awards to Steven Spielberg, Captain Jacques-Yves Cousteau and Buzz Aldrin as well as the new Technical Achievement Awards to OConnor, Chapman-Leonard, Panavision and Arriflex.

The Society of Camera Operators had clearly come of age.

Why SOC

by Georgia Packard, SOC Past President

T

he SOC is a great opportunity to Georgia network with fellow camera crew and keep up to date with the latest technology. There are wonderful Hands-On breakfast meetings at the Motion Picture Home—January is generously sponsored by Arriflex.

I have known Bill Russell for ever from my days at Adolph Gassers’s rental house in San Francisco. He hasn’t aged a day and still is so interactive with us camera folk.

I heard my first OSHA safety lecture in Underwater Cinematography at the Jacques Cousteau banquet and continue to get updated on new regulations and trainings like the ones we had at Stan McClain’s swimming pool. The fantastic Copter Vision hands-on workshops with drones and remotes. Ongoing Mole-Richardson lighting workshops—their new location is going to be awesome complete with a camera museum—offering up their stages for lighting, camera movement and seminar updates.

The yearly Open House and Picnic at Fisher is a wonderful place to network and play for techies. The latest digital software and hardware from Sony, since their ENG tethered days, continue to keep us current.

If you ever travel to CineGear, CamerImage or CineEc you will find the same welcoming family technicians. I was able to meet our European partners in person when I went to Munich a few years ago, like the folks from Panther and Wolfgang from Arri showing me around the Arriflex Compound. The very first friendly face I saw on the show floor was that of Frank Kay—talk about feeling welcome. We are introduced to everyone in our field on a first-name basis.

Sound, remote control, camera, grip support, monitors, wireless, and whatever is brand spanking new. Digital and High Definition brings SOC members all even further along the technology trail.

The Children’s Hospital Eye Care Clinic (as the Vision Center at Children’s Hospital Los Angeles was then known) was chosen wisely by our Founding Members as the SOC main charity. Working alongside Drs Ellen Matsumoto and Linn Murphree and seeing some of the children who have benefitted from their program is amazing. Some of those children have come to speak as our Banquet guests years later to tell their own amazing stories.

The Society is the largest and most respected organization to recognize and nurture the excellence in camera operating.

An integral part in making a film run smoothly, the operator must lead their crew with efficiency, professionalism, and excellence. In 1979, 13 camera Operators banded together camera OperatOr: sOc 35th anniversary

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Norm Langley SOC (right); original name banner.

with the goal of advancing the position of the working Camera Operator in the motion picture and television industries. They drew up a constitution and by-laws for the Society of Operating Cameramen.

Growth and efficiency comes with age, like the name change from the Society of Operating Cameraman to the Society of Camera Operators with the dawning of the 21st Century. The membership is very interactive in voting in changes when required and yearly cast their ballots for award recognition, whether seen at banquets, award shows, on the website and/or read in the electronic and printed magazine.

The coveted Cammy is our own beautiful acknowledgement for excellence and achievement. Randy Robinson started us on the path of recognizing famous historical locations where films have been made.

Membership into the SOC introduces you to a large group of technicians and companies around the world. The Society continually brings industry leaders and cinematic artists into the closest confederation, keeping members at the forefront of our industry’s ever-advancing technology through workshops and corporate sponsored hands-on equipment showcases. The SOC Board puts together an exciting events curriculum year round. Our website announces upcoming events and records “New and Notes” about past activities.

Camera Operator magazine gets fantastic interviews regarding all aspects of television and filmmaking as well as expanded articles about SOC events.

“Film shaped my entire life and thought patterns. Movies are a machine that generates empathy,” said Roger Ebert.

Because the members of the SOC make our living with our eyesight, we take pride in supporting the Vision Center at Children’s Hospital Los Angeles with annual donations (currently over $172,000) which help to underwrite contact lenses for infants with serious sight problems. “Vision disorders are the fourth most prevalent class of disability in the United States and the most common handicap in American children. Vision impairment significantly impacts

a child’s ability to explore the surrounding environment, learn and develop relationships.

Early intervention is vital to correct, or alleviate vision disorders in order to give the child the best possible quality of life,” according to Chief of Surgery Henri R Ford, MD. The men and women who comprise the organization are committed to making a difference in people’s lives. Be a mentor, whether a career coach or giving someone a hand up the camera ladder. We represent a key force in the professional camera community and are excited about our futures. There is room for another ambitious, dedicated and excited applicant in our Active, Associate and Corporate memberships. Talk to one of our members and get an application on the SOC website, www.soc.org.

Our Society is a team, strong and with great leadership.

Stay excited about your passions and spread the word about the SOC. Take part in the push to build and blossom as we move ahead past our 35th anniversary. Volunteer well and often, whether at an event, a fundraiser or organizing a meeting outside of the Los Angeles area—we are in international society and we always wear our SOC caps/pins/ clothing and membership proudly!

A Brief History of the SOC Logo

by Paul M Basta, SOC

M

any things were more fundamental to us in those fledgling days than having an emblem or logo: a constitution; bylaws; non-profit status; a place to meet. The fact that we even got together was a substantial achievement.

However a logo, even though it was only a part of what we wanted, seemed to add a sense of legitimacy to our new organization.

There was much talk of how to go about making the best logo for ourselves; questions about what kind of design, what direction should the graphics go – more toward film based ideas or video based ideas. A combination of viewpoints seemed to best represent the charter, but how to generate the design to incorporate our viewpoints and make it good art was the task at hand.

Back then the driving force behind all of our endeavors was meeting the deadline for our first Lifetime Achievement

The historical plaques the SOC has installed so far. We are currently trying to do one for Inceville in Pacific Palisades.

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camera OperatOr: sOc 35th anniversary

Summer 2014

Award—not yet an annual event—and having a proper logo to represent our society was uppermost on my mind as well as the Board’s.

In March of 1981, the Board of Governors directed me, as head of the Logo Committee, to contact art institutes in the area and pitch the idea of a contest among their students for a design of a logo for our society. Four major schools were contacted; Art Center, Otis-Parsons, Long Beach State and Cal Arts.

Only one school responded, Otis-Parsons, but the constraints of our schedule and their summer school schedule killed any hope of having a contest in time.

A handful of our operators had some background in the graphic arts, and while we were working with the Board’s directive for a contest, some of us also generated ideas and designs. We came up with around 8 to 10 designs, and when it was clear that the contest idea was going nowhere, I recommended to the Board that the logo committee choose one of our own drawings and engage a professional to help complete the job.

Out of the artwork submitted, there rose to the top a particular design from a close friend of video camera operator David Irete. Karen Slaton, herself versed in graphic arts and layout, had not only designed the artwork but submitted the design as camera ready art. The committee felt that Karen’s design, submitted through David, was the best of the bunch

and gave us the most to work with. I do not know how much input David had himself.

Her design having won approval, I brought the art to a very talented artist and illustrator, Dale W King. Dale had been highly recommended to me by Owen Marsh. Dale and I worked on changes and refinements to Karen’s idea over the next few months and by July 25th, 1981 the approval of the Board was final: The SOC had its logo.

There is some mention in my notes at the time that the Board asked that a letter of thanks and acknowledgment be drafted to Karen, and that we obtain a release from her for using her preliminary art work. The letter was drafted, but I do not know if she ever received it. At the least she would have been slighted by not receiving formal acknowledgment from the SOC until June of 1982. Contrary to popular myth, to the best of my knowledge Karen Slaton did not try to sue the SOC for copyright infringement.

Sitting down and trying to piece this history together has made me realize how much this organization is indebted to many people outside of our ranks in those formative years.

We as a group owe recognition to the talents of Karen and Dale for their contribution in the creation of one of the best logos around. To the best of my recollection neither of these artists asked for compensation from the SOC. Looking back brings a sense of satisfaction in having been able to help, in my own way, guide our logo into reality.

News & Notes

What’s going on with members and in the industry

Heather Ritcheson and Rochelle Brown at the SOC booth at the JL Fisher BBQ

SOC members gathered at the SOC office in Burbank for a seminar given by The Greenlight Coach, Jessica Sitomer on August 7, titled “How to Get a Job Despite Runaway Production.” 18 members attended the three-hour event, learning about ways to adapt to the changing work landscape. Topics covered included a personal evaluation for generating work, how to ask for what you want in a business relationship, and getting across your personal strengths through a story about yourself. A bold business relationship building exercise was part of the seminar, with a few members actually getting work calls back from producers, mentors, and colleagues during the seminar!

—Brad Greenspan

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Camera OperatOr: News & NOtes

Jessica Sitomer Summer 2014

PHOTOS BY TWOJAY DHILLON

Kristin Petrovich Kennedy, the president and founder of Createasphere, is a consultant who has been hired by the SOC to help the organization expand its influence, address industry challenges, and serve our membership.

Reminding production that Camera Operators are of vital importance is always the SOC’s goal.

Kristin’s plan is to help the Society structure its organization and member services efficiently and expand its influence in the industry. Part of her task is to advance the Society for future needs and initiatives. The SOC is delighted to have Kristin working with us.

PHOTOS BY BRAD GREENSPAN

Introducing Our New Consultant

Get Awards DVDs, Pins and More from SOC Online Store

There’s an app for that camera operator

DOUGLAS KNAPP SOC

DVDs for the 2013 and 2014 Awards events are available in our SOC Store online for $25 per set plus shipping. Quantity is limited.

SOC pins are available in two styles, at two prices. The SOC + CHLA pin (above) is $10, and the SOC gold and black pin (at left) is $5. Shipping costs will be added to both. Quantities are limited.

Sales from the pins benefit our charity, the Vision Center at Children’s Hospital Los Angeles.

The SOC Online Store also has tote bags, baseball caps, stylus pens, refillable water bottles, and t-shirts for both men and women.

The following link will take you directly to the store page: http://soc.org/main/02_soc. php?recordID=17

SOC Honorary Member Haskell Wexler ASC holding an ASC Breakfast interview with Jim Hemphill under the shadow of the mighty Technicolor 3-strip camera.

smash

| dallas

| the avengers

| love in the wild

| the hunger games

The SOC under the leadership of Michael Frediani SOC and Mallory Weiss of Nxtbooks have been working feverishly during past months to create an SOC App for Apple iOS, Google and Android.

In addition to subscribing and reading Camera Operator magazine from www.soc.org, you will be able to download our iOS App from Apple’s App Store for their Newsstand, at no charge. Members get both digital and print versions as part of their membership. Others will be able to subscribe to print or digital or both.

Visit www.soc.org Home Page for App details. spring/summer 2012

spring/summer 2012

Display Until September 2012

us $7.00

www.soc.org

Old SOC magazines The SOC has boxed up archival issues of past magazines. We would like to DONATE to film schools and others.

Anyone interested please contact Heather at socoffice@soc.org for details.

Summer 2014

Get SOC after your name in your screen credits Here’s how you do it: When they ask in that 40-page contract how you want your screen credit, put SOC after your name.

Here’s the agreement: IATSE Designation General Clauses Agreement dated Aug 1, 2009: Paragraph 84, page 99 (b): Screen credit may be accorded to such other members of the camera crew as may be mutually agreed to by the Producer and employee.

After the Camera Operator’s name, the letters SOC shall appear if so requested.

Camera OperatOr: News & NOtes

13

C

heck them out on the internet— those mug shots of the indicted producers are powerful images. Just as powerful as the photos of Sarah Jones that went out after her tragic death. When I look at the stark images of these two people, and they are people, I see suffering. Just as I saw suffering in the expressions of Sarah’s parents — spare me ever having to attend my child’s funeral.

The movie business and film crews run on the energy of child-like enthusiasm. It’s part of the lure. It makes the painful memories of past productions fade before the good ones. Unfortunately, this child-like engagement with filmmaking can lead a crew right over the cliff—smiling. So when someone suggests that Sarah bore some personal responsibility, they’re right. But there are laws in place which recognize child-like enthusiasm and the burning desire to “do a good job” regardless of the risk, and the law will come down in Sarah’s defense.

Inside of me is a part that wants to judge those producers, that wants to get on the self-righteous band wagon and scream, “Burn them!” I would suggest that these people are already experiencing the consequences of their choices, and it’s only going to get worse for them. They screwed up, and they know it. It was their responsibility to make choices that reduced the risk of harm to their crew. Instead, they made

could possibly be the reason for such a “senseless” tragedy? And we find ourselves presented with choices. One choice is to remain in victim mode, ruminating in judgment, posting our righteous indignation on the internet. Another choice is to look at the opportunities for meaningful change that did not exist before February 20, 2014 and become part of that change.

I wonder what Sarah would want?

My choice is to not succumb to the really strong pull that is coming from the “Burn them!” part of my consciousness.

Instead, I’m going to admit that from the cosmic perspective, I don’t know why this happened.

I do know that Sarah’s death has galvanized the working class of this industry like no other. I was a camera assistant about Sarah’s age when the Twilight Zone incident came down. It was nothing like this.

My choice is to be open to the possibility that Sarah’s death will go down in history as a turning point in the movie business. The time when producers stopped the dangerous “guerilla style” filmmaking choices that put crews at risk. The beginning of the end of 14 or more hour work days that destroyed the health and well-being of their crew, and duh!

— turned out to cost more money than they saved. The time when workers began to take responsibility for their own

One choice is to remain in victim mode …

Another choice is to look at the opportunities for meaningful change and become part of that change. choices that led to the gruesome death of a beloved young woman in the prime of her life. They made choices that caused massive injury to additional people. They made choices that created a pit of hell for themselves and others that will play out in the courts for a very long time. These two are just the latest examples to come from a long history of careless, self serving producers. The only difference is: they got caught.

There is sadness across the board on this one.

Those who are coming out of the grieving find themselves confronting questions about the “bigger picture.” What

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Camera OperatOr: Safety iS everyOne’S JOb

well-being by fearlessly communicating with each other, their union representatives and production.

I’m choosing to make Sarah’s death a call to start doing things differently, starting with me. Before being asked to step off the cliff, I’m going to ask questions and get very clear on “the safety net” production assures me is down there. I’m going to contact my union representatives if there is the slightest hint of bullshit in production’s answers. I’m going to get over my “I might get fired” cowardice, and dialog with my crew; there is logic and strength in numbers. I’m going to donate time, or attention, or energy to the union local Summer 2014

Translation: Fatigue kills!

Let’s cut down on work hours

representing my craft, to make it a better organization, rather than continuing to tear it down through idle set chat.

Sarah’s death has instantly focused attention on vitally important issues affecting all of us who work on movies. How are you going become a part of the movement Sarah began?

You can choose to immerse yourself in the internet soap opera surrounding the hacks in the mug shots, or you can do something meaningful.

Being the change. It’s the only way to make sense of Sarah’s passing.

—Paul Babin SOC

“Never again,” do crew members report that the long hours practice is getting worse, not better? And perhaps more important to ask, “Why does the film industry seem to be magically ‘exempt’ from safety rules followed by most industries?” To cite a few, the Federal Transportation Authority has strict guidelines about rest periods for professional drivers, as does the FAA for pilots.

Could it be that the film industry has sprinkled itself with a kind of “fairy dust,” blinding all into believing that such a “glamorous industry” need not be held to the same standards as the rest? Glamorous for the few, with harsh conditions for the many. And now, with dwindling wages and film work being off-shored, workers are compromised and feel they dare not protest if hours worked are extreme.

No one wants to be seen as a “troublemaker” or “not a team player.” We are supposed to feel grateful for those long hours, and, as we get into our cars, bleary eyed, we can, perhaps, just open the windows, crank up the music, and say a prayer that we make it home.

One might even conclude that “long hours” has become not only an unpopular subject but somewhat “unmentionable.” But … how can that be when people’s lives are at stake?

Please go to the “12 On 12 Off ” website 12on12off. weebly.com to learn how our latest attempt at getting reasonable hours worked, and how you can help.

Kristin Glover Camera Operator, retired ICG IATSE Local 600 National Executive Board

R

eading Jennifer Braddock’s informative and thoughtprovoking column “Safety Is Everyone’s Job” (Camera Operator Spring 2014) which ended with a special tribute to Sarah Jones, exhorting us to remember that “safety is no accident,” prompted me to remember another tragic loss.

In 1997 camera assistant Brent Hershman, father of two, died driving home after a 19 hour day. At that time, the industry vowed “NEVER AGAIN.” 17 years later, no regulations on long hours have been created or enforced: none, zip, zilch, zero, nada—and on Saturday, June 28, 2014, Joe Tuck fell asleep at the wheel and died driving home from an 18-hour day on the set of Longmire.

Today, most crew members agree that it is common practice at all hours of the night and day, 7 days a week, for film producers to knowingly release onto the highways of this country film workers so exhausted from working extreme hours (13–19 hours a day or more—with not enough turn around or rest periods) that they might as well be driving drunk. The hazardous long hours most film crews are obliged to work—IF they want to keep their jobs, is, in my opinion, the number one health and safety issue on film sets today.

It is pervasive and insidious.

Why does such a problem persist? Why, despite cries of Summer 2014

Camera OperatOr: Safety iS everyOne’S JOb

15

establishing SHOT

M

y dad was in the Army dealing with missiles and photography. When we moved from Okinawa to Canoga Park, CA in 1965, I met a guy named Rob Peach. His father was Kenny Peach, Jr—the camera operator of Lost in Space. Kenny inspired me to go to college, learn television broadcasting and motion picture productions, and then get into the industry.

From there, my first big break was working with Michael Jackson from around ’82 to ’87 as his personal cinematographer. Now that was a trip!

I honed my skills on B movies like The Terminator and most of the Chuck Norris movies. One day, somebody needed an operator to shoot aerials on Chuck Norris’ Invasion USA. I raised my hand and there I was … I really liked being up in the air using a Tyler camera systems mount. From there, I stayed in the air as much as I could and did a lot of aerial work for news companies such at KCAL, KTLA, and KABC. When I worked with Nettmann’s Gyron camera system at Wolfe Air, owner Dan Wolfe was friends with Stan McClain.

Stan set me up with a couple of jobs here and there and I ended up getting three Emmys for my aerial work. That work allowed me to become a member of the SOC—I thought I’d never have the opportunity to join, but with Stan’s help I made it.

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Camera OperatOr: establishing shOt

I’m half black, half Native American, but I never found that to be an obstacle in my journey of life. People put the obstacles in their own way. That’s what makes people either ignorant or smart in a street sense way. You have to learn how to survive everywhere, let alone in this business. I’ve done television, sports, commercials, documentary, you name it.

Everyone has their own stories but I can back up my stories, because I’ve got the footage to prove it.

In all my years in the business, I’ve been trying to make that “one big movie.” And as all of you know, it doesn’t happen overnight—or ever, for many. But about the time I turned 60, I suddenly landed a four picture movie deal as a technical director, DP, and aerial director. With executive Producer Angie Baldwin, we’ll be making the Winnetou book series just the way author Carl May would have wanted them.

It never happens overnight, but if you just keep on doing your best, it can happen.

—Steve Howell, Director/DP

Y

ears ago, I sat overlooking the Golden Gate Bridge visualizing a dream career in camera. I was between a rock and non-union gigs wanting to make a transition to narrative films. I loved working documentaries with my mentors Emiko Omori and Ashley James, yet I knew that I was looking across a wide uncharted expanse of a career.

None of my family were in the business so I was venturing forward alone.

I did the unexpected and called the Los Angeles union office. Twenty minutes into being told all of the reasons why I was crazy to take my love of photography to the next level, I reminded the gentleman on the other end of my nickel that all of his points were valid. Then I heard the pin drop—“I suppose it really doesn’t matter what I tell you. And if you really do want to join the union...” “Yes sir, I want to play with the big boys and the big toys.” “Then I advise you to move to Los Angeles and put in your application. Come and see me when you do.”

Six weeks later, I walked into the Sunset office for testing and interviews. My folder was organized alphabetically on the left and by date of qualifying days on the right. My life as a camera assistant was all about paperwork, and years as a camera rental technician fed me equipment mechanics.

Although no new members were being accepted at that time, I left no test unfinished. Hours later, I waited to meet the husky voice in person. A busy man, he held my camera-life as Summer 2014

I knew it before him as he invited me in. “Nice to meet you, Bob Marta.”

We don’t always get to say thank you to our “angels”— those people who give you support or offer a hand up.

Thank you, Bob Marta. Bob is such a gift. His only request of me was to join the union in LA—and to volunteer. That is how I met another man with a giant heart, teaching cameraassisting after school and on weekends, Bill Hines.

I did an internship through AFI at Warner Bros Studios.

Patty Van Over stepped in front of me on the stage slinging camera cases. “Do you know how to offer a lens?” she asked. “Dress your arm with the matte, matte box, donut so that you have a firm grasp on the lens in your hand.”

OK, sometimes it is good when someone tells you what you already know, but in a different context— this one being on a union studio stage. Just then, the producer stood in my face chewing me out for being late. He will remain nameless. Patty took him to task with this wonderful smile on her face. “You have no right to scream at our free intern. She was on time and is doing a great job helping out your production. And did I say FOR FREE loudly enough?!”

Lesson on teamwork—treat people with respect and they will move mountains for you. And in the meantime move a heck of a lot of camera gear. Patty encouraged me to hone my skills and to stand tall.

Operator Herb Roberts spent a lot of time teaching me how to be an operator, and how to be a good assistant anticipating what needs to be done with our camera. Plus his film history lessons were amazing!

Ric Robinson was one of those Summer 2014

tough interviewers who stood firmly in the way of my moving up as an operator. I didn’t own dazzling footage shot in CinemaScope with anamorphic lenses, so I created storyboards from my still photography and practiced pitching myself in the mirror. Robinson finally gave me a shot—on one condition: “Re-rate from assistant to operator.

No one will take you seriously unless you do!”

I could ask any question of this amazing woman at Kodak, Toni Robertson. And she would answer them all with thought and insight. It is important to be able to come to someone you respect to get a clearer picture for the long haul. Toni always gave me time and a giant smile. I miss her every day.

I came through the camera department, so I was slowly forming another family—one sometimes closer than my own, one that would allow me to grow and develop with experience.

The Society of Camera Operators is such a group. That’s why I joined a group with a wonderful charity at its heart, an organization with vision.

I was invited to volunteer at a banquet in the marina honoring one of my heroes, Jacques Cousteau… by the SOC. And there is Bill Hines welcoming me into the group with his lovely wife Zee by his side. My camera family was getting bigger and better!

The Union gives me ambitious brothers and sisters who climb the ropes every day. The SOC provides me a place where I can grow and stretch my operator wings.

—Georgia Packard, SOC Photos of Bob Marta, Bill Hines and Toni Robertson are on pages 6 and 7.

Camera OperatOr: establishing shOt

17

by David Tolsky SOC

Photos courtesy of Laika Š 2014 Laika, Inc. All Rights Reserved.

Moco operator Steve Switaj on left

T

Boxtrolls are creative as well as quirky, and some are quick thinking.

he Boxtrolls are a community of quirky, mischievous creatures living below the village of Cheesebridge. They each wear a box, and the symbol on their box becomes their name. Their adventures with the boy they’ve raised from a baby and the citizens of the town are the subject of the latest animation feature from Laika, best known for Coraline and ParaNorman.

Laika is proud to carry on the tradition of stop motion animation and to help advance the art into the future. They also enjoy the fact that they are introducing the technique to new younger audiences who may not have grown up with King Kong or Jason and the Argonauts.

An animator’s hands working on the delicate process of the puppet’s movement

Winnie and Eggs, the boy raised by the Boxtrolls Lord Portley-Rind, the aristocratic mayor of Cheesebridge; his daughter Winnie is waving at left. The sign below reads “Gouda Tidings.”

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Summer 2014

Camera Moves Included

Portland, OR: From the outside, it looks like any other inconspicuous industrial building in Portland. Once you get inside and start to weave your way through the maze of various stages and departments, you will get lost if you don’t know where you’re going. Laika is probably the busiest “animation factory” in the US. On its latest venture, The Boxtrolls, during peak production time there were as many as 56 stages running simultaneously with as many as 60 cameras rolling.

The Boxtrolls is a Laika/Focus Features stop motion animated film due for a September 2014 release.

I know what you’re thinking … if this is a stop motion animated feature, what does that have to do with camera operating? Although the process of shooting today’s stop motion animation is quite involved, it won’t deal with conventional camera operating. However, this does not mean that the movie lacked pan, tilt, crane shots, and even Steadicam moves! Quite the contrary!

The Boxtrolls was shot primarily with Canon 5D MK III DSLR’s, and about 70% of it was done on motion control rigs. As you might expect, this is another world entirely. The crew members are in there working for a few years on several “stages”—that is, production areas sectioned off within Laika’s gigantic structure. They may come in there at the crack of dawn and never see the sun go down that day.

What’s Involved

responsible for bringing life to the characters. Animators came from all over the world to work on the project.

The Boxtrolls is Ashlee’s first animated feature film as Director of Photography, having served as a Lighting Cameraman (LC) on ParaNorman and Coraline for Laika.

“The LCs manage the shot from beginning to end,” explained Ashlee.

“They frame the shot, choreograph the camera move and work with the LAIKA CEO and Lead director and animator to get Animator Travis Knight them the shot they want.

We light and make decisions on the process and methodology to deliver the shot to VFX.” Coming up with the shot’s structure may include shooting reference film using the appropriate camera support, whether it be a fluid head, gear head or Steadicam work.

You might think the 5D MKIII was chosen for its large sensor or perhaps the variety of Canon glass that is available.

Although those would be viable reasons, they were chosen for their live view capabilities—which the animators love. With the built-in live view monitor an animator can get instant feedback of their work, a luxury that stop motion animators of the past could only wish for.

“Shooting digitally does have its perks,” admitted Knight.

“The filmmakers can constantly check their work, making sure that nothing is corrupted. We have a team that monitors all the footage as it’s being captured. It’s being piped into

I was fortunate to be invited to Laika’s massive studios in Portland during the final days of production on The Boxtrolls.

There I met with Producer David Ichioka, DP John Ashlee, and Lighting Cameramen Mark Stewart and Chris Peterson.

“An animation session is like watching someone cook rice, one grain at a time,” explained DP John Ashlee. “The animators are the heart of the project, and their jobs are very precise. They have to deliver real and believable performances from our characters or the audience will not be engaged into the story.”

Indeed… An extensive scene might take the lighting and camera crew a week to set up and could take an animator an additional month to “pound through the frames.”

Producer David Ichioka lent some insight to the whole process. “On a live action film you get to shoot multiple takes until you feel you have it,” he said. “Even on traditional animated films, you get to test and revise. On a stop motion film you get one rehearsal and one shot. Once you start the shot you can’t go back. The animators start their shot and 5 or 6 days later it’s done …”

“Our animators are good in all phases of animation,” added Laika’s CEO and lead animator Travis Knight, “but some get Director Anthony Stacchi, known for their strengths, like action Director Graham Annable, sequences and drama. Casting the animators Producer David Ichioka and voice talent Nick Frost is as sophisticated as casting actors.” This review a scene makes sense, as they both are literally Summer 2014

“An animation session is like watching someone cook rice, one grain at a time.”

—DP John Ashlee

Camera OperatOr: the BOxtrOlls

21

Editorial and will be reviewed all day long. The directors are constantly in there going over rehearsals or blocks or lighting tests, allowing for so much more flexibility on how we make these films. Gone are the days of film being sent to the lab for development and praying that something didn’t go wrong.”

“During the shooting process, they might shoot different exposures for the same shot,” added Ichioka. “They will get the master exposures, then you might have your lights come

for the left eye and then slide over slightly and expose for the right eye. The distance of travel is based on the interocular (I/O), or the distance between the eyes, of the puppets, not us, so it’s just a few millimeters.

“Interocular is about two and a half inches for human scale,” said Ashlee. “If you have a puppet that’s four inches high and you shoot it with a two and a half inch interocular, it looks like a miniature—like the size that it actually is. If you want the puppets to appear within their Laika is proud that today’s animation own scale or to shoot from their point of view, techniques trace back to Georges Mélies, you use the puppet’s I/O.” “We are shooting it to bring the audience into but there have been technical advances. the world of our characters,” explained LC Chris Peterson. “You’re scaling the world down to fit to the environment that we’re dealing with. It might vary a little bit depending on the way the objects are lining up and it might vary with the focal lengths of the lenses that you’re using.

“John’s philosophy is that we’re dealing with a volume of space. Are we encapsulating 100% of the volume of space or 75%? We work off of those calculations. Those calculations are based on the stereo limits projected from a 40´ screen.

The audience can only take a certain amount before it starts to hurt if the interocular is too much.”

Expression Matt Emmons, motion control operator

up or down on the green screen so we shoot a front light/ back light situation. We might have a green screen cutter come in to isolate a character and we’ll shoot those frames.

If a character’s eyes light up, we might shoot that as a separate pass. We can get into a whole lot of exposures for any one given frame.”

A Partnership with VFX DP Ashlee and the LCs work hand in hand with the VFX team, a crucial part of the overall visual quality of the film.

They both stress that the relationship with Special Effects Supervisor Steve Emerson and his team is instrumental in the company’s success. Emerson is there to make suggestions to the LCs and DP on how they can best prepare a scene before it is handed over to VFX. “The VFX guys have it so dialed in,” said Ashlee, “that we could finish a shot on Monday and by Friday we’re already reviewing all their clean-up, their comps, and anything else.”

“It’s not like a typical post house,” added Peterson. “They are with us as we are creating the shots. There is a very symbiotic relationship between us and them as we create these shots for the movie.”

The Limits for 3D To shoot in 3D, the 5D MK III camera is mounted on a micro-mover rig: a solitary camera that will take an exposure

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Camera OperatOr: the BOxtrOlls

Knight showed me a scene he was working on in a portion of the Market Square set. In the scene, the character “Pickles” happened to have a lot of dialogue and a lot of face plates were laid out and ready to use. Knight explained that every single frame of the shot is logged out based on the phonetics of what the character is saying, and that corresponds to a different face. Each character has a complete kit of various facial expressions. Each face has a number on the back according to what phonetic shape it is.

“We animate two frames for every expression—it seems to work really well,” said Knight. “On a typical shot of about 150 frames, we might use 70 to 80 faces that we’ll switch out.

All of the faces are reusable but we might make a series of faces for a specific shot when needed.”

Character dialogue goes through various stages before the final polished shot. Storyboards are drawn up and Laika employees record the dialogue on their own. This allows the crew to get an idea of the facial expressions needed to match the phonetics of the dialogue. Later in the process, the actual voice actors record the dialogue adding their own nuances to the character. The animators then fine-tune the initial facial expressions to match.

A Proud History It’s fascinating to trace back to the earliest days of stop motion animation and then proceed through the years as the technology behind the process advanced. Filmmakers on The Boxtrolls are quick to point out (and are proud) that you can still trace today’s animation back to Georges Melies’ Summer 2014

A Trip to the Moon of 1902. They are just as quick to mention that there have been a lot of technical advances within their own movies.

Cameras, Software and MoCo

ANDY TOLSKY

“On Coraline,” reflected Ashlee, “we used the Redlake cameras. They were not an ‘off the shelf ’ camera, but the only camera at the time that could offer live view with a full frame sensor. We had written our own proprietary software to run the stop motion capture system. After we finished that movie, we recognized that there were a lot of flaws in that system.

We started from scratch on ParaNorman. We realized that it would be more efficient to get the best of what was out there and integrate it to our system. We landed with the 5D MKII’s for ParaNorman and 5D MKIII’s for The Boxtrolls.

We used Dragonframe software for the animation process and Kuper software for the motion control, then developed our own tools to cross-talk with them.”

With motion control, the filmmakers were able to recreate just about any type of camera movement the story called for.

Aside from the addition of the 3D printer (a whole other story), motion control is probably the most significant addition to the animation process. Motion control contributed so much to the overall fluidity of The Boxtrolls, and it is the link that simulates live action camera moves for animation.

LC Mark Stewart revealed that in the not too distant past, they used to just frame up, lock off and let the animators go to work. On The Boxtrolls they wanted the camera to be more “alive.” That can be difficult when you’re not quite sure what the animators are going to do.

“In traditional films most camera movement is dictated by Director of Photography John Ashlee Prat the action and a camera operator follows the actors through adjusts a backlight reflection. the space,” explained LC Chris Peterson. “For us, we talk about what the performance is and we try to get positions When you see the movie, make sure you stay for the that we hope the animators will hit in terms of their marks. closing credits. An added scene there is an eye opener and We try to craft the move as ‘operator-looking’ as possible. worth the wait!

The challenge for us is that we’re working with a synthetic machine. MoCo [motion control] likes to go clean from A to B and our job is to be able to give it as much operator life as possible. That’s been the bar that John [Ashlee] has been setting for us on Boxtrolls—to make sure that it has more of an operator feel.”

Motion control has also made the animators’ lives much easier. Whereas in the past they may have felt confined to animate within the locked frame, now they are free to perform a puppet however they want and the crew can make the necessary adjustments with camera movement.

“On previous projects,” said Ashlee, “it’s locked off about 80% of the time. We reserved camera movement for the bigger shots, like the beginning of a scene or a big reveal. But on this film, using MoCo, we can move the camera anywhere we want.

The author (black shirt) wishes to thank Laika We can do a pan, tilt, roll, XYZ axis moves or crane and Focus Features for their hospitality during shots. Who said there was no operating in his brief yet enlightening visit to the Boxtrolls animation?!” sets.

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by Peter Rosenfeld soc

Photos by Ron Phillips Courtesy Warner Bros Pictures Š 2013 Warner Bros Entertainment Inc. All Rights Reserved.

Matt Walsh (right) as Pete

Steve Campanelli, soc

I

nto the Storm is about a town hit by an unprecedented number of tornados in a single day. Most people seek shelter, but some, both professional weather chasers and plenty of amateurs, are out trying to capture the twisters with various cameras. Storm trackers predict worse to come.

Director Steve Quale and DP Brian Pearson ASC found Camera Operator Peter Rosenfeld SOC the perfect match to make this storm as perfect a film as possible. Each of them relates their feelings about filming, memories of various scenes, and thoughts on filmmaking. They sometimes have their own POVs on the same shot. Pete has the left (even numbered) pages throughout, with white backgrounds or blue sky. Brian has page 27, and Steve has the rest of the right-hand (odd-numbered) pages with light beige backgrounds.

Toto, I don’t think we’re in Kansas any more

Peter Rosenfeld SOC — dry for once

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“Cut! Cut! Cut!” I hear 1st AD Rich Cowen shout behind me. The rain towers above slowly ease off, slowing the torrent of cold water pouring on my head.

The car that was being pulled and flipped through the set on cables finally stopped moving. The giant 100 mph jet wind fans start winding down. I look to my side to see the smiling face of Bill Coe, our 1st AC. Water is streaming down his face.

“You okay Mister?” he asks. “Can I take that from you?” and with that he lifts the Alexa, bagged and rain-proofed within an inch of its life, from my shoulder. The water-logged cast members make their way off the set. It’s just another day at the office for us here in Detroit on Into the Storm, the new tornado movie from New Line.

I think back to how I ended up here. It happened so quickly. My old friend Steve Campanelli SOC had to suddenly back out of this job while they were in prep.

He gave my name to DP Brian Pearsonn ASC who Summer 2014

The DP’s POV One day, out of the blue, Steve Quale called and told me he had another project to talk about. I was excited as I had already worked on a complicated but very fun 3D movie with Steve. But I knew the bar would be set even higher this time, which is what you get working with Steve who was James Cameron’s second unit director.

When Steve told me our new project would be a “found footage” movie about a group of tornado chasers caught in the storm of a lifetime I knew we had an immense challenge ahead of us.

Fortunately, I was able to surround myself with a very talented group of supporting crew members. My partners were Tony “Nako” Nakonechnyj as Gaffer, Joey Dianda as Key Grip and Stephen Campanelli SOC as our “A” Camera Operator. Relief !

At the last minute, Stephen had a conflict and needed to replace himself. I said it would be ok for him to go as long as his replacement was someone like, “Oh I don’t know, Peter Rosenfeld.” Stephen made the connection and three minutes later I was speaking with Peter on the phone.

I spun a wonderful tale of how much fun our Detroit location would be in the summer, the adventures we would share, and how all the tornados would be CG elements inserted in post.

Peter arrived in Pontiac, MI, for the first camera test. It was 105 degrees. To his credit,

Richard Armitage as Gary Summer 2014

Brian Pearson ASC and Peter Rosenfeld SOC

Peter was enthusiastic, friendly, and a great fit for myself, Steve Quale, and this project.

I felt that one of the most important aspects of this project was the “found footage” element in which many of the scenes involved impromptu shooting with the cast reacting to the dynamic environment around them.

Peter’s background working as a documentary cameraman in some pretty intense places worldwide made him a great choice for this style.

I’m not sure, however, that I had fully explained that the entire movie would be shot handheld, much done in long continuous takes while in the “eye of the tornado.” This involved 100´ long rain-bars, two 100 mph fans directed towards Peter, and ear-piercing Eliminator spray deflectors spinning at 5000 rpm on the camera.

Peter faced all the difficulties with positivity, bravery, intelligence, and conviction.

One shot in particular was a challenge on many levels. The camera started in a hotel room on the second story of a motel. Then in one continuous take it proceeded out of the hotel room door, down an exterior hallway, down several flights of stairs, across a pool area, and into a weather van, landing on a group shot of the cast inside the van, all while real two-inch round ice balls are free falling around the camera, courtesy of the special effects department.

Peter and his exceptional camera team, Bill Coe, Bobby McMahan, and their incredible support team kept the cameras running under these and other difficult conditions. I find this more impressive considering that cameras today are essentially computers with glass mounted to the front of them.

Donning hard hats, Peter, Bill, and their team ran through the ice balls and Peter managed to land the final frame inside the van as planned, all without tripping, falling, or plunging into the pool two feet from his path while he ran with the Alexa M chasing the actors.

To work with an operator of that caliber, with so much dedication to the director, to the DP, and to the storytelling of the movie itself was a great honor. Into the Storm is a film which is largely told through the eyes of the found-footage camera operators’ characters in the movie.

Ultimately the viewpoint we experience when watching a film like this is even more dependent than usual on the instincts and creativity of the camera operator who is depicting the events on behalf of our characters.

Peter was especially sensitive to this responsibility and exceeded our expectations with his ability to survive the elements while still infusing the movie with the heart of the characters while they tackled the elements in an effort to survive.

—Brian Pearson ASC, Director of Photography Camera OperatOr: IntO the StOrm

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these ‘found’ sources. As I moved through the script the production notes revealed “Heavy rain,” “Moderate rain,” “Rain,” “Heavy downpour,” etc. Hmm... This is going to be interesting.

The camera package

Richard Armitage as Gary, in a typical downpour

rang me up. I knew Brian but had not seen him in years.

“Pete!” he says. “I’ve got a great project for you! It’s like a modern version of Twister with awesome effects and a great visual director!” He proceeds to make a convincing case to pack up and leave for Detroit in 48 hours. I didn’t read the script until I was on the plane. 24 hours after that I was on the hot tarmac outside the stages shooting tests. It was Detroit. Blistering Hot. Maybe 95 degrees but full-on humidity. You broke a sweat just by blinking.

For the first setup I asked for the dolly.

“There’s no dolly,” said Michael Anderson, my “A” camera dolly grip.

“Huh?” I said.

“They took it off the package.” This was my dolly grip talking. The irony was not lost on me.

Cut to a slow motion closeup of a bead of sweat breaking loose and falling from my face.

I’m in Michigan in the middle of a summer heat wave shooting entirely handheld.

As luck would have it I fell into an awesome camera department led by Bill Coe and his long time 2nd AC Bobby McMahan. These guys were able to plan, equip and manage an extremely demanding and complex show. Fletcher Camera provided three Alexa Ms for the main unit.

This brilliant choice was made by Brian Pearson ASC and director Steve Quale. For those that haven’t used it, the Alexa M was originally designed for 3D cinematography. It’s an Alexa that is split down the middle, separating the camera and lens from the data-recording unit. In so doing it cuts the weight down and in this case allows the operator more freedom to run and jump handheld with the performers.

We worked hard in prep to get the M balanced perfectly on my shoulder, accommodating the large “Eliminator” rain deflector. It proved to be the only deflector powerful enough to keep the huge volumes of water from photographing on the front element. At a spin rate over 5000 rpm it completely avoids the “center dot” common with rain deflectors. It’s also heavy and sounds like a jet engine next to your skull.

This was a big visual FX movie and I constantly adjusted focal length while running around. The ARRI Alura zooms gave us the ability to record lens metadata that the visual effects dept would use later to aid in creating the storm elements. A set of cables ran from my camera to a waterproofed backpack we called “The Turtle.” This was worn by the skillful and strong Michael Anderson, our “A” camera dolly grip. Inside the Turtle was the Alexa recorder, Boxx transmitter, and batteries. Michael wore this sixty pound load the entire shoot, shadowing me wherever I went, guiding me

The plan Into the Storm is a story about a group of storm chasers. Armed with cameras, a high tech storm chaser vehicle, and weather tracking technology, they find themselves with more than they bargained for when they end up in the path of a mile-wide Category 6 super tornado. The story would supposedly be told through the perspective of their footage. Some of the cast members had video cameras as props and there were several GoPros and mini cams in evidence. The audience should believe that all the footage they see came from

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Waterproofed Pete and Alexa Summer 2014

that Peter came up with involved opening a manhole cover and doing a continuous point-of-view One of the unique challenges for Into the Storm was shot coming down a ladder into a that I wanted to tell the film from a first person storm drain. To accomplish this, narrative point of view, captured through the eyes of the grips attached the camera to a a group of storm chasers. I wanted the film to have rope with a pick point directly an organic “loose” feeling, but not the overly shaky above the manhole cover. Peter nausea-inducing found-footage look that, if you’re operated to that spot and then the not careful, can cause the audience to experience camera was lowered into the storm motion sickness when watching it on the big screen. drain. The challenge was that we Our solution was to make the characters filmwanted to see the feet of the actor makers as well as professional storm chasers, having climbing down into the storm them “film” the footage with a handheld aesthetic drain. So Peter wore the actor’s and camera sensibility that a typical unskilled tennis shoes and jeans and photoperson might not have. I’ll never forget the audigraphed his own feet as he climbed ence preview comments when we first showed the down the ladder with one hand Director Steven Quale film. “Finally a movie that has found-footage that and operated the camera with the you’re able to watch and isn’t shaky and bumpy and makes other. At the bottom he shifted to operating with two hands you sick.” To hear the general public complimenting the and walking to the end of the storm drain in one continuous camera work says a lot about camera operator Peter Rosenshot. The effect is seamless and most people have no idea how feld, DP Brian Pearson, and the entire camera team. difficult it was to accomplish that with a heavy cinema People forget they’re watching a first person narrative film. camera.

That was intentional. More traditional cuts and over-theAlong with the physical challenges, Peter had to make the shoulder shots are used about halfway into the film as the camerawork feel “spontaneous” as if he was reacting to audience just follows the characters and the story. The camera external events that occur without knowing what is happentechnique does not get in the way of telling a good story, as I ing next. In truth we had to preplan every shot down to the find it does in many “found-footage” films. second — where he was framing or where to do a correction or a zoom adjust, because we had so much equipment on set Who can come up with the craziest idea? we didn’t want to show to avoid spoiling the illusion. We had Peter faced many challenges with this first-person style as four “100 mph” wind machines in addition to several cranes we’d do long takes, sometimes three minutes in length or with rain towers splashing water everywhere, so it was a real longer. It almost became a game, where Peter and I would challenge hiding the equipment. We rehearsed for as much block out a scene with the actors to see how long some of as an hour to get the camerawork perfect so we could get the these very long takes could be. We’d try to top one another shot without seeing any of our equipment. on how creative we could be to keep the camera rolling for The biggest problem was that Peter was too good of an an extra minute—it was a lot of fun. operator! His years of cinematic training had him anticipate I remember one shot in particular when a tornado develops certain events where he would whip pan just before the event over Main Street downtown as half the group takes shelter would occur, and if this was a normal movie that’s exactly inside a building. When the storm is over they climb out of a what you’d want. But I’d have to tell him to delay his natural window and regroup with instincts by a half a second so it would feel like he heard some the others. To get this shot, noise and panned over to see it instead of anticipating it.

Peter had to contort his Once we got into the swing of things after the first few days body to hang halfway inside of shooting, this became second nature and we were in sync. the window and then step What’s amazing is that Into the Storm is a major studio over a large sill while production shot entirely handheld—no dollies or camera operating the camera in a cranes. (Confession: we did rent a camera crane for one day smooth and seamless but it was used to move a light). fashion. He then did a three Peter used a Steadicam for some sequences. We thought minute walking shot no one would notice since we had some of the storm chasers listening to the actors’ using these micro Glide-Cam-like stabilizing systems as props. dialogue so he would know Getting the camerawork right on screen when to whip pan to get We had to teach the actors how to operate the stabilizers their lines on camera. It was so it looked like they knew what they were doing. It was fun a very fun way to work and seeing the actors and the camera crew learning each others’ quite different to what I’m jobs. One of my big pet peeves is seeing actors mishandle accustomed to.

Kyle Davis as Donk with a GoPro on his helmet camera equipment on-screen. I can’t tell you how many Another innovative shot

The Director’s Take

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Front: Nathan Kress as Trey, Richard Armitage as Gary. Back: Jeremy Sumpter as Jacob, Arlen Escarpeta as Daryl, Sarah Wayne Callies as Allison and Matt Walsh as Pete.

through obstacles and keeping me safe and able to do my job, all the while maintaining his sense of humor. 1st AC Bill Coe, ever sharp and with a smile, pulled focus the way we’ve always done it, right there by my side. Camera operators Ron Hersey and Peter Klein got terrific stuff on the additional cameras.

“B” camera was kept tack sharp by focus puller Andy Hoehn.

“Found footage”—Applying the concept Once principal photography started, what quickly became interesting was how successful we would be at shooting and blocking scenes so that every angle was “justified.” In other words, every bit of footage was supposed to have been captured by the storm chasers and their mini cams.

Director Steve Quale and DP Brian Pearson worked out in pre-production where the coolest angles would be on the picture vehicles and would place a mini cam at that spot.

In so doing, we could replicate that angle at any time on the Alexa.

Where a dynamic camera was required, I would work with one of the actors to hold their prop camera and move where I planned to shoot from once we got to that shot. When the actor appeared in the background shooting, that would “justify” that camera angle. Steve and I tried to stick to this plan and we did most of the time, but truthfully we did shoot with an omniscient camera on occasions where the audience would be better served.

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The “found footage” concept was particularly challenging during scenes when we only had one or two performers. I would turn to our director and ask, “Steve, so who exactly is shooting this right now?” and we would both laugh.

All concepts aside, this was still a movie. I think we both really enjoyed this challenge and Steve designed some pretty awesome shots. An example would be how, at one point during a sudden hail storm, our characters ran out of their motel room and down three flights of stairs. They raced across a pool deck and parking lot all the while getting hammered by ice cubes the size of golf balls. They ran into their vehicle where they started tracking the sudden shift in the weather.

Steve imagined a continuous shot that followed the cast down the stairs and into the hailstorm. We imagined a cut as they jumped into the vehicle since we always had those mounted “mini cam shots.” We could cut to one of those to get the actors into the vehicle. However on the first take I discovered that I could throw myself into the passenger seat of the van and continue the scene, covering the dialogue and action inside the van in one continuous shot.

So Michael Anderson, Bill Coe and I, wearing protective helmets and motorcycle jackets, ran down with them. I even had on cleats to aid my traction across the hailstones. We covered about four pages of the script in one continuous shot. This movie was a camera operator’s dream job.

Summer 2014

movies I’ve seen with “news crews” holding the top handle on a video camera that nobody uses to shoot, so I worked really hard to make sure the actors got it right.

Peter came up with some really innovative camera tricks.

One was called the “clothesline camera.” One of our main characters lost his camera and it fell to the ground, giving a canted point-of-view angle as it slid across the grass. Peter came up with the idea of putting the camera on a pancake apple box and attaching two pieces of clothesline to the camera and pulling them like a horse’s reins to give him some control.

In another scene, our heroes ran into a church and dove to take cover underneath the pews as a tornado approached.

When the church windows shattered, the camera was kicked by one of the actors and the video went black, keeping the audience in suspense as to what happened. Timing of this camera “bump” was critical. Peter felt the way to make it feel organic was to do it for real. He dropped the camera to the ground (onto a furny pad) and then literally kicked the camera. During one take, one of the pew’s foot rests came tumbling down just seconds after the camera bump which was a perfect way to end the sequence, on a “sting.” It’s those happy mistakes that you never plan that add to the realism and intensity of the camera work.

be great for the storm chasers to use an Alexa in the turret of the storm chasing tank called the Titus. Stephan UkasBradley at Arriflex was very gracious and got us two prop Alexa M cameras to use in the film. It was amusing the first day when the camera assistants saw two additional Alexa M cameras on set, not realizing they were prop cameras.

When we filmed our turret shots with our main tornado hunter in the foreground, Peter suggested sliding the prop Alexa forward to reveal the name on the camera so it wouldn’t be blocked by the actor’s face. The cameras were very important to us.

In addition to the prop cameras we also had several Nikon D800s that the actors used. In fact, there are several shots in the final film that were recorded with the D800s. We even used a couple of shots from GoPros in the film including a helmet-mounted shot of the Twista Hunterz wiping out with his ATV. Originally we were going to have many different qualities of cameras switching on screen to keep the audience aware of a grainy surveillance camera compared to a high end professional documentary camera used by the storm chasers.

When I saw the completed film I found the cutting between different formats distracting so I minimized the effect. I kept most of the images “native Alexa” and made them look as good as possible.

Camera choices

Make it real!

We tested several cameras but most of the film was shot with the Alexa M. We liked the silky, cinematic image quality in addition to it being an incredibly lightweight camera. The only downside is that it has a fiber-optic umbilical cord attached to an external recording unit but that was a small compromise in exchange for the kinetic feel and cinematic quality we were going for.

I love the look of the Alexa camera and thought it would

My overriding sensibility for this film was to keep it real.

This included the digital visual effects. We found that adding a slight snap zoom or correction during a visual effect shot of a tornado made it pop and feel realistic as opposed to a perfectly composed static shot with no movement. It was these tiny imperfections that really added the realism to the film.

One thing I stressed with cinematographer Brian Pearson was this movie had to be shot in overcast lighting conditions.

Innovation is the name of the game

Kyle Davis as Donk, Jon Reep as Reevis and Arlen Escarpeta as Daryl are trying to photograph the twister.

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deflector. He used nitrogen rather than compressed air due to its lower moisture content. Now, in addition to Anderson following me with The Turtle, I trailed a supply hose of compressed nitrogen. Jenson adapted a golf caddy to carry the tank. This became quite a caravan: Bill and I up front framing and focusing, Anderson close behind with The Turtle, and the nitrogen tank on wheels trailing behind. This was how we shot Into the Storm.

The Creative Team Pete Rosenfeld and director Steven Quale

Shooting digital cinema in heavy rain I’ve done many rain scenes on film. What we discovered on this picture was that a digital cinema camera under plastic generates a lot of heat and creates its own climate.

One issue we didn’t anticipate was the fogging of the front lens element behind the spray deflector once the cold water hit. After some early setbacks I turned in desperation to Jason Jenson, our “C” camera 1st AC. “Take whatever resources you need,” I told him. “We are getting peeled by this issue of fogging. Please come up with something.”

Jenson designed an air curtain to flow behind the spray

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Director Steve Quale was no newcomer to visual effectsdriven movies. In addition to his own work as a director, he served as James Cameron’s 2nd unit director for years. Steve knew exactly what he was looking for and was able to describe, in great detail, the visual effects elements that would later be added to these shots. He constantly coached me on how big the twister would be, how fast it would be moving, and where it would be going. As a camera operator, the greatest gift is a director who is clear about what he/she is looking for.

Steve has that gift. I needed to know the precise details in order to compose on the fly for things that were not there.

A big challenge for DP Brian Pearson was that most of the movie takes place in cloudy overcast conditions. Summer in Detroit gave us lots of nice sunny days which had to be flagged off the set using construction cranes and fly swatters.

We would rehearse with the actors and then break the scenes apart into sections where Brian and Key Grip Joey Dianda could manage to block the sun.

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Alycia Debnam-Carey as Kaitlyn and Max Deacon as Donnie spent the day up to their necks in water here, with only Pete for company.

I grew up in the Midwest, I’ve seen many powerful storm systems, and it’s always overcast and pouring rain. I felt if the tornadoes were added digitally into the background and we had bright sun in the foreground it would ruin the illusion of stormy weather.

Brian used large dark gray silks to block the sun and give us a beautiful soft overcast look but that only covered a 20x20 foot area. Fortunately the digital artists were able to replace the sunny background with overcast conditions.

We also took advantage of the low light capability of the Alexa M and shot at magic hour. The last thirty minutes of every day was a mad scramble of continuous long takes that poor Peter had to operate as quickly as possible before we lost the light. We spent hours in bright sunny conditions using giant construction cranes and silks to block the light in order to shoot close ups of everyone, and then two hours before sunset we would stop everything and move all the construction cranes out of the area. I’d spend two hours with Peter and the actors rehearsing. We shot eighths of a page all day with bright sun and four pages of dialogue in the last thirty minutes.

Another challenge was shooting inside the vehicles as they traveled in pursuit of the tornadoes. I’m very aware of green screen vehicle shots and I think it’s one of the toughest visual effects to pull off realistically. We tried as much as possible to film in real vehicles, also at magic hour. So again it would be a mad scramble resetting all the vehicles and hoping we had enough light to capture the images. We kept opening and pushing the camera until we had nothing left. We’d hear Brian Pearson on the walkie talkie, “Switch to 1600 ISO.” There were four extremely noisy shots in the film that were shot in practically no light at all. Fortunately we were able to take them to Reliance for the “Lowry Process” and made them look like they were shot on an overcast day. It was amazing how Reliance was able to get the detail back from all Summer 2014

the pixels moving around in that noisy image.

The entire camera crew did an amazing job under difficult working conditions. They were bombarded with huge wind machines, constant rain, and muddy conditions.

Another major challenge was keeping the front surface of the optical flat clear of water. We used The Eliminator spinning disk system and wrapped the cameras in plastic to protect them from the rain, but the intense Michigan humidity would cause heat to build up inside the plastic and fog the glass. One of our camera assistants came up with the idea of using compressed nitrogen to blow on the surface of the glass. This required having giant tanks of nitrogen on carts with long hoses to attach to all the cameras. It was noisy, but it did the trick.

Close cooperation The difficult working conditions also affected the actors.

Peter bonded with them well, particularly the younger cast of Alicia and Max. The three of them spent an entire day in a contained set that was full of water right up to their noses.

This was their characters’ pinnacle performance moment, and when we did the rehearsals the actors did great. But on shoot day the actors realized they had to do everything we’d rehearsed only entirely submerged in water with a huge set piece hanging over them. Because the set was so tight we couldn’t take them in and out of the tank, so they basically spent the whole day in there with Peter. His presence helped them get through that difficult day.

I’ve never had a better experience collaborating with a camera operator than I did on this film with Peter. He has amazing compositional skill, great on-set demeanor, and is open to collaboration. He loves to be challenged and comes up with creative and innovative solutions. He was an enormous asset to the film in every way.

—Steve Quale, Director Camera OperatOr: IntO the StOrm

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Once the sun disappeared at the end of the day our strategy changed. At magic hour we would clear the set in order to look 360 degrees, then run the entire sequence in one shot.

For me this was easier than you might think.

The cast and I had the benefit of “rehearsing” on film the entire scene during the day. Now, in putting it all together, we knew exactly who said what where, and what effects were happening at the time. I knew that if I whip panned over to my right a street lamp would crash to the ground and a performer would enter the frame. Once he or she said his line I would whip to another direction and see a car crash into a building and then run along with cast members. It would go on and on until the end of the scene, often running into and out of buildings and vehicles.

Steve and Brian told me that when they went to edit they often used these end-of-day takes. I wasn’t surprised since they would appear so real and unrehearsed with no cuts.

A background in news and documentaries You could say that I was well trained for this job. After starting my career as a loader and a 2nd AC in movies, I purchased a 16mm camera and starting shooting news for the CBC up in Canada.

This eventually led to 14 years of news and documentary work including long stints overseas in places like Russia and

Gray silks provide an overcast look.

China. At the foreign desk I became known as the ‘shit hole specialist’ and would often get sent to war zones and disasters. I covered many actual events similar to the ones in this movie.

It was incredibly dangerous at times and the bodies that I stepped over were real ones.

The instincts that served me in those hot spots supported me on this movie. In spite of the tough conditions I loved shooting Into the Storm. The cast and crew were so talented and hardworking. I was surrounded by excellent filmmakers.

Every now and then as a camera operator, a picture comes along that taps into everything you have: all your skills, instincts, courage, and physical endurance. Into the Storm was one of those challenges for me. I hope you enjoy it.

—Peter Rosenfeld SOC, Camera Operator

by Eric Roizman

Photos by Nicole Rivelli Š 2014 American Broadcasting Companies, Inc. All Rights Reserved.

Viola Davis stars as Annelise in How to Get Away With Murder on ABC this fall. Annalise reveals the statuette her top students will be vying for.

H

Karla Souza and Aja Naomi King carry a mysterious parcel through the woods.

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BC’s new fall series How to Get Away With Murder makes a perfect trifecta of Thursday for writer/creator Shonda Rhimes, whose other two shows, Grey’s Anatomy and Scandal, fill the other Thursday night spots.

Eric Roizman ( Justified, Californication, House MD) operated A-camera for the pilot and shares some of what makes this show another winner.

Eric Roizman

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ow to Get Away With Murder features an ensemble cast of young actors playing elite law students mentored by an elegant, accomplished professor and legendary defense attorney played by Academy Award nominee Viola Davis. Her students are the best of the best, and they are highly motivated to claw their way to the top of the class. The academic world they inhabit is competitive and cutthroat, but competition turns to desperate cooperation as the group of scholars find themselves as possible accessories to murder.

I was pleased to get the call to operate A-camera on the HTGAWM pilot from Director of Photography Jeff Jur ASC. Jeff and I had worked together briefly many years ago, and I welcomed the opportunity to collaborate once again.

By the time I was brought on, Jeff and pilot director Michael Offer had already been prepping in Philadelphia and the surrounding areas for a few weeks. They and the production team had selected a variety of distinctive practical locations to shoot that would best reflect the atmosphere of tension and dread gathering beneath the surface of the students’ ivory tower.

Jeff is always very well prepared and supplied me with an extensive series of location photos.

Late-winter Philadelphia would provide the inimitable Eastern look as we shot all over the city and distant areas from City Hall to Bryn Mawr and in locations ranging from gritty apartments to wooded ravines.

My favorite location interior ended up being the courtroom of the Delaware County Court House in Media, PA. that had been in service since 1871. Vintage design details such as the brass-rimmed portholes in the doors and the monumental chandeliers overhead made the space unique and we enjoyed designing frames incorporating these architectural elements.

The story begins in the present day as the students are frantically trying to dispose of an unidentified body, and soon cuts back in time to events four months previous, with the bulk of the story occurring in the earlier time frame.

The flash back and forward device is sustained throughout the show, and we often treated the different time frames with distinctive approaches to the camera work.

For the present time frame, we combined dynamic dolly moves and Steadicam with energetic crane and handheld camera work to undergird the feelings of tension and desperation the students experience as the pressure mounts.

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In contrast, the earlier time frame was generally shot in a more classic, anchored style forgoing handheld camera work and using longer, slower dolly and crane moves to lend the story a grounded visual foundation. Kyle Rudolph operated the Steadicam and the B-camera, which was in very frequent employ throughout the show.

In Transition In a phone call a few days before I arrived, Jeff mentioned to me some film references that had impacted the director’s thinking about the desired feel for the operating for the pilot.

Two that stood out were the films Red Riding: 1974 and Michael Clayton. Both films are thrillers that maintain a constant sense of tension and dread throughout. Michael was especially enthusiastic about the extreme, almost experimental framing frequently used in Red Riding, and wanted to explore that kind of feel when designing some unique transition sequences into the show. The script note regarding these transitions was extremely broad and gave us license to get pretty unorthodox.

For a couple of crucial transitions in the story, Michael and Jeff wanted to take the convention of pushing in on a single at the emotional apex of the scene and turn it on its head using lighting, motion and an unexpected lens choice to create a heightened effect. To achieve this, we used a Frazier lens which provided extraordinary depth of field and allowed us to push in to a hyper-extreme closeup of the actor’s eyes before I panned the camera off into darkness at the climax of the shot.

This concept required Jeff to carefully build his lighting to accommodate the slow speed of the Frazier lens, while still keeping one side of the actor’s face mostly in shadow. Due to the tight quarters found in our practical locations, using a

dolly wasn’t always an option, so we used a 3 foot slider with a fluid head and I did the push in by hand.

I was able to begin the shot in a conventional closeup size, and then as the dramatic tension builds, slowly slide the camera closer and closer to the actor’s face into an extreme closeup while slowly panning off of the eyes into darkness at the climactic moment.

Communication between camera team and the actors was paramount due to the close quarters, and despite having a mini “safety meeting” with the actors before rolling, I definitely had my heart in my throat during the taking of the shot because I knew that the Frazier lens would be very near the actor’s downstage eye at the close mark. Fortunately, all of the elements successfully came together and these transitions ended up becoming some of the most satisfying shots of the show for me. I was grateful to have 1st assistant cameraman Tony Gutierrez with me who did an incredible job of pulling focus on all of the challenging work that we encountered.

Tight Spaces While shooting in practical locations helps ground the look in a feeling of reality that onstage sets don’t always provide, it usually comes with a long list of logistical challenges. Fortunately, we had an excellent grip crew led by Chris Beattie, and the grips including A-dolly grip Mark Catania and B-dolly grip Ken McCallum were able to put the dollies and other camera support in some pretty tight spaces.

Our second assistant cameramen Anthony DeFrancesco and Mitch Malpica also did an excellent job navigating the challenging logistics of these practical locations.

Viola’s house/HQ was a beautiful two story Victorian.

Once inside, the crew marveled that a house that appeared quite stately on the outside could be so small on the inside. It

Annalise works on a case in her elegant parlor office.

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something of a puzzle to solve in the cramped foyer and narrow hallway of the Victorian house. It began with Mark and me jamming ourselves and the dolly into the small triangular alcove under the main staircase of the house.

We were jammed in there in order to hide from the B-camera that was photographing the actor entering the room that we were in.

We had taken every accessory possible off the front of the Alexa and had switched Wes (Alfred Enoch), the student Viola Davis as Defense Attorney Annalise from the Hybrid to who might know too much.

Keating, a woman with at least one secret. the PeeWee dolly in order to present a was built with a long narrow hallway connecting a few small footprint and remain hidden. The door shutting cut the elegant rooms that had high ceilings but were much smaller “B” shot and cued the “A” to begin a 180 degree pan followthan you’d expect overall. ing the actor in profile as he entered the room, followed by a In addition, the story called for Viola’s character to have all slow boom as we tracked in with him. We then pushed and of her students gather in her front room for informal lectures. pulled with the actors, trading overs for a couple of pages of So we would have the entire cast and a complement of extras dialogue with the three characters. in the front rooms of the house occupying every available Finally, one character leaves in a huff and we tracked with horizontal surface. The look of these scenes called for cameras her at top speed, timing our move to miss a light hidden on dollies, so those were shoehorned in as well. Murphy’s law behind a narrow mullion as she walks out the front door of dictated that a pounding rainstorm would begin, so video the house. It was a compound dolly move, and the layout of village came inside to dominate the kitchen. The set was full the house did not permit us to put down dance floor, but to bursting. fortunately the existing hardwood floors were smooth That long narrow passage would end up becoming an enough in the right places to allow us to perform the shot element that was incorporated into the blocking and shootsmoothly. ing of the scenes, with the hallway itself serving as one of the Crowd Control dolly’s primary runways. Due to the natural dimensions of The opening scene of the show was a riot of color, sound the set we weren’t always able to put down dolly track, but and fire. A collegiate football rally at night, complete with Mark would frequently put down boards enabling us to a huge bonfire of a football player effigy. Think The Wicker smoothly track fore and aft along with the actors as they Man. Our design was to use the 50´ Technocrane to extend moved from the office into the front room and back. in low through the throngs of celebrating students eventually Mark was always on his toes with the dolly and I would revealing the giant effigy that is ultimately consumed by sometimes use the slider to help maintain the optimal over flame. One of the challenges with this type of shot is how to the shoulder shot. Communicating with the actors was get close to the revelers and have them clear out of the way of crucial while working in such tight quarters, not only for safety, but to facilitate the shots lining up properly, especially the camera in a natural way as the camera extends out towards the subject. It helps to have a very capable group of the overs. When absolutely necessary and when there was extras—and we were very lucky in this regard. room I’d put on the slider to help the overs land perfectly.

Instead of extending the camera straight at the effigy, we I was pleased with the ability of the younger cast to be aware approached it from very slightly off axis, and I softly locked a of their place in relation to each other and to the camera. They were without exception very professional very slight pan into the shot. We marked a bright line on the ground under the path of the crane arm. That way the kids and easy to work with. would know exactly where the camera was coming from and A memorably challenging shot that we did in this location would’ve been a breeze to set up on a soundstage, but became going to, helping them find their “marks” and thereby

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Wes (Alred Enoch) enters the front hallway of Annalise’s home unnanounced. Note tne hallway’s narrow width.

increasing our odds of capturing a more natural looking shot.

Our key grip Chris walked next to the camera as the crane arm extended, shooing the kids out of the way at the very last moment until the crane was at full extension capturing the flaming effigy in all of its intensity. We then armed rapidly up in the air as I tilted down. By this time, the kids had backfilled into the space where the bright line had been laid down, effectively hiding our tracks.

Getting It One scene in particular encompasses many of the elements that make camera operating so enjoyable. It was an intimate scene between Annalise (Viola Davis) and Wes (Alfred Enoch) and the scene takes place in a washroom. The background is that Wes, who is a student of Annalise’s and needs to stay in her good graces, had recently caught her in a situation that could have extremely negative consequences should it come to light, and he’s keeping her secret—so far.

This was one of the rare times on the show where we had to build a set, and it was essentially a two wall bathroom set built in the middle of a larger room. We had a front wall with a doorway in it and a rear wall with a sink and mirror. Wes walks into the bathroom and examines his face in the mirror.

Annalise quickly follows him in.

As we had so little set to work with, the blocking was basically a straight line which we would shoot by trading off shoulders going from over to over, and handing off from face to mirror to face again, ending by handing off from the mirror with a dramatic push in to an extreme close up of Annelise as she turns towards the lens and breaks down in tears.

Summer 2014

The lack of space meant that we couldn’t adjust the dolly laterally nor could we accommodate a slider, so our actors had to be right on their marks. Dance floor and track weren’t an option, so we had some short boards for the push in. Viola and Alfred could see the tight circumstances we were in and they did a beautiful job of being exactly where we needed them to be. There was no way for our 1st AC Tony Gutierrez to be near the camera or even see the actors, yet he did a masterful job of finding all the right beats by pulling focus from a monitor in the next room over.

I mention this particular scene not because it read so spectacularly on the page or because of the unique logistical and technical challenges although there were some … I mention it precisely because it presented itself as being somewhat ordinary in the reading and setting up. Nevertheless as we began to shoot, the scene quickly became much more than the sum of its parts. The performances combined with all the elements of light and motion and built in momentum and intensity as we continued. When the director came in to whisper a note, the performances would find a new dimension. Then I would grab an expression or Tony would find a focus pull that would add an unexpected facet. This is one situation where I know we were all very grateful to be able to do multiple takes in order to capture so many great elements given to us by our performers.

After the director called the final “Cut!” as the camera lingered in an intimate closeup of Viola’s character breaking down, there wasn’t the usual immediate outburst of voices and activity. The set remained silent. Slowly, he wandered into the room and approached Viola with a contented smile on his face. We had definitely “gotten it.”

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Hi Def with Jeff

MōVI products, and Restrictions for UAVs and Drones

By Jeffrey Cree SOC

W

ith the new expanded space afforded me for this column I have decided to touch one product line and one topic of interest with each issue.

The product line that I want to address for this issue is the MOVI line of Handheld three axis digital stabilizers. These products have been a big hit and have found their way on to the sets of many productions because of their unique camera movement that can be generated by the system. While originally designed for the remote aerial systems produced by the company the adaptation to handheld has been very successful.

The topic I want to address is actually loosely connected to the MōVI product line; it is the rules and regulations for the use of commercial drones or UAV systems. The FAA is currently testing and reviewing the use of these systems and the outcome could greatly restrict the availability of these systems for use as a camera platform for a production. If rules such as those used for longer range remote unmanned aircraft systems (UAS) are adopted for the smaller unmanned aerial vehicle (UAV) camera systems we could be required to apply more than 90 days in advance for permit approval before each use.

To make things worse it could be till the end of next year before the regulations are in place. In the meantime federal, state and local agencies are generating their own regulations for these devices. This is an update on what is happening in this process to regulate commercial drones or UAV.

Freefly MōVI Recently at CineGear we had an opportunity to look at working models of many of the new products introduced at the last NAB exhibit. Many have matured into viable products while others have simply disappeared. Interestingly one of the products that received most of the attention in our booth at the show was not the new cameras or lenses but the handheld three axis digital stabilized gimbal system from Freefly. This MōVI product line has become very popular in the past year and its success can be measured by the many copies and variations of the system that were shown at the

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show. Originally designed for use on their CineStar 8 UAV to control and stabilize camera movement it has been adapted for use as a handheld stabilizer system.

The Freefly MōVI is a digital three axis stabilization system that relies on both active motor driven components and passive inertial stabilization. Passive stabilization relies on the principles of inertia and requires that the camera is balanced in the Pan, Tilt, and Roll Axes. Active stabilization refers to the techniques of using sensors to measure the camera’s Pan, Tilt, and Roll movements and counteract those movements using motors attached to the three axes. These two types of stabilization work in concert with each other to achieve the smooth and stable shots for which the MōVI is known.

Both the MōVI 5 and 10 function in multiple modes which provide many different looks from the camera system; smooth gentle movement, shaky cam, and fast movements around a constant frame are just a few of the uses for this device. Add a camera assistant and the camera movement within the gimbal can be fully remote controlled. Some of these functions can be programed together to provide hybrid control of the system. Here are the basic modes of the MōVI system: Majestic Mode: Allows for a single operator to control the pointing of the gimbal by moving the handles. Pan and Tilt is achieved by moving the handles right to left or rotating the handles up or down to produce pan and tilt; roll can be induced by rotating the handles. The camera will follow the motion fully stabilized to preset parameters determined by the operator. This allows for very low profile single operator setup and accurate framing in tight situations.

Translation Compensation: The MōVI system will automatically adjust the camera angle to maintain a consistent frame. This is useful in situations where the camera will be moving faster than a human operator could possibly keep up. The MōVI can accurately adjust the frame hundreds of times per second to keep the subject in frame as the camera translates the movement.

User Adjustable Shaky Cam: In some instances, camera movement/shake is an aesthetic choice. The difficult part is quantifying the type and amount of ‘shake’ to effectively convey the emotion of the scene. The MōVI overcomes this limitation by allowing the user to define variable noise filters that mimic the desired user’s movements. This allows the camera operator to focus on framing and the MōVI provides the desired effect.

Remote Control: The MōVI can provide full axis control of the gimbal via remote control allowing counter moves, rolls and much more sophisticated movement of the camera.

To maintain the minimum weight possible and maximum strength for these systems Freefly has produced the frame from carbon fiber, aluminum and plastic composites. In motor design, high torque and lightweight are two attributes that don’t usually go together. Freefly was able to create a Summer 2014

Photo: Jonny Zeller of Sweatpants Media

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remarkably lightweight direct drive motor that still has enough torque to handle larger camera packages. As with all these type systems, achieving balance with the camera is very important. The MōVI provides a full set of adjustments so the mass of the camera and lens can balance via all three axes.

Reaching proper balance will prolong battery life of the system as well as enhance the movement of the camera.

During my training on the system I was told to spend most of my time to learn to achieve balance as I would receive the greatest benefit by getting this right. Centering the mass for most people is the hardest part but once that is accomplished then it is simple from there.

After the mechanical setup is achieved you can move to the remote GUI to set the Pan, Tilt and Roll stiffness of the system. After the basic settings are established you can pick the mode and fine tune the controls specific to that mode. This is all performed remotely using a Wi-Fi interface. I personally use an Android tablet but an iPad or laptop will work just as well. This a relatively simple process once you learn the terminology used by the interface.

The remote control is similar to a radio controlled aircraft and allows control of the speed and direction of the camera.

Each axis can be selected individually so that the automatic modes can be used in conjunction with the remote control.

Some of the functions can be programed for direction and speed so you can customize the operation using the remote.

Since this is a generic controller no labeling is provided for the controls so you either memorize the functions or provide your own labels.

Although the system uses high torque motors for the stabilization I have found them to be the quietest of the various systems that I have tested. This will make the audio department happy if you have to work in close quarters. On my test rig the most noise was from the video cable going to the monitor rubbing on the frame. Careful rigging of the cables will cure this problem.

The system also has a precision GPS interfaced to the control system which can provide positioning data if within the range of a GPS signal. This can be very helpful when forming shots for visual effects. This feature is also useful when the MōVI is used on cars and helicopters where sustained or extreme acceleration forces can cause non-GPS aided systems to demonstrate a drift in the horizon.

The MōVI 5 can carry 5 pounds or less; the full cage assembly has been designed with DSLR cameras in mind.

The MōVI 10 has a payload capacity of 10 pounds and will support a Red Epic or the Canon EOS series cameras, the C300 and C500. The MōVI 10 can support lens focal lengths up to 100mm and still provide sufficient stabilization.

The MōVI can be a great addition to one’s kit and will provide a wide spectrum of shots that cannot be produced by traditional means. After the setup of the system is mastered the day to day operation is simple to learn. Unlike many of the other stabilizing systems the MōVI is easy to operate and

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does not take a special set of skills to master. The MōVI 10 loaded for operation is a handful and takes some practice to develop the strength to work away from your body for prolong periods.

What I found is that it is a product that is easy to pick up and master. You can start with basic Majestic control and as your skills improve you can start incorporating the more advanced features expanding the type of shots you can perform.

UAV camera systems restrictions in review Last year at CineGear it seemed like every street corner had various shapes and sizes of flying objects going by carrying small cameras. If you attended the show this year you may have noticed the lack of UAV camera systems flying around the sets of the back lot. Recent enforcement by the FAA and restrictions by Federal, State and Local agencies have limited the commercial use of these systems to a point that I thought it would be helpful to explain the process that we are going through in establishing rules and regulations for these craft.

Recent actions by the National Parks Service have only compounded the problems we have in establishing these systems as legitimate tools of the trade.

The increased availability of small lightweight camera systems such as the GoPro has allowed these small vertical lift devices to become quality aerial camera platforms. Some of the larger systems can support cameras such as the Red Epic and Canon EOS C-300/500 camera systems when using a lightweight prime lens. The most sophisticated systems include remote camera control and stabilization. These systems open up a whole new world of image making. In the past it would take a full size helicopter with special permits and large scale insurance policies in place to accomplish what these little UAV systems can accomplish in minutes.

While many have embraced the technology and have used it wisely others used it recklessly creating unsafe situations that have brought these systems under scrutiny of the controlling government agencies. Having performed contract work for the NTSB over the years I have had a particular interest in the activity and maneuvering by the many state and federal agencies who are trying to control the use of these systems.

It is the smaller versions of these aircraft that has received much of the attention. Their relative low price and advanced feature set has these aerial camera systems being used by non-professionals for purposes other than video or still photography. Hunters and private investigators are using these systems for various types of surveillance or stalking.

Many states have been quick to outlaw these types of uses for the aircraft but this misuse has put these systems into the crosshairs of lawmakers and the governing body of the National Airspace System (NAS), the FAA. The recent announcement by amazon.com of its interest in introducing Amazon Prime Air, a Remote Unmanned Aircraft System or UAS drone-based delivery system really brought the potential problems of uncontrolled aircraft multiplying in numbers to a point that it could increase the hazards for existing Summer 2014

private and commercial aircraft. To slow down the use of these UAS and UAV systems the FAA has placed a two year ban on the unpermitted commercial use. This will greatly hinder the use of these systems for our industry until proper regulations and guidelines are in place. Until then many states and federal agencies are taking their own actions to limit the use of these great little tools.

Well before amazon.com introduced the idea of commercial drone deliveries to the public imagination, US regulators were demanding that people flying these unmanned devices ground their aircraft and file for a COA, which is a FAA Certificate of Waiver or Authorization. The Federal Aviation Administration has issued a dozen orders to halt the operation of what are technically called remote unmanned aircraft systems (UAS) for commercial pursuits, including those performed by aerial photographers, videographers, real estate firms and oil companies.

You may think that the little four bladed aerial systems do not fall under this set of rules but currently that is exactly where the FAA is trying to put them. Legal experts question whether the agency has the authority over use of private commercial drones or UAV devices that operate within visible range, under 400 feet and out of the control area of airports. In fact no current regulations address the use of commercial drones; the FAA is merely controlling their use as federal policy. Nonetheless, the agency has established rules, issued permits and levied fines for what was deemed improper use of these aerial systems.

The first week of June saw the first of these permitted commercial flights by a UAS drone from AeroViroment for BP in Alaska. The system was used to inspect roads, facilities and pipelines in Prudhoe Bay, Alaska. The only restrictions were that flight would be restricted to daytime hours and visibility would be greater 3 miles. The current permit process takes 90 days if not contested, so preplanning is a must under this current structure. The flight capability of this system goes way beyond what is normally required for the work that we perform but many of the larger systems that have come into our industry have the capability to sustain flight beyond the visible range of the operator which is one of the criteria that the FAA is trying to use to separate a UAS and UAV systems.

The Federal Aviation Administration estimates that about 7,500 drones will be flying across the sky for commercial use by 2018. The agency plans to issue rules by the end of 2015 governing the flight of drones weighing less than 55 pounds.

In the meantime, the FAA says it advises drone operators to follow the same rules as operators of other model aircraft.

That means fly only in daytime hours, within visual range and no flying higher than 400 feet or within five miles of an airport without special permission. This also means the use of the systems is limited to non-commercial applications. Drone operators who ignore the rules have been arrested and fined as much as $10,000 but most have simply received cease and desist orders.

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But some drone pilots have successfully argued they don’t have to follow the FAA’s rules. In March, a judge dismissed a $10,000 fine against a videographer who was accused of recklessly flying a drone with a camera around the University of Virginia campus during a promotional shoot for the university, ruling the agency did not have authority over civilian drones. The FAA appealed the judge’s ruling to the National Transportation Safety Board. The outcome of the case will set the first legal precedent on the civilian use of unmanned aircraft in commercial applications.

In the meantime we as an industry have to be especially diligent in the use of these systems. The more reports that are received about these little UAV systems crashing to the sidewalk in Manhattan while shooting skyscrapers, hitting participants at sporting events, or hindering the flight of police or fire aircraft at the scene of an emergency, the stricter the rules will be at the end of 2015.

Production companies need to do their research to verify restrictions and permit requirements that state and local entities may have in place for the use of UAV camera systems.

The better we police ourselves the less likely the FAA will come down with a heavy handed set of rules. We as an industry should provide our input to the agency so that we maintain the ability to use these tools freely on our projects.

New NPS ban on the use of drones During the period that I was collecting the material for this article the National Park Service established rules that ban the use of any type of drone, commercial or recreational, within the 84 million acres that they control.

The National Park Service (NPS), the government agency that manages the nation’s national parks, monuments and other historical sites, has outlawed launching, landing or operating drones over all federally administered lands and waters. Jonathan Jarvis, director of the National Park Service, signed the policy memo into effect on June 27.

“We embrace many activities in national parks because they enhance visitor experience with the iconic natural, historic and cultural landscapes in our care,” Jarvis said in a statement.

“However, we have serious concerns about the negative impact that flying unmanned aircraft is having in parks, so we are prohibiting their use until we can determine the most appropriate policy that will protect park resources and provide all visitors with a rich experience.” Despite the prohibition, the NPS may use drones for search-and-rescue operations, fire safety and scientific study, according to Jarvis, but these uses will require special approval. The Public Information Staff at Yosemite National Park has indicated that permit policy will be extended to commercial film and television companies in selected parks. Producers will have to be prepared to justify the need for the use of the system and pay for the necessary permit.

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These restrictions have been put in place due to misuse of these systems in our National Parks. Endangering wildlife and the guest of the parks were cited as reasons to impose the ban. The Code of Regulations states that “delivering or retrieving a person or object by parachute, helicopter or other airborne means except in emergencies involving public safety, or serious property loss, or pursuant to the terms and conditions of a permit” is illegal. I am sure that when this was written they had no idea that the influx of affordable UAV camera systems would create a need to impose a ban on their use in our National Parks.

I hope you have found this of interest. Please feel free to call me at Band Pro Film & Digital Inc if you have questions concerning these or other topics.

I would also like to hear from you about topics or products you would like me to address in the future.

Randy Robinson SOC takes the Technicolor blimp for a test drive at the Alfred Hitchcock Theater, Universal Studios.

SOC Roster Society of Camera Operators Current as of 8/3/14

FUJIFILM NORTH AMERICA

Sandra Kurotobi

CORPORATE 3ALITY TECHNICA Sakae Manning ABLE CINE Andrew Shipsides AJA VIDEO SYSTEMS Nick Rasby ARRI Bill Russell BAND PRO FILM & VIDEO Brett Gillespie BERTONE VISUALS Gianluca Bertone BIRNS & SAWYER William Meurer BLACKMAGIC DESIGN Christine Peterson CAMADEUS FILM TECHNOLOGIES Sebastian Lumme CANON USA Tim Smith CARL ZEISS MICROIMAGING Richard Schleuning CHAPMAN/LEONARD STUDIO EQUIPMENT Leonard T Chapman Christine J Huenergardt CLAIRMONT CAMERA Mardrie Mullen DIGIHOLLYWOOD Chol Kim

GPI PRO STABILIZER SYSTEMS Jack and Michelle Bridges HISTORY FOR HIRE James Elyea HYDROFLEX Matt Brown JL FISHER Jimmy L Fisher KESLOW CAMERA Robert Keslow MARK BENDER AND ASSOCIATES Mark Bender MATTHEWS STUDIO EQUIPMENT Ed Phillips PANAVISION Bob Harvey POLECAM Perry Drogo SCHNEIDER OPTICS ~ CENTURY DIVISION David Contreras Bill Turner TERADEK Michael Gailing THALES ANGENIEUX Eva Paryzka TIFFEN Rick Booth VER ~ VIDEO EQUIPMENT RENTALS Scott Dale

The Roster of Charter, Active, Associate, Honorary, Retired and Student members is on page 48.

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SOC Roster Society of Camera Operators Current as of 8/3/14 1/26/14

CHARTER Lou Barlia Parker Bartlett Paul Basta Michael Benson Rupert Benson Jr Stephanie Benson Bob Bergdahl Howard Block Donald R Burch Jerry G Callaway David Calloway Phil Caplan Mike Chevalier Bill Clark Dick Colean Steve Conant Jim Connell Rick Cosko Jack Courtland Elliot Davis Sam Drummy Joe Epperson Mike Ferra Ron Francis William Jay Gahret Jim Glennon Ray Gonzalez Jerry Good Jack Green Gil Haimson Lutz Hapke Peter Hapke Bill Hines Jim Hoover Bill Howard John Huneck Wayne Kennan Bob Keys Gary Kibbe David Kurland Norm Langley Thomas Laughridge Steve Lydecker Brice Mack III Joe Marquette Jr Owen Marsh Bob Marta Bob McBride Al Myers Ed Morey Tom Munshower Fred Murphy Lee Nakahara Jay Nefcy Rik Nervik King Nicholson Leigh Nicholson John G Nogle Dan Norris Skip Norton David Norwell Wayne Orr Richard Price Ernie Reed Arnold Rich Parker Roe Sam Rosen Peter Salim Lou Schwartz Chris Schwiebert Michael Scott Bob Seaman Hal Shiffman Fred Smith Roger Smith Michael St Hilaire Ray Stella Joe Steuben John C Stevens Carol Sunflower Bill Swearingen Joseph F Valentine Ron Vidor Sven Walnum ACTIVE Peter Abraham Jonathan S Abrams Michael R Alba Bret Allen Derek M Allen Robert Reed Altman Colin Anderson Jack Anderson Kevin W Andrews Francois Archambault

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Joseph Arena Will Arnot Ted Ashton Jr Mark August Grayson Grant Austin Paul Babin Randall B Baer Christopher Baffa Lonn Bailey James Baldanza Jerry Banales Christopher Banting Jeff Barklage Ricardo Barredo Angel Barroeta Gary H Baum John James Beattie Jonathan Beattie Guy Norman Bee Tim Bellen Nils Benson George M Bianchini Lukasz Bielan George Billinger Howard H Bingham Bonnie S Blake Jason Blount Bob C Boccaccio John Boyd Katie Boyum Kevin D Braband Gerard Brigante Hilaire Brosio Garrett Brown Kenny Brown Pete Brown Scott Browner Robin Buerki Gary Bush Stephen S Campanelli Jose A Cardenas Peter Cavaciuti Dave Chameides Lou Chanatry Joe Chess Jr Jeffrey R Clark Anthony Cobbs Craig Cockerill Steven Cohen Marcis Cole Kris A Conde Andrew Glenn Conder Michael Condon Brown Cooper Dan Coplan Luke Cormack Javier A Costa Richard J Cottrell Jeff Cree Rod Crombie Richard Crow Jeff L Crumbley Richard A Cullis Grant Culwell Joseph C D’Alessandro Nicholas Davidoff Markus Davids Richard W Davis Mark G Dawson Andrew A Dean Michael S Dean Jim Denny Kris Andrew Denton Joel Deutsch Don Devine Kenny Dezendorf David E Diano Troy Dick Alfeo Dixon Matthew I Doll Rick Drapkin Scott C Dropkin Mitch Dubin Simon Duggan, ACS Louis R Duskin Allen D Easton William Eichler David E Elkins Jason Ellson David Emmerichs Kevin J Emmons Steve Essig Brant S Fagan Tom Faigh Diane L Farrell Dianne Teresa Farrington Jesse Michael Feldman Michael Ferris George Feucht Dick Fisher Lance Fisher

Aaron Fitzgerald Eric Fletcher Michael Flueck Houman Forough Felix Forrest Ian Forsyth Ian Fox Steve G Fracol Keith Francis Nick Franco Tom “Frisby” Fraser David J Frederick Michael Frediani Michael A Freeman Brian Freesh Steven French Samuel “Buddy” Fries Mick Froehlich Jeff Fry Paul M Gardner David Gasperik Anthony Gaudioz Rusty Geller Mark Gerasimenko William Gierhart Laurie K Gilbert Harvey Glen Mark Goellnicht Daniel Gold Allen Gonzales Robert Gorelick Afton M Grant Bruce Alan Greene Chad Griepentrog David Allen Grove Robert Guernsey Pedro Guimaraes John C Gunselman Chris C Haarhoff Jess Haas Geoffrey K Haley John Hankammer Tim Harland Joshua Harrison Kent Harvey Chris Hayes David Haylock Nikk Hearn-Sutton Dawn J Henry Alan Hereford Steven F Heuer Kevin Hewitt Jamie Hitchcock Dean Holmes Abe Holtz Jerry Holway Casey Hotchkiss Colin Hudson Philip Hurn Frederick Iannone Dave Isern Christopher Ivins Eugene W Jackson III Jerry M Jacob Francis G James Alec Jarnagin Simon Jayes Christopher D Jones Kurt Jones Steven Jones Jacques Jouffret John H Joyce David Judy Mark Jungjohann David C Kanehann Mark Karavite Adam T Keith David Kimelman Douglas H Knapp Dan Kneece Rory Robert Knepp David T Knox Robert Kositchek Bud Kremp Kris Krosskove Per Larsson Jeff Latonero Eric Leach Sergio Leandro Silva Richard Leible Sarah Levy Jimmy W Lindsey Abigail Linne Hugh C Litfin Patrick Longman George Loomis Jessica L Lopez David Luckenbach Greg Lundsgaard Kenji Luster Bruce MacCallum

Camera OperatOr: SOC rOSter

Rob Macey Vincent C Mack Paul S Magee David Mahlmann Giuseppe Malpasso Kim Marks Cedric Martin Johnny Martin Philip J Martinez Parris Mayhew William McClelland David B McGill Michael P McGowan Christopher TJ McGuire Aaron Medick Alan Mehlbrech Olivier Merckx Jack Messitt Duane Mieliwocki Marc A Miller Andrew Mitchell William Molina Raphy Molinary Machado Lawrence P Moody Mark Emery Moore Denis Moran Josh Morton Manolo Rojas Moscopulos Jeff Muhlstock Michael James Mulvey Scott T Mumford Riggs Murdock Chris Murphy Sean Murray Dale Myrand Leo J Napolitano Robert Newcomb Julye Newlin William R Nielsen, Jr Randy Nolen Austin Nordell David B Nowell, ASC Ryan Michael O’Donnell William O’Drobinak Mark D O’Kane Michael D Off James Olcovich Andrew William Oliver John Orland Rafael Ortiz-Guzman Brian Osmond Georgia Tornai Packard Heather Page Mario Eugene Page Nick Paige Victor J Pancerev Andrew Parke Patrick J Pask Christopher T Paul Paul C Peddinghaus Douglas Pellegrino Karin Pelloni John Perry George Peters Matthew A Petrosky Jonathan F Phillips Alan Pierce Theo Pingarelli S Jacob Pinger Jens Piotrowski Joseph Piscitelli Robert Presley Louis Puli Ryan Purcell Elizabeth Radley Yavir Ramawtar Juan M Ramos James B Reid George Richmond Ari Robbins Alicia Robbins Peter Robertson Brooks Robinson Randall Robinson David Robman Peter Rosenfeld Andrew Rowlands Dave Rutherford P Scott Sakamoto David M Sammons Joel San Juan Bry Thomas Sanders Ron Schlaeger Mark Schlicher Gregory J Schmidt Mark Schmidt Vadim Schulz David Jean Schweitzer Fabrizio Sciarra Brian David Scott Benjamin Semanoff

Barnaby Shapiro David Shawl Osvaldo Silvera Jr Jamie Silverstein Teddy Smith Needham B Smith III John Sosenko Mark Sparrough Benjamin Xavier Spek Sandy Spooner Lisa L Stacilauskas Robert Starling Meagan Stockemer Michael R Stumpf David L Svenson Christopher Taylor Peter Taylor David James Thompson Richard Tiedemann Henry Tirl John Toll, ASC David Tolsky David Roy Tondeur Remi Tournois Neil C Toussaint Jamie Trent Bryan Trieb Michael Tsimperopoulos Chris Tufty Rick Tullis Dan Turrett Brian Tweedt Matt Valentine Paul D Varrieur Ron Veto Andrew Voegeli Stefan von Bjorn Rob Vuona Bill Waldman Michael J Walker Timothy N Walker Adam S Ward Gareth Ward Gretchen Warthen Aiken Weiss Mande Whitaker Kit Whitmore Joe “Jody” Williams Ken Willinger Chad Wilson Dana D Winseman RL Wise David A Wolf Bill Woodbridge Ian D Woolston-Smith Peter C Xiques Brian Young Chad Zellmer ASSOCIATE Christine Adams John Addocks David S Adelstein Brook Aitken Jamie Alac Ana M Amortegui Andrew B Ansnick Jillian H Arnold Daniel Asmelash Scott Auerbach Jacob Avignone Ryan Vogel Baker Tyson Banks Eddie Barber Josh Barrett Stephen Blanor Jeffrey D Bollman Peter Bonilla Jean-Paul Bonneau Massimo Bordonaro David Boyd Jennifer Braddock Manuel Branaa David Brooks Rochelle Brown Donald Brownlow Clyde E Bryan Neal Bryant Sasha D Burdett Anthony Q Caldwell Jordan Cantu Bruce Cardozo Jack Carpenter Paul Case Marc Casey Damian Church Gregory Paul Collier Mack Collins Gabriel Paul Copeland Gareth Paul Cox Richard P Crudo, ASC

Anthony Deemer Russ DeJong Enrique Xavier Del Rio Galindo William B Demeritt, III Ronald E Deveaux Jorge Devotto Twojay Dhillon David Dibble Keith Dunkerley Brian James Dzyak Christopher Ekstein David T Eubank Allen Farst Thomas Cole Fedak Nicholas A Federoff Paul Ferrazzi Kristin Fieldhouse Nichole Fleit John C Flinn III, ASC Mark Forman Tammy Fouts-Sandoval Bryan Fowler Peter F Frintrup Fred M Frintrup Nicole Fuchs Juan Pablo Fuentes Hiroyuki Fukuda Hank Gifford Michael Goi, ASC Wayne Goldwyn Al Gonzalez John M Goodner Nikki Gray Brad Greenspan David V Gregory George Eric Griffith David E Grober Robert Guthrie W Adam Habib Bob Hall James Hammond Anthony Hardwick John Hart Anthony P Hettinger John M Hill, Jr David Hirschmann Alex Hodge Scott Hoffman Timothy Marc Hopper Chris Horvath Rachel A Hudson Carrie Imai Toshiyuki Imai Andrew Antal Irvine Gregory Irwin Haley Jackson Quenell Jones Lacey Joy Henry Bourne Joy IV Jessica Jurges Brett Juskalian David Kane Timothy Kane Frank Kay Mark H Killian Douglas Kirkland Adam Kirschhoffer Robert La Bonge Laurence Langton Jose-Pablo Larrea Dr Thomas Lee Aaron Leong Alan J Levi Mark Levin Howard Levine Justin Liang Adrian Licciardi Stuart T Lillas Rachel A Lippert Eamon Long Gordon Lonsdale Jasmine Lord Christopher Lymberis Dominik Mainl Darin Mangan Jose del Carmen Martinez James Mathers Jim R Matlosz Colin P McDonald Marcus Allen McDougald Mike McEveety Hilda Mercado Lowell A Meyer Jonathan Miller Charles Minsky, ASC K Adriana Modlin-Liebrecht E Gunnar Mortensen Matthew C Mosher Navid John Namazi Natasha Narkiewicz Michael Nelson Micah Newman Natalie Newman Kurt Nolen Russell C Nordstedt Casey Burke Norton Crescenzo GP Notarile, ASC Obie Justin Painter Curtis E Pair Kim Palmer

Larry Mole Parker Steven D Parker Jeremy Parsons Florencia Perez Cardenal Mark W Petersen Jon Philion W S Pivetta Ted Polmanski Robert Primes, ASC Barnabas J Prontnicki Joe Prudente Liz Radley Richard Rawlings Jr, ASC Marcia Reed Bill Reiter Brian Reyes Elizabeth Reynolds Lawrence M Ribeiro Claudio Rietti Ken Robings Andy Romero Peter J Rooney Sam Rosenthal Jordi Ruiz Maso Danny Salazar Steve Saxon Terry G Schroth Carl Martin Schumacher, Sr Christian Sebaldt, ASC Christopher Seehase Dawn Suhyun Shim Kara Siebein Stephen Silberkraus Charles A Simons Guy Skinner Michael Skor Jan Sluchak Dan Smarg Rob Smart Robert F Smith Dean Robert Smollar Brian Sowell Brent A Spencer Don Spiro Owen Stephens Aymae Sulick Jeremy Sultan Tara Summers Andy Sydney Tiffany Taira Ian S Takahashi John Twesten Caitlin Rae Tyler Daniel Urbain Jose Val Bal Sandra Valde Thomas Valko Dale Vance, Jr Benjamin Verhulst Breanna Villani W Thomas Wall Leonard P Walsh,II Justin Watson Alex White Simon Wolfe Tim Wu Santiago Yniguez Tim Yoder Vilmos Zsigmond, ASC HONORARY John Bailey, ASC Tilman Buettner James Burrows Alexander Calzatti Trevor Coop Roger Corman Dean Cundey, ASC Bruce Doering Clint Eastwood Jack Green, ASC Tom Hatten Ron Howard Ron Kelley Kathleen Kennedy-Marshall Jerry Lewis Larry McConkey A Linn Murphree MD Diana Penilla Steven Spielberg Robert A Torres George Toscas Roy H Wagner, ASC Haskell Wexler, ASC RETIRED Aldo Antonelli Gary Olyn Armstrong Eugene Ashbrook Tom Barron Al Bettcher James Blanford Vee Bodrero Bruce Catlin Ivan Craig George Spiro Dibie, ASC Robert M Feller Jerry Fuller Wynn Hammer Ken Hilmer Gary Holt

Robert C Horne Heather MacKenzie James Mann Stan McClain Michael McClary Ron McManus Mike Meinardus Emmanuel Metaxas Robert “Bob” Moore Sol Negrin, ASC David L Parrish Aaron Pazanti Andy Romanoff Frank Ruttencutter Richard Salvatore Chuck Schuman Philip D Schwartz George B Stephenson Phil Stern Joseph N Tawil Ben Wolf STUDENT Veronica Aberham Jeff-Steven Arevalo Mojica Joseph Blankinship Ziryab Ben Brahem Jessie Estella Brickley Mary Brown Terrence Laron Burke Jessica Campbell Stewart Cantrell Richard Castaneda Quaid Cde Baca Nick Centera Petr Cikhart Pascal Combes-Knoke Sabrina Cullen Stephan Dekemper Briana Del Giorno Yaquelin Di Crystal Billy Dickson, Jr Laura DiFiglio Annor Doeman Timothy James Dolan David Duesterberg Edwin Escoto Julian Amaru Estrada Thomas Cole Fedak Kyran Ford Jerry Franck Michael A Garcia Joshua Gary Jonathan Goldberg Sebastian Guerra Christian T Hall Kiyana Hancock Rita Hansen Tobias Winde Harbo Benjamin Hardwicke Tyler Harmon-Townsend Donovan Hennberg-Verity Carolyn Scott Hunt Preston Lane Jeter Timothy Kang Brandon Kapelow Andrew Kendall Jeff Kulig Amahaad Lee Michael Lemnitzer Ari Linn Amy Linsamouth Matt Maio Reginald I Masingale Megan McCarthy Sam McConville Raquel T McKuen Donald R Monroe Fabian Montes Moira Morel Christian Nash Benjamin Kirk Nielsen George Ohan Lorenzo Pace Jonathan Hyun Park Connor Pollard Karina Prieto Macias Jessida Putkaew Viktoria Raykov Elson Ros Tiye Rose-Hood Daniel C Schade Alexandra Schwartz Davin Swade Stanley Megaera Stephens Michael Street Anthony Wells Jenise Louise Whitehead Amanda Winner Christina Wolf Anthony Worley Roana Alyssa Wullinger Jhasmine Young Dennis Zanatta Terry Zellers Botai Zhong

The list of Corporate Members can be found on page 47.

Summer 2014