ICG Magazine - January 2020 - Film Festival Issue

ICG MAGAZINE

J A N U A R Y F I L M

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contents FILM FESTIVAL ISSUE January 2020 / Vol. 91 No. 01

DEPARTMENTS gear guide ................ 16 first look ................ 24 depth of field ................ 28 key light ................ 32 unscripted ................ 36 exposure ................ 40 production credits ................ 82 stop motion .............. 98

SPECIAL scary movie(s) ........ 74

46

DICKINSON A handful of Sundance alumni, including Local 600 Director of Photography Tim Orr, gather to contemporize a classic figure of American letters.

THE SINNER Radium Cheung, HKSC, keeps everything a little off-kilter for USA’s popular psychological drama.

THE RHYTHM SECTION Director Reed Morano’s new feature upends the thriller genre with an art-house style courtesy of her close partnership with Sean Bobbitt, BSC.

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56 66

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Photo by Tobin Yelland

P R ESI DE NT 'S L E TT E R

Spock’s Legacy?

It’s hard to believe another year has come and gone, and we are now in the second decade of the 21st Century. Sometimes I find myself thinking back to the science-fiction movies of my childhood and their many “far-fetched” predictions of what the future would hold. I think about how much of that impossible-to-imagine technology is now such a common part of our everyday lives, and that, in turn, makes me wonder about the impact filmmakers have had on the enduring march of technology.

Was it the inspirational images from Stanley Kubrick’s 2001, and the unforgettable voice of the HAL 9000 – created way back in 1968 – that inspired developers of today’s most talkedabout new technology, artificial intelligence? Or perhaps it was TV shows like Get Smart (19651970) and Star Trek (1966-1969) that inspired the mobile phones none of us can now do without?

Did the wrist versions of those communication devices in Star Trek The Motion Picture (1979) plant the seed for the Apple Watch?

It’s hard to measure the impact this membership’s films and television projects will have on others, but clearly, we can see throughout time there are examples where it is remarkable.

Just take a look at the new Tesla Cybertruck and tell me that isn’t right out of Ridley Scott’s 1982 classic, Blade Runner (shot by Oscar-nominee Jordan Cronenweth, ASC), which ironically takes place in 2019.

As this year slips behind us, and we begin to look forward to the next, one thing is quite clear: 2020 will be incredibly impactful for the American labor movement. The upcoming Presidential election will have far-reaching effects on trade unionism, and whatever your political affiliation, please do not underestimate the attack that organized labor is under from this current administration. We at Local 600 must get involved in voter registration, voter turnout and supporting labor-friendly candidates; and, over the next few months, this Guild will be starting campaigns to do exactly that. I implore all of you to please get involved. Our strength will be in mobilizing our members.

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It’s also my sincere hope that one year from now, when I am again writing this column for the January 2021 issue of ICG Magazine, we can all hold our heads high that this membership did everything within its power to not only directly impact technological innovation through the images we create, but also affect social change due to our increased participation in the American labor movement.

January also finds our industry at the height of film festival season, events at which our members get the chance to show their work to a broad audience, and where their careers may be enhanced in ways that may have been unimaginable a few months before the festival began. These events also provide an opportunity to come together as a community to watch, enjoy and critique the work of our peers. Film festivals serve as important communal experiences, in which, I am proud to point out, Local 600 and ICG Magazine, are frequent key participants. This month’s issue of ICG Magazine is themed around film festivals, highlighting Guild members whose careers were jumpstarted at events like Toronto, Sundance, and SXSW. Let’s hope that this year’s film festival circuit does the same for a great many more of our members.

With the dawn of the end of this decade (or the start of another, depending on your point of view), I want to send best wishes for a happy and healthy 2020 to all my union sisters and brothers and all of your families. Or as a very influential TV series once urged: “Live long and prosper.”

Lewis Rothenberg National President International Cinematographers Guild IATSE Local 600

M AT R I X

4AXIS GIMBAL U.S. WEST COAST: 1-888-80CRANE • U.S. EAST COAST: 1-888-CRANE52 • DIRECT: (941) 492-9175 • CINEMOVES.COM •EMAIL: INFO@CINEMOVES.COM

January 2020 vol. 91 no. 01

Publisher Teresa Muñoz Executive Editor David Geffner Art Director Wes Driver EDITORIAL ASSISTANT Tyler Bourdeau STAFF WRITER Pauline Rogers ACCOUNTING Glenn Berger Dominique Ibarra COPY EDITORS Peter Bonilla Maureen Kingsley CONTRIBUTORS

Greg Gayne Kim Gottleib-Walker Justin Lubin, SMPSP Michael Parmelee Joyce Rudolph Elle Schneider Valentina Valentini Eric Zachanowich

INTERNATIONAL CINEMATOGRAPHERS GUILD Local 600 IATSE NATIONAL PRESIDENT Lewis Rothenberg NATIONAL VICE PRESIDENT Dejan Georgevich, ASC 1ST NATIONAL VICE PRESIDENT Christy Fiers 2ND NATIONAL VICE PRESIDENT John Lindley, ASC NATIONAL SECRETARY-TREASURER Stephen Wong NATIONAL ASSISTANT SECRETARY-TREASURER Jamie Silverstein NATIONAL SERGEANT-AT-ARMS Deborah Lipman NATIONAL EXECUTIVE DIRECTOR Rebecca Rhine

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EDITORIAL POLICY: The International Cinematographers Guild neither implicitly nor explicitly endorses opinions or political statements expressed in International Cinematographers Guild Magazine. ICG Magazine considers unsolicited material via email only, provided all submissions are within current Contributor Guideline standards. All published material is subject to editing for length, style and content, with inclusion at the discretion of the Executive Editor and Art Director. Local 600, International Cinematographers Guild, retains all ancillary and expressed rights of content and photos published in ICG Magazine and icgmagazine.com, subject to any negotiated prior arrangement. ICG Magazine regrets that it cannot publish letters to the editor.

ICG (ISSN 1527-6007) Ten issues published annually by The International Cinematographers Guild 7755 Sunset Boulevard, Hollywood, CA, 90046, U.S.A. Periodical postage paid at Los Angeles, California.

POSTMASTER: Send address changes to ICG 7755 Sunset Boulevard Hollywood, California 90046 Copyright 2018, by Local 600, International Alliance of Theatrical Stage Employes, Moving Picture Technicians, Artists and Allied Crafts of the United States and Canada. Entered as Periodical matter, September 30, 1930, at the Post Office at Los Angeles, California, under the act of March 3, 1879. Subscriptions: $88.00 of each International Cinematographers Guild member’s annual dues is allocated for an annual subscription to International Cinematographers Guild Magazine. Nonmembers may purchase an annual subscription for $48.00 (U.S.), $82.00 (Foreign and Canada) surface mail and $117.00 air mail per year. Single Copy: $4.95 The International Cinematographers Guild Magazine has been published monthly since 1929.

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hat’s so exciting and fulfilling about this job (now starting my 12th year!) is seeing the arc of a union career – from its nascent beginnings to, perhaps, that Guild member one day striding up to accept an Emmy, being invited to join the ASC, or shooting original content for the world’s biggest tech company. More often than not that first encounter came at an indie film festival, like Toronto, Sundance, or SXSW. Sundance, in particular, has fostered the careers of many Local 600 members we’ve come to appreciate, and it’s with great pleasure we present our annual Film Festival issue, showcasing the current work of three Park City graduates.

I first met Reed Morano, ASC, at Sundance, in 2011, where Little Birds was premiering in the U.S. Dramatic Competition section. [Morano’s Sundance debut was three years earlier with Frozen River, which won the Grand Jury Prize and was nominated for an Oscar.] Even then, I could tell she had a special connection with Sundance, confirmed the following year when two more Morano-shot projects debuted – the feature documentary LCD Soundsystem: Shut Up and Play The Hits and the narrative feature For Ellen. Sundance 2013 was the same story –two more narrative feature debuts, Kill Your Darlings and The Inevitable Defeat of Mister & Pete – as was 2014 with The Skeleton Twins and War Story.

All of these low-budget, by-any-meansnecessary movies showed Morano’s natural gift for visual storytelling, as well as a versatility that predicted bigger horizons.

When she moved into directing in 2015, with her feature debut Meadowland, and then went on to win both a DGA and Primetime Emmy Award for directing the pilot of Hulu’s The Handmaid’s Tale (ICG Magazine, April 2017) a few years later, it felt especially gratifying, knowing the many years (and challenges) this Guild member had endured as an indie film specialist.

This month’s feature on The Rhythm Section (page 66), directed by Morano and shot by Sean Bobbitt, BSC, is her biggest canvas yet. Shot in multiple countries and produced by the team

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that shepherds the James Bond franchise, the film is no indie, but the way the story remains grounded in the main character's humanity (adapted by Mark Burnell from his novel), and the partnership Morano and Bobbitt enjoyed, are very much the ways this filmmaker has approached all her past Sundance features.

Tim Orr, who shot the project on our cover this month, Dickinson, for Apple TV+, is another old festival hand, dating all the way back to George Washington, his superb first feature with director David Gordon Green that debuted at the Los Angeles Independent Film Festival in 2000. Orr has premiered 12 feature films at Sundance, and several more at SXSW; three of those Sundance features were helmed by Dickinson director Gordon Green, whom Orr met in film school at the North Carolina School of the Arts. Even though Orr and DGG moved up in budget class, in 2008, with the studio comedy, Pineapple Express, they've continued to create dazzling indie films that always find their way to premiere festivals like Sundance and SXSW. [Check out my Q&A with SXSW Director Janet Pierson, page 40.] Watching Dickinson, which Apple has positioned as one of its new streaming centerpieces, feels like an ultra-satisfying merger of Orr’s indie sensibilities and his high-end Hollywood technical prowess.

Finally there’s Radium Cheung, HKSC, whom I met five years ago at Sundance and whose work on USA Network’s psychological drama The Sinner (page 56) rounds out our feature well. Although Tangerine was his Sundance debut as a cinematographer, Cheung had had other projects premiere in Park City when he was a gaffer.

Shot entirely on smartphones, Tangerine was a critics’ and audience favorite; the fearless energy of the film (directed by Sean Baker about a feisty transgender prostitute on L.A. streets) is echoed in The Sinner, where Cheung and his union camera team used visual techniques like “slightly awkward framing, camera motions that should pan/tilt but stop short, and focus points that viewers expect but are denied” to support the dark story. Cheung says his approach to The Sinner’s cinematography was like “having an itch on your back that you can’t quite scratch.” And he’d often remind his crew to “resist the urge.”

I hope ICG readers will not resist the urge to learn more about these three talented filmmakers, as well as other Local 600 members highlighted in this issue, whose first jolt of peer/popular recognition came from some indie film festival, somewhere.

CONTRIBUTORS

Michael Parmelee

Poetry in Motion, STOP Motion “As a still photographer on set, I have a unique and humble position to watch the amazing creations of so many talented people, which include both the cast and crew. If I capture a beautiful image, then I’ve done my job in highlighting their great efforts.” @mpclickclicks

Joyce Rudolph Scary Movie(s)

“Being a set photographer has been a wonderful challenge. I had to find a tiny spot out of the actors’ eye lines, and everyone else’s way. I carried two cameras with blimps – black and white and color, mostly working in very low light, on insert cars, cranes and dollies. Digital made things easier, but if it weren’t for the wonderful camera departments and crews helping me, I couldn’t have gotten many of my shots. For example, when Nightmare on Elm Street had its set rotating 360 degrees, I was strapped next to the camera crew clicking away.”

ICG MAGAZINE

David Geffner

Executive Editor

Twitter: @DGeffner Email: david@icgmagazine.com

J A N U A R Y F I L M

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S E C T I O N

Cover photo by Michael Parmelee

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FIRST LOOK

01.2020

Adam Newport-Berra

BY PAULINE ROGERS PHOTO COURTESY OF SARAH KEATS

Thirty-two-year-old Portland, Oregonbased Guild member Adam Newport-Berra says that having a film play at Sundance is any young cinematographer’s dream. Last year, Newport-Berra’s dream was not only realized, but his U.S. Dramatic Competition feature, The Last Black Man in San Francisco, directed by Sundance Lab alumnus Joe Talbot, won a Best Directing Award, a Special Jury Award, and was released theatrically by art house distributor A24 to great critical acclaim. The movie was a Golden Leopard nominee at the Locarno Film Festival, and a Golden Frog nominee at Camerimage, the only film festival in the world devoted

exclusively to cinematography.

Newport-Berra describes the festival experience, and Sundance in particular, as unique. “I felt incredibly vulnerable with my work on such a grand stage, but I was continually comforted by the general positivity and love of cinema that surrounds Sundance,” he shares. “My work had played at festivals in the past. [Creative Control, directed by Ben Dickinson and shot by Newport-Berra, won the Special Jury Prize for Visual Excellence at 2015 SXSW; other Newport-Berra-shot projects have premiered at Telluride, Tribeca, Toronto, and the New York Film Festival.] “But I knew this film would receive more eyes and

scrutiny than any I’d worked on. Thanks to an incredible [Guild] camera team, including First AC Jeph Folkins, Second AC Shannon Bringham, Steadicam Operator Joe Lindsay and DIT Tim Erickson, we were able to take big risks [on The Last Black Man in San Francisco] without any compromises or shortcuts,” he notes.

Building a creative team he can trust comes naturally to Newport-Berra, who grew up in the Oregon woods with a camcorder in his hands, surrounded by close friends (willing subjects) who perpetually encouraged his work in stills and video.

“I went to NYU to study film without (cont'd on page 26)

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F O R YO U R C O N S I D E R AT I O N

OUTSTANDING ACHIEVEMENT IN CINEMATOGRAPHY ( T H E AT R I C A L R E L E A S E )

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25 FIL M FES TIVALNETFLIXGUILDS.COM I S S UE

FIRST LOOK

01.2020

much of an idea of what avenue I would pursue,” he explains. “But my knowledge of cameras was an asset to my fellow students.

I ended up shooting many of my friends’ student films. I loved the opportunity to help people shape their vision and realized how powerful the camera is in telling their stories. It was incredibly fulfilling to be trusted behind the lens, and I discovered that I loved being brought onto a film to help interpret a script and designing a visual language with the director.”

Five years ago, Newport-Berra joined Local 600, shooting Vikram Gandhi’s feature about the early life of President Barak Obama, Barry. “Becoming a Local 600 member always felt like a milestone for me, and it was a logical and necessary step in my career,” he says proudly.

But it was the HBO series Euphoria that allowed him to make the next big leap.

“Going from the modest scale of a tiny indie like The Last Black Man in San Francisco to episodic television may seem like a leap,” he states, “but to me, the dive

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into Euphoria felt natural. At the end of the day, what’s important is telling a good story well. As long as I’m able to surround myself with strong collaborators I respect and trust, the scale of the project doesn’t matter.

“Simply put, Euphoria was another chance to build a unique world and harness a strong visual language to help tell a character’s story and struggles,” he adds. “Sam Levinson is an inspired director who pushed everyone to create their best work. We had more tools and more time than any of my previous film experiences, which allowed us even more room to take visual risks and push the boundaries of the episodic format.”

A talented union camera team again spoiled Newport-Berra, who shot the last two episodes of Euphoria. “A-Camera First Norris Fox and Camera Operator/Second Unit DP Kristen “K2” Correll ran an incredibly tight ship but also kept it loose and fun,” he describes. “They allowed me to dive in and do some of my best work. DIT Justin Steptoe

is a genius and always helped me keep my bearings, ensuring a consistent yet varied look throughout each episode.”

Clearly, Newport-Berra is a young man on a hot streak. And while he’s had to learn how to navigate the industry in a short period, moving from milestone to milestone, he says his “breaks” were born from the diligence of making work, regardless of the size of the project.

“It can be easy to perceive yourself within the confines of career-oriented expectations, but that mindset is crippling to creativity,” he concludes. “The world needs unique voices, and that means staying true to oneself, and not trying to fulfill a vision of what the world may expect of you. It’s crucial to find collaborators who will support and push you into doing your best work. It’s also important to take risks and not fear making mistakes. You may not always know the path ahead, but if you’re taking it with people who provide inspiration, respect, and trust, something magical is bound to happen.”

“THE POLITICAL THRILLER OF THE YEAR” “SHOT BY EIGIL BRYLD...

FULL OF SLICK DOLLY SHOTS AND RAPID-FIRE SHOT REVERSE SHOT EXCHANGES... the unceasing momentum, always cutting to a scene as if we’re immediately dropped into an already heated conversation” – THE FILM STAGE

F O R

Y O U R

C O N S I D E R A T I O N

I N

A L L

C A T E G O R I E S

I N C L U D I N G

BES T PICT URE | BES T CINEM ATOGR A PH Y EIGIL BRYLD

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01.2020

Drones For Good

BY PAULINE ROGERS PHOTO COURTESY OF DJI

They’ve helped save entangled whales in the Hawaiian Islands, fought against malaria in Africa, saved time and lives with faster crashscene reconstruction, kept workers safe with an autonomous exploration of mines, and that’s just for starters. DJI, the global leader in civilian drones and aerial imaging technology, is a whole lot more than a company that has pioneered the safe use of unmanned aerial vehicles (UAV’s) in the film and television industry. The company is intent on using its advanced aerial technology to make a better (and safer) world.

DJI’s initiative, #DronesForGood, began about five years ago and continues to grow on a global scale. A case in point is the Disaster Relief Program, where, explains Romeo Durscher, senior director of Public Safety Integration at DJI, the

group “supports vetted public-safety entities during natural-disaster deployments with equipment, manpower and tech support.”

Durscher says the company saw how impactful drones had become to early publicsafety adopters, “so we wanted to understand more about this opportunity,” he shares. “We put resources in places to learn, and established partnerships with entities that could help us create more useful equipment and solutions for first responders.

“The past few years have seen several largescale wildfires in California,” he continues. “Our first fully integrated UAV deployment was in Santa Rosa, in October 2017, led by the Alameda County Sheriff ’s office. We utilized drones for situational awareness and mapping purposes.

Ten months later, we deployed again to Redding, California, and utilized drones for 360-degree views, maps, and videos for situational awareness.”

This past November, Durscher says DJI was called up to Paradise, California, one year after the 2018 Camp Fire, the most destructive (and deadly) wildfire in the state’s history, had nearly wiped out the entire town. “This time we were a 16-public-safety-UAV team,” Durscher recalls. “We ended up mapping 17,000 acres of the destruction in Paradise, collected more than 70,000 images, and created very helpful data sets.

Those were made available to the public within 48 hours and provided an in-depth overview of the state of the community. Even a year later, this data is still being used by insurance companies for reconstruction and historical purposes.”

DJI drones are also assisting with the reconstruction of crash scenes. Who of us hasn’t been trapped in a long line of dead traffic, as responders slowly walk the scene, using rulers and tape measures to assess the accident?

The frustration is palpable – not just for drivers but also for police officers who would like nothing better than to clear the scene and get traffic moving. Now, by adding airborne cameras on UAV’s to their tool kits, responders can map a site and gather evidence in 20 to 30 minutes. And the data collected is far more accurate than (cont'd on page 30)

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RT ED T A E S I I H T I W L T T A I E A A R W “THEREJ’OS RABBIT.’ TAIKISAE AND DELIVERPSROVOCATION.” IN ‘JO RISKY PREM TERTAINING ...

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DEPTH OF FIELD

that gathered by hand.

When the mining industry is in the news, it’s typically about a collapse, with human lives often at stake. And while everyone has heard about the practice of checking deep-tunnel safety with birds, an Australian startup called Hovermap has created a method that allows drones to navigate through tight spaces, using light detection and ranging (LIDAR) technology to sense and map the world around the UAV and create 3D models to track structural integrity or whether a blast has gone as planned.

Then there is the aspect of drones being used to help preserve diminishing marine life, along with keeping human rescuers safe. Every fall, pods of enormous humpback whales make their way toward Hawaii to spend the winter in the warm waters of NOAA’s Humpback Whale National Marine Sanctuary, in the Hawaiian Islands.

Swimming for safety, however, has its risks, like entrapment in fishing gear and other marine debris. Rescuing these whales can be dangerous for small-boat volunteers and

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01.2020

trained teams, who disentangle them while in the water.

Matt Pickett, a former NOAA sanctuary manager, recently founded Oceans Unmanned to help mitigate the danger. As he explains: “In the past, we had to get close to the whales at least three times. Once to figure out where the animal was entangled, once to cut the whale free, and once to make sure the job was done right and that nothing was left behind. With drones, the team can cut that down to just one step – remote-controlled quadcopters with powerful cameras do the initial assessment and final check. It’s safer for both humans and whales.”

DJI is even helping to fight malaria in Africa, where 93 percent of the globe’s nearly half-million malaria deaths (in 2017) occurred. Joining with a field of entomologists, the company sees a chance to fight the deadly disease using “spray drones.”

Test runs involved spraying a mosquitoinfested rice field with a unique non-toxic and biodegradable silicone-based liquid.

Dr. Barbara Stelzner, Director of

Marketing and Corporate Communications for DJI Europe, says the company is proud to be pioneers in the field. “We have great hopes that this approach will significantly contribute toward defeating this fatal disease in affected regions around the world,” Stelzner describes. “The goal is to conquer malaria, and help to generate a larger harvest and a new economic perspective in Africa.”

DJI’s list of outreach and partnerships, using their “Drones For Good,” is steadily growing. They are committed to assisting humanitarian groups and non-government organizations, using some of the same drone technology Local 600 camera team members use on sets, to now help protect people, animals, and the environment.

As the people at DJI say, they are all about helping “scientists and academics [who are] discovering new ways to study and improve our world with drones. Rescue organizations have saved hundreds of people from danger using drones. [We] encourage the innovators who pioneer new ways to use Drones for Good.”

FOR YOUR CONSIDERATION

BEST PICTURE BEST CINEMATOGRAPHY R O D R I G O P R I E T O,

A S C, A M C

ROBERT DE NIRO AL PACINO JOE PESCI

“Martin Scorsese’s connection to the cinematic Gods is vocalized thanks to the

STUNNING CAMERA WORK FROM CINEMATOGRAPHER RODRIGO PRIETO.

He finds life’s unutterable harmony and malice in each frame.”

NETFLIXGUILDS.COM

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KEY LIGHT

01.2020

William McDonald

BY PAULINE ROGERS PHOTO COURTESY OF SAMANTHA GOODNER/UCLA

UCLA professor William McDonald, interim chair of the Department of Film, Television, and Digital Media and head of Cinematography at the UCLA School of Theater, Film & Television, received UCLA’s first Master of Fine Arts in cinematography in 1986. For his success in the classroom, the UCLA Academic Senate Committee on Teaching selected McDonald for the Distinguished Teaching Award in 1997; and in October 2012, he was awarded the SMPTE Kodak Educational Award. The ASC has also recognized McDonald’s commitment, honoring him with an Associate Membership in 2009.

Working with his wife/filmmaking partner, Pamela Beere Briggs, the pair has created documentaries focusing on female writers and artists. Spending time with their subjects has helped

McDonald (who functions as producer/ cinematographer) and Briggs develop an on-screen rapport that has also influenced McDonald’s approach to teaching.

A firm believer in “generational education,” McDonald teaches about “those who came before and who trained us; those with a deep knowledge of the art and especially the craft of cinematography.” He says that while teaching the art of cinematography, McDonald is really stressing the underlying craft “because the processes and procedures that we know have worked for 100 years are still very relevant today.”

How has the role of the Director of Photography changed over the years? Fundamentally, at its core, that role has been consistent from the beginning: the DP is the primary collaborator who

works with the director to translate the written words of the script into the images on the screen. He or she must understand completely and deeply the craft: lighting, composition, movement, color, et cetera. The Director of Photography must be a manager, technologist, negotiator, leader, and much more. All of these traits, along with effective people skills, are the bedrock of the craft.

How has the process changed? We are now heavily involved in post-production in ways that were not on the horizon 20 years ago.

We are required to learn new technologies at a breakneck speed; in the past, we might need to spend time learning a new film stock every few years. Now we have a new camera system coming out every few months. It is an exciting time to be a cinematographer, but it is not a profession for the faint of heart; (cont'd on page 34)

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“VISUALLY LUSH, RICH AND EXALTING.” THE WA L L ST RE E T JOURNA L , JOH N A ND E RSON

FOR YOUR CONSIDERATION

BEST PICTURE OF THE YEAR BEST DIRECTOR MICHAEL ENGLER BEST CINEMATOGRAPHY BEN SMITHARD, BSC

“Cinematographer Ben Smithard captures everything with a gaze that’s reverent, even rapturous.”

CON S EQU EN C E OF SO UND, ALLI SO N SHO EMAKER Sign up at FocusInsider.com for exclusive access to early screenings, film premieres and more. © 2019 FOCUS FEATURES LLC.

For more on this film, go to www.FocusFeaturesGuilds2019.com

KEY LIGHT

01.2020

“One of my greatest joys is when I receive a phone call from a former student informing me that he or she is now a member of the Union.”

one must be willing to adapt to change while through the program in a quickly changing hanging onto those fundamental qualities industry takes being nimble and responsive that make one effective, successful, and to that change. employable.

How has your Kodak Cinematographer How should young filmmakers approach in Residence Program (established going to film school or trying to go directly in 1999) changed things for your into the workforce? If you like the idea of students? When I was a student, the being guided through an educational process links between the worlds of academic and with a group of somewhat like-minded professional cinematography were tenuous, people, film school can be a great option. at best. Educating the next generation However, if you feel such structures would of cinematographers in film schools was be restrictive, then just jumping in may be not high on the list of priorities of the a better approach. Film school can allow professional world. Film school wasn’t in for experimentation and finding your voice their backgrounds, and they were somewhat – not to mention access to faculty, courses, suspicious. Throughout my career, that and equipment and, most importantly, the attitude has changed 180 degrees. In the 20 group of collaborators you will meet as you years that we have run the program, we’ve go through the program together. These been able to bring in a distinguished list of relationships will follow you through your cinematographers for a full academic term, entire career. Jumping in means you have a including ASC members like Conrad Hall, job and must produce results for whoever is Vilmos Zsigmond, Joan Churchill, Mandy employing you, which means you’d better get Walker and more. Through screenings and it right so you will be hired again. workshops, these artists have shared their

experiences, creative processes, techniques, Why is choosing the right film school so et cetera with our students in a deep and important? They are incubators for new meaningful way. This type of exposure for talent. Although every film program does students was unthinkable in my student days. basically the same thing – teach students how to make films – each program has the How has the changing technology DNA that makes it what it is. One chooses to impacted how you stay relevant? It go to UCLA because we approach filmmaking creates a financial black hole that can in a specific way that will be different from never really be filled. Cameras become other schools. Ultimately, we are training obsolete in a short time, particularly when students to be storytellers, and there are the manufacturers stop creating firmware basic, foundational principles of how one updates because they want you to buy their effectively tells a story. What is changing is newest cameras. Where once a film camera the toolset we can use to tell stories as well could be purchased at a high cost but as the storytelling formats. This constant amortized over 10 to 20 years, now you need and rapid pace of technological change is to think about replacing that camera in 24 challenging to programs, both academically to 36 months. One has to think strategically: and financially. planning for the long term with incremental

short-term steps.

What makes UCLA stand apart from some other schools? We have a core faculty How do you balance the core material of writers, producers, directors, editors, and with the ever-changing technology? In cinematographers. And we also hire dozens the end, to be relevant, film schools have to and dozens of part-time lecturers from the decide what is fundamentally important industry to teach courses so we can give about the education being offered. For us, our students access to the most current at UCLA, I think it is about teaching our technologies, practices, and methodologies. students how to learn, meaning: how do Trying to find a coherent pedagogy that runs you navigate your ideas and stories through

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systems that are constantly changing, be they systems of distribution or a new postproduction workflow? One must learn to adapt to all of these changing environments while hanging onto core ideas and principles.

This is ICG’s Film Festival Issue: what role do festivals play for your students? They serve as a wonderful platform for the introduction of the students’ films to the world. Although many festivals have competitions within their framework, they also serve as a nurturing environment for new voices. What is particularly encouraging is watching film students, often from around the world, congregate at festivals to share their experiences. Often our students will return to UCLA after attending a film festival with all sorts of ideas and suggestions for our program based on conversations with students from other schools. Film schools also attend festivals as institutions – through screenings, receptions, and panels – allowing for the opportunity to share with the filmmaking world our students, our alumni, and our teaching approach. Although there are many different types, ultimately festivals are an essential piece of the film education framework that film schools count on to help launch the careers of their students.

How important is the Union to you and your students? One of my greatest joys is when I receive a phone call from a former student informing me that he or she is now a member of the Union. There’s such pride in their voices as they realize they have reached an important milestone in their careers. It is clear they understand how essential union representation is to their safety and success. I often receive reports as they count their days, knowing they are approaching their goal.

After being admitted, I watch their careers rise to entirely new levels as a variety of new opportunities become available to them. As I watch my former students advance in their careers, working with the best union crews, I am always impressed by the amazing work they do – work I always knew they were capable of if given a chance. Union membership gives them that chance.

UNSCRIPTED

01.2020

That Magic Moment CINEMATOGRAPHY AWARD WINNERS REFLECT ON SUNDANCE PAST

BY PAULINE ROGERS

It’s the late 1980s, mid-1990s or early 2000s, and you’re scrambling for your next job as a cinematographer (or perhaps an AC or operator). You get a call from the director of the little indie film you shot many months ago that the project was accepted to Sundance – a huge deal in 2020, but was it so 30, 20, 15 years ago? Still, it must be an amazing feeling to be recognized by your peers, right? But then it’s unexpectedly magnified ten-, twenty-, one hundred-fold, when your name is called on Sundance’s final night, recognizing you and your camera team’s work for the Excellence in Cinematography Award, U.S. Narrative or Documentary Feature (once given out regularly but, since 2016, left up to a jury’s discretion). We caught up with seven Guild members – all of whom have gone on to stellar careers, including shooting ASC- and Emmy-winning projects – to hear what “that winning feeling” was like before Sundance was a worldwide brand.

COURTESY OF ROB SWEENEY

Nancy Schrieber, ASC My America… Or Honk if You Love Buddha (1994) November (1997)

“I’ve photographed many projects that have screened at Sundance, including Stranger Inside, Motherhood, The Nines, Shadow Magic, Loverboy. But November, in particular, brings back fond memories, as I was honored with the Narrative Cinematography Award.

The film’s budget was $500,000, and it was shot in 15 days on the just-released PHOTO BY MACALL POLAY, SMPSP Panasonic DVX100A in 24p, so I nearly fell out of my chair at the awards ceremony when Fred Elmes [ASC] announced the jury’s decision. I could still remember squirming in my seat a few days before at the big [1,300-seat] Eccles Theater, seeing Mini DV projected on the most enormous screen ever. Somehow, the jury overlooked the technical side of the media. I did push that camera to perform and baked-in a somewhat extreme color palette. Funny to think that today we would never dare bake-in such extreme color, going for the most latitude possible.”

Rob Sweeney

Color of a Brisk and Leaping Day (1996) “I was busy working as a 1st AC on Michael Bay’s The Rock with John Schwartzman [ASC] when I learned our movie was in the Dramatic Competition at Sundance. I remember it was bitter cold and the snow fell in feet. I was standing outside the Holiday Theatre with Michael Stipe the night of our premiere. It was about five degrees and he was eating tuna out of a can. He was in the movie, and even though he had played stadium arenas with his band, REM, he was nervous about the screening. The first five minutes of the film unfurled without sound.

They stopped the screening and restarted it 10 minutes later. That was agony! But after winning Sundance, I hung up my tape measure and never looked back.” (cont'd on page 38)

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W O N ’ T

Y O U

P L E A S E

C O N S I D E R

BEST CINEMATOGRAPHY J O DY L E E L I P E S

“A MOVIE OF

HEART, EMPATHY INVENTION.” AND

– PETER HOWELL

“PERSONABLE, EMOTIONAL, AND PACKED WITH HUMOR, THIS FILM – AND THE SPIRIT OF MISTER ROGERS –

HOLDS ON TO YOUR HEART AND REFUSES TO LET IT GO.”

“NOT JUST THE FILM WE NEED RIGHT NOW –

IT’S A FILM WE’LL NEED FOREVER.” – JAKE HAMILTON

“‘A BEAUTIFUL DAY IN THE NEIGHBORHOOD’ IS DAMN NEAR

IRRESISTIBLE.” – PETER TRAVERS

01.2020

PHOTO BY BEN ROTHSTEIN

UNSCRIPTED

Greg Gardiner Suture (1994)

“I remember everything from Sundance the week of that festival.

The filmmakers all stayed in condos together, and there was a buzz of films developing that would win the Cinematography Award – and it wasn’t us. I had gone skiing the day before the awards ceremony, having watched films for several days, including Suture at a multiplex theater in town. The awards were in the old building downtown. It was crowded and hot. When they announced our film and my name for Best Cinematography, I was shocked, and the blood rushed to my head. Actor Michael Harris was sitting in front of me and told me I had to get up and talk. He said, ‘Breathe, just breathe.’ I got up and said that the cinematography was an award for the movie itself, as it is such an integral part of the story. After the awards, I remember walking by the distributor for our movie, who was on the phone. I heard him tell someone, disappointingly, that ‘we only won Best Cinematography. I expected as much.’”

Amy Vincent, ASC Hustle & Flow (2005)

“Gallivanting around the Sundance Film Festival as a big happy filmmaking family filled me with joy. Hearing everyone from snowboarders in the lift lines, to festivalgoers in the ticket lines singing ‘It’s Hard Out Here for a Pimp’ was a kick. For me, Hustle & Flow was about collaboration and the creative process, and getting your voice heard by whatever means necessary.

The success of the film created an unbreakable bond with my COURTESY OF AMY VINCENT filmmaking family that holds strong to this day. So, what better place to receive an award? To have it presented by the magnificent Christine Vachon – that alone was a true career high. I’ve gone back to Sundance as a mentor during the summer workshops and as a juror. I will always go back there to celebrate creativity, independence, and diversity in the arts – forever.”

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Paul Elliott

Rachel River (1988) “I could not attend the festival as I was shooting a film in LA, but it was a thrill to get the call from the director that I’d won, as it gave a huge boost to my career. After winning, I was offered four features in the next few months. I went back again in 2000 with The Broken Bears Club, and it was so rewarding to sit in a theater with a super-appreciative audience – something you miss when it airs COURTESY OF PAUL ELLIOTT on TV. A few years ago I was working with Robert Redford, and I thanked him for starting the Sundance Festival, as I had won there. He was happy it helped me but said that he didn’t really like competitions in film!”

Tom Krueger

Committed (2000) “There were a lot of good-looking films in the competition that year, so I was keeping my hopes at bay. So much so that I left the festival before the award ceremony. I watched it on TV and felt pretty silly when they called my name and the cameras searched in vain. Winning generated a lot of scripts in the mailbox; however, I was just coming into my own on the commercial scene and wanted to stay on that train for a while. By the time I was ready to COURTESY OF TOM KRUEGER shoot another feature, the buzz had died down, and I had to get in line. But I was proud of my work on that film, and the trophy still looks good on my shelf.”

Tom Hurwitz, ASC Wild Man Blues (1998)

“It was my first time at the festival, so I had no idea I would be up for an award. In my experience, up to that point, cinema vérité documentaries rarely had been chosen for excellence in cinematography. I was quite proud of the way that film turned out, but I understood that juries often chose the ‘pretty’ films, including one of mine that had won awards previously – not dynamic and incisive ones.

When our film had finished our screenings, I took a flight home and PHOTO BY SARAH SHATZ went onto another job. When Barbara Kopple called me late one night to tell me that she had accepted the Cinematography Award for me, I was dumbstruck.”

BEST CINEMATOGRAPHY MICHAEL GIOULAKIS

“

JORDAN PEELE, WORKING WITH CINEMATOGRAPHER MICHAEL GIOULAKIS, CREATES

FEVER-DREAM IMAGES

”

WITH PASSIONATE PRECISION. A S S O C I AT E D P R E S S

universalpicturesawards.com

© 2018 UNIVERSAL STUDIOS

EXPOSURE

Janet Pierson

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BY DAVID GEFFNER PHOTO COURTESY OF DANIEL BERGERON/SXSW

01.2020

Indie film lovers with long memories may remember first hearing about Janet Pierson, now in her 12th year as Director of Film, SXSW, through her work at New York City’s Film Forum, where, in 1981, she helped Karen Cooper create a model for theatrical art-film programming that still ripples today.

Working closely with her husband, John, in the 1980s and 1990s as producer reps, and then together at Grainy Pictures, the Piersons supported projects that now form a list of iconic indie festival hits, including She’s Gotta Have It, Roger & Me, Slacker, Clerks, Go Fish, My Life’s in Turnaround, and many others. In 2008, four years after relocating to Austin, Janet Pierson was offered the chance to take over the reins of SXSW’s film event (one part of the annual Texas meet-up that celebrates digital technology/ media, film, and music) from Matt Dentler, who had built the upstart festival into a burgeoning brand.

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EXPOSURE

01.2020

While Pierson says her main goal was “not to screw up,” the great work Dentler had done at SXSW, which included programming high-profile (union-shot) studio comedies like Knocked Up and Forgetting Sarah Marshall, she has been a force in her own right. Highlights during Pierson’s tenure include the 2012 premiere of HBO’s Girls (ICG Magazine, September 2014), whose creator, Lena Dunham, had come to SXSW two years earlier with her feature debut, Tiny Furniture; becoming the first film festival (in 2014) to create a section dedicated to debuting the world premieres of new episodics; becoming the first festival (in 2009) to world-premiere a film day and date with video on demand (VOD); and continuing to program (unionshot) comedies like Bridesmaids, Spy, Neighbors, and Sausage Party. Pierson has also been a strong supporter of women filmmakers and women’s stories, nurturing the careers of Greta Gerwig (ICG Magazine, December 2019), Brie Larson, and Amy Seimitz – not to mention Pierson’s own daughter, who was active as a rigger/gripelectric in Austin’s film and TV scene for more than a decade.

You were there for sort of the inception of the indie film festival. How do those early days compare to what you see in 2020? Janet Pierson: The difference in the mid-80s to mid-90s was that there were way fewer film festivals and way fewer films.

The role [of film festivals] has evolved over the years with many different cycles. I often feel the number of extraordinary films has always been small, and there used to be a greater discrepancy between what was good and terrible. There are many more films now, and many more that are interesting or pretty good. But there is also a smaller audience, or perhaps it’s just fractured.

Sundance has always been the bellwether for independent film festivals, yet SXSW has carved out its own unique (and popular) brand. How so? I have tremendous respect for Sundance, which I started attending in 1987. I think they are still the bellwether for indie narrative and documentary features that may get picked up for distribution. What sets us apart is that we’re not solely a film festival. We’re an excellent film festival, joined at the hip with a phenomenal and wide-ranging conference and large music festival. Our attendees tend to be creatives from many industries – not

just film. And our line-up is deliberately wide-ranging and eclectic. While we premiere innovative and traditional filmfestival fare, we skew more populist than most of the other festivals.

Your continued programming of studio comedies attests to that populist streak, and to filmmakers like Seth Rogen, who keep coming back for premieres. Matt [Dentler] was the one who programmed Knocked Up in 2007, and I’ll never forget how much fun it was to be in that audience – and missing so much dialogue because we were all laughing so hard. We’ve continued programming comedies and genre films in my tenure because we like to celebrate the artistry in a good film that’s entertaining.

As for Seth Rogen, it’s been exciting that he’s chosen to bring so much of his work to SXSW year after year. I’ll never forget the year he called about Sausage Party. He asked to speak to us before the screening, which is something we usually don’t allow. But in this case, it seemed important to them, so we were like, “Okay. Fine.” He called, and I held up my cell phone for the team gathered to screen the film. The movie really wasn’t done, Rogen told us, but they rushed to get something showable for SXSW because it was the only film festival that took comedy seriously and they wanted to be a part of that. We really appreciated that sentiment.

You mentioned how wide-ranging SXSW is, given the other tracks of music and interactive media going on. How have those other elements fed into the film festival? The founders, who started this in 1987 with music and then added film and interactive, were prescient, and so ahead of the curve in understanding where the world was going. I was based in New York at the time, and I’d come more for the conference [than the film component], seeing peers, and it was fun and chill. I remember sneaking over to the interactive part with Eugene Hernandez [co-founder of IndieWire] in those days because it was so different and new. So when I was asked to step in, it was that proximity to interactive and music that made it so exciting.

Sundance already existed, and what they did was already great, so there was no reason to do that again. We keep getting better over the years as to how we bring together all elements of the conference, which includes sports, food, and science. Dan Rather was a (cont'd on page 44)

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“ Our attendees tend to be creatives from many industries – not just film. And our line-up is deliberately wideranging and eclectic.”

FOR YOUR CONSIDERATION

B E S T PI C TU R E O F T H E Y E AR PRODUCED BY

DEBRA MARTIN CHASE DANIELA TAPLIN LUNDBERG GREGORY ALLEN HOWARD

BEST DIRECTOR KASI LEMMONS BEST CINEMATOGRAPHY JOHN TOLL

, ASC

★★★★

“ The remarkable life of Harriet Tubman is told with heart and cinematic craft” “An outstanding-looking film, angelically lit from its rose-gold dawns to its platinum dusks, with John Toll’s camera making the most of lush, unspoiled landscapes and the very excellent face of our lead actress” SLASHFILM, MEREDITH BORDERS

For more on this film, go to www.FocusFeaturesGuilds2019.com

STORY BY GREGORY ALLEN HOWARD SCREENPLAY BY GREGORY ALLEN HOWARD AND KASI LEMMONS DIRECTED BY KASI LEMMONS Sign up at FocusInsider.com for exclusive access to early screenings, film premieres and more.

FIL M FES TIVAL I S S UE

43 © 2019 FOCUS FEATURES LLC.

EXPOSURE

01.2020

“ Audiences are overwhelmed to the point of bewilderment and are looking for trusted, curated voices to guide them toward great work.”

keynote speaker at the conference last year for a film we screened called Human Nature, about genome editing; same for Malcolm Gladwell and a documentary we showed about autonomous cars. We love that kind of interplay.

This Guild has a talented membership base in Austin, and the industry in that city is the focal point of the state. Would you describe SXSW as a regional festival that reflects its one-of-a-kind location?

I would not. SXSW is an international festival that happens to be located in Austin, Texas, which is an incredible locale and is a character in the play, so to speak. People love living here, and we have some great filmmakers who have been associated with the city – Terry Malick, Richard Linklater, and Robert Rodriguez, to name a few.

But these are all people with very large creative footprints, and like this festival, are internationally recognized. [Laughs.] It’s a fair question because people often say two things to me: “We have a film that’s perfect for SXSW. It has music.” We try to collaborate with the music event, but they have 2000 bands, and we have 130 films. They’ll also say: “My film is Texas.” We show some Texas films and some music films, but they’re a small part of the pie.

films that play at an indie festival have the same cultural impact as they did in the 1980s and ’90s? I don’t think they do, and that’s been a big topic for [John Pierson], who talks a lot about that very thing – the movies we were involved with in the 1980s created large cultural shifts. Some people talk about how Game of Thrones was the last “water cooler” experience that everyone talked about. But now you can see something of unbelievable quality, and your friend is watching something else, equally great. It’s very difficult today to achieve the critical mass that indie films once did.

Have the new digital platforms, like streaming, where audiences can access so much off-Hollywood product, taken away from the festival circuit? Actually, it’s the opposite. There’s more of a need for a festival like SXSW because audiences are overwhelmed to the point of bewilderment and are looking for trusted, curated voices to guide them toward great work. I love sitting home streaming movies and television, and all the easy accessibility that comes with that. But there’s something so valuable about being in a theater with other people, about meeting the creators after the screening and talking to them. Filmmakers really, really want to premiere their work with us because they know how important There are a lot more festivals than when we are in helping them find their audience. you first started, but, as you noted, the audiences are fractured across many Sundance recently stopped giving an niches and viewing platforms. Can the annual Best Cinematography Award, and

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members of our union who are focused on indie work have said they don’t necessarily feel film festivals have given cinematography its due. How do you think SXSW has done in this regard, and what else may be in the works to further acknowledge the art and craft? Well, we always have some panel sessions devoted to cinematography and cinematographers, so we always try to honor the craft. In terms of awards, we have a very small jury competition with just one grand jury prize and two wild cards, and the juries are welcome to do whatever they want with those wild cards.

How important is it for a festival to have a breakout hit, like Little Miss Sunshine at Sundance or, more recently, Moonlight, after it played at Telluride and then went on to win the Best Picture Oscar?

Medicine for Melancholy [Moonlight director Barry Jenkins’ debut feature] was a film that premiered at SXSW in 2008, the year before I started. The Safdie brothers also had a film at SXSW [The Pleasure of Being Robbed] that same year. I remember when I came on in April how Medicine for Melancholy was this incredibly exciting discovery at SXSW, and it went on to play at a lot of other festivals after its SXSW premiere. [The film won the Independent Spirit Award in 2008 for Best First Feature.] I hadn’t programmed it, but I felt so proud to start working at a place that screened films of that caliber. I got to meet Barry Jenkins at that time and we developed a relationship. Eight years later, I can remember sitting in the audience in Toronto – not at its Telluride premiere – watching Moonlight, and thinking: “This is why I’m in this business. It’s just the most transcendent experience to see a work so fully realized.”

And SXSW has had those kinds of discoveries? We’ve had many of those kinds of [Barry Jenkins] stories before and since I’ve been here – films like Short Term 12 and the incredible talent it launched – Brie Larson, Rami Malek, Lakeith Stanfield, Kaitlyn Dever. Or Weekend, 45365, Marwencol, Tiny Furniture, Monsters, Krisha, and Thunder Road, which are all microbudget films that were extraordinarily exciting for us to premiere. Even a film two years ago like Jinn, made by a 23-yearold first-time writer/director, was super exciting for us. It’s particularly fun when the filmmaker has no connection to the industry and is at an early stage in that creative and professional journey.

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A handful of Sundance alumni, including Local 600 Director of Photography Tim Orr, gather to contemporize a classic figure of American letters.

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our out of the five directors and the cinematographer for all 10 episodes of the new Apple TV+ series Dickinson are Sundance alumni. It wasn’t a deliberate choice on creator/showrunner Alena Smith’s part, but it does make perfect sense – Sundance has always fostered experimental creativity in filmmaking and beyond. And Dickinson is nothing if not creatively experimental.

Starring Hailee Steinfeld as the rebellious 19th Century poet, Emily Dickinson, the show is a period coming-of-age story with a strong modern twist – a psychosocial commentary on what it means to be a young woman, then and now. The series – one of Apple TV+’s first in their slate of original content – focuses on the posthumously famous Dickinson

OPPOSITE PAGE TOP/BOTTOM: SHOWRUNNER ALENA SMITH SAYS HER PRIME CONCERN WAS CREATING A BALANCE OF ELEGANCE AND ATTITUDE. “WE WANTED THE VISUALS – FROM THE LIGHTING TO THE COSTUMES TO THE SETS – TO REFLECT THAT IDEA WHILE BEING PERIOD ACCURATE.”

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throughout her teen years, reimagining the cloistered 1850s Western Massachusetts life of a young woman as something unhinged, exciting, interrogatory. And because Dickinson presents the character with “a modern sensibility trapped in a pre-modern time,” says Smith, “we were always looking for how to define that tone and strike that balance without ever losing the sense of elegance.”

Smith, whose background is in theater and who was also a writer on HBO’s The Newsroom and Showtime’s The Affair, hired David Gordon Green to direct the first two episodes and to create the look-book for the first season; three more Sundance filmmakers – Stacie Passon, Lynn Shelton, and Silas Howard – along with Patrick R. Norris were brought on after Green to each direct two episodes. Green, who had his second feature, All the Real Girls (2003), and several more features premiere at Sundance in the early 2000s, brought in his longtime Director of Photography Tim Orr to help carry the established look from episode to episode.

“Tim was the perfect balance between the strong vision that Alena had and the strange playfulness that I have,” describes Green, who has had Orr shoot 11 of his 14 features, including all of his Sundance films. “Like any great cinematographer, Tim’s able to find that balance between the wackiness of the director and the wit of the words and the intelligence of the character; he’s as much a psychologist as an artist, at times.”

We spoke with key members of the production team, including Smith, Green, and Orr, Production Designer Loren Weeks and Costume Designer John Dunn.

PHOTOGRAPHY): We wanted the camera to feel alive, with more energy than a typical period piece, which can be overly classical.

We didn’t want it to feel like you were just looking at a painting, but something more vibrant that a [younger] audience could relate to. We were trying to connect it not only emotionally, but also visually to our modern world. Some of that comes down to energetic camera movement, and then with lighting, it meant grounding it in a certain amount of realism, but still with a modern edge in terms of the actual physical look.

Production design and costumes for Dickinson essentially hewed to an 1850s rubric – how else was the look modernized? TIM ORR (DIRECTOR OF

ALENA SMITH (CREATOR/SHOWRUNNER): The most important concern was to have this balance of elegance and attitude, so we wanted the visuals – from the lighting to the

DAVID GORDON GREEN (DIRECTOR): Tim and I talked about Stanley Kubrick’s Barry Lyndon (1975) because it had a visual style that almost felt anachronistic – the use of low light and zoom lenses was something we wanted to employ. Alena, who had a very strong vision from the start, has a background in stage and theater, so she wanted to let the characters have an environment to explore while keeping her words very literal. Tim and I wanted to find nuance and elegance, so the camera wouldn’t be too “in your face.” There are a few shots in the pilot that I remember [Smith] rolling her eyes at. [Laughs.] Like Tim rigging a camera to the buckets that Emily was going to be carrying back from the water well early in the show. Alena would see us preparing these very stylized shots and wonder what I was doing, but then it would make sense in the edit and she’d be on board. I’m always trying to bring an experimental quality to everything I do.

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THIS SPREAD: TIM OFTEN USED ACTUAL CANDLELIGHT AND GLOWING HEARTHS FOR MANY OF THE SETS,” COSTUME DESIGNER JOHN DUNN EXPLAINS. “THIS TECHNIQUE SOFTENED THE ROUGHER EDGES AND ALLOWED ME FREE REIN TO BE BOLD AND EXPANSIVE WITH COLOR.”

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costumes to the sets – to reflect that idea while being period accurate. So we infused that period correctness with unexpected color and flair. For example, we did a lot of research into what wallpaper and prints and fabrics would have been made out of and found all these crazy [palettes] that sort of shock the eye. They were accurate to the period, but it’s not what you’d expect to see in a period show. We always wanted it to look sumptuous and elegant and as truthful as possible to the era.

What equipment did you use to help to achieve these visual goals? ORR: Apple has adopted a native 4K requirement, so I wasn’t going to be able to use my digital go-to camera, ALEXA. This was prior to the mini LF coming out, and the traditional ALEXA would not really suffice for the 4K requirement. I tested several cameras – Sony VENICE, Panavision’s DXL2 – instead of going directly to the ALEXA LF, as I felt it might be too heavy. We needed a camera with some freedom of movement because we were shooting a lot of handheld. Even though our interiors were on a set, we wanted to treat [the set] as a practical location, and that meant a camera that wouldn’t fatigue my A-Camera operator, Arthur Scipio Africano, or the Steadicam Operator, Jeffrey Dutemple. I decided to use the DXL2, shooting 8K with the RED Monstro sensor to future-proof the project.

Also, since we would be sticking to a period lighting palette with natural daylight, candles, and lanterns, I used Panavision’s Primo 70 lenses and detuned to a Noir 3, which softened [the lenses] without lowering the contrast. The Noir 3 detuning was heavy enough to enable me to hold rich blacks and still render beautiful skin tones, without it feeling overly diffused. It also helped with all the highlights from the candle and lantern sources. I didn’t have to use diffusion in front of the lens, which, of course, a lot of the time when you do that, especially with candles, you can create a double image, reflections, or what I would call “bad flares” that you just don’t want.

How did the other crafts complement the cinematography? LOREN WEEKS (PRODUCTION DESIGNER): I always design with the camera in mind. I try to offer light sources, camera positions, depth, layers, and flow. You never know until you start shooting how that blending of the two disciplines will work, but I was extremely pleased with the outcome on Dickinson. In the mid-19th century, the light sources were candles, whale-oil lamps, and fire. Whenever a light was close to an actor, we used real candles and modified oil lamps that burned gas. Lights in the background were often electric with flickering bulbs, or the circuit was on “flicker.” Candles were usually placed in front of mirrors or

polished metal to bounce the light back.

Every room had a working fireplace. We did this both for authenticity, since this was the only source of heating for the home, and to provide motivation for supplemental lighting by [Gaffer David Skutch’s] electric team.

JOHN DUNN (COSTUME DESIGNER): We strove to give Tim a richly detailed world to photograph. While I won’t pretend it wasn’t nerve-wracking to choose wild colors and psychedelic prints in a period that is usually represented in a much more restrained way, the truth is that our Dickinson sets were often lit by actual candlelight and glowing hearths. This technique softened the rougher edges and allowed me free rein to be bold and expansive with color. And this seemed so right for this often comic retelling of Emily’s story.

Taking period stories and modernizing them is “on brand” right now. How did you approach it with Dickinson? DUNN: I was intrigued and felt challenged by this fresh exploration of her early life in Amherst. The few but iconic visual images of Emily were of a person frozen in literary amber, so I knew I’d need to explore an unexpected vocabulary to break through to a deeper understanding of the formation of an American genius. After extensive photo research [a growing process in the

OPPOSITE PAGE: TOP: DP TIM ORR SAYS SCENES LIKE “DEATH’S CARRIAGE” ALLOWED “US TO TEETER BETWEEN THE REALISTIC, NATURAL WORLD,” AND A LOOK “THAT IS HEIGHTENED WHEN WE ENTER HER FANTASIES.” BOTTOM: DIRECTOR DAVID GORDON GREEN SAYS THE STREAMING FORMAT ALLOWS FOR “EVEN MORE STORIES TO GET TOLD, AND DIRECTORS FROM MORE GENRES TO GET ESTABLISHED.”

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1840s and 1850s], the costume design team presented wide-ranging mood boards for each of the characters and principal settings in and around Amherst to David, Tim and the writers. This began a dialogue on the visual mood we wanted to capture.

Of key interest were the actual use of bold colors and the juxtaposing of wild patterns – paisleys, stripes, and florals – in everyday clothing and home decoration. We decided to explore this avenue of design rather than the sepia-toned world we’ve come to expect from historical dramas. What was going on in Emily’s poetry was anything but sepia-toned! We rigorously toed the line concerning correct 1850s silhouettes. What brings the freshness is the bold use of color, which, in fact, is also quite accurate. You see the contemporary eye has been trained to a very different take on 1850 – one of somber, muted versions presented through the ages in art, photography and film. It just felt right to heighten the contrast of how the characters’ wardrobes presented accurately, sartorially speaking, while coming across in a more contemporary vernacular.

that are a little detached from reality, more fantasy-oriented. For example, in episode three with the party scene, we used a Victorian disco light with moving multicolored lights that were realistic to the world, but in this instance, it all comes from Emily’s imagination. It’s the same thing with Death’s carriage – we’re in a heightened, fantasydriven world. We teeter in both – the realistic, natural world that is stretched when we enter those fantasy sequences.

GREEN: There are a few things within the camera language that you wouldn’t find in a period piece that I thought would help the attitude of the characters and tell the story.

Anything with the camera, I looked at how to [modernize the story] in service of the script. Everything is still authentic to the time period, so it felt like a believable world that we could invite younger audiences into with modern dialogue [and music]. There is also this internal conversation wanting to incorporate diversity. And if we’re dealing with Amherst in the 1800s, that’s a very limited topic. If there were chances to bring in ethnic and cultural diversity, we tried to utilize those opportunities. But Alena is so fluent with her research, it had to be precise.

It’s funny trying not to be influenced by all of the movies and TV shows that have come before, of period subject matter, and, specifically, Emily Dickinson, and still try to bring a unique flavor.

WEEKS: We found the most opportunity [to modernize] in Emily’s fantasies.

Each script offered its own unique set that gave me creative freedom. The inspiration for Death’s carriage came from Fred Astaire’s 1927 Rolls-Royce Phantom, which he upgraded around 1932. Henry David Thoreau’s cabin was decorated in a decidedly “hipster” fashion, and we There were five directors on the show – created a 19th-Century version of a disco did Tim change his look at all with ball for the Dickinson house party scene. the different perspectives? GREEN: I brought on Lynn Shelton, who is a friend ORR: We do take leaps from reality with from Sundance, and then Alena brought the retelling of Emily’s teen years. But on the others. This was the first time I’ve we were careful to always ground that in ever established a show and then watched realism. What’s written on the page and other people take it on. We encouraged [the what the actors are doing are outside of the new directors] to bring their signatures but period-appropriate sets, production design, to still follow the template Tim and I set in costumes, and, to a large degree, the lighting. the beginning. At least that’s the intention, I never wanted the lighting to look overly and it’s not so mechanical of a process. We stylized within the day-to-day scenes of the had the common thread of Alena and Tim, storyline, but there were several instances so there was a visual language that we’d where we got to take a stylistic leap – scenes established. Then the hope is – and this is

what I love about the new streaming format – is that I can help even more stories get told and more directors from more genres get established. The goal is always to bring in other talented voices to expand the universe.

SMITH: I was on set covering every scene as the showrunner/producer and the only other person who was there for every single scene was Tim. Hailee [Steinfeld] is in almost every scene, of course. But behind the camera, Tim and I were the constants.

And, I have to say, for Tim to have that kind of endurance and still make every scene beautiful…I think that’s the special thing about where television is at right now, where the DP is essential – he or she provides an incredibly crucial connective tissue through the entire project.

LOCAL 600 CREW Director of Photography Tim Orr A-Camera Operator/Steadicam Jeff Dutemple, SOC A-Camera 1st AC Greg Finkel A-Camera 2nd AC Emma Rees-Scanlon B-Camera Operator Arthur Africano B-Camera 1st AC Bradley Grant B-Camera 2nd AC Suren Karapetyan DIT Jessica Ta Loader Patrick McKeown Still Photographers Michael Parmelee Barry Wetcher, SMPSP Publicist Julie Kuehndorf

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of his Radium Cheung, HKSC, keeps everything a little off-kilter for USA’s psychological drama, The Sinner.

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PAULINE ROGERS

PHOTOS BY

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PETER KRAMER

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hen Radium Cheung, HKSC, was first approached by filmmaker Sean Baker to shoot what would become Tangerine, a groundbreaking indie feature that took the Sundance Film Festival by storm in 2015, he told ICG Magazine (April 2015), jokingly, “that I almost hung up the phone.” Cheung, who was lensing tandem units on The Americans at that time, was not entirely convinced a smartphone was a feasible capture device. But Cheung, who had visited Sundance in years past as a gaffer with other long-shot projects, such as All Is Lost, Margin Call, and Blue Valentine, is nothing if not adventurous. “I had zero expectations,” about Tangerine, he added, when he arrived at Sundance, because “it was so small and experimental, shot with a few mobile phones. I thought if a few people saw it and said it was cool, that would be great.”

Jump forward five years to Cheung’s latest project, the USA Network series The Sinner, and that same ratio of high risk/reward that brought him success at Sundance is back in play – on the small screen. The director of photography describes the visual motifs he’s implemented into the show as “framings that are just slightly awkward, motion that begs the camera to pan/tilt but stops short, focus points that viewers expect but are denied, exposures that are just slightly darker than demanded and a color base that is just slightly less saturated than it should be. The

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visual feeling we want,” Cheung adds, is like having an itch on your back that you can’t quite scratch. I’d often remind my crew to ‘resist the urge.’”

Cheung’s approach is a snug fit for material that is “dramatically uncomfortable,” which showrunner/writer Derek Simonds describes as “going deep and authentic into people’s psychology.

It’s the darker corners of people’s behavior and the shadow side of ourselves,” Simonds explains. “Throughout the series, we even flirt with some conventions of horror and the supernatural, without really delving into the genre.”

Local 600 Director of Photography Jody Lee Lipes shot the pilot episode (and directed two episodes) for Simonds, with the showrunner then bringing on Cheung (who had just wrapped as alternate Director of Photography on Billions) to grow the series. Cheung says his approach is like “Chinese medicine, where doctors and herbalists would treat the whole balance of the body to restore the harmony of all

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parts, not only the specific organs that have fallen ill as Western medicine would. We try to stay grounded and honest, meaning we never over-light or create complex camera moves just because we can.” To that end, Cheung employs the ALEXA MINI with Master Primes and detuned Panavision Noirs (for Season 2 flashbacks), along with an Angénieux EZ-1 30-90mm zoom lens brought in for Season 3.

“It’s about technical simplicity,” Cheung continues. “We find every opportunity to take away elements that we come to think of as essential, like focus, traditional framing and lighting, and reexamine if they’re indeed needed. I will mull over what the space [to light] would be like in its most natural form. If you watch a leaf during a light rain, you’ll see that water collects on the leaf for a while, and then at a certain point two things might happen, depending on the shape of the leaf: Either the little pool gets too big and rolls off, or it gets too heavy, and the leaf bends to let the water off before it springs back. Either way, there is an effortlessness that takes place as nature

intended, and that’s what we’re striving for.”

Put in less metaphoric terms: Cheung’s lighting is intuitive. He searches for the best angle to throw a large light in from a window and let it bounce around the space, playing off that for the whole scene. “Even on coverage and turn-arounds,” he adds, “I try not to disturb that base and just shape with minimal flagging/negative fills and passive returns for eye light. If we bring in supplemental lighting, it’s some LiteMats through four-by-six diffusion. I’m always conscious of staying true to that light source and not cheating it around too much.

I realized that once you stripped away the proper techniques, which I had learned earlier in my career, you’d get closer to a truthful performance – to borrow an acting/ directing term.”

While that sounds like a simple enough task for an interior set or location, Cheung impressively pursues the same approach with day exteriors. “There are times when story/blocking needs don’t allow us to stage actors so that none of their coverage ends up in direct frontal sunlight,” he says. “But

rather than reshaping the light forcefully, we embrace its natural quality, so the contrast is what I’d call the ‘editorial contrast,’ in which a person is not always half-lit on one side but in the cut. If there are a few people talking in daylight, one might get the nice half-light, one might be full-on backlight, and one might get full frontal ‘flat’ light.

When it’s cut together, everyone will look naturally different. We might diffuse the harsh sunlight with butterflies overhead at times – but not always.”

The same approach can work for the classic photographic challenge of a group scene by a big window. “Yes, someone in there would naturally get the flat frontal light, and, like everyone else, I spent many years exploring creative solutions to cheat that light source,” Cheung admits. “But once I understood the medicinal approach to the harmony of the whole body and not singling out parts, it fundamentally changed my creative journey – I try to remember each shot is only an element to a scene, and

each scene to an episode, each episode to a season, and each season to an entire series.

Lights on each shot need not, and indeed should not, be perfect.”

“Resist the urge,” is also the operative mantra when it comes to framing and composition. Cheung wants his operators to “let the actors push the frame until you’re truly uncomfortable before you adjust, as little as possible.” That discomfort echoes the journey of Detective Ambrose (Bill Pullman) and is what draws the audience in. This less-is-more visual stripping away to reach a scene’s core can, as Cheung notes, be exemplified in Episode 203.

“It’s towards the end of the episode, and our detectives are searching through a house,” he explains. “We start with a medium shot of a clock, then track left to reveal there are stairs. Our actors break frame from left, and we tilt up with them as they go upstairs. It’s a simple shot to tell that story by all accounts, but it was irking me so much that the shot was so literal.

“We took away the focus, staying on the plane of the clock, and let the actors

go up soft,” he continues. “But it still didn’t feel right. So we took away the tilt, too, and let them out of frame sooner. It felt better, but I knew we could still do less to tell that story. So then we shortened our dolly move, starting at where we already see the few steps of stairs out of focus on frame left while we see the clock sharp on frame right. As actors come in soft, we started a slow dolly drift left, maintaining the tilt locked, with focus on foreground, while the actors continue up the steps out of frame. We gave the absolute least information to the audience, and yet the story is told clearly.

That’s the take that made the cut.”

The Sinner’s camera team loves Cheung’s unorthodox approach, and each has a favorite example. Season 1 and 2 Operator Justin Foster, SOC (now Director of Photography with Cheung for Season 3) points to Episode 108 when Cora (Jessica Biel, who also serves as executive producer) enters a room that she realizes is where she was held captive. “As her memories begin to coalesce, there is a shot where we focus on a bit of sunlight falling on the wall in the

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extreme foreground (in reality, a simple M18 HMI),” Foster explains.

“In the background, out of focus, we see Cora walking tentatively toward the wall as Ambrose stands behind, just outside the room,” he adds. “Eventually our focus meets Cora as she sees a rip in the wallpaper that reveals the secret beneath. The storytelling presented in this simple shot is fantastic and has all the elements of the series’ visual language.”

B-Camera/Steadicam David Kimelman, SOC, also loves the unconventional filmmaking. He cites an example from Episode 203 that starts with a soft-focused window flared by light pouring in.

“Vera [Carrie Coon] kneels into the frame, looking for something, and we see that the focus was set for her at that position,” Kimelman recounts. “Then we cut wide to show the audience where we are, as the camera tracks with her across the room to her desk. The audience is still unsure of what she has retrieved, as we then introduce a new character entering her office, deep in the background. The focus is on Vera in this move, so the new character remains out of focus, even through his first two lines. The

audience has to wait for two more cuts before he is fully revealed. This is part of the language we devised to keep the audience in suspense and engaged by denying them information they come to expect.”

Gaffer Zenfeek Unjang says The Sinner’s production team is always looking to take advantage of natural locations. “We want to embrace the lighting that already exists in the space,” he explains. “Can we have control of and augment these existing lights? How do we enhance what is already there and administer our movie lights without disturbing it too much?”

One example was a night exterior park location scene, scouted during the day, where there were lampposts and exterior lights on the restroom building. “We decided the distant lampposts were to be left on and eliminated the ones closest to our actors,” Unjang recalls. “We color-matched the lampposts with our LED instruments, and left on the exterior lights of the restroom building without changing the color, which also gave it an organic feel.”

The scene involved a short walk-and-talk between two characters. In coverage, Unjang used a battery-powered Litegear LiteMat to walk along the far side. “In the darkened space, we also knew lamp posts, exterior

lights, and motion-picture LEDs would not suffice,” he continues. “So we incorporated color contrast by adding an aerial lift, which had a color-corrected 20K to light through the trees – that, in turn, created a moonlit dapple effect with tungsten undertones. It’s a subtle lighting nuance that gives an added texture to the story.”

Unjang says lighting The Sinner is also about creating repeating elements, like one that plays throughout Season 1.

“It’s a stained-glass pattern that Radium had the grips tape onto a couple of fourby-four frames,” he explains. “The many unusual colors that do not necessarily go well together was great because it always provided this foreboding connotation.”

Foster says Cheung’s mindset is to create visual drama in a reserved and unembellished way. “The camera is a tool to unravel the mystery,” Foster explains. “But it can also help create mystery. Radium often talks about trying not to operate at a ‘one-toone’ energy ratio. If there’s a move, it doesn’t need to land when the character hits a mark.

There should be a drift and latency. He refers to it as more ‘tai chi, less tae kwon do’ – the former having more elegance, patience, and curvature in the energy than the latter, which embodies sharp, direct energy.”

“I TRY TO REMEMBER EACH SHOT IS ONLY AN ELEMENT TO A SCENE, AND EACH SCENE TO AN EPISODE, EACH EPISODE TO A SEASON, AND EACH SEASON TO AN ENTIRE SERIES. LIGHTS ON EACH SHOT NEED NOT, AND INDEED SHOULD NOT, BE PERFECT.” RADIUM CHEUNG, HKSC

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Season 3 of The Sinner also connotes a slight curvature for Cheung, who is directing and shooting at least one episode.

“I always kept a storyteller’s mindset in my cinematography, prioritizing performance and story while lensing movies and TV over the years,” he shares. “So directing felt like a natural next step. On one hand, it’s double the stress, but on another, it’s a more streamlined process, because all of the considerations and negotiations the DP and the director have during prep and on set are eliminated. I can see [those issues] through both sets of eyes at once and make very quick decisions, internally, without any conversations, taking into account performance, time, and budgetary resources.”

Cheung cites another advantage of wearing both hats: “Say we need a static high-angle shot,” he continues. “As a DP, we’d often try to get a crane to cover our bases, and then there are the considerations of what crane, how high, what remote head,

et cetera. As director/DP, I could just make the simple and quick decision to get a Condor and put a camera on it, knowing full well what the limitations are and what I actually need for the shot, so as not to waste any resources.”

When the producers and the studio agreed to have alternating Directors of Photography for Season 3, Cheung recommended Foster. “Justin and I have worked together for so many years,” he describes. “He knows the language of this series and the visual approach as intimately as I do, so when he started his episode, it was seamless.”

Cheung was also able to bring on DIT Malika Franklin (ICG Magazine, December 2019, Generation NEXT) for the third season.

“She’d previously done [STARZ] Sweetbitter, Season 2, with me and was instrumental to the process,” he explains. “With a DIT, we can put in all the color directions and how dark/desaturated the scenes are intended to be right from the dailies, so no one is

surprised at my color grading. She also takes a lot off my plate on set at toggling between NDs and ISOs to achieve the desired t-stop, allowing me more time for lighting and working out shots.”

While Tangerine may have been the big Sundance moment for Cheung, he says his best feature work was Baker’s pre-Tangerine feature, Starlet. “It embodies what I’d always believed in – the simplicity of filmmaking to capture the honest performance of an honest story,” he says. And, he adds, The Sinner offers that same approach in television.

“Derek and the writers entrusted our team with this very grounded story,” Cheung concludes. “We help the directors deliver that honesty as simply as possible, without fancy equipment or elaborate setups. I believe the set belongs to the directors and cast; every piece of equipment I bring is an encroachment of that space and a distraction to the actors. So, for us, less is always more.”

LOCAL 600 CREW SEASON 1

SEASON 2

SEASON 3

Directors of Photography Jody Lee Lipes (pilot) Radium Cheung, HKSC

Director of Photography Radium Cheung, HKSC

Directors of Photography Justin Foster Radium Cheung, HKSC

A-Camera Operator Justin Foster, SOC A-Camera 1st AC Constantine “Gus” Limberis A-Camera 2nd AC Nicholas Koda B-Camera Operator/Steadicam David Kimelman, SOC B-Camera 1st AC Glen Chin B-Camera 2nd AC Ian Carmody

A-Camera Operator Justin Foster, SOC A-Camera 1st AC Constantine “Gus” Limberis A-Camera 2nd AC Nicholas Koda B-Camera Operator/Steadicam David Kimelman, SOC B-Camera 1st AC Glen Chin B-Camera 2nd AC Ian Carmody

Digital Loader Tommy Scoggins

Loaders James Demetriou Sean McNamara

Loader Matt Albano

Additional Loader Chris Charmel

Still Photographer Peter Kramer

Still Photographer Peter Kramer

A-Camera Operator David Kimelman, SOC A-Camera 1st AC Constantine “Gus” Limberis A-Camera 2nd AC James Demetriou B-Camera Operator Frank Rinato B-Camera 1st AC Glen Chin B-Camera 2nd AC Ian Carmody Loaders Calen Cooper Austin Restrepo DIT Malika Franklin Still Photographer Peter Kramer

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Director Reed Morano’s new feature, The Rhythm Section, upends the thriller genre with an art-house style courtesy of her close partnership with Sean Bobbitt, BSC. BY

ELLE SCHNEIDER

PHOTOS COURTESY OF

EON PRODUCTIONS

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ollaboration is the key to success in the Reed Morano-directed feature The Rhythm Section, a new kind of action film from the producers of James Bond. Based on Mark Burnell’s first novel in the Stephanie Patrick series, it’s a grounded revenge thriller about a young woman (portrayed by Blake Lively) whose life is turned upside-down by survivor’s guilt when her family is killed in a plane crash, and then turned upside-down again years later when a journalist informs her that the crash was not an accident.

Morano − whose background as a cinematographer includes eight indiefeature premieres at Sundance (including her Park City debut, Frozen River, which won the Grand Jury Prize in 2008), followed up by a move into episodic directing with The Handmaid’s Tale, for which she became the first woman to win both an Emmy and DGA Award) − immediately knew what The Rhythm Section’s visual style should be after reading the screenplay (also penned by Burnell).

“In the original script, [there was] only one scene that [Stephanie Patrick] wasn’t in,” Morano recounts. “I felt that if we lost that one scene, then it was truly a POVdriven film, with everything from our main character’s perspective. The camera will only see what she sees.”

Eon Productions, veritable experts in the spy genre as keeper of the James Bond flame for more than 50 years, backed Morano’s vision, with producers Barbara Broccoli and Michael G. Wilson protecting it throughout. “[Eon] supported it because it was different,” Morano adds. “They weren’t trying to make it into another Bond film and

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wanted to hire someone who didn’t want that, either.” Morano enlisted Sean Bobbitt, BSC, whose work she greatly respected, to shoot her first feature for which she would not be pulling double duty as DP/director.

“Is it hard for two DPs to work together?” she smiles. “I’d say maybe it’s not for everyone. But so many of my closest friends are DPs, and we obviously speak the same language and have this understanding. The joy is that I now get to learn from my peers and idols. If you are mutually empowered, that creates the best relationship on the set.”

Bobbitt says the main draw was “the possibility of working with Morano and Barbara Broccoli and her organization, which seemed like a dream combination.

“I’ve known Reed for a number of years, and I’ve always been a great admirer,” he shares.

“When she explained her vision for the film, it was a no-brainer.”

Choosing to stay on Patrick all the time, often up close and in long takes, meant a largely handheld shoot. “The main thing was to make Blake Lively’s character into a real person, and to personalize her story,” Bobbitt adds. “We didn’t want it to look too clever or slick when it came to moments of violence and high drama.” For most of the film, the camera hovers directly over Patrick’s shoulder or looks into her face to capture her reactions and see things as she’s seeing them, “as opposed to the audience seeing what’s coming next. It was trying to experience as closely as possible her immediate impression in every situation.”

When The Rhythm Section begins, Stephanie Patrick is an addict bumming around a brothel with the alternate identity

“Lisa.” With the intimate POV camera, lens choice became key in transforming Patrick from addict to fledgling killer. “When we see her in the opening scene as a junkie prostitute, living in this world of chaos and insecurity,” Bobbitt explains, “we used oldschool anamorphic lenses, specifically the Canon Crystal Express lenses, which by modern standards are very funky.” As Patrick cleans up her life – ironically by becoming an assassin – Bobbit says he and Morano “wanted to counterpoint that with a stable, classic anamorphic lens” – the Cooke C series, which Bobbitt says is “quite clean, but still a bit funky.”

Bobbitt tested various sets of anamorphics while prepping at ARRI London, and decided on the Crystal Expresses with Morano because, as Bobbitt notes, “they had a 50mm close-focus lens, which is probably one of the most beautiful lenses I’ve ever used in my life. If I could shoot every movie from now on that lens, I would.” That close focus allowed them to get much closer to Lively than would be traditionally possible with anamorphics, while still maintaining an optimal image. “Normally I wouldn’t come close to an actress with a 50mm anamorphic lens, but it just worked beautifully with her,” Bobbitt adds.

The only scene not shot in anamorphic was a unique car chase through Marseille, a massive feat of logistics that had all departments working together to make movie magic.

“With most [action films],” explains Morano, “the characters look super-cool.

Even when things go awry, you know they’ll do a crazy move to get out of it. Stephanie is just not that.”

In fact, Patrick is a rank amateur; after

MIDDLE: BOBBITT SAYS MORANO'S UNDERSTANDING OF "WHAT LENSES, CAMERAS, AND LIGHTING CAN DO MEANS THE CONVERSATIONS ARE MUCH EASIER. WE WERE LITERALLY SPEAKING THE SAME LANGUAGE." BOTTOM: FOR MUCH OF THE RHYTHM SECTION, THE CAMERA HOVERS DIRECTLY OVER (BLAKE LIVELY'S) SHOULDER, IN ORDER TO, AS BOBBITT DESCRIBES, "EXPERIENCE AS CLOSELY AS POSSIBLE HER IMMEDIATE IMPRESSION IN EVERY SITUATION.” HERE MEETING WITH EX-MI6 AGENT (JUDE LAW).

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ON THE CHALLENGES OF DOUBLING SPAIN FOR THE SUN-DRENCHED ALLEYS OF TANGIER, MOROCCO, GAFFER DAVID SMITH SAYS: "WHEN REED WANTED IT TO FEEL HOT AND STICKY, WE HOPED FOR THE NATURAL SUN [IN THE WIDE SHOTS], BUT WE ALSO NEEDED TO RECREATE ANYTHING THAT WASN’T SUNLIGHT.”

learning that her family died at the hands of a terrorist attack covered up by the British government, she enlists the help of Boyd (Jude Law), a down-and-out exMI6 agent, who provides the identity of a recently deceased assassin she uses as a cover to exact revenge. “What I love about this character is that the way she was written, she’s just a regular woman who has to pretend to be an assassin to do what she needs to do,” Morano shares. “You’re never really expected to believe that she’s fully become an assassin, so she screws up a lot, and that makes it a more human journey.”

That inexperience and humanity plays perfectly into the tension Morano wanted for the car chase. “I wanted it to feel as disturbing as you’d imagine, with a regular person driving in that situation,” describes Morano, who studied many classic movie chase scenes before deciding on her approach. “I realized that my reaction was that every time the camera cut outside of a car, I felt less stressed. It let me off the hook for a minute.”

For this large action piece, shot in Almería, Spain, Morano took the POV style to its obvious conclusion, opting for one seemingly continuous shot for the duration of the scene, and noting that she “thought it

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would be much more frightening watching a car chase where you can’t escape.”

The director doesn’t use storyboards, a holdover from her DP days, and so came in with a general concept of making it one shot from within the car that would see front, back, and Lively, “but all very choreographed,” she adds. “Something would happen in frame that would lead us to the next thing we needed to see and turn the camera to the front or the back.”

Observes Gaffer David Smith: “Having a director who works as a DP, and a DP who is immensely knowledgeable, we could choose the roads and the routes, depending on the time of day, which is massive for getting the best results. We didn’t have to put in a lot of additional lights, just where they were needed in the right places.” Having the run of the city also helped. “We had five or so different neighborhoods we were shooting in,” says Morano. “And in that stretch, the car would be going and there would be anywhere from 15 to 30 stunt people involved.”

Trying to create a scene that looks like it could take place in a regular car with a camera operator simply along for the ride was anything but simple. The car’s interior was reconstructed to fit Bobbitt and focus puller Andrew O’Reilly, with a stunt driver

guiding the wheel from atop the vehicle.

“Allowing me to move up and down and get all those different angles handheld, in real time, was a remarkable feat of design,” Bobbitt reflects. “[Coordinator] Lee Morrison and his team, [Supervising Stunt Coordinator] Olivier Schneider and [Special Effects Supervisor] Chris Corbould, are all the top people in their respective fields.”

Oscar-winner Corbould is one of Broccoli and Wilson’s key collaborators, having worked on the Bond series since The Spy Who Loved Me, in addition to recent Star Wars and Christopher Nolan films.

“Barbara and Michael have got this down to a T,” describes Smith, who also gaffed the most recent Bond outing, Spectre, for Eon. “Whether you’re the director, the transport captain or, in my case, the gaffer, I think they bring people in with such a wealth of knowledge, the filmmaking is second to none.”

“It was just mind-boggling what all the department heads had to do to make this happen and have it look right,” offers Morano. “Our amazing production designer [Tom Conroy] never had any sort of fear or worry. He and [Set Decorator] Crispian Sallis meticulously replicated each of these distinct cities. It was humbling working with that level of talent in every department.”

“ I CAN’T WORK UNLESS MY CREW IS HAPPY, AND I WANT THEM TO FEEL AS CREATIVELY INVESTED IN WHAT WE’RE MAKING AS I DO.” REED MORANO

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Smith was tasked with turning Spain into not only Marseille but also the sundrenched markets and alleys of Tangier, Morocco. “Obviously there were challenges,” he says matter-of-factly. Consistency of light, natural sun, bright edges, and making “sure it feels like it’s got a certain heat and temperature,” all played a part. “Particularly when Reed wanted it to feel hot and sticky, we hoped for the natural sun [in the wide shots], but we also needed to recreate anything that wasn’t sunlight.”

Major sequences were also shot in Ireland, doubling for Scotland, London, and a New York City interior penthouse, where Conroy, Bobbitt, and Smith had to wrangle with the constraints of working in a real swimming pool in someone’s house.

Weather was also challenging.

In one scene shot in Ireland, Patrick swims across a loch to prove her mettle after a fight with Boyd. Morano says a portion of the scene – Patrick undressing, and entering the water – was done in one shot (and one take), off of a crane that Bobbitt had built on a temporary dock.

“It was in the middle of winter and the loch was freezing,” Morano recalls. “But Blake preferred that to shooting in a tank; she wanted to take the plunge, literally, in service of the character.” After she enters the water, the next shot lingers on Patrick as she swims, shaking, towards camera – filmed months later in the same location, in warmer temperatures. “I wanted people to know that [Lively] really went into the water herself,” Morano says.

Long, intimate shots, like those seen in the swimming scene, help the audience identify with Patrick’s journey. Morano was happy they made the final cut because “you wouldn’t think you could put those kinds of bits in a studio movie. [Those are] more likely to be seen in an art film.”

The Rhythm Section often feels like a big-budget art film, and that’s what sets it apart from the prevailing slick-as-glass trend in thrillers. “There was nobody who would be more fiercely protective of my vision than Sean,” Morano explains. “It’s a studio movie, and it goes through lots of

hands; the most gratifying and creatively fulfilling part of the process was working with Sean and the crew.”

Bobbitt pays back the compliment, noting that “working for someone who is an exceptional cinematographer kind of drives you to be exceptional yourself. But also Reed’s understanding of what lenses, cameras, and lighting can do means the conversations are much easier. We were literally speaking the same language.

“And she understands exactly what makes a crew happy and what upsets them,” he adds, “and she knew how to motivate” a disparate, international crew base, shooting in different countries with multiple languages.

Morano says such skills were formed from her many years as a cinematographer, where the desire was always to help create a set where everyone is treated well – not always the case in some of her past jobs.

“DPing has taught me what it means to be a director,” she reflects. “And in directing, I get the unique opportunity to learn even more from my peers, the other DP’s that I’ve worked with, expanding the ways in which I visualize story.”

Seamless communication on The Rhythm Section also extended into the DI suite, where Bobbitt worked closely with Company 3 Finishing Artist Tom Poole to keep Morano’s vision intact. [The Rhythm Section was captured on ALEXA XT in ARRIRAW to provide Bobbitt with as much latitude as possible in the final color grade.]

“If I’m going to shoot digital,” says Bobbitt, best known for having shot all four of Oscar-winner Steve McQueen’s features, “it’s going to be in RAW. The camera is just a small box that’s being asked to process a lot of information, so there are compromises if you’re shooting in any other format. Shooting in RAW gives you all the data that’s possible from the chip, and you then have more information to play with when you come into the grade.”

Bobbitt, who has partnered with Poole on nearly a dozen films, says “shooting for

the grade” has made him more efficient.

“Tom can [darken a wall] as quickly as it would take me to try and explain to him what to do,” he adds. “I’d rather give that time [it takes to darken a wall on set] to the actors for performance. Tom and I can quickly and efficiently produce final images that are not just pleasing, but help move the story forward. The grade is a crucial artistic and aesthetic moment in the creation of a film.”

As for Morano’s approach to directing, she shares that she “can’t work unless my crew is happy, and I want them to feel as creatively invested in what we’re making as I do,” a goal that goes back to her time as a director of photography. Morano says the experience of running the camera department has been integral to earning the trust and respect of her crew as a director.

“We’re lucky enough to work in an industry that thrives on the concept of following an unrealistic dream, because what we get to make every day is actually ‘pretend,’” she concludes. “We should all be as supportive as possible of each other as filmmakers. What we do together demands so much heart and imagination from every single person on the crew, and the final film is a product of that dedication.”

LOCAL 600 CREW NEW YORK UNIT Director of Photography Sean Bobbitt, BSC A-Camera Operator Alec Jarnagin, SOC A-Camera 1st AC Pat Sokley A-Camera 2nd AC Sarah May Guenther Utility Keith Anderson DIT John Kersten

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scary Joyce Rudolph

ARYStreet 2020(1984) 74A Nightmare JANU on Elm

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Chances are that if you’re a horror movie fan, and have compiled a list of favorites over the years (we all have), there’s probably one timeless publicity image, stuck in those dark places where these stories like to go, that helped create that list. And contrary to the terror experienced on-screen, the process Local 600 set photographers go through to capture a scary movie’s black heart is often quite light and fun. That’s why we asked five Guild members to provide an image (and some words) about that process – snatching samples from five decades of this iconic genre.

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01 Kim Gottlieb-Walker Halloween (1978) Halloween was the first film I ever worked on that was released, and working for Debra Hill and John Carpenter was pure joy. “The Shape” – as Michael Myers is referred to in the script – was mostly played by Nick Castle, who is terrifying on screen but a kind, funny person in real life. Dr. Pepper had donated several cases to the crew and just wanted to see that it was being used. So I ran around handing cans to various cast members and shooting them.

Making scary movies is fun!

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02 Justin Lubin Get Out (2017) Even though Get Out was Jordan Peele’s first feature, he seemed like he’d been directing for years. In this image from the “Game Room,” Daniel Kaluuya gave every bit of himself – from rage to complete terror. Sometimes I had to just stop shooting and watch his acting clinic. Not all horror films require evil underground doppelgängers or killer clowns. Some have regular everyday people and are all the more terrifying.

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LICENSED BY: WARNER BROS. ENTERTAINMENT, INC. ALL RIGHTS RESERVED

03 Joyce Rudolph A Nightmare on Elm Street (1984) One set I remember from this very-low-budget movie was the “Upside Down House.” It was built at an L.A. warehouse and could completely turn around [on a rotating gimbal]. The floor, the middle, the ceiling, and the other side were the four places it would stop. It was completely safe because we’d all get out as the set turned, and then go back in. But the space was so tight it could only fit the actress, camera operator, [director] Wes Craven and me, the stills photographer – I’m pretty small and was able to be everywhere.

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Eric Zachanowich Ready or Not (2019)

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One of the most challenging scenarios as a stills photographer is shooting dimly lit scenes with action and fast movement – common on Ready or Not. While it can be difficult, there is no light more rewarding, or that I love better, than candlelight. For this image, I used the candles to frame Samara and separate her from the background. I had a narrow window, as we were running out of time in our day and this was the last shot up. Sometimes all you need is a moment.

05 Greg Gayne Saw (2004) Saw was my first-ever feature as a 26-year-old stills photographer, and I was never more happy to be stuck in a disgusting bathroom for two weeks with a dead guy and a bunch of strangers. The film’s creators, James Wan and Leigh Whannell, were also my age, so it was great collaborating with other young contemporaries, especially those who brought such innovative perspectives to a classic genre. I’m grateful to James and Leigh, and the producers of Saw, for giving a young and hungry photographer his very first shot.

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PRODUCTION CREDITS COMPILED BY TERESA MUÑOZ – AS OF DECEMBER 1, 2019 The input of Local 600 members is of the utmost importance, and we rely on our membership as the prime (and often the only) source of information. In order for us to continue to provide this service, we ask that Guild members submitting information take note of the following requests: Please provide up-to-date and complete crew information (including that the deadline for the Production Credits is on the first of the preceding cover month (excluding weekends & holidays).

Submit your jobs online by visiting: www.icg600.com/MY600/Report-Your-Job Any questions regarding the Production Credits should be addressed to Teresa Muñoz at teresa@icgmagazine.com 82

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First Man / Photo by Daniel McFadden

Still Photographers, Publicists, Additional Units, etc.). Please note

“MODERN FAMILY” SEASON 11

“CRIMINAL MINDS” SEASON 15

DIRECTOR OF PHOTOGRAPHY: DENIS MALONEY ASSISTANT: LAWRENCE MONTEMAYOR LOADER: DAVID MASLYN

DIRECTOR OF PHOTOGRAPHY: JAMES BAGDONAS, ASC OPERATORS: TREY CLINESMITH, TOBY TUCKER ASSISTANTS: JOHN STRADLING, MICHAEL BAGDONAS, NOAH BAGDONAS, REBECCA MARTZ SPENSER CAMERA UTILITY: GAVIN WYNN DIGITAL UTILITY: SEAN KEHOE

20TH CENTURY FOX

“THE ORVILLE” SEASON 3

DIRECTOR OF PHOTOGRAPHY: DARCY SPIRES OPERATORS: GARY TACHELL, KEITH PETERS, BRIAN GARBELLINI, JOSH TURNER ASSISTANTS: BRYAN DELORENZO, TODD DURBORAW, TIM ROE, ROBERT FORREST, TOBY WHITE, CARTER SMITH UTILITIES: ALEX MARMALICHI, JACOB KULJIS STEADICAM OPERATOR: KEITH PETERS STEADICAM ASSISTANT: BRYAN DELORENZO

0305 PRODUCTIONS, LLC “GABRIEL’S INFERNO”

“911” SEASON 3

DIRECTOR OF PHOTOGRAPHY: JOAQUÍN SEDILLO, ASC OPERATORS: CONNOR O’BRIEN, DUANE MIELIWOCKI, SOC, PHIL MILLER, SOC ASSISTANTS: KEN LITTLE, CLAUDIO BANKS, ERIC GUERIN, DAVID STELLHORN, MAX MACAT, JIHANE MRAD STEADICAM OPERATOR: CONNOR O’BRIEN STEADICAM ASSISTANT: KEN LITTLE CAMERA UTILITY: PAULINA GOMEZ DIGITAL UTILITY: JOSHUA SMITH

“911: LONE STAR” SEASON 1 DIRECTOR OF PHOTOGRAPHY: ANDY STRAHORN OPERATORS: BRICE REID, JOE BRODERICK, DEAN MORIN ASSISTANTS: JAMES RYDINGS, KAORU ISHIZUKA, CARLOS DOERR, RON ELLIOT, MATTHEW KING, KELLY MITCHELL STEADICAM OPERATOR: BRICE REID STEADICAM ASSISTANT: JAMES RYDINGS DIGITAL IMAGING TECH: PETER RUSS LOADER: JOE PACELLA DIGITAL UTILITY: BASSEM BALAA TECHNOCRANE OPERATORS: CHAD ESHBAUGH, NAZARIY HATAK TECHNOCRANE TECH: BRIAN LOVE REMOTE HEAD TECH/OPERATOR: JAY SHEVECK 2ND UNIT DIRECTOR OF PHOTOGRAPHY: JOE BRODERICK

“FILTHY RICH” SEASON 1 DIRECTOR OF PHOTOGRAPHY: CHRISTINA VOROS OPERATORS: GRAYSON AUSTIN, MIKE PARRY, LOUIS NORMANDIN ASSISTANTS: DANNA ROGERS, ROB BAIRD, TREVOR TUFANO, LANCE ROMANO, HAI LE, EVAN WOSS

“FRESH OFF THE BOAT” SEASON 6 DIRECTOR OF PHOTOGRAPHY: GREG MATTHEWS OPERATORS: JOEY MORENA, ADAM KOLKMAN ASSISTANTS: RAY DIER, TOMOKA IZUMI, CHRISTIAN COBB, AJIRI AKPOLO STEADICAM OPERATOR: JOEY MORENA CAMERA UTILITY: LESLIE KOLTER

“LAST MAN STANDING” SEASON 8 DIRECTOR OF PHOTOGRAPHY: DONALD A. MORGAN, ASC OPERATORS: GARY ALLEN, RANDY BAER, DAMIAN DELLA SANTINA, JOHN BOYD ASSISTANTS: MISSY TOY-OZEAS, SEAN ASKINS, AL MYERS CAMERA UTILITIES: JOHN WEISS, STEVE MASIAS DIGITAL IMAGING TECH: VON THOMAS

“LOVE, SIMON” SEASON 1 DIRECTOR OF PHOTOGRAPHY: MARK SCHWARTZBARD OPERATORS: JOSEPH B. HERNANDEZ, YVONNE CHU ASSISTANTS: CHRIS GEUKENS, DEREK PLOUGH, GENNA PALERMO, LOREN AZLEIN STEADICAM OPERATOR: JOSEPH B. HERNANDEZ LOADER: LINDSEY GROSS

DIRECTOR OF PHOTOGRAPHY: JEFF MYGATT OPERATORS: BILL BRUMMOND, GARY TACHELL, MIKE SHARP ASSISTANTS: DENNIS SEAWRIGHT, DALE WHITE, STEVE MAGRATH, DUSTIN KELLER, BUTCH PIERSON, KRISTEN LAUBE STEADICAM OPERATOR: BILL BRUMMOND LOADER: BROOKE MAGRATH UTILITY: FERNANDO ZACARIAS

“PERFECT HARMONY” SEASON 1

“EMERGENCE” SEASON 1 DIRECTOR OF PHOTOGRAPHY: ROBERT HUMPHREYS OPERATORS: FRANCIS SPIELDENNER, TODD ARMITAGE ASSISTANTS: TONY COAN, CHRISTOPHER ENG, MARC LOFORTE, RONALD WRASE DIGITAL IMAGING TECH: MATTHEW SELKIRK LOADERS: KEITH ANDERSON, AMBER MATHES STILL PHOTOGRAPHER: CARA HOWE

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“GROWN-ISH” SEASON 3

“SINGLE PARENTS” SEASON 2

“GREY’S ANATOMY” SEASON 16

DIRECTOR OF PHOTOGRAPHY: TIM GILLIS OPERATORS: NEAL BRYANT, ILAN LEVIN, DEMIAN SCOTT VAUGHS ASSISTANTS: SHARLA CIPICCHIO, EVAN WILHELM, MATT BLEA ANDY KENNEDY-DERKAY, NATHAN SAKS, EVEY FRANCESCHINI LOADER: MAUREEN MORRISON

DIRECTORS OF PHOTOGRAPHY: HERB DAVIS, ALICIA ROBBINS OPERATORS: FRED IANNONE, STEVE ULLMAN, LESLIE MORRIS ASSISTANTS: NICK MCLEAN, FORREST THURMAN, KIRK BLOOM, LISA BONACCORSO STEADICAM OPERATOR: STEVE ULLMAN STEADICAM ASSISTANT: FORREST THURMAN CAMERA UTILITY: MARTE POST STILL PHOTOGRAPHER: LISA ROSE

“THIS IS US” SEASON 4 DIRECTOR OF PHOTOGRAPHY: YASU TANIDA OPERATORS: JAMES TAKATA, COY AUNE ASSISTANTS: SEAN O’SHEA, RICH FLOYD, BRIAN WELLS, JEFF STEWART STEADICAM OPERATOR: JAMES TAKATA STEADICAM ASSISTANT: SEAN O’SHEA LOADER: MIKE GENTILE STILL PHOTOGRAPHER: RON BATZDORFF

“OUTMATCHED” SEASON 1 DIRECTOR OF PHOTOGRAPHY: JOE PENNELLA OPERATORS: PETER WILSON, BRUCE PASTERNACK, CHRIS HINOJOSA, LARRY BLUMENTHAL ASSISTANTS: JEFF LORENZ, HOLDEN LORENZ CAMERA UTILITIES: KATE STEINHEBEL, ERINN BELL VIDEO CONTROLLER: JAY ELKAYAM STILL PHOTOGRAPHER: LISA ROSE

ABC STUDIOS

“AMERICAN HOUSEWIFE” SEASON 4 DIRECTOR OF PHOTOGRAPHY: ROB KITZMANN OPERATORS: RICH DAVIS, TIM WALKER, LISA STACILAUSKAS ASSISTANTS: MAX NEAL, ROBERT GILPIN, JOE TORRES, ELIZABETH ALGIERI, KARL OWENS, JASWINDER BEDI STEADICAM OPERATOR: RICH DAVIS STEADICAM ASSISTANT: MAX NEAL DIGITAL LOADER: LESLIE PUCKETT DIGITAL UTILITY: STEVE ROMMEVAUX

DIRECTOR OF PHOTOGRAPHY: MARK DOERING-POWELL, ASC OPERATORS: PAUL SANCHEZ, CHRIS SQUIRES ASSISTANTS: ROBERT SCHIERER, MICHAEL KLEIMAN, GEORGE HESSE, WILL DICENSO STEADICAM OPERATOR: JENS PIOTROWSKI CAMERA UTILITY: ANDREW OLIVER STILL PHOTOGRAPHER: RON JAFFE

“HOW TO GET AWAY WITH MURDER” SEASON 6 DIRECTORS OF PHOTOGRAPHY: SPENCER COMBS, CHRISTIAN SEBALT OPERATORS: ANDY STEINMAN, RICHARD CROW ASSISTANTS: RYAN PILON, NATHAN CRUM, BILL MARTI, DAN TAYLOR STEADICAM OPERATOR: RICHARD CROW DIGITAL IMAGING TECH: BENJAMIN LONGSWORTH

“JIMMY KIMMEL LIVE!” SEASON 18 LIGHTING DIRECTOR: CHRISTIAN HIBBARD OPERATORS: GREG GROUWINKEL, PARKER BARTLETT, GARRETT HURT, MARK GONZALES STEADICAM OPERATOR: KRIS WILSON JIB OPERATORS: MARC HUNTER, RANDY GOMEZ, JR., NICK GOMEZ CAMERA UTILITIES: CHARLES FERNANDEZ, SCOTT SPIEGEL, TRAVIS WILSON, DAVID FERNANDEZ, ADAM BARKER VIDEO CONTROLLER: GUY JONES STILL PHOTOGRAPHERS: KAREN NEAL, MICHAEL DESMOND 2ND UNIT DIRECTORS OF PHOTOGRAPHY: BERND REINBARDT, STEVE GARRETT

“MIXED-ISH” SEASON 1 DIRECTOR OF PHOTOGRAPHY: TROY SMITH OPERATORS: JACK MESSITT, JOSH SCHNOSE ASSISTANTS: LOU DEMARCO, MATT FORTLAGE, TONY MULLER, JULIUS GRAHAM

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LIGHTING DIRECTOR: TOM BECK PED OPERATORS: DAVID WEEKS, PAUL WILEMAN, TIM O’NEILL HANDHELD OPERATOR: CHIP FRASER JIB OPERATOR: DAVID RHEA STEADICAM OPERATOR: DONOVAN GILBUENA VIDEO CONTROLLER: JAMES MORAN HEAD UTILITY: CRAIG “ZZO” MARAZZO UTILITIES: ARLO GILBUENA, WALLY LANCASTER, DIEGO AVALOS

DIRECTORS OF PHOTOGRAPHY: DARYN OKADA, ASC, NANCY SCHREIBER, ASC OPERATORS: RON SCHLAEGER, MARIANA ANTUNANO, BILL BOATMAN ASSISTANTS: TONY SCHULTZ, HANNAH LEVIN, MICHAEL ALVAREZ, SUMMER MARSH, ADAM COWAN, DUSTIN FRUGE STEADICAM OPERATOR: RON SCHLAEGER STEADICAM ASSISTANT: TONY SCHULTZ DIGITAL IMAGING TECH: ANDREW LEMON UTILITY: GEORGE MONTEJANO, III TECHNOCRANE OPERATOR: NAZARIY HATAK TECHNOCRANE TECH: BRIAN LOVE REMOTE HEAD TECH/OPERATOR: JAY SHEVECK

“WINSLOW” SEASON 1 DIRECTORS OF PHOTOGRAPHY: TREVOR FORREST, JEFFREY WALDRON OPERATORS: MARK MEYERS, SARAH LEVY ASSISTANTS: SAM BUTT, MELISSA FISHER, JORDAN CRAMER, GISELLE GONZALEZ STEADICAM OPERATOR: MARK MEYERS DIGITAL IMAGING TECH: CHARLES ALEXANDER UTILITY: BROOKE ZBYTNIEWSKI STILL PHOTOGRAPHER: RON JAFFE

AFN PRODUCTIONS-TELEPICTURES “THE REAL” SEASON 6

LIGHTING DIRECTOR: EARL WOODY, LD OPERATORS: KEVIN MICHEL, NATE PAYTON, STEVE RUSSELL, CHRIS WILLIAMS STEADICAM OPERATOR: WILL DEMERITT CAMERA UTILITIES: HENRY VEREEN, SALVATORE BELLISSIMO, ANDRES VELASQUEZ, JR. JIB ARM OPERATOR: JIM CIRRITO VIDEO CONTROLLER: JEFF MESSENGER

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“THE ELLEN DEGENERES SHOW” SEASON 17

BIG BEACH TV PRODUCTIONS

“SORRY FOR YOUR LOSS” SEASON 2 DIRECTOR OF PHOTOGRAPHY: ADAM BRICKER OPERATORS: CHLOE WEAVER, BEN VERHULST ASSISTANTS: CHARLIE PANIAN, TIFFANY NATHANSON, MARIELA FERRER, RYAN MONELLI STEADICAM OPERATOR: BEN VERHULST DIGITAL IMAGING TECH: TYLER GOECKNER-ZOELLER CAMERA UTILITY: ANDREW PAULING STILL PHOTOGRAPHER: MERIE WALLACE

BIG INDIE WOMAN, INC. “I’M YOUR WOMAN”

BEACHWOOD SERVICES

“DAYS OF OUR LIVES” SEASON 54 DIRECTOR OF PHOTOGRAPHY: VINCE STEIB OPERATORS: MARK WARSHAW, VICKIE WALKER, MICHAEL J. DENTON, STEVE CLARK CAMERA UTILITIES: STEVE BAGDADI, GARY CYPHER VIDEO CONTROLLER: ALEXIS DELLAR HANSON

“SCHOOLED” SEASON 2 DIRECTOR OF PHOTOGRAPHY: STEVE GAINER OPERATORS: JONATHAN GOLDFISHER, BEN GAMBLE ASSISTANTS: SHAREEN SALEH, JOSEPH CHEUNG, KYMM SWANK, GINA VICTORIA DIGITAL IMAGING TECH: MIKE BOSMAN DIGITAL LOADER: MIMI PHAN STILL PHOTOGRAPHER: LISA ROSE

“THE GOLDBERGS” SEASON 7 DIRECTOR OF PHOTOGRAPHY: JASON BLOUNT OPERATORS: SCOTT BROWNER, NATE HAVENS ASSISTANTS: TRACY DAVEY, GARY WEBSTER, JENNIFER BELL PRICE, MICHELLE BAKER DIGITAL IMAGING TECH: KEVIN MILLS LOADER: DILSHAN HERATH STILL PHOTOGRAPHER: LISA ROSE

DIRECTOR OF PHOTOGRAPHY: BRYCE FORTNER OPERATOR: MATTHEW HARSHBARGER ASSISTANTS: GABRIEL PFEIFFER, RICHARD CRUMRINE, BENEDICT BALDAUFF, BILL CRUMRINE DIGITAL IMAGING TECH: CURTIS ABBOTT LOADER: GABRIEL MARCHETTI STILL PHOTOGRAPHER: WILSON WEBB PUBLICIST: ALEX WORMAN

BONEYARD PICTURES “GHOST DRAFT”

DIRECTOR OF PHOTOGRAPHY: LARRY FONG, ASC OPERATORS: LUKAS BIELAN, MATT PETROSKY ASSISTANTS: BILL COE, ANDY HOEHN, BOBBY MCMAHAN, PAUL WOODS STEADICAM OPERATOR: MATT PETROSKY DIGITAL IMAGING TECH: ROBERT HOWIE LOADER: NASTASIA HUMPHRIES DIGITAL UTILITY: RACHEL KEENAN

BRUISED FILM HOLDINGS, INC. “BRUISED”

DIRECTOR OF PHOTOGRAPHY: FRANK DEMARCO OPERATORS: RAMULAS BURGESS, NELSON HUME ASSISTANTS: ROB KOCH, VANESSA MORRISON, AUTUMN MORAN, JANICE BURGESS LOADERS: JOHN CAVA, DANIEL FOLEY STILL PHOTOGRAPHER: JOHN BAER

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ALISA COLLEY, SANCHEEV RAVICHANDRAN DIGITAL IMAGING TECH: DAVE SATIN LOADERS: VINCE LARAWAY, KATE NAHVI, BRIANNA MORRISON

“MAN WITH A PLAN” SEASON 4 DIRECTOR OF PHOTOGRAPHY: GARY BAUM, ASC OPERATORS: GLENN SHIMADA, TRAVERS HILL, LANCE BILLITZER, ED FINE ASSISTANTS: ADRIAN LICCIARDI, JEFF GOLDENBERG, ALEC ELIZONDO, CLINT PALMER, JASON HERRING UTILITIES: DANNY LORENZE, SEAN ASKINS DIGITAL IMAGING TECH: DEREK LANTZ VIDEO CONTROLLER: JOHN O’BRIEN

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“NCIS” SEASON 17 DIRECTOR OF PHOTOGRAPHY: WILLIAM WEBB, ASC OPERATORS: GREGORY PAUL COLLIER, CHAD ERICKSON, DOUG FROEBE (VIDEO) ASSISTANTS: JAMES TROOST, HELEN TADESSE, NATHAN LOPEZ, YUSEF EDMONDS LOADER: ANNA FERRARIE STILL PHOTOGRAPHER: MIKE KUBEISY

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DIRECTOR OF PHOTOGRAPHY: VICTOR HAMMER OPERATORS: TERENCE NIGHTINGALL, TIM BEAVERS ASSISTANTS: KEITH BANKS, RICHIE HUGHES, PETER CARONIA, JACQUELINE NIVENS STEADICAM OPERATORS: TERENCE NIGHTINGALL, TIM BEAVERS STEADICAM ASSISTANTS: KEITH BANKS, RICHIE HUGHES DIGITAL IMAGING TECH: JOHN MILLS DIGITAL UTILITY: TREVOR BEELER STILL PHOTOGRAPHER: RON JAFFE PUBLICIST: KATHLEEN TANJI

C7 PRODUCTIONS, INC.

“THE TRIAL OF THE CHICAGO 7” DIRECTOR OF PHOTOGRAPHY: PHEDON PAPAMICHAEL, ASC, GSC OPERATORS: MICHAEL FUCHS, ALAN PIERCE ASSISTANTS: CRAIG PRESSGROVE, ETHAN BORSUK, EVE STRICKMAN, MARC LOFORTE, BRENDAN RUSSELL DIGITAL IMAGING TECH: PATRICK CECILIAN LOADER: DARREN SANDERS STILL PHOTOGRAPHER: NIKO TAVERNISE

CBS

“68 WHISKEY” SEASON 1 DIRECTOR OF PHOTOGRAPHY: ITAI NE’EMAN OPERATORS: STEVE FINESTONE, ALEX KORNREICH ASSISTANTS: TOMMY LEWIS, DAVID O’BRIEN, KEN TANAKA, RICHARD KENT LOADER: TIM BALCOMB DIGITAL UTILITY: JULIO ZEPEDA

“BROKE” SEASON 1 DIRECTOR OF PHOTOGRAPHY: PETER SMOKLER OPERATORS: CANDY EDWARDS, DEBORAH O’BRIEN, JACK CHISHOLM ASSISTANTS: MARK JOHNSON, BRADLEY TRAVER UTILITIES: JEFF AMARAL, KEVIN MENTEER, MONICA SCHAD DIGITAL IMAGING TECH: ELENA GOMEZ VIDEO CONTROLLER: CLIFF JONES STILL PHOTOGRAPHER: RON JAFFE

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“BULL” SEASON 4 DIRECTOR OF PHOTOGRAPHY: DERICK UNDERSCHULTZ OPERATORS: BARNABY SHAPIRO, MALCOLM PURNELL ASSISTANTS: ROMAN LUKIW, SOREN NASH, MICHAEL LOBB, TREVOR WOLFSON DIGITAL IMAGING TECH: THOMAS WONG LOADERS: QUINN MURPHY, NIALANEY RODRIGUEZ

“CAROL’S SECOND ACT” SEASON 1 DIRECTOR OF PHOTOGRAPHY: CHRIS LA FOUNTAINE OPERATORS: BRUCE REUTLINGER, GEORGE LA FOUNTAINE, CHRIS WILCOX, KRIS CONDE ASSISTANTS: CHRIS WORKMAN, BRIAN LYNCH, JEFF ROTH, JOHN WEISS, CRAIG LA FOUNTAINE CAMERA UTILITIES: CHRIS TODD, VICKI BECK DIGITAL IMAGING TECH: SHAUN WHEELER VIDEO CONTROLLER: ANDY DICKERMAN

“ENTERTAINMENT TONIGHT” SEASON 39

LIGHTING DESIGNER: DARREN LANGER DIRECTOR OF PHOTOGRAPHY: KURT BRAUN OPERATORS: JAMES B. PATRICK, ALLEN VOSS, ED SARTORI, HENRY ZINMAN, BOB CAMPI, RODNEY MCMAHON, ANTHONY SALERNO JIB OPERATOR: JAIMIE CANTRELL CAMERA UTILITY: TERRY AHERN VIDEO CONTROLLERS: MIKE DOYLE, PETER STENDAL

“EVIL” SEASON 1 DIRECTORS OF PHOTOGRAPHY: FRED MURPHY, TIM GUINNESS OPERATORS: AIKEN WEISS, KATE LAROSE ASSISTANTS: ROBERT BECCHIO, RENE CROUT,

“SEAL TEAM” SEASON 3 DIRECTORS OF PHOTOGRAPHY: J. MICHAEL MURO, ALAN JACOBY OPERATORS: DOMINIC BARTOLONE, MATT VALENTINE ASSISTANTS: TODD AVERY, ANDREW DEGNAN, ARTURO ROJAS, RYAN JACKSON STEADICAM OPERATOR: DOMINIC BARTOLONE STEADICAM ASSISTANT: TODD AVERY DIGITAL IMAGING TECH: RAUL RIVEROS LOADER: NOAH MURO STILL PHOTOGRAPHER: RON JAFFE

“THE GOOD FIGHT” SEASON 4 DIRECTOR OF PHOTOGRAPHY: RON GARCIA OPERATORS: ALEC JARNAGIN, PETER NOLAN ASSISTANTS: DANIEL FIORITO, FRANZISKA LEWIS, ELIZABETH HEDGES, JULIA LEACH DIGITAL IMAGING TECH: GARY ISAACS LOADERS: SANCHEEV RAVICHANDRAN, BRIAN CARDENAS

“THE NEIGHBORHOOD” SEASON 2 DIRECTOR OF PHOTOGRAPHY: CHRIS LA FOUNTAINE OPERATORS: BRUCE RUETLINGER, KRIS CONDE, GEORGE LA FOUNTAINE, CHRIS WILCOX ASSISTANTS: JEFF ROTH, BRIAN LYNCH, CRAIG LA FOUNTAINE CAMERA UTILITIES: CHRIS TODD, VICKI BECK, TREVOR LA FOUNTAINE DIGITAL IMAGING TECH: RYNE NINER VIDEO CONTROLLER: ANDY DICKERMAN STILL PHOTOGRAPHER: RON JAFFE

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“THE TALK” SEASON 10 LIGHTING DIRECTOR: MARISA DAVIS PED OPERATORS: ART TAYLOR, MARK GONZALES, ED STAEBLER HANDHELD OPERATORS: RON BARNES, KEVIN MICHEL, JEFF JOHNSON JIB OPERATOR: RANDY GOMEZ HEAD UTILITY: CHARLES FERNANDEZ UTILITIES: MIKE BUSHNER, DOUG BAIN, DEAN FRIZZEL, BILL GREINER, JON ZUCCARO VIDEO CONTROLLER: RICHARD STROCK STILL PHOTOGRAPHER: RON JAFFE

ROSSANA RIZZO, AMBER ROSALES, MIKE SWEARINGEN DIGITAL IMAGING TECH: J. ERIC CAMP LOADER: BRITTANY JELINSKI STILL PHOTOGRAPHER: MACALL POLAY

CITIOT PRODUCTIONS, INC.

“THINGS HEARD AND SEEN” OPERATOR: STEWART CANTRELL ASSISTANTS: BENYOMIN SPANER, TSYEN SHEN DIGITAL IMAGING TECH: BJORN JACKSON STILL PHOTOGRAPHER: ANNA KOORIS

“TOMMY” SEASON 1 DIRECTOR OF PHOTOGRAPHY: CRAIG DIBONA OPERATORS: DAVID TAICHER, ERIC TRAMP ASSISTANTS: EDWIN EFFREIN, JAMES BELLETIER, DEREK DIBONA, JAMES MCEVOY STEADICAM OPERATOR: DAVID TAICHER LOADERS: CHRIS MENDEZ, TREVOR BARCUS STILL PHOTOGRAPHERS: CARA HOWE, ALYSSA LONGCHAMP, JEFFREY NEIRA, MICHAEL PARMELEE

DAYLIGHT DAYCARE, INC.

“DAYLIGHT DAYCARE” SEASON 1 DIRECTOR OF PHOTOGRAPHY: ANETTE HAELLMIGK OPERATORS: RACHAEL LEVINE, WILLIAM GREEN ASSISTANTS: ANDREW HAMILTON, JAMES DALY, COREY LICAMELI, ANDREA BIAS DIGITAL IMAGING TECH: TED VIOLA LOADERS: ANJELA COVIAUX, BILLY HOLMAN STILL PHOTOGRAPHERS: CRAIG BLANKENHORN, BARBARA NITKE

CETERI, LLC

“UNTITLED KINBERG WEIL SERIES AKA RAY JAMES” DIRECTOR OF PHOTOGRAPHY: TIMOTHY IVES OPERATORS: MARK SCHMIDT, WYLDA BAYRON ASSISTANTS: ADRIANA BRUNETTO-LIPMAN,

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ASSISTANTS: KEVIN POTTER, ROB SALVIOTTI, RYAN BUSHMAN, TAYLOR HILBURN DIGITAL IMAGING TECH: RAFEL MONTOYA LOADER: OSCAR MONTEZ DIGITAL UTILITY: GENESIS HERNANDEZ STILL PHOTOGRAPHER: RICHARD FOREMAN

DEPUTY PRODUCTIONS “DEPUTY” SEASON 1

DIRECTORS OF PHOTOGRAPHY: SIDNEY SIDELL, ASC, ALAN CAUDILLO OPERATORS: JUSTIN BROWNE, BROOKS ROBINSON, KRIS KROSSKOVE

DICKINSON 1, LLC

“DICKINSON” SEASON 2 DIRECTOR OF PHOTOGRAPHY: TIM ORR OPERATORS: JEFFREY DUTEMPLE, GREGORY FINKEL ASSISTANTS: BRADLEY GRANT, EMMA REES-SCANLON, SUREN KARAPETYAN, KATHERYN IUELE DIGITAL IMAGING TECH: JESSICA TA LOADERS: JYE-EN JENG, MICHAEL POMORSKI STILL PHOTOGRAPHERS: MICHAEL PARMELEE, JON PACK

ELIANIMAL, LLC

“TRINKETS” SEASON 2 DIRECTORS OF PHOTOGRAPHY: ZACH SALSMAN, PEDRO GOMEZ MILLAN OPERATORS: MATT MORIARTY, PHIL ANDERSON, PETER GREEN ASSISTANTS: KYRIL CVETKOV, JERRY TURNER, MIKE CROCKETT, PATRICK LAVALLEY STEADICAM OPERATOR: MATT MORIARTY STEADICAM ASSISTANT: KYRIL CVETKOV DIGITAL IMAGING TECH: JOHN SPELLMAN DIGITAL UTILITY: JASMINE KARCEY REMOTE HEAD TECH/OPERATOR: BRYAN FLETCHALL STILL PHOTOGRAPHER: AUGUSTA QUIRK

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LOADERS: BRITTANY WILSON, XAVIER VENOSTA STILL PHOTOGRAPHERS: PATRICK HARBRON, FRANK MCPARTLAND, ANTONY PLATT

FALSITY PRODUCTIONS, LLC “HIT & RUN” SEASON 1

DIRECTOR OF PHOTOGRAPHY: ZOE WHITE OPERATORS: JEFF MUHLSTOCK, GREGOR TAVENNER ASSISTANTS: JOHN LARSON, CORY STAMBLER, RICH PALLERO, COURTNEY BRIDGERS, CHRIS CAFARO DIGITAL IMAGING TECH: MATTHEW SELKIRK LOADER: AMBER MATHES STILL PHOTOGRAPHERS: JOJO WHILDEN, CARA HOWE, ANNA KOORIS

FUQUA FILMS

“THE RESIDENT” SEASON 3 DIRECTOR OF PHOTOGRAPHY: BART TAU OPERATORS: MATT DOLL, ANDY FISHER, CHRISTIAN SATRAZEMIS ASSISTANTS: JUSTIN DEGUIRE, TAYLOR CASE, APRIL RUANE CROWLEY, MIKE FISHER, JENNIFER RANKINE, GRACE PRELLER CHAMBERS STEADICAM OPERATOR: MATT DOLL STEADICAM ASSISTANT: JUSTIN DEGUIRE LOADER: TREY VOLPE DIGITAL UTILITY: RYAN ST CLAIR

EVENTVISION, INC.

“DISNEY HOLIDAY SPECIAL” DIRECTOR OF PHOTOGRAPHY: MARC RITZEMA LIGHTING DESIGNER: MATT FORD OPERATOR: DAVID PLAKOS HANDHELD OPERATORS: NAT HAVHOLM, JOFRE ROSERO, DANNY BONILLA JIB OPERATOR: DAVE EASTWOOD LEAD CAMERA TECH: JAMES COKER ASSISTANTS: ADAM KIRSCHHOFFER, STEFAN TARZAN, GREG DELLERSON, KRISTI ARNDS, WAYNE GORING, NOAH GLAZER, COLLEEN LINDL, JERRY PATTON, WILLIAM DICENSO LEAD UTILITY: DARIO CUEVA UTILITIES: JOE MIRANDA, WILL WOLF, JOSH LERMON, DRORY YELIN STEADICAM OPERATOR: TRAVIS HAY:S STEADICAM ASSISTANT: JOHN ADDELIA MOVIE BIRD TECH: PETER DRINCO, JAMES DELATORRE DIGITAL IMAGING TECH: MATTHEW CONRAD

EYE PRODUCTIONS, INC.

“BLUE BLOODS” SEASON 10 DIRECTOR OF PHOTOGRAPHY: GENE ENGELS OPERATORS: STEPHEN CONSENTINO, GEOFFREY FROST ASSISTANTS: GRAHAM BURT, JACOB STAHLMAN, MARTIN PETERSON, KENNETH MARTELL DIGITAL IMAGING TECHS: RYAN HEIDE, STEVE CALALANG LOADERS: MICHAEL FULLER, JOHN KEELER

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STILL PHOTOGRAPHERS: CRAIG BLANKENHORN, PATRICK HARBRON

“DYNASTY” SEASON 3 DIRECTORS OF PHOTOGRAPHY: STAR BARRY, ROGER CHINGIRIAN OPERATORS: BRETT MAYFIELD, BROWN COOPER ASSISTANTS: COLIN DURAN, RYAN ABRAMS, ALEXA ROMERO STEADICAM OPERATOR: BRETT MAYFIELD STEADICAM ASSISTANT: COLIN DURAN DIGITAL IMAGING TECH: ERIC HENSON DIGITAL UTILITY: JIMARI JONES

“MACGYVER” SEASON 4 DIRECTORS OF PHOTOGRAPHY: MICHAEL MARTINEZ, CHRISTOPHER DUDDY OPERATORS: IAN FORSYTH, PAUL KRUMPER, GREG BALDI ASSISTANTS: AL COHEN, TREVOR RIOS, MICHAEL TORINO, STEFAN VINO-FIGUEROA, EASTON HARPER, TYLER BASTIANSON STEADICAM OPERATOR: IAN FORSYTH STEADICAM ASSISTANT: AL COHEN DIGITAL IMAGING TECH: GREG VANZYCK DIGITAL UTILITY: BRIAN FREDERICK

“SWAGGER” SEASON 1 DIRECTORS OF PHOTOGRAPHY: RODNEY TAYLOR, ASC CLIFFORD CHARLES OPERATORS: KERWIN DEVONISH, GARY HATFIELD ASSISTANTS: CHRISTOPHER GLEATON, NICHOLAS HAHN, ZAKIYA LUCAS-MURRAY, DERRICK DAWKINS

2ND UNIT DIRECTOR OF PHOTOGRAPHY: ANDY FISHER OPERATORS: CHRISTIAN SATRAZEMIS, MICHAEL GFELNER, COOPER DUNN ASSISTANTS: JACKSON MCDONALD, CLAIRE PAPEVIES, TAYLOR CASE, MATT EVANS, STERLING WIGGINS, TRISHA SOLYN STEADICAM OPERATOR: CHRISTIAN SATRAZEMIS DIGITAL UTILITY: TREY VOLPE UTILITY: ERIC GAVLINSKI

FX NETWORK

“IT’S ALWAYS SUNNY IN PHILADELPHIA” SEASON 14 DIRECTOR OF PHOTOGRAPHY: JOHN TANZER OPERATORS: ADAM SKLENA, DAVE GASPERIK, DAVE HIRSCHMANN ASSISTANTS: GAVIN WYNN, ANGELICA GIANGREGORIO, NOAH BAGDONAS CAMERA UTILITY: JOHN GOODNER DIGITAL UTILITY: MICHAEL BAGDONAS STILL PHOTOGRAPHER: PATRICK MCELHENNEY

GHOST PRODUCTIONS, INC. “GHOST” SEASON 1

DIRECTORS OF PHOTOGRAPHY: CHRIS LA VASSEUR, AARON MEDICK OPERATORS: JON BEATTIE, NICOLA BENIZZI ASSISTANTS: MICHAEL GAROFALO, CHARLIE FOERSCHNER, YALE GROPMAN, ALIVIA BORAB LOADERS: SCOTT GAROFALO, ANREW DAILEY DIGITAL IMAGING TECH: ROB MUIA STILL PHOTOGRAPHER: MYLES ARONOWITZ PUBLICIST: SABRINA LAUFER

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GRACETHEMOVIE, LLC

LIFE UNKNOWN, LLP

OPERATORS: TRAVIS PLANTE, GEORGIA PACKARD ASSISTANTS: BRANDON PATTISON, KATY JONES, JAMES WILKERSON STEADICAM OPERATOR: TRAVIS PLANTE LOADER: EVAN WHITE

OPERATOR: CHRISTIAN RAMIREZ-COLL ASSISTANTS: CARLOS RIVERA, CARLOS DE LEON ORTIZ DIGITAL IMAGING TECH: OMAR RIVERA ABREU STILL PHOTOGRAPHER: LAURA MAGRUDER

“GRACE”

HARLEM 1929, INC. “PASSING”

DIRECTORS OF PHOTOGRAPHY: EDUARD GRAU ASSISTANTS: BAYLEY SWEITZER, RACHEL FEDORKOVA DIGITAL IMAGING TECH: ZACHARY SAINZ STILL PHOTOGRAPHER: EMILY ARAGONES

“TRAP” SEASON 1

LIONSGATE PRODUCTIONS, LLC “RUN THE WORLD” PILOT

DIRECTOR OF PHOTOGRAPHY: MAURICIO RUBENSTEIN, ASC OPERATORS: PATRICK QUINN, ALAN MEHLBRECH, SOC ASSISTANTS: JUSTIN WHITACRE, JOSHUA WATERMAN, ANTHONY DEFRANCESCO, ADAM RUSSELL STEADICAM OPERATOR: ALAN MEHLBRECH, SOC DIGITAL IMAGING TECH: ROSS CITRIN LOADER: MICHAEL WILLIAMS

HOCK PRODUCTIONS, LLC

“THE EYES OF TAMMY FAYE” DIRECTOR OF PHOTOGRAPHY: MICHAEL GIOULAKIS OPERATOR: BENJAMIN VERHULST ASSISTANTS: SCOTT JOHNSON, MATTHEW MEBANE, MONICA BARRIOS-SMITH, YOUNG JAE KIM STILL PHOTOGRAPHER: DANIEL MCFADDEN PUBLICIST: PETER SILBERMANN

HORIZON SCRIPTED TELEVISION

LOVE IN NY PRODUCTIONS, INC. “LOVE LIFE” SEASON 1

DIRECTOR OF PHOTOGRAPHY: ADAM CORREIA OPERATORS: WILLIAM HAYS, LELAND KRANE ASSISTANTS: ADREW BRINKMAN, CODY SCHROCK, ALEC NICKEL, JOSHUA BOTE DIGITAL IMAGING TECH: GUILLERMO TUNON LOADER: JAMES DRUMMOND STILL PHOTOGRAPHER: SARAH SHATZ

“THE RIGHT STUFF” SEASON 1

DIRECTOR OF PHOTOGRAPHY: EVANS BROWN OPERATORS: BOB SCOTT, MATT HUTCHENS ASSISTANTS: MARY-MARGARET PORTER, OGI SAROVIC, NICK GOWIN, DERRICK GUTIERREZ STEADICAM OPERATOR: MATT HUTCHENS LOADER: JAIME STRIBY DIGITAL UTILITY: JAKE SCHNEIDERMAN STILL PHOTOGRAPHER: GENE PAGE PUBLICIST: ERIN FELENTZER

MAIN GATE PRODUCTIONS, LLC “GOD FRIENDED ME” SEASON 2

DIRECTOR OF PHOTOGRAPHY: JON DELGADO OPERATORS: THOMAS SCHNAIDT, DANIEL HERSEY ASSISTANTS: BLACKFORD SHELTON, III, MARCOS RODRIGUEZ QUIJANO, BEHNOOD DADFAR, ALFONSO DIAZ DIGITAL IMAGING TECH: CHANDLER TUCKER LOADERS: ANGEL VASQUEZ, MIGUEL GONZALEZ STILL PHOTOGRAPHER: MICHAEL PARMELEE

JAY SQUARED

“BLINDSPOT” SEASON 5 DIRECTOR OF PHOTOGRAPHY: ANDREW PRIESTLEY OPERATORS: PYARE FORTUNATO, PETER RAMOS, JOHN ROMER ASSISTANTS: ANDREW SMITH, ALEKSANDR ALLEN, CHRISTIAN BRIGHT, BRYANT BAILEY, DEBORAH FASTUCA DIGITAL IMAGING TECH: CHLOE WALKER LOADERS: DARNELL MCDONALD, ANDREW BOYD STILL PHOTOGRAPHER: PHIL CARUSO

“MANIFEST” SEASON 2 DIRECTOR OF PHOTOGRAPHY: SARAH CAWLEY OPERATORS: CARLOS GUERRA, RYAN TOUSSIENG ASSISTANTS: ANDREW PECK, WESLEY HODGES, TRICIA MEARS, KAIH WONG LOADER: WILL FORTUNE

KAPITAL PRODUCTIONS, LLC

“TELL ME A STORY” SEASON 2 DIRECTOR OF PHOTOGRAPHY: TIM BURTON OPERATORS: TIM SUTHERLAND, JEREMY CURTIS ASSISTANTS: RON PETERSON, KENNY BAZAL, TYLER BRADLEY, NICK LOHMANN DIGITAL UTILITY: EMILY LOHMANN DIGITAL LOADER: CASEY NEARING STILL PHOTOGRAPHERS: CONNIE CHORNUK, JEREMIAH NETTER

92

JANUARY 2020 PRODUCTION CREDITS

MN2, LLC

“SUBETE A MI MOTO” DIRECTOR OF PHOTOGRAPHY: CARLOS ZAYAS OPERATORS: RAUL ROSADO MALDONADO ASSISTANTS: CARLOS GARCIA, ENRESTO GOMEZ, NATASHA LUNA DIGITAL IMAGING TECH: ZORAIDA LUNA

NBC

“ALMOST FAMILY” SEASON 1 DIRECTOR OF PHOTOGRAPHY: TIM BELLEN OPERATORS: ARTHUR AFRICANO, JONATHAN BECK, CAITLIN MACHAK ASSISTANTS: ALEX BELLEN, JOSEPH METZGER, WARIS SUPANPONG, YVES WILSON, JONATHAN MONK, RANDY SCHWARTZ LOADERS: GIANNI CARSON, IVANA BERNAL STILL PHOTOGRAPHERS: LINDA KALLERUS, CARA HOWE

“BLUFF CITY LAW” SEASON 1 DIRECTOR OF PHOTOGRAPHY: MIKE SPRAGG, BSC OPERATORS: MATTHEW PEARCE, BRENT SHREWSBURY ASSISTANTS: DAVID LEB, BETTY CHOW, MATTHEW CABINUM, JARRETT RAWLINGS STEADICAM OPERATOR: MATTHEW PEARCE LOADER: CONNOR KING

DIGITAL IMAGING TECH: JACOB LAGUARDIA STILL PHOTOGRAPHER: KATHERINE BOMBOY

“BROOKLYN NINE-NINE” SEASON 7 DIRECTOR OF PHOTOGRAPHY: RICK PAGE OPERATORS: PHIL MASTRELLA, LAUREN GADD, JOEL TALLBUT ASSISTANTS: JAY LEVY, BILL GERARDO, DUSTIN MILLER, WILLIAM SCHMIDT, CHRIS CARLSON LOADER: NICK GILBERT DIGITAL UTILITY: KURT LEVY STILL PHOTOGRAPHER: JOHN P. FLEENOR

“CHICAGO MED” SEASON 5 DIRECTORS OF PHOTOGRAPHY: LEX DUPONT, ASC OPERATORS: FAIRES ANDERSON SEKIYA, JOE TOLITANO, BENJAMIN SPEK ASSISTANTS: GEORGE OLSON, KEITH HUEFFMEIER, SAM KNAPP, LAURA DIFIGLIO, PATRICK DOOLEY, JOEY RICHARDSON STEADICAM OPERATOR: FAIRES ANDERSON SEKIYA LOADER: MATTHEW BROWN UTILITY: EMMANUEL BANSA STILL PHOTOGRAPHER: ELIZABETH SISSON

“CHICAGO PD” SEASON 7 DIRECTOR OF PHOTOGRAPHY: JAMES ZUCAL OPERATORS: VICTOR MACIAS, DARRYL MILLER, SETH THOMAS ASSISTANTS: JOHN YOUNG, JAMISON ACKER, DON CARLSON, KYLE BELOUSEK, DAVID WIGHTMAN, NICK WILSON STEADICAM OPERATOR: SCOTT DROPKIN, SOC LOADER: MARION TUCKER DIGITAL UTILITIES: CHRIS POLMANSKI, STEVE CLAY

“F.B.I.” SEASON 2 DIRECTOR OF PHOTOGRAPHY: TARI SEGAL OPERATORS: AFTON GRANT, CHARLES ANDERSON ASSISTANTS: LEE VICKERY, NIKNAZ TAVAKOLIAN, GEORGE LOOKSHIRE, YURI INOUE STEADICAM OPERATOR: AFTON GRANT LOADERS: CONNOR LYNCH, NKEM UMENYI STILL PHOTOGRAPHERS: MICHAEL PARMELEE, ELIZABETH FISHER

“GOOD GIRLS” SEASON 3 DIRECTOR OF PHOTOGRAPHY: JASON OLDAK OPERATORS: GARY CAMP, BRIAN OUTLAND, NICOLE LOBELL ASSISTANTS: JOHN RUIZ, JASON KNOLL, PATRICK BLANCHET, ROBYN BUCHANAN, EM GONZALES, CARTER SMITH STEADICAM OPERATOR: GARY CAMP STEADICAM ASSISTANT: JOHN RUIZ LOADER: MATT SCHOUTEN DIGITAL UTILITY: JONNIE MENTZER

“LINCOLN” SEASON 1 DIRECTOR OF PHOTOGRAPHY: DAVID HENNINGS OPERATORS: MICHAEL F. O’SHEA, SOC, LISA SENE ASSISTANTS: DOUGLAS FOOTE, KYLE BLACKMAN, RODRIGO MILLAN GARCE, PATRICK J. O’SHEA STEADICAM OPERATOR: MICHAEL F. O’SHEA, SOC STEADICAM ASSISTANT: DOUGLAS FOOTE LOADER: KATHERINE RIVERA STILL PHOTOGRAPHER: BARBARA NITKE

“NEW AMSTERDAM” SEASON 2 DIRECTOR OF PHOTOGRAPHY: ANDREW VOEGELI OPERATORS: JULIAN DELACRUZ, SCOTT TINSLEY

Cine Gear Expo Los Angeles 2020 THE STUDIOS AT PARAMOUNT, HOLLYWOOD, CA

FILM COMPETITION

JUNE 4

EXHIBITS JUNE 5-6 MASTER CLASSES

JUNE 7

FULL DETAILS: WWW.CINEGEAREXPO.COM

EXHIBITS SEMINARS DEMONSTRATIONS NETWORKING SPECIAL EVENTS

JANUARY 2020 PRODUCTION CREDITS

93

ASSISTANTS: PEDRO CORCEGA, JAMES MADRID, MATTHEW MONTALTO, ROBERT WRASE LOADERS: JEFFREY MAKARAUSKAS, ANABEL CAICEDO

“SUPERSTORE” SEASON 5 DIRECTOR OF PHOTOGRAPHY: JAY HUNTER OPERATORS: ADAM TASH, DANNY NICHOLS, MIGUEL PASK ASSISTANTS: JASON ZAKRZEWSKI, BRANDON MARGULIES, ERIC JENKINSON, RYAN SULLIVAN, ESTA GARCIA, RIKKI ALARIAN JONES LOADER: GRACE THOMAS

“WILL & GRACE” SEASON 11 DIRECTOR OF PHOTOGRAPHY: GARY BAUM, ASC OPERATORS: GLENN SHIMADA, TRAVERS HILL, LANCE BILLITZER, ED FINE ASSISTANTS: ADRIAN LICCIARDI, JEFF GOLDENBERG, ALEC ELIZONDO, CLINT PALMER, JASON HERRING UTILITIES: DANNY LORENZE, SEAN ASKINS DIGITAL IMAGING TECH: DEREK LANTZ VIDEO CONTROLLER: STUART WESOLIK STILL PHOTOGRAPHER: CHRIS HASTON

NETFLIX PRODUCTIONS, LLC

“HEXAGON AKA SPACE FORCE” SEASON 1 OPERATORS: JOE CHESS, ROBERT SPAULDING ASSISTANTS: MARICELLA RAMIREZ, JEFFERSON JONES, PETER DEPHILIPPIS, ULRIKE LAMSTER STEADICAM OPERATOR: JOE CHESS STEADICAM ASSISTANT: MARICELLA RAMIREZ MOVI OPERATOR: ROBERT SPAULDING DIGITAL IMAGING TECH: RYAN DEGRAZZIO LOADER: MICHAEL RUSH STILL PHOTOGRAPHER: AARON EPSTEIN

“HOLLYWOOD” SEASON 1 DIRECTOR OF PHOTOGRAPHY: SIMON DENNIS, BSC OPERATORS: ANDREW MITCHELL, SOC, BRIAN GARBELLINI, MARK LASKOWSKI ASSISTANTS: PENNY SPRAGUE, BEN PERRY, MATT BREWER, NATHAN LEWIS, ROB MONROY, JARED WILSON CAMERA UTILITY: SPENCER SHWETZ DIGITAL UTILITY: BOBBY HATFIELD STILL PHOTOGRAPHER: JAMES CLARK

“MOXIE” DIRECTOR OF PHOTOGRAPHY: TOM MAGILL OPERATORS: ARI ROBBINS, SOC, JOSH HARRISON ASSISTANTS: IAN T. BARBELLA, ADAM COWAN, GISELLE GONZALEZ, DUSTIN FRUGE STEADICAM OPERATOR: ARI ROBBINS, SOC STEADICAM ASSISTANT: IAN T. BARBELLA CAMERA UTILITY: JEREMY HILL STILL PHOTOGRAPHER: COLLEEN HAYES PUBLICIST: WILLIAM CASEY

“SWEET GIRL” DIRECTOR OF PHOTOGRAPHY: BARRY ACKROYD OPERATOR: WILL ARNOT ASSISTANTS: JIMMY JENSEN, MARKUS MENTZER, TRISTAN CHAVEZ, BRIAN BRESNEHAN DIGITAL IMAGING TECH: KYO MOON LOADER: KIMBERLY HERMAN STILL PHOTOGRAPHER: CLAY ENOS PUBLICIST: BROOKE ENSIGN

94

JANUARY 2020 PRODUCTION CREDITS

“THE EXPANDING UNIVERSE OF ASHLEY GARCIA” SEASON 1

PICROW STREAMING

DIRECTOR OF PHOTOGRAPHY: JOHN SIMMONS, ASC OPERATORS: STEVE JONES, BORIS PRICE, JONATHAN ABRAMS, SOC, VICKIE WALKER ASSISTANT: MOLLY MAIER CAMERA UTILITIES: SELVYN PRICE, ROBERT DEANE DIGITAL IMAGING TECH: RICK DUNGAN VIDEO CONTROLLER: DAVE DEMORE STILL PHOTOGRAPHER: ALI GOLDSTEIN

DIRECTORS OF PHOTOGRAPHY: TODD MCMULLEN, ASC, BOBBY LA BONGE OPERATORS: KIRK GARDNER, PK MUNSON, IAN ELLIS ASSISTANTS: ROBERT RENDON, KELLY BOGDAN, THEDA CUNNINGHAM, RIGNEY SACKLEY, JACK LEWANDOWSKI, AMANDA PARKER STEADICAM OPERATOR: KIRK GARDNER STEADICAM ASSISTANT: ROBERT RENDON LOADER: NICOLE TUREGANO DIGITAL UTILITY: ERIN MAINWARING REMOTE HEAD TECH/OPERATOR: CHRIS SMITH

NKZ PRODUCTIONS, INC.

“THE BACHELOR” SEASON 24 DIRECTORS OF PHOTOGRAPHY: DENNIS WEILER, CHAD GRIEPENTROG, ANDRE MARTINEZ OPERATORS: DOUG HENNING, MARK JUNGJOHANN, IVAN DURAN, MARTIN MOURINO, TIM STAHL, ANDREW RAKOW, EZRA EPWELL, NICK TULLY, ERICA SHUSHA, JEREMY GUY, SUZIE WEIS ASSISTANTS: YOGI NEELY, TYLER DETARSIO, DAVE OSTERBERG, THOR FRIDLEIFSSON, NICK MILLER, JAY STRAMM, JEN CHMIELEWSKI, TAYLOR GILMARTIN CAMERA UTILITIES: APPLE SCHLOSSER, MICHAEL WILLIAMSON JIB OPERATOR: RANDY GOMEZ, JR. VIDEO CONTROLLERS: RICHARD STROCK, MARC SURETTE

NM TALENT

“ROSWELL, NEW MEXICO” SEASON 2 DIRECTORS OF PHOTOGRAPHY: DAVID DANIEL, RICH PAISLEY OPERATORS: TODD BARRON, CHRIS TAYLOR ASSISTANTS: LANE LUPER, GAVIN ALCOTT, DANIEL MAESTAS, ARTU ARIN DIGITAL IMAGING TECH: TREVOR MURPHY LOADER: ROBERT CUEVAS

NORTHERN ENTERTAINMENT PRODUCTIONS, INC. “THE BAKER AND THE BEAUTY” SEASON 1 DIRECTOR OF PHOTOGRAPHY: BRIAN REYNOLDS OPERATORS: EDGAR COLON, RAPHY MOLINARY-MACHADO ASSISTANTS: CESAR MARRERO, MARAYDA CABRERA DAVILA, WILLIAM MONTANEZ LOADER: ALEX RAMIREZ CRANE TECH: MIGUEL BAERGA STILL PHOTOGRAPHERS: LAURA MAGRUDER, FRANCISCO ROMAN SANCHEZ, JEFF DALY

OLD PRINT PRODUCTIONS “DEEP WATER”

DIRECTOR OF PHOTOGRAPHY: EIGIL BRYLD OPERATOR: FEDERICO VERARDI ASSISTANTS: GLENN KAPLAN, LOUI LEROY, ZANDER WHITE, JOHN WILLIAMS DIGITAL IMAGING TECH: NATE BORCK LOADER: MARY CASTEEL DIGITAL UTILITY: BEN MANER STILL PHOTOGRAPHER: CLAIRE FOLGER

“PANIC” SEASON 1

PROP INC.

“EMMA” SEASON 1 DIRECTOR OF PHOTOGRAPHY: MOTT HUPFEL OPERATORS: MICHAEL MCGOWAN, GEORGE PATTISON, II ASSISTANTS: ROBERT BULLARD, CHRIS HOLLYER, REBECCA LIGI, JOSHUA WEILBRENNER DIGITAL IMAGING TECH: MATTHEW DORRIS LOADER: AUDREY STEVENS STILL PHOTOGRAPHER: SEACIA PAVAO

“LISEY’S STORY AKA FACES” DIRECTOR OF PHOTOGRAPHY: DARIUS KHONDJI, ASC OPERATORS: JIM MCCONKEY, ZEUS MORAND ASSISTANTS: A. CHRISTOPHER SILANO, OLGA ABRAMSON, TROY SOLA, EDDIE GOLDBLATT DIGITAL IMAGING TECH: GABE KOLODNY LOADER: PETER PERLMAN STILL PHOTOGRAPHER: PETER KRAMER

PROXIMITY PRODUCTIONS, LLC “KATY KEENE” SEASON 1

DIRECTOR OF PHOTOGRAPHY: BRENDAN UEGAMA OPERATOR: DAVID ISERN ASSISTANTS: LISA LONG, RORY HANRAHAN, NOLAN MALONEY, SUNIL DEVADANAM LOADERS: MIGUEL GONZALEZ, MARION SANNUTI STILL PHOTOGRAPHER: BARBARA NITKE

RANDOM PRODUCTIONS, LLC

“LOVECRAFT COUNTRY” SEASON 1 DIRECTORS OF PHOTOGRAPHY: ROBERT MCLACHLAN, MICHAEL WATSON OPERATORS: BOB GORELICK, BILL SAXELBY ASSISTANTS: STEPHEN EARLY, KEITH POKORSKI, NICHOLE CASTRO, LAUREN GENTRY LOADER: CORY BLAKE CAMERA UTILITY: KYLE FORD STILL PHOTOGRAPHERS: ELI ADE, D. STEVENS

REDHAWK PRODUCTIONS, IV, LLC “FARGO” SEASON 4

DIRECTOR OF PHOTOGRAPHY: DANA GONZALES, ASC OPERATORS: MITCH DUBIN, SOC, JOHN CONNOR ASSISTANTS: CHRIS WITTENBORN, HUNTER WHALEN, ERIC ARNDT, SHANNON DEWOLFE, ERIC HINGST DIGITAL IMAGING TECH: RYAN MCGREGOR LOADER: CHRIS SUMMERS DIGITAL UTILITY: EVA JUNE

RESPECT PRODUCTIONS, LLC

SHOWTIME PICTURES

STUN CREATIVE

DIRECTOR OF PHOTOGRAPHY: KRAMER MORGENTHAU, ASC OPERATORS: MIKE HEATHCOTE, JAN RUONA ASSISTANTS: MATT HEATH, DWIGHT CAMPBELL, JONNY QUINTANA, GRIFFIN MCCANN DIGITAL IMAGING TECH: JOSEPH DARE STILL PHOTOGRAPHER: QUANTRELL COLBERT PUBLICIST: AMY JOHNSON

DIRECTORS OF PHOTOGRAPHY: GIORGIO SCALI, ASC, J.B. SMITH OPERATORS: JONATHAN BECK, ERIN HENNING ASSISTANTS: CAI HALL, LEONARDO GOMEZ, II, PATRICK BRACEY, SEAN MCNAMARA LOADERS: DONALD GAMBLE, ARIEL WATSON STILL PHOTOGRAPHER: JEFF NEUMAN

DIRECTOR OF PHOTOGRAPHY: ERIC HAASE OPERATORS: JALAL PASHANDI, CEDRIC MARTIN, COLLIN DAVIS ASSISTANTS: NATE CUMMINGS, ETHAN MCDONALD, LORENZO PORRAS, CHRIS SLANY, ALBERT FRIGONE, NICHOLAS FISCHER, CAMERON KEIDEL, BRIAN FREEMAN, KYLE SAUER, JENNIFER LAI DIGITAL IMAGING TECH: DANIEL APPLEGATE

REUNION 2017, LLC

SILVER SCREEN, DEAR ZOE, LLC

DIRECTOR OF PHOTOGRAPHY: DONALD A. MORGAN, ASC OPERATORS: RANDY BAER, VITO GIAMBALVO, JOHN DECHENE, JOHN BOYD ASSISTANTS: STEVE LUND, KENNETH WILLIAMS DIGITAL IMAGING TECH: VON THOMAS CAMERA UTILITIES: MARIANNE FRANCO, ERINN BELL

DIRECTOR OF PHOTOGRAPHY: JOEL SCHWARTZ OPERATOR: PAIGE THOMAS ASSISTANTS: NICK INFIELD, ANDY SYDNEY, SCOTT MARTINEZ, JOAQUIN CASTILLO STILL PHOTOGRAPHER: DENNIS MONG

“RESPECT”

“THE CONNERS” SEASON 2

ROCART, INC.

“ALL THAT” SEASON 11 DIRECTOR OF PHOTOGRAPHY: MICHAEL FRANKS OPERATORS: VANCE BRANDON, JIM ORR, ROBERT MCCALL ASSISTANT: MONICA SCHAD UTILITIES: JOSE GOMEZ, TAYLOR FICKLE TECHNOJIB OPERATOR: ELI FRANKS TECHNOJIB TECH: COREY GIBBONS VIDEO CONTROLLERS: KEITH ANDERSON, BARRY LONG

SAN VICENTE PRODUCTIONS, INC. “FBI: MOST WANTED” SEASON 1

DIRECTORS OF PHOTOGRAPHY: MANUEL BILLETER, LUDOVIC LITTEE OPERATORS: CHRISTOPHER MOONE, REBECCA ARNDT ASSISTANTS: JASON RIHALY, MARC HILLYGUS, DYLAN ENDYKE, CHRISTOPHER CAFARO LOADERS: RYAN HADDON, DONALD GRAHAMER, III STILL PHOTOGRAPHER: MARK SCHAFER

“FOR LIFE” SEASON 1 DIRECTOR OF PHOTOGRAPHY: NIELS ALPERT OPERATORS: ELI ARONONFF, JAY SILVER ASSISTANTS: ERIC ROBINSON, JOHN REEVES, MARCOS HERRERA, QUINN MURPHY, SARAH SCRIVENER, WILLIAM POWELL DIGITAL IMAGING TECH: JEFFREY HAGERMAN LOADERS: MAX COLLINS, JOHN CONQUY STILL PHOTOGRAPHER: PATRICK HARBRON

“BILLIONS” SEASON 5

“DEAR ZOE”

SONY

“JEOPARDY!” SEASON 36 DIRECTOR OF PHOTOGRAPHY: JEFF ENGEL OPERATORS: DIANE L. FARRELL, SOC, MIKE TRIBBLE, JEFF SCHUSTER, L. DAVID IRETE JIB ARM OPERATOR: MARC HUNTER HEAD UTILITY: TINO MARQUEZ CAMERA UTILITY: RAY THOMPSON VIDEO CONTROLLER: GARY TAILLON STILL PHOTOGRAPHER: CAROL KAELSON

“WHEEL OF FORTUNE” SEASON 37 DIRECTOR OF PHOTOGRAPHY: JEFF ENGEL OPERATORS: DIANE L. FARRELL, SOC, JEFF SCHUSTER, RAY GONZALES, STEVE SIMMONS, L. DAVID IRETE, MIKE CORWIN CAMERA UTILITY: RAY THOMPSON HEAD UTILITY: TINO MARQUEZ VIDEO CONTROLLER: GARY TAILLON JIB ARM OPERATOR: RANDY GOMEZ, SR. STILL PHOTOGRAPHER: CAROL KAELSON

SOUNDVIEW PRODUCTONS

“13 REASONS WHY” SEASON 4 DIRECTORS OF PHOTOGRAPHY: KEVIN THOMPSON, TOMMY LOHMANN OPERATOR: STEPHEN BUCKINGHAM ASSISTANTS: JASON GARCIA, SAM LINO, TIM GUFFIN, ANNE LEE DIGITAL LOADER: ANTHONY ROSARIO STILL PHOTOGRAPHER: DAVID MOIR

“THE BLACKLIST” SEASON 7 DIRECTORS OF PHOTOGRAPHY: MICHAEL CARACCIOLO, SAADE MUSTAFA OPERATORS: DEREK WALKER, DEVIN LADD, PETER RAMOS ASSISTANTS: DANIEL CASEY, GARETH MANWARING, MIKE GUASPARI, JAMES GOURLEY, EDWIN HERRERA, EDGAR VELEZ LOADERS: JAMES PARSONS, CHARLES GRUNDER JR., ALYSSA LONGCHAMP STILL PHOTOGRAPHERS: JOJO WHILDEN, WILL HART, DAVID GIESBRECHT

STALWART PRODUCTIONS, LLC “NOS4A2” SEASON 2

DIRECTOR OF PHOTOGRAPHY: MARVIN RUSH OPERATORS: CHRIS JONES, GEORGE PATTISON, II ASSISTANTS: SALVADOR VEGA, JR., ZACK SHULTZ, RICHELLE TOPPING, JOHN MCCARTHY LOADER: FUAD PANJALI STILL PHOTOGRAPHER: SEACIA PAVAO

“ABC CLIP SPOT”

THIMBLE PEA PICTURES, LLC

“UNTITLED ANNA DELVEY ART PROJECT” SEASON 1 DIRECTOR OF PHOTOGRAPHY: MARYSE ALBERTI OPERATORS: GEORGE BIANCHINI, JOHN PIROZZI ASSISTANTS: JAMIESON FITZPATRICK, KEITT, CORNELIA KLAPPER, EVE STRICKMAN DIGITAL IMAGING TECH: DOUGLAS HORTON LOADER: JONATHAN PERALTA STILL PHOTOGRAPHER: PETER KRAMER

TOPANGA PRODUCTIONS

“BLACK MONDAY” SEASON 2 DIRECTOR OF PHOTOGRAPHY: CARL HERSE OPERATORS: ORLANDO DUGUAY, BARRY ELMORE ASSISTANTS: ANDREW DICKIESON, DEVON TAAFFE, RYAN GUZDZIAL, EMILY ZENK STEADICAM OPERATOR: ORLANDO DUGUAY DIGITAL IMAGING TECH: CHRIS HOYLE DIGITAL UTILITY: TAI CHEADLE STILL PHOTOGRAPHER: NICOLE WILDER

TUPON

“THE ULTIMATE PLAYLIST OF NOISE” DIRECTOR OF PHOTOGRAPHY: VINCENT PATIN OPERATOR: NATHAN MEADE ASSISTANTS: MATTHEW TOMPKINS, JUSTIN MARZELLA, JADE BRENNAN STILL PHOTOGRAPHER: BRETT ROEDEL

TURNER CENTER NORTH PRODUCTIONS, INC. “THE LAST O.G.” SEASON 3

DIRECTOR OF PHOTOGRAPHY: DANIEL PATTERSON OPERATORS: MATTHEW FLEISCHMANN, RICARDO SARMIENTO ASSISTANTS: CHEVY ANDERSON, JELANI WILSON, KELLON INNOCENT, DANIEL CARDENAS LOADER: RICHARD PENA STILL PHOTOGRAPHER: CARA HOWE

UNIVERSAL

“COUNCIL OF DADS” SEASON 1 DIRECTOR OF PHOTOGRAPHY: TODD A. DOS REIS, ASC OPERATORS: IAN DODD, DANNY ECKLER, ERIC DYSON ASSISTANTS: BRET LANIUS, JORDAN MCKIM, LAURA ROBINSON, JENNIFER BRADDOCK, LOUIS SMITH, BEAU BELLANICH DIGITAL IMAGING TECH: CHAD OLIVER DIGITAL UTILITY: BRIAN PHAN

JANUARY 2020 PRODUCTION CREDITS

95

“LAW & ORDER: SVU” SEASON 21 DIRECTOR OF PHOTOGRAPHY: MICHAEL GREEN OPERATORS: JONATHAN HERRON, MICHAEL LATINO ASSISTANTS: CHRISTOPHER DEL SORDO, MATTHEW BALZARINI, JUSTIN ZVERIN, EMILY DUMBRILL LOADERS: JASON RASWANT, JASON GAINES STILL PHOTOGRAPHER: MICHAEL PARMELEE

“THE SINNER” SEASON 3 DIRECTORS OF PHOTOGRAPHY: RADIUM CHEUNG, HKSC, JUSTIN FOSTER OPERATORS: DAVID KIMELMAN, FRANK RINATO ASSISTANTS: GUS LIMBERIS, GLEN CHIN, JAMES DEMETRIOU, IAN CARMODY DIGITAL IMAGING TECH: MALIKA FRANKLIN LOADERS: CALEN COOPER, AUSTIN RESTREPO STILL PHOTOGRAPHERS: GIOVANNI RUFINO, ZACH DILGARD

WARNER BROS

“ALL AMERICAN” SEASON 2 DIRECTOR OF PHOTOGRAPHY: NIKHIL PANIZ OPERATORS: CARLOS ARGUELLO, ERIC LAUDADIO ASSISTANTS: JON JUNG, BLAKE COLLINS, JON LINDSAY, MEL KOBRAN DIGITAL IMAGING TECH: URBAN OLSSON STILL PHOTOGRAPHER: KEVIN ESTRADA

“ALL RISE” SEASON 1 DIRECTORS OF PHOTOGRAPHY: DAVID HARP, CYBEL MARTIN OPERATORS: TIM ROARKE, STEPHEN CLANCY, SHANELE ALVAREZ ASSISTANTS: MATT GUIZA, KRISTI ARNDS, RANDY SHANOFSKY, ADAM TSANG, COLLEEN LINDL, ANTHONY HART STEADICAM OPERATOR: STEVE CLANCY STEADICAM ASSISTANT: KRISTI ARNDS DIGITAL UTILITY: MORGAN JENKINS LOADER: BENNY BAILEY

“BOB HEARTS ABISHOLA” SEASON 1 DIRECTOR OF PHOTOGRAPHY: PATTI LEE, ASC OPERATORS: MARK DAVISON, CHRIS HINOJOSA, JON PURDY, MICHELLE CRENSHAW ASSISTANTS: JEFF JOHNSON, VITO DE PALMA, MARIANNE FRANCO, ADAN TORRES, LISA ANDERSON, ALICIA BRAUNS, LANCE MITCHELL, JORDAN HRISTOV VIDEO CONTROLLER: JOHN O’BRIEN DIGITAL IMAGING TECH: T. BRETT FEENEY STILL PHOTOGRAPHER: MICHAEL YARISH PUBLICISTS: KATHLEEN TANJI, MARC KLEIN

“LUCIFER” SEASON 5 DIRECTORS OF PHOTOGRAPHY: TOM CAMARDA, KEN GLASSING OPERATORS: DAVE CHAMEIDES, PAUL THERIAULT ASSISTANTS: SIMON JARVIS, CLAIRE STONE, CHRIS MACK, TIM SHERIDAN STEADICAM OPERATOR: DAVID CHAMEIDES DIGITAL IMAGING TECH: GREG GABRIO DIGITAL UTILITY: TYLER ERNST STILL PHOTOGRAPHER: JOHN P. FLEENOR

“MOM” SEASON 7 DIRECTOR OF PHOTOGRAPHY: STEVEN V. SILVER, ASC

96

JANUARY 2020 PRODUCTION CREDITS

OPERATORS: CARY MCCRYSTAL, JAMIE HITCHCOCK, SOC, DAMIAN DELLA SANTINA, CANDY EDWARDS ASSISTANTS: MEGGINS MOORE, NIGEL STEWART, SEAN ASKINS, MARK JOHNSON, WHITNEY JONES CAMERA UTILITIES: ALICIA BRAUNS, COLIN BROWN, JEANNETTE HJORTH VIDEO CONTROLLER: KEVIN FAUST DIGITAL IMAGING TECH: BENJAMIN STEEPLES STILL PHOTOGRAPHER: ROBERT VOETS PUBLICIST: MARC KLEIN

“THE FUGITIVE” SEASON 1 DIRECTOR OF PHOTOGRAPHY: PETER LEVY OPERATORS: LAWRENCE “DOC” KARMAN, JOEY CICIO ASSISTANTS: CHUCK WHELAN, STEPHEN FRANKLIN, TOBY WHITE, KYLE SAUER, JIM THIBO STEADICAM OPERATOR: LAWRENCE “DOC” KARMAN STEADICAM ASSISTANT: CHUCK WHELAN DIGITAL IMAGING TECH: MICHAEL HARDWICK LOADER: MARSHALL HENDERSHOT STILL PHOTOGRAPHER: RICHARD FOREMAN

YOUNG SHELDON

“YOUNG SHELDON” SEASON 3 DIRECTOR OF PHOTOGRAPHY: BUZZ FEITSHANS, IV OPERATORS: NEIL TOUSSAINT, SOC, AARON SCHUH ASSISTANTS: MATTHEW DEL RUTH, GRANT YELLEN, BRAD GILSON, JR., JAMES COBB STEADICAM OPERATOR: AARON SCHUH STEADICAM ASSISTANT: GRANT YELLEN DIGITAL LOADER: BAILEY SOFTNESS DIGITAL UTILITY: IAN DOOLEY STILL PHOTOGRAPHERS: ROBERT VOETS, MICHAEL DESMOND, DARREN MICHAELS

WOODBRIDGE PRODUCTIONS “S.W.A.T.” SEASON 3

DIRECTORS OF PHOTOGRAPHY: FRANCIS KENNY, ASC, CRAIG FIKSE OPERATORS: TIM DOLAN, BRIAN PITTS, MICHAEL OTIS ROPERT ASSISTANTS: RYAN PARKS, LOGAN TURNER, THANE CHARACKY, RILEY PADELFORD, JUSTNI QUACH, MIKE FAUNTLEROY CAMERA UTILITY: CARL LAMMI LOADER: TREVOR BEELER

YNFS PRODUCTIONS, LLC

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RADICAL MEDIA, LLC

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JEAN’S SISTER

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ROCK-A-DOODLE MEDIA

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THE CHANGE MACHINE “NBC UNIVERSAL”

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JANUARY 2020 PRODUCTION CREDITS

97

STOP MOTI ON

Michael Parmelee UNIT STILL PHOTOGRAPHER DICKINSON

When I think about this image, I remember being transported into this amazing circus created by Dickinson’s production team. My motivation on this set immediately became to convey everyone’s contributions.

Unit photographers work autonomously, and we’re often challenged in capturing a moment of a scene. Many times we are unable to be in the perfect “blocked” position – as with all the circus performers in the background of this shot and Hailee Steinfeld in the center. In this frame, it was important to capture the beauty of the environment, as well as the mystery of the scene. Asking the production for a “hold for stills,” is one way to make sure we get the best possible angle for the moment. But no matter the scene, location or action, it’s always about representing the creativity of the filmmakers, which, in this case, was truly exceptional.

98

JANU ARY 2020

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