ICG Magazine - January 2022 - Indie Issue

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CINE GEAR EXPO 2 0 2 2

LA EVENT JUNE 2022

ATL EVENT OCTOBER 2022 WWW.CINEGEAREXPO.COM GO AHEAD - EXPERIENCE IT ALL LIVE EVENTS | ON AIR EVENTS | SCREENINGS | FILM COMPETITION | MASTER CLASSES

“Beautifully realized with SUPERB CINEMATOGRAPHY from Jeff Cronenweth”

3 CRITICS CHOICE AWARDS N O M I N A T I O N S

B E S T O R I G I N A L S C R E E N P L AY A A R O N S O R K I N B E S T A C T R E S S N I C O L E K I D M A N BEST SUPPORTING ACTOR J.K. SIMMONS

F O R Y O U R C O N S I D E R AT I O N I N A L L C AT E G O R I E S I N C L U D I N G

Best Picture Todd Black, p.g.a. • Jason Blumenthal • Steve Tisch

Best Cinematography Jeff Cronenweth, ASC amazonstudiosguilds.com

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NOW PLAYING In Select Theaters

F O R YO U R C O N S I D E R AT I O N I N A L L C AT EG O R I E S I N C L U D I N G

BEST

PICTURE

OUTSTANDING ACHIEVEMENT IN CINEMATOGRAPHY (FEATURE FILM) - ARI WEGNER, acs

WINNER - ARI WEGNER

Best Cinematography - Atlanta Film Critics Circle

WINNER - ARI WEGNER

Best Cinematography - Florida Film Critics Circle

WINNER - ARI WEGNER

Best Cinematography - Boston Online Film Critics Association

WINNER - ARI WEGNER

Best Cinematography - Los Angeles Film Critics Association

WINNER - ARI WEGNER

Best Cinematography - New York Film Critics Online

WINNER - ARI WEGNER

Best Cinematography - Boston Society of Film Critics

WINNER - ARI WEGNER

Distinguished Cinematographer - Middleburg Film Festival

WINNER - ARI WEGNER

Best Cinematography - St. Louis Film Critics Association

WINNER - ARI WEGNER

Best Cinematography - Chicago Film Critics Association

WINNER - ARI WEGNER

Best Cinematography - Nevada Film Critics Society

WINNER - ARI WEGNER

Variety Artisan Award - Toronto International Film Festival

“THE BEST PICTURE OF THE YEAR.

Cinematographer Ari Wegner shoots the South Island of New Zealand as if it were a dream Montana once had.

There isn’t a moment in the movie that lacks vision.”

DAVID EHRLICH,

“ARI WEGNER’S CINEMATOGRAPHY IS MAJESTIC.” JUSTIN CHANG,

“A TRIUMPH IN EVERY SENSE OF THE WORD. Alive with the camera virtuosity of Ari Wegner.”

PETER TR AVERS,

FILM.NETFLIXAWARDS.COM

Member stories, Profiles, Safety Articles and more...

600 LIVE! l i v e . i c g 6 0 0 . c o m

pictured: Polly Morgan, ASC, BSC

Contents INDIE ISSUE January 2022 / Vol. 93 No. 01

DEPARTMENTS gear guide ................ 20 first look ................ 28 masterclass ................ 30 pre-production ................ 34 book review ................ 38 exposure ................ 40 production credits ................ 74 stop motion .............. 80

44

FEATURE 01

SOUND AND FURY Power corrupts absolutely in The Tragedy of Macbeth, Joel Coen’s adaptation of Shakespeare’s political cautionary tale.

FEATURE 02 MY UNCLE CHARLIE Director of Photography Martin Ruhe, ASC, and Director George Clooney belly up to the bar for the coming-of-age memoir, The Tender Bar.

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60

president's letter

Bring It On… As I write this, it is the last day of 2021 and a new year beckons. New year’s dates have always seemed arbitrary to me – lunar calendars have their own start dates, and ancient cultures and religions have new year’s dates scattered throughout the year for many different reasons. I always thought one’s birthday should mark the new year, which means every day of the year would be someone’s New Year’s Eve, but that idea has yet to catch on.

Of course, calendars are not the point. What all new year observances mark is a desire to set aside the past as we weave hope and optimism into our vision for a better future. We could use one. The last couple of years have tested our collective ability to look ahead while leaving behind the burdens of fear and anxiety. The things that bind us together – our love of craft, our strength in unity, and our kindness and compassion – have all been tested but not broken.

But while we mourn the many losses brought by a microscopic, mutating virus, we can also celebrate and flex the muscles we have developed by coping and surviving. Our colleagues continually adapted to stringent safety protocols, which made our work ever more challenging, while our members supported one another in countless inspiring ways with masks, meals, and hardship grants. We move forward, while at the same time we honor our lost loved ones – those we lost to the virus and those we lost to all the other illnesses and struggles that are a part of our world.

Each month this magazine showcases the work of this membership, and this year renews the promise of contemporary players, advancing techniques and new images that will elevate our craft and our art. I hope the new year brings you good health, joy at home and at work, and peace everywhere.

Happy New Year – bring it on.

John Lindley, ASC National President International Cinematographers Guild IATSE Local 600

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Publisher Teresa Muñoz Executive Editor David Geffner Art Director Wes Driver

STAFF WRITER Pauline Rogers

COMMUNICATIONS COORDINATOR

Tyler Bourdeau

COPY EDITORS

Peter Bonilla Maureen Kingsley

CONTRIBUTORS Claire Folger Kevin Martin Alison Cohen Rosa Valentina Valentini

ACCOUNTING Glenn Berger Dominique Ibarra

January 2022 vol. 93 no. 01

Local

600

International Cinematographers Guild

IATSE Local 600 NATIONAL PRESIDENT John Lindley, ASC VICE PRESIDENT Dejan Georgevich, ASC 1ST NATIONAL VICE PRESIDENT Christy Fiers 2ND NATIONAL VICE PRESIDENT Baird Steptoe NATIONAL SECRETARY-TREASURER Stephen Wong NATIONAL ASSISTANT SECRETARY-TREASURER Jamie Silverstein NATIONAL SERGEANT-AT-ARMS Deborah Lipman NATIONAL EXECUTIVE DIRECTOR Rebecca Rhine ASSOCIATE NATIONAL EXECUTIVE DIRECTOR Chaim Kantor

COMMUNICATIONS COMMITTEE

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ADVERTISING POLICY: Readers should not assume that any products or services advertised in International Cinematographers Guild Magazine are endorsed by the International Cinematographers Guild. Although the Editorial staff adheres to standard industry practices in requiring advertisers to be “truthful and forthright,” there has been no extensive screening process by either International Cinematographers Guild Magazine or the International Cinematographers Guild.

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 2021, 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.

Non-members 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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wide angle Photo by Sara Terry

CONTRIBUTORS

A

nother new year rains down (literally, if you were in L.A. in late December) upon the film/ TV/media industry; and while not quite déjà vu all over again, the limitations on in-person gatherings and the ever-present PPE do feel like we’ve all been running on a wheel that never seems to rest.

For Local 600 members, working in all facets of scripted and unscripted production, the safety measures inflicted by a pandemic that’s closing in on the two-year mark have become a way of life. While critical to the resumption of production, they present unique challenges to creative- and technical-crafts teams.

That’s why, for our January Indie Film issue, the stories we’re hearing of remarkable endurance, skill, and camaraderie, from sets around this alliance, are a constant booster (pun intended). They begin with our cover story on Joel Coen’s stunning Shakespearean adaptation, The Tragedy of Macbeth (page 44), lensed by Bruno Delbonnel, ASC, AFC. Directing without his brother Ethan [ICG Magazine December 2013], Coen opted to create a version of one of the Bard’s darkest ruminations on political power (and how it corrupts absolutely) shot entirely on Warner Bros.’ Burbank, CA stages. The good news is that being stage-bound afforded Delbonnel, and creative partners like Production Designer Stefan Dechant and Chief Lighting Technician Michael Bauman, 100 percent control of how best to realize Coen’s graphically minimal (and strangely contemporary) vision. The bad news is that the show was shut down with roughly three weeks left due to COVID – a daunting reality given Macbeth’s complete lack of exterior locations.

And yet, being one of the first projects to return during COVID presented opportunities to create a future template for how the industry should proceed – none of which went unnoticed by its IATSE crew. “There was a real question about whether you could bring someone in or out safely and keep everyone safe,” recalls longtime NEB member Dave Chameides. “Frances and Joel have producers [Robert Graf and Karen Ruth Getchell] whom

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they’ve worked with forever, and their perspective was, ‘If we’re coming back to work, then we’re going to do this right.’” Chameides says the Macbeth team was COVID-tested eight times per week, “and they had a virologist [available] just to answer questions and put our minds at ease. They literally wrote the book on how to deal with this situation and handled everything incredibly well.”

Putting human lives first was also on the minds of those making The Tender Bar (page 58), shot by Martin Ruhe, ASC, and directed by George Clooney.

This sentimental character piece, adapted for the screen by Oscar winner William Monahan (The Departed), enjoyed a seamless (and safe) workflow that drew praise from every department. Even when COVID restrictions made scenes already scripted impossible, the fast and nimble Tender Bar crew (including A-Camera 1st AC Zack Shultz and B-Camera/Steadicam Operator John “Buzz” Moyer, SOC) followed Clooney’s lead.

As Ruhe describes: “there was a scene where J.R.’s father (Max Martini) comes to meet him for the first time, with J.R. [a nine-year-old Daniel Ranieri] expecting to go to a baseball game. It was meant to be shot at Shea Stadium, but COVID made that impossible.” The workaround? “We decided to just have Dad drive J.R. around the block for a disappointing two-minute father-to-son talk,” Ruhe continues. “It was a hard scene for acting, and we were not sure if Daniel could deliver. We made backup plans to get more shots to edit around it. But – and this is one of the great things about George – we went around the block twice and that was it. We had the scene after the second take, and he knew we did.”

Knowing, with the utmost certainty, what is right for both the story and your crew is the kind of decision-making this industry needs more than ever.

Clooney, who in his Exposure conversation (page 40) calls safe moviemaking circa 2022 “a constant and diligent fight,” notes, with both awe and reverence for his team: “We just shot a movie in the middle of a pandemic! I felt a huge responsibility – as a director and producer of the film – to make sure the cast and crew were safe.”

Claire Folger The Tender Bar “COVID protocols present challenges to the way we need to work as unit still photographers, especially when eye protection is in use. But, hopefully, we are learning more, so we can create an efficient and safe working environment for everyone.”

Alison Cohen Rosa Sound and Fury, Stop Motion “Working with Joel [Coen], Fran [McDormand] and Bruno [Delbonnel] on The Tragedy of Macbeth was nothing less than perfection.

Shooting in black and white on amazing sets with an incredible, generous cast was truly a photographer’s dream.”

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David Geffner Executive Editor

Email: david@icgmagazine.com

Cover photo by Alison Cohen Rosa

C L O O N E Y

01.2022

GEAR GUIDE

FilmGear Power Beams $11,695 TO $33,600 WWW.FILMGEARUSA.COM

“Gaffers love beam projectors’ punchy yet soft-edge output, but they’re hard to find and even harder to buy,” says lead lighting designer Simon Yeung. “FilmGear’s Power Beams are the modern take on the beam projectors of old, adding more power to the punch for both daylight HMI and tungsten.” The upgraded output for each of the 18-, 24-, and 36-in.-faced models ramps up to 18/12kW daylight and 24/20kW tungsten, and even the 8-in. heads support 4/2.5kW daylight and 5kW tungsten. With the added illuminance comes a wider flood angle, giving lighting professionals the freedom to wield the lights in similar ways as spotted conventional PAR’s. In addition to their typical applications as directional sources for punching through windows or foliage with little spill, European gaffers are already exploring using Power Beams as bounce lights. As Yeung adds: “Best of all, you can finally own them instead of having to lay out so much renting every time.” The thicker glass mirror, overall sturdier lamp housing, and wheeled flight case make these beam projectors much more resilient to damage, ensuring that the Power Beams will last long enough to be worth the investment.

DJI Ronin 4D 4D 6K $7,199; 4D 8K $11,499 WWW.DJI.COM

The DJI Ronin 4D combines a 35-mm full-frame CMOS image sensor with fouraxis stabilization, wireless transmission, remote control and LIDAR-guided focus to unlock filmmaking possibilities. A first-of-its-kind motorized zz-axis stabilizer creates a powerful handheld unit that allows a single operator to make impossible shots come to life. Oscar-winner Erik Messerschmidt, ASC, describes it as “an entirely new way to look at a production camera.” The Ronin 4D delivers rock-steady stabilization, laser-sharp focus, and limitless motion, even for small crews on limited budgets. Available in a 6K or 8K combo, the all-new Zenmuse X9 camera supports 6K/48 fps or 8K/60 fps in Apple ProRes RAW and 120 fps in ProRes 422 HQ and H.264. Additionally, the Zenmuse X9 features nine stops of built-in ND filters and supports interchangeable lens mounts, allowing users to switch between DJI and third-party mounts.

The Ronin 4D is fully integrated with DJI’s Pro Ecosystem, including Master Wheels and Force Pro, and its DJI O3 Pro Video transmission enables real-time 1080p visuals and remote camera and focus control up to six kilometers. Built using DJI’s leading imaging and robotics technology, the Ronin 4D is sparking a technical revolution in workability, efficiency, and possibilities for filmmaking.

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FOR YOUR CONSIDERATION IN ALL CATEGORIES INCLUDING

BEST PICTURE BEST CINEMATOGRAPHY Martin Ruhe, ASC

“THE TENDER BAR HITS YOU RIGHT IN THE HEART”

Based on the best-selling memoir

Directed by George Clooney Screenplay by William Monahan

NOW PLAYING

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IN SELECT THEATERS

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INDIE ISSUE

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GEAR GUIDE

01.2022

SIGMA 18-50-mm F2.8 $549 WWW.SIGMAPHOTO.COM

SGMA’s first Super 35-sized mirrorless zoom lens has a versatile full-frame equivalent zoom range of 27-75 mm with a fast F2.8 maximum aperture through the range, which makes it ideal for a wide variety of photo and video applications including landscapes, portraits, street photography, architecture, and events. It can also be used for macro-style close-up photography owing to its maximum magnification of 1:2.8 at 18 mm, which allows a minimum focusing distance of just 12.1 centimeters from the sensor – mere inches from the front element for capture. In terms of its bright F2.8 aperture, it makes for easier handheld low-light shooting and provides a shallow depth-of-field for high-impact results. Autofocus is fast and quiet thanks to the stepping motor, which can be useful when shooting video or fast-moving subjects such as children and animals. A sevenblade rounded diaphragm provides pleasing bokeh; its exceptionally small and light form factor weighs less than 300 grams, making it perfect as a grab-and-go and remote lens, and as a sub-lens for fullframe hybrid high-megapixel bodies while retaining 4K video capture.

The lens is offered in Sony E-mount and Leica TL-mount for L-mount Alliance camera bodies from SIGMA, Leica and Panasonic.

CORE SWX Maverick $4,199 WWW.CORESWX.COM

The just-released Maverick Battery Pack from Core SWX is the nextgeneration, all-encompassing block battery system for cinema and lighting applications. Built for high-demand situations, the MV6 has a capacity of 605 Wh (max rating 639 Wh) and can sustain up to 20 A draw on the two XLR 4-pin 14 V and 20 A on the two XLR 3-pin 28-V outputs simultaneously (max 40 A altogether). The battery is also equipped with two power taps and one USB to power any additional accessories, as well as a backlit runtime LCD that can provide remaining runtime and charge time and report diagnostic testing.

Once the battery depletes, it can be charged back up in just five hours with the built-in internal charger. The all-aluminum modular design on the Maverick provides a robust form to sustain the rigors of production while providing up to seven inches of water resistance. The modular design also allows for servicing in the field to quickly get back up and running. Built with premium nickel–metal hydride cells from Japan, this pack will sustain several thousand cycles of usage with minimal degradation and is backed by a three-year warranty. The nickel–metal hydride chemistry allows for easy air shipping and travel.

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GEAR GUIDE

01.2022

Sony VENICE 2 8K BODY PLUS LICENSES $62,000 WWW.SONY.COM

“I really wish that we’d had a large-format 8.6K sensor like the Sony VENICE 2 on my past work,” says Robert McLachlan, ASC, CSC. He recently tested this flagship model and latest addition to Sony’s high-end digital cinema cameras. “It would have made it feel even more epic and, at the same time, more engaging, thanks to the increased resolution, richness, and dimensionality. The increased speed, cleaner highlights, and shadows, together with the potential for supershallow depth-of-field, would have been a huge asset.” The VENICE 2 inherits popular features from the original VENICE, including color science, dual-base ISO, and eight stops of built-in ND filters. Added features include a compact design, internal recording, and the newly developed full-frame 8.6K sensor.

Paired with a newly developed 8.6K (8640 × 5760) full-frame CMOS image sensor, it offers 16 stops of total latitude. The VENICE 2 8K CineAlta has a unique dual-base ISO of 800/3200, which allows for incredibly clean, film-like images under a wide range of conditions. It supports everything from full-frame and full-frame anamorphic, to Super 35 all at a minimum of 4K resolution.

Lightbridge CRLS 2.0 UNDER $4,995 WWW.THELIGHTBRIDGE.COM

Reflector boards are a basic concept, but the folks at Lightbridge have taken it up a notch with their C-Reflectors, which utilize precision aluminumcoated, smoothly polished, wrinkle-free surfaces to reflect up to 97 percent of the light hitting them and produce 100 percent color rendering. Director of Photography Manuel Billeter, known for his dark noir look on Jessica Jones [ICG Magazine January 2016], says “The reflectors, in essence, behave like a lamp – the slightest pan and tilt changes the shape of the light in the room. It’s a very accurate instrument that can be used with any source, depending on the desired effect. Depending on the orientation of the boards, you can choose to bounce a horizontal or vertical light pattern into the scene, creating a quality of light that is soft, natural, pleasing – and the falloff is gradual yet precise. The amount of control you have over the light, often without needing additional grip equipment, opens up new creative and exciting ways to work on set.” Lightbridge’s CRLS 2.0 C-Drive Kit offers a combination of C-Reflectors, mounting accessories, and a cleaning kit all protected in a rugged wheeled flight case. At the heart of the 16-reflector kit is a neatly organized series of C-Reflectors in four sizes: 7 × 7 cm, 15 × 15 cm, 25 × 25 cm, and 50 × 50 cm. Each offers four grades of diffusion: Diff 1 – Punch Black, Diff 2 – Sky blue, Diff 3 – Ambient Violet, and Diff 4 – Super White. Every size group has a dedicated Cordura Speedbag, and individual strengths are safeguarded within separate neoprene sleeves.

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10

WINNER TOP 10

MOTION PICTURES OF THE YEAR

CRITICS CHOICE AWARD NOMINATIONS

WINNER

INCLUDING

BEST PICTURE

2021 TOP FILM

BEST CINEMATOGRAPHY GREIG FRASER, ASC, ACS

“‘DUNE’ IS SPECTACULAR.

GREIG FRASER’S CINEMATOGRAPHY IS A SIGHT TO BE SEEN, SIMPLY GORGEOUS.” JAZZ TANGCAY,

BEST PICTURE BEST CINEMATOGRAPHY GRE I G FR ASE R ,

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GEAR GUIDE

01.2022

Filmotechnic TechnoScope F17 MARKET PRICE PENDING WWW.FILMOTECHNICUSA.COM

Part of a new series of lightweight and compact telescoping camera cranes, the TechnoScope F17 (and F27) from Filmotechnic is easy to deliver, assemble, and operate in hard-to-reach places. It’s the perfect crane to work with lightweight remote heads such as the Filmotechnic Flight Head Mini or Colibri, but also with a DJI Ronin and MōVI, making this technology more accessible than ever before. The TechnoScope’s smooth and quiet (low-noise) operations make it suitable for indoor use. The Mitchell mount allows the telescopic boom to be mounted on any camera dolly or any other Mitchell mount platform. The crane can be powered by either battery or a 110-V/220-V power supply. The new cranes are available in two lengths: 27 feet and 17 feet. The crane assembles easily, fits regular dolly tracks, is lightweight, and includes portable carbon fiber elements. It features a stable base with pneumatic and/or track wheels, rain cover, and adapters. There is a 110-60-DC power supply and optional electronic nose suspension available. The crane is well-suited to setup and hard-to-reach places.

SymplyDIT LTO $4,599 WWW.GOSYMPLY.COM

“Symply got it right with the SymplyPRO LTO,” observes Martin Greenwood, CTO of YoYotta. “It’s well-engineered, adaptable and affordable.” Working closely with DITs to meet the demands of fast-paced production workflows, Symply’s engineers came up with a design that provides maximum efficiency in even the smallest spaces. This Thunderbolt 3-enabled unit has a highly robust full-featured archive and transfer system, with unique multi-access technology that combines camera card readers for RED, Atomos, and Blackmagic Design. It features a removable 2.5in. SSD and LTO tape for fast, all-in-one DIT storage operations, and eliminates the need for multiple card readers and a mass of cables. The SymplyPRO also provides 60 W of charging through Apple’s Thunderbolt 3 data transfer, and comes equipped with SymplyATOM (Advanced Tape Operations and Management) software that makes operation and maintenance easy. The unit is available in several configurations of LTO, including the latest LTO-9 with more than 18-TB RAW capacity and 400 MB/s performance to handle massive RAW media formats. The rugged, all-metal alloy enclosure allows for easy transport, service or upgrade. SymplyDIT LTO systems are certified for use with popular back-up and archive utilities for MacOS and Windows, including YoYotta, Hedge Canister, and Archiware P5.

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INDIE ISSUE

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FIRST LOOK

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01.2022

Mariela Ferrer Zequeira CAMERA ASSISTANT

BY PAULINE ROGERS PHOTO BY TEMMA HANKIN

San Juan, Puerto Rico native Mariela Ferrer Zequeira has a passion for photography that comes naturally.

Her father, grandfather and great-grandfather were hobbyists, and members of both sides of her family work in front of and behind the camera.

“It’s almost like it’s in my genes,” she admits.

“When I was at Cornell, I majored in film [and Italian].

That’s where my interest in the film industry took off.”

Back home in Puerto Rico, Ferrer Zequeira first worked as a coordinator, meeting people, and making connections. “Local female AC’s took me under their wing, and without their mentorship, I wouldn’t be where I am today,” she insists.

In 2014, Ferrer Zequeira joined Local 600 on Cleaners, where she met Director of Photography Joe White and 1st AC Mark Legaspi. “They were the ones who gave me my first jobs in L.A. and introduced me to other camera people,” she adds.

a drama about coping with life after loss, Ferrer Zequeira came along. “It was a completely different show than American Vandal,” she reflects. “Yet there were similarities in terms of what we were trying to accomplish, because despite the new genre, the work maintained a particular look that is distinct to Adam. He elegantly conveys the emotion necessary for the story in the style of the show, yet his signature is there – in the beautifully proportionate static wides as well as in the action and characterdriven moving shots.

“I think that, as a 2nd AC, it’s important for me to notice these things,” Ferrer Zequeira continues, “because if I’m interested and invested in the final result, and I’m excited to see the DP’s vision realized, I’m more motivated to do a better job, to work with the team, and to pay attention to details that can, in turn, help my operator and 1st AC do a better job.”

This led to working with Charlie Panian and a series of projects with Director of Photography Adam Bricker.

“As I look back, I can see the growth of my career through various jobs with Adam,” she adds.

“Season 1 of American Vandal was our first show together. My camera got to splinter off and work on beautiful B-roll and establishing shots that played a very important part in the mockumentary style of the show. Chloe Weaver was the operator and she taught me how framing can create a mood through establishing shots. I also learned about the connection that exists between an operator and a DP and the synchronicity that’s needed between them to achieve a certain look.”

When Bricker moved on to Sorry for Your Loss,

Ferrer Zequeira says that Bricker creates a space for that to happen and for all of his team to be involved. “It’s almost as if everyone’s eyes are looking through the viewfinder,” she describes.

“When everyone in the camera team is included in the decision-making, and when the input we all have is given value, the process becomes truly collaborative, and that’s what makes the project ultimately better.”

The 15-time-Emmy-nominated HBO series Hacks [ICG Magazine August 2021] is Bricker’s latest show – and Ferrer Zequeira’s as well. She says Season 1 began filming in November of 2019, and it was both “exciting and difficult” to go back to work after the pandemic shutdown. “The camera team had been working together long enough that it

was like a family getting back together,” she recalls.

“It’s a different kind of show, as we work regularly with three cameras; and, at times, a fourth is added.

It’s interesting to see how Adam and the operators – Joel Marsh, Natasha Mullan and Charlie Panian – get three cameras to work at once. For the ACs, it’s also interesting to find creative ways to change the builds to get three cameras working in a compact space, like the plush interior of Deborah Vance’s [Emmy-winner Jean Smart’s] private jet.

“The show is also interesting from a technical perspective,” Ferrer Zequeira adds. Guy McVicker and the technicians at Panavision developed special modifications for the Primo 70 lenses on Season 1. This year we are using a new camera system. It’s been interesting to see how Adam shapes the look with this new tool, but also how the whole camera team adapts. As someone who aspires to become an operator, I couldn’t ask for a better team to learn from.”

Ferrer Zequeira’s drive for perfection has continually captured Bricker’s attention. “Not only is Mariela extremely hardworking, but she brings a great energy to set every day,” he shares. “It’s been wonderful to see her grow into an important leader on the team.”

For her part, Ferrer Zequeira says Hacks is like a return to her roots, and she couldn’t be more enthusiastic about the results. “This camera team is majority female, with several Latinas of different backgrounds, which brings me back to my start in Puerto Rico,” she concludes, “where it was a group of hard-working, knowledgeable women who laid the foundation I needed to succeed in the industry.”

INDIE ISSUE

29

MASTER CLASS

Trevor Loomis

BY PAULINE ROGERS PHOTO BY GREG GAYNE

Trevor Loomis credits his time in the Navy as providing the discipline that helps him navigate the complicated world of being a 1st AC on such mega-hit franchises as Pirates of the Caribbean (The Curse of the Black Pearl, Dead Man’s Chest, At World’s End, On Stranger Tides, Dead Men Tell No Tales), The Hunger Games, Transformers and more. He also points to his days as a prep tech at Panavision, watching and learning from top ACs and DPs, as another formative influence.

Early in his career, Loomis took time off from Panavision to work with 1st AC Don Thorin Jr. on In the Line of Fire. That’s when he found his passion for camera and began working his way up the ranks. He started as Loader/2nd AC B-Camera on Little Big League when film still ruled, transitioned into digital, and is now often the voice of sanity when prepping mixed-media projects that are so common today.

Loomis says mentors such as Thorin Jr. also helped him build a successful AC persona. “Never get frazzled over anything,” he says of his days working with Thorin Jr. “You can keep laughing and have fun at the job yet still work at the highest level,” he recalls of days with Cal Roberts. From Tony Rivetti, he learned that one can “work at the highest level and always stay ahead and look at the next setup and prepare for it.”

Loomis says today’s industry is very different from when he started – and it’s not just the technology that’s changed. “It was much harder to get in, and the structure was very different,” he recalls. “When I started, the second AC would also load film on some jobs. So you had to be very good at time management and never leave your first [AC] unattended. It was challenging to do

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two jobs at a time. But there was a definite chain of command. Don’t get me wrong, there is still a chain of command, but it was run much differently back then. The first ran it all through the DP, which is still to this day how I try to work.”

Juggling multiple jobs comes naturally to Loomis. On City of Angels and Speed 2, he was dealing with multiple cameras as the A-2nd and B-1st, and that’s when he realized his goal was to be a 1st AC. “This is a job where every shot is different and has its own challenges, which is what I loved and still love to this day.”

Prep is probably the most intense time for an AC, Loomis shares. “Each job is unique, and you have to be fully prepared. The first Pirates was different because we were on very remote islands in the Caribbean and had to be prepared for literally everything. Larry Hezzelwood and Panavision were very accommodating to our needs and made it work with the budget. I ended up taking six camera packages to Saint Vincent, with everything from crash housings to splash bags and everything in between.”

For Loomis, the prep for The Perfect Storm was an example of one of the most challenging aspects of the AC’s craft. It’s not always just making sure you have the right equipment and that it works. Sometimes it’s developing something that doesn’t exist.

“At that time, it was splash,” he recalls. “So, part of my job was to work with Pete Romano at Hydroflex, going through a lot of variations before

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INDIE ISSUE

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MASTER CLASS

“...there’s a huge difference between [using] the focus knob on the camera to pulling focus on monitors...taking away the focus puller’s interaction with the camera operators and actors changed everything.”

we got to what they are now. I knew that we were going to have massive water cannons on two 12,000-gallon dump tanks. We had to be sure we could deflect that much water and keep the cameras dry and functional. We came up with the air knife and the ability to push some air inside the bag in front of the lens to keep it from fogging due to the cold water.

“We also had to come up with a way to push a large, continuous amount of air to the cameras,” he adds. “So, Jeff Pelton and the SPX team devised a system that consisted of two air compressors that pushed air to a 500-gallon holding tank to keep up the air pressure.”

Just as Loomis became an expert at solving challenges – including the move from film to digital – natural progression kicked in, and the time was right to concentrate on being a focus puller. “The first thing I learned is that there is a huge difference between pulling focus on the focus knob on the camera to pulling focus on monitors,” he reflects.

“Sadly, taking away the focus puller’s interaction with the camera operators and actors changed so much. That was a huge part of our job in the film days.”

Loomis made the switch on The Perfect Storm, where John Seale, ASC, gave him the chance, “and I was determined not to let him down,” Loomis remembers. “Whatever an AC’s job – it’s the prep that can make it. I was so nervous, I went to Technicolor every morning before work and watched the dailies.

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John asked [Director] Wolfgang Petersen if it was okay, and with his blessing, I went in and learned a lot. After a while, Wolfgang would ask me in the morning if the dailies were good or not.”

Loomis, who has been a Guild member for 28 years, has a lot to say about the innate pressures of working on a large franchise. “Expectations are much higher,” he notes. “Shots are harder, with no room for error. The days of rehearsals are gone; they went away with film, yet they always say, ‘Let’s shoot the rehearsal.’ Well, as Larry Fong and I both say, ‘It’s not a rehearsal if we are shooting. It’s Take One.’ [Laughs.] And they are quick to judge if it’s not perfect. So, as a focus puller, we often have to hold our ground – even if there is blowback.”

Prep is much harder with digital, and that ripples down to the first AC. “We always had Prestons and an occasional wireless video setup,” Loomis says. “Now we have Prestons on every camera with wireless transmitters that interfere with all the wireless systems that the electrical and sound departments have. So, we all have to learn to dance and work in conjunction with each other.

It takes much more time, and Production is always in denial about the amount of time it takes to prep packages now.

“I’ve done a lot of jobs that mix film and digital,” he continues. “This introduces yet another problem during prep, because we have to make sure the lenses perform on both formats. So there is a lot of tweaking and testing of the lenses to make it work.”

Loomis recently faced the mixed-film-anddigital challenge on Martin Scorsese’s Killers of the Flower Moon, shot by Rodrigo Prieto, ASC, AMC. “[Scorsese and Prieto] wanted a specific look because it’s a true story that takes place in the 1920s and 1930s. They wanted to shoot anamorphic, so we went to Panavision and projected different series of anamorphic lenses with Dan Sasaki and came up with a hybrid set that had the flare characteristics of the C’s and B’s but also the traits of the T’s. The look was beautiful and in the time period of the movie, for sure. With Panavision’s help – and Dan’s and Rodrigo’s vision – it really came to life on screen. I’m excited about it coming out – it’s a story that needed to be told, and Martin Scorsese and Rodrigo did an amazing job bringing it to life.”

Charting Loomis’ career illustrates how a creative eye can develop and contribute along the way. In the end, he says it’s all about staying calm, being creative and feeling confident in your knowledge. “It’s interesting,” he concludes. “I think I’m still a little old school. I still treat a camera like a film camera. I still stand next to the operator and pull focus from the knob on the camera. I think the camera operator–focus puller relationship is important. We can communicate during the shot.

Sometimes I see things the operator doesn’t – like a boom shadow or a beat during the shot that the operator can catch. When the operator, focus puller and dolly grip are all communicating and on the same page, magic can happen.”

“A MAGICAL EVOCATION OF A TIME AND PLACE” THE WRAP

F O R

Y O U R

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BEST PICTURE BEST CINEMATOGRAPHY MICHAEL BAUMAN PAUL THOMAS ANDERSON

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For information on in-person and virtual events and screenings go to WWW.UARELEASINGGUILDS.COM

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PRE-PRODUCTION

Backstories

BY PAULINE ROGERS PHOTOS COURTESY OF THE GUILD MEMBERS UNLESS OTHERWISE NOTED

Like characters in the projects they help to create, every Local 600 member has a backstory: a time, a place, a moment – and more often than not, another Local 600 member – who kick-started a journey that would form the artist and craftsperson he or she is today. To kick-start 2022, we did a little “preproduction” with four celebrated Guild professionals to find out their backstories – where, why, how, and most importantly, who were the differencemakers that “green-lit” their careers.

Wolf Schneider, Unit Publicist Appaloosa, Sicario, Only the Brave, Maze Runner: The Scorch Trials, Gold, Graves, Sicario: Day of the Soldado, Perpetual Grace, LTD, Stargirl, Half Brothers, Trigger Warning, End of the Road

I was a top-tier entertainment journalist in Los Angeles for years, as the editor of American Film, senior editor of Movieline, and independent film editor for The Hollywood Reporter. I often visited sets to write features, working closely with publicists like Spooky Stevens on Wyatt Earp, Nancy Willen on The Mambo Kings, Rachel Aberly on Sam Shepard’s Silent Tongue, and Leah Krantzler on Lionsgate TV productions. They were all mentors. I moved to Santa Fe, New Mexico, to be the editor-inchief of the Santa Fean. Movie production was booming here, in 2007, when I found myself without a magazine to edit. I heard Appaloosa was prepping; I met with the producers, pitching myself with freelance production notes I had written. My final meeting was with producer/director/actor/writer Ed Harris, and I took along a copy of American Film.

“I was the editor,” I explained.

“The top editor?” he queried.

“Yup,” I pointed to the masthead.

“Well! You’re hired!”

I work mainly in New Mexico. I’ve led press through an Indian Pueblo for Sicario: Day of the Soldado, dashed through darkness and gnats with my EPK team to set up when the second AD summoned us on End of the Road last summer, initiated a sit-down with the goat on Half Brothers, and written plenty more production notes.

ON THE NEW MEXICO LOCATION OF STARGIRL (2018) / PHOTO BY DALE ROBINETTE

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01.2022

PRE-PRODUCTION

Dane Brehm, DIT Avatar 3, King Richard, Them, WandaVision, The SpongeBob Movie: Sponge on the Run, No Activity, The Kominsky Method, Three Billboards Outside Ebbing, Missouri

One weekend I came across a local San Francisco street artist, a young woman holding a dripping Graffiti can onto a nearby Mission District building and stenciling the words: “In order to achieve greatness, you have to stop asking for permission.” It was my catalyst to join

P. Scott Sakamoto, SOC, Operator

the industry by any means necessary.

The Irishman, Ford v Ferrari, A Star is Born, Black Panther,

A few weeks later, I was hired on my first indie

The Revenant, Moneyball, Michael Clayton, Road to Perdition,

horror with Kenn Ferro, SOC, whose craftsmanship,

National Treasure, The Patriot, Blaze, Matewan

work ethic, and constant storytelling gave me hope I could do this as a career.

Matt Kennedy, Photographer

SMPSP,

Unit

Still

Spiderman: No Way Home, Star Wars: Obi-Wan Kenobi, Black Panther, The Fate of the Furious

I heard a quote once along the lines of “luck is not only

When SAG went on strike in 1980, two-time Academy-

At the dawn of digital imaging technology in this

chance, but also creating the opportunity, recognizing

Award winner Haskell Wexler, ASC, moved his focus

industry, in the early 2000s, DPs, operators, and ACs

it when it comes, and taking it.” When I was in my early

to documentary film and welcomed young, inspiring

had a distaste for using digital cameras for movies. So,

20’s I “lucked” into the industry by way of a second

filmmakers to learn from him. I was about to graduate

in a way, becoming the hated “video” guy was my way of

cousin, Local 600 member David Dechant. Before I

from Cal State Long Beach when I landed an interview,

laughing at the film snobbery, making a contribution and

knew it, I was a new Union member and a green second

and what would become the start of a lifelong friendship

forging a path as I learned this new trade from industry

AC. I was lucky enough to work with Jeff Pelton, Cal

and world-class mentoring opportunity.

pros like Peter Thomas and Steve Condiotti.

Roberts, and Ryan Parks and learned much from them.

Haskell’s aesthetic and filmmaking techniques

Taking a cue from that S.F. street artist, I didn’t

After being an AC for 12 years, I needed to do

greatly influenced my development and style. I started

ask “permission.” I just read everything I could, asked

something different. Since my first feature, I was

as a PA and traveled with Haskell and Newton Thomas

questions on CML, FXHD, and Creative Cow. Then,

fascinated by the job of the unit still photographer and

Sigel, ASC, to Central America, where we filmed in the

applying every bit, of knowledge I had gleaned, I learned

made a point to become friends with some of them.

jungle, during wartime, under dangerous conditions. I

camera manuals, ASC’s Guide to Cinematography, and

Mark Fellman and Justin Lubin changed things for me.

learned to think on my feet, troubleshoot, and appreciate

learning video – then Log workflow along the way. I

Mark told me he’d connect me with people at the

the beauty of natural light.

officially became a DIT in 2005. Right when the ARRI

studios, but I had to put in the work. I remember him

D20 landed on the scene.

telling me that if I ended up getting hired over him for

After becoming Haskell’s assistant and operator back in the U.S., I was introduced to other DP’s who

They say it takes 10,000 hours to make a doctor.

jobs, it was because that’s who they wanted. This is a

continued to influence me, including Conrad Hall, ASC,

I made 10,000 mistakes as a DIT in the early days as

super competitive field, and for him to be so gracious

Caleb Deschanel, ASC, and Tak Fujimoto, ASC.

camera and recording technology rapidly evolved month-

and not be threatened by me left an impression.

An introduction to Garrett Brown is what veered me toward operating Steadicam, and it’s where I found my

to-month. Each day was an adventure, crafting software, new computers, or video hardware for each job.

Justin and I just clicked from day one. He is amazing and generous. He always answered all my questions,

passion. Steadicam gave me the freedom and creativity

It wasn’t until I met Paul Cameron, ASC [ICG

and there were many in the beginning. He would always

of independently moving and composing the camera,

Magazine September 2021] in 2008, whose tenacity,

put my name in the mix for anything he couldn’t do so

and this was the key to my success as an operator.

passion, and goodwill gave me the chance to create a

that I could cut my teeth on lots of different types of

Haskell was an ardent fan of that skill and incorporated

tailored workflow that met his very high visual quality

projects.

those intricate camera moves into all of his films, starting

standards, did I feel I finally made it.

with Garrett’s pioneering work on Bound for Glory (1976)

My first big assignment as a Unit Photographer was

Now, 13 years later, as a DIT and now a Production

with Paramount for Transformers 3. I was nervous as

Technologist, I continue to develop, support, and

hell, and on my first day on set, I had to capture wingsuit

Haskell had a great sense of humor and had

contribute, never asking permission – as we strive to

flyers base jumping and speeding past me at up to 100

quirky sayings like “see a line, get in it,” so I always

reach and push the art and craft of cinematography to

mph in downtown Chicago.

think of him at the crew lunch line.

even greater heights.

– the first movie to use Steadicam.

I managed to get the shot, and that was all I needed to confirm I made the right choice.

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INDIE ISSUE

37

BOOK REVIEW

Camera Man: Buster Keaton, the Dawn of Cinema, and the Invention of the Twentieth Century

by Dana Stevens REVIEWED BY PAULINE ROGERS

Stick to one genre!

One of the first things a writer is often taught is that there are audiences for romance, mystery, history, and biography; and successful sales result from picking one – and staying with it.

But don’t tell that to Slate magazine film critic Dana Stevens, who defied that unwritten rule in her book Camera Man: Buster Keaton, the Dawn of Cinema, and the Invention of the Twentieth Century, where she marries cultural history, biography, and film criticism. Stevens effectively makes the case that comedic genius Buster Keaton’s career mirrors the changes in American culture. To her, “Buster Keaton belonged to the Twentieth Century, and it to him.”

The writer’s love affair with Keaton began in 1995 when she studied at the University of Strasbourg. “It was the one-hundredth anniversary of his birth, and in his honor, the local cinémathèque…programmed an extended festival of his silent classics,” she recalls in this intensely packed 400-page book. “I went back to see every film.” The memory of this

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“solemn, beautiful, perpetually airborne man” stayed with her. “From what alternate universe, seemingly possessed of its post-Newtonian laws of physics, had he been flung?” she writes. “How did he pull off such boggling feats of acrobatic prowess and comic invention, and what became of him after he sailed out of the frame? How could anyone be at once so physically agile, so right-on in his directorial instincts, and so timelessly funny?”

Thinking about Keaton in the context of his era became Stevens’ hobby.

She continues: “Whenever I heard about something that took place between 1895 and 1966, I found myself trying to fit that event or phenomenon into the puzzle of his life and work. Keaton’s birth and death were separated by a stretch of just seventy years, but in those years, the country and the world had been profoundly reshaped by a technology born the same year as he was: film. More and more, I became convinced that to understand his life was to understand the history of that medium’s first century.”

To track every significant event in Keaton’s career, as well as the parallel rise of a nascent medium like film, is an ambitious undertaking. But Stevens’ efforts pay off. We learn how, as a 6-yearold child, Keaton’s violent slapstick (being used as a prop/projectile and/or cleaning tool) introduced audiences to an industry that often skirted child labor laws. In Roscoe Arbuckle’s two-reel short films, the actor probed child abuse in textile mills.

And as Keaton rose to fame, he lampooned societal trends as “gags’ in his films. “Mail-order home businesses were just entering their heyday in 1919 when Made was released,” Stevens explains. “The first Sears Modern Homes sales office opened up in Akron, Ohio. Before long, the company had offices in nine different cities, where prospective buyers could compare floor plans and view scale models.

“Kit homes, with their mobility, ease of construction, and ability to be customized to individual tastes,” she writes, provided fodder for

01.2022

Keaton’s view of the world. Navigating “the house under construction in One Week, a two-story clapboard number with a narrow porch running the length of its front wall,” should have progressed seamlessly, encouraging people to “buy” into the dream. Instead, Keaton speared the new phenomenon, dooming the build and the love story that spurred it on with hilarious results. The question was: did people absorb the social critique or just laugh? Ironically, building, selling and “flipping” houses became a real passion for Keaton as he tried to move his family up in the world.

One of the incongruities Stevens juggles might be the inglorious history of women filmmakers in Keaton’s heyday. Her choice of Keaton’s film Spite Marriage is a bit puzzling, potentially doing less service to how Keaton created strong women characters in Our Hospitality and Go West. It would be interesting to know why she glossed over other films with more substantial women characters, where audiences might have absorbed a bit of equality

along with their laughs.

But then, this book is a personal take on Keaton and the growth of the film industry. As Stevens takes the journey through Keaton’s life as a child star, adult star, stuntman, editor, director, and, in her words, “all-around mastermind of some of the greatest comedies ever made,” she also finds time to show a dark side of the man’s life and the industry in which he thrived. This includes detailing Keaton’s high-living, often-violent, drunk off-screen behavior, which helped destroy three marriages, as well as fighting the studios at every turn. And she’s quick to draw other influential figures into Keaton’s realm – finding parallels in the lives of Harry Houdini, Black stage comedian Bert Williams, producer Irving Thalberg, even Lucille Ball, F. Scott Fitzgerald and Samuel Beckett.

Certainly, there are inside tidbits in this book that every movie fan will love. For example, did you know more women were working in positions of power (at least for a brief moment) when Keaton’s

first film came out in 1917? Or that he touched the developing world of film criticism when he tried to write a screenplay with fan-boy Robert Sherwood (one of the notorious Algonquin Round Table)? Or that, when Keaton was bottoming out due to his addiction to hard drinking, his depression, and his lack of work, Alcoholics Anonymous was born?

As Buster Keaton himself said, “My God, in those days, when we made movies, we ate, slept, and dreamed ’em.” Longtime film critic Stevens can relate.

And while readers might never dig as deep into the man and industry as she has – the journey is worth taking. Readers will see Buster Keaton’s films, and the movie industry, from a different perspective.

Camera Man: Buster Keaton, the Dawn of Cinema, and the Invention of the Twentieth Century by Dana Stevens from Atria Books will be available on January 25, 2022.

ISBN: 9781501134197, e-book ISBN: 9781501134210.

Hardcover, 432 pages, $28.00.

INDIE ISSUE

39

EXPOSURE

In George Clooney’s last movie, the Netflix space drama The Midnight Sky, he was exorcising some demons. Clooney felt that we, as a country and a society, had spent the last six years in a collective clench. He includes himself in that group and says that no matter which side of the divide we were on, we were outraged. And, oh yeah, he was exhausted.

Not that we’re past it, as cultural and societal frustration ebbs and flows daily for most. But for an actor with some 40 years under his belt, including two Oscars, who’s also a director a dozen times over, not to mention a seasoned philanthropist and political activist, picking what comes next can be spread over a surfeit of riches, both challenging and inspiring.

“I thought, ‘Let’s do one that harkens back to what seemed like an easier time [the 1970s],’” shares Clooney via Zoom from Australia, where he’s making his first romcom in some 20 years with fellow Oscarwinner Julia Roberts. “Of course, if you were Black or gay or a woman, it probably wasn’t that nice. But for me, there was a simplicity to that period.”

And so came The Tender Bar (shot by Guild DP Martin Ruhe, ASC), a story Clooney likens to The Wizard of Oz, where a little boy goes in search of the things he had all along: a loving, devoted mother and extended family. And while Clooney is all the things mentioned above, he also happens to be an 18-year member of Local 600 (as a camera operator), making him a fierce advocate for visual integrity in filmmaking, as well as safety on set. ICG Magazine writer Valentina Valentini talked to Clooney about what he looks for in a cinematographer, acting versus directing (and which one he likes better), and the responsibility of a multi-hyphenate to ensure his sets are always safe.

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01.2022

George Clooney DIRECTOR THE TENDER BAR

BY VALENTINA VALENTINI PHOTO BY CLAIRE FOLGER

INDIE ISSUE

41

EXPOSURE

“There’s nothing fun about [acting and directing at the same time]. If you have any modesty at all, you tend to do fewer takes on yourself than you do on anybody else because you don’t want to look like a jackass.”

ICG Magazine: What made you want to go into directing? George Clooney: I just wanted to get Confessions of a Dangerous Mind made. I had been tied to the Jim Byrd role, and the script was being used as bait for the studios to bring in some prominent directors, but it didn’t seem like they were ever going to actually make it. So, I went to Steven Soderbergh – my partner at the time – and told him that I thought I could direct it, but they weren’t going to let me direct it unless he guaranteed that if I f**d it up, he’d come in and save it. And he said, “Okay.” There was also this other part of me – my-just-turned-40-self – that knew actors’ careers tend to be short-lived. I’m very lucky that mine has lasted as long as it has – it’s pretty shocking to me and probably to most people [laughs]. But I knew that I didn’t want to be 60, which I am now, and worried about what a producer or a studio thinks about how well I’m aging onscreen or whether I could play the part. I wanted more control in my life than that.

Do you prefer one or the other – acting or directing?

Directing is a lot more fun. I’m acting in a movie right now with Julia Roberts, and the director, Ol Parker, is doing a great job. I’m having a lot of fun, but I’m still just one of the paints on the palette. As the director, I’m the painter and I get to play with all the paints – sound, camera, script, effects, everything. It’s much more exciting. It’s much more daunting, too, and there’s more responsibility, but I love making sure that it’s enjoyable for everyone involved.

Do you think actors turned directors tend to spend a lot of time with actors and maybe less so

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with a film’s visual imprint? I think some do. And that’s fine. It depends on the material. I’ve always been very proud of the way we shoot, and I focus on it a lot. And I enjoy it. Up until The Midnight Sky – on The Monuments Men we had a bit of CGI – but I didn’t dig using any kind of computer graphics. If you watch Confessions, everything we did was incamera. [DP] Jim Bissell and I would draw things out on a napkin, where it would end up as a push-in to Sam Rockwell’s head so tight that you couldn’t see on either side, and then we’d rotate Sam in the camera and pull him out on another set. Every single shot in that movie is in-camera. But I’ve worked with directors who have no interest in the cinematography who are still brilliant. Alexander Payne is like that. Phedon Papamichael [ICG Magazine November 2020] shot The Descendants and would try to engage Alexander, but Alexander was more concerned with the performances, which I appreciate as an actor. It’s a balancing act. There are only a few directors I’ve worked with that I would work with again, and Alexander is one of them.

What’s it like when you are acting and directing at the same time versus only directing? There’s nothing fun about it. First, if you have any modesty at all, you tend to do fewer takes on yourself than you do on anybody else because you don’t want to look like a jackass. And that’s why [producer] Grant [Heslov] will be sitting next to the monitor and telling me to do another take sometimes. There’s a real imbalance, and that’s unfair. With two actors in a scene, one of them is not supposed to have the power to tell the other actor what to do. And I have

to have a conversation with them and say, “Look, I’m sorry. I feel bad about this, but this is what you signed up for.” If we’re open and honest about it, it’s fine, but I don’t enjoy it at all.

As an actor, you’ve worked with some of the most celebrated Directors of Photography in the industry: Roger Deakins, ASC, BSC; Robert Elswit, ASC; and John Toll, ASC among them.

Can the relationship between an actor and a DP inform the director-DP partnership? You have to be careful on that one because actor-DP is kind of sidelining the director. Actors only tend to do that when the director has lost the plot and the actors look to survive. I’ve been there many times; one movie Tom Siegel [ASC] was shooting, and the director was lost, so much of the time I was looking to Tom to help me out, tell me where to stand, where to be. But, in general, I’m careful not to overstep that because as an actor I always try to support the director in their views. Now, a director and cinematographer: that relationship begins long before you start shooting. Months ahead when you’re picking the lenses, making visual decisions, storyboarding, talking about everything. You have such a deeply personal relationship with the cinematographer that by the time the actors show up on the set, the DP is an afterthought in a way.

Is there anything that you look for in a cinematographer before hiring them? First and foremost, their work has to look beautiful. Period.

It has to have an elegance to it. But it’s nice when there is some speed, because there is momentum on set. I come from series TV, where days are turned

01.2022

around very quickly. And the momentum, especially on a feature, gets eaten alive if there are suddenly long waits in between turning around. Really good DP’s shoot, get it, and then just turn around, and shoot again. I like DPs who understand that.

You’ve done many projects with Martin Ruhe, ASC [Director of Photography, The Tender Bar]. Describe that connection. He’s a brilliant, unheralded cinematographer. I think he is on the same level as some of the greats I’ve worked with, including Bob Elswit and Phedon Papamichael. He works at a quick pace and has an incredible eye.

I go up on a glacier in the middle of Iceland with Martin and take a picture with my iPhone, and he takes a picture with his iPhone, and for whatever reason, his looks perfect and mine looks like some schmuck took it. [Laughs.] He’s so gifted and tireless in trying to make things better.

You quote your father often about “challenging those with more power than you and defending those with less.” Did The Tender Bar, particularly the character of Uncle Charlie (Ben Affleck), have any internal nods for you about your father? My father was and continues to be spotless. There’s nothing in me that wants to relive it and make my father a better person. He is a great dad. I did have an uncle who I was named after – my uncle George.

He was a very flawed individual. I was the same age as J.R. (Daniel Ranieri) is in 1972; I listened to all the same music. There was a bar in Ohio that my uncle lived above, and he would send me down to get him a pack of cigarettes for 55 cents. He was infinitely creative and incredibly funny when he was sober, which was about a third of the time. So, I understood the Uncle Charlie figure, but I didn’t have a substitute father. I didn’t need one.

Looking back, are there things you would tell your younger director self if you could? No, not really, because everything you’ve done is a learning experience. There are parts of it I miss, like doing smaller films – it was fun doing The Tender Bar because it was small again, and it’s great to get into the nitty-gritty and move quickly. But everything you do gets you to a certain place. The mistakes you make that you’d like to tell your younger self not to make, there are great lessons in them; there are things you only learn when you make mistakes.

I’m sorry to remind you – or maybe you’re totally fine with it – but you turned 60 this past May. Has it made you reflect on your career at all? Not on my career, no. That’s for other people to do later on. But I had a lot of exciting moments [laughs]. It was really exciting when I got The Facts of Life; it

was really exciting when I got Batman and Robin.

And I realize it was a terrible movie, and I realize I was terrible in it, and it was a bad idea all the way around. But when I got the call asking if I wanted to play Batman, I called up my friends and was like, “Can you believe I’m going to be Batman?!” I don’t want to reflect on those things because you have this weird, jaundiced eye now where you can look at it and go, “Well, that was a terrible mistake.” But honestly, it wasn’t at the time; it was the biggest event in my life. So, when I look back at life, I am reflecting on family and friends – my parents are aging, my sister and I are closer now than we have been in years. I was just talking with one of my buddies who turned 70 this year. When I first moved to LA, I went to his 29th birthday! We’re like, “Seventy!” That’s a number all right.

I wonder how many Guild members reading this know that you’ve been a member of Local 600, in good standing, since 2003 – as a camera operator. That’s true. I joined because I was doing this HBO series, K Street, in Washington, D.C., and our access to real-life politicians was limited to a single take sometimes. Soderbergh was a camera operator and was directing them, driving the scenes, and Grant and I were the other producers and writers on the show. You couldn’t walk into a Senate hearing, a congressman’s office, or any of the lobbyists’ offices with a crew, so I was obligated to operate a camera. I think it was at the Black Caucus debates in Baltimore where somebody took a picture of me operating this camera. It didn’t dawn on me at first, and then I was like, “Oh shit.” They said I would need to join the Guild, and I thought, “Great!” I was extremely proud to join! Every once in a while, I will pull out my Local 600 card and tell Phedon [Papamichael] or someone that I know exactly what I’m talking about.

[Laughs.] You can imagine their response.

The conversation around safe sets is louder than ever. What’s your feeling, as not only a director but also a producer, about the best way to ensure a safe set? Well, with what I said on the Marc Maron podcast [regarding gun safety], which George Stephanopoulos then turned around to say I’d gone after Alec Baldwin [about], which I hadn’t.

That’s not what I said. We were talking about Brandon Lee, who was my friend and was killed, and we talked about the protocols that actors for the most part use. At that point, I didn’t know whether Alec had or not. I was just talking about what was important to do. First and foremost, and what I said on the podcast and what I will always continually say – there’s one person responsible, and that is the armorer, the person who handles the

gun. They have one job. They’re called the armorer for that reason. And they’re supposed to clear the gun, show you the barrel, show you the cylinder and show the rest of the crew and everyone, and then say: “hot gun.” [On Rust] it was reported they said, ‘cold gun.’ That’s never been said on set. All guns are cold until they’re hot. Obviously, there were many problems on that film – and it resulted in the worst possible outcome.

Do your efforts toward on-set safety change whether you’re an actor, producer, director? [No matter the role] I feel a huge responsibility. We just shot a movie during a pandemic. It was the greatest responsibility in the world as a director and producer of the film to make sure the cast and crew were safe. It is a constant and diligent fight to stay safe because there are a lot of dumb things that can happen. For example, an actor will do things they wouldn’t normally do because reality is suspended when you’re making a movie.

Like right now, we’re in Australia, and they have millions of these little jellyfish that will put you in the hospital if you get stung. It’s the most beautiful setting you’ve ever seen, with loads of tourists, and not one person is in the ocean because of these jellyfish. But we’re shooting a scene that takes place in the water, so we jumped in the ocean! You’ve got to be aware that even though we’re making a movie and suspending belief, there’s real life out there.

Going back to that quote from your father: Do you think industry stakeholders like yourself have an obligation to use their platform for positive change? I grew up in the 60s and 70s when you couldn’t avoid being part of one side or the other of the civil rights movement, Vietnam, women’s rights, anti-Apartheid in the 80s. I was raised to be involved. As a 10-year-old kid, I campaigned for Governor John Y. Brown. All that stuff was important to me. I believe in it. I believe in standing up for and picking fights with people who deserve to have fights picked with them. That doesn’t mean everyone has that responsibility. But I would be so ashamed if I didn’t do it. I have two kids, and if they ask me one day what I was doing when the government was putting children into cages, and I said that I didn’t do anything about that, the shame would be intolerable.

But that doesn’t mean that it’s everybody’s bag. I make no apologies for being successful – I’ve been very lucky. And I was very broke for a very long time, but I also spend an awful lot of our money trying to help other people. We were at the March For Our Lives, and it was inspiring to see young kids going, “We have a voice now.” So, I’m very hopeful with this new generation.

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FEATURE . 001

THE TRAGEDY OF MACBETH

“Something wicked this way comes...”

SOUND

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POWER CORRUPTS ABSOLUTELY IN THE TRAGEDY OF MACBETH, JOEL COEN’S ADAPTATION OF SHAKESPEARE’S POLITICAL CAUTIONARY TALE.

BY KEVIN H. MARTIN PHOTOS BY ALISON COHEN ROSA FRAMEGRABS COURTESY OF APPLE TV+

FURY

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Shakespeare and cinema have been frequent bedfellows, with results ranging from stellar to prosaic. Stage sensations and filmmaking hyphenates Laurence Olivier and Orson Welles each tackled the Bard on multiple occasions. While filmmaker Joel Coen ventured into classics territory once previously (with his brother Ethan), on a free adaptation of Homer’s The Odyssey in O Brother, Where Art Thou?, The Tragedy of Macbeth for A24/Apple TV+ marks Coen’s first Shakespeare adaptation (and first directing effort without his brother).

Starring Denzel Washington as the title character and with Coen’s wife Frances McDormand as Lady Macbeth, the film reunites many past collaborators from the Coen brothers’ projects. In addition to Costume Designer Mary Zophres, Composer Carter Burwell and Sound Designer Craig Berkey; Director of Photography Bruno Delbonnel, ASC, AFC, who shot Inside Llewyn Davis [ICG Magazine December 2013] and The Ballad of Buster Scruggs for the Coens, also joined the project, which features moody and atmospheric stage settings rather than real locations.

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D elbonnel and Coen screened past Macbeth adaptations by Welles, Roman Polanski, and Akiro Kurosawa, but “we were watching them to understand their points of view with respect to how dramatic issues were solved,” Delbonnel reveals. “It was not so much about the visual aesthetic, but instead Joel’s desire to emphasize Shakespeare’s language while creating a somewhat abstract visual treatment. We also watched Murnau’s Sunrise and Kobayashi’s Kwaidan, which had a kind of theatricality we both liked. It was a way for us to understand possible approaches. But the main inspiration was [Carl Theodor] Dreyer’s The Passion of Joan of Arc.” Given the dark subject matter, German Expressionist films might seem another likely inspiration, but Delbonnel says, “that approach was not a real consideration. What I found interesting about films like The Cabinet of Dr. Caligari is the deliberately unreal feel – more unreal than abstract – which was our concept, reinforced with the early decision to shoot Academy ratio and in black-and-white. There was no matter of it being done for nostalgia; in many ways, I think the film has a modern look, resulting from how I chose to light it.

When reading the script, I decided the light should often be a neutral kind of overcast. In designing the light with Joel, we looked for a world that existed somewhere between night and day, and this all came out of our reading of the text, since the visuals follow the rhythm of the language.”

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“WE DECIDED THE LIGHT SHOULD OFTEN BE A NEUTRAL KIND OF OVERCAST...LOOKING FOR A WORLD THAT EXISTED SOMEWHERE BETWEEN NIGHT AND DAY.” BRUNO DELBONNEL, ASC, AFC

Just a week before getting the call to meet with Coen, Production Designer Stefan Dechant had been thinking to himself, “‘I’d love to do something different, in the vein of Coppola’s Dracula.’ Timing! Joel had been working on this for close to a year, riffing back and forth with Bruno while collecting imagery in the form of three-by-five printouts. Some were of architectural elements, and others were from movies as diverse as Rebecca and The Night of the Hunter. Joel was specific in wanting to respect the written material but not do a filmed play. He wanted to use artifice and abstraction to connect a theatrical experience with the original text.”

Images by photographer Hiroshi Sugimoto of Casa Luis Barragán that featured a square block tower resonated with the director. “Joel said he thought that was our Inverness,” Dechant states. “It isn’t a castle – it’s the idea of a castle. I bought a lot of films featured in those printouts so I could go home after work and flood my mind with more germane imagery.

It wasn’t mimicry; we wanted to absorb the inspiration, then do our own thing. We did some geometric work and Joel liked it, saying it looked like something from a British theater designer named Edward Norman Craig.

Filtering these influences through incredibly visionary collaborators like Joel and Bruno was a great methodology to get designs that work for the film.”

While developing storyboards, Delbonnel devised an arc for the film’s look.

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“We begin with gray imagery amidst lots of clouds, but then in the middle of the film, things become starker and more black-andwhite,” he relates. “Then, with our ending, we are again much grayer and foggier. Those changes represent for me a kind of musicality to the light, working in counterpoint to the language. The hard shadows in and around the castle contrasted with the gray palette; I found that mixing between those two aspects gave us structural elements for our visuals.”

Working out the details for rendering black-and-white imagery, with a camera lacking an 8K sensor, like RED’s MONSTRO, required extensive experimentation involving DIT Joshua Gollish and colorist Peter Doyle.

“Bruno was going to shoot on the ALEXA LF,” says Gollish, “so we had to reverseengineer the old black-and-white approaches and methodologies. The look-book included David Lean films, Greg Toland’s photography on Wuthering Heights, and many German films shot by Franz Planer. In essentially making our own black-and-white stock, it means we only have luminance as a control factor. The ways

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you carve out luminance values from three different channels of color made for some intertwined choices. Translating the red and orange values in flames properly and without clipping was one challenge. A fabric that looks good to the eye may not render meaningfully in black and white. But we found that certain textures translated beautifully; Mary was able to use what was essentially a couch fabric for one tunic because it just rendered so well.”

Doyle’s early studies suggested that a great deal of work would be needed to translate the imagery. “I ran tests shooting black and white skin tones with matching achromatic and color sensors to see how existing tools rendered color into black and white,” he reports. “It became clear that none read hues and saturation into black and white in a way that felt natural and elegant.” Doyle came across a new colorspace called Oklab that used the D65 white point and matched more closely to how a human eye sees things. “Using this space as the main engine, we were able to build for Joel and Bruno a control that faded between the look of black-and-white infrared through

to UV tintype photography,” he continues. “We also removed all LUT’s from the DI pipeline and used shaders within the grading package; this gave an extraordinary, almost 3D quality to the image.” Using Baselight, Doyle worked in ACEScc, which afforded him the flexibility to grade the image, while accessing the deepest black from the sensor.

As testing continued, the art department created 3D models of the sets so Delbonnel and Coen could visualize final layout and make changes before construction began.

“There was a fluidity to working this fast,” remarks Dechant. “But there was the abstraction of determining what is the Joel Coen-ness of the thing, too, which might mean building a physical model so we could look at a set without the distance of seeing it through a computer render. We had two stages on the Warner Bros. lot and two at their ranch just down the road. Stage 16 is what we used for the crossroads exterior. It is massive. Spielberg shot the Jurassic Park T-Rex attack there. We needed that stage so we could shoot Banquo’s murder and Fléances’s escape. Then we cleared

OPPOSITE/ABOVE: CHIEF LIGHTING TECHNICIAN MICHAEL BAUMAN SAYS THE MAJORITY OF THE LIGHTING TO CREATE SHADOWS AND TEXTURES WAS DONE WITH A FAMILY OF AUTOMATED FIXTURES. “EVERYTHING IN THE FILM WAS EITHER INCANDESCENT OR LED – NO HMI,” BAUMAN REVEALS.

that out and began assembling our stairways and Macduff ’s Tower – sets that assembled quickly, a must on this seven-week shoot.

Working at speed meant making some creative choices; Lady Macbeth’s bedchamber wound up being set up and shot right in the middle of the Inverness courtyard.”

Delbonnel followed his preference of shooting and operating a single camera. “I find the ARRIs are perfect cameras, and using the LF with medium-format Cooke S7/[i Full Frame Plus prime] lenses was ideal for this film,” he explains. “I like shooting with wide lenses, and Joel does too; Inside Llewellyn Davis was shot on a 27mm all the way through, though we had one instance where longer lenses were used here.”

He also continued to rate the image at 500 ASA. “Even though the ALEXA is rated at 800, I use it at 500,” he shares. “I know some cinematographers are willing to go to 6000 ASA to see through the darkness, but it doesn’t make sense to me, because I’m used to lighting a set rather than killing the light. Making it all

about using negative fill is counter to how I look at things. Some find that an interesting way to work, but I prefer to work with my meter and determine from that if I need to add more fill or not. I trust my eye. I light through a finder, and that’s not possible with the LF. But before that on the ALEXA Studio, it had an optical finder, which is preferable to lighting by monitor.

Even the monitor is already an interpretation of the image because you need to determine colorspace and apply a LUT – as opposed to my eye, which is already calibrated!” Flanders DM250 OLED’s were used in the DIT tent for monitoring, with box IO’s and upgraded firmware allowing for greater fidelity owing to a tetrahedral LUT interpretation.

Steadicam Operator Dave Chameides says watching Delbonnel at work “was so cool. He had these moving lights that cast shadows of clouds across the stage floor in an expressionist way that worked beautifully with the starkness of the sets and how these stage exteriors were designed. The whole thing was incredible to see.”

Due to the limited stage height, Chief

Lighting Technician Michael Bauman wasn’t often able to employ traditional Fresnels.

“Everything was either incandescent or LED, no HMI in the movie,” he reports. “The majority of the lighting to create shadows and textures was done with a family of automated fixtures from High End Systems utilizing whitelight, high-fidelity LED engines as the light source. For longer throws, we used High End’s SolaHyBeam 3000 and SolaFrame 3000. Their internal framing shutters gave all the sharp cuts and provided a fluid workflow, which allowed Bruno to make quick creative choices.

The moving lights worked out well due to the theatricality and chiaroscuro type of lighting.”

Primary overhead natural light ambience was built from a 20-by-20-ft box using LiteGear LiteTile 8 as an internal source. “We did use SkyPanels with Chimeras as a toplight source for the beach scene with Macbeth and the witches, and then also for the forest scene, [but we] mainly used SkyPanels as a soft backlight,” Bauman adds.

Scenes involving visual trickery were acheived with the utmost simplicty. “We

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“ JOEL WAS SPECIFIC IN WANTING TO RESPECT THE WRITTEN MATERIAL BUT NOT DO A FILMED PLAY. HE WANTED TO USE ARTIFICE AND ABSTRACTION TO CONNECT A THEATRICAL EXPERIENCE WITH THE ORIGINAL TEXT.” PRODUCTION DESIGNER STEFAN DECHANT

went old-fashioned whenever possible,” says Delbonnel. “The reflections of witches in the water were real reflections, with the witches erased in postproduction using an empty plate. There were only a couple of blue screens in the film; we benefited from having so many gray backgrounds that could only be glimpsed through all this smoke and atmosphere!”

Delbonnel’s mid-film shift to contrasty lighting and deep black shadows made considerable use of High End’s lighting units.

“During the dagger soliloquy,” he continues, “what you’re seeing that seem to be shadows cast by arches is a series of lights with gobos, so shadows are cast directly onto the floor. I needed the fall of these lights to be parallel, so that meant an individual light and gobo for each arch. The arches followed the shapes of the actual architecture in the sets built. But there are also walls built as flats, so we use light to give those some shape. I sometimes followed the architecture, and other times ended up destroying it; it depended on the scene’s emotional content, a matter of finding out what kinds of light worked with specific lines in Shakespeare.”

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Bauman’s team fashioned custom gobos to create the shadow effects.

“In the Colonnade where there are arches,” he recounts, “the stage didn’t have the height to create the shadow effect that Bruno was looking for. So, we made gobos in the shape of the arches [and] installed them in the SolaFrame Theaters to create the arch shadow effect. Since we were recording all this incredible Shakespeare dialogue, we also utilized the High End Systems’ SolaFrame Theater, which has no fans. Those fixtures tended to play closest to the actors to keep the noise to near zero.”

Production was shuttered in midstream due to the pandemic, which allowed Dechant to do further work on the design of set extensions that would be created in post by East Side Effects. “I sat down with a concept artist,” he remembers, “and we started doing paintings of the background views, images that were going to need to look like glass paintings or a painted backdrop – nothing that would bump you out of the established feeling. The set extensions

and matte paintings weren’t a huge portion of the environment in most instances. There was the crossroads, plus wide shots in the courtyard of Inverness where you could see the other towers, plus Lady Macbeth on the precipice, but the rest of the scenes were largely self-contained.”

The Tragedy of Macbeth was one of the first projects to resume shooting during COVID. Even though Steadicam wasn’t likely to be needed every day through the remainder of production, Chameides was brought in for those last three weeks. “There was the whole COVID question about keeping everyone safe,” Chameides recounts, “and whether you could bring someone in or out safely. They needed me for the battle on the ramparts, but my being in the pod meant I could take on other shots as the situation evolved. Sometimes I did shots planned for a crane, and other times the crane did stuff intended for Steadicam.

Frances and Joel have these producers [Robert Graf and Karen Ruth Getchell] they’ve worked with forever, and their perspective was, ‘If we’re coming back to work, then we’re going to be careful and do this right.’ We were getting

tested eight times per week, and they had a virologist just to answer questions and put our minds at ease. They literally wrote the book on how to deal with this situation and handled everything incredibly well.”

The ramparts, where Macbeth infamously loses a sword battle (along with his head), was a minimalist representation set within a fogged environment. “The sides to the set were five feet tall and four feet across,” Chameides estimates, “and I was on a long lens for this action, just kind of grabbing pieces and moments from the fight. It wasn’t about catching every blow but going for impressionistic moments. Joel was able to see if I had gotten the bits he needed; it’s not always fully explained what you’re going for, but he sure knows when we’ve got it. It’s that incredible blend of being totally prepared and yet fully open to taking advantage of what occurs in the moment.”

Delbonnel agrees about how the scene plays counter to traditional battles.

“It wasn’t about the beauty of the choreography,” he maintains. “It was about the personal intensities of the combatants, and I found a longer lens enhanced this.

Being on a 65-millimeter or 75-millimeter lens amplified the camera movement, going beyond what would be evident with a wide lens while also letting the actors move dramatically through the frame. Plus, the camera was trying in an imperfect way to stay with the actors, so you just get glimpses of faces and then a sword, which conveys more impact and emotion.”

With so many image issues resolved up front, postproduction was quick and efficient.

“Premier was used for cutting,” notes Doyle, “while we used Baselight as the core grading engine, with various custom tools we have built for Bruno over the years. We ran a fully compliant ACES pipeline from on set through to final DI, and it worked well. VFX was exchanged via multichannel ACES linear EXR’s carrying multiple layers of fog and mattes. We started the DI remotely, then Joel and Bruno reviewed in person at PostWorks NY.” A few iterations were needed to resolve the delicate balance of gray-on-gray imagery. “Overall, the film’s final grade evolves to a cooler black-andwhite than when we started rushes.”

Delbonnel says that he did “expand the

grayscale,” which can only be done in the DI. “I see the DI as a way to push a bit further than what I could do on set,” he explains. “To do this, you need a thick neg with all the information.

That is another reason I’m skeptical about working at 4000 ASA, because the neg gets so thin. I think a lot of recent technological innovations have afforded tremendous possibilities for cinematographers going forward, but that doesn’t mean every new development is right for everyone, or that you must adopt it for every project. I’m for progress, but for me, it is only useful some of the time.

“Macbeth is a strange and interesting play,” Delbonnel concludes. “It presents a world of its own, and Joel intended to create another world atop this one, in support of his ideas about the adaptation. I owe a huge debt to all of the wonderful filmmakers who joined me on this adventure, including [1st AC] Andy Harris, [Key Grip] Ray Garcia, [Rigging Gaffer] Adam Harrison, [Dimmer Board Operator] David Kane, and [Rigging Grip] Matt Floyd.” And what does Delbonnel think of the final product? “Joel is happy and I’m happy,” he smiles. “And we hope the audience will be happy as well.”

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DELBONNEL SAYS RATING THE CAMERA’S SENSOR AT 6000 AND “MAKING IT ALL ABOUT USING NEGATIVE FILL IS COUNTER TO HOW I LOOK AT THINGS. I PREFER TO WORK WITH MY METER AND DETERMINE FROM THAT IF I NEED TO ADD MORE FILL OR NOT. MORE THAN ANYTHING...I TRUST MY EYE.”

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LOCAL 600 CREW Director of Photography Bruno Delbonnel, ASC Steadicam Operator Dave Chameides, SOC A-Camera 1st AC Andy Harris A-Camera 2nd ACs Kira Hernandez Roger Spain Additional 2nd AC Tim Balcomb DIT Josh Gollish Additional DIT Arthur To Loader Brandon Gutierrez Still Photographer Alison Cohen Rosa INDIE ISSUE

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FEATURE . 002

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THE TENDER BAR

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MY UNCLE DIRECTOR OF PHOTOGRAPHY MARTIN RUHE, ASC AND DIRECTOR GEORGE CLOONEY BELLY UP TO THE BAR FOR THE COMINGOF-AGE MEMOIR, THE TENDER BAR.

BY VALENTINA VALENTINI PHOTOS BY CLAIRE FOLGER

CHARLIE

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When you have a script written by an awardwinning screenwriter, based on a New York Times Best Selling memoir, played by deft and dedicated actors, sometimes the best thing you can do as a director is just get out of the way and let the story tell itself. And that’s what George Clooney (Exposure, page 40) did for Amazon Studios’ new feature, The Tender Bar – written by William Monahan (who won an Oscar for adapting The Departed) and based on J.R. Moehringer’s eponymous 2005 memoir.

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H aving just come off The Midnight Sky, where the end of the world was nigh, Clooney was looking for something a bit more of this earth. To help visualize 1970s-era Long Island, NY, Clooney and his producing partner/best friend Grant Heslov turned to Director of Photography Martin Ruhe, ASC [ICG Magazine July 2021], who worked with the pair on The American (2010), as well as six episodes of Catch-22 (2019) and last year’s The Midnight Sky. In fact, Ruhe was sent two scripts in early 2020 with Clooney attached to direct: this and The Boys in the Boat, based on Daniel James Brown’s book about the 1936 American Olympic rowing team. But with a pandemic still rampant, The Tender Bar was a more manageable get.

“Martin just has an incredible eye,” describes Clooney, whose list of DP partnerships as both actor and director is second to none, including Robert Elswit, ASC; John Toll, ASC and Phedon Papamichael, ASC. “Martin is one of these brilliant, unheralded cinematographers; he works at a quick pace [and] is tireless in trying to make things better.”

The Tender Bar begins with 9-year-old J.R. (Daniel Ranieri) in 1972 Manhasset, NY. His single, hard-working, devoted mother (Lily Rabe) has landed them back in her overstuffed and under-kept family home after the money runs out, again, and J.R. is taken under the wing of his

uncle, Charlie. In a career performance by Ben Affleck, Charlie is the charismatic, selfeducated, childless, wifeless uncle who runs the neighborhood bar, The Dickens. As the years pass and J.R. grows into a young man (played by Tye Sheridan), his uncle’s wisdom – and the bar’s colorful characters – provide a refuge for the fatherless boy on his journey to becoming a writer.

Both Ruhe and Clooney have a hard time not comparing and contrasting The Tender Bar to The Midnight Sky, Netflix’s epic space drama, where the look was set months ahead.

Clooney and Ruhe knew there wasn’t room for spontaneity on that set, which Clooney says was okay, “because that was a film about stillness. But [The Tender Bar] is a film about movement. I wanted the aesthetic to be of its era, the mid-1970s, which means handheld but not jittery handheld, lots of zooms and rack focuses and catching up with focus; saturated colors, crushing some of them a little bit. I looked at Don’t Look Now and all the Hal Ashby movies; I went down the list of the [70’s filmmakers] to try and steal from them.”

Ruhe, who also operated A- Camera, knew that Clooney wanted to transport the viewer back to a place and time with vinylsided houses and a color palette filled with browns, reds, oranges, and mustard yellows.

They never wanted a caricature, as stories of that time can often be – the narrative getting lost in shiny disco balls and velvety purple jumpsuits.

“I’m German and from Berlin,” says Ruhe, “so America looks familiar to me because I’ve seen it in so many films over the years. But when I start a new project, I take in this new environment and try not to have it all worked out. I don’t like coming into a place with certain expectations; I like to be surprised by what a new place does to me when I see it for the first time. So, even with all the preparation we did – with [Production Designer] Kalina Ivanov, and [Costume Designer] Jenny Eagan – centered around William Eggleston pictures for reference, it was important to keep an open mind.”

Ivanov, who designed Lovecraft Country, Little Miss Sunshine, and Grey Gardens, says the first thing Clooney told her was to look at The Deer Hunter as a reference for Charlie’s bar. The director told Ivanov that in capturing the film style and film language of the 1970s, it was not just about the costumes, cars or hair. He wanted the camera to be free to follow the actors and the emotion, which meant that Ivanov’s environments needed to allow for that.

“It was kind of that off-the- cuff, heightened, cinéma vérité style,” describes Ivanov. “I grew up watching movies like Five Easy Pieces, Panic in Needle Park, and The Conversation, and I just love that decade of American films. Everything that I designed was meant to feel real and believable, and not

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fashionable at all, just the way people live – as close as we can get to that as filmmakers.”

Ivanov’s digital look-book for Clooney focused on class distinction and how the 1970s actually looked without getting lost in nostalgia. As a child of the 70s, she was not looking to take a fashion-forward approach, but rather something grounded in reality. And, though shooting on Long Island was an option, it was eastern and central Massachusetts that provided the wealth of period details that don’t exist on Long Island anymore.

To that end, only the bar and family house were built sets (at New England Studios in Devens), with all else shot on location during New England’s famously cold winter months.

And because Production was nervous about inter-state travel restrictions, nearby Rule Boston Camera was the vendor of choice.

Ruhe opted for ALEXA Minis (to be as light and quick as possible), paired with Angénieux Optimo Zooms and some additional Cooke S4 primes, all with Ultra Contrast filters.

Clooney, who has a meticulous visual plan for every project he directs, says he mainly wanted to rehearse with his Tender Bar actors and then let scenes play out in the takes. For Ruhe, that approach was part of the joy of

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working on this project, “allowing for things to just happen,” he adds. “It was clear that this movie was going to be actor-driven, so as a cinematographer, you need to make that space for the director and the actors to be spontaneous, which influenced our lighting setups and camera moves.”

Chief Lighting Technician Frans J. Weterrings and Key Grip Frank Montesanto kept the lighting as natural as possible, with both men, along with Ivanov, creating a few different moods – depending on the scene – for each interior. Or as Weterrings notes: “They wanted to shoot fast and unobstructed.

Less was more.” That meant lighting integrated into set practicals, along with rigged DMG’s. Lighting Console Programmer Tim Boland would cross-fade as the camera moved, helping to keep the shape while also allowing 360-degree options. LiteTiles were used in all sets as soft ambient light and 24K Tungsten Fresnels for direct hard light; DMGs were used exclusively inside as key lights or to round-out the soft light through the windows.

“Most of our main sources for day came from hanging large bounces above the

windows, which enabled us to change the look depending on how we articulated them,” Montesanto explains. “The house was tricky because we had so many windows. We were able to keep the bounces up and out of frame, but the lights, flags and gel frames were not as easy to hide. We had flats of various sizes, with Day Gray on one side and Duvetyn on the other, depending on if the scene was day or night, and we would use these flats to hide the lights from camera. With a little window dressing and some foliage, we were able to keep the frame clear, which gave Martin and George the freedom to block the scene in pretty much any direction.”

With a big cast and a dialogue-driven script, Clooney kept the mantra of spontaneity at the forefront of his crew’s collective mindset. For the camera department, that meant not putting a lot of marks down and being able to adapt on the fly when it came to focus and composition. First AC Zack Shultz was almost always on zooms, which gave Ruhe and B-Camera Operator John “Buzz” Moyer, SOC, the ability to adjust on the spot. Moyer calls it “an experience to shoot cross-coverage with Martin, with the ability to subtly adjust focal length. I found myself

CLOONEY DESCRIBES RUHE (ABOVE) AS “ONE OF THESE BRILLIANT, UNHERALDED CINEMATOGRAPHERS; MARTIN WORKS AT A QUICK PACE [AND] IS TIRELESS IN TRYING TO MAKE THINGS BETTER.”

looking at his on-board monitor to match his style and nuance.”

There were also many scenes with extended intimate dialogue that allowed for plentiful use of zooms, thus minimizing distractions to the actors. As Shultz, who claims happily that he’s never been home for dinner as often as he was on The Tender Bar, describes: “At first I anticipated handheld cameras would be the best option to give the actors as much freedom as possible. But once we started, George opted to stay primarily in studio mode. As a result, I think our camera work and lighting, combined with the costume and production design, succeeded in emulating the aesthetics of 1970s cinema.

It was a breath of fresh air to not just put the camera on an operator’s shoulder and wing it, which is often the norm. The naturalistic approach, compositional design, and integrated action made this one special, and hopefully, it will be a unique experience for the audience.”

Of course, it would be hard to honor the film language of 1970s America without zoomins. Clooney even referenced his film Good Night and Good Luck as an example for Shultz on the use of zoom-ins. Ruhe also utilized a

Chrosziel Fluid Zoom Drive rather than a digital microforce controller, which gave him and Moyer the ability to dampen the speed of the zoom, allowing for more precision and accuracy while manually doing zooms with their hand on the lens, a technique which helped to get the finished product to that genuine 70s vibe.

“From day one George and I discussed the importance of focus in this film,” recalls Shultz. “He wanted to have out-of-focus moments, so jokingly I said, ‘No problem, that will be easy!’ But in truth, as a focus puller, I am trained to keep everything in focus as much as possible, so it was a challenge at times and felt unnatural to purposely lose focus.”

Ultimately, they decided that those purposeful out-of-focus moments were distracting, so they embraced more natural moments. For instance, when zooming in, the depth of field gets shallower, so there were moments during which Shultz was finding focus as the lens zoomed in.

“There was one shot in particular that was extremely hard for focus pulling,” Shultz adds. “We were on the 24-to-290-millimeter, fairly wide, following the character ‘Chief ’ (Max Casella) coming out of his house while

his wife yelled at him from the porch on the second floor. As we followed Chief down the stairs, we were slowly zoomed in, and then we snap-zoomed to 290 millimeters into a close-up of the wife yelling at him. It was never the same way twice, and we only did it a few times, so it was hard to nail the focus. We reviewed it on playback, and George loved it – that was the kind of 70s feel he was going for.”

Editor Tanya Swerling, who edited Catch-22, says her editing was grounded in a deliberate 1970s reality. That meant a carefully paced story with choices of when to cut and when to allow the camera to just sit in the middle of people talking over one another. Swerling says editing can elicit certain feelings from an audience depending on the choices made. Viewers can feel the movement of a scene with kinetic, fast-paced, overlapping chatter and quick cuts. And there was a bit of that in the scenes with J.R. at Yale, but Swerling slowed things down elsewhere – the point being to let the viewer live in it a little bit longer.

“We wanted you to feel the differences between where we were in the story with each

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“ GEORGE IS NOT SHY IN MAKING QUICK DECISIONS. ONCE HE KNOWS, HE KNOWS. AND THAT’S A GREAT THING IN A DIRECTOR.” MARTIN RUHE, ASC

of these characters,” she says. “We didn’t want the film to feel even.”

It’s something that Swerling often comes across – when she cuts a scene on its own, there’s an internal pace for that scene. And then once she assembles the entire film, she has to look at the pace of everything again because she doesn’t want it all to feel perfectly even.

“You want to pick the moments where you live in the character’s thoughts,” she continues. “With TV especially, we’ve gotten used to everything being super-fast-paced; characters don’t have a moment to think or process before they answer. It’s like they know everything off the top of their head, and they’re always ready with their remarks. We wanted to give the characters moments to think and process when we could.”

If the editing was meant to be deliberately uneven, the workflow was the opposite.

Throughout each department, the approach was one of synchronicity. A prime example is a scene in which J.R.’s father (Max Martini) comes to meet him for the first time, pulling up to the house in an Oldsmobile Toronado, with J.R. expecting to go to a baseball game, as his father promised. It was meant to be shot at Shea Stadium, but COVID restrictions made that impossible. So, Clooney and Ruhe decided on the dad driving J.R. around the block for a very disappointing two-minute father-to-son talk.

“It was a difficult scene for acting,” remembers Ruhe. “Daniel was nine years old, and we were not sure if he could deliver.

We made back-up plans to get more shots if we needed to edit around it. But – and this is one of the great things about George – we went around the block twice and that was it.

We had the scene after the second take, and he knew we did. George is not shy in making quick decisions. Once he knows, he knows.

And that’s a great thing in a director.”

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LOCAL 600 CREW Director of Photography Martin Ruhe, ASC A-Camera 1st AC Zack Shultz A-Camera 2nd AC John McCarthy B-Camera/Steadicam Operator John “Buzz” Moyer, SOC B-Camera 1st AC Christian Hollyer B-Camera 2nd AC Talia Krohmal Loader Thomas Bellotti Additional Loader McKenzie Raycroft DIT Kyo Moon Still Photographer Claire Folger

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PRODUCTION CREDITS COMPILED BY TERESA MUÑOZ 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 compiling this section. 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 74

JANUARY 2022

First Man / Photo by Daniel McFadden

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

44 BLUE PRODUCTIONS

“LA FIRE & RESCUE” SEASON 1 DIRECTOR OF PHOTOGRAPHY: DAVID CHUNG OPERATOR: BRIAN KELLY UTILITY: MATTHEW BOREK

20TH CENTURY FOX “911” SEASON 5

DIRECTOR OF PHOTOGRAPHY: JOAQUIN SEDILLO, ASC OPERATORS: RICH STEVENS, DUANE MIELIWOCKI, SOC, DALE VANCE, JR, SOC ASSISTANTS: KENNETH LITTLE JR, CLAUDIO BANKS, ERIC GUERIN, STEPHEN FRANKLIN, MELVINA M. RAPOZO, JIHANE MRAD STEADICAM OPERATOR: DALE VANCE, JR, SOC STEADICAM ASSISTANT: MELVINA M. RAPOZO CAMERA UTILITY: PAULINA GOMEZ DIGITAL UTILITY: DUSTIN LEBOEUF

“911: LONE STAR” SEASON 3 DIRECTORS OF PHOTOGRAPHY: ANDY STRAHORN, DAVID STOCKTON OPERATORS: BRICE REID, JACK MESSITT ASSISTANTS: JAMES RYDINGS, KAORU “Q” ISHIZUKA, CARLOS DOERR, KELSEY CASTELLITTO STEADICAM OPERATOR: JACK MESSITT DIGITAL IMAGING TECH: PJ RUSS DIGITAL UTILITY: BASSEM BALAA CAMERA UTILITY: JOE PACELLA

“ONLY MURDERS IN THE BUILDING” SEASON 2 DIRECTOR OF PHOTOGRAPHY: CHRISTOPHER TEAGUE OPERATORS: KYLE WULLSCHLEGER, DANIEL SHARNOFF ASSISTANTS: TIMOTHY TROTMAN, SARA BOARDMAN, CORY MAFFUCCI LOADERS: STORR TODD, DEVEREAUX ELMES STILL PHOTOGRAPHER: CRAIG BLANKENHORN

ABC SIGNATURE, LLC

“GREY’S ANATOMY” SEASON 18 DIRECTORS OF PHOTOGRAPHY: STEVEN FRACOL, BYRON SHAH OPERATORS: ADAM AUSTIN, STEVE ULLMAN, JEANNE TYSON ASSISTANTS: NICK MCLEAN, FORREST THURMAN, CHRIS JONES, KIRK BLOOM, LISA BONACCORSO, J.P. RODRIGUEZ STEADICAM OPERATOR: STEVE ULLMAN STEADICAM ASSISTANTS: FORREST THURMAN, LISA BONACCORSO CAMERA UTILITY: MARTE POST DIGITAL UTILITY: SPENCER ROBINS

“PROMISED LAND” SEASON 1 DIRECTOR OF PHOTOGRAPHY: ANTHONY VIETRO, OPERATORS: REID RUSSELL, JAMIE STERBA ASSISTANTS: DAVE EGERSTROM, JAMIE FELZ, ERIC GUTHRIE, KYLE SAUER STEADICAM OPERATOR: REID RUSSELL DIGITAL IMAGING TECH: KEVIN BRITTON LOADER: MAYA MORGAN DIGITAL UTILITY: ERIC MEDINA STILL PHOTOGRAPHER: PAUL SARKIS

2ND UNIT DIRECTOR OF PHOTOGRAPHY: JAMIE STERBA

“QUEENS” SEASON 1 DIRECTORS OF PHOTOGRAPHY: SIDNEY SIDELL, ASC, FERNANDO REYES-ALLENDES, AMC OPERATORS: RAMON ENGLE, BODIE ORMAN ASSISTANTS: MARY STANKIEWICZ, JASON LANCOUR, VIOLET JACKSON, SHERRY DAY, RACHEL WALDON STEADICAM OPERATOR: RAMON ENGLE STEADICAM ASSISTANT: MARY STANKIEWICZ DIGITAL IMAGING TECH: QAIS KARADSHEH LOADER: PATRICK LEONARD

“REASONABLE DOUBT” SEASON 1 DIRECTOR OF PHOTOGRAPHY: KIRA KELLY, ASC OERATORS: ERIN G. WESLEY, ROBERT ARNOLD ASSISTANTS: JOSEPH CANON, CHRIS MARIUS JONES, LUIS SUAREZ, CHRIS CARLSON STEADICAM OPERATOR: ROBERT ARNOLD DIGITAL IMAGING TECH: MIKE PEREZ CAMERA UTILITY: GEREMIAH EDNESS LOADER: BEN BOOKER STILL PHOTOGRAPHER: RON JAFFE UNIT PHOTOGRAPHER: SER BAFFO

ABC STUDIOS

“JIMMY KIMMEL LIVE!” SEASON 19 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

“STATION 19” SEASON 5 DIRECTORS OF PHOTOGRAPHY: DARYN OKADA, ASC, JAYSON CROTHERS OPERATORS: HARRY GARVIN, MARIANA ANTUÑANO, SOC, BRIAN GARBELLINI ASSISTANTS: TONY SCHULTZ, GEORGE MONTEJANO, III, WILLIAM MARTI, DUSTIN FRUGE, DAVID MUN, VANESSA MOOREHOUSE STEADICAM OPERATOR: HARRY GARVIN STEADICAM ASSISTANT: TONY SCHULTZ DIGITAL IMAGING TECH: ANDREW LEMON UTILITIES: GRANT JOHNSON, BELLA RODRIGUEZ SPLINTER UNIT DIRECTOR OF PHOTOGRAPHY: BRIAN GARBELLINI

APPLE TV+

“CARPE” SEASON 1 DIRECTOR OF PHOTOGRAPHY: STEVE GAINER OPERATORS: LAUREN GADD, RYAN CAMPBELL ASSISTANTS: KYMM SWANK, TIM UNGER, GEORGE HESSE, DAN TAYLOR

DIGITAL IMAGING TECH: MICHAEL BOSMAN DIGITAL UTILITY: JONATHAN TAYLOR STILL PHOTOGRAPHER: JESSICA BROOKS

A VERY GOOD PRODUCTION, INC. & WAD PRODUCTIONS

“THE ELLEN DEGENERES SHOW” SEASON 19 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

BEACHWOOD SERVICES

“DAYS OF OUR LIVES” SEASON 56 DIRECTOR OF PHOTOGRAPHY: VINCE STEIB OPERATORS: MARK WARSHAW, MICHAEL J. DENTON, JOHNNY BROMBEREK, STEVE CLARK CAMERA UTILITIES: STEVE BAGDADI, GARY CYPHER VIDEO CONTROLLER: ALEXIS DELLAR HANSON

BERLANTI PRODUCTIONS

“ALL AMERICAN: HOMECOMING” SEASON 1 DIRECTOR OF PHOTOGRAPHY: HANS CHARLES OPERATORS: GREG DIEGO WILLIAMS, TAMMY FOUTS ASSISTANTS: JON LINDSAY, ROB MONROY, ALDO PORRAS, JR., DAION CHESNEY DIGITAL IMAGING TECH: SHANNON COOK DIGITAL UTILITY: MAX PEREZ

BRIGHTSIDE PRODUCTIONS, LLC

“HELLO TOMORROW AKA BRIGHTSIDE” SEASON 1 DIRECTOR OF PHOTOGRAPHY: JUSTIN BROWN OPERATOR: MATT FLEISCHMANN ASSISTANTS: CORY STAMBLER, EVE STRICKMAN LOADERS: RYAN BALDWIN, AUDE VALLO STILL PHOTOGRAPHERS: PETER KRAMER, GIOVANNI RUFINO

CBS

“BULL” SEASON 6 DIRECTORS OF PHOTOGRAPHY: JOHN ARONSON, BARNABY SHAPIRO OPERATORS: ELI ARONOFF, ROMAN LUKIW ASSISTANTS: SOREN NASH, MICHAEL LOBB, TREVOR WOLFSON, NIALANEY RODRIGUEZ LOADERS: IVANA BERNAL, JONATHAN FARMER DIGITAL IMAGING TECH: KEITH PUTNAM

“CSI: VEGAS” SEASON 1 DIRECTOR OF PHOTOGRAPHY: TOM CAMARDA OPERATORS: KENNY BROWN, NICK FRANCO ASSISTANTS: SIMON JARVIS, CLAIRE STONE, CHRIS MACK, TIM SHERIDAN DIGITAL IMAGING TECH: GREG GABRIO CAMERA UTILITY: TYLER ERNST DIGITAL UTILITY: MORGAN KEANE STILL PHOTOGRAPHER: RON JAFFE

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“ENTERTAINMENT TONIGHT” SEASON 40 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 3 DIRECTORS OF PHOTOGRAPHY: FRED MURPHY, PETR HLINOMAZ OPERATORS: PARRIS MAYHEW, GEORGE TUR ASSISTANTS: RENE CROUT, THOMAS GRECO, ALISA COLLEY, JAY KIDD LOADERS: DANIEL SANABRIA, III, ROBERT STACHOWICZ STILL PHOTOGRAPHER: ELIZABETH FISHER

“NCIS” SEASON 19 DIRECTOR OF PHOTOGRAPHY: WILLIAM WEBB, ASC OPERATORS: GREG COLLIER, CHAD ERICKSON ASSISTANTS: JAMES TROOST, NATE LOPEZ, YUSEF EDMONDS, ANNA FERRARIE, HELEN TADESSE, ANDREW HAN DIGITAL LOADER: MIKE GENTILE

“THE TALK” SEASON 12 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

CHERNIN ENTERTAINMENT “P-VALLEY” SEASON 2

DIRECTORS OF PHOTOGRAPHY: RICHARD VIALET, ASC, RODNEY TAYLOR, ASC OPERATORS: CHRIS LOH, CHRIS FREILICH ASSISTANTS: KRAIG SWISHER, DANNY GUARINO, ROBBIE CORCORAN, ERIN STRICKLAND LOADER: CHANDRA SUDTELGTE UTILITIES: NIC HUEY, KELLI MCCARTHY

CHORIS BOY

“HIGH SCHOOL MUSICAL: THE MUSICAL” SEASON 3 DIRECTOR OF PHOTOGRAPHY: HISHAM ABED OPERATORS: JESSE EVANS, TAHLEE SCARPITTI ASSISTANTS: CHRIS WORKMAN, STEVE ROMMEVAUX, ROBERT GILPIN, KEITH BRONSDON DIGITAL IMAGING TECH: EARL FULCHER CAMERA UTILITY: EMMA MASSALONE

COMMUNITY SERVICE PRODUCTIONS, INC. “THAT DAMN MICHAEL CHE” SEASON 2

DIRECTOR OF PHOTOGRAPHY: RAMULAS BURGESS OPERATORS: DAVID TUMBLETY, OMAR GUINIER ASSISTANTS: ELIZABETH CAVANAGH, CHRIS GLEATON, WYATT MAKER, ZAKIYA LUCAS-MURRAY

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DIGITAL IMAGING TECH: LOIC DE LAME LOADER: DAN FOLEY

CRANETOWN MEDIA, LLC “THE PALE BLUE EYE”

DIRECTOR OF PHOTOGRAPHY: MASANOBU TAKAYANAGI OPERATOR: DANA MORRIS ASSISTANTS: JAMES APTED, RICK CRUMRINE, JEREMIAH KENT, WILLIAM CRUMRINE CAMERA UTILITY: KAYLA LUKITSCH DIGITAL IMAGING TECH: DANIEL HERNANDEZ LOADER: MATT BERAN STILL PHOTOGRAPHER: SCOTT GARFIELD

EYE PRODUCTIONS, INC. “BLUE BLOODS” SEASON 12

DIRECTOR OF PHOTOGRAPHY: DONALD THORIN OPERATORS: JIM MCCONKEY, GEOFFREY FROST ASSISTANTS: NICHOLAS DEEG, MARTIN PETERSON, KENNETH MARTELL, JONATHAN SCHAEFER LOADER: DEVERAUX ELMES

“WALKER” SEASON 1 DIRECTORS OF PHOTOGRAPHY: PETER B. KOWALSKI, IAN ELLIS OPERATORS: TIM BEAVERS, PK MUNSON, ROB MCGRATH ASSISTANTS: ROBERT RENDON, KELLY BOGDAN, THEDA CUNNINGHAM, RIGNEY SACKLEY, JACK LEWANDOWSKI, LESLIE FRID STEADICAM OPERATOR: TIM BEAVERS STEADICAM ASSISTANT: ROBERT RENDON LOADER: BRENDA SZWEJBKA DIGITAL UTILITY: EMILY BROWN, DUSTIN MILLER REMOTE HEAD TECH/OPERATOR: CHRIS SMITH STILL PHOTOGRAPHER: REBECCA BRENNEMAN

FUQUA FILMS

“THE RESIDENT” SEASON 5 DIRECTOR OF PHOTOGRAPHY: JULES LABARTHE OPERATORS: LAWRENCE KARMAN, ANDY FISHER, JESSICA HERSHATTER, JUSTIN DEGUIRE, JENNIFER RANKINE, TAYLOR CASE, CAMERON SCHWARTZ, GRACE CHAMBERS LOADER: TREY VOLPE DIGITAL UTILITY: ALEX GALVEZ STEADICAM OPERTOR: LAWRENCE KARMAN STILL PHOTOGRAPHER: GUY D’ALEMA

GIMME DAT MONEY, LLC “DESUS & MERO” SEASON 3

OPERATORS: DANIEL CARP, KATHLEEN HARRIS, MARK SPARROUGH ASSISTANT: PETER STAUBS CAMERA UTILITY: JONATHAN SCHAMANN

JAX MEDIA, LLC

“PARTNER TRACK” DIRECTOR OF PHOTOGRAPHY: TOBIAS DATUM OPERATORS: REBECCA ARNDT, PATRICK MORGAN ASSISTANTS: STEPHEN KOZLOWSKI, HAFFE ACOSTA, MIKE SWEARINGEN, MARIA GONZALES

“UNCOUPLED” SEASON 1 DIRECTOR OF PHOTOGRAPHY: SEAMUS TIERNEY OPERATORS: CHARLIE BEYER, PETER KEELING ASSISTANTS: MIKE GUTHRIE, JOHNNY SOUSA, VINCENT TUTHS, EMMALINE HING DIGITAL IMAGING TECH: MICHAEL POMORSKI STILL PHOTOGRAPHERS: SARAH SHATZ, BARBARA NITKE

JAY SQUARED PRODUCTIONS, LLC “MANIFEST” SEASON 4

DIRECTOR OF PHOTOGRAPHY: SARAH CAWLEY OPERATORS: RYAN TOUSSIENG, DANIEL HERSEY ASSISTANTS: ANDREW PECK, WESLEY HODGES, HILARY BENAS, ANNE STRAUMAN-SCOTT LOADER: ANDREW BOYD

JDW FILMS, LLC

“BOYS OF SUMMER” DIRECTOR OF PHOTOGRAPHY: LAWRENCE BLANFORD OPERATOR: JOSEPH DUNN ASSISTANTS: ALAN ALDRIDGE, ERIK OLSON, SETH LEWIS, BRIATTANY WILSON STEADICAM OPERATOR: BRETT MAYFIELD

KANAN PRODUCTIONS, INC. “RAISING KANAN” SEASON 2

DIRECTORS OF PHOTOGRAPHY: FRANCIS SPIELDENNER, EDWARD PEI OPERATORS: PYARE FORTUNATO, GREG FINKEL ASSISTANTS: MARK FERGUSON, SUREN KARAPETYAN, TRICIA MEARS, KEITH ANDERSON DIGITAL IMAGING TECH: HUNTER FAIRSTONE LOADERS: HOLDEN HLINOMAZ, KATI PEREZ STILL PHOTOGRAPHER: CARA HOWE

NBC UNIVERSAL TELEVISION, LLC “CHICAGO MED” SEASON 7

DIRECTOR OF PHOTOGRAPHY: FAIRES A. SEKIYA OPERATORS: JOE TOLITANO, BENJAMIN SPEK, WILLIAM NIELSEN ASSISTANTS: GEORGE OLSON, MATTHEW BROWN, MICHAEL KUBASZAK, BRIAN KILBORN, PATRICK DOOLEY, ELIJAH WILBORN LOADER: RICHARD COLMAN UTILITY: KIEN LAM

“CHICAGO PD” SEASON 10 DIRECTOR OF PHOTOGRAPHY: JAMES ZUCAL OPERATORS: VICTOR MACIAS, JAMISON ACKER, CHRIS HOOD ASSISTANTS: KYLE BELOUSEK, DON CARLSON, NICHOLAS WILSON, MARION TUCKER, CHRIS POLMANSKI, MAX MOORE STEADICAM OPERATOR: VICTOR MACIAS STEADICAM ASSISTANT: KYLE BELOUSEK LOADER: STEVEN CLAY CAMERA UTILITY: REBECCA JOHNSON DIGITAL UTILITY: CHRISTOPHER HAYDEN STILL PHOTOGRAPHER: LORI ALLEN

“FBI” SEASON 4 DIRECTOR OF PHOTOGRAPHY: BART TAU OPERATORS: AFTON GRANT, JAMES GUCCIARDO ASSISTANTS: LEE VICKERY, YURI INOUE,

GEORGE LOOKSHIRE, NKEM UMENYI LOADERS: RAUL MARTINEZ, CONNOR LYNCH STILL PHOTOGRAPHERS: WALLY MCGRADY, MIKE PARMELEE

“FBI MOST WANTED” SEASON 3 DIRECTORS OF PHOTOGRAPHY: WILLIAM KLAYER, LUDOVIC LITTEE OPERATORS: CHRISTOPHER MOONE, SCOTT TINSLEY ASSISTANTS: RORY HANRAHAN, JAMES DALY, CAROLYN WILLS, DANIEL PFEIFER LOADERS: JOHN CONQUY, MATT ORO STILL PHOTOGRAPHER: MARK SCHAFER

“LAW & ORDER” SEASON 21 DIRECTOS OF PHOTOGRAPHY: CRAIG DIBONA OPERATORS: CHRIS HAYES, THOMAS WILLS ASSISTANTS: ALEX WATERSTON, IAN BRACONE, DEREK DIBONA, EMILY DUMBRILL LOADERS: REBECCA HEWITT, NAIMA NOGUERA

“LAW & ORDER: ORGANIZED CRIME” SEASON 2 DIRECTORS OF PHOTOGRAPHY: JIM DENAULT, JACK DONNELLY OPERATORS: JON BEATTIE, JOHN PIROZZI ASSISTANTS: JOHN OLIVERI, NICHOLAS HAHN, KEVIN HOWARD, DERRICK DAWKINS LOADERS: EVAN BREEN, PATRICK ARELLANO STILL PHOTOGRAPHERS: MICHAEL PARMELEE, VIRGINIA SHERWOOD

“LAW & ORDER SVU” SEASON 23 OPERATORS: JONATHAN HERRON, JAMIE SILVERSTEIN ASSISTANTS: CHRIS DEL SORDO, MATTHEW BALZARINI, BRIAN LYNCH CAMERA UTILITY: GIANNI CARSON

“NEW AMSTERDAM” SEASON 4 DIRECTOR OF PHOTOGRAPHY: ANDREW VOEGELI OPERATORS: GARETH MANWARING, PEDRO CORCEGA ASSISTANTS: JAMES MADRID, MATTHEW MONTALTO, ROBERT WRASE, BRIAN GRANT LOADERS: THOMAS FOY, PHILIP THOMPSON STILL PHOTOGRAPHER: CHRISTOPHER SAUNDERS

“THIS IS US” SEASON 6 DIRECTOR OF PHOTOGRAPHY: YASU TANIDA OPERATORS: JAMES TAKATA, DANIEL COTRONEO ASSISTANTS: SEAN O’SHEA, JOE SOLARI, JEFF STEWART, TIM SHERIDAN LOADER: WADE FERRARI STEADICAM OPERATOR: JAMES TAKATA STEADICAM ASSISTANT: SEAN O’SHEA DIGITAL UTILITIES: GOBE HIRATA, ADAM GARCIA STILL PHOTOGRAPHER: RON BATZDORFF

REMOTE BROADCASTING

“THE GOLDBERGS” SEASON 9 DIRECTOR OF PHOTOGRAPHY: JASON BLOUNT OPERATORS: SCOTT BROWNER, NATE HAVENS ASSISTANTS: TRACY DAVEY, GRETCHEN HATZ, GARY WEBSTER, TOMOKA IZUMI DIGITAL IMAGING TECH: KEVIN MILLS LOADER: DILSHAN HERATH

SHOWTIME PICTURES

WARNER BROS

DIRECTORS OF PHOTOGRAPHY: ULA PONTIKOS, CATHERINE LUTES ASSISTANTS: JOHN REEVES, SARAH SCRIVENER STEADICAM OPERATOR: DEVON CATUCCI DIGITAL IMAGING TECH: DOUG HORTON LOADERS: LIAM GANNON, JASON GAINES STILL PHOTOGRAPHER: JOJO WHILDEN

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

“THREE WOMEN”

SONY

“JEOPARDY!” SEASON 36

“BOB HEARTS ABISHOLA” SEASON 3

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: JEFF MESSENGER VIDEO UTILITIES: MICHAEL CORWIN, JEFF KLIMUCK STILL PHOTOGRAPHER: CAROL KAELSON

“WHEEL OF FORTUNE” SEASON 37 DIRECTOR OF PHOTOGRAPHY: JEFF ENGEL OPERATORS: DIANE L. FARRELL, SOC, L.DAVID IRETE, RAY GONZALES, MIKE TRIBBLE HEAD UTILITY: TINO MARQUEZ CAMERA UTILITY: RAY THOMPSON VIDEO CONTROLLER: JEFF MESSENGER VIDEO UTILITIES: MICHAEL CORWIN, JEFF KLIMUCK JIB ARM OPERATOR: STEVE SIMMONS STILL PHOTOGRAPHER: CAROL KAELSON

SUSIE PRODUCTIONS, INC. “SUSIE SEARCHES”

DIRECTOR OF PHOTOGRAPHY: CONOR MURPHY OPERATOR: ZACHARY STANKE ASSISTANTS: ERIK KANDEFER, NOLAN MALONEY DIGITAL IMAGING TECH: JOHN KERSTEN

TCS US PRODUCITONS, 9, INC.

“NEW ENGLAND AKA BOSTON STRANGLER” DIRECTOR OF PHOTOGRAPHY: BEN KUTCHINS OPERATORS: ARI ISSLER, PATRICK QUINN ASSISTANTS: ZACH SHULTZ, JACK ELLINGWOOD, CHUCK MOYA, JAY CLEARY DIGITAL IMAGING TECH: NICK PASQUARIELLO LOADER: MCKENZIE RAYCROFT STILL PHOTOGRAPHER: CLAIRE FOLGER PUBLICIST: WILL CASEY

COMMERCIALS ARTS & SCIENCES

“DISNEY STREAMER 2.0” DIRECTOR OF PHOTOGRAPHY: DANIEL BOMBELL ASSISTANTS: HECTOR RODRIGUEZ, JESSE BARBA DIGITAL IMAGING TECH: LONNY DANLER TECHNOCRANE OPERATOR: STEVE MILLER TECHNOCRANE TECH: ADRIAN SANTA CRUZ REMOTE HEAD TECH/OPERATOR: CHRIS DEFRANCO

“DISNEY+” DIRECTOR OF PHOTOGRAPHY: DANIEL BOMBELL ASSISTANTS: JAMES APTED, CAZ DUFFY, VAL SKLAR DIGITAL IMAGING TECH: MATTHEW LOVE TECHNOCRANE OPERATOR: BRIAN MCPHERSON TECHNOCRANE TECH: HENRY FLORES REMOTE HEAD TECH/OPERATOR: JASON HIBARGER

BOB INDUSTRIES “GM”

DIRECTOR OF PHOTOGRAPHY: ERIC TREML ASSISTANTS: MICHAEL ASHE, DAISY SMITH DIGITAL IMAGING TECH: JAMES STROSAHL

TURNER CENTER NORTH, INC.

BRAND NEW SCHOOL

DIRECTOR OF PHOTOGRAPHY: ANKA MALATYNSKA OPERATORS: JOHN ROMER, SCOTT KOENIGSBERG ASSISTANTS: DEAN MARTINEZ, NICALENA IOVINO, KELLON INNOCENT, MAX COLLINS DIGITAL IMAGING TECH: ANDREW PISANO LOADER: JERON BLACK STILL PHOTOGRAPHER: KAROLINA WOJTASIK

DIRECTOR OF PHOTOGRAPHY: SHAWN KIM ASSISTANTS: LILA BYALL, NOAH GLAZER DIGITAL IMAGING TECH: DYLAN JOHNSON DIGITAL LOADER: ALEX URE TECHNOCRANE OPERATORS: BOGDAN IOFCIULESCU, WILL PIPKINS TECHNOCRANE TECH: SHAWN FOSSEN

“PRETTY LITTLE LIARS: ORIGINAL SIN”

“SALESFORCE”

JANUARY 2022 PRODUCTION CREDITS

77

EDUCATED GUESS “SL INTERVIEW”

DIRECTOR OF PHOTOGRAPHY: JOE PICARD ASSISTANTS: MICAH BISAGNI, DAISY SMITH

“SL INTERVIEWS, EUPHORIA” DIRECTOR OF PHOTOGRAPHY: JOE PICARD OPERATOR: MATT GARRETT, BRIAN SOWELL ASSISTANTS: MICAH BISAGNI, JACOB DEPP, DAISY SMITH DIGITAL IMAGING TECH: KYLE HOEKSTRA

DIRECTOR OF PHOTOGRAPHY: GLYNN SPEECKAERT ASSISTANTS: LILA BYALL, GAVIN GROSSI, NOAH GLAZER DIGITAL IMAGING TECH: TED PHUTHANHDANH

PRETTYBIRD “GMC”

DIRECTOR OF PHOTOGRAPHY: OLIVER MILLAR ASSISTANTS: RILEY KEETON, LIAM MILLER DIGITAL IMAGING TECH: TAMAS HARANGI

HUNGRY MAN

ROCKET FILM

DIRECTOR OF PHOTOGRAPHY: JOSH MCKIE STEADICAM OPERATOR: THOR WIXOM ASSISTANTS: SEAN KISCH, JINUK LEE DIGITAL IMAGING TECH: SAM PETROV

DIRECTOR OF PHOTOGRAPHY: ROB HAUER STEADICAM OPERATOR: JUN LI ASSISTANTS: TIFFANY AUG, MICHAELA ANGELIQUE DIGITAL IMAGING TECH: RAFFI VESCO

“POINTSBET”

SLIM PICTURES

“HERSHEY’S”

DIRECTOR OF PHOTOGRAPHY: DANIEL BOMBELL OPERATOR: JOHN SKOTCHDOPOLE ASSISTANTS: EJ MISISCO, DOUG PRICE, GREG KURTZ, SUZY DIETZ DIGITAL IMAGING TECH: MATTHEW LOVE TECHNOCRANE OPERATOR: BRIAN MCPHERSON TECHNOCRANE TECH: HENRY FLORES REMOTE HEAD TECH/OPERATOR: BRIAN BREITHAUPT

JOINERY

“DEXCOM” DIRECTOR OF PHOTOGRAPHY: ANDREW DROZ PALERMO ASSISTANTS: RYAN SAX, HARRY HENG, CARMAN SPOTO STEADICAM OPERATOR: MIKE WILSON TECHNOCRANE TECH: NICO BALLY REMOTE HEAD TECH: MARCIN CZWALGA

“STARBUCKS” DIRECTOR OF PHOTOGRAPHY: DANIEL BOMBELL ASSISTANTS: WILLEM VAN VARK, JEN GALIPAULT

LITTLE MINX “CHASE”

DIRECTOR OF PHOTOGRAPHY: RACHEL MORRISON, ASC OPERATOR: CHRISTOPHER HERR ASSISTANTS: LILA BYALL, GAVIN GROSSI DIGITAL IMAGING TECH: DANIEL SATINOFF

MJZ

“MCDONALD’S” DIRECTOR OF PHOTOGRAPHY: JEAN VIENNE ASSISTANTS: NINA CHIEN, MITCH MALPICA, EMMA MASSALONE DIGITAL IMAGING TECH: GEORGE ROBERT MORSE

NATIVE CONTENT “MICHELIN”

DIRECTOR OF PHOTOGRAPHY: ERIC TREML ASSISTANTS: MICHAEL ASHE, DAISY SMITH, LOUIS MASSOURAS DIGITAL IMAGING TECH: MICHEL PACIFICI

PARTIZAN

78

“TOYOTA”

JANUARY 2022 PRODUCTION CREDITS

“JARDIANCE”

“ENTENMANNS”

DIRECTOR OF PHOTOGRAPHY: DANIEL BOMBELL OPERATOR: JOSH MEDAK ASSISTANTS: RUDY SALAS, MATT SUMNEY, NICO MENIO DIGITAL IMAGING TECH: JAMES PETERSMEYER

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JANUARY 2022 PRODUCTION CREDITS

79

STOP MOTION

Alison Cohen Rosa THE TRAGEDY OF MACBETH

“To be in this room is a gift; to be trusted and respected, to work amongst friends that I call ‘family’ is an honor. I remember this moment and how intimate it felt, watching Joel and Frances immersed in the scene. The set design on this was fascinating because it appeared so effortless in its simplicity. Everywhere I turned there was a photograph to be taken, every angle and shaft of light was something to take advantage of. Bruno [Delbonnel] is a joy to work with, everything he does has a purpose. The world that was created felt magical, and shooting it in black and white was perfect. Working in the company of such incredible talent and intelligence is exhilarating, and I so value the freedom given to do my job. Everybody on set felt like we were part of something exceptional – that once-in-a-lifetime moment.”

01.2022

INDIE ISSUE

81