ICG Magazine - June 2021 - Unit Stills Issue

ICG MAGAZINE

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pictured: Alicia Robbins

Contents UNIT STILLS ISSUE June 2021 / Vol. 92 No. 05

DEPARTMENTS gear guide ................ 20 first look ................ 24 deep focus ................ 26 exposure ................ 30 production credits ................ 78 stop motion .............. 84

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FEATURE 01

MY SUEÑITO Alice Brooks and Director Jon M. Chu bring Lin-Manuel Miranda’s In the Heights back home.

Photo by Macall Polay, SMPSP

FEATURE 02 PROJECT RUNWAY Roy Halston changed the world of fashion forever – but at what cost?

SPECIAL O1 BOTH EYES OPEN A new crop of Local 600 unit still photographers embraces the past, present and future of a changing craft.

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48 64

F O R Y O U R E M M Y ® 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

OUTSTANDING DRAMA SERIES OUTSTANDING CINEMATOGRAPHY F O R A S I N G L E - CA M E RA SE RIE S ( ON E H OU R) Adriano Goldman, asc, bsc, abc

WINNER

CRITICS CHOICE BEST DRAMA SERIES

GOLDEN GLOBE® BEST DRAMA SERIES

SAG AWARDS OUTSTANDING ENSEMBLE (DRAMA SERIES)

®

WGA

AWARDS BEST DRAMA SERIES

PGA AWARDS BEST DRAMA SERIES

THE CINEMATOGR APHY IS

BEAUTIFUL. CONSEQUENCE

FYC.NETFLIX.COM

president's letter

Public Images

This issue of the magazine features the work of our unit still photographers, which not only documents the projects our members work on, but often inspires the looks that directors, directors of photography, production designers, and the entire creative teams that plan and craft the moving images deliver to audiences around the world.

This past year, during a very challenging pandemic shutdown, our stills members elevated themselves and their work by donating images to a sale that benefited the Local 600 Hardship Fund. These dedicated union craftspeople provided this entire membership an opportunity to see the exceptional work they do when not on sets, and through their artistry raised roughly $30,000 to support their fellow members.

Our unit still photographers are one-person (or two-person, when unit publicists have the opportunity to assist them) crews, working in challenging weather and sensitive acting situations, yet always meeting ever-increasing quality standards. Their work speaks for itself, but our union speaks for them. We can all support unit still photographers on our sets by having only them perform their covered work. It is an honor to showcase their work in this issue of our magazine.

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

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ALL THINGS

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

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

Philippe Antonello Daniel Delgado Chiabella James Atsushi Nishijima Clifton Prescod Tiffany Roohani Tina Thorpe Valentina Valentini JoJo Whilden, SMPSP

ACCOUNTING

Glenn Berger Dominique Ibarra

COMMUNICATIONS COMMITTEE

Spooky Stevens, Chair

CIRCULATION OFFICE 7755 Sunset Boulevard Hollywood, CA 90046 Tel: (323) 876-0160 Fax: (323) 878-1180 Email: circulation@icgmagazine.com

ADVERTISING REPRESENTATIVES WEST COAST & CANADA Rombeau, Inc. Sharon Rombeau Tel: (818) 762 – 6020 Fax: (818) 760 – 0860 Email: sharonrombeau@gmail.com EAST COAST, EUROPE, & ASIA Alan Braden, Inc. Alan Braden Tel: (818) 850-9398 Email: alanbradenmedia@gmail.com Instagram/Twitter/Facebook: @theicgmag

June 2021 vol. 92 no. 05

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

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.

International Cinematographers Guild Magazine is a registered trademark.

www.icgmagazine.com www.icg600.com

Photo by Sara Terry

wide angle

A

s a reaction to all things COVID (and shifting of 2021 industry events), we’ve split up our annual June/July combined book into two issues, the first of which, June, is themed around unit still photographers.

It goes without saying (but I’ll say it again): this magazine would not function without the amazing work these ICG members capture on set each day. But beyond that (selfish) reality, I was curious how the larger world (read: Wikipedia) perceives a craft that goes back to the dawn of the industry. After Googling “unit still photographer,” I was rewarded with this definition: “A person who creates film stills, still photographic images specifically intended for use in the marketing and publicity of feature films in the motion picture industry and network television productions. Besides creating photographs for the promotion of a film, the still photographer contributes daily to the filming process by creating set stills. With these, the photographer is careful to record all details of cast wardrobe, set appearance, and background.”

A little further down, these words jumped out (my italics): “In the past, the director, costumer or the director of photography may have referred to these still images for continuity purposes as the unit stills photographer was the only crew member permitted to take still photographs on set, but with the introduction of instant cameras such as the Polaroid, and subsequent digital photo cameras, this job of taking continuity images has fallen to the continuity and script supervisor.”

Implicit in that paragraph is a timely message – and one we hope this issue will reinforce. This industry must respect the long and treasured history of unit still photographers, their invaluable roles as members of both the camera and publicity teams on any given project, and their unique abilities to distill an entire story or series down into a few key images that will live for generations to come.

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We’re not just talking about the proliferation of high-resolution smartphones and other digital capture devices on sets, which have created the false reality that anyone and everyone is a unit still photographer. It’s also a message to the many other filmmakers on a shoot – directors, cinematographers, producers, actors and the entire camera team – who have the potential to uplift the unit still photographer’s craft.

Mark Fellman, featured in this month’s Deep Focus (page 26), has enjoyed that kind of support throughout his long-running association with James Cameron; Russell Carpenter, ASC; and Jon Landau on the Avatar franchise. And I would hope (given the quality of work) our two June features – In The Heights and Halston – captured by Macall Polay, SMPSP (In The Heights), and Atsushi Nishijima and JoJo Whilden, SMPSP (Halston), respectively, also had similar on-set support.

What makes this month’s stand-alone stills gallery (page 64) so inspiring, beyond the great images, are the photographers – all new to the union – who have placed a high value on taking up a craft foundational to the history (and future) of this industry. Chiabella James (who grew up on sets with her father, David James, SMPSP – ICG Magazine April 2020) told me that “unit still photographers have been on movies since the 1920s. But COVID accelerated a mindset already present in the industry that we are somehow not important to the process, and that’s just not true.” Philippe Antonello, who joined Local 600 on the Emmy-winning The Marvelous Mrs. Maisel and has shot unit stills in Europe for many years, says joining “the ICG means being part of a team that has the best still photographers in the world.

The list for the SMPSP [Society of Motion Picture Still Photographers – SMPSP] was one of only two I looked at when I thought about a career shooting movie stills.”

And then there’s New Jersey-based Clifton Prescod, who says one of the main reasons he joined Local 600 (after 10 years shooting fashion) was that “there will be children, 20 or 30 years from now, whose career paths may be determined by seeing images I took on set. Many say we’re the most overlooked person on a set, but we are a part of film history. No doubt.”

None of those explanations will appear when Googling “unit still photographer.” But everyone at this Guild (and hopefully in this industry) knows how well they define this essential, time-honored craft.

CONTRIBUTORS

Atsushi Nishijima Halston, Stop Motion “I get to document what I see, hear and feel during the process of filmmaking. Although there are some challenging moments, I think of it as a blessing to be a part of the film process as a unit still photographer.”

Chiabella James Both Eyes Open “I’m honored to be part of this month’s stills gallery for a project like Dune, which was not only a career highlight to photograph, but the whole experience was incredibly special to me, mostly because of the filmmakers and crew who were on this journey.”

ICG MAGAZINE

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David Geffner Executive Editor

Email: david@icgmagazine.com

Cover photo by Macall Polay, SMPSP

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GEAR GUIDE

06.2021

Fujifilm GFX100S $5,999.95 WWW.FUJIFILM-X.COM

At just 1.9 pounds (900 g), the new GFX100S is one of the most compact, high-performance, large-format cameras to date. Similar in size to most full-frame cameras, it is engineered with a 102-MP sensor, which is 1.7 times larger than a full-frame sensor. The unit offers up to six stops of fiveaxis in-body image stabilization (IBIS) for fast and accurate autofocus and world-renowned color production. Dan Kanes, CEO and Product Manager for Atlas Lens Company, recently paired the GFX100S with FujiFilm GF300-mm F3.5 and GF32-66-mm F4 lenses, as well as Atlas Orion’s anamorphic lenses. “Not only was I blown away by the image quality of 100-plus megapixel medium-format stills and the accurate and dynamic color reproduction from Fuji’s color science,” Kanes reports, “I couldn’t believe how fast the autofocus was and how lightweight and easy the camera was to use. There was virtually zero lag for autofocus with the Fujifilm lenses.”

Quiet on set for still photographers, directors who also scout locations may enjoy the PL or LPL lenses being used by the cinematographer. The new GFX100S is a great lightweight scouting camera that has nested image format sizes within it – for referencing other motion cameras or for achieving a breathtaking epic format look.

Cinedeck LX $9,995 FOR 4 CHANNELS WWW.CINEDECK.COM

This brand-new plug-and-play IP recorder supports four or eight channels of NDI, SRT, and IP-2110 input signals. It features Cinedeck 2.0, a new user interface designed from the ground up to make multi-camera ingest simple and friendly.

As a stand-alone control for Mac and PC, multiple channels of Cinedeck ingest from anywhere, even a laptop. Cinedeck CTO Charles Dautremont calls it the “answer to the new reality of remote productions.” Highlights include recording formats directly across any network to shared storage and accessing media files right away – plug and play, connect inputs, mount record destination and start recording immediately. Easy to use, it features drag-and-drop elements from customizable lists to create file names and file presets. Menus are collapsible, allowing the choice of keeping the record views clean when set-up menus are not needed. For client reviews, multiple instances of the user interface with varying levels of permissions can be created. View-only mode for producers and executives, while admin has full access to the control interface.

A new RESTful APO comes with the LX to facilitate integration with existing workflows, like connecting switcher, MAM, or any other parts of the workflow.

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ALL THINGS

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

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GEAR GUIDE

06.2021

Leica APO-Summicron-M 35 f/2 ASPH $8,195.00 WWW.LEICACAMERAUSA.COM

According to Antonio Di Benedetto, Product Specialist at Leica Camera, the brand- new APO-Summicron-M 35 f/2 ASPH “is incredibly compact with extremely high performance. It also has a minimum focus distance of 0.3 m [11.8 in.] – closer than any M rangefinder lens before it.” The lens features a rectangular, fullmetal lens hood with a screw mount. A screen protector ring is provided to protect the filter thread of the lens when the hood is not in use. The eleven blades of the iris create a circular aperture that lends the out-of-focus areas of subjects a smooth and harmonious appearance. The new design and construction deliver pin-sharp pictures with rich contrast and almost complete freedom from distortion – at all apertures and distances, even wide open. With 10 elements in five groups, three of which reside in a floating element group, the lens houses four aspherical surfaces, six lenses with anomalous partial dispersion, and three with a high reflectivity index. By mixing specialized glass types, the camera effectively eliminates both chromatic and apochromatic aberrations (allowing for its APR designation). “It perfectly complements any Leica M camera, making it an extremely compact and elegant photographic tool,” adds Di Benedetto.

Nikon Z 6ll BODY ONLY - $1,999.95 24-70 LENS KIT $2,599.95 WWW.NIKONUSA.COM

Nikon has just announced its newest full-frame mirrorless camera, which can shoot low-light stills and video. Combining pro-level video specs with a variety of high-performance NIKKOR lens options, it boasts the addition of dual EXPEED 6 image processors, giving the camera a significant performance boost.

Its lightweight, weather-sealed body makes it a portable tool for multimedia creators on the move. The 24.5-megapixel BSI CMOS sensor affords low-light performance with a fantastic dynamic range and delivers 4K UHD with full pixel readout. The Z 6ll provides a variety of frame rates and resolutions, including 4K60p, or 1080p/120 fps for slow motion as well as HDMI output for using an external recorder. It also provides accurate and rapid AF to smoothly track a subject with Eye-Detection when recording humans and animals. Next-generation NIKKOR Z lenses offer edge-to-edge sharpness, silent operation, and reduced focus breathing. The camera also features useful indicators for focus peaking, zebra stripes, and timecode to simplify workflow.

Users benefit from expanded recording options for RAW video – including ProRes RAW and Blackmagic RAW functionality with optional upgrades.

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FIRST LOOK

Kane Pearson

BY PAULINE ROGERS PHOTO BY DANIEL DELGADO

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At 18, while in college, Kane Pearson fell in love with Wilmington, NC, and decided to make the move from

first-generation ALEXAs with eight- and 16-gigabyte SxS cards. We would shoot on the card, download it,

Chicago. “I had no idea what my future career would be, but I was living just a few blocks from Screen Gems Studios as well as Joe Dunton Cameras [JDC],” she reflects. “Three weeks into an internship at JDC, and a feature rolled through to prep. I was offered a camera intern position and never looked back.” By 19, Pearson had joined Local 600 on what she says was the hardest job she’s ever worked – NBC TV’s Revolution.

Pearson says she’ll never forget her first day on a set, “clueless” about the job but trying to absorb all she could. “When they called wrap, I didn’t want the day to be over,” she smiles. “Camera is the only department I’ve ever worked in. I knew it was where I was supposed to be from day one.”

Her first Camera PA job was the indie feature Jessabelle, shot by Michael Fimognari. “To this day, it was the only job where I had a sit-down interview with the DP,” she comments. “Cut to seven years later, and I’m the A-Camera second AC for Mike on Doctor Sleep.

It’s still my favorite movie to date. I’ve never been on such an organized set. Every scene was completely mapped out. Every shot was detailed, and there was time allotted to complete everything. Plus, it was the sequel to one of my favorite movies.”

Dream job perhaps, but Pearson admits being a female AC in a small, competitive market was challenging. “There were not many women, and I was much younger than everyone around me,” she adds.

“First AC Grg Magidow got me out on set and trained me to load film. He gave me that first Union job and let me bump up to second. He supported my choice to work on small non-union features as a first AC. He told me to learn by doing, and that I’d be even stronger at my job if I had a better idea of what it’s like to do the positions above me.”

In 2015 Pearson moved to Savannah, GA, becoming one of the few Local 600 members based there at the time. Working with different crews, Pearson says she was able to pick up different habits and skills.

The jump from loader to 2nd AC was relatively quick.

“I did one digital job and day-played as a film loader,” she continues. “Digital loading was more terrifying than film loading back then. We were shooting on the

then send it right back to the set. At the time, eight gigabytes didn’t get you much roll time.”

Pearson says she had every intention to go back to loading after that feature; but it wasn’t to be, and she spent nine years as a second before making the jump to 1st AC this year.

She eased into focus-pulling on additional camera days and even keyed the 2nd unit for Michael Berlucchi on Teenage Bounty Hunters. “Actor Kadeem Hardison was a joy to work with,” she recounts, “though he never let me slate my camera and often tried to run my lens change to my First AC, Josh Greer.

I guess he wished he’d joined Local 600 instead of SAG,” she jokes. “I want to be the best focus puller I can be,” Pearson adds enthusiastically now, about moving up. “I give it my all and am developing stronger abilities every day.”

In fact, Pearson waited patiently for the right time to move up. “A-Camera First Taylor Fenno thought his new series Long Slow Exhale would be the perfect opportunity for me, and he was right,” she explains.

“Mauricio Rubinstein [ASC] and director Anton Cropper are an absolute dream. They are always giving me the encouragement and acclamation to keep my head in the game during tough moments.”

Pearson remembers the first shot with the director watching over her shoulder at her focus monitor. “It was a B-Camera-only handheld oner.

I didn’t know I could feel pressure like that until becoming a first AC. My face was beet red, and I was just telling myself over and over, ‘You got this.’ As I've moved up the production ladder, I've enjoyed passing on lessons learned to loaders and seconds who want to do what I do.

“It’s not always about the technical aspects of the job,” she concludes. “I tell them to learn every job below theirs to their best ability. The key to having a well-oiled machine of a camera department is if everyone knows their responsibilities and how to do them well. The best way is to talk to someone who has been in your shoes and has made the same mistakes.

And never stop learning! There are always more ways to improve your skill sets.”

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DEEP FOCUS

PHOTO COURTESY OF ZACK FELLMAN

06.2021

Mark Fellman UNIT STILL PHOTOGRAPHER

My photo career started after my mom died in 1977.

I bought an Olympus OM-1 and flew to Hawaii for all kinds of adventures. When I picked up the slides at the lab, the guy asked, “What magazine do you work for?” Huh? “You are a professional photographer, right?” That’s how it started.

My first industry job happened because my girlfriend won on a game show and said, “Let’s go to Tahiti.” While there, we met our future friends Julie and Jon Landau. Jon called me a year later and said come work on this movie, Campus Man. First shot, I picked up my camera and the operator looked at me and said, “You know this is a talkie! We are recording sound. Where’s your blimp?” I said, “What’s a blimp?”

Subsequent to that Jon mentored me, answered my myriad questions and has been a huge source of

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support and guidance. I am forever indebted to him and to that girlfriend who became my wife!

bring your camera.” Some guys started throwing TVs out the window, à la David Letterman.

An early project, Jason Goes to Hell: The Final Friday, was difficult as film stocks were not up to shooting in such low light. What’s fun about lowbudget films is that there’s an opportunity to be more creative. I would pull out my Hasselblad and shoot little setups. They ended up making baseball cards with those images. At the end of the movie, a dog is supposed to sniff Jason’s mask, but the dog wouldn’t do it. So, I put some hot dog meat under the mask.

Uncredited animal trainer!

On Dunston Checks In, animal trainer extraordinaire Larry Madrid and I became friends. I would go into his office before work and read the paper. One morning, there was a huge commotion in the other room.

Dunston [the orangutan] comes running in, sits on my chest, and takes a crap on me. Larry looks over, and casually asks, “Did you bring another shirt to work?”

I’ve been lucky to have worked on many comedies… Dumb and Dumber was a traveling roadshow. “Hey Mark, come over to this building and

The Sum of All Fears was a very different experience. Big sets, big actors, big shots. I don’t like to photograph anyone until I meet them. When I came onto the project, production was already underway, and publicist Karen Pidgurski said, “You need to get this shot of Morgan Freeman.”

F O R

Y O U R

E M M Y®

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

“With Thimios Bakatakis at the helm, the third season has a sumptuous, naturalistic glow about it, aided by the rich depth of 16mm film.”

“Beautifully captured. The unembellished camerawork, use of long single shots without cutaways, makes every scene feel intensely intimate.”

“The long, beguiling sequences don’t merely resonate with tension and emotion, they positively ache.”

“Spectacularly shot.”

OUTSTANDING CINEMATOGRAPHY For A Single-Camera Series (Half-Hour)

THIMIOS BAKATAKIS “Moments in Love, Chapter 1”

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DEEP FOCUS

PHOTO BY MARK FELLMAN

06.2021

In between takes, and against my better judgment, I introduced myself to Mr. Freeman. He was standing under a huge CIA sign and looked very intimidating. “Is there anything I should know about photographing you?” I asked. He took his finger and shoved it into my chest and said, “Don’t you ever, ever, photograph me…..naked!” and then that big Morgan smile came out. He’s the best!

I’ve been involved with the Avatar franchise for more than 15 years. If there is one word to describe James Cameron, it’s “visionary.”

He had the script for Avatar way before the technology was available to tell the story. Jim and Russell Carpenter, ASC, take such care to make the sets look amazing, which makes the job so much easier.

Jim is more approachable than one might think.

There was an opportunity on the first movie in New Zealand where he was standing at the open end of one of the link units. I thought if I could get on the other side and use the circle as a frame, that might be a cool shot. I crawled around and framed it and Jim turned, gave me a look and “click.” That shot ended up being the first glimpse Publicity revealed from the Avatar set. Avatar has been my peak professional experience. Every day felt like working on the space shuttle.

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In the early days, there was more of a craft to photography. There was excitement going to the lab to find out if you got the shot. Today, you just look at the back of your camera, tweak, and move on. There is less mystique.

We have become the lab as well, which has greatly increased our workload. The advent of social media has weakened the impact of photography.

On Instagram, you are scrolling through some of the most amazing photographs ever shot. I challenge you to look at them for more than one second! As my father-in-law used to say, throw a rock out the window and hit a photographer, but, in a must-have, must-get situation, a unit still photographer is the person you need.

I started shooting with a Kodak Brownie, Olympus and then Nikon, Canon, and now I’m fully immersed in Fujifilm. I love the jpeg rendering, and Fuji still feels like a camera, not a digital capture device. I will occasionally pull out a Hasselblad XPan or Leica film camera, but I am loving shooting black and white with the Fuji GFX 50R medium format. When someone asks me what camera to get, I tell them to go see Karen McHugh at Samy’s camera, hold all the cameras, and buy whichever feels the best in your hand. That’s how good cameras have become.

The job of an on-set still photographer can be stressful and having the trust of the publicist and the studio photo department is paramount. I’ve been lucky to have worked with some of the great ones – Bette Einbinder, Helene Steel, Chrissy Quesada, Riki Leigh Arnold, and Bill Mona. This job is 10 percent photography and 90 percent politics and psychology. Without the help of publicists and the amazing people in the camera department, the job would be impossible.

Fans want to see behind-the-scenes from their favorite movies. With technology, it’s easy to pull an image off the digital capture, but there is value to having behind-the-scenes images taken from the photographer’s point of view. I think Jim Cameron values this, which encourages me to always push the envelope.

With every contract negotiation we have to justify our job. It’s a small price for producers to get iconic art that helps to sell the movie. Making books and images for products from the movie can help defray our cost. Either way, it’s photographers like David James [SMPSP], Melinda Sue Gordon [SMPSP], Kimberley French [SMPSP], Merrick Morton, Hopper Stone [SMPSP], Chuck Zlotnick, Matt Kennedy [SMPSP] and so many more who take the iconic images we remember when we think of any TV show or movie.

ALL THINGS

DARING F O R YO U R C O N S I D E RAT I O N

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EXPOSURE

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Nelson Coates PRODUCTION DESIGNER | IN THE HEIGHTS

BY VALENTINA VALENTINI / PHOTO BY MACALL POLAY, SMPSP

The actor-production designer is not a typical Hollywood hyphenate. In fact, it may be more accurate to note that Nelson Coates is the only production designer who has also enjoyed a long career as a theatrical performer. Beginning at age six in his home state of Tennessee, Coates acted, sang, and danced in regional musical theater productions and has continued to do so, even working one summer at Shakespeare in the Park, where he ended up on stage with Morgan Freeman, for whom he went on to design movies decades later. Simply put, "I'm a storyteller," Coates says. "It's just a question of what tools I'm using." (cont'd on page 32) U NIT S TILLS T ILLS I S S UE

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Coates’ career has spanned nearly all genres since he began designing TV shows in 1989. He’s done multi-picture collaborations with directors like Mimi Leder (Thick as Thieves, John Doe, On the Basis of Sex), Gary Fleder (Things to Do in Denver When You’re Dead, Kiss the Girls, Don’t Say a Word, Runaway Jury, The Express), Anne Fletcher (The Guilt Trip, The Proposal, Hot Pursuit) and most recently, Jon M. Chu. Admittedly, Coates had been chasing In the Heights ever since he saw it on Broadway when it opened in 2008.

“Ironically, this is the first musical I’ve designed as a feature film even though I’ve done them all my life as an actor,” he describes. “You never know which path will lead you where, so you go down the road with whomever. Even though I knew Jon was attached to In the Heights when I met with him for Crazy Rich Asians, I just thought that if I didn’t screw that film up, the potential was there for me to do this.”

Winning an Art Director’s Guild (ADG) award for Crazy Rich Asians clearly proved Coates didn’t screw anything up. Chu hired him for In the Heights and again for his latest series for Apple TV+, Home Before Dark. But Coates didn’t come clean to Chu about geeking out on In The Heights until recently, to which Chu replied: “You dork.” Coates, the ADG president for five years running, talked to ICG Magazine about his brilliant career(s) and what it's like to transpose a four-time-Tony-winning musical to the big screen.

ICG Magazine: You’ve done four projects with Jon Chu so far. What makes him a great collaborator?

Nelson Coates: Jon is such a caring and intelligent director, always looking for the nuances that will elevate a story. There is no ego with him – it is all about the work. He’s one of my favorite creative partners in my whole career. For example, with In the Heights, some musicals have a through-line and everything is kind of a variation on a theme.

But Jon wanted each musical number to have its own special quality, its own visual style, so that every aspect of that song would be memorable.

Early on in prep, he made musical beat sheets for each song that gave crystal-clear guidance on what he wanted. I was able to springboard off of that so easily.

Has the production designer/director of photography relationship changed over the years? DP’s were much more isolationists in the past. And I find that my relationship is tighter now than it was early in my career. Some of that is with my stature and my career base, but also there is more of a collegial collaboration. With Alice

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[Brooks], it was like brother and sister; it was so easy to work together. If Jon was busy, we would always have solutions to present to him together, and 99 percent of the time it would be perfect for him. There was more antagonism when I came into the business – there was “the fiefdom” of the DP. But now it’s way more interactive.

These days it seems like production designers are also lighting designers, building practicals into the set to give more freedom to the actors and the DP’s. Do you agree? Absolutely. Like in the bodega in In the Heights, when Usnavi is dancing around the aisles – I knew what I wanted the fixtures to look like, but I also needed to know how they would light and where they would be placed, what we could do with them and how they would also be out of the way of the choreography. With the help of our gaffer, Charlie Grubbs, I lit from the refrigerated cases so that it looked like naturally motivated light but also solved the illumination challenge. Solving problems is something I love to do. And it wasn’t just about making it look great, but also about making it film great for Alice [Brooks].

Can you give us another example of a problem with a pleasing outcome? [Laughs]. Well, I love all my children. [Pause.] Flight had some major technical aspects to it, but I think Big Miracle had some huge challenges to overcome that were unique. It was the first studio feature to film entirely in Alaska. We were filming in Anchorage, which is full of trees and mountains, but we were representing Barrow, which is all flat with ice and no trees. I built the set two football fields long on a parking lot behind a depot with a view to a big inlet. In order to have all the views [director] Ken [Kwapis] wanted, I nested sets like Russian dolls into other sets, and built other pieces on two-sided wagons so you could spin them around to create different streets in Barrow as per the look of the scene. Each night, the crew would get their call sheets with a map of what the set would be the next day, so they knew how to shift accordingly.

That feels like a theatrical solution for a film set, where you have rolling and multi-purpose pieces that can be swapped out. Correct. I also needed to force perspective down the length of the set, using telephone poles and houses getting smaller in the distance. I had houses that were only as tall as I am, making it look like the town was going off into the distance. We used kids on three-quarter snow machines and adults on full size in the foreground. I also had a 200-foot crane off to the side of the set where we built a 40-by-40-foot tank 30 feet into the ground for the animatronic whales, with different lids that acted as different stages of

icing over. We were using every trick in the book, and VFX added to those elements to make it all come together. Another thing I did on that movie was to make sure the crew could get in and out of those spaces quickly and efficiently. I designed the sets with shipping containers hidden into them as warming huts so that the crew didn’t have to go back to the trucks.

What are some solutions you found for In the Heights? For Abuela Claudia’s number, “Paciencia Y Fe,” Jon originally thought about having it on a soundstage in a black box, but I was thinking of a more theatrical feel. I scouted spaces in New York that would have some architecture so that she could move through those spaces – a station, a street – but everything felt too representative to Jon. My last idea was the New York Transit Museum, and he loved it immediately and wanted to shoot there. If you know Jon, you know that when he has a strong opinion about something, you go for it. Unfortunately, as an open museum, they only could offer one day to use the space; plus, there were all these museum artifacts everywhere. But we loved the idea of Abuela transporting herself in subway cars back in time through her memory, which also allowed us to transport the audience. I began working with the MTA to find a space, a closed station or something, and we ended up at this place in Brooklyn that was a maintenance station. We got permission to hire the Transit Museum’s period train cars – so we knew we had a space, and we had some cars, but how do we tell the tale? We laid out drawings of the station, and the 1940s subway cars, and platforms, and then broke the number into specific beats.

The station and cars got specific design elements to support the years of the Abuela’s story. Period signage, painting, mosaics, advertising, light fixtures, dressing, and even artificial snow all contributed to elevating Abuela’s story.

In the Heights has been a career goal. What was it like to finally be hands-on? I tried to bless that set everywhere for those who came before us in creating this incredible story. Lin [-Manuel Miranda] and Quiara [Alegría Hudes], it’s been their passion for all these years, so everywhere in the movie there are little blessings: on Lin’s piragua cart I hand-carved a rendition of the drawing that he first did as a 17-year-old of the subway going into the Dyckman Street station that said, “In the Heights” in big letters. That’s something he did even before he’d written anything. I put Jon’s mom’s name ghosted on the salon sign saying “Ruth’s Bridal” as if it were something in the past; there’s Manuel’s Boutique and Hudes Hardware. We just did everything that we could do to bless this show. I think it will touch people’s heads and hearts.

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BEFORE (BOTTOM) AND AFTER PHOTOS OF WASHINGTON HEIGHTS, NY LOCATION. COURTESY OF NELSON COATES

You’re serving your third term as president of the Art Directors Guild. How have you pushed your craft forward in that position? That’s a long answer [laughs]. Well, I started the first women’s committee, the first diversity committee, and I’ve been pushing our diversity, equity, and inclusion (DEI) educational components, which I’d been doing before the #OscarsSoWhite movement. I’ve been fortunate to have been aware of these types of needs before the industry caught on. We need to educate our members in order to get constituencies who, historically, have not been represented in the Guild. We need to get into the education – high schools and vocational schools – so that kids know these jobs exist. Because it’s a technical as well as a creative job, we’ve created a production design initiative program where we can reach out to new constituencies and help actually train them, almost like a mentoring program so that they know the skills that are needed to be in the workplace as well as giving them real-world experience in departments as production assistants. The more the industry reflects the world at large, the more it will be able to tell stories from every aspect of the storytelling process. You can feel a sea change and new energy from those involved. It’s great.

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IN THE HEIGHTS AN UPCOMING AMERICAN MUSICAL DRAMA FILM DIRECTED BY JON M. CHU FROM A SCREENPLAY BY QUIARA ALEGRÍA HUDES.

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MY SU ALICE BROOKS AND DIRECTOR JON M. CHU BRING LIN-MANUEL MIRANDA’S IN THE HEIGHTS BACK HOME. JU NE 2021 36 BY: VALENTINA VALENTINI // PHOTOS BY: MACALL POLAY, SMPSP

UEÑITO

THERE was a moment of quiet on the set of In the Heights, in the sweltering heat of New York City, summer 2019. The entire intersection of 175th and Audubon was closed off to film the opening number – dancers and extras ready for their cues; lights and cameras being adjusted for the upcoming take. As the sun lowered just above the George Washington Bridge, Local 600 Director of Photography Alice Brooks turned to Lin-Manuel Miranda to ask: “When you were in college writing this music, did you dream of being here, shutting down your neighborhood street, and filming this number?”

In the Heights, a story of dreams big and small, set in New York City’s Washington Heights, originally opened on Broadway in 2008

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but was born in a college dorm room. Miranda was a sophomore at Wesleyan University in 1999 when he wrote the initial draft of what was to become the first in the Puerto RicanAmerican’s prolific line of musicals that have reshaped Broadway. With music and lyrics

by Miranda and book (“script” in musical theater speak) by Quiara Alegría Hudes, In The Heights was nominated for 13 Tony Awards and won four, including best choreography, best original score, and best musical. Now, enjoying a summer theatrical launch from Warner Bros (that was delayed a full year due to COVID19), the film stars Anthony Ramos as Usnavi, a Dominican-American immigrant whose sueñito (little dream) of leaving Washington Heights turns into something more, thanks to the magic of his New York community.

“In 2016, when I first heard that [director Jon Chu] was attached to the movie, I knew I wanted to shoot it,” recounts Brooks, who lensed Chu’s thesis film – a short musical called When the Kids Are Away – while they were both at the University of Southern California.

“We’ve done many musical-driven projects together over the years, but not a large studio movie,” she adds. “And even though Jon and I have had great collaborations in the past, I didn’t know if he’d be able to bring me onto this one.”

Brooks [who shot Chu’s 2015 music-driven Jem and the Holograms, ICG Magazine October 2015] had done mostly indies and TV when In The Heights debuted. But she imagined the movie anyway, collecting images and dreaming about a visual plan (even though

DIRECTOR JON CHU ON LOCATION IN WASHINGTON HEIGHTS, NYC WITH CO-WRITER/PRODUCER LIN-MANUEL MIRANDA

she had no script). And because of the success of Crazy Rich Asians, “for the first time in my career,” Chu describes, “I got to choose [the heads of ] whatever department I wanted. Alice and I have been training for this our whole lives.” By the time prep started for the film version, Brooks had nearly three years’ worth of images and references.

Although production was based in Brooklyn, the majority of the film was shot in Washington Heights, where Miranda grew up.

Brooks, Chu and Production Designer Nelson Coates (Exposure, page 30) spent almost every single day “in the Heights,” including at one of the two rehearsal studios they rented for dance numbers. Everyone involved with the project wanted to be inspired by the people who lived in the history-rich community – the true star of the show. As Brooks observes: “It’s a very different place than anywhere else in New York; even the light is different.”

Chu, who named his son Heights (born during production), was equally taken with the neighborhood. But he admits the logistics were complex. Four blocks had to be closed off – on either side of an intersection – for four weeks, to capture the main bodega’s exterior. Music, so central to the story, could not be blasted 24/7 as on a stage or a lot, and shooting had to work around the actual residents’ work lives.

“It was daunting,” Chu adds. “But Lin and Quiara were adamant about bringing it back to the place the songs were written about. And Alice and I love a challenge,” he smiles. “We hadn’t done big movies together yet, but we knew how to look, learn and use a space according to the story we needed to tell.

[Choreographer] Chris [Scott] was included [in that process] because we had to build the dancing into each space, which made things even more interesting.”

Brooks, and her crack New York-based Union crew, who included Chief Lighting Technician Charles Grubbs; Key Grip Kevin Lowry; A-Camera/Steadicam Operator Mark

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Schmidt, SOC; and B-Camera Operator Peter Agliata; were grateful for the long prep time afforded by Line Producer David Nicksay and Unit Production Manager Maggie Engelhardt.

To capture the beauty and the depth of immigrant history in the neighborhood, Brooks chose the Panavision DXL2 with modified Panavision G series anamorphic lenses – the large-format system provided the shallow depth of field Brooks wanted for a feeling of intimacy.

Morning prep was spent planning scenes and lighting on location; afternoons were in the rehearsal studio so that Chu and Brooks could learn the dance numbers – working with Scott and the choreography team on evolving ideas – and begin designing shots. With more than sixty percent of the film dancing and singing, the close DP-choreographer relationship was critical. Scott had worked with Brooks and Chu on the 2010 Paramount Digital web series The LXD: The Legion of Extraordinary Dancers as well as Jem and the Holograms. He describes The LXD as his version of film school.

“I didn’t go to USC with Alice and Jon,” Scott laughs. “But I reaped the benefits of a film-school education on that series. I learned early on that the camera is like another dancer.

[For In the Heights], Jon gave me specific camera shots before there was even anything choreographed,” citing the film’s opening number. “He had this whole thing with the fridge planned out [shots were filmed from the perspective of inside a refrigerator in Usnavi’s bodega], with moves and shots timed exactly to the music,” Scott continues. “Most of the time, I get the music, and the director and DP let me do my thing. Then I send them a video of what I did in rehearsal and we shoot it. After it gets edited, I’m either thrilled or disappointed.

This collaboration was much different.”

In The Heights has seventeen musical numbers, all varied in style and staging. One number, “Paciencia y Fe,” was filmed entirely underground in the NYC subway system and includes shots in a 900-foot-long, graffiti-

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covered tunnel. For “When the Sun Goes Down,” characters dance on the side of a building; “96,000” was shot at the Highbridge Public Pool – the first time a movie was allowed to use the location.

“Carnaval del Barrio” was shot in a single day (even though Chu said it needed three). The scene features scores of dancers in a contained space behind the salon. Four buildings meet up to create a small concrete courtyard, where, during a power outage on one of the hottest days on record, neighborhood residents gather to get what little breeze exists. In the song, Daniela (Daphne Rubin-Vega), the salon owner who is moving out of the neighborhood, tries to give her community one last pick-me-up.

“I was doing Google Maps searches everywhere I could to find spaces in between buildings where you could see fire escapes and have good throws to the building,” recounts Coates, who wanted to honor the neighborhood in a musical that had been his dream to design. “Because those spaces can’t be seen from the street, and most of them have very limited and little alleyways to get to them, it was a difficult process.”

Coates had to find somewhere that not only had the right look – or at least somewhere he could build in to create the right look – but also offered safety and access for equipment.

They eventually settled on the courtyard near J. Hood Wright Park amidst a group of buildings that all backed up to each other. They were painted electric white, with several dead trees, mismatched fencing, and multi-level concrete slabs, along with a host of other issues.

“I needed all the different building owners to let me paint their buildings, take down the fencing, and create sections of concrete to level out the ground for the dancers,” Coates continues. “Any fire escape we wanted to put extras on – or Lin, because he’s in one of the shots in this scene – we had to get checked for engineering and structural integrity. And we also needed to get people to allow us to dress all of their apartment windows.”

During a dance rehearsal for “Carnaval,” Brooks watched Scott working with the dancers. He’d asked her not to film anything yet and soak in the movement. After several hours, Scott said he was ready, and Brooks went to stand in the center of the space they had taped out to the proportions of the filming location.

“He held my shoulders to orient me spatially, and I used my iPhone to film the rehearsal,” Brooks remembers. “He turned me in the direction he wanted the camera to face

in each moment, and at one point whispered in my ear, ‘Go figure out where you want to be’ and left the circle. The energy of the dance number was so extraordinary – Daniela reminds her people of the power they have inside of them, encouraging them to be proud of who they are, where they came from, and where they’re going.”

Brooks had 14 hours to film the scene due to dependence on sunlight; the number is seven minutes long with 70 dancers (including 10 actors), and there are specific story points that need to be told throughout the song.

Although the space is surrounded by sixstory-tall buildings, the entire set was exposed to direct sun because its path lined up exactly with the courtyard. And, as Key Grip Lowry recounts: “On that late-June day, there wasn’t a single cloud in the sky. We used the buildings’ fire escapes to attach a series of 20-by-20 and 12-by-20 silent one-quarter grid cloths to soften the natural top light. B and C cameras were always finding places to hide among the dancers and set dressing to get valuable cutaways and complementary angles.”

Brooks positioned A-camera on a 23-foot Scorpio crane on a platform at one end of the courtyard for the first half of the shoot day. At lunch, the rigging crew disassembled the crane and carried it out of the cramped location so that the 360-degree Steadicam shots could be achieved. “The biggest challenge for that day,” adds Grubbs, “was loading six ARRIMAX 18Ks onto three separate rooftops with no elevators and a 125-foot lift. Those were paired with three 80-foot cable drops to the street.

We needed a very precise delivery to those lighting positions.” They spent a day during prep scouting each roof to decide where each lamp would be placed, since they would not be able to be moved once in place.

As in the story, the heat was oppressive.

(One of the cast members even bought an ice cream truck for the day for everyone to have ample cool-off options.) Wrap came 10 minutes before sundown, even as the cast continued dancing and singing.

As Chu describes: “I’ve never been on a set where such energy existed for that long. It was like a laser beam came from the sky. I had called cut, and everyone just started chanting, ‘New York, New York,’ there was no music, so they start clapping, going, ‘No music, bah bah; no music, bah bah,’ and then they all look up at Lin and start chanting ‘Lin, Lin, Lin!’ And Lin’s stuck on the fire escape with a camera near him, so he looks down at us and he’s just bawling. There was no better way [to end that day].”

Brooks felt that day set the tone for the rest of the movie: “We know we can do this,” she says. “We know we can all work this hard and it’s worth it. And that scene is what the movie is all about – it’s about finding your power through community.”

IN THE HEIGHTS WAS SUCH A SOUGHT-AFTER PROJECT FOR DIRECTOR OF PHOTOGRAPHY ALICE BROOKS (ABOVE ON SET), SHE STARTED COMPILING REFERENCE MATERIAL THREE YEARS BEFORE THE PRODUCTION BEGAN.

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Coates points back to the people and culture of Washington Heights as the true source of the filmmakers’ inspiration. He even commissioned Cuban and Puerto Rican artists – the map of the Dominican Republic in Usnavi’s bodega is handmade with elements of everything he sells in the store, from MetroCards to lottery tickets to hot sauce. Early in prep, one of Coates’ crew members went to the Dominican Republic on his honeymoon and Coates had him bring back a bag of sand that was added to the mural. In tandem, Brooks worked with her team to make sure the neighborhood was honored both while filming on location and on the sound stage. She would send the B-Camera team off to film authentic street life – old men playing dominoes on the corner, a little girl skipping rope, a streetlamp with a bird’s nest. Early in the shoot, interior scenes of a taxi dispatch office were shot on location at the main intersection, whose look inspired Brooks on how to treat other interiors, including the bodega that was filmed on a stage. Brooks loved the way the reflected sun bounced off of different surfaces in the dispatch.

“A car would drive by and create a beautiful anamorphic flare for a brief moment,” she says. “When that happened, I said to Charlie [Grubbs], let's make sure we have lots of reflective surfaces outside the window on the bodega set.”

As Grubbs adds: “Reflected sun on location inspired the use of mirrors and even picture cars on stage to throw that spectacular quality in our bodega set.”

Brooks also asked Grubbs to pay close attention to the time of day and weather conditions, taking notes on the color temperature of the sun and the ambient light in Washington Heights. “We were able to attempt a recreation of those conditions at our Marcy Armory stage,” Grubbs recalls.

“Having that control of sky color temperature and the degree of warmth and direction of sun was key to [matching stage and location work] – the true motivator was the sun path in the summer season in Washington Heights. It lines up with the streets at dawn and especially at sunset. The contrasting colors of the cool sky with the warm late-day sun created some beautiful lighting challenges. We made a sky source with more than 200 ARRI S60s through large grid cloth rags.

The sun sources were an array of 20K Fresnel and 20K Mole beams.”

When production wrapped in August 2019, Brooks was cleaning out her home office and came across her goal list for 2016. One item read: “Shoot In the Heights.” She’d forgotten it had been a dream for so long. It reminded her of Usnavi’s line in the movie: “A dream isn’t some sparkly diamond. There are no shortcuts. Sometimes it’s rough.”

“When Jon and I were at USC doing When the Kids Are Away,” Brooks concludes, “we were shooting in Pasadena one late afternoon, and we shut down the street for a dance number. It was the first time I’d ever shut down a street for filming; I was on a crane and operating, there were 30 dancers in the streets and it was thrilling. That was 19 years ago! It’s hard to believe that almost two decades later, I’d be in the middle of a shut-down street again, only instead of 30 dancers, there were 300 dancers in a massive dance number for a Warner Bros musical. At that moment, I realized this was my sueñito – my little dream. And it had come true.”

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LOCAL 600 CREW Director of Photography Alice Brooks A-Camera Operator/Steadicam Mark Schmidt, SOC A-Camera 1st AC Basil Smith A-Camera 2nd AC Marvin Lee B-Camera Operator Peter Agliata B-Camera 1st AC Gavin Fernandez B-Camera 2nd AC Caroline Ibarra DIT Bjorn Jackson Loader Neicy McFadden Still Photographer Macall Polay, SMPSP Publicist Frances Fiore

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HALSTON AN AMERICAN STR E A M I N G T E L E V I S I O N MINISERIES ON THE L I F E O F D E S I G N E R HALSTON, BASED O N T H E B O O K SIMPLY

HALSTON BY ST E V E N G A I N E S , W I T H EWAN M C G R E G O R S T A R R I N G .

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PRO JECT ROY HALSTON CHANGED THE WORLD OF FASHION FOREVER – BUT AT WHAT COST?

RUN WAY BY: PAULINE ROGERS // PHOTOS BY: ATSUSHI NISHIJIMA & JOJO WHILDEN, SMPSP

IT'S an epic story of luxury, sex, drugs, status, fame and greed. Born into a workingclass family, Roy Halston Frowick burned with the desire to be bigger than life. He began his fashion career as a milliner at Bergdorf-Goodman (where he created Jackie Kennedy’s pillbox hat). By the early 1970s, he leveraged his single, invented name – Halston – into a worldwide empire. He broke France’s global stranglehold on fashion at The Battle of Versailles Fashion Show in 1973. But that wasn’t enough. To grow his empire even bigger, Halston made a financial deal with Norton Simon (owner of Max Factor), who essentially bought the Halston name. Breaking the tradition of exclusivity by making a deal with JCPenney began his downfall; losing the use of his name and his talent, Halston lost control of his legacy.

It took Emmy-winning director Daniel Minahan almost 20 years to bring the life of Roy Halston (played by Golden Globe-winner Ewan McGregor) to a global audience. “The project started as a feature,” describes Minahan, whose

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lengthy TV résumé includes American Crime Story, House of Cards, Game of Thrones, True Blood, and many other groundbreaking series. “But it didn’t fit into a 90-minute script. The story needed space and time to tell the whole arc of Halston’s career.”

Enter frequent Minahan collaborator and six-time-Emmy-winning Producer Ryan Murphy (ICG Magazine, 2016), who inked a five-year deal with Netflix in 2018, the perfect platform to bring Halston’s rags-to-riches story to life. Minahan brought in Production Designer Mark Ricker (Oscar nominee for Ma Rainey’s Black Bottom, multiple nominations for The Help and Julie & Julia), Costume Designer Jeriana San Juan (The Plot Against America, The Sinner), and Guild Director of Photography Will Rexer (The Get Down, Hunters). As Minahan says, “they would take their cues from Halston himself, who was completely obsessed with the image, the way things looked and how they [and he] were presented.”

This core team began by watching films from the period, 2:1 widescreen, looking at movement and dramatic interiors. “We came to a decision that we didn’t want to make a pastiche, to feel layers between story and audience,” Minahan continues.

“No Ektachrome or Kodachrome. When I was at the Sundance Lab, Michael Ballhaus [ASC], was my mentor.

He said: ‘Every shot needs to move the story forward.

The audience should never feel the hand of the director or cinematographer.’”

Rexer began the pilot with Halston’s first studio.

“It was a small space in a rather shabby building

around Lexington and 68th Street,” he explains. “Dan and I wanted to see it all and give the performers the freedom to move in the space.”

The transition of this workroom/salon from raw space to a tented fashion show was complicated. It was shot on two adjoining floors of a Greenpoint loft building. One floor had an old, weathered floor, and the other had a clean, smooth white floor.

“We used the old floor for all sets before the Batik Fabric Fashion show, where we laid sisal on the smooth floor,” Ricker recalls. “It was just a puzzle to do set transitions and make sure everyone followed the plan and knew where we were. Also, it was a challenge for Will to light practically, which he fully embraced.”

Fabric played a big part in this introduction to Halston’s world. “I’ve never worked so closely with the costume department before,” says Set Decorator Cherish Hale. “We were adamant about matching the real situations. Creating the kasbah look was a challenge. I looked for fabric that would match our photographs and work with the fashions but couldn’t find it. So, we had 150 curtain panels made out of 500 yards of fabric printed by a graphic designer.”

Rexer says he designed the lighting schemes with Chief Lighting Technician Ken Shibata and Key Grip Dave Stern, so the environment was lit 360 degrees. “It was pretty simple, just a large source of lights shining into the windows,” Shibata recounts. “We only had two

feet of the exterior space at one side of the building and needed to be able to create a consistent day scene, even at nighttime. The window boxes with lights built-in were not an option because it would take too much time to switch to the night scene. So, we created the white bounce on the railing, which we could take down if needed. It wasn’t perfect, but it served the purpose.”

Rexer says Operators Oliver Cary and Gregor Tavenner, SOC, were “comfortable with the Ronin stabilized head. This enabled us to pan the camera 360 degrees around the entire set, without having the operator doing gymnastics on the dolly.”

Just as production was reaching its stride, the pandemic hit, and everything was put on hold. When it was safe to resume, things changed. For one, Rexer was no longer available, and he referred Minahan to his friend and colleague Tim Ives, ASC to take over.

Minahan loved Ives’s work on Fosse/Verdon and Stranger Things. “I knew right away he was a true gentleman and a sensitive DP,” Minahan says. “Tim was a perfect fit.”

Minahan and Ives were determined to capture the scope of Halston’s world as largely and flamboyantly as possible, within the new (at the time) COVID-19 safety limitations. A few choices were made that would involve tiling crowds, tighter shots, and other cinematic tricks.

But “the big look” was still present in the capture, be it

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the iconic Olympic Tower, the legendary Battle of Versailles, the outrageous Studio 54, or the television concert Liza with a Z (originally shot

by Owen Roizman, ASC, on 16mm).

The Olympic Tower building was Halston at his height. “The offices and runway were all white with red carpet and furniture, windows as mirrors,” Minahan recounts. “And we needed to see everything.” As Ricker adds: “This was the architecture of Halston’s life, and we had to replicate it as authentically as possible. We experimented with glassless mirrors but decided to use the glass mirror, gimbaling every one of them in the set.”

There was much discussion on sightlines on the Translight/off-the-stage deck, in both directions, top to bottom. “Mark digs deep in his research,” adds Rexer, who set up the set lighting before the pandemic hit. “The Translight had to be just right, and we worked hard to erase anything non-period. Ken, Dave and I went through 20 lighting plans before coming up with one that worked. The color contrast between the iconic fluorescent overheads [they used RGBW LED tubes] and the daylight push from the windows were

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critical. The 180-by-28-foot-tall Translight [day and night] required ladder lights behind and enough push from above and below for the day look. We had large tungsten fixtures designed to give us the hard pushes of sun.”

Hale calls it her favorite set to dress.

“We even built the spires at St. Patrick to see outside the window behind his desk,” she adds. “You could feel the city and its presence.

Everything in his office was red, and we had to make the set look minimalist but inviting.

We ordered 20 pieces of the same furniture and had everything upholstered in red velour.”

Costume also played a big part in this mix. With the models moving through the Olympic Tower propelling the energy and movement Minahan wanted, San Juan worked closely with Rexer and then Ives to pick “what the clothes would be in the showroom or on the sales floor, and navigate the color story together,” she explains. “Because Will set up the lighting before production closed down, the bones were in place,” shares Ives. “We needed to add off-camera lighting and passive bounces through muslin to give a natural light that would counteract the red of the carpet

getting into the actors’ skin.”

First AC Andrew Hamilton adds that “we spent a lot of time gimbaling the floorto-ceiling mirrors and windows, to hide equipment and crew. We shot a few fashion shows in the main area of the office and were able to connect the backstage area where Halston works into where the fashion show was taking place. On some occasions there would be a few cameras out on the runway and another backstage with Halston. And we’d run it like a fashion show in real time.”

For A-Camera/Steadicam Mark Schmidt, SOC, these shots were all about instinct and filmmaking sense. Schmidt, who shot dance scenes on Fosse/Verdon, had to dance the runways himself. “It was a challenge dealing with glass and mirror,” he recounts. “With three cameras at times and long runs, it was all about making choices where the reflections would be. Then there were the shots where Andy Hamilton and I were moving, and we’d suddenly run into the backdrop. Do I boom up, and can I get by the reflection? We often had to make a judgment that the movement would go so fast that the backdrop wouldn’t be seen,

“ON SOME OCCASIONS THERE WOULD BE A FEW CAMERAS OUT ON THE RUNWAY AND ANOTHER BACKSTAGE WITH HALSTON. AND WE’D RUN IT LIKE A FASHION SHOW IN REAL TIME.” 1ST AC ANDREW HAMILTON

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PHOTO BY JOJO WHILDEN, SMPSP

or we’d have a cutaway. COVID protocol scaled down some of these shots – so we had to scope down but still see people in certain areas to show the crowd.”

Talk to anybody involved with Halston, and they all say The Battle of Versailles was the show’s most challenging sequence. The back story: in November 1973, five American fashion designers – Oscar de la Renta, Bill Blass, Anne Klein, Halston and Stephen Burrows gathered at the famed Palace of Versailles to show against the five French designers considered the best in the world – Yves Saint Laurent, Hubert de Givenchy, Pierre Cardin, Emanuel Ungaro and Mark Bohan of Christian Dior.

The French came with elaborate sets, and the Americans arrived with Liza Minnelli (Halston’s muse) and 36 models. It was “hip” versus “traditional,” Old-World versus New. “It was the most unusual set to construct and shoot,” Ricker recalls, “because it was literally a collage. We used a mansion in Yonkers, a theater lobby in Jersey City, and a stage/backstage in Tarrytown – all

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cobbled together. It was very complicated stor yboarding, a cross-pollination of locations, and an understanding of what we were covering in each place to be efficient economically and make the schedule. And, then of course there were the COVID protocols.”

Ives remembers shooting everything from “entrances and exteriors, long walk-and-talks up the stairs and down – and in workspaces.

Although once elegant, the whole space was historically deteriorating, and we had to show that. In the workspaces, for example [Halston got the shabbiest because he was the new kid], we used natural light mixed with work lights and existing half-broken practical lights. When they were preparing for the show, we used 18Ks lined up alongside the building’s exterior bounced into Ultrabounce frames to bring in the natural light feel along the entire interior.

Inside, our characters walked through mixedcolor work lights, consisting of bare bulbs and period practicals, as they went to the shabby but beautiful show space.

“Lighting a continuous walking interior was challenging,” Ives continues. “But with the RED MONSTRO’s low-light capabilities,

I was able to play into the extreme shadows and have the group’s journey go through a few lighting changes. Mark Schmidt did amazing Steadicam walking with them, and Charlie Libin on B-Camera was able to catch Halston looking into the rooms at the same time Mark [Schmidt] was crossing through and just out of Charlie’s frame. Afterward, Charlie went back to get Halston’s POV while we continued photographing his workspace.”

The fashion show was shot at Tarrytown theater, but, Shibata adds, “We needed to shoot the audience side at a theater in New Jersey.

The stage recreation was tough for everyone since the space was much smaller. Mark and his team did an amazing job. With Tim’s clear vision – it was seamless.”

Even more visually outrageous was recreating Halston’s many decadent nights at the infamous Studio 54. Disco ruled, and the shabby, former radio and television studio on 54th Street was the place to go wild – openly ingesting drugs and “see and be seen.”

“The Studio 54 sequence was added late in the game,” Ricker explains. “We scouted and chose the Hammerstein Ballroom on 34th

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Street as the interior location. We then built the gold bar, DJ booth, iconic dance floor, light columns, neon animated arch, and the famous Moon and Spoon wall sculpture.”

Minahan recalls how Ives and his team got creative with lighting. “Synergistically, there was an exhibit that featured Studio 54 at the Brooklyn Museum,” he describes. “Tim was able to see so many details of the period.”

Ives and Hale worked together to meticulously create custom-made lighting that was true to the period, like the long chaser lights, period theatrical lighting, and big tower lights that were the club’s signatures – but with contemporary elements to program and control everything on a light board.

“Mark was able to build the towering lights and the Moon with the Spoon signature, and we used programmable LED’s to give the shots more flash,” Ives explains. “Mark also gave us rotating lights like police cherry-tops.”

“Our grip team built motor chain truss grids above, where the art department hung the towering lights,” adds Shibata. “We also hung our film lights to create an ambiance and moving lights to help us in a jam. We

used Astera LED tubes along the grids to create different color ambiance for the party sequence. We also used the moving lights as quick fill since we were not sure where the actors could end up in the huge wide space.”

One memorable Studio 54 moment recreates Halston and his entourage having a birthday celebration, as Bianca Jagger (wearing Halston, of course) enters the club on a white horse. For these shots, Schmidt and 1st AC Andrew Hamilton were on the RED camera, but they switched from Sigma Primes to the Sigma Classics that gave the interior shots a softer look and allowed for some more flares.

“I started on the feet of dancers and boomed up as the horse entered and met me,” Schmidt recounts. “I then focused on the person and the horse, went over the body, pushed past the horse. As feet came at me, I panned with the horse and ran parallel as the horse stopped at Halston’s booth.”

Ives remembers the scene being “tricky,” as he had to light Halston and the white horse in the same frame. “I hid some smaller LED units

closer to Ewan McGregor and softened Mark Ricker’s disco lights to give Halston exposure without blowing out the horse,” Ives explains.

“Normally, I would use crowd extras to hide lighting, but due to COVID, we couldn’t do that, so we would have to tile some of the sequences to create that energy. Mark [Schmidt] had to nail the shot, and the horse had to hit its mark to pull this off, which both did admirably!”

The need to tile turned Halston’s grand entrance to the club a little sideways.

“We shot that at Irving Plaza in Gramercy, New York,” remembers Stern. “We had a Scorpio 23 to help us carry Halston out of the car and into the club. But, because of COVID and emergency street lanes, we weren’t allowed to use the crane in our original plan.

We ended up skimming along with the limo from the mirror and over the roof into a sea of paparazzi.”

It’s no secret Halston had his favorite models and often made clothes for the divas that surrounded him – and none more than his creative muse, Liza Minelli. One of his standout designs was the clinging outfits she wore for her club performances and Liza with a Z.

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"BY EPISODE 5, AS HIS LIFE IS FADING, SO IS COLOR IN THE SHOW. IN THE END, WE LIT WITH A LESS SATURATED PALETTE AS HALSTON TILTED AWAY FROM THE LIMELIGHT.” TIM IVES, ASC

TIM IVES (L) ON SET WITH DIRECTOR DANIEL MINAHAN - EPISODE 105

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“It was so fun shooting the dance sequences with Tim on Fosse/Vernon,” relays Libin, who did tandem units when the schedule allowed. “Dan Minahan was very specific about recreating the shots, especially some signature Fosse-style – very low angles,” Libin explains. “The original show was eight cameras, but we shot with me operating one and resetting positions for multiple passes of the remarkable Krysta Rodriguez as Liza.”

“She was lit with one locked-off follow spot, a Mac Quantum moving head beam light, the kind you might see at a Radiohead concert,” adds Ives. “It can do a lot more, but in this case, it did double duty in the simplest way. As with the original, the set was a limbo with splashes of color from Par cans mounted on silhouetted scaffolding running across the background. Ken was able to dial-in reds and blues for a perfect match to the original palette without the need for gels.”

B-Camera 1st AC Rossana Rizzo calls the Liza with a Z segment one of her favorites. “I remember one moment pulling focus for Charlie Libin when Liza is rehearsing a dance sequence alone,” Rizzo shares. “The light flooding into the room backlit her cigarette smoke and created gorgeous flares with the Sigmas.”

It’s apparent throughout the series that Halston and Minelli had a unique relationship.

And although their stars rose – almost together – there was a “When will this crash?” feeling ever-present. Inevitably, life did crash for Halston, whose narcissism and avarice knew no bounds. In Episode 5, the audience sees those painful consequences, with Halston almost hiding in the corner of his office on the phone with Liza, as his empire slips away.

“He’s sitting in a vulnerable spot away from his work desk,” recalls Ives. “To emphasize this pivotal moment, we came up with the idea of having multiple Halstons. We brought in 4-by-8 Mylar [deer blinds] to take out some of the reflections in multiple mirrors. That allowed us to bring in another operator who could hide behind and shoot.”

Ives says the main visual transition, as the show moves through Halston’s life, was that in the first episode, Rexer used an antique suede filter to emphasize the late 1960s period look.

“Dan and I felt that look was nice to introduce Halston, but as his life became more colorful, so would our story,” Ives shares. “We left out the antique suede filter moving forward and embraced more color contrast and saturation, shifting various in-camera color balances as well as color separation with the lighting.

By Episode 5, as his life is fading, so is color in the show. In the end, we lit with a less saturated palette as Halston tilted away from the limelight.”

Minahan says he’s worked on shows where there’s a rivalry between departments on a film set, “a kind of territorial thing,” he describes. “But that simply wasn’t there with this production. We had a dream team, who all collaborated with Will and Tim incredibly well.”

Ives, no stranger to groundbreaking television, says he was fortunate to be asked onto a show “with such an incredible crew in front of and behind the camera. That we shot in a COVID world was another challenge I hoped we could pull off,” he states. “We knew no one would accept less than what we could produce in ‘normal’ times.

“And you have to thank all the departments for maintaining that level of excellence under challenging circumstances,” he concludes. “ There wasn’t a day when something extraordinary wasn’t happening in front of the lens. The great finishing work by [DI colorist] Roman Hankewycz [with Harbor Picture Company] brought our work to life, and the support from Ryan Murphy’s company was fantastic. It was a remarkable experience.”

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LOCAL 600 CREW Directors of Photography Will Rexer Tim Ives, ASC A-Camera Operators Oliver Cary Mark Schmidt, SOC A-Camera 1st ACs John Oliveri Steve McBride Adriana Brunetto-Lipman Andrew Hamilton A-Camera 2nd ACs Marc Loforte Corey Licameli B-Camera Operators Gregor Tavenner, SOC Charlie Libin B-Camera 1st ACs Cory Stambler Ro Rizzo B-Camera 2nd ACs Alec Nickel Michael Swearingen Loaders Amber Mathes Naima Noguera William Ching Matt Eldridge Still Photographers Atsushi Nishijima JoJo Whilden, SMPSP

PICTURED: DIRECTOR DANIEL MINAHAN (L) ON HALSTON'S (PRE-COVID) MANHATTAN SET, WITH DIRECTOR OF PHOTOGRAPHY WILL REXER (R) PHOTO BY JOJO WHILDEN, SMPSP

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ew Jersey-based Clifton Prescod, who spent 10 years in fashion photography before recently b e c o m i n g a unit still photographer, says it was Local 600 Camera Operator Ski Shields (on MTV’s Wild ‘N Out) who provided the best welcome to a craft Prescod had often

dreamed of making his career.

“Ski saw I was new [to the Atlanta-based set] and took me under his wing,” Prescod recalls. “I always took [stills] with my left eye closed, and he said: ‘Yo, bro, keep that eye [off the viewfinder] open so you can see beyond the frame.’ That very small thing helped me manage the changing lighting cues and action [on an unscripted variety show like Wild ‘N Out]. It was a game changer.”

Learning from union veterans, while keeping both eyes open in a rapidly changing craft, is a common thread in this Unit Stills Gallery themed around newer Guild members. Take Chiabella James, who says she initially resisted a career in unit stills because of the long shadow cast by her father, David James, SMPSP. “I avoided [unit stills] for most of my twenties, thinking I’d be trying to fill a pair of shoes too big to fill,” James recounts from the U.K. set of the 2022 release The Flash. “But once I worked alongside him as a photographer [on Mission Impossible: Rogue Nation] and heard him say: ‘You got a better angle on that scene, so we should put your [image] in the selects,’ I knew I had my own journey to follow.

Same approach on-set, but I have a different eye.”

Tiffany Roohani, who studied at Brooks Institute of Photography, wondered if she would ever get to use that finely trained eye as an ICG member, having shot stills on Funny or Die in the days before New Media was union. “I finally worked on a lowbudget indie feature [2019’s Wyrm] that flipped and got in,” she describes. “The cinematographer who brought me on that film, and several others, John Gulesarian, has been my true champion.”

Roohani’s description of the set photographer as a “party of one” mirrors Phillipe Antonello’s opinion of the craft being a lonely one. Swiss by birth and based in Italy, Antonello says the unit photographer is “the only person on the set” who does not contribute to the making of that production. “That

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means I’m the first audience to see the film, and for that reason, I have to be super discreet.” Antonello’s background shaped his view of set photography.

“I shot [journalism] on the streets for years,” he adds. “And I always knew the moment I began to disappear is when great images would happen.”

Disappearing for art and craft is one thing, but James insists the shift to digital workflows has eroded time and access. “There used to be that period when the [film] mag was being changed, the actor was free and relaxed, and you could get a still without having to beg or steal,” she describes. “I’m grateful to filmmakers like Tom Cruise, who don’t mind me being in their eyelines if it provides a better angle or shot to promote the project. As I’ve often been told: ‘we’re all on the same team.’”

Being “another camera on the set” is the most delicate, complex part of the job. When actors are welcoming, as Tina Thorpe describes of a younger generation weaned on social media, “it’s a natural partnership.” When they’re not (Roohani recalls one Oscar-winner politely asking her to leave the set), it can be more challenging. Thorpe, a Florida native who worked as an ad agency photo editor, says her approach lies somewhere between Antonello’s 100-percent stealth mode and Prescod (who has introduced himself to everyone on set).

“There’s always the fear that if you try to take the actor into your confidence, you become an extra camera for them to think about,” she explains. “On the flip side, if you don’t introduce yourself [to cast and crew], it can create a weird, isolating vibe. Each situation is different.”

What’s not different among this talented group of new ICG members is their gratitude for those who came before. “I can’t even begin to say how important [Still Photographer] Chris Haston has been to my career,” Thorpe gushes. People like Chris and [NBCUniversal vice-president] Eric Van Der Werff have shown confidence in my value that’s been so inspiring.” Besides her legendary father, James says Guild photographer Clay Enos “has been encouraging, supportive and always receptive. I admire Clay’s work so much,” she adds.

“Every time I frame-up a portrait, I’m thinking: How would Clay do this?”

How these five new ICG members will fare in the years ahead is less of a question. From Roohani’s urging that on-set still photographers be given the chance to generate “professional images not taken on smartphones” for social-media campaigns, to Prescod wanting to be “an agent of change” for a craft consistently under-valued, to James’ desire that the “disconnect between the filmmakers who hire us and those who can’t see our work on set” be lessened, the future of this century-old craft is in the hands of artists with both eyes open.

CHIABELLA JAMES Dune (2021) “This was golden hour, on the last day of shooting, on a small escarpment in Jordan. There wasn’t space for the cast, camera and me, so I couldn’t get an angle during the take that would honor Greig Fraser’s [ASC] beautiful cinematography.

There was a 10-second window during a reset where I found a corner of the rock and asked Timothée [Chalamet] and Rebecca [Ferguson] to gaze out into the sunset – and the future that lay ahead in their characters’ journeys. You never want to waste a moment or location like that, where everything just takes your breath away.”

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CLIFTON PRESCOD MTV’s Wild ‘N Out (2019) “One of the challenges of this series is to not disengage from your job – this was shot pre-COVID with a 200-person audience and everyone laughing all the time! Finding the right spot – in this case, Camera 1 next to [operator] Ski Shields and underneath the stage – was crucial. It took time to gain the trust of the producers, directors, and AD’s to let me freely roam the set – and this low angle of Chico Bean is a result of months of effort to gain that kind of confidence.”

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PHILIPPE ANTONELLO Catch 22 (2018) “This was taken in Sardinia, with George Clooney directing an extra – just to his left – on how to move around the main actor, Christopher Abbott, who is soft focus in the background. I love this image because it captures something iconic about George – always so positive and giving to everyone on the set. I always do a little photo book to give to the director and producers.

When George saw my shots, he said: ‘These are so great. I had no idea you were even there.’”

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TIFFANY ROOHANI Pink Skies Ahead (2020) “This is one of my favorite shots I’ve ever taken.

It was pre-COVID when we were still free to find those special moments with an actor. Lead actress Jessica Barden was always hanging out with the crew between shots – never in her trailer. I always carry a myriad of film cameras with me for portrait work like this. I love how it shows all these other female production members behind her – the 1st AC, production designers, another cast member.

Not only does it capture Jesse’s character, but it encapsulates the working set of this wonderful film.”

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TINA THORPE Will and Grace “We Love Lucy” Episode (2020) “This was only made possible by still photographer Chris Haston, who asked me to fill in for him on this very special episode of a show I watched growing up! I had never shot a four-camera show, with a live audience no less, where you have to constantly be aware of where you are at all times. Things move so quickly that it’s challenging just to not end up in the frame. I thought it would be cool to get that kind of wide BTS where you see the whole set. When I had a chance to see the shots after, I took a big breath of relief: ‘Hey, these came out pretty good.’”

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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 76

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First Man / Photo by Daniel McFadden

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

20TH CENTURY FOX

“AMERICAN HORROR STORY #B” SEASON 10 DIRECTOR OF PHOTOGRAPHY: ANDREW MITCHELL OPERATORS: CHRISTOPHER HOOD, BRIAN BERNSTEIN, MICHAEL VEJAR ASSISTANTS: PENNY SPRAGUE, SAMUEL BUTT, RYAN PILON, BEN PERRY, NATHAN LEWIS, GARY JOHNSON CAMERA UTILITY: BRANDON GUTIERREZ DIGITAL UTILITY: LAURA SPOUTZ UNDERWATER UNIT OPERATOR: DAVID WILLIAM MCDONALD ASSISTANT: SACHA RIVIERE

“THE ORVILLE” SEASON 3 DIRECTOR OF PHOTOGRAPHY: JEFF C. MYGATT OPERATORS: BILL BRUMMOND, GARY TACHELL, MICHAEL SHARP ASSISTANTS: DENNIS SEAWRIGHT, STEVEN MAGRATH, BUTCH PIERSON, DALE WHITE, DUSTIN KELLER, KYLE SAUER STEADICAM OPERATOR: BILL BRUMMOND

“THE WONDER YEARS” PILOT

“JIMMY KIMMEL LIVE!” SEASON 18

DIRECTOR OF PHOTOGRAPHY: DAVID ROBERT JONES

LIGHTING DIRECTOR: CHRISTIAN HIBBARD

OPERATORS: MATT HUTCHENS, DEVIN DOYLE

OPERATORS: GREG GROUWINKEL, PARKER BARTLETT,

ASSISTANTS: MARY-MARGARET PORTER,

GARRETT HURT, MARK GONZALES

ALFREDO SANTIAGO, MARSHALL JOHNSON,

STEADICAM OPERATOR: KRIS WILSON

NICHOLAS LEONE

JIB OPERATORS: MARC HUNTER, RANDY GOMEZ, JR.,

STEADICAM OPERATOR: MATT HUTCHENS

NICK GOMEZ

STEADICAM ASSISTANT: MARY-MARGARET PORTER

CAMERA UTILITIES: CHARLES FERNANDEZ,

LOADER: ANNA-MARIE ALOIA

SCOTT SPIEGEL, TRAVIS WILSON, DAVID FERNANDEZ,

DIGITAL UTILITY: LIZ METZ

ADAM BARKER

TECHNOCRANE OPERATOR: CRAIG NIX

VIDEO CONTROLLER: GUY JONES

STILL PHOTOGRAPHER: ERIKA DOSS

STILL PHOTOGRAPHERS: KAREN NEAL,

“WU-TANG: AN AMERICAN SAGA” SEASON 2

MICHAEL DESMOND 2ND UNIT

DIRECTORS OF PHOTOGRAPHY: DAVID TUTTMAN,

DIRECTORS OF PHOTOGRAPHY: BERND REINBARDT,

GAVIN KELLY

STEVE GARRETT

OPERATORS: ELI ARONOFF, BLAKE JOHNSON ASSISTANTS: DEAN MARTINEZ, CHRISTOPHER WIEZOREK, BRIAN GRANT, JR., ADAM DEREZENDEZ LOADER: JAMES ABAMONT

ABC STUDIOS

STEADICAM ASSISTANT: DENNIS SEAWRIGHT

“GROWN-ISH” SEASON 4

LOADER: BROOKE MAGRATH

DIRECTOR OF PHOTOGRAPHY: MARK DOERING-POWELL

DIGITAL UTILITY: JORDAN SCHUSTER

OPERATORS: KEN GLASSING, JESSICA LOPEZ, SOC

REMOTE HEAD TECH/OPERATOR: DUSTIN KELLER

ASSISTANTS: ROBERT SCHIERER, MICHAEL KLEIMAN,

ABOVE AVERAGE

“LIZA ON DEMAND” SEASON 3 DIRECTOR OF PHOTOGRAPHY: TROY SMITH OPERATORS: JONATHAN GOLDFISHER, JOSH SCHNOSE ASSISTANTS: LOU DEMARCO, BEN SHURTLEFF, TONY MULLER, JULIUS GRAHAM DIGITAL LOADER: JUAN PABLO JARA CAMERA UTILITY: EDUARDOBILL GONZALEZ

GEORGE HESSE, WILLIAM DICENSO, RYAN CAMPBELL CAMERA UTIITY: ANDREW OLIVER DIGITAL UTILITY: ZAC PRANGE

JUNE 2021 PRODUCTION CREDITS

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AMAZON STUDIOS/REUNION PACIFIC “OUTER RANGE” SEASON 1

DIRECTORS OF PHOTOGRAPHY: ADAM NEWPORT-BERRA, DREW DANIELS OPERATORS: MATT HARSHBARGER, PAUL ELLIOTT ASSISTANTS: GABE PFEIFFER, KINGSLEA BUELTEL, TAYLOR HILBURN, JASON SEIGEL

DIRECTOR OF PHOTOGRAPHY: VINCE STEIB

DIGITAL IMAGING TECH: RYAN KUNKLEMAN

OPERATORS: MARK WARSHAW, MICHAEL J. DENTON, JOHNNY

DIGITAL UTILITY: SIERRA D. HAWORTH

BROMBEREK, STEVE CLARK CAMERA UTILITIES: STEVE BAGDADI, GARY CYPHER

CLOVER GROVE, LLC

VIDEO CONTROLLER: ALEXIS DELLAR HANSON

“HUMMINGBIRD”

DIRECTOR OF PHOTOGRAPHY: JOHN TANZER

CBS

STEADICAM OPERATOR: MATT HARSHBARGER

“ENTERTAINMENT TONIGHT” SEASON 40

STEADICAM ASSISTANT: GABE PFEIFFER

DESIGNER: DARREN LANGER

DIGITAL IMAGING TECH: TIM GREGOIRE

DIRECTOR OF PHOTOGRAPHY: KURT BRAUN

LOADER: GENESIS HERNANDEZ

OPERATORS: JAMES B. PATRICK, ALLEN VOSS,

DIGITAL UTILITY: LINDSAY HEATLEY

ED SARTORI, HENRY ZINMAN, BOB CAMPI,

LIGHTING

RODNEY MCMAHON, ANTHONY SALERNO

AMERICAN HIGH, LLC “I LOVE MY DAD”

OPERATOR: WILLIAM GREEN ASSISTANTS: SYMON MINK, DAVID MASLYN LOADER: JOSIAH WEINHOLD

JIB OPERATOR: JAIMIE CANTRELL CAMERA UTILITY: TERRY AHERN VIDEO CONTROLLERS: MIKE DOYLE, PETER STENDAL

“EVIL” SEASON 2

LISA STACILAUSKAS ASSISTANTS: CAMILLE FREER, JACOB ROSENBLATT, SAL VEGA, JAMES DUNHAM, HOLDEN LORENZ, DAVID ROSS DIGITAL IMAGING TECH: TYLER OWENS TECHNOCRANE OPERATOR: CHARLES ESHBAUGH REMOTE HEAD TECH/OPERATOR: JAY SHEVECK STILL PHOTOGRAPHER: PETER IOVINO

COOLER WATER PRODUCTIONS, LLC

DIRECTORS OF PHOTOGRAPHY: PETR HLINOMAZ,

“GILDED AGE” SEASON 1

FRED MURPHY, ASC

DIRECTOR OF PHOTOGRAPHY: VANJA CERNJUL, ASC

OPERATORS: AIKEN WEISS, KATE LAROSE,

OPERATORS: OLIVER CARY, PYARE FORTUNATO

PARRIS MAYHEW

ASSISTANTS: JOHN OLIVERI, MICHAEL BURKE,

ASSISTANTS: ROBERT BECCHIO, RENE CROUT,

SARAH MAY GUENTHER, MABEL SANTOS HAUGEN

DIRECTOR OF PHOTOGRAPHY: ALEXANDER DYNAN

ALISA COLLEY, VINCENT LARAWAY

STEADICAM OPERATOR: PYARE FORTUNATO

OPERATOR: TOM WILLS

LOADERS: TONI SHEPPARD, HOLDEN HLINOMAZ

DIGITAL IMAGING TECH: MATT SELKIRK

ASSISTANTS: JOHN CLEMENS, SCOTT MILLER

STILL PHOTOGRAPHER: ELIZABETH FISHER

LOADERS: CALEB MURPHY, BRIAN CARDENAS

STILL PHOTOGRAPHER: BRETT ROEDEL

AOM

“GOODNIGHT, MOMMY”

REMOTE HEAD TECH/OPERATOR: SEAN FOLKL

DIGITAL IMAGING TECH: IAN EDWARDS

“THE GOOD FIGHT” SEASON 5

AP PRODUCTION SERVICES, INC. “TAILSPIN” SEASON 1 NEW YORK UNIT

DIRECTOR OF PHOTOGRAPHY: ADAM SUSCHITZKY OPERATORS: JEFF MUHLSTOCK, BRIAN JACKSON, ANNE CARSON ASSISTANTS: JOHN LARSON, HAMILTON LONGYEAR, AARON SNOW, RICHARD PALLERO, SPENCER MUHLSTOCK, HILARY BENAS DIGITAL IMAGING TECH: GUILLERMO TUNON LOADERS: MATT CIANFRANI, CARLOS BARBOT, DAN BROWN STILL PHOTOGRAPHER: ZACH DILGARD

ART & INDUSTRY

“PAUSE WITH SAM JAY” SEASON 1

OPERATORS: PETER NOLAN, WILLIAM HAYS ASSISTANTS: RENE CROUT, ROB KOCH, ELIZABETH HEDGES, SANCHEEV RAVICHANDRAN LOADERS: ROBERT STACHOWICZ, KATIE GREAVES STILL PHOTOGRAPHER: PATRICK HARBRON

“THE TALK” SEASON 11 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

DIRECTOR OF PHOTOGRAPHY: ADAM MCDAID

VIDEO CONTROLLER: RICHARD STROCK

OPERATOR: DOUG DURANT

STILL PHOTOGRAPHER: RON JAFFE

JOE ROBINSON, KATHY RIVERA DIGITAL IMAGING TECH: HUNTER FAIRSTONE

A VERY GOOD PRODUCTION, INC. & WAD PRODUCTIONS

STILL PHOTOGRAPHER: ALISON ROSA

DIRECTOR OF PHOTOGRAPHY: TIMOTHY GUINNESS

ASSISTANTS: KYLE ANIDO, CHEVY ANDERSON,

CALLING GRACE PRODUCTIONS, LLC

“UNTITLED LAKERS PROJECT” DIRECTOR OF PHOTOGRAPHY: TODD BANHAZL, MIHAI MALAIMARE OPERATORS: CHRIS HAARHOFF, SARAH LEVY, JUSTIN CAMERON ASSISTANTS: DAVID EDSALL, SCOTT JOHNSON, GARY BEVANS, JASON ALEGRE, ARTURO ROJAS, MIMI PHAM STEADICAM OPERATOR: CHRIS HAARHOFF STEADICAM ASSISTANT: DAVID EDSALL LOADER: EMILY GOODWIN DIGITAL UTILITY: MARIO ALLEN STILL PHOTOGRAPHER: WARRICK PAGE

CRANETOWN MEDIA, LLC “ALONG FOR THE RIDE”

DIRECTOR OF PHOTOGRAPHY: LUCA DEL PUPPO OPERATOR: JOHN LEHMAN ASSISTANTS: PATRICK BOROWIAK, ROY KNAUF CAMERA UTILITY: CATARINA MENDEZ

“WHITE HOUSE PLUMBERS”

LOADER: JILL AUTRY

DIRECTOR OF PHOTOGRAPHY: STEVEN MEIZLER

STILL PHOTOGRAPHER: EMILY ARAGONES

OPERATOR: STEPHEN CONSENTINO

“THE ELLEN DEGENERES SHOW” SEASON 18

ASSISTANTS: CHRIS SILANO, GRAHAM BURT,

LIGHTING DIRECTOR: TOM BECK

TROY SOLA, MARVIN LEE

“AWKWAFINA IS NORA FROM QUEENS” SEASON 2

PED OPERATORS: DAVID WEEKS, PAUL WILEMAN,

LOADER: BRITTANY JELINSKI

DIRECTOR OF PHOTOGRAPHY: KYLE WULLSCHLEGER

TIM O’NEILL

STILL PHOTOGRPAHER: PHIL CARUSO

OPERATORS: CHRIS ARAN, ASHTON HERREWYN ASSISTANTS: CAROLYN PENDER, ALEX DUBOIS,

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 57

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OPERATORS: JOSHUA FRIZ, DEREK EDWARDS,

JUNE 2021 PRODUCTION CREDITS

CBS TV STUDIOS

“STAR TREK: PICARD” SEASON 2

CONNOR LAWSON, KYLE PARSONS LOADER: MASON THIBO STILL PHOTOGRAPHER: EMILY ARAGONES

DIRECTORS OF PHOTOGRAPHY: JIMMY LINDSEY, ASC, CRESCENZO NOTARILE, ASC, AIC

LOS ANGELES UNIT

OPERATORS: JODY MILLER, BRIAN BERNSTEIN,

DIRECTOR OF PHOTOGRAPHY: KYLE WULLSCHLEGER

YVONNE CHU

OPERATORS: NATE CONANT, ELVER HERNANDEZ

ASSISTANTS: CHAD RIVETTI, AMDANDA DAROUIE,

ASSISTANTS: BRADLEY WILDER, KELSEY JUDDO, DANNA ROGERS,

JOE SEGURA, JORDAN CRAMER,

COLLEEN MLEZIVA

DANNY BROWN, KOKO LEE

STEADICAM OPERATOR: NATE CONANT

DIGITAL LOADER: NATHAN MIELKE

LOADER: MASON THIBO

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CMS PRODUCTIONS

ENDEAVOR CONTENT

FIREFIGHT PRODUCTIONS, LLC

DIRECTOR OF PHOTOGRAPHY: LOWELL MEYER

DIRECTOR OF PHOTOGRAPHY: ROB C. GIVENS

DIRECTOR OF PHOTOGRAPHY: STEPHEN WINDON

OPERATORS: CHRISTOPHER GLASGOW,

OPERATORS: CHRISTIAN SATRAZEMIS, GREG FAYSASH

OPERATORS: GEOFF HALEY, MAURICE MCGUIRE

NICHOLAS HUYNH

ASSISTANTS: TREVOR RIOS, EASTON CARVER,

ASSISTANTS: TAYLOR MATHESON, JEFF LORENZ,

ASSISTANTS: JOE MARTINEZ, ANTON MIASNIKOV,

STERLING WIGGINS, TYLER BASTIANSON

ALEXANDRA MATHESON, JERRY PATTON

LEON SANGINITI, JR., JAMES MCCANN

STEADICAM OPERATOR: CHRISIAN SATRAZEMIS

STEADICAM OPERATOR: GEOFF HALEY

CAMERA UTILITY: RYAN BALDWIN

CAMERA UTILITY: JOE CROGNALE

DIGITAL IMAGING TECH: CHRIS CAVANAUGH

LOADER: SEAN GALCZYK

DIGITAL IMAGING TECH: MARK GILMER

LOADER: ALEXANDRA COYLE

STILL PHOTOGRAPHER: JESSICA KOURKOUNIS

STILL PHOTOGRAPHER: ELIZA MORSE

DIGITAL UTILITY: MARSHALL HENDERSHOT

PUBLICIST: ERNIE MALIK

PUBLICIST: ASHLEY EARLES-BENNETT

PUBLICIST: NICOLA GRAYDON HARRIS

“SERVANT” SEASON 3

“MY BEST FRIEND’S EXORCISM”

“THE GRAY MAN”

EPK: SEAN RICIGLIANO

COOLER WATERS PRODUCTIONS, LLC “TIME TRAVELER’S WIFE” SEASON 1 DIRECTOR OF PHOTOGRAPHY: PETER MENZIES OPERATORS: GEORGE BIANCHINI, HEATHER NORTON ASSISTANTS: ROBERT MANCUSO, OLGA ABRAMSON, JUSTIN MANCUSO, ANJELA COVIAUX LOADERS: TYLER MANCUSO, CHRIS MENDEZ STILL PHOTOGRAPHER: BARBARA NITKE

EYE PRODUCTIONS, INC.

“BLUE BLOODS” SEASON 11

2ND UNIT DIRECTOR OF PHOTOGRAPHY: GREG BALDI

DIRECTOR OF PHOTOGRAPHY: DONALD THORIN, JR.

ASSISTANTS: TULIO DUENAS, KEVIN SUN

OPERATORS: STEPHEN CONSENTINO, GEOFF FROST

DIGITAL IMAGING TECH: NATE KALUSHNER

ASSISTANTS: GRAHAM BURT, JACOB STAHLMAN,

LOADER: CRISS DAVIS

MARTIN PETERSON, KENNETH MARTELL LOADER: JONATHAN SCHAEFER

GHOST PRODUCTIONS. INC.

“POWER BOOK II: GHOST” SEASON 2

DICKINSON 1, LLC

FIDELIS PRODUCTIONS, LLC

“DICKINSON” SEASON 3

“RUST” SEASON 1

DIRECTOR OF PHOTOGRAPHY: TIM ORR

DIRECTOR OF PHOTOGRAPHY: JOHN GRILLO

OPERATORS: ALAN MEHLBRECH, CHRIS SCARAFILE

OPERATORS: JEFFREY DUTEMPLE, ARTHUR AFRICANO,

OPERATOR: SCOTT DROPKIN

ASSISTANTS: MICHAEL GAROFALO,

TODD ARMITAGE

ASSISTANTS: JASON WITTENBERG, COLIN SHEEHY,

CHARLIE FOERSCHNER, RODRIGO MILLAN GARCE,

ASSISTANTS: BRADLEY GRANT, EMMA REES-SCANLON,

DANIEL MARINO, YEVGENIY SHRAYBER

SCOTT GAROFALO

SUREN KARAPETYAN, COREY LICAMELI,

DIGITAL IMAGING TECH: ERNESTO JOVEN

DIGITAL IMAGING TECH: ROB MUIA

KELSEY MIDDLETON, TROY SOLA

LOADER: DANIEL SOTAK

LOADERS: BRIANNA MORRISON, TREVOR BARCUS

DIGITAL IMAGING TECH: JESSICA TA

STILL PHOTOGRAPHER: DENNIS MONG

STILL PHOTOGRAPHER: MYLES ARONOWITZ

DIRECTORS OF PHOTOGRAPHY: NIELS ALPERT, AARON MEDICK

LOADER: KYLE TERBOSS

JUNE 2021 PRODUCTION CREDITS

79

GOOD NURSE PRODUCTIONS, LLC

MONKEYPAW PRODUCTIONS

DIRECTOR OF PHOTOGRAPHY: JODY LEE LIPES

DIRECTOR OF PHOTOGRAPHY: ROBERT GANTZ

OPERATOR: SAM ELLISON

OPERATORS: VINCE VENNITTI, JULIAN DELACRUZ

ASSISTANTS: REBECCA RAJADNYA,

ASSISTANTS: JUSTIN WHITACRE, JOSHUA WATERMAN,

JEFFREY MAKARAUSKAS, EVE STRICKMAN

NICHOLAS DEEG, JONATHAN SCHAEFER

DIGITAL IMAGING TECH: ANTHONY HECHANOVA

DIGITAL IMAGING TECH: DAVE SATIN

LOADER: KATE NAHVI

LOADERS: MATEO GONZALEZ, BABETTE JOHNSON

STILL PHOTOGRAPHER: JOJO WHILDEN

STILL PHOTOGRAPHERS: BENNETT RAGLIN, KC BAILEY

“THE GOOD NURSE”

KANAN PRODUCTIONS, INC. “RAISING KANAN” SEASON 1

DIRECTOR OF PHOTOGRAPHY: HERNAN OTANO OPERATORS: FRANCIS SPIELDENNER, GREGORY FINKEL ASSISTANTS: MARK FERGUSON, EMMA REESE-SCANLON, MARC LOFORTE, GREGORY PACE DIGITAL IMAGING TECH: BJORN JACKSON LOADERS: KEITH ANDERSON, JESSICA CELE-NAZARIO STILL PHOTOGRAPHERS: ZACH DILGARD, PAUL SCHIRALDI PUBLICIST: SABRINA LAUFER

“THE LAST O.G.” SEASON 4

NBC

“BROOKLYN NINE-NINE” SEASON 8

“SPACEMAN”

DIRECTOR OF PHOTOGRAPHY: JAKOB IHRE OPERATORS: MATTHEW PEBLER, PETER AGLIATA ASSISTANTS: MICHAEL BURKE, TOSHIRO YAMAGUCHI, CONNIE HUANG, EVE STRICKMAN DIGITAL IMAGING TECH: JEFFREY HAGERMAN HEAD TECHS: SEAN FOLKL, LANCE MAYER STILL PHOTOGRAPHER: JON PACK

LEGENDARY TELEVISION

BENJAMIN EADES, SAGAR DESAI STEADICAM OPERATOR: STEWART SMITH, SOC DIGITAL IMAGING TECH: ANDREA ACS LOADER: JESSE EAGLE DIGITAL UTILITIES: AMANDA KOPEC, EMILY GIBSON

PACIFIC 2/1 ENTERTAINMENT GROUP, INC. “AMERICAN CRIME STORY: IMPEACHMENT” SEASON 4 DIRECTOR OF PHOTOGRAPHY: SIMON DENNIS, BSC OPERATORS: ERIC SCHILLING, JAMIE STERBA ASSISTANTS: DAVID LEB, NATHAN CRUM,

OPERATORS: PHIL MASTRELLA, JOEL TALLBUT,

ROB MONROY, JARED WILSON

MARQUES SMITH, SOC

STEADICAM OPERATOR: ERIC SCHILLING

ASSISTANTS: JAY LEVY, BILL GERARDO,

DIGITAL IMAGING TECH: SPENCER SHWETZ

WILLIAM SCHMIDT, JEREMY HILL, CHRIS CARLSON

DIGITAL UTILITY: SHANNON VAN METRE

DIGITAL IMAGING TECH: NICK GILBERT DIGITAL UTILITY: MIKE RUSH STILL PHOTOGRAPHER: JOHN P. FLEENOR

“CHICAGO MED” SEASON 6 OPERATORS: FAIRES ANDERSON SEKIYA, JOE TOLITANO, BENJAMIN SPEK ASSISTANTS: GEORGE OLSON, KEITH HUEFFMEIER, SAM KNAPP, PATRICK DOOLEY, JOEY RICHARDSON, MATT BROWN STEADICAM OPERATOR: FAIRES ANDERSON SEKIYA LOADER: CHRIS SUMMERS UTILITY: ELIJAH WILBORN STILL PHOTOGRAPHER: ELIZABETH SISSON

“GOOD GIRLS” SEASON 4 DIRECTOR OF PHOTOGRAPHY: JASON OLDAK

PAPA AL PRODUCTIONS

“UNTITLED RR PROJECT” DIRECTOR OF PHOTOGRAPHY: MACEO BISHOP OPERATORS: SAM ELLISON, LUCAS OWEN ASSISTANTS: GAVIN FERNANDEZ, RANDY MALDONADO GALARZA, AUSTIN RESTREPO, RACHEL FEDORKOVA CAMERA UTILITY: RUBEN HERRERA DIGITAL IMAGING TECH: LEWIS ROTHENBERG STILL PHOTOGRAPHER: MARY CYBULSKI

PARAMOUNT PICTURES “BLACK SNOW”

DIRECTOR OF PHOTOGRAPHY: PEDRO LUQUE OPERATOR: QUENELL JONES ASSISTANTS: CHERYN PARK, BRETT ROEDEL, AMANDA HEBBLETHWAITE

“PAPER GIRLS” SEASON 1

OPERATORS: MIKA LEVIN, BRIAN OUTLAND,

DIRECTORS OF PHOTOGRAPHY: ZACHARY GALLER,

SHELLY GURZI

TARIN ANDERSON

ASSISTANTS: JOHN RUIZ, PATRICK BLANCHET,

OPERATORS: ALEX KORNREICH, JAN RUONA

JENNA HOFFMAN, ROBYN BUCHANAN, CARTER SMITH,

ASSISTANTS: IAN BARBELLA, SAM KNAPP,

JONNIE MENTZER

LAURA DIFIGLIO, JOEY RICHARDSON

LOADER: MATT SCHOUTEN

“THE MARVELOUS MRS. MAISEL” SEASON 4

STEADICAM OPERATOR: ALEX KORNREICH

STEADICAM OPERATOR: MIKA LEVIN

DIRECTORS OF PHOTOGRAPHY: ALEX NEPOMNIASCHY, ASC,

DIGITAL IMAGING TECH: SCOTT RESNICK

STEADICAM ASSISTANT: JOHN RUIZ

DAVID MULLEN, ASC

LOADER: ADAM SCHLARB

CAMERA UTILITY: GLEN LANDRY

OPERATORS: JIM MCCONKEY, GREGORY PRINCIPATO

DIGITAL UTILITY: DEEPAK ADHIKARY

ASSISTANTS: ANTHONY CAPPELLO, NIKNAZ TAVAKOLIAN,

STILL PHOTOGRAPHER: JORDIN ALTHAUS

KELLON INNOCENT, JAMES DRUMMOND

MARGARET PRODUCTIONS, INC.

“ARE YOU THERE GOD? IT’S ME, MARGARET” DIRECTOR OF PHOTOGRAPHY: TIMOTHY IVES OPERATORS: MARK SCHMIDT, CHRIS LYMBERIS ASSISTANTS: COURTNEY BRIDGERS, ANDREW HAMILTON, MONICA BARRIOS-SMITH, WILLIAM POWELL DIGITAL UTILITY: ALLYSON HOOVER

MIXED BAG PRODUCTIONS, INC.

“THE RIGHTEOUS GEMSTONES” SEASON 2 DIRECTOR OF PHOTOGRAPHY: MICHAEL SIMMONDS OPERATORS: PAUL DALEY, PETER VIETRO-HANNUM ASSISTANTS: JUSTIN SIMPSON, MATTHEW MEBANE, EMILY RUDY, NICHOLAS BROWN DIGITAL IMAGING TECH: CHANDLER TUCKER STILL PHOTOGRAPHERS: RYAN GREEN, JACKSON DAVIS

DIGITAL IMAGING TECH: ZACHARY SAINZ

PICROW STREAMING, INC.

DIGITAL IMAGING TECH: MICHAEL MAIATICO LOADER: BRANDON BABBIT

“SNOWPIERCER” SEASON 3

STILL PHOTOGRAPHER: KC BAILEY

DIRECTOR OF PHOTOGRAPHY: JAIME REYNOSO, AMC

POPI, INC.

OPERATOR: MARK EVANS

NO TICKETS PRODUCTIONS, LLC

“LOST CITY OF D” DIRECTOR OF PHOTOGRAPHY: JONATHAN SELA OPERATORS: SASHA PROCTOR, COY AUNE,

“PAINT”

REMI TOURNOIS

DIRECTOR OF PHOTOGRAPHY: PATRICK CADY

ASSISTANTS: JIMMY JENSEN, STEPHEN EARLY,

OPERATOR: CAMERON MITCHELL

DAVID LOURIE, TRISTAN CHAVEZ, LAUREN GENTRY

ASSISTANTS: RICHARD MARTIN, LOGAN GEE,

STEADICAM OPERATOR: SASHA PROCTOR

JADE BRENNAN

DIGITAL IMAGING TECH: MATTHEW LOVE

DIGITAL IMAGING TECH: IMANUEL SMITH

PUBLICIST: GABRIELA GUTENTAG EPK/BEHIND-THE-SCENES: JACK KNEY

ORANGE CONE PRODUCTIONS “LEGACIES” SEASON 3 MICHAEL KARASICK

JUNE 2021 PRODUCTION CREDITS

CAMERA UTILITY: CATARINA MENDEZ

NEXT STEP PRODUCTIONS

DIRECTORS OF PHOTOGRAPHY: JOHN SMITH,

80

ASSISTANTS: GERAN DANIELS, KELLY POOR,

DIRECTOR OF PHOTOGRAPHY: RICK PAGE

DIRECTOR OF PHOTOGRAPHY: LEX DUPONT, ASC

KICK FIVE PRODUCTIONS, LLC

OPERATORS: BRIAN DAVIS, SOC, STEWART SMITH, SOC

POSSIBLE PRODUCTIONS “BILLIONS” SEASON 6

Large Format Directors Viewfinder

DIRECTORS OF PHOTOGRAPHY: GIORGIO SCALI, ASC,

Full Format in all its Glory

BRAD SMITH OPERATORS: JONATHAN BECK, JENNIE JEDDRY ASSISTANTS: CAI HALL, LEONARDO GOMEZ, II, PATRICK BRACEY, SEAN MCNAMARA LOADERS: DONALD GAMBLE, LYNSEY WATSON, AARON CHAMPAGNE STILL PHOTOGRAPHER: JEFF NEUMANN

ROUND SHRUB PRODUCTIONS, LLC

“FLATBUSH MISDEMEANORS” SEASON 1 DIRECTOR OF PHOTOGRAPHY: CLIFFORD CHARLES OPERATOR: KERWIN DEVONISH ASSISTANTS: CHRIS GLEATON,

recently shooting The Pursuit of Love “While on the Alexa LF with Signature Primes,

ADRIANA BRUNETTO-LIPMAN, YVES WILSON, NATHALIE RODRIGUEZ LOADERS: XAVIER VENOSTA, DAVID GLEATON

I was able to view the full scope of this beautiful format in all its glory. Light and easy to handle, the Lindsey Optics Large Format Directors Finder was a great tool on set when it came to discussing framing options with the director.

SAN VICENTE PRODUCTIONS, INC. “THE BLACKLIST” SEASON 8

DIRECTORS OF PHOTOGRAPHY: SAADE MUSTAFA, MICHAEL CARACCIOLO OPERATORS: DEREK WALKER, DEVIN LADD, PETER RENIERS

”

ASSISTANTS: DANIEL CASEY, MIKE GUASPARI,

Zac Nicholson, BSC

JAMES GOURLEY, EDGAR VELEZ, EDWIN HERRERA, KATHERYN IUELE STEADICAM OPERATOR: DEVIN LADD STEADICAM ASSISTANT: MIKE GUASPARI LOADERS: HAROLD ERKINS, MARK BOYLE STILL PHOTOGRAPHER: WILL HART

www.lindseyoptics.com • +1.661.522.7101

SALT SPRING MEDIA, INC. “LIVE & BETH” SEASON 1

DIRECTOR OF PHOTOGRAPHY: JONATHAN FURMANSKI

SONY

STALWART PRODUCTIONS

DIRECTOR OF PHOTOGRAPHY: JEFF ENGEL

DIRECTORS OF PHOTOGRAPHY: GLENN BROWN,

OPERATORS: DIANE L. FARRELL, SOC,

ABE MARTINEZ

MIKE TRIBBLE, JEFF SCHUSTER,

OPERATORS: CHRIS CUEVAS, PARRISH LEWIS,

L. DAVID IRETE

SCOTT THIELE

JIB ARM OPERATOR: MARC HUNTER

ASSISTANTS: CHRIS WITTENBORN, HUNTER WHALEN,

HEAD UTILITY: TINO MARQUEZ

ERIC ARNDT, SHANNON DEWOLFE

CAMERA UTILITY: RAY THOMPSON

DIGITAL IMAGING TECH: PAUL SCHILENS

VIDEO CONTROLLER: GARY TAILLON

DIGITAL UTILITIES: MIKKI DICK, CHRIS SUMMERS

STILL PHOTOGRAPHER: CAROL KAELSON

STILL PHOTOGRAPHER: JAMES WASHINGTON

“WHEEL OF FORTUNE” SEASON 37

“FEAR THE WALKING DEAD” SEASON 7

DIRECTOR OF PHOTOGRAPHY: JEFF ENGEL

DIRECTORS OF PHOTOGRAPHY: FERNANDO ARGÜELLES, ASC,

OPERATORS: DIANE L. FARRELL, SOC,

JAN RICHTER-FRIIS

L.DAVID IRETE, RAY GONZALES, MIKE TRIBBLE

OPERATORS: RICK DAVIDSON, KRIS HARDY

LIBRA HEAD TECHS: DAN SHEATS, SEBASTIAN ALMEIDA

CAMERA UTILITY: RAY THOMPSON

ASSISTANTS: MARK BOYLE, SAM PEARCY,

HEAD UTILITY: TINO MARQUEZ

GRIFFIN MCCANN, DON HOWE

SHOWTIME PICTURES

VIDEO CONTROLLER: GARY TAILLON

STEADICAM OPERATOR: RICK DAVIDSON

JIB ARM OPERATOR: MARC HUNTER

DIGITAL IMAGING TECH: JAMIE METZGER

STILL PHOTOGRAPHER: CAROL KAELSON

LOADER: LOUIS WATT

OPERATORS: DEBORAH BROZINA, MATTHEW FLEISHMANN ASSISTANTS: TIMOTHY TROTMAN, CAROLYN PENDER, ZACHARY GRACE, ALEX DUBOIS CAMERA UTILITY: ANDRES VILA DIGITAL IMAGING TECH: LOIC DE LAME LOADER: CHARLOTTE SKUTCH STILL PHOTOGRAPHER: MARCUS PRICE

“SEVERANCE” SEASON 1 DIRECTOR OF PHOTOGRAPHY: JESSICA LEE GAGNE OPERATORS: SAM ELLISON, STANLEY FERNANDEZ, JENNIE JEDDRY ASSISTANTS: ERIC SWANEK, MIKE GUTHRIE, HAFFE ACOSTA, TYLER SWANEK, VINCE TUTHS, FRANK MILEA DIGITAL IMAGING TECH: LUKE TAYLOR LOADER: KANSAS BALLESTEROS

“DEXTER AKA MARBLE” SEASON 9 DIRECTORS OF PHOTOGRAPHY: MICHAEL WATSON, HILLARY SPERA OPERATORS: THOMAS SCHNAIDT, TOM FITZGERALD, PATRICK RUTH ASSISTANTS: ANDREW JUHL, KALI RILEY, JILL TUFTS, YALE GROPMAN, ANDY HENSLER, RICHELLE TOPPING DIGITAL IMAGING TECH: PATRICK CECILIAN LOADERS: CHRIS MALENFANT, MATTIE HAMER STILL PHOTOGRAPHER: SEACIA PAVAO

“JEOPARDY!” SEASON 36

“61ST STREET” SEASON 2

DIGITAL UTILITIES: JASON HEAD, FIONNA MOGFORD

SOURDOUGH PRODUCTIONS, LLC “SUCCESSION” SEASON 3

TECHNOCRANE OPERATOR: JOE DATRI TECHNOCRANE TECH: RYAN CROCI REMOTE HEAD TECH/OPERATOR: JOE DATRI

DIRECTOR OF PHOTOGRAPHY: PATRICK CAPONE

STILL PHOTOGRAPHER: LOUIS SMITH

OPERATORS: GREGOR TAVENNER, ALAN PIERCE

PUBLICIST: SHARA STORCH

ASSISTANTS: ETHAN BORSUK, CORY STAMBLER, BRENDAN RUSSELL, ALEC NICKEL LOADERS: JOSHUA BOTE, NAIMA NOGUERA STILL PHOTOGRAPHER: MACALL POLAY

JUNE 2021 PRODUCTION CREDITS

81

“THE WALKING DEAD: WORLD BEYOND” SEASON 2

SHANELE ALVAREZ

DIRECTORS OF PHOTOGRAPHY: ROSS RIEGE,

ASSISTANTS: MATT GUIZA, KRISTI ARNDS,

MAGNI AGUSTSSON

RANDY SHANOFSKY, ADAM TSANG,

OPERATORS: CRAIG COCKERILL, JOEL PERKAL

COLLEEN LINDL, BENNY BAILEY

ASSISTANTS: LIZ SILVER, SEAN SUTPHIN,

STEADICAM OPERATOR: STEPHEN CLANCY

ERIC EATON, CALEB PLUTZER, RINNY WILSON

STEADICAM ASSISTANT: KRISTI ARNDS

STEADICAM OPERATOR: CRAIG COCKERILL

LOADER: PETER PEI

DIGITAL IMAGING TECH: JOHN-MICHAEL SENG-WHEELER

DIGITAL UTILITIES: MORGAN JENKINS, KAREN CLANCY

LOADER: DREW STORCKS DIGITAL UTILITY: PATRICK JOHNSON

“BOB HEARTS ABISHOLA” SEASON 2 DIRECTOR OF PHOTOGRAPHY: PATTI LEE, ASC

TCF US PRODUCTIONS 81 INC. “CHEAPER BY THE DOZEN”

OPERATORS: MARK DAVISON, CHRIS HINOJOSA, JON PURDY, MICHELLE CRENSHAW ASSISTANTS: JEFF JOHNSON, VITO DE PALMA,

DIRECTOR OF PHOTOGRAPHY: MITCH AMUNDSEN

MARIANNE FRANCO, ADAN TORRES, LISA ANDERSON,

OPERATORS: JAMES GOLDMAN, JOSH MEDAK

ALICIA BRAUNS, LANCE MITCHELL, JORDAN HRISTOV

ASSISTANTS: CRAIG GROSSMUELLER,

VIDEO CONTROLLER: JOHN O’BRIEN

ANDRAE CRAWFORD, MILAN JANICIN,

DIGITAL IMAGING TECH: T. BRETT FEENEY

ROCHELLE BROWN

STILL PHOTOGRAPHER: MICHAEL YARISH

STEADICAM OPERATOR: JAMES GOLDMAN

PUBLICISTS: KATHLEEN TANJI, MARC KLEIN

DIGITAL IMAGING TECH: KAI BORSON-PAINE LOADER: ERNEST DICKERSON

“B POSITIVE” SEASON 1

DIGITAL UTILITY: KALIA PRESCOTT

DIRECTOR OF PHOTOGRAPHY: GARY BAUM, ASC

STILL PHOTOGRAPHER: MERRICK MORTON

OPERATORS: ALEC ELIZONDO, TRAVERS HILL, LANCE BILLITZER, EDDIE FINE

TCS US PRODUCTIONS 5, INC.

“BETTER NATE THAN EVER AKA PITTSBURGH” DIRECTOR OF PHOTOGRAPHY: DECLAN QUINN, ASC OPERATORS: CARLOS GUERRA, AILEEN TAYLOR ASSISTANTS: ANDREW PECK, SARAH HENDRICK, CORNELIA KLAPPER, EVE STRICKMAN DIGITAL IMAGING TECH: ABBY LEVINE LOADER: DEREK DIBONA STILL PHOTOGRAPHER: DAVID LEE

THE COMPANY PRODUCTIONS, LLC

ASSISTANTS: ADRIAN LICCIARDI, MICHELE MCKINLEY, JEFF ROTH, CLINT PALMER, JASON HERRING DIGITAL IMAGING TECH: DEREK LANTZ VIDEO CONTROLLER: JOHN O’BRIEN UTILITIES: RICHARD FINE, DAN LORENZE

“THE SEX LIVES OF COLLEGE GIRLS” SEASON 1 DIRECTORS OF PHOTOGRAPHY: RICK PAGE, CHUCK OZEAS OPERATORS: JON PURDY, LAUREN GADD, KENNY BROWN, HILTON GORING ASSISTANTS: JAY LEVY, YEN NGUYEN, DUSTIN MILLER,

“FANTASY ISLAND” SEASON 1

TOM GLEASON, JEREMY HILL, DAVE BERRYMAN,

DIRECTOR OF PHOTOGRAPHY: SONNEL VELAZQUEZ

GRACE THOMAS, SCOTT MARTINEZ

OPERATORS: RAPHY MOLINARY-MACHADO,

STEADICAM OPERATOR: KENNY BROWN

EDUARDO MARIOTA

DIGITAL IMAGING TECH: RYAN DEGRAZZIO

ASSISTANTS: CESAR MARRERO, JULI SILVER TARACIDO,

DIGITALUTILITY: KURT LEVY

MARAYDA CABRERA DAVILA, ZORAIDA LUNA

STILL PHOTOGRAPHER: KATRINA MARCINOWSKI

CAMERA UTILITY: ANDRES VILA DIGITAL IMAGING TECH: NESTER CESTERO LOADER: MARIA BELTRAN STILL PHOTOGRAPHER: LAURA MAGRUDER

“CRANK YANKERS” SEASON 6

DIRECTOR OF PHOTOGRAPHY: CHARLES PAPERT OPERATOR: DENIS MORAN ASSISTANT: CRAIG JENNETTE LOADER: BEN IKER

BLUE ORBIT PRODUCTIONS

“AMAZON PRIME DAY, GLASS” DIRECTOR OF PHOTOGRAPHY: JON CHEMA OPERATOR: CONNOR O’BRIEN ASSISTANTS: BENJAMIN STEEN, CYNTHIA HATFIELD, ERICK AGUILAR, ADAM HULL, NATALIE ABRAHAM, ANGELO GENTILE STEADICAM OPERATOR: CHRIS LOH DIGITAL IMAGING TECH: JOHN SPELLMAN LOADER: GRAHAM KENNEDY TECHNOCRANE OPERATOR: BOGDAN IOFCIULESCU TECHNOCRANE TECH: DAVID CORNELIUS REMOTE HEAD TECH/OPERATOR: YURIY FUKS

“AMAZON PRIME DAY, TREASURE” DIRECTOR OF PHOTOGRAPHY: CHRISTOPHER RIPLEY OPERATORS: ADAM HULL, GARRETT O’BRIEN, ANDREW BRINKHAUS ASSISTANTS: JACOB PERRY, PAYAM YAZDANDOOST, CONNOR LAMBERT, NOAH RAMOS, JOSEPH ASHI, MATTHEW TAYLOR, NICOLAS VANNATTA STEADICAM OPERATOR: BRIAN FREESH DIGITAL IMAGING TECH: MASON HARRELSON CAMERA UTILITIES: JOSHUA GWILT, WILLIAM IM, DARYOUSH HOSSEINI, JEREMIAH THORNE, DIGITAL UTILITY: CHRISTOPHOR MCGOVERN TECHNOCRANE OPERATOR: NAZARIY HATAK TECHNOCRANE TECH: MARCIN CZWALGA REMOTE TECH HEAD/OPERATOR: JAY SHEVECK

CMS PRODUCTIONS

“THE LAST O.G. SEASON 4 PROMO” DIRECTOR OF PHOTOGRAPHY: MINKA FARTHING-KOHL OPERATOR: KATHERINE CASTRO ASSISTANTS: EVAN WALSH, RYAN NOCELLA, JOSH REYES, MARINO SANNUTI DIGITAL IMAGING TECH: JOHN KERSTEN BEHIND THE SCENES: MAI ISKANDER

DICTIONARY FILMS

“LOYOLA HEALTHCARE”

WARNER HORIZONTAL SCRIPTED “ANIMAL KINGDOM” SEASON 6

DIRECTOR OF PHOTOGRAPHY: ANTHONY VIETRO OPERATORS: REID RUSSELL, BROOKS ROBINSON

UPPER GROUND ENTERPRISES, INC.

COMMERCIALS

ASSISTANTS: DAVE EGERSTROM, ERIC GUTHRIE,

DIRECTOR OF PHOTOGRAPHY: BJORN AMUNDSEN ASSISTANTS: JOSHUA RAMOS, ELIJAH WILBORN

FIREFLY ENTERTAINMENT GROUP

“AMERICAN HORROR STORY SEASON 10 PROMOS”

PATRICK BENSIMMON, KIRSTEN LAUBE

DIRECTOR OF PHOTOGRAPHY: PAUL TOLTON

STEADICAM OPERATOR: REID RUSSELL

OPERATORS: MICHAEL SVITAK, LOGAN SCHNEIDER

DIGITAL IMAGING TECH: JEFFERSON FUGITT

ASSISTANTS: JEFF CAPLES, JOSEPH SORIA,

LOADER: GOBE HIRATA

ROB SAGASER, GUS BECHTOLD, MATTHEW FREEDMAN,

DIGITAL UTILITY: SONIA BARRIENTOS

DON BURTON

STILL PHOTOGRAPHER: EDDY CHEN

DIGITAL IMAGING TECH: STEVE HARNELL LOADER: LACEY JOY

WARNER BROS

“ALL AMERICAN” SEASON 3 DIRECTORS OF PHOTOGRAPHY: NIKHIL PANIZ OPERATORS: ERIC LAUDADIO, DANIEL WURSCHL ASSISTANTS: JON LINDSAY, BLAKE COLLINS, GREG DELLERSON, JESSICA PINNS DIGITAL IMAGING TECH: URBAN OLSSON

“ALL RISE” SEASON 2 DIRECTORS OF PHOTOGRAPHY: DAVID HARP, AMANDA TREYZ OPERATORS: TIM ROARKE, STEPHEN CLANCY,

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JUNE 2021 PRODUCTION CREDITS

2ND UNIT DIRECTOR OF PHOTOGRAPHY: CHRIS ROBERTSON UNDERWATER UNIT OPERATOR: DAVID WILLIAM MCDONALD ASSISTANTS: ERRIN ZINGALE, RUSSEL MILLER

MARKENFILM

STORYFORM, INC.

DIRECTOR OF PHOTOGRAPHY: CORY GERYAK

DIRECTOR OF PHOTOGRAPHY: KEVIN WARD

ASSISTANT: SEAN FRISOLI

ASSISTANTS: ROB SAGASER, DOUGLAS O’KANE,

DIGITAL IMAGING TECH: SAM PETROV

ROB SACKETT

“MY22 SNOW”

“GENISIS”

DIGITAL IMAGING TECH: DAGMARA KRECIOCH

NATIVE CONTENT “DISH NETWORK”

“SOA MY22”

DIRECTOR OF PHOTOGRAPHY: ERIC TREML

DIRECTOR OF PHOTOGRAPHY: KEVIN WARD

ASSISTANTS: MICHAEL ASHE, DAISY SMITH

ASSISTANTS: ROB SAGASER, DOUGLAS O’KANE,

DIGITAL IMAGING TECH: MICK PACIFICI

JORDAN PELLEGRINI DIGITAL IMAGING TECH: DAGMARA KRECIOCH

OAK LEAF

SYNERGY FILMS

“COMCAST” DIRECTOR OF PHOTOGRAPHY: MATTHEW BALLARD

“MICROSOFT, TURNER”

ASSISTANTS: ERICK AGUILAR, ANGELO GENTILE

DIRECTOR OF PHOTOGRAPHY: JOHN ZILLES

DIGITAL IMAGING TECH: COLIN WEINBERG

ASSISTANTS: ERIK STAPELFELDT, DAISY SMITH DIGITAL IMAGING TECH: JUSTIN WELLS

RADICAL MEDIA “WILLY WONKA”

DIRECTOR OF PHOTOGRAPHY: REBECCA BAEHLER OPERATOR: DARRYL E. SMITH

RIVERSIDE ENTERTAINMENT “ABC PROMO”

DIRECTOR OF PHOTOGRAPHY: ERIC TREML ASSISTANTS: MICHAEL ASHE, DAISY SMITH, ERIC MATOS DIGITAL IMAGING TECH: MICK PACIFICI REMOTE HEAD TECH/OPERATORS: ROB RUBIN, PETER TOMMASI

SMUGGLER

“FARMERS DOG” DIRECTOR OF PHOTOGRAPHY: LOGAN TRIPLETT ASSISTANTS: ERICK AGUILAR, ANGELO GENTILE DIGITAL IMAGING TECH: GIANENNIO SALUCCI

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JUNE 2021 PRODUCTION CREDITS

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STOP MOTION

06.2021

Atsushi Nishijima

For this shot, Krysta Rodriguez (playing Liza Minnelli) was dancing, dancing and dancing for 5 to 10 minutes straight, and the director, Dan Minahan, asked her to stop dancing and sit on the chair. It may be a bit ridiculous to say, but Krysta (and actors in general) don’t seem to sweat a lot. As the image shows, she’s calm and cool – almost like some kind of magic. Halston, shot in October 2020, was my first job after a six-month shutdown. My face shield was always fogged up because of my breathing, and I couldn’t see much, even though I had to see to photograph. Seeing images like this that showcase the series makes me whisper to myself, “I did it… .”

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JU JU NE NE 2021 2021

U NIT S T ILLS I S S UE

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