ICG Magazine - May 2017 - The VFX Issue by ICG Magazine

ICG MAGAZINE

ACTION & VFX ISSUE featuring

GUARDIANS OF THE VOL. 2 GALAXY PIRATES 5 //// BAYWATCH

MISSING SOMETHING?

Wireless real-time color grading and camera control.

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2017 Los Angeles

June 1-4, 2017 Exhibits: June 2-3 The Studios at Paramount Hollywood, CA www.cinegearexpo.com info@cinegearexpo.com

Russell Carpenter, ASC

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TABLE OF CONTENTS

05/2017

ACTION & VFX ISSUE

CONTRIBUTORS

Margot Lester (Splish-Splash, Exposure) “As a former lifeguard, I can tell you that most days the job would make for a really boring movie. Not so for the new Baywatch feature, which revisits our team of red-suited hotties in a broad action comedy, complete with pyro, shark cages and Jet Ski chases.”

Kevin Martin (Family Ties, No Quarter) “The successful improv aspects to shooting Guardians of the Galaxy Vol. 2 set it apart from most other space flicks. You’ve got the occasional somber epic, as well as the more frequent 10-littleIndians-on-a-spaceship. But the Guardians approach to celestial adventures – watching just because I like these folks – is often in short supply.”

Guardians of the Galaxy Vol. 2 p.34 Pirates of the Caribbean 5 p.46 Baywatch p.56

DEPARTMENTS GEAR GUIDE / 14 REPLAY / 22 ON THE STREET / 26 EXPOSURE / 28 PRODUCTION CREDITS / 78 STOP MOTION / 90

SPECIALS SMALL-SCREEN BIG SHOTS / 66 HOT WHEELS / 72 CORRECTION: Thanks to Guild DP Hillary Spera for catching a typo in her April article (page 78) on her 2016 Sundance hit, Band Aid. Of course we knew the oddball neighbor in the film was played by Portlandia co-creator Fred (not David) Armisen! 6

Peter Mountain (Stop Motion, No Quarter) “I’ve been fortunate enough to have taken the stills on Pirates 2, 3, 4 and 5. For me, Pirates 5 holds tremendous mystery as this was the most CGI-dominant project in the franchise, and I very much look forward to enjoying all the drama and dynamics of the finished film.”

Pauline Rogers (Hot Wheels, Small-Screen Big Shots) “When I was a television writer, many lifetimes ago, producers would yell at me because of my ‘creative’ locations and odd-ball stunts. ‘We don’t have the time. We don’t have the money. Stick to the back lot!’ Writing this issue of ICG made me wish I were still writing ‘second acts’ – the parts in which the heroes go off to exotic locations and get involved in outrageous chases. Thanks to the VFX artists and stunt specialists of today, my ‘creative’ ideas wouldn’t be off-limits after all.”

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Photo by Scott Alan Humbert

PRESIDENT’S

LETTER

May 2017 {vol. 88 no. 04}

Steven Poster, ASC

The History of Amazement We’ve reached a kind of “cracking point” in the field of visual effects. What do I mean by that? At this very moment we are on the verge of “cracking” the VFX ceiling via the many new technologies coming at us so quickly. Computational photography (which uses the pictorial and angular relationship between multiple images to computationally alter focus, resolution, and depth-of-field or to generate 3D point cloud reconstructions of the image) is one technology that is now in the early stages of commercial use. Driving its introduction is the fact that computing power is 82,000 times cheaper than when IBM introduced its ASCI White supercomputer in 2000. And something like computational photography (as I was assured by the president of a company who specializes in it) will need very competent camera assistants to contribute to the technical and artistic sides of image creation. Certainly such photographic techniques will be a wild and disruptive ride, but we are already taking steps to prepare Guild members for this type of transition. For me, personally, this analog/digital journey has been fascinating. I started my career working with photochemical and mechanical visual effects, which had enjoyed a very rapid and steep quality curve. The apex was reached (in my estimation) on two films that I was fortunate enough to work on: Close Encounters of the Third Kind and Blade Runner. Both projects encompassed some of the most incredible photochemical/optical VFX the industry had ever seen. And it was right after Blade Runner, in 1982, that the dawn of the digital VFX era really began. That was a time when many people – scientists, engineers, and manufacturers – were beginning to have a serious discussion (and even some development) about using computers to help write code that could be transferred from one place to another, and easily decoded into a form of language [filmmakers] could understand. Of course, what we’re doing now was barely a twinkle in the eye of those folks. But when CGI did arrive, its speed of acceleration and use was mind-boggling, with changes now coming on a weekly basis. The switch from optical to digital became yet another major transition for our industry, and one for which the realm of the impossible now appears to be right at our fingertips. But let us not forget 8

National President International Cinematographers Guild IATSE Local 600

that photochemical/mechanical effects artists, who later transitioned into the digital world, first imagined a lot of the compositing and layering techniques now done by software and digital artists. The ingenuity that was displayed to solve the simplest of problems, in what we once called “trick photography,” was innovative, exciting, and almost concurrent with the birth of motion pictures. That leads to another important point in this discussion: not every visual effect needs to be done digitally. There remains a great tradition of accomplished physical (in-camera) effects. Yes, a digital artist with software and light pad can accomplish the same (although not always as cost effective). But to see a great physical effect pulled off, on set, in front of the lens, remains, for me, one of the magical moments in cinema. At a symposium last year, I heard a digital-effects person say: “Why would they ever want to do that live when it can be done in post?” And the answer is simply: you need to be on set when it occurs, knowing how much preparation and effort went into the shot, to truly appreciate it. [I’m currently involved with a group of scientists, doctors and educators who are testing forms of biological and physical shifts in the brain and the body relative to new image capture and delivery systems. The goal is to see what parts of the brain are “lit up” while screening these prepared tests, which all have different factors built in.] In fact, one of my proudest moments working in the action/VFX genre was on a 1989 film called Next of Kin, directed by John Irvin. We had just pulled off a wonderful incamera shot, and legendary Special Effects Coordinator Joe Lombardi came over, threw his arm around me, and said: “Kid, you are really good. You could shoot a war movie!” That may sound a bit quaint now, thinking of franchise features and even TV series where thousands of soldiers, ships, and even battlefields are created by digital means. But necessity is the mother of all innovation, and once upon a time, before VFX lived inside a monitor, they were conceived, tested and executed all at once, in front of the lens. And that’s still amazing to behold.

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ICG MAGAZINE Publisher Teresa Muñoz Executive Editor David Geffner Art Director Wes Driver

ACCOUNTING Glenn Berger Dominique Ibarra COPY EDITORS Peter Bonilla Maureen Kingsley

May 2017 vol. 88 no. 04

INTERNATIONAL CINEMATOGRAPHERS GUILD Local 600 IATSE NATIONAL PRESIDENT Steven Poster, ASC NATIONAL VICE-PRESIDENT Heather Norton

STAFF WRITER Pauline Rogers

1ST NATIONAL VICE-PRESIDENT Paul Varrieur

CONTRIBUTORS Margot Lester Kevin H. Martin Peter Mountain

2ND NATIONAL VICE-PRESIDENT John Lindley, ASC NATIONAL SECRETARY-TREASURER Eddie Avila NATIONAL ASSISTANT SECRETARY-TREASURER Douglas C. Hart NATIONAL SERGEANT-AT-ARMS Christy Fiers NATIONAL EXECUTIVE DIRECTOR Rebecca Rhine

PUBLICATIONS & PUBLICITY COMMITTEE Henri Bollinger, Chair

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ADVERTISING POLICY: Readers should not assume that any products or services advertised in International Cinematographers Guild Magazine are endorsed by the International Cinematographers Guild. Although the Editorial staff adheres to standard industry practices in requiring advertisers to be “truthful and forthright,” there has been no extensive screening process by either International Cinematographers Guild Magazine or the International Cinematographers Guild. EDITORIAL POLICY: The International Cinematographers Guild neither implicitly nor explicitly endorses opinions or political statements expressed in International Cinematographers Guild Magazine. ICG Magazine considers unsolicited material via email only, provided all submissions are within current Contributor Guideline standards. All published material is subject to editing for length, style and content, with inclusion at the discretion of the Executive Editor and Art Director. Local 600, International Cinematographers Guild, retains all ancillary and expressed rights of content and photos published in ICG Magazine and icgmagazine.com, subject to any negotiated prior arrangement. ICG Magazine regrets that it cannot publish letters to the editor. ICG (ISSN 1527-6007) Published Monthly 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 2017, 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: $92.00 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.

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VAN DE SANDE ON CINEMATOGRAPHY

‘

With a stellar record of cinematic successes from Blade and Cruel Intentions to Big Daddy, Homefront and the upcoming Magic Camp, Theo van de Sande ASC revels in pioneering creative processes that serve his art. Car work is not new to him—just recall the cult classic he shot, Wayne’s World. To add more dynamic car lighting on an upcoming feature he reached out to friends at VER.

Our script called for four night scenes inside a cab in Las Vegas, with lots of different actors. The Strip is a pulsating High Dynamic Range light and color environment on steroids. I wanted to capture this vibrancy of light and colors inside the cab, in 360°. Moving a dozen people for four short scenes to Las Vegas was impractical. Green or blue screen, wouldn’t work and Digital BG projection wouldn’t give me the desired interactive lighting. VER’s Enhanced Environment was the only system which could sync light and color changes inside the cab with what was happening outside, using a combination of LED panel types for lighting and background. VER’s system proved to be very efficient and gave us tremendous freedom to manipulate the lighting and easily create different moods on set. In order to make this work we had to shoot with nine 4K cameras to create nine different plates, synced and stitched to a 360º digital background environment.

WIDE ANGLE

MAY 2017 ACTION & VFX ISSUE

David Geffner, Executive Editor Twitter: @DGeffner Email: davidgeffner@icgmagazine.com

I’m not a huge superhero movie fan (unlike most of America, it appears). But there was something about Disney/Marvel’s Guardians of the Galaxy, Volume 1 that was irresistible, a lightness of storytelling that called to mind the very first Star Wars. It started with a freaky pair of bounty hunters – the genetically modified Rocket Raccoon (voiced with fast-talking aplomb by Bradley Cooper), and his innocent tree-humanoid sidekick Baby Groot (voiced by Vin Diesel) – to supply a disarming kind of charm. That feeling continued throughout the entire dysfunctional family of Guardians, including Chris Pratt’s half-alien, Peter Quill; Zoe Saldana’s green-skinned orphan, Gamora; and Dave Bautista’s tattooed convict, Drax. Like Star Wars: A New Hope, the stakes were tremendously high in GOTG, Volume 1 – Quill and his team defeat the unmercifully evil Ronan and gain redemption for their checkered pasts. But also like SW, the wisecracking humor takes the whole “superhero intensity thing” down a notch so y’all know this is, first and foremost, entertainment. As written by ICG regular Kevin H. Martin (who also penned our May feature on Pirates of the Caribbean: Dead Men Tell No Tales), GOTG 2 follows Quill in search of his alien father, and reunites the Star Lord hero with his motley pals. Writer/director James Gunn, who reconnected with some production pals from GOTG 1, also added new ones, namely cinematographer Henry Braham, BSC (Ben Davis, BSC, shot the first film), and VFX Supervisor Chris Townsend. Given there were 2,750 VFX shots in the first Guardians, and this May issue is themed around visual effects and action, it’s a safe bet Volume 2 will surpass the original in scope, size and (hopefully) laugh-out-loud fun. And while we’re talking about fun tentpole properties, check out our story on Pirates 5, shot by Paul Cameron, ASC. This ride-turned-movie franchise from Disney had one core director-DP team for the first three films – Gore Verbinski and Dariusz Wolski, ASC – so Cameron and codirectors Joachim Rønning and Espen Sandberg knew they had big booties to fill. And fill them they did. Working closely with 12

VFX Supervisor Gary Brozenich (from Pirates of the Caribbean: On Stranger Tides), Cameron walked a long and treacherous production plank to help the project emerge from the final color grade with all of his visual ideas intact. That included drawing on his experience using multiple cameras from Tony Scott, and finding a local drone company to help film two land-locked ships, one 600 linear feet and moving on a gimbal, the other on casters that allowed Cameron to follow the sun throughout the day by mounting a dozen 18K lights on 120-foot-high Condors. Veteran aerial DP Hans Bjerno proved absolutely vital to main VFX vendor MPC, supplying live-action “water” plates (mostly shot in Key West, FL) to comp into the massive blue screens that encircled Cameron’s land-bound pirate ships night and day. Pirates 5 isn’t the only water flick we cover this month. Margot Lester’s feature on the big-screen reboot of the TV series Baywatch provides plenty of sudsy fun for the action side of May. Shot by Eric Steelberg, ASC, who tossed his buoy out to a much bigger team than on previous indie hits (like Juno and 500 Days of Summer), Baywatch includes water action in multiple states (CA, FL, GA) and on multiple bodies of water – ocean, lake, and in tanks. Steelberg credits collaborators like Key Grip Dave Richardson and Gaffer Dan Riffel for helping him shoot on beaches where heavy equipment was prohibited. For Baywatch’s many complex chase scenes, Steelberg gives props to the show’s other Guild members, including 2nd Unit DP Paul Hughen, Underwater DP Pete Zuccarini, and A-Camera and Steadicam Operator Geoff Haley, SOC, as well as Production Designer Shepherd Frankel and 2nd Unit Director/Supervising Stunt Coordinator Kevin Scott. Scott, who is also featured in this month’s Exposure conversation (page 28) was, literally, the most diligent lifeguard on set, given the safety issues shooting at sea. Whether the fun in this purely entertaining trio of May features comes from VFX, (and the many hours digital artists spent to maintain the high bar of lovability for Baby Groot and Rocket Raccoon) or from on-set production teams (like Baywatch's 1st and 2nd unit camera, safety, pyro, grip and aerial, who all devoted long hours of careful planning to ensure director Seth Gordon could use actors – not digital doubles in the “gnarly action sequences,” as operator Geoff Haley notes) the results are the same. Describing a wild Baywatch water chase, Kevin Scott notes: “It’s fast, exciting and funny, all at the same time.” And shot with a light touch that’s perfect for summer movie going.

Gear Guide

May 2017

MōVI Pro + Hot-swappable intelligent batteries for zero downtime + Power for camera and accessories + Complete RED camera control through RCP + Included MIMIC for precise and natural control of the MōVI Pro + Integrated stand + Integrated focus/iris/zoom controller

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Gear Guide

Steadicam Steadimate + Allows for freedom of movement while supporting camera stabilization devices + Instant hand-offs. No cables, rods, spring-loaded dampeners + Switches from under-slung to over-slung in a matter of seconds + Compatible with DJI and Freefly systems with a main support bar of 25, 25.5 and 30mm + Engineered by Garrett Brown and the innovators of Steadicam

“Deploying the Steadimate adds a unique feel to a flying sequence. I am able to walk with the gimbal system, and it feels like a dolly move. Steady, smooth and quick to manage shots.” – Shane Hurlbut, ASC

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Gear Guide

iKan Beholder MS-PRO + 360-degree movement from yaw axis + Equipped with 3-axis gyro-stabilized brushless motors + Utilizes one 32-bit controller and 12-bit encoder + Comes with two ¼-20 mounts for accessories and a ⅜-16 thread on the bottom + OLED display screen to show operating modes

“I’m excited that the new MS-PRO will expand my creative freedom. It takes the chore out of setting up and using gimbals. I am absolutely in love with how smooth and fluid my shots look straight out of the camera. I’m so glad that I don’t have to use stabilization software that degrades my picture quality. And, the rechargeable battery lasted an entire week.” – Van Nguyen, Sony Equipment Training Specialist

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Gear Guide

Libra Mini + Only 21 pounds with a sub-12-in.-wide profile + Hand-holdable + Three control options: wheels, virtual pan bar and hand-held virtual control + Wireless motion control + Preston FIZ integration + Libra brand reliability

“Recently, we had a client that wanted to have the camera on the end of a Technocrane and push from the driver of an SUV all the way into the third row. Without the Libra Mini, that would have required cutting the roof off, or compromising on what the director wanted.” – Lee Kazista, Monster Remotes

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WEAPON 8K VV “The large format, ultra highresolution and compact design of the WEAPON 8K VV camera made it the perfect choice for Guardians of the Galaxy Vol. 2.” Henry Braham, BSC Director of Photography

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Replay. action & vfx Issue

FX NETWORK’S

Legion

Is he really crazy? Are the voices in his head real? Or is David Haller (Dan Stevens) the most powerful mutant alive? That’s what government agents are trying to determine as they interrogate him. This emotionally and visually charged sequence in the pilot of the FX series Legion sets a high bar, even for superhero-themed TV series. It combines first unit (shot by Dana Gonzales, ASC), VFX (led by Supervisor John Ross) and stunts (Coordinator Guy Bews) with 1000-fps Phantom 4K capture and the Bolt Cinebot. Photos/framegrabs courtesy of FX Networks

“ IN A SHOW THAT PLAYS WITH THE IDEA OF REALITY, I ALWAYS FEEL VERY STRONGLY THAT WE SHOULD SHOOT AS MUCH OF THE VFX PRACTICALLY AS POSSIBLE.” Noah Hawley Creator/Executive Producer

Aggressively questioned by interrogators, David (who doesn’t yet know he is a mutant with super powers) becomes agitated and loses control; that’s when his unique abilities take center stage. Creator/Executive Producer Noah Hawley, who wrote and directed the pilot, was adamant about the presentation being as simple as possible. “I wanted the main action to unfold in a single shot that evolved,” Hawley explains. “In a show that plays with the idea of reality, I always feel very strongly that we should shoot as much of the VFX practically as possible,” he continues. “The simple reason is that our eyes know the difference between real objects moving in three dimensions and CG reality, even as great as [CGI] has become.” In the scene, David stands up from the interrogation table, and the whole room explodes upward and drops back on itself – people, tables – everything. While Ross knew it would be a challenge to get all the elements on set safely, the upside was that he could see the final effects shot in a process he calls “post-vis.” What really sold the team was the idea to use a motion-control rig that could capture 1000 frames per second. “We could even move the camera,” Gonzales describes. (After Gonzales and Ross showed Hawley footage of the high-speed Bolt Cinebot used on commercials, he was sold.) Creating the space was the next challenge. In the setup, A-camera operator Tim Milligan (IATSE Local 669) brings the audience into the interrogation room, actually located in an empty pool at the D3 facility. The shot starts with the Ronin 3-axis

gimbal (rigged with an Alexa Mini and 21-mm Zeiss Master Prime) passed off to Milligan, who steps on a crane as he follows the interrogator and ends up in an operations room. “That set evolved over several weeks,” explains production designer Michael Wylie. “It was tiny, with nine people being thrown around and bouncing off walls. I wanted to use a complicated ceiling, which looked cool but was too much top light for Dana, and it impeded the rigging for Guy to accomplish all of the stuntmen flying through the air and the gas nozzles dropping down, tranquilizing David.” Gonzales adds that because he was shooting high speed “for all these elements, we needed a lot of light [about 72,000 watts] and a heavy depth of field for objects exploding. But I didn’t want to shoot wide open.” Gonzales had gaffer Tom Kolafa start with a white room that was full frame with no windows, but the wire rigs for the stunts interfered. The solution was for Wylie to add in a window on a side wall and rig the entire ceiling on chain motors to be able to yank the ceiling out of the way. As he shares: “The most important part was its ability to come apart in a million ways, like a Jenga game.” Bews admits space was challenging. “One of our stunt actors was about six-foot-four, and the room was only eight feet tall,” he laughs. “It took about two weeks to work out the moves – creating pipes that came down from the ceiling and rigs to pull the stunt people in the different directions. Everything had to be designed and built so that we could fly each guy in one-thousandth of a

Replay. action & vfx Issue

second – if needed. Later or earlier would spoil the effect.” “The next challenge was to maintain that consistency for all the stunts and dialogue,” explains Kolafa. “Initially, I had Wolfgang Suk, my rigging gaffer, install 15 Image 80’s in the ceiling, which we ended up shutting off. We used a 50K Soft Sun as well as two 18K Fresnels through the window. The fill was the passive bounce return from inside the room.” And where did the Bolt Cinebot fit in? Camera Control’s Jason Rau, who supplied the Bolt and Programmer, says the device “allows you to shoot at very high frame rates with dynamic camera movement. When doing shots at these speeds, timing the action becomes extremely crucial. Legion had several elements that had to be timed as well as requiring multi-pass shooting so that these various elements could be combined together.” DMX lighting cues, pyro, stunt – everything fired off with a fractionof-a-second timing. And, there were, of course, the typical safety precautions needed for the stunt actors. Legion’s camera crew was impressed with how the shot was built with such varied and layered parts. “Normally, camera rolls, and I go to work, pulling focus on the shot, take after take,” says A-camera 1st AC Donovan Fraser (IATSE Local 669). “But, in this scene, as with any motion-control shot, my focus gets prerecorded along with the camera move, so that, when the camera rolls, the precise focus will play back consistently each time the

shot is repeated. Every take is exactly the same as the previous one as far as the camera is concerned. My work was actually done before we rolled a single frame!” Once everything was set, the team did ten different passes. “We had pieces like David stand up in the middle of the room and raise his arms,” explains Ross. “We had to do it over and over – because if he didn’t rise right, the table would explode [air cannon under it to blast up] before he raises his arms. At 1000 frames per second, we couldn’t adjust the footage when the camera was moving. And we couldn’t do lock off. “Then there were the stunts,” Ross continues. “After we finished the main elements, we painted the room ‘blue’ and made ‘blue’ pads for the stunt guys flying. We would key elements out and shoot clean passes.” Thanks to Production’s support of Ross and Gonzales’ decision to do as much as possible in camera, Hawley got his “clear and believable” setup that launches the entire series. The crew of Legion agrees with Wylie when he says, “It was a great and brave choice to do a single wide shot that sells the whole thing. I feel like any other TV show would try to cover this with a million cameras and cut around it like a seamstress. I think it’s genius to show this explosive action as though one person was by Pauline Rogers watching it unfold.”

The Cooke Look

Photo by Gordon Segrove

One Look. All Speeds

"After testing many combinations of cameras and lenses and having to work on 4K for The Crown , we chose to use the Sony F55 and vintage Cooke Speed Panchros. It was always my intention to fight against the high resolution and ultra sharpness you get from the modern camera sensors and by using the Cooke Speed Panchros I achieved a very romantic, filmic look with an incredible range of latitude for beautiful highlights and detail on the shadows.

Modern redesign of the original Cooke Speed Panchro. Available Spring 2017

I have always enjoyed working closely with the production and costume designers. On The Crown, choosing a muted palette, lighting through big diffused sources and using the Speed Panchros helped me to achieve a nice period look. It’s ironic that after achieving such high resolution from the camera sensors we had to go back to vintage lenses made for film cameras to get the beautiful warm feel I was looking for.

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In spite of their age, the original Cooke Panchros match nicely with the Cooke zooms and even with the modern Cooke S4s.

T2.8

I’m very pleased with the look I achieved on The Crown and much of that is due to the lens choice.” Adriano Goldman Cinematographer, ASC, ABC The Crown , TV series, Netflix

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On The Street. Photo courtesy of KitSplit

action & vfx Issue

KITSPLIT.COM BY PAULINE ROGERS

“We all own equipment, and it’s not always in use,” observes Local 600 cinematographer Sean Donnelly. “Connecting with KitSplit is a great way to not only create a passive income but also provide tools to shooters who might not need a whole package from a rental house – or simply can’t afford the fee.” Founded by Lisbeth Kaufman, Kristina Budelis, and Ken Amarit, KitSplit is fast becoming the “Airbnb” for creative equipment (a moniker ascribed to it by Forbes and Fast Company). The idea came from Budelis’s need for equipment while freelancing as a video producer. “Sometimes I spent more time getting and returning gear than on an actual shoot,” she recalls. “And I’d sometimes rent gear or get it from friends – but without insurance or a contract. I knew there was a better way.” Enter KitSplit, a community marketplace for cameras and related equipment – lights, lenses, Oculus Rifts, drones, etc. – that connects people who need to rent cameras with equipment owners. On the owner side are individual photographers and filmmakers as well as production companies, studios, and brickand-mortar rental houses. “Renters can search across all options in one place, and save time and money by booking

through the site,” explains Kaufman, the company’s CEO. “You can also get insurance and local delivery through KitSplit. And, of course, if you own camera gear, you can make money renting it out. We take care of vetting and insurance to assure that it’s easy and safe.” KitSplit is free to join and has no membership fees or monthly fees. It is also free to list gear. The company only makes money when an equipment owner makes money. It charges a 15 percent service fee to owners and a 5 percent service fee to renters. This helps cover payment processing, member vetting, hosting, damage, theft coverage and the like. While the company is New York-based and tends to mostly serve Eastern Seaboard hubs like New York City, District of Columbia, Philadelphia and Boston, equipment can be listed anywhere in the United States. KitSplit works with its lenders to make sure rental works for them. And, outliers can get access to the equipment they need. “When I first heard about KitSplit, the idea excited me a lot,” recalls Local 600 cinematographer Luke Geissbühler. “It was sort of an obvious step, because this is what I do all the time. Friends will contact me and say, ‘Hey, can I rent that so-and-so, or can I borrow

that so-and-so?’ I’m like, ‘Yeah, of course.’ The network of people who rent from each other is loose and casual – not comprehensive in any way. So the idea of having one place to find everybody who has that kind of camera is great.” Because renters can basically set the price, the beginning shooter or the production on a budget can get a great deal. And that potential user can also interact with the renter. Before making a formal request, the potential user can ask the owner questions. “I’ve had people ask me if some of my gear would work with the Canon 5D, for example,” explains Donnelly. If the equipment fits the need – a formal request is put in, insurance is verified – and, if the renter approves – a deal is struck. Renters and owners are thoroughly vetted to ensure top quality – on all sides of the connection. Many members have made back the money they have spent on the gear or have even paid for the post-production on a project they have been working on. “It’s beautiful, especially for people who can’t afford a camera,” adds Local 600 shooter Cybel Martin. “They can rent through KitSplit, support another filmmaker, and get more jobs. I’m grateful KitSplit exists!”

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Exposure. action & vfx issue

Capturing the comedy action sequences for Baywatch, the reboot of the classic TV show, was no joke for 2nd Unit Director and Supervising Stunt Coordinator Kevin Scott. Stunts are always serious business, and when those scenes take place on and in the water, the stakes are even higher. Scott’s prior experience working on water-centric films, including 2016’s Deep Water Horizon, made him a natural choice for Baywatch. continued on page 30

photo courtesy of Paul Hughen

KEVIN SCOTT

Exposure. action & vfx issue

He’s best known for his work on 2004’s The Bourne Supremacy (stunts and water safety coordinator), 2013’s Lone Survivor (2nd-unit director and stunt coordinator), and 2016’s Patriots Day (2nd-unit director). A careful collaborator, Scott is adept at balancing the audience’s expectations for eye-popping action with the cast and crew’s need for safety – and then directing the action to full effect. ICG writer Margot Carmichael Lester learned how Scott gets the job done, skillfully and safely, despite the often-challenging conditions. ICG: You’ve been involved in some epic action sequences. Does any one stand out? The most difficult was probably The Bourne Supremacy car chase. It was shot in three countries and four cities. I also take great pride in the Lone Survivor sequence where the SEALs fall down the mountain in the middle of a firefight. This sequence was created from hours and hours of conversations with [real-life Navy Seal on whom the story is based] Marcus Luttrell. When he saw the completed footage, he was extremely moved and felt it truly represented what he and his brothers experienced. Capturing sequences like the SEALs falling, or a burning boat sequence, with such fidelity is a special talent. What’s a key element in getting this kind of challenge right? For me, creating an action sequence starts with the director’s vision, then extensively researching the subject matter, location, physics, physical activity, historical information and personal accounts. I also consider what I feel the audience will most respond to both visually and emotionally. You started out as a stunt performer. What prompted you to make the transition to 2nd Unit directing? The desire to be creative. Action filmmaking is both an art and a science executed by a team of highly skilled performers. I love the challenge of leading a dedicated team in the battle of creating awesome action. Baywatch is your fourth water-centric film. What do they have in common and how do they differ? Deepwater Horizon was a huge-scale movie about a terrible disaster created by poor decisions. Everything in the production was big. We had three water tanks, one of which was 300 square feet. We also shot on the open ocean and an inland

waterway. Baywatch had very similar risk issues compounded by local tides and shooting a high-speed chase in confined shore-based neighborhoods. We shot in two different tanks – one was 22-feet deep – canals and waterways, and the open ocean. In my initial meeting with [director] Seth Gordon, he expressed his desire for the audience to feel the action in real time and experience the locations. I think we accomplished that extremely well. What changes have you seen over time in planning and directing such sequences? Available technology and increased skills. As the industry grows, so do we – the personal talents of stunt players continue to rise. A select group of stunt players have become editors, camera operators, et cetera. This allows us to create “stunt-viz,” which combines storyboards, previs and live-action footage, giving the director, producers and studio a clear representation of the action we’re creating. Do you have an example? On Baywatch, [director] Seth Gordon wanted to achieve a unique seamless shot following Zac Efron’s character on a motorcycle. The shot begins on the beach, races down a crowded public pier, and then Zac’s stunt double, J.J. Dashnaw, jumps off the motorcycle into the ocean and swims to rescue a teenager in distress. We worked on the previs for several weeks, adjusting the action to a shot we felt was achievable. The key component of the sequence was flying the camera 360 degrees around Zac with the motorcycle at speed. Working with Joel Sevilla from Hydraulx VFX, we decided to use visual transitions combining all these shots. To achieve the 360-degree shot, our key stunt rigger, Joey Dickey, brought in a mechanical winch system that requires an experienced operator. It’s the same system utilized for shows such as SpiderMan 2 and 3. Our winch operator, Keone Kim, took the previs output and created a three-dimensional camera-movement profile to determine if the shot was possible. Was it? That’s where all this prep pays off. The stunt-viz editor was able to combine the previs, 3D camera profile and storyboards for all to approve. The shot itself required high-speed motorcycle stunt riding, a special-effects motorcycle rig built by J.E.M. F/X, two separate camera winch shots and underwater/above-surface footage of Zac swimming to the rescue. We ended up constructing a 400-foot-long by 35-foot-high truss rig for the first pier winch shot and a 100-foot-long by 10-foot-high truss rig for the jump into the ocean. We were “casually” reminded by all that this was a very expensive sequence! Paul Hughen, my 2nd-unit DP – aka “Wheels” – operated the winchsystem camera using Cinemoves’ Oculus remote head, and Pete Zuccarini continued on page 32

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“ WE’RE NOT DAREDEVILS, BUT WE DO LOVE ADRENALINE.” was our underwater DP. It took all of our experience and technological expertise to achieve this awesome shot. Sounds like the leading edge of where complex on-set action scenes are headed. The technological combination of previs, storyboards, live action and VFX design being available during the prep/planning stages of action sequences can definitely have a positive impact on the finished product. This collection of technology provides all parties the opportunity to review, comment and adjust their applicable contribution to maximize the look, sound and feel of the action sequence for the audience. How do smaller camera platforms factor into the equation? On Deepwater Horizon, [director] Pete [Berg] wanted the audience to feel what it was like to jump off an 85-foot-high helipad – at night, into water, while fully engulfed in fire! Paul Hughen [2nd-unit DP again] and I knew the only way to truly capture that feeling was to jump with a handheld camera following the stunt performers. Due to the associated risk, Matt Rugetti, one of our extremely talented stunt performers who was familiar with the RED camera system, jumped off the helipad fully equipped with fire safety gear, and followed both stunt doubles all the way to the water –and, as I said, he’s fully engulfed in flames. During those falls, 28 fire-debris mortars were fired at Matt and the stunt doubles from six different heights. Both Matt’s and the stunt doubles’ falls were assisted by decelerators. We chose to use the RED camera with a compact 24-millimeter prime lens. We had to minimize the weight of the camera for both safety and function. Matt shot the fall without a monitor. This shot would not

have been possible with a heavier camera system. How has the innovation in cameras changed the way you work? The continual development of high-res small camera bodies and lenses is awesome. They allow us to put cameras in places and capture images previously not available. They play an important role in “putting the audience” right in the middle of the action. For example, a significant accomplishment in my career was developing the GoMobile for The Bourne Supremacy – it put the audience in the driver’s seat of a very exciting car chase. On Baywatch we were able to utilize a drone from Snaproll Media to capture action in a location where helicopter photography was not an option. What are your feelings about CGI/VFX replacing physical stunt work? This is a vitally important creative marriage for the future of filmmaking and safety of all performers. I personally love working with VFX teams. I don’t feel CGI replaces stunt players. It enhances performances and allows us to place performers in physical situations and locations that would otherwise be unsafe or not financially feasible. Speaking of safety, how do you keep everyone safe, especially on and in the water, and with pyro and explosives? Having the very best talented professionals possible for each and every moment of action. The improvement and recognition of safety for cast, crew and stunt players are always on our minds and in development. Safety products now available in heat protection, body pads, harnesses, et cetera continue to allow us to safely push limits. Utilizing new

camera technologies also contributes to safely allowing us to put cameras without operators in risky situations. How do you ensure the look established by the main unit – for Baywatch, cinematographer Eric Steelberg, ASC – is preserved throughout? I mainly relied on Paul [Hughen] to ensure [2nd unit] was consistent with the look Eric created for the film. We continually discussed the creative aspects of action sequences that would combine 1st- and 2nd-unit footage in the edit. We all focused on Seth Gordon’s unique vision in combining action and comedy with an organic feel and look. What’s the biggest misconception about stunt performers and coordinators? We’re not daredevils, but we do love adrenaline. [Laughs.] But that daredevil myth just won’t die. I feel social media has a tendency to place extreme sports, daredevils and amateur stunt performers in the same visual group, which can fuel the comparison. While the outcome sometimes looks similar, the process to create these events is very different. Today’s stunt sequences are completely prepped and rehearsed, and all risks are reviewed, including the safety of the performers, crewmembers, associated equipment, et cetera. Stunt sequences usually have to be repeated numerous times to capture all aspects of the action. We are a highly intelligent, talented and experienced group of individuals who strive for exciting, creative filmmaking. In many ways, we are the Special Ops of filmmaking.

FAMILY TIES THE GALAXY’S MOST DYSFUNCTIONAL GUARDIANS ARE BACK TO SAVE THE MARVEL CINEMATIC UNIVERSE IN GOTG, VOLUME 2. BY KEVIN H. MARTIN UNIT STILLS BY CHUCK ZLOTNICK FRAMEGRABS COURTESY OF MARVEL 34

The two-time-Oscar-nominated film Guardians of the Galaxy [shot by Ben Davis, BSC] was a surprise hit with audiences, even if it boasted an MCU (Marvel Cinematic Universe) pedigree. The rollicking science-fiction adventure-comedy followed the escapades of the self-proclaimed Star Lord [aka Peter Quill, a human abducted by aliens during childhood], who teams up with a motley band of extraterrestrial misfits (including the genetically engineered raccoon, Rocket, voiced by Bradley Cooper; his tree humanoid sidekick, Baby Groot, voiced by Vin Diesel; and Zoe Saldana as Gamora, a green-skinned orphaned alien) to save the day.

For the sequel, helmed by returning writer/director James Gunn, many key creatives came back, including executive producer/unit production manager Nikolas Korda and stunt coordinator Thomas Harper, while additions to the Galaxy team included VFX supervisor Chris Townsend; Director of Photography Henry Braham, BSC; and 1st AC Zoran Veselic. We asked ICG writer Kevin H. Martin to take a virtual tour of the newest Guardian family scrapbook, and here’s what he came back with.

STYLE RIDERS

Henry Braham: The visual idea we evolved for this film was counterintuitive. It was a big theatrical event with a certain visual spectacle, including IMAX and 3D, but it’s also an intensely human story, with its humanity arising out of perceptive comedy. Although written, James [Gunn] evolves performances by riffing with the cast, so my job was to capture their spontaneity – an approach I love, but that required being fast and adaptable, i.e., the camera had to be spectacularly fluid. I had been working with stabilization experts with backgrounds in torpedo gyros, including Dave Freeth, who came up with a handheld dolly system called StabilEye. Nikolas Korda: The system allowed Henry to operate with the aid of two assistants from [StabilEye], who were an integral part of the process. It allows you to zip-line the camera, do tracking shots or hang it on the end of a crane; it was practically a handheld Libra. But the StabilEye does have weight limitations. Braham: We needed the freedom of a Steadicam, but with the solid stability of a crane for a perfectly stabilized handheld shot. Flying a camera easily on wires with StabilEye would get us into the tightest of spaces. It made for an entirely new way of working, but it meant we needed the most technically brilliant crew, because you’re pushing everyone to the nth degree. Zoran Veselic: The idea of relying so extensively on a single piece of equipment

seemed odd to me at first. My experience with MoVi and Ronin is that you bring it in just for special shots. But the UK StabilEye technicians were utterly brilliant, and it wound up being a huge benefit. You could put it in high mode or low mode, then go great distances on a cable very quickly. Braham: When I showed James a clip of it in action, he immediately understood its significance, and designed shots specifically with [StabilEye] in mind – height changes and speed moves that you couldn’t have done any other way without getting into VFX solutions, which would have killed the spontaneity. Nearly eighty percent of the movie was shot this way, and what made it all work was that Jarred [Land] at RED built a camera the size of a Hasselblad that delivers image quality like a 70-millimeter print. Korda: I think I introduced Henry to the RED on The Legend of Tarzan. I had tried persuading Marvel to use RED on the first Guardians, but they remained wed to the ARRI pipeline. They have since begun using IMAX-style cameras, finding a lot of appeal in the larger format, as it supports their intention to provide the highest quality cinema-going experience. I decided to bring [RED] up again, even though their 8K Weapon was still a bit of a risk; they didn’t have anything besides the in-development camera at that point, but the appeal of the new [VistaVision-sized] sensor was enough for us to sell the concept.

“GUARDIANS IS A BIG THEATRICAL EVENT WITH A CERTAIN VISUAL SPECTACLE, INCLUDING IMAX AND 3D, BUT IT’S ALSO AN INTENSELY HUMAN STORY, WITH ITS HUMANITY ARISING OUT OF PERCEPTIVE COMEDY.” -HENRY BRAHAM, BSC

THE SKY’S THE LIMIT Braham: Going from the prototype to a workable camera meant refining the color system with RED. This resulted in an extensive collaboration between RED, the VFX team and myself. For Marvel, we had to come up with a workflow that maintained what I set in the lab each night so it carried all the way through to final grade. The result was a perfect, counterintuitive solution that served the visual idea of the movie. The depth, richness and beauty of the image were countered by the physical size of the camera, enabling us to capture the spontaneity of the performances. Veselic: Shooting 8K made depth of field a very critical concern, so adding the StabilEye rig in a situation where it is difficult to put marks down made things extra-challenging in terms of focus. I find the Preston to be very useful, but they only offered Heden, where you preprogram the lenses with your handset. I usually watch the actors rather than the knob, so it would have really thrown me off. To incorporate the heavier Preston, and add Cinetape to see the range, would make the whole stabilizer much heavier and impossible to balance. So, working with the grip department and my second AC, Craig Bauer, we decided a vest was the best solution. It carried a transmitter, an [Anton Bauer] Dionic battery, the Preston and a Cinetape readout, so none of that weight affected the camera rig, which was already burdened with the big 70 lens. Christopher Townsend: 8K does present certain problems because it is pin-sharp and renders details on blue screen in an almost un-filmic manner. The 8K sensor was comparable to, if not as clean as, the ARRI 65. But we had to figure out our working resolution as well as delivery resolution, since there was no way we could run a full-resolution pipeline. Even when you look at 8K stuff down-rezzed to 2K, the temporal resolution appears far greater than 4K acquisition. 4K files are a quarter the size of 8K files, and the same is true going from 4K to 2K. Our tests showed that if the VFX were done at 2K and then up-rezzed to 4K, you’d get an image that was often 95 percent of what it would be if we’d stayed at 4K straight through. That’s not the case on some of the big, wide shots that were filled with marvelous detail; on those you could see the 4K difference. So we usually worked the image in 2K, but if there was a need to punch-in or add camera shake, then there was the option to go back to 4K to get that extra detail.

“ WE ALWAYS LOOK BACK AT WHAT WAS SHOT ON SET AND HOW IT WAS CAPTURED. WE EVEN STUDY WHY HENRY CHOSE A PARTICULAR LIGHT, AND THEN EMULATE HOW THAT LIGHT SPREADS ACROSS VARIOUS SURFACES.” -VFX SUPERVISOR CHRIS TOWNSEND

“ THE COMPLEXITY OF SET DESIGN ON THESE FILMS HAS GONE THROUGH THE ROOF.” -HENRY BRAHAM, BSC

OLD FRIENDS, NEW RELATIONSHIPS Townsend: When James and Henry blocked things out with the actors, they would do so while referencing the previs – it was extensive and not just a sketch for the director, but a real guide he knew by heart, so the spontaneous fluid feel still had a measure of control. Since it is a VFX-heavy picture, there were times when we would have preferred even more specificity going in, but I had to remember how things can and do change in post as well as during shooting. Braham: Our previs not only took into account the size of the sets, but also the size of the camera, so the moves didn’t go beyond what was physically possible. Of course, even with all the added sophistication, it remains very difficult to get humanity into a previs camera move. But its usefulness in planning can’t be understated, because getting to see animated characters on previs flags all the challenges you’ll face photographically when blocking – Baby Groot is six inches high, and some of the actors are really tall!

Production designer Scott Chambliss and James were specific about creating a world for all these characters of ours that had its own look, one that would set it apart from other space movies. Our ships in space have a kind of 1970s rock-album-cover look – not just the shapes, but the colors, too. It was immensely fun for me seeing that come to life on screen, having grown up loving record-cover artists like Roger Dean. And James didn’t want any of our

Townsend: We had Weta Digital, Method in L.A. and Vancouver, and Trixter in Germany all working

on Rocket and Groot, along with Framestore, which created them for the first film. And we had to ensure these very popular and lovable characters looked and felt the same, regardless of the many [VFX] vendors. There are only certain aspects that are shareable between VFX houses, and not everyone uses [simulations] and rendering programs in the same way. When Framestore built [Rocket and Baby Groot], they laid out a clear roadmap so other companies could apply that to their own internal methods. We would use turntables of these characters that show how they appear in environments, and you could have them match to that, for an apples-toapples comparison.

“ THE NEW COMPUTERIZED EQUIPMENT THIS TIME OUT MADE FLYING OUR PERFORMERS IN A 3D ENVIRONMENT SO MUCH EASIER AND MORE FLEXIBLE.” -STUNT COORDINATOR TOMMY HARPER

worlds to look too familiar – the dreaded “never before seen” – which is tough because there’s a lot of ground that’s already been covered. You want to go a bit further than just shooting in Iceland or Morocco and then adding a bunch of mountains or strange weather in post. It’s not just about creating stuff that is almost earthlike, either. Our planets have to really straddle things, feeling both fantastical and real. With the otherworldly aspects, you try to keep things as grounded as possible, which for me often means being very consistent with light and color. Braham: The complexity of set design on these films has gone through the roof. We benefit from having many practicals and interactive lights built into these sets – a given on a space film – but there’s also a need to see some truth in photographing the real set, even if it is a show like this one, where 99 percent of everything is shot on soundstages. You have to believe the source of light is truthful.

Braham: I like to show the audience where the light source is coming from, which means a close collaboration with the designer, to determine what the source is going to be and how it is going to read on-camera; if you do daylight exteriors in the studio, the physical lightbulb being used is as crucial as the diffusion you’re using on it. You’re on an alien planet, but what’s your reference? Answer: the world we know, so whatever you do has to resonate with truthfulness that relates to our world. Every part of this movie had an exciting collaboration with [product vendors], from the manufacturers of cameras, lenses and StabilEye to the lighting suppliers, like Sourcemaker, who made us these wonderful LEDs, and MBS Equipment, who provided Digital Sputnik LED units for other scenes.

Townsend: We always look back at what was shot on set and how it was captured. We even study why Henry chose the particular light, and then emulate how that light hits and spreads out across various surfaces. There are sources that you have to add in

CG because they wouldn’t be practical to do on set, but again you work from that set reality to create this bigger look. It isn’t just a bunch of computers coming up with answers; it is always the hundreds of [digital] artists who are doing the creating for these images, figuring out where to place the lights once they understand how that light is supposed to work. It’s really where art meets science, since you’re using mathematics to create or recreate, all in a way that hopefully looks very realistic.

FLIPPING OUT

Tommy Harper: James sent me an email saying, “You saved the movie” on the first film, because we wound up redoing the stunts back in the States during a reshoot. The new computerized equipment this time out made flying our performers in a 3D environment so much easier and more flexible. My lead rigger, Shawn Kautz, owns Stunt Rigs, and he’s invested a lot in this system [also used on Pirates of the Caribbean: Dead Men Tell No Tales, see page 46]. We come in from four points on the stage to a center point, so we don’t have to [cut holes] overhead. We can fly somebody 50 feet in one direction while lifting them 20 feet up, then make a right-hand turn while continuing to ascend another 50 feet, and then come back and make a circle. Braham: I like to shoot digital the same way I’d shoot on film, with no on-set monitoring. And then I do [the added-color and lightcorrective] work away from the set in a controlled environment, where you can truly see if the image is up to scale. That means projected dailies to ensure that the highest quality is maintained, and testing all the time. [SHED senior colorist Matt Watson handled digital dailies.] We set up a system that everybody understands, and that meant when final grade arrives, nothing has been compromised. It makes for a straightforward DI, since VFX has a good idea about my intentions from my prep and lab work.

CREW LIST Director of Photography Henry Braham, BSC A-Camera 1st Assistant Zoran Veselic A-Camera 2nd Assistant Craig Bauer B-Camera Operator/Splinter Unit DP Kent Harvey SOC B-Camera 1st Assistant Alessandro Di Meo B-Camera 2nd Assistant Trey Twitty C-Camera Operator Richard Cantu C-Camera 1st Assistant Adam Castro C-Camera 2nd Assistant Zach Junquera Loader Zach Holloran Still Photographer Chuck Zlotnick Publicist John Pisani

Harper: I had eight full-time riggers leapfrogging one another to keep ahead of the schedule. And once [the Stunt Rigs system] was preprogrammed, it would repeat every time. It does so safely, allowing us to put the actors in the environment, instead of relying on stunt performers and having to do face replacements. Gamora [Saldana] makes this huge leap to stab a monster, and we used both Zoe and her double for that. We took the actress 127 feet across the stage, and she wound up 36 feet up, and that included two points where she was supposedly landing and leaping again, all of which were programmed into this big extended move. We fly a weight bag before we put anybody on it, plus there is always a human riding an emergency-stop control [like a motorcycle handgrip with a big red button.] It’s protocol to have this kind of ultimate failsafe. Since we were indoors on sets, most of the explosions in the action scenes were suggested via interactive light rather than actual pyro. Specialeffects supervisor Dan Sudick built fantastic gimbals and mechanical effects for the film. Braham: The great thing about doing the second film is that so many issues have already been solved as to personalities and characterization. This one is 100 percent a James Gunn script, written with an expanded knowledge of the characters and the film’s intended scope, which meant everything got stepped up. Collaboration is always the most enjoyable part of the job for me, so having this terrific group alongside made for a memorable experience. 45

NO QUARTER PAUL CAMERON, ASC, WALKS A LONG AND CHALLENGING PRODUCTION PLANK FOR THE FIFTH ENTRY IN DISNEY’S POPULAR RIDE-TURNEDFILM FRANCHISE, PIRATES OF THE CARIBBEAN. BY KEVIN H. MARTIN UNIT STILLS BY PETER MOUNTAIN/ FRAMEGRABS COURTESY OF WALT DISNEY PICTURES 46

@@ 47

In Dead Men Tell No Tales, a long-dead opponent named Salazar (Javier Bardem) resurfaces, emerging from the Devil’s Triangle to menace Captain Jack Sparrow (Johnny Depp) and leaving a furrow of dead pirates in his wake. While the walking dead and all manner of nasty treachery on the high seas have been the order of the day throughout the Pirates of the Caribbean film series, this fifth outing infuses the franchise with new creative blood, including co-directors Joachim Rønning and Espen Sandberg, and cinematographer Paul Cameron, ASC.

“W

e were in the right place at the right time,” recalls Rønning of

taking the reins from director Gore Verbinski, who helmed all four previous Pirates films, and, along with cinematographer Dariusz Wolski, ASC, left an indelible mark. Rønning says Kon-Tiki’s Oscar nomination put the pair on the map, and when he heard about the script he “chased” after it. “The Pirates franchise reminds me of the Zemeckis/Spielberg adventures that inspired me to become a filmmaker when I was a kid,” he says. “We had good cinematic ideas and kept bringing in script notes until we finally got that call from Jerry Bruckheimer, congratulating us.” Of their co-director roles, Rønning acknowledges, “Espen and I have slightly different sensibilities. On this one, it was largely my show owing to the scope and technicalities.” Rønning holds high praise for the franchise’s visuals, retaining On Stranger Tides’ VFX supervisor Gary Brozenich as well as hiring production designer Nigel Phelps and Cameron, who shot Bruckheimer’s Gone in Sixty Seconds remake and HBO’s smash hit series Westworld [see ICG October 2016]. “I was glad Paul accepted my ideas for changing things up a bit,” Rønning relates. “While this is a period piece, it needed a modern feel. That was tricky, but I think we have a look with an edge that will appeal to younger audiences.” Cameron praises Wolski and Verbinski for

setting an extremely high standard. “I wanted to live up to that legacy,” the DP admits. “But, since this also had to stand on its own, we didn’t try to emulate the previous films. One difference, for example, is how we handled unique moments like flashbacks. There’s a scene where Javier has captured Geoffrey Rush and tells him of his history with a young Jack Sparrow, explaining how he and his crew were tricked and killed due to Jack. We did a skip-bleach look, which contrasted nicely with the beautiful sunset background of the ‘present,’ when he is telling the story. [Company3 Colorist] Stefan Sonnenfeld and the directors pushed the look of the flashback even further in the DI to differentiate it.” One prime goal of Cameron’s was to maintain a tight control over the time of day for each scene. “When you read a script, it usually just indicates ‘day’ or ‘night,’ but nothing more specific,” he remarks. “I pushed to narrow those times down in order to make things more dramatically effective at a particular hour, be it sunrise or sunset. “I executed a lot of lighting ideas that arose during the conceptual phase,” he adds, “and this required a leap of faith, because many scenes require VFX enhancement and can be subject to later changes by Editorial. If a scene gets moved, your warm sunset might be taking place closer to midday. But working closely with Gary [Brozenich] and the directors, we made sure everybody was cognizant of what I was trying to accomplish, and scenes that had to pass through many departments and hands still got executed in acceptable ways.” 49

Initial plans included shooting 35-mm anamorphic. But after a delay

of several months, changes were implemented involving locations and methodologies. “We abandoned Puerto Rico as a location in favor of Australia,” Cameron recounts, “and then, slowly but surely, the directors worked us around to Alexa, and from anamorphic to spherical 2.40.” Given the scope of the project, single-camera was never an option. Fortunately, Cameron says, he learned a lot about multiple camera shoots from director Tony Scott. “I share some philosophy with [Scott] in terms of being bold with camera angles, even if it means compromising the light, because you get some unexpected excitement from the extra coverage, moments that can be more engaging than those shot with tighter eyelines. On Pirates, we ran three cameras for most scenes, going as high as eight at times for big action scenes. Even stunt guys find it physically difficult to repeat these huge routines for ten takes, so anything we do with additional cameras to minimize the number of repetitions is a good thing.” Before embarking to the Gold Coast for the 100-day shoot, AC Trevor Loomis first prepped the camera package at Panavision Woodland Hills. That included 11 ALEXA XT’s – five carried on first unit, the others kept at Panavision Queensland for second unit and additional camera days. Two of the five sets of Primo V lenses remained with first unit throughout the shoot, along with multiple zoom lenses in the 11:1 [SLZ11], 19-90 [PCZ] and 3:1 [SLZ3] ranges. Loomis describes the Australian crews as “very welcoming to the U.S. crew that did get to go, and very good at their jobs.” 50

Upon finding a projector that had been calibrated for dailies at Village Roadshow Studios, DIT Edward Viola brought his cart to the stage. “That allowed us to get the directors’ monitors and all the rest matching with that projected image,” Viola explains. “Every couple of weeks, I would roll my full DIT cart back into the dailies room to make sure nothing had drifted, so our dailies would always look the same as what we saw on set. I would call up a screen grab with a LUT and CDL, and postproduction would go to their RAW data of the scene in Log-C, and we’d see if that screen matched my monitor. The grabs had Alexa info on them too, from shutter, white balance, ISO and frames per second.” Viola found it useful to run DaVinci’s Resolve in Live mode for most of the shoot. “If we had to return to a scene a couple months later, there’d be an accurate record we could match to,” he continues. “I could do a live wipe on screen, going from the last time we shot to what we were getting right then. This was a pretty powerful tool, but necessary since we were going to be cutting between shots done on stage to exterior blue screen work and other takes shot out on the actual water, all of which had to match. Media manager Lukas Davidson backed everything up on master drives to separate stations using two 8-terabyte RAIDs. Then we’d hand the mags off to the post facility located right there on stage for copies and LTOs.” Ironically, the film’s many shipboard exteriors were shot in landlocked settings, with the various seagoing vessels built as partial

CAMERON SAYS THAT WITH BOTH SHIPS LANDLOCKED AND SURROUNDED BY BLUE SCREEN, “THE LIGHTING YOU DO HAS TO BE BASED ON YOUR PAST EXPERIENCE OF SHOOTING IN ACTUAL DAYLIGHT SITUATIONS.” 51

ships within a pair of exterior arenas surrounded by blue screen. “We used two very large parking lots and stacked shipping containers four and five high in a semicircle that ran about 600 linear feet,” Cameron recounts. “The larger of the two lots accommodated one ship set measuring nearly 600 feet in length, which was mounted on a gimbal. The smaller arena featured another ship set that was mounted more simply, on casters, which let us tug the ship clockwise or counterclockwise during the day to continue using the natural sunlight. Executive producer Joe Caracciolo invested in coming up with ways to turn the ships quickly, so we wound up not requiring that everybody disembark during the moves.” Cameron says this approach gave him plenty of flexibility to match changing skies. “When clouds rolled in, I could use my four 120-foot Condors for swinging 12 ArriMax 18Ks into place on MaxiMovers, so nobody had to be in the buckets,” he notes. “At night, we’d fly a 100-foot Night Spine – a linear series of ten 10-by-10 softboxes above the ship. There were also multiple lifts carrying fire effects, moon fill and fans, plus other special-effects machinery.” But the heavy reliance on blue screen necessitated by the arena approach revealed an aesthetic limitation. “You’re shooting foregrounds of a ship supposedly at sea, but without any background revealing the type of light hitting your characters,” Cameron offers. “That means the lighting you do has to be based on your past experience of shooting in actual daylight situations. You figure in the middle of the day your ratio is going to be 3-1/2 to 1 or 4 to 1, while at dusk it’ll be more like 2-1/2 to 1, plus you’ll be changing color temps on your key and fill to suggest sunset. I provided VFX and Editorial with all my notes about the timelines and the specific looks I wanted, with graphs showing how this all works for the script. That way they don’t have to wonder, ‘Why is everything so blue?’ because they know this is right before the sun comes up.”

Predictably, challenges to VFX were many, starting with Salazar’s

ship, which has the ability to transform its shape. “The line between where practical builds end and we begin was established early,” observes VFX supervisor Brozenich. “The sets were beautifully crafted, and there’s a digital extension in nearly every shot. But that can be as small as a mast and sail addition to a full replacement of the front two thirds.” For Salazar and his crew, Brozenich says, “we mixed parts of actors with heavy digital prosthetics, fully digital characters, CG costumes in part and whole and VFX work on a large scale.” VFX vendors handled different sequences, with MPC as primary, utilizing their London, Vancouver and Los Angeles offices to handle shots of Salazar and all of his ghost crew, CG ships and ship extensions, plus ocean environments. “This [show] was a combination of CG water 52

and live-action water plates,” Brozenich continues. “The plates were shot with a three-camera rig of RED Epics on their side, shooting across each other and one centered. The rig was designed by the team at CineMoves and [hung] from a helicopter on a [Aero Film 3-axis gyro-stabilized head] Klaus Cam.” Some plate work was accomplished in Australian waters, but most took place in Key West, shot by veteran aerial cinematographer Hans Bjerno. The CG water was a combination of “performance” water that needed to be specifically directed and digital ocean backgrounds, with Brozenich wanting to “mix them throughout to blur the line between the two realities.” Rønning, who has worked with MPC on commercials, notes that even in a fantastical world like Pirates, “I think you benefit from the camera going only into positions where you could have put a physical lens. And we also often used real elements to help the VFX along.” Brozenich concurs on the use of practical elements. “We had very generous element shoots while in both production and post. Regardless of how good VFX get at recreating the physics and look of the natural world, use of real shot elements that match exactly the SFX vocabulary established in the rest of the photography, is, for me, essential,” he shares. “Not only for continuity, but also for speed of use and the visual complexities they add. It immediately lends that uncanny reality that we all just feel. Sometimes you can’t beat the real thing, or more often, the combination of both the real and the digitally created.”

“ WE MIXED PARTS OF ACTORS WITH HEAVY DIGITAL PROSTHETICS, FULLY DIGITAL CHARACTERS, CG COSTUMES, IN PART AND WHOLE, AND VFX WORK ON A LARGE SCALE.” -VFX SUPERVISOR GARY BROZENICH

ONE OF THE SHIPS WAS ON CASTERS, “WHICH LET US TUG THE SHIP CLOCKWISE OR COUNTERCLOCKWISE TO CONTINUE USING THE NATURAL SUNLIGHT,” CAMERON REVEALS. 54

Another limitation to the arena approach was not being able to capture

what Cameron describes as “those nice big pirate movie views from a helicopter,” which couldn’t be flown in a contained semi-circular area. Cameron says he found a young Melbourne Drone company called XM2 instead. “I approached them early in preproduction, hoping they would be willing to upgrade their [X8+] system to carry an Alexa M opengate camera,” he recalls. “My past experience was that smaller drone ships sometimes don’t have the stability, but this new one was robust. We got some very exciting shots that had the drone flying around the masts and sails and through the rigging; people were kind of mesmerized by what the camera could do: you think you’re looking at a crane shot, but we’d go up 300 feet instead of stopping at around 50 feet.” Drone-captured vistas were augmented by cable work, with lines run to support the actors and rig. “The wirework for fight scenes was very extensive,” Cameron continues. “There is an elaborate swordfight between Sparrow and Salazar as they jump from ship to ship, going from one cannon to another, so the dynamics for that were extreme to the point of almost being undoable. We took apart the previs to break things down into achievable moves. It involved a poor man’s CableCam, using the Oculus remote head for our camera, plus Tommy Harper’s stunt rigging team to fly the actors. Rigging the camera on cables was often used for big shots at sea; we’d swoop down to the ship past Johnny Depp and end on Geoffrey Rush.” Loomis says the cameras were in constant motion. “We would start really wide on cranes and push into big close-ups,” he describes. “One shot in particular had a CableCam starting 300 feet away that pushed into a big close-up of Javier Bardem at five feet! Those kinds of shots happened every day, so focus was a challenge. We used Prestons when called for, and small HD onboard monitors.” Cameron’s lighting for interiors reflected the idea that firelight was the primary source. “I believe being subtle is the key to using that kind of light,” the DP reflects, “because the flicker can draw the eye away from what the actors are doing and saying. How much does a fire really flicker, and how much of that do you actually notice? Gaffers Raffi Sanchez and Shaun Conway and I custom-built LED boxes that tied into DMX. We tested colors and locked those in with gels on the boxes, and that became the source for smaller [jail cell] interiors; then, for the bigger night ship exteriors, we repeated that color palette, but with larger Tungsten units.” With so much action and stunt work, a second unit, led by DP Brad Shield, began lensing in Queensland shortly after Cameron’s main unit. Shield says their work consisted of finishing off action sequences and shooting pickups. “To have a good idea of the

continuity, we would work off previs, the rough cut or action-vis put together by the stunt team,” he recounts. “One sequence involved a 50-foot Technocrane that was built on a cage and hung about 60 feet in the air. We see a large tower and countryside below, [as] a stunt performer swings on a rope. The camera pushes in with him, revealing the other side of the tower. [Key grip] Toby Copping and his best boy Paul Hamlyn put in a heap of time designing the rig. Second unit grip Greg Tidman and his team were briefed on the mechanics, and they nailed it on the first take!” Cameron says the DI for Dead Men Tell No Tales was lengthy, but ultimately satisfying. “It’s really become the responsibility for the directors of photography on films of this size to keep everyone on the same page,” he declares. “Addressing all the accommodations and slight alterations took time, but being able to sit in with the directors and Gary and the colorist all the way through was nice because we got to see how everything came together.” “Kon-Tiki was my first venture into digital,” concludes Rønning. “We shot on the open ocean for six weeks, then had four post houses doing 500 VFX shots, which was enormous for a Norwegian film. But for Pirates, we have more than 2000 VFX shots! On a project like this with so many resources at your disposal, you can keep improving things, and with the longer post, it gave us a chance to really make this the best film possible.”

CREW LIST Director of Photography Paul Cameron, ASC Director of Photography (Additional Photography) Bojan Bazelli, ASC A-Camera Operator/Steadicam Martin Schaer A-Camera 1st AC Trevor Loomis B-Camera Operator/Steadicam Chris Haarhoff B-Camera 1st AC Joe Martinez Director of Photography (2nd Unit) Brad Shield DIT Edward Viola Still Photographer Peter Mountain Publicist Michael Singer

SPLISHSPLASH THEY’LL BE RAKING IN THE CASH WITH THE BIG-SCREEN REBOOT OF BAYWATCH, SHOT BY ERIC STEELBERG, ASC BY MARGOT LESTER PHOTOS BY FRANK MASI 56

“Anyone who tells you shooting a movie on the water or on the sand is tough is right,” declares Seth Gordon, director of Baywatch, the cinematic reboot of the iconic SoCal TV series. “Equipment breaks. Weather changes on a dime. You have to be way more than just prepped in the regular sense. It looks fun, but fire, water, sand and weather exposure make it a lot trickier than you’d think.”

“ IT CAN BE VERY DIFFICULT TO GET A COMPANY AND ITS GEAR UP AND DOWN A BEACH WITHOUT VEHICLES, SO A LOT OF PLANNING WAS INVOLVED IN CHOOSING ONLY WHAT WE WOULD NEED.” ERIC STEELBERG, ASC

he action-comedy, led by Gordon (Horrible Bosses, The Goldbergs) and Director of

Photography Eric Steelberg, ASC (Up In The Air, 500 Days of Summer), was shot in Los Angeles, where the film is set, and multiple location stand-ins in Florida and Georgia. Gordon says: “Eric and Production Designer Shepherd Frankel came up with a great plan to stitch together multiple beaches in multiple towns across multiple states to give the sense of a cohesive singular beach and location. We did a lot of advance planning with storyboards, previs, beer – and sometimes conversations over seafood.” One key to the preparation was 2nd Unit Director Kevin Scott (see Exposure, page 28), who also served as the film’s supervising stunt coordinator. “Kevin was a good go-between between stunts and direction and me,” Steelberg relates. “He was able to take Seth’s ideas and figure out what can be done within our budget capabilities. He came up with a lot of ideas and modeled them well.” Water DP Peter Zuccarini adds that Production Designer Shepherd created models of the sets, boats, and tank. “We used those models to discuss rigging concerns like the placement of Condors, flyswatters, and the scale of black and blue backgrounds,” Zuccarini says. “The previs was very specific, and we added some barnapkin boards to clarify the orientation to the light and camera moves. Our best communication was through photographic references in rehearsals to clarify the look and feel.” When it came to planning out chase sequences, A-Camera and Steadicam Operator Geoff Haley, SOC, says the Baywatch team “referred to impromptu sketches on the sand or toy cars and boats lined up next to the director’s monitor.” Scott notes that continuity and a seamless transition from 1st- and 2nd-unit footage were paramount. “Paul Hughen [ASC, 2nd-unit DP] and Pete worked very closely with Eric and his camera team. Similar camera bodies, settings and lenses were critical components of consistency.” Early in prep, Steelberg and Gordon agreed on using ARRI ALEXA and Panavision Anamorphic G-Series lenses whenever possible. The Phantom Flex 4K Camera and the ALEXA MINI were also employed. “We had smaller consumer-based cameras available to us, but it was very rare that we used them,” Hughen recalls. “I did carry a set of wide Ultra Speed Zeiss Primes for visual-effects shots, and for background plates and stunt situations where an anamorphic prime lens could be destroyed.” First AC Sean Gilbert worked with Watershot equipment specialist Steve Ogles to fashion lightweight camera protection the crew dubbed “The Condom,” which provided full immersion protection without impeding the Preston and HD-SDI signal transmission strength. All the production planning was critical because the crew was battling tides and weather. As Hughen elaborates: “There were days where cloud cover threatened to make for a continuity problem, but we dealt with it as best we could, and Eric was quick to help us delay and reschedule certain shots that would

have presented a continuity error otherwise. When the second unit began to assemble, the main unit was already shooting, which allowed me to spend several days on set with him and his DIT [Kyle Spicer] before we started.”

As expected, shooting in and on the water presented a raft of challenges, starting

with access. “The beaches we shot on had environmental protection restrictions that limited large equipment and vehicles,” Steelberg recalls. “It can be very difficult to get a company and its gear up and down a beach without vehicles, so a lot of planning was involved in choosing only what we would need. My key grip [Dave Richardson] and gaffer [Dan Riffel] came up with plans that were brilliant to assist with shooting and controlling light.” On the camera end, the team deployed a 50-foot Technocrane from Cinemoves on an all-wheel-drive and self-leveling base, which allowed them to quickly set up camera moves for scenes in less time than a crane shot usually requires. “Dan affixed two 18K LRX units to the end of an all-terrain Pettibone, so I had light when I needed fill on a bright day or contrast when the weather betrayed me,” Steelberg continues. “The grips employed two of their own Pettibones, one with a 20-by-30-foot solid we would use as a wall for negative fill and the other as an overhead with a 20-by 20 of half-soft frost to take the sting off the sun when it was in an unfavorable place. It was quite the mobile force.” As for designing safe stunts at sea, Scott describes water as “the greatest force” on Earth. “The physics… are significant and not necessarily relatable to working on land,” he notes. “Safety starts with having the bestqualified people and a detailed plan that is well rehearsed, and identifying all risks and contingencies.” A-camera 1st AC Don Steinberg concurs: “Shooting on boats was challenging – and unpredictable – between the swells and tides and weather. And then you have to keep the cameras and crew protected. There’s a whole other level of things you have to consider.” These considerations include: Where’s the light? What is the temperature and clarity of the water? What kind of camera platform should we use? “We did some surface work both in tanks and on open water, but in both cases orienting the action to the sun – assuming good weather – was the first step,” Steelberg recounts. “All I can say is there is a reason that water movies are shot as much in tanks as possible. Control is paramount. We ended up having to build two above-ground tanks in Savannah, one at 60-by-20-feet deep and another 40-by-80-feet, both at 7-feet deep.”

In fact, shooting in a tank was pivotal

for a sequence that Zuccarini says explored “the terror of being locked in a cage and tossed into the sea to drown.” It starts with co-lead Zac Efron (as Matt Brody) dropping into the cage hard and fast, and then splashing into the dark water. “Our initial moon source was a lightly diffused 18K as we wanted to keep the contrast high for rich blacks to emphasize the loneliness of being left to die 59

“ DEALING WITH SKIN TONES UNDERWATER IS QUITE THE CHALLENGE.” ERIC STEELBERG, ASC

in the dark,” Zuccarini explains. “There were frames in the previs illustrating beautiful wide shots of lifeguards diving over the camera and swimming through frame head to toe. The topside masters were shot on a lake, and while the water was aqua green, it was virtually opaque with silt. We could not see clearly for six inches, let alone multiple six-foot-long bodies.” The team was nervous about matching surface and below-thesurface footage. The visibility was so reduced in many of the abovewater masters that a matching underwater shot would obscure the action. As the cage descends and lands on the sea floor, a puff of silt diffuses the light. “Initially I added some crushed limestone silt to the water to diffuse the light and give a more organic feel, but in the end we decided to stay loyal to the previs and keep the visibility in the tank clear enough to enjoy the action and see good expression in the actor’s eyes,” Zuccarini continues. “Using water-propulsion devices to swirl tiny bubbles, we created a hallucinatory atmosphere for the visit from an angel in flowing fabric. We finished with a slow camera push into Brody’s face and employed a heavily diffused handheld LED light moving in close.” That surfaced another challenge, as Steelberg explains. “One thing that was anticipated but needed to be addressed more than we thought was how the actors’ makeup was affected by the water filtering the spectrum of light from the surface. Dealing with skin tones underwater is quite the challenge.” Another vexing condition was the changing tides, which dramatically reduced available production time on a crucial waterbased chase. “The sequence was designed to be fast – up to the point where one character is boxed into a dead-end canal and must confront Dwayne Johnson’s character face to face,” Hughen explains. “Then, all hell breaks loose, and both actors end up fighting on one craft.” The veteran 2nd Unit DP adds that at certain times of the day, all of the water flowed out of the canals, “leaving a muddy, stinking mess. In pre-production, we charted the tides, knowing in advance exactly how much time we had in each of the waterways. It wasn’t very much, and there was concern about making our days and getting all of the material needed. Planning was everything, and production gave us the prep and the early call times to make it happen.” They also threw a lot of cameras at the sequence – sometimes up to five on shore, on a high-speed WaveRunner or on a skiff mounted with a small 12-foot crane and a stabilized head. Stunt Rigger Clay Cullen tricked out one WaveRunner with speed-rail rigging and the ALEXA so the cameras could stay close to the action. The focus puller was on a second ride that stayed close enough to get reception for the wireless system and still be far enough to avoid creating a wake that other cameras might see in their frames. Scott says the sequence is one of the biggest water chases he’s seen in a while. “I think the audience is going to love this chase,” he shares. “It’s fast, exciting and funny at the same time. Our shoot day was limited to three hours based on time of day, available light, available water and speed limitations in the canals. Clay is a member of the International Jet Ski Boating Association Hall of Fame and one of the best water-stunt guys in the business. Surrounding yourself with the most talented people possible is key to creating and capturing action sequences.” Shooting on water also proved very tricky for Steelberg’s main unit when they wanted to be above action as the actors were riding Waverunners but also move around them quickly. “Camera boats are not as maneuverable as we wanted, so we enlisted Snaproll Media out of Nashville to come down and do those shots with a drone,” Steelberg recounts. “We didn’t have high expectations we would be able to fly the camera as low and fast to the water as we needed, especially with all the inherent wind. But they blew away 61

CREW LIST Director of Photography Eric Steelberg, ASC A-Camera Operator/Steadicam Geoff Haley, SOC A-Camera Operator/Steadicam Chris McGuire, SOC B-Camera Operator Cale Finot A-Camera 1st Assistant Don Steinberg A-Camera 2nd Assistant Daniel Würschl B-Camera 1st Assistant Jeff Civa B-Camera 2nd Assistant John Metcalfe B-Camera 2nd Assistant (Florida) Carlos Sosa

expectations and added a whole additional level of energy to some of the action sequences.” Tides and open water proved too dangerous a combination for the “fire boat” sequence, which involved a burning vessel out at sea, so it was moved to a placid lake nearby. The calm water enabled the effects department to build underwater propane valves and adjust the duration, height, and intensity of the flames. The crew also kept a 30-foot Technocrane barge right in the middle of the action and placed actors into shots that might have otherwise required stunt performers shot from a greater distance. “The use of long-lens compressed photography and other cinematic tricks was very helpful so we could stage the actors farther away from danger, yet still maintain the illusion of imminent threat,” Haley notes. “Audiences have extremely high expectations, and the bar for heart-pounding action over the years has been set insanely high.” The final result delivers. “The fire is everywhere and feels very real, and that’s the result of Eric’s careful planning and testing,” Gordon states.

Despite its place in the pantheon of guilty-pleasure television,

neither director nor DP was an avid watcher of the original Baywatch series. “That actually helped me because I didn’t have any preconceived notions about what it should be or what it was,” Steelberg notes. “Knowing it had a big fan base was important, but we made a decision to start from scratch and not reference the original show, except for the characters and perhaps a few well-placed slow-motion shots” (and the iconic red bathing suits). “TV has changed so much, and a lot of the style of that show is time-stamped more than 62

anything else,” Gordon adds. That meant the action-comedy mash-up genre that is modern filmmaking empowered the crew with stylistic flexibility and allowed Gordon to contrast high-powered action moments with comedic relief. Haley notes that action-comedies like Baywatch present the unique challenge of putting the actors, who are tasked with providing comedy, “right into the heart of some fairly gnarly action sequences. While the temptation on traditional action movies might be to cut away to stunt and digi doubles for the most dangerous shots, we used the actors [and their ability to improvise comedic moments] as much as possible during the most actionpacked moments.” Zuccarini says that when Gordon came over to direct his water unit, “I realized that some of the high-speed [Phantom 4K] ramps would be used to extend the cheese factor of our extreme body worship shots and exaggerate the already ridiculously strong physiques of our hero characters. The audience will likely either laugh or drool!” Steelberg embraced the opportunity to find his own look for the film, reaching back to his satirical indie work to reference a nonstandard comedy feel. “It’s written as a broad comedy with action – but it doesn’t look like it. I went against the idea of no shadows, lots of light,” he explains. “The beach stuff is bright, of course, but it’s not just a bright over-lit comedy. I tried to create something fun and engaging. We’ve got an ensemble thing on the beach, and there is something to be said for what the identity of the movie is, what people want out of it. It’d be funny no matter how it’s shot, but I wanted to make that experience better, to take all that sexiness and fun and elevate it just a little bit.”

Loader Jason “Smiley” Robbins DIT Kyle Spicer Underwater Camera Operator Peter Zuccarini Underwater 1st Assistant Sean Gilbert Still Photographers Frank Masi, SMPSP Daniel McFadden Publicist Carol McConnaughey

2ND UNIT Director of Photography Paul Hughen, ASC A-Camera Operator/Steadicam Nikhil Paniz A-Camera 1st Assistant John Rex Woodward A-Camera 2nd Assistant Saul McSween B-Camera Operator/Steadicam Jeff Crumbley B-Camera 1st Assistant Tom Jordan B-Camera 2nd Assistant Jordan McKim Loader Lauren “Crash” Cummings DIT Joe Dare Underwater Camera Operator Peter Zuccarini Underwater 1st Assistant Sean Gilbert Underwater Technician Greg Faysash Libra Head Technician Lance Meyer

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SMALL-SCREEN BIG SHOTS The Golden Age of TV is right now, challenging VFX masters to keep pace. by Pauline Rogers

@@ There seem to be no limits in television production today. As Local 600 member Mat Beck of Entity FX describes: “There is a growing variety of stories being told in an ever-expanding universe of worlds. Worlds of alternate realities, alternate planets, of magical powers, of the future, of the past [even a few decades back]. None of these can properly be told without VFX, and the audience’s standards for those VFX are constantly rising.”

And so is the pressure on VFX houses and VFX supervisors to meet enhanced expectations. FuseFX Supervisor Bob Homami

notes that condensed shooting schedules and budgetary limitations add to the challenges. “Building animatronic puppets or taming wildlife is a luxury that most shows cannot afford or fit into their production schedule,” he states. And as computing power, game engines, and VFX software keep getting more powerful, contemporary VFX wizards are being asked to achieve feature-level quality on the small screen – show after show. For The CW’s horror series The Originals (shot by Kurt Jones and Roger Chingirian), for example, Beck morphed one of the characters (Haley) into a wolf that lays waste to bad guys. “The wolf the creatives wanted was not a hairy faced hybrid, but a photo-real four-legged canine,” Beck recounts. “One challenge was to animate the creature [using Maya, with a coat created from Shave and a Haircut] with motion that was believable, but also tied in with the action of the stunt performers dragged around the set by wires. We had to put in just enough visual information to convey the realistic shape, texture and furry coat of a real wolf in noir lighting that tended to obscure as much as it showed. Glowing eyes gave a supernatural tint, and red slobbery teeth helped make the creature extra scary.” The same goes for monsters of the deep. In a recent episode of the CBS series Scorpion (shot by Ken Glassing and Fernando Argüelles), entitled “Sharknerdo,” two characters are stranded in the water as shark fodder. Homami says his team had to create CG sharks and a submersible (3DS Max), as well as CG ocean, water, and spray (Houdini). The plate was filmed with a real submersible being towed by a Jet Ski. “The action of the stunt doubles didn’t quite swing out far enough to clear the envisioned CG shark’s lunge,” Homami recalls. “Since we had to remove the white water from the Jet Ski, as well as add water spray and interaction for the CG shark and submersible, we opted to replace everything except the stunt doubles and the foreground boat. We could also increase the swing-out of the heroes [from their perch on a buoy] to give the CG shark some space to jump out.”

For the “Sharknerdo” episode of Scorpion, FuseFX Supervisor Bob Homami says his team created CG sharks, ocean, water, spray, and even a submersible originally shot with stunt doubles in a plate.

For The CW horror series The Originals VFX Super Mat Beck had to morph a character “not into a hairy faced hybrid, but a photo-real four-legged canine.”

Jumping way out is what FuseFX did to create VFX elements for the new Amazon superhero series The Tick (Executive Producer/Director Wally Pfister, ASC; DP Bryce Fortner). The opening sequence features an object flying in from space that looks like a giant piece of bismuth. It slows to a stop over the Siberian tundra where two herders witness the arrival of the character Superian. The Tick VFX Supervisor Jon Massey says that since filming was done in New York City, “an icy tundra was created in a small parking lot for the plate shots with the reindeer herders with special-effects snow and evergreen trees to help with the integration,” and the more on-set references, the better the integration. FuseFX also used stock elements and SpeedTree to build the matte painting of the mountains and tundra, which were then modeled with geometry to give shape to the explosion as it expands out. “We actually created three distinct pyro explosions and one rigged body simulation as well as an additional nine passes for varied volumetric shockwaves in the air, and on the ground,” Massey adds. “When they were all composited [in Nuke], the seamlessly integrated sequence really helped tell the story.”

Enhancing the story (sometimes with very bizarre elements) is all in a day’s work for

CoSA VFX, which works on The Fox Network’s Gotham (currently shot by Chris Norr and Crescenzo G.P. Notarile, ASC). CoSA’s Thomas Mahoney remembers an episode from last year that introduced the character of Mr. Freeze – trying to test a formula to unfreeze people. “Although he could successfully freeze people, really bad things were happening,” Mahoney describes. “In one of those scenes he had a guy on his table, who basically melts into a puddle of goo. “What I really liked about this shot is that it crossed every discipline you could think of, and it was fun,” Mahoney continues. “The special effects team squirted a bunch of viscous fluid into a pan to simulate the actual melting goo that was coming off this guy as he was dissolving. The actor who was being dissolved was there that day and we did a body scan so we had a detailed 3D model. We additionally did a lower-res scan with the structure sensor that we also used in some places. We match-moved the detailed 3D scan into the actual actor’s body – and then, basically, threw in a whole lot of effects and compositing tricks – reducing this actor to a sludge puddle that looked very organic. It was kind of gross but very effective.” Such imaginative and high-quality VFX elements are why the producers behind the new ABC series Time After Time (shot by David Insley and John Lindley, ASC) “requested more complexity than was originally conceived,” describes Vice President of Business Development for Alkemy X Bob Lowery, who also adds that strong New York State tax incentives and the fact that the show shoots in New York City made it the right place to do the VFX work. One such example is a sequence set in Paris 1918, where a bomb explodes in a café. “The biggest challenge was the interaction of practical objects with computer-generated fire,” VFX Supervisor Steve Sanchez explains. “We had to take set objects and actors that were not actually on fire and make them appear as though they were engulfed in flames. Fire functions as its own light source, so elements such as shadowing and lighting are dramatically altered.” 68

Studying news footage of house fires and seeing how real fire interacts was just the beginning. While on the set for the practical shot, Sanchez took reference photos and measured the café’s dimensions for later VFX shaping and modeling. 360-degree images of the interior helped create depth in the CG world. “We even brought back physical props from the set in order to give our artists tangible references,” he adds. “The practical effects by Production were fantastic, and we seamlessly integrated additional flying debris, flames and other destruction elements to give the director and show creator what they wanted in the final composition.” Paris, circa 1918, looked realistic thanks to VFX creative tools. Images of the Nazi-era rule in an alternative reality of today, such as the kind Barnstorm VFX (founded by Local 600 member Lawson Deming and his partner Cory Jamieson) have created for Amazon’s hit streaming series, The Man in the High Castle (shot by Gonzalo Amat and James Hawkinson), presented a different challenge. To be sure, the show has eyecatching VFX elements like huge establishing shots of a fully CGI Berlin or a massive night Nazi rally. But in this example, the simplest VFX shot was the most complicated. “In Episode two, Juliana Crane rushes to the German Embassy in San Francisco, pursued by Japanese Kempeitai police, in an effort to defect before she is captured,” Deming explains. “During a Hitchcockian series of cuts telegraphing a confrontation between the Japanese and German soldiers at the border, we see her point of view as she passes a sign informing her that she is about to enter Reich territory and get to safety.” The original sign was a practical element that read in three languages (German, Japanese, and English), which made sense from a logical world-building standpoint for the show but was difficult to read (in editing) in the midst of a tense chase. Could Barnstorm solve that? “Even though it falls in a sequence that already has some significant visual effects shots, the insert shot [in English only] is my favorite because it represents a pragmatic and supporting use of effects just to make the scene better,” Deming describes. “A few years ago, it probably wouldn’t have been deemed important enough to justify doing something like a sign as a fully 3D shot in a television show. But with advancing skills by effects artists and advancements in technology, we are constantly taking new steps and re-evaluating what is possible.”

International TV production is taking giant VFX leaps as well. At Mr. X Inc., VFX

Supervisors James Cooper (Showtime’s Penny Dreadful) and Dominic Remane (The History Channel’s Vikings), as well as Rodeo FX’s Martin Lipmann (Starz’s Black Sails), are seriously pushing the envelope. Season 3 of Penny Dreadful featured American gunslinger Ethan Chandler returning to New Mexico (green screened in Dublin, Ireland, and composited with a full-CG New Mexico environment) with Hecate (a witch from season two), while being pursued through the desert by a cadre of U.S. marshals. “Hecate conjures an attack of Diamondback rattlesnakes using a spell cast with Ethan’s blood to stop them,” Cooper relates, who adds that there was a believability concern with CG snakes, but the decision to go all VFX was bolstered by

For The Tick, VFX Super Jon Massey (also with FuseFX) created a space object that hovers over the Siberian tundra where two herders witness the arrival of the character Superian. “The more on-set references the better,” Massey says about the plate shots, which captured an “icy tundra in a parking lot, with the herders, special effects snow and evergreen trees added for integration.”

To create a bomb going off in a Paris café, circa 1918 for Time After Time, VFX Supervisor Steve Sanchez says “the biggest challenge was the interaction of practical objects with computer-generated fire.”

For Amazon’s The Man in the High Castle, Barnstomr FX co-founder (and Local 600 member) Lawson Deming says just “a few years ago [producers] wouldn’t have deemed a sign important enough as a fully 3D shot in a television show.”

For Season 3 of Penny Dreadful (VFX by Mr X Inc.) VFX Supervisor James Cooper’s team created a hero snake that crawls right on top of a sleeping U.S. marshal. “We used compositingwarping techniques to simulate the weight of the snake on his clothes,” Cooper shares.

RodeoFX Super Martin Lipmann says the move from 2D mattes to full 3D environments, in Black Sails, “allows more freedom for camera movements, more diversity for landscape and vegetation and more accurate lighting.” Pictured here: a fully CG 18th Century Port of Havana.

For The History Channel’s epic battle scenes in Vikings, Mr. X Inc. Supervisor Dominic Remane says the accelerated TV schedule required enhancements “designed into the workflow, which allowed us to create thousands of on-screen animated characters in any given shot.”

“ WITH ADVANCING SKILLS BY EFFECTS ARTISTS AND ADVANCEMENTS IN TECHNOLOGY, WE ARE CONSTANTLY RE-EVALUATING WHAT IS POSSIBLE.” BARNSTOM VFX CO-FOUNDER (AND LOCAL 600 MEMBER) LAWSON DEMING

the realistic creature work the Mr. X team had already demonstrated. This included spiders in season one, scorpions in season two, and frogs, bats and rats in addition to the snakes in season three. “We tracked live-action plates and animated the snakes to them,” Cooper adds. “We modeled a Diamondback in Maya and Z-Brush, textured it using Photoshop and Mari, animated in Maya and lit and rendered the shots in Houdini Mantra. “The snakes come out of the desert sand,” he continues, “so we added interactive Houdini particle sand simulations that blended seamlessly with the practical desert. One hero snake crawls right on top of a sleeping marshal, so we used compositing-warping techniques to simulate the weight of the snake on his clothes.” Cooper says the scene was particularly challenging in that the live-action plates were key lit with constantly flickering firelight with a moonlight fill. “The Mr. X lighting department provided both a firelit and a moonlit render pass, and the compositors meticulously shifted between the two for an exact match,” he notes. From minute elements to massive battles and locations, making period action look real on the small screen is more possible than ever thanks to contemporary digital effects tools. One interesting landing point, in Season 4 of the 18th Century-set pirate drama, Black Sails, was Havana, Cuba. VFX Supervisor Lipmann says the series of episodes begins “with Rogers taking the Revenge [a Spanish war ship] to Havana to try to get some help from the Spanish fleet to take back control of Nassau.” With one boat on shore and water that doesn’t exist – not to mention the whole town of Havana, the task was daunting. Rodeo FX’s task was to emphasize the Spanish threat by adding cannons and high fortress walls – and a full CG environment as the Revenge enters the bay – with vegetation, beach, water and architecture. “The story continues as Rogers is on his way to see the governor’s house,” Lipmann explains. The team studied archives and engravings of Havana and adapted them to create the governor’s mansion in the center frame. “What makes this season different,” Lipmann adds, “is the move from 2D mattes to full 3D environments, which allows more freedom for camera movements, more diversity for landscape and vegetation and more accurate lighting. And that’s what makes it more realistic in the end.” Vikings, too, is striving to create realism and huge expansions. The show deals with Viking ships, battles, and environments that, even with the best locations and design, are just simply too massive (i.e., expensive) for TV. So, VFX masters are asked to fake it. “The most common shots designed and executed on Vikings [shot in Ireland and Canada] is the expansion of large fleets during battles or during their passages between locations,” explains Remane. In Season 4 Episode 10, the team expanded the Viking and French fleets during

the epic battle between brothers. The practical shots consisted of one Viking barge, three Viking ships, and two practical French ships, allowing for quick re-position and reset for action, which helped with concerns about available light in the fall in Dublin. “We then expanded the shots to 72 Viking ships, 24 Viking barges and 76 French ships,” Remane explains. “We put more than 4500 digital warriors on the ships.” Because the ships and warriors have such prominent roles, Mr. X had to develop new technology to produce these images realistically, on a TV schedule. “Pipeline enhancements were designed into the animation workflow, “which allowed the team to handle hundreds of ships, each containing more than 20-plus warriors, resulting in thousands of on-screen animated characters in any given shot,” Remane continues. Mr. X also revamped their tools to generate believable and realistic motion simulations for flags, sails, and water. “This allowed us to quickly test different cloth characteristics along with varied wind conditions visible on the day,” says Remane. “Wakes from boats splash off oars, and reflections of the scene simulated in less time. This allowed artists to focus on the creative look of their simulations for cloth and water, which now took hours or minutes to complete. Sequences like this are great examples of how VFX not only strengthens the storytelling but helps convey the scope of elements viewers see in epic battles.” New effects technology in television has also stimulated bigger and better interaction with on-set departments outside of camera. Beck says that “digital makeup is making people seamlessly look better – or worse – with techniques that can add or subtract any kind of feature on the skin: moles, wrinkles, wounds, tattoos, horns, et cetera. “Digital stunt people can morph into real stunt people with face replacements who can then morph into original talent,” Beck concludes. “3D digital matte paintings extend sets, tracking camera movement, sometimes in real time on set. And, the same techniques to track and extend sets can place a creature in the frame. Plus, physical effects remain vital to modern production, but dangerous effects like fire and explosions can be augmented or replaced with photo-real digital simulations.” 71

HOT WHEELS The zoom-zoom factor in vehicular filmmaking has revved way up thanks to Local 600 2nd Unit DP’s and their teams. by Pauline Rogers

In the real world, if you call someone on the phone, and they say, “Can I call you back in 15 minutes? I have to move a car,” you think: street parking. In Hollywood, if you start a conversation with, “You have to move a car,” it could be anything from a chase across frozen tundra or windswept desert to blending real armed transport and miniatures through a narrow European street.

CineMoves’ Scott Howell says his company’s TOM CAR started life as an Israeli military vehicle. “It has an incredibly forgiving suspension,” Howell notes of the vehicle, recently used for a beach chase in bigscreen reboot of Baywatch.

Thanks to mini-footprint cameras, advances in car rigs and support gear, and safety planning that would make the Secret Service envious, vehicular filmmaking has revved up to levels never before thought possible. Or as veteran Guild shooter Jacques Haitkin says: “Nothing is ever conventional in second-unit work. And that’s the fun of it.”

Second-Unit Director J.J. Perry, fresh off the Netflix thriller Spectral, shot by Bojan

Bazelli, ASC, with Stewart Whelan as 2ndUnit DP, says the keys to a stunning car chase are coverage and safety. “That means the best drivers possible, production scouts who find the best

locations to facilitate the excitement – and not just any camera car on the field,” Perry insists. “I find the Pursuit Systems with the Russian Arm mounted on top the best because of how they are built.” Perry says the shot coming at camera is more exciting than one going away. “You can under-crank and do it in post,” he adds. “But 70 miles per hour is 70 miles per hour.” In the case of Spectral, creating speed was a challenge. The Tatrapans (6-by-6 special military vehicles produced by the Slovak defense company VYVOJ Martin), the European version of the MRAP (a United States military vehicle designed to withstand IED attacks), needed three blocks to get up to speed, three blocks to shoot, and two blocks to scrub and reset. “There was one scene where the Tatrapans exploded,” Perry notes. “We did it with

miniatures because we couldn’t blow up the expensive vehicles. We blew the miniatures when we couldn’t see the background and immediately cut to the interior of the vehicle with the stunt people turning over [using a gimbal].” Generating visual excitement, i.e., lots of speed, and maintaining safety on Spectral were achieved through a careful combination of cars and miniatures. But what to do when shooting a chase with more than 20 vehicles on a frozen lake in Northern Russia, as Haitkin did for The Fate of the Furious, shot by Stephen Windon, ACS, ASC? “When I first read the Act 3 Iceland sequence for the film,” Haitkin recounts, “what came to mind was, how would these vehicles maintain traction on slippery ice?” Haitkin had picture cars ranging from 73

For Logan, shot in the New Mexico desert, 2nd Unit DP Lukasz Jogalla had a main camera platform with a Pursuit Systems Raptor pickup truck with crane and Oculus head.“Winds and cars kicked up so much dust that the whole crew had to wear face and eye protection,” Jogalla recounts.

an orange Lamborghini to a tank, with a few vintage, customized muscle cars and an oversized pickup thrown in as well, all being chased by a gaggle of military trucks and jeeps with gunners firing. The answer to his initial question turned out to be studded tires, which was not without a downside. “They’re great for our practical action look because you can’t see the studs, and the cars performed really well,” Haitkin continues. “But the studded tires kicked up tons of slush and ice bits, hitting all of our lenses at 50 miles per hour. Our cameras were often low and wide, tracking or mounted, meaning the slush and ice made direct hits on our lenses.” That meant different spinners on everything from crash cameras to The Edge and Subie (a sports Subaru 4-door sedan built by Allan Padelford Camera Cars, outfitted to mount operable talon heads, extremely low to the ground, so when the camera moves with a wide angle lens it looks like the camera is going 90 mph, because the ground rushes rapidly at the lens), in addition to the Technocrane shots. And it wasn’t just the slush and ice that were challenging. “The temperature difference between the freezing front of the spray deflectors and the warm, bagged camera behind the spinning glass caused shot-ruining fog behind the filter,” Haitkin explains. “My amazing Local 600 team (1st AC’s Louie DeMarco, Robert Sagaser and Brad Edmiston; 2nd AC’s Travis Cleary, Sarah Guenther, Colleen Mleziva and Matt Fortlage; operators Christopher Duskin; Henry Tirl, SOC; Adam White and Tim Fabrizio) 74

solved that issue by installing a compressed-air system behind the glass – remotely controlled right before takes to blow-dry the glass clear.”

Second-Unit DP Lukasz Jogalla had much

different location challenges for Logan (shot by John Mathieson, BSC), like swirling dust and soaring cholla cactus in the high desert of New Mexico. “Winds and cars kicked up so much dust that the whole crew had to wear face and eye protection,” Jogalla reports. In one scene, Logan is driving a stretch limo as he escapes an army of bad guys in all kinds of off-road trucks and motocross bikes. Jogalla says Production built a Baja version of the limo – higher off-road suspension and bigger engine, mounted mid-chassis – used for high-speed driving. “Our main camera platform was a Pursuit Systems Raptor pickup truck with crane and the Oculus head,” he adds. “It’s fun to plan and execute an exciting shot, but the biggest challenge for me is always logistics. You have to shoot a myriad of shots that are complicated and then run a plate car through every bit of action.” For Logan, the plate car was a Pursuit Systems buggy with a camera array mounted on the arm. “It may seem extravagant, but we could not think of another way,” Jogalla says. “Time is precious and when you’ve done your shot, the plate vehicle has to be 100 percent ready to go, dedicated equipment that can mimic the path of the Baja limo.” Jogalla says VFX for car scenes (actors shot against green screen) can only work with a strong foundation

Power Rangers 2nd Unit DP Brian Pearson says a top-mounted remote driving pod is a “fantastic way to put the actors in the action without their having to worry about actually driving the vehicle.”

Vern Nobles, Jr. 2nd Unit DP for Resident Evil: The Final Chapter, used a bungeecam on an ATV that tracked with a wireless Mini Libra controlling the camera – on a chase motorcycle. “This way, we had normal mounted shots from a motorcycle but could track motorcycle to motorcycle and operate the camera safely,” Nobles explains.

captured in camera. “Like when a section of chain-link/razor-wire fence gets stuck to the front of Logan’s car,” he recalls, “and it becomes a crude weapon against the motorcycle-riding assailants. We had a piece of that fence rigged to the car and photographed it up close. Then VFX took over, extended it and caught a bunch of virtual motorcyclists in it like fish in a net.” Brian Pearson put his Hot Wheels skills to the test in a unique location for Power Rangers, shot by Matthew Lloyd, CSC. Working with 2nd-Unit Director Paul Jennings, Pearson captured the prepower-suit look of the heroes using the Ultimate Arm, a drone, numerous crash housings and spray deflectors. “They are being chased by various security vehicles around and through a large industrial quarry, rock-crushing equipment and rock piles,” Pearson says. “The terrain was challenging for the vehicles and camera equipment – gravel and rocks of all sizes.” For interiors of the hero’s minivan, Pearson mounted LiteGear’s LiteMats outside the vehicle windows to light the interior – and used a remote driving pod on top of one of the vehicles to capture the shots inside. “It’s a fantastic way to put the actors in the action without their having to worry about actually driving the vehicle,” Pearson explains. “One of the coolest supports we had was the 50-foot Technocrane with a remarkable, versatile base for rough terrain known as Badger, provided by Motion Mechanica. It’s a custom-built base with swappable wheels, which can change from soft all-terrain wheels to heavy treads.”

International locations often add more speed bumps to the track. For Resident Evil: The Final

Chapter, 2nd-Unit DP Vern Nobles, Jr. had lots of fun helping to capture director Paul W.S. Anderson’s vision of a large armored transporter leading a zombie army hoard down a burnt-out post-apocalyptic freeway – in South Africa. The sequence involves Alice (Milla Jovovich) being towed behind, running for her life. She jumps on the transporter away from Zombie Army, and then gets into a knife fight with Dr. Isaacs (Iain Glen) on top of the transporter. “First Unit DP Glen MacPherson, ASC, did the in-close fighting for the dialogue,” Nobles explains. “He used a two rig for the motorcycle behind the 15foot Technocrane to move around Alice. This enabled us to put her on the real motorcycle on the freeway.” Nobles says they did 95% of all the action in camera – no studio or green screen. “Glen and Paul had a vision of a 75

The “e-Car” from Road Runner Camera Cars is one of the smallest fully electric mini camera cars built on a Smart Car platform.

post-apocalyptic burnt-out world, always with heavy back light and haze,” he continues. “So, we planned every shot around the sun – using the Astar helicopter with pilot Gert Uys and the first new Shotover F1 in South Africa with the RED Epic. The helicopter showed the scope of the zombie horde. The camera always moved counter [to the action] to add excitement. “We also had a small ATV that operator Lars Cox would use with a bungee cam, and operator Sarel Pretorius would use the Steadicam in low mode to move quickly around the transporter,” Nobles continues. “The ATV also tracked with a wireless Mini Libra controlling the camera – on a chase motorcycle. This way, we had normal mounted shots from a motorcycle but could track motorcycle to motorcycle and operate the camera safely. Because of the size of the transporter, we put a 50-foot Technocrane on a flatbed to track around the transporter.” As noted, the boom in hot wheels filmmaking has coincided with a burst of inventive support gear. An example is the Covert Camera Vehicles E-Bike, an allelectric motorcycle that not only delivers high-speed action shots but can also do slow “walk and talk” dialogue shots or foot chases. While not a car stunt per se, one of the most challenging shots for company owner Regis Harrington was following the downhill skateboards in Vin Diesel’s XXX. “We were within inches of each other at a high rate of speed for director Dan Bradley on the second unit in the Dominican Republic,” Harrington explains. Also innovative is the TOM CAR from CineMoves, which started life as an Israeli military vehicle. “It has an incredibly forgiving suspension and ground clearance,” 76

explains CineMoves’ Scott Howell. “Recently, Doug Cowden, key grip on the stunt unit of an action feature currently shooting in Atlanta, needed a tracking vehicle that could run over a railroad track while chasing the getaway car, and TOM CAR fit the bill. It was also used on Baywatch for a beach chase.” The “e-Car” from Road Runner Camera Cars is one of the smallest fully electric mini camera cars built on a Smart Car platform. Driving specialist Dave Conelli (a car operator for over 20 years) took it into very tight spaces for DP Maryse Alberti on Collateral Beauty, using the Libra to get shots of Will Smith bike-riding through Manhattan and across the Williamsburg Bridge. Conelli also used the e-car to film Michael Caine riding his scooter with Morgan Freeman in the basket for Going in Style. “It’s street legal, silent, and small enough to maneuver on sidewalks, while fast enough off the line so the subject is always in frame,” Conelli describes. No doubt Local 600 shooters have their hands tight on the wheel when it comes to the adrenaline-packed nature of vehicular moviemaking. “One of the challenges of doing stunt-car work is that the bar is raised higher and higher every new blockbuster season,” Haitkin reflects. “That’s where new technology can help creatives and technical artists find new ways to express action that will delight audiences with something they haven’t seen before. Safety always comes first, of course, and the well-seasoned crews we work with ensure we’ll keep it safe and professional, no matter what the challenge. If we embrace challenges positively, we always find a way to triumph.”

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Production Credits. action & vfx issue

COMPILED BY TERESA MUÑOZ – AS OF APRIL 1, 2017 ICG Magazine strives to maintain an up-to-date and accurate record of all crew members for the Production Credits section. In order for us to continue to provide this service, your input is invaluable and of the utmost importance. You are our only source of information. Please take note of the following requests. They will allow us to better serve you. Please provide up-to-date and complete crew information (including Still Photographers, Publicist, etc.). Please note that the deadline for the Production Credits is on or around the first of the preceding month.

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

“BONES” SEASON 11 Dir. of Photography: Bobby Altman Operators: Gerry O’Malley Assistants: Steve “Spike” Barnes, Gary Johnson, Maurizio “Nino” Dotto, Larissa Supplitt Steadicam Operator: Gerry O’Malley Loader: Kara Rittenhouse Still Photographer: Dean Hendler, Ron Jaffe “FRESH OFF THE BOAT” SEASON 3 Dir. of Photography: Brandon Mastrippolito Operators: Greg Matthews, Brian Morena Assistants: Greg Dellerson, Tomoka Izumi-Maronn, Christian Cobb, Steve Whitcomb Camera Utility: Adam Kolkman Still Photographer: Nicole Wilder “LAST MAN STANDING” SEASON 6 Dir. of Photography: Donald A. Morgan, ASC Operators: Marvin Shearer, Randy Baer, Larry Gaudette, Neal Carlos Assistants: Missy Toy-Ozeas, Damian Della Santina, Al Myers Camera Utility: John Weiss, Steve Masias Digital Imaging Tech/Colorist: Doug DeGrazzio Still Photographer: Nicole Wilder, Danny Feld, Lisa Rose “MODERN FAMILY” SEASON 8 Dir. of Photography: James Bagdonas, ASC Operators: Trey Clinesmith, Toby Tucker Assistants: John Stradling, Michael Bagdonas, Noah Bagdonas, Rebecca Martz Spenser Camera Utility: Gavin Wynn Digital Utility: Corey Gibbons Still Photographer: Nicole Wilder “ROSEWOOD” SEASON 2 Dir. of Photography: Michael Stecher Operators: Keith Jordan, Steve Matzinger Assistants: Tommy Lewis, David “Clean” Berryman, Ken Tanaka, Blake Hooks, Gus Bechtold Steadicam Operator: Keith Jordan Still Photographer: Nicole Wilder, Lisa Rose “THE CARMICHAEL SHOW” SEASON 3 Dir. of Photography: George Mooradian, ASC Operators: Marvin Shearer, Gary Allen, Ron Hirshman, David Dechant, Kris Conde, SOC Assistant: Veronica Davidson Camera Utility: Kate Steinhebel Digital Utility: Connor Heck, Selvyn Price Video Controller: Keith Anderson Still Photographer: Chris Haston “THE LAST MAN ON EARTH” SEASON 3 Dir. of Photography: Carl Herse Operators: Jeff Bollman, Brian Sowell Assistants: Mark Legaspi, Barry Elmore, Emily Zenk, Devon Hoff-Weekes Camera Utility: Clayton Daily ABC STUDIOS “AMERICAN HOUSEWIFE” SEASON 1 Dir. of Photography: Andrew Rawson Operators: Dan Ayers, Tim Walker, Lisa Stacilauskas Assistants: Max Neal, Eric Guthrie, Joseph Torres, Jr., Elizabeth Algieri,

Mark Colicci, Robert Gilpin Steadicam Operator: Dan Ayers Digital Utility: Val Sklar Digital Loader: Jaswinder Bedi Still Photographer: Byron Cohen “GREY’S ANATOMY” SEASON 13 Dir. of Photography: Herb Davis Operators: Fred Iannone, SOC, Steve Ullman Assistants: Nick McLean, Forrest Thurman, Chris Johnson, Marte Post Steadicam Operator: Steve Ullman Steadicam Assistant: Forrest Thurman Still Photographer: Adam Taylor, Nicole Wilder ADDITIONAL PHOTOGRAPHY Dir. of Photography: Fred Iannone Operators: Leslie Morris, Joe Antczak, Kenny Brown, Frank Perl, Eric Fletcher Assistants: Phil Shanahan, Lisa Bonaccorso, Bob Heine, Wendy Finn “HOW TO GET AWAY WITH MURDER” SEASON 3 Dir. of Photography: Michael Price Operators: Joe Broderick, John Hankammer, Scott Boettle Assistants: Heather Lea-LeRoy, Vanessa Morehouse, Darrell Herrington Drew Han, Scott Birnkrant, Mark Sasabuchi, Summer Marsh Digital Imaging Tech: Andrew Osborne Digital Utility: Andrew Hays Still Photographer: Nicole Wilder DOUBLE UP UNIT Dir. of Photography: Joe Broderick Operators: Victor Macias, Andrea Rossotto Assistants: Mark Sasabuchi, Mike Rush “JIMMY KIMMEL LIVE!” SEASON 15 Lighting Director: Christian Hibbard Operator: Randy Gomez, Parker Bartlett, Ritch Kenney, Kris Wilson, Garrett Hurt, Marc Hunter, Mike Malone Camera Utility: Scott Spiegel, Travis Wilson, Randy Pulley Video Controller: Guy Jones Still Photographer: Danny Feld, Karen Neal, Michael Desmond 2ND UNIT Dir. of Photography: Jimmy Lindsey “LOSING IT” PILOT Dir. of Photography: Giovani Lampassi Operators: Rick Page, Reid Russell Assistants: Lauren Gadd, William Schmidt, Jamie Stephens, Dustin Miller Loader: Nick Gilbert Digital Utility: Rochelle Brown Still Photographer: John Fleenor “SCANDAL” SEASON 6 Dir. of Photography: Oliver Bokelberg, ASC, Daryn Okada, ASC Operators: Steve Fracol, SOC, Bill Boatman Assistants: Jon Zarkos, Anthony Schultz, Jorge Pallares, Hannah Levin Steadicam Operator: Steve Fracol, SOC Steadicam Assistant: Jon Zarkos Digital Utility: George Montejano, III Digital Imaging Tech: Andrew Lemon Still Photographer: Mitchell Haddad, Nicole Wilder “THE CATCH” SEASON 2 Dir. of Photography: Ross Riege Operators: Stephen Collins, Patrik Thelander Assistants: Bianca Bahena, Chris Sloan, Greg Dellerson, Terry Wolcott

Digital Utility: Chris de la Riva Digital Loader: Earl Fulcher Still Photographer: Nicole Wilder “WHAT ABOUT BARB” PILOT Dir. of Photography: Joe Kessler Operators: Liam Clark, Sarah Levy, Alexa Ihrt Assistants: Matt Brewer, Darin Krask, Josh Coffin, Emily Zenk, Penny Sprague, Ben Perry Steadicam Operator: Liam Clark, Sarah Levy Loader: Mauricio Gutierrez Utility: Melissa Vilardo AFN PRODUCTIONS-TELEPICTURES “THE REAL” SEASON 3 Lighting Dir/Dir. of Photography: Earl Woody Operators: Kevin Michel, David Kanehann, Steve Russell, Bob Berkowitz Steadicam Operator: Will Demeritt Camera Utility: James Magdalin, Henry Vereen, John Markese Jib Arm Operator: Jim Cirrito Video Controller: Jeff Messenger AGE APPROPRIATE, INC. “LAND OF STEADY HABITS” Dir. of Photography: Alar Kivilo Operators: Denny Kortze, Charles Libin Assistants: Pedro Corcega, Adriana Brunetto-Lipman, Haffe Acosta, Matthew Montalto Loader: Holly McCarthy Still Photographer: Alison Cohen Rosa A VERY GOOD PRODUCTION, INC. & WAD PRODUCTIONS “THE ELLEN DEGENERES SHOW” SEASON 14 Lighting Director: Tom Beck Ped Operator: David Weeks, Paul Wileman, Tim O’Neill Hand Held Operator: Chip Fraser Jib Operator: David Rhea Steadicam Operator: Donovan Gilbuena Video Control: James Moran Head Utility: Craig “Zzo” Marazzo Utilities: Arlo Gilbuena, Wally Lancaster BEACHWOOD SERVICES “DAYS OF OUR LIVES” SEASON 51 Dir. of Photography: Mark Levin, Ted Polmanski Operators: John Sizemore, Mark Warshaw, Vickie Walker, Michael J. Denton Camera Utility: Steve Clark, Steve Bagdadi BEL CANTO, LLC “BEL CANTO” Dir. of Photography: Tobias Datum Operators: Alec Jarnagin, Danny Sariano Assistants: Kevin Akers, Doug Durant, Bobby Arnold, Kai Riley Still Photographer: Nicole Rivelli BONANZA “THE ORIGINALS” SEASON 4 Dir. of Photography: Roger Chingirian, Kurt Jones Operators: Ian Forsyth, Brian Davis Assistants: Matt Brewer, Billy Mueller, Uly Domalaon, Trevor White Steadicam Operator: Ian Forsyth Digital Imaging Tech: Dustin Diamond Utility: Andy Lee “THE VAMPIRE DIARIES” SEASON 8 Dir. of Photography: Darren Genet, Michael Karasick Operators: Geoff Shotz, Pierre O’Halloran Assistants: Colin Duran,

Production Credits.

20TH CENTURY FOX “24: LEGACY” SEASON 1 Dir. of Photography: Jeff Mygatt Operators: Greg Bubb, Dave Drzewiecki Assistants: Butch Pierson, Steve Magrath, Scott Forte, Ryan Abrams Loader: Matt Evans Digital Utility: Mary-Margaret Porter Still Photographer: Guy D’Alema

Nichole Castro, Ryan Weisen, Kelly Poor Steadicam Operator: Geoff Shotz Digital Imaging Tech: Eric Henson Digital Utility: Anna-Marie Aloia CBS “BULL” SEASON 1 Dir. of Photography: Derick Underschultz, John Aronson Operators: Phil Oetiker, Eli Aronoff Assistants: Chris Trova, Roman Lukiw, Soren Nash, Mike Lobb Steadicam Operator: Eli Aronoff Digital Imaging Tech: Gabe Kolodny Loader: Trevor Wolfson, Carlos Barbot “ENTERTAINMENT TONIGHT” SEASON 36 Dir. of Photography: Kurt Braun Operators: Jaimie Cantrell, James B. Patrick, Ed Sartori, Henry Zinman, Tom Van Otteren, Bob Campi, Rodney McMahon, Anthony Salerno Camera Utility: Terry Ahern Video Controller: Mike Doyle, Peter Stendal “HANNAH ROYCE’S QUESTIONABLE CHOICES” PILOT Dir. of Photography: Michael Grady Operators: Chris Cuevas, Brian “Joey” Morena Assistants: Andy DePung, Harrison Reynolds, Joel Perkal, Eric Wheeler Digital Imaging Tech: Shannon Cook Utility: Grace Craig “JANE THE VIRGIN” SEASON 3 Dir. of Photography: Lowell Peterson, ASC, Joe Gallo Operators: Rory Knepp, Paul Plannette Assistants: John Flinn, IV, Peter Norkus, John Pouncey, Don Burton Utility: Jai Corria Still Photographer: Ron Jaffe, Lisa Rose

Production Credits.

“NCIS” SEASON 14 Dir. of Photography: William Webb, ASC Operators: Christos Bitsakos, George Loomis Assistants: Chad Erickson, James Troost, Nathan Lopez, Helen Tadesse Still Photographer: Adam Taylor

“NCIS: LOS ANGELES” SEASON 8 Dir. of Photography: Victor Hammer Operators: Terence Nightingall, Tim Beavers Assistants: Keith Banks, Richie Hughes, Peter Caronia, Jacqueline Nivens Steadicam Operator: Terence Nightingall, Tim Beavers Steadicam Assistants: Keith Banks, Richie Hughes Digital Imaging Tech: John Mills Digital Utility: Trevor Beeler Still Photographer: Ron Jaffe “NCIS: NEW ORLEANS” SEASON 3 Dir. of Photography: Gordon Lonsdale, ASC Operators: Greg Morris, Vincent Bearden, Jerry Jacobs Assistants: Peter Roome, Brouke Franklin, Jeff Taylor, Toni Weick, Dave Edwards, Sienna Pinderhughes Steadicam Operator: Vincent Bearden Digital Loader: Christian Wells Still Photographer: Sam Lothridge “REAL LIFE” PILOT Dir. of Photography: Chris La Fountaine Operators: Chris Reutlinger, George La Fountaine, Chris Wilcox,

Kris Conde Assistants: Brian Lynch, Jeff Roth Utility: Chris Todd, Craig LaFountaine, Vicki Beck, Marianne Franco Digital Imaging Tech: Shaun Wheeler Video Controller: Andy Dickerman Still Photographer: Ron Jaffe “SCORPION” SEASON 3 Dir. of Photography: Ken Glassing, Fernando Arguelles Operators: Paul Theriault, Wally Sweeterman Assistants: Scott Ronnow, John Paul Rodriguez, Chris Mack, Tim Sheridan, Digital Imaging Tech: Greg Gabrio Utility: Tyler Ernst Still Photographer: Ron Jaffe “SUPERIOR DONUTS” SEASON 1 Dir. of Photography: Gary Baum Operarors: Glen Shimada, Travers Hill, Lance Billitzer, Edward Fine Assistants: Adrian Licciardi, Jeff Goldenberg, Alec Elizondo, Clint Palmer, Jason Herring Jib Operator: Brian Gunter Jib Tech: Terry Gunter Utility: Sean Askins, Daniel Lorenze Digital Imaging Tech: Derek Lantz Video Controller: John O’Brien “THE GOOD FIGHT” SEASON 1 Dir. of Photography: Fred Murphy, Timothy Guinness Operators: Petr Hlinomaz, William Hays Assistants: Robert Becchio, Rene Crout, Daniel Fiorito, Alisa Colley, Elizabeth Casinelli, Elizabeth Hedges Loader: Sunil Devadanam, Anabel Caicedo, Matthew Harding Still Photographer: Elizabeth Fisher, Patrick Harbron, Jeff Neumann “THE INSIDER” SEASON 13 Dir. of Photography: Kurt Braun Operators: Jaimie Cantrell, James B. Patrick, Ed Sartori, Henry Zinman, Tom Van Otteren, Bob Campi, Rodney McMahon, Anthony Salerno Camera Utility: Terry Ahern Video Controller: Mike Doyle, Peter Stendal “THE TALK” SEASON 7 Lighting Director: Marisa Davis Ped Operators: Art Taylor, Mark Gonzales, Ed Staebler Hand Held Operators: Ron Barnes, Kevin Michel Jeff Johnson Jib Operator: Randy Gomez Head Utility: Charlie Fernandez Utility: Doug Bain, Mike Bushner, Joe Zuccaro, Robert Cade Video Controller: Richard Strock Still Photographer: Ron Jaffe “UNTITLED SEAL TEAM” PILOT Dir. of Photography: Gonzalo Amat Operators: Michael Stumpf, Robert Foster Assistants: Robert Baird, Aeron McKeough, John Williams Steadicam Operator: Michael Stumpf Loader: Hai Le Still Photographer: Skip Bolen CENTRAL PRODUCTIONS “HAMPTON DEVILLE” Dir. of Photography: Christophe Lanzenberg Operator: Will Dearborn, Jess Haas Assistants: Sharla Cipicchio, Ian T. Barbella

Steadicam Operator: Jess Jaas Steadicam Assistant: Ian T. Barbella Digital Imaging Tech: Elhanan Matos Camera Utility: Sooz Edie Still Photographer: Ali Goldstein CHORRI PERROS PRODUCTIONS LLC “BALLERS” SEASON 3 Dir. of Photography: Anthony Hardwick Operators: B.J. McDonnell, Gary Hatfield Assistants: Ryo Kinno, Darby Newman, Trevor Caroll-Coe, Tim Luke Steadicam Operator: B.J. McDonnell Loader: Maya Morgan Digital Utility: Max Frew Still Photography: Jeff Daly COLUMBIA “TOSH.0” SEASON 9 STAGE CREW Operator: Jason Cochard Camera Utility: Benjamin Steeples, Kyle Kimbriel, Roger Cohen FIELD CREW Dir. of Photography: Andrew Huebscher Operator: Jason Cochard Assistants: Benjamin Steeples, Kyle Kimbriel, Roger Cohen, Delfina Garfias CONACO “CONAN”SEASON 7 Operator: Ted Ashton, Nick Kober, Kosta Krstic, James Palczewski, Bart Ping, Seth Saint Vincent Head Utility: Chris Savage Utilities: Baron Johnson, Josh Gwit CRANETOWN MEDIA “SHE’S GOTTA HAVE IT” SEASON 1 Dir. of Photography: Daniel Patterson Operators: Christine Ng Assistants: Pierce Robinson, Andrew Brinkman, Alec Nickel, Mabel Haugen Santos Steadicam Operator: Brandon Sumner, Technocrane Tech: Sebastian Almeida Libra Head Tech: Kevin Kasarda, Sean Folkl Loader: Michelle Clementine Still Photographer: David Lee “THE RANCH” SEASON 2 Dir. of Photography: Donald A. Morgan, ASC Operator: Brian Armstrong, Randy Baer, Robert Guernsey, Michelle Crenshaw Assistants: Chris Hinojosa, Missy Toy, Vito De Palma, Meggins Moore, Al Myers Camera Utility: Justin Metoyer, Don Davis Digital Imaging Tech/Video Controller: Von Thomas Still Photographer: Greg Gayne CRACKLE “SPORTS JEOPARDY!” SEASON 3 Dir. of Photography: Jeff Engel Operators: Mike Tribble, Jeff Shuster, David Irete, Diane L. Farrell, SOC Jim Arm Operator: Marc Hunter, Steve Simmons Video Controller: Gary Taillon Head Utility: Fortino Marquez Utility: Ray Thompson Still Photographer: Carol Kaelson CURB YOUR ENTHUSIASM, INC. “CURB YOUR ENTHUSIASM” SEASON 9 Dir. of Photography: Patrick Stewart Operators: Phil Miller, Parker Tolifson, Houman Forough, SOC Assistants: Joseph Keppler, Tiffany Aug,

DAKOTA PICTURES “HOOD ADJACENT” Dir. of Photography: James Markham Hall, Jr Operator: Stephen Coleman Assistants: Wylie Bryant, Armando Munoz Steadicam Operator: Troy Miller Digital Imaging Tech: Brian Winikoff “NIGHTCAP” SEASON 2 Dir. of Photography: Cliff Charles Operators: Kerwin DeVonish, Stewart Cantrell Assistants: Elizabeth Casinelli, Jelani Wilson, Randy Schwartz, Michelle Clementine Loader: Brian Green DELTA BLUES PRODUCTIONS, LLC “QUEEN SUGAR” SEASON 2 Dir. of Photography: Antonio Calvache, ASC Operators: Grayson Austin, Robert Stenger Assistants: Michael Charbonnet, Bryan DeLorenzo, Jonathan Robinson, Ryosuke Kawanaka Steadicam Operator: Grayson Austin Steadicam Assistant: Michael Charbonnet Digital Imaging Tech: Brian Stegeman DISNEY “STUCK IN THE MIDDLE” SEASON 2 Dir. of Photography: Suki Medencevic, ASC Operators: Benjamin Spek, Radan Popovic Assistants: Ron Bahara, Salvatore Coniglio, Chris Friebus, Angela Ortner Steadicam Operator: Benjamin Spek Steadicam Assistant: Ron Bahara Digital Imaging Tech: Scott Resnick Digital Utility: Nick Martin

EGO “VITAL SIGNS” Dir. of Photography: Don Davis Operators: Tom Lembcke, Liam Clark Assistants: Ryan Voisine, Albert Frigone, Jennifer Lai, Mel Kobran Digital Utility: Felix Arceneaux Technocrane Operator: Chris Mayhugh Technocrane Tech: Colin Michael West Remote Head Tech: Jay Sheveck Still Photographer: Sam Fielding EYE PRODUCTIONS, INC. “BLUE BLOODS” SEASON 7 Dir. of Photography: Gene Engels Operators: Jim McConkey, Jack Donnelly, Parris Mayhew Assistants: Geoffrey Frost, Martin Peterson, Justin Whitacre, Jake Stahlman, Kellon Innocent, Yvonne Vairma Steadicam Operators: Jim McConkey, Parris Mayhew Digital Imaging Tech: Ryan Heide Dailies DIT: Steve Calalang “ELEMENTARY” SEASON 5 Dir. of Photography: Ron Fortunato, ASC, Tom Houghton, ASC Operators: Alan Mehlbrech, Jeremy Weishaar Assistants: Kate Larose, Jason Cleary, Charlie Foerschner, Kyle Blackman Loader: Tricia Mears, Patrick O’Shea Steadicam Operator: Alan Mehlbrech Still Photographer: Thomas Concordia, Cara Howe, Michael Parmelee, Christopher Saunders “MADAM SECRETARY” SEASON 3 Dir. of Photography: Learan Kahanov Operators: Jamie Silverstein,

Peter Vietro-Hannum Assistants: Heather Norton, Jamie Fitzpatrick, Anthony DeRose, Damon LeMay Loaders: Christopher Patrikis, Peter Staubs Steadicam Operator: Peter Vietro-Hannum Digital Imaging Tech: Keith Putnam Still Photographer: Sarah Shatz, Christopher Saunders “MISSION CONTROL” PILOT Dir. of Photography: Chris Manley Operators: George Billinger, Steven Finestone Assistants: Chad Rivetti, Erick Castillo, Steve Banister, Dan Baas Digital Imaging Tech: Paul Maletich Digital Loader: Emily Johnson Digital Utility: Jeurgen Heneimenn Still Photographer: Ursula Coyote FEEL GOOD FILMS “UNTOUCHABLE” Dir. of Photography: Stuart Dryburgh Operator: Ben Semanoff Assistants: Stanley Fernandez, Michael Leonard, Chris Eng, Leon Sanginiti, Jr. Digital Imaging Tech: Chandler Tucker Loader: Jim McCann Still Photographer: David Lee Publicist: Amy Johnson FOGTEETH PRODUCTIONS, LLC “BRIGHT” 2ND UNIT Dir. of Photography: Roberto Schaefer, ASC, AIC Operators: Chris Duskin, Eric Zimmerman Assistants: David Seekins, Olivia Montano, Todd Schlopy, John Holmes, Harrison Reynolds, Chuck Katz, Megan Morris Digital Imaging Tech: Dane Brehm

Production Credits.

Palmer Anderson, Aaron Tichenor Loader: Rachael Wiederhoeft

Digital Utility: Richard Dabbs Loader: Lance Hashida VFX Array Assistant: Mik Klimchak, Kevin Potter, Dustin Whittlesey Still Photography: Matt Kennedy Publicist: Cid Swank FOX 2000 PICTURES/20TH CENTURY FOX “SIMON VS. THE HOMO SAPIENS AGENDA” Dir. of Photography: John Guleserian Operators: Billy O’Drobinak, Tim Fabrizio Assistants: Freddy Thomas, Ryan Weisen, Rodrigue Gomes, Nichole Castro Steadicam Operator: Tim Fabrizio Digital Imaging Tech: Jonathan Carbonaro Loader: Chase Flowers Still Photographer: Ben Rothstein FREEFORM “STITCHERS” SEASON 3 Dir. of Photography: John Newby, ASC Operators: Rick Drapkin, Darrell Sheldon Assistants: David Leb, Toby White, Betty Chow, Vanessa Ward Steadicam Operator: Rick Drapkin Steadicam Assistant: David Leb Camera Utility: Jacob LaGuardia Digital Utility: Johanna Salo UNDERWATER UNIT Operator: Ian Takahashi Assistant: David William McDonald FTP “BLACK-ISH” SEASON 3 Dir. of Photography: Rob Sweeney Operator: Jens Piotrowski, Brian T. Pitts Assistants: Art Martin, Lou DeMarco, Tiffani Stephenson, Tony Muller Steadicam Operator: Jens Piotrowski Steadicam Assistant: Art Martin Digital Loader: Josh Schnose Digital Utility: Pablo Jara Still Photographer: Scott Everett White, Adam Taylor, John P. Fleenor

Production Credits.

HBO “VEEP” SEASON 6 Dir. of Photography: David MIller Operators: Bo Webb, Josh Williamson, Johnny Martin Assistants: Mark Figueroa, Aaron Bowen, Maryan Zurek, Tony Martin, Greg Kurtz, Will Evans, Chris Garland Digital Loader: Rachel Mangum Digital Utility: Luigi Ventura Still Photographer: Justin Lubin, Colleen Hayes

HORIZON PRODUCTIONS “ANIMAL KINGDOM” SEASON 2 Dir. of Photography: Loren Yaconelli Operators: Simon Jayes, Brooks Robinson Assistants: Ray Milazzo, Patrick Bensimmon, Blake Collins, Kirsten Laube Steadicam Operator: Simon Jayes Steadicam Assistant: Ray Milazzo Digital Imaging Tech: Jefferson Fugitt Digital Utility: Mike Prior SURF UNIT Dir. of Photography: Peter Zuccarini Assistant: David William McDonald “WALK THE PRANK” SEASON 2 Dir. of Photography: Anthony Palmieri Operators: Garrett Benson, Kevin Celi, Heather Brown Assistants: George Hesse, Ryan Mhor, Toby White, Keith Rash, Manning Tillman Digital Imaging Tech: Eduardo Eguia, Mike McGee

HUDSON STREET PRODUCTIONS “LOPEZ” SEASON 2 Dir. of Photography: Jeffrey Waldron Operators: Mikael Levin, Ilan Levin Assistants: Jorge Devotto, James Barela, Jule Fontana, Chase Azimi Digital Imaging Tech: Mike Perez Still Photographer: Dale Berman, Mike Yarish IT’S A LAUGH PRODUCTIONS, INC. “K.C UNDERCOVER” SEASON 3 Dir. of Photography: Joseph W. Calloway Operators: Brian Gunter, Larry Blumenthal, Deborah O’Brien, Cory Gunter Camera Utility: Selvyn Price, Lance Mitchell Video Controller: Nichelle Montgomery IY PRODUCTION INC. “IRREPLACEABLE YOU” Dir. of Photography: Magdalena Gorka Operator: George Bianchini Assistants: Ben Spaner, John Fitzpatrick, Brent Weichsel, Autumn Moran Digital Imaging Tech: Anthony Hechanova Loader: Miguel Gonzalez, Matt Albano Still Photographer: Linda Kallerus, Nicole Rivelli LIONSGATE “CASUAL” SEASON 3 Dir. of Photography: Jason Oldak Operators: Brian Outland, Demian Scott Vaughs Assistants: John Ruiz, Evan Wilhelm, Brian Freeman, Johanna Cerati Digital Imaging Tech: Jane Fleck LONG ROAD HOME PRODUCTIONS, LLC “THERE’S JOHNNY” SEASON 1 Dir. of Photography: Benjamin Kasulke Operator: Marc Carter, Eric Schilling Assistant: Jacquiline Stahl, Giselle Gonzalez, Stephen Taylor-Wehr, Otis Sherman Digital Imaging Tech: Kevin Britton Still Photographer: Lisa Rose MARVEL ENTERTAINMENT “AGENTS OF S.H.I.E.L.D.” SEASON 4 Dir. of Photography: Feliks Parnell, Allan Westbrook Operators: Kyle Jewell, Bill Brummond Assistants: Coby Garfield, Derek Hackett Steadicam Operator: Bill Brummond Digital Imaging Tech: Ryan Degrazzio Digital Utility: Josh Novak Remote Head Operator: Clay Platner Still Photographer: Kelsey McNeil 2ND UNIT Dir. of Photography: Kyle Jewell Operators: Operators: Tony Cutrono, Miguel Pask MESQUITE PRODUCTIONS, INC. “THE LAST TYCOON” SEASON 1 Dir. of Photography: Danny Moder Operators: Kim Marks, Jason Ellson Assistants: Jason Garcia, Jan Ruona, Kirk Bloom, David O’Brien Steadicam Operator: Jason Ellson Loader: Brandon Butierrez Digital Utility: Carl Lammi “FUTURE MAN” SEASON 1 Dir. of Photography: Cort Fey, ASC Operator: David Sammons, SOC, Chad Persons Assistants: Stephen Pazanti, Haydn Pazanti, Shane Carlson, Michael Thomas Steadicam Operator: Chad Persons Steadicam Assistant: Haydn Pazanti Loader: Josh Schnose Digital Utility: Terrance Lofton, Jr.

MTV “TEEN WOLF” SEASON 6 Dir. of Photography: Dave Daniel Operators: Dominic Bartolone, Todd Barron Assistants: Lee Jordan, Gavin Alcott, Sarah Galley, Marshall Raos Steadicam Operator: Dominic Bartolone Steadicam Assistant: Lee Jordan Digital Imaging Tech: Aaron Picot Loader: Jeremy Hill Still Photographer: Scott Everett White NBC “CHICAGO FIRE” SEASON 5 Dir. of Photography: Jay Crothers Operators: Jack Messitt, Billy Nielsen Assistants: Melvina Rapozo, Hunter Whalen, Zach Gannaway, Gary Malouf Digital Loader: J’mm Love Digital Utility: Amy Tomlinson Still Photographer: Elizabeth Morris 2ND UNIT Dir. of Photography: Billy Nielsen “CHICAGO JUSTICE” SEASON 1 Dir. of Photography: Lisa Wiegand, ASC Operators: Tari Segal, Jessica Lopez, Christopher Glasgow Assistants: Luis Fowler, Matt Rozek, Stephanie Dufford, Matthew Feasley Loader: Drew Fulton Camera Utility: Ryan Shuck “CHICAGO MED” SEASON 2 Dir. of Photography: Lex duPont, ASC Operators: Scott Steele, Faires Anderson Sekiya, Joseph Fitzgerald Assistants: George Olson, Laura Difiglio, Keith Huffmeier, Sam Knapp, Jason H. Bonner, Patrick Dooley Steadicam Operator: Faires Anderson Sekiya Loader: Joey Richardson Utility: Matt Brown Still Photographer: Elizabeth Sisson “CHICAGO PD” SEASON 4 Dir. of Photography: Rohn Schmidt Operators: James Zucal, Will Eichler, Seth Thomas Assistants: John Young, Don Carlson, David Wightman, Jamison Acker, Phillip Walter, Bing Liu Digital Utilty: Corinne Anderson, Nick Wilson Steadicam Operator: Will Eichler Loader: Kyle Belousek Digital Utility: Nick Wilson, Michael Gleeson Additional Unit Dir. of Photography: James Zucal “SNL” Dir. of Photography: Blake McClure Operator: Andy Kugler, John Clemens Assistants: Ken Walter, Nick Medrud, Jon Sandin, Scott Miller NBC UNIVERSAL TELEVISION “HOUSEHOLD NAME” PILOT Dir. of Photography: Patti Lee Operators: Mark Davison, Cary McCrystal, Jeff Miller, John Purdy Assistants: Bobby Brown, Nigel Stewart, John Weiss, Bill Gerardo, Lisa Anderson Digital Imaging Tech: T. Brett Feeney Camera Utility: Selvyn Price, Alicia Brauns Video Controller: Dave DeMore “STRANGER THINGS” SEASON 2 Dir. of Photography: Timothy Ives Operator: Bob Gorelick, SOC, Jeff Crumbley, SOC

NICE LITTLE DAY/ADAM RUINS EVERYTHING “ADAM RUINS EVERYTHING” SEASON 2 Dir. of Photography: Matt Garrett Operators: Andrew Ansnick, Andrew Aiello Assistants: Nick Kramer, Logan Turner, Tiffany Nathanson, Alexander Paul Loader: Ben Booker 2ND UNIT Dir. of Photography: Skyler Rousselet NICKELODEON “THUNDERMANS” SEASON 4 Dir. of Photography: Wayne Kennan Operators: Keith White, Vickie Walker, Dave Forrest, Pete Wilson Utility: Brian Lynch, Selvyn Price Video Controller: Stuewe Prudden Still Photographer: Dale Berman NORTHERN ENTERTAINMENT PRODUCTIONS “MIDNIGHT, TEXAS” SEASON 1 Operators: Lawrence “Doc” Karman, Adam Santelli Assistants: Aileen Taylor, Gabe Pfeiffer, Jeff Lamm, John Hamilton Steadicam Operator: Lawrence “Doc” Karman Steadicam Assistant: Aileen Taylor Loader: Lane Luper Camera Utlity: Taylor Hilburn

OPEN 4 BUSINESS “GRIMM” SEASON 6 Dir. of Photography: Ross Berryman, ASC, ACS, Eliot Rockett Operators: Tim Spencer, Mike McEveety Assistants: Wili Estrada, Jerry Turner, Patrick LaValley, Danielle Eddington Steadicam Operator: Tim Spencer Steadicam Assistant: Patrick LaValley Loader: Nate Goodman Camera Utility: Thomas Oliver “PLAYING HOUSE” SEASON 3 Dir. of Photography: Mark Doering-Powell Operators: Joel Schwartz, Justin Browne Assistants: Robert Schierer, Simon Jarvis, Michael Kleiman, William “Tex” Dicenso Steadicam Operator: Justin Browne Steadicam Assistant: Simon Jarvis Camera Utility: Andrew Oliver PARAMOUNT “DADDY’S HOME 2” Dir. of Photography: Julio Macat, ASC Operators: Chris Jones, John Garrett Assistants: Glenn Kaplan, Zack Shultz, Max Macat, M. Dean Egan Steadicam Operator: Chris Jones Digital Imaging Tech: Kyo Moon Loader: Andreas Macat Still Photographer: Claire Folger Publicist: Tammy Sandler PICROW “TRANSPARENT” SEASON 4 Dir. of Photography: Jim Frohna Operator: DJ Harder, Shelly Gurzi Assistants: Zoe Van Brunt, Faith Brewer, John Roney, Daisy Smith Steadicam Operator: Jessica Lopez Loader: Peter Brunet Still Photographer: Jennifer Clasen

PREACH PRODUCTIONS “GREENLEAF” SEASON 2 Dir. of Photography: Francis Kenny, ASC Operators: Paul Varrieur, SOC, Tim Fabrizio Assistants: Larry Gianneschi, IV, Steven Latham, Louis Smith, Nick Gianneschi Steadicam Operator: Tim Fabrizio Loader: Kelsey Symons Digital Utility: George Zelasko Still Photographer: Guy D’Alema PRODCO., INC. “BABY DADDY” SEASON 6 Dir. of Photography: Paul Maibaum , ASC Operators: Keeth Lawrence, Dave Levisohn, Stephen Jones, Richard Price Assistants: Brian Lynch, Steve Masias Digital Imaging Tech: Rick Dungan Camera Utility: Brad Traver PROFILER PRODUCTIONS/ LIONSGATE “MANIFESTO” Dir. of Photography: Zachary Galler Operator: J. Christopher Campbell, Michael Watson Assistants: Justin DeGuire, Brandon Dauzat, Taylor Case, Sterling Wiggins Loader: Bess Johnson Digital Utility: Trey Volpe REDHAWK PRODUCTIONS, III, LLC “FARGO” SEASON 3 Dir. of Photography: Dana Gonzales Operator: Mitch Dubin, George Billinger Assistants: Peter Geraghty, Craig Grossmueller, Paul Tilden, Nigel Nally Digital Imaging Tech: Chris Cavanaugh Digital Utility: Scott O’Neil

Production Credits.

Assistants: Julie Donovan, Jason Lancour, Angela Holford, Nelson Moncada Steadicam Operator: Bob Gorelick, SOC Loader: Laura Mattingly Camera Utility: Kevin Wilson Still Photographer: Jackson Lee Davis Publicist: Denise Godoy

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See us at Cine Gear Expo 2017 • The Studios at Paramount • June 2 - 3, 2017 (Booth 92) Backstage Equipment, Inc. • 8052 Lankershim Bl. • North Hollywood, CA 91605 91 • (800) 692-2787 787 • (818) 504-6026 • Fax (818) 504-6180 • E-mail info@backstageweb. info@backstageweb.com • www.backstageweb.com

SAINT HOOD PRODUCTIONS “END OF THE SANTA FE TRAIL” Dir. of Photography: Brian Bernstien Operator: Jordan Keslow Assistants: Gabe Pfeiffer, Chip Byrd, Dorian Blanco, Ryan Eustis Steadicam Operator: Jordan Keslow Steadicam Assistant: Gabe Pfeiffer SONY PICTURES “DR KEN” SEASON 2 Dir. of Photography: Wayne Kennan Operators: Ron Hirschman, Boomer Dougherty, David Dechant, Candy Edwards Assistants: Marianne Franco Camera Utility: Brad Traver, Doug Minges Digital Imaging Tech: Dave DeMore Video Controller: Keith Anderson Still Photographer: Nicole Wilder, Lisa Rose

Production Credits.

“JEOPARDY!” SEASON 33 Dir. of Photography: Jeff Engel Operators: Diane L. Farrell, SOC, Mike Tribble, Jeff Schuster, L. David Irete Jib Arm Operator: Marc Hunter Head Utility: Tino Marquez Camera Utility: Ray Thompson Video Controller: Gary Taillon Still Photographer: Carol Kaelson

“THE GOLDBERGS” SEASON 4 Dir. of Photography: Jason Blount Operators: Scott Browner, Kris Denton Assistants: Tracy Davey, Nate Havens, Gary Webster, Jen Bell-Price Digital Imaging Tech: Kevin Mills Digital Utility: Dilshan Herath Still Photographer: Nicole Wilder, Adam Taylor “WHEEL OF FORTUNE” SEASON 34 Dir. of Photography: Jeff Engel Operators: Diane L. Farrell, SOC, Jeff Schuster, Ray Gonzales, Steve Simmons, L. David Irete, Mike Corwin Camera Utility: Ray Thompson Head Utility: Tino Marquez Video Controller: Gary Taillon Jib Arm Operator: Randy Gomez, Sr. Still Photographer: Carol Kaelson

SKYDANCE TELEVISION “TEN DAYS IN THE VALLEY” SEASON 1 Dir. of Photography: Edward Pei, ASC Operators: Andy Graham, Rob Carlson Assistants: James Sprattley, Maryan Zurek, James Dunham, Jim Gavin Steadicam Operator: Rob Carlson Loader: Jared Wilson Digital Utility: Peter Pei Technocrane Operator: Chris Mayhugh Remote Head Operator: Jay Sheveck Still Photographer: Alice Hall STALWART FILMS, LLC “FEAR THE WALKING DEAD” SEASON 3 Dir. of Photography: Scott Peck, Chris LaVasseur Operator: Craig Cockerill Assistant: Ray Dier, Victor Enriquez Digital Imaging Tech: Conrad Radzik Still Photographer: Michael Desmond Publicist: Diane Slattery “TURN” SEASON 4 Dir. of Photography: Marvin Rush, ASC Operators: George Pattison, Jim Contner Assistants: Liz Heslep, Sean Sutphin, Shawn Mutchler, Eric Eaton Still Photographer: Antony Platt STARZ “COUNTERPART” SEASON ONE Dir. of Photography: Martin Ruhe, Luc Montpellier Operators: Andy Shuttleworth, Jonathan Bruno Assistants: Dennis Seawright, Beaudine Credle, Dale White, Charlie Murphy Loader: Dustin Keller Still Photographer: Nicole Wilder 2ND UNIT Dir. of Photography: Martin Ruhe, Luc Montpellier Operators: Dominic Napolitano Assistants: Chuck Whelan, Mike Cahoon Digital Utility: Danny Park “POWER” SEASON 4 Dir. of Photography: Hernan Otano, Mauricio Rubinstein Operators: Aaron Medick, Scott Maguire, Michael Berg Assistants: Michael Garofalo, Julien Zeitouni, Patrick Bracey, Rodrigo Millan Garce Digital Imaging Tech: Douglas Horton, Jessica Ta Loader: Alivia Borab, Kaih Wong

Still Photographers: Myles Aronowitz, Thomas Concordia, Cara Howe, Paul Schiraldi, Michael Sofronski THE HEIST, LLC “AMERICAN ANIMALS” Operators: Nicole Lobell Assistants: Matthew Mebane, Monica Barrios-Smith Camera Utility: Young-Jae S. Kim Digital Imgaging Tech: Jason Johnson Still Photographer: Wilson Webb, Fred Norris Publicist: Rachael Roth TNT “THE LAST SHIP” SEASON 4 Dir. of Photography: Chris Baffa, ASC, Peter Kowalski Operators: Bud Kremp, SOC, Chris Duskin Assistants: Michael D. Alvarez, , Roger Spain, Steve Pazanti, Haydn Pazanti Steadicam Operator: Bud Kremp, SOC Digitual Utility: George Ballenger Utility: Zac Prange TOPANGA PRODUCTIONS “START UP NY AKA UNTITLED START UP PROJECT” PILOT Dir. of Photography: Eric Edwards Operators: Alec Jarnagin, Paul Daley, Julian Delacruz, Chris Moone Assistants: Kevin Akers, Zach Rubin, Craig Pressgrove, Bayley Sweitzer, Casey D. Johnson, Courtney Bridgers Digital Imaging Tech: Ted Viola Still Photographer: Elizabeth Fisher Crane Tech/Operator: Paul McKenna, Duncan More TVM “QUEEN OF THE SOUTH” SEASON 2 Dir. of Photography: John Brawley Operator: Aaron Schuh, Abe Martinez Assistants: Matt King, Kris Hardy, Paul Armstrong, Ryan Patterson, Scott Reese, Noe Medrano Steadicam Operator: Aaron Schuh Steadicam Assistant: Matt King Loader: Matt Aines Utility: Kyle Novak 2ND UNIT Dir. of Photography: Abe Martinez Operator: David Wilson

UNDERWATER UNIT Operator: Ian Takahashi, SOC Assistant: David William McDonald “THE AMERICANS” SEASON 5 Dir. of Photography: Brad Smith, Daniel Stoloff Operators: Gabor Kover, Afton Grant Assistants: Rory Hanrahan, Rob Bullard, Brendan Russell, Sean Souza Loader: Sebastian Iervolino, Tommy Scoggins, Yves Wilson Still Photographers: Patrick Harbron, Wally McGrady, Eric Liebowitz, Michael Parmelee, Christopher Saunders UNIVERSAL “LAW & ORDER SVU” SEASON 18 Dir. of Photography: Michael Green Operators: Jonathan Herron, Mike Latino Assistants: Christopher Del Sordo, Matthew Balzarini, Emily Dumbrill, Sara Boardman Steadicam Operator: Jonathan Herron Camera Utility: Christopher Marlowe Loader: Justin Zverin “MARLON” SEASON 1 Dir. of Photography: Antar Abderrahman Operators: Vince Singletary, Brian Sweeney, Jeff Miller, Kevin Haggerty Assistants: Jeff Johnson, John Weiss, Lisa Anderson Digital Imaging Tech: T. Brett Feeney Camera Utility: Selvyn Price, Lance Mitchell Video Controller: Ed Moore

“PITCH PERFECT 3” Dir. of Photography: Matthew Clark Operators: Chris McGuire, Jarrett Morgan Assistants: Don Steinberg, Jeff Civa, William McConnell, Frank Parrish Steadicam Operator: Chris McGuire Digital Imaging Tech: Mark Gilmer Loader: Lauren Cummings “SHADES OF BLUE” SEASON 2 Dir. of Photography: Stefan Czapsky Operators: David Taicher, Eric Tramp Assistants: Raul Erivez, Michae Indursky, Dean Martinez, Pete Keeling, John Walker, Joshua Waterman Steadicam Operator: David Taicher Steadicam Assistant: Greg Pricipato Digital Imaging Tech: Chandler Tucker Loader: Brian Lynch, Ken Martell Technocrane Tech: Michael Ellis, Paul Goroff Camera Utility: James Abamont Still Photographer: Giovanni Rufino “UNSOLVED” Dir. of Photography: Kevin McKnight Operators: Andrew Mitchell, Matt Valentine Assistants: John Szajner, Brandon Szajner, Penny Sprague, Ben Perry Digital Imaging Tech: Michael Borenstein Camera Utility: Ken Williams Technorane Operator: Chris Mayhugh Remote Head Tech: Jay Sheveck WARNER BROS. “BLINDSPOT” SEASON 2 Dir. of Photography: Dave Tuttman, David Johnson Operators: Andrew Priestley, Pyare Fortunato, Peter Ramos Assistants: Lee Vickery, John Romer, Marcos Rodriguez-Quijano,

Nicknaz Tavakolian, Kyle Clark, Kjerstin Rossi Steadicam Operator: Pyare Fortunato Steadicam Assistant: John Romer Digital Imag ing Tech: Jeff Cirbes, Chloe Walker “DECEPTION” PILOT Dir. of Photography: John Lindley, ASC Operators: John Moyer, Ted Chu, Quenell Jones Assistants: Tim Metivier, Rob Koch, Graham Burt, Sara M. Guenther, Marc Loforte, Paul Colangelo, Gregory Principato, Patrick Sokley Digital Imaging Tech: Patrick Cecilian Loader; Brittany Jelinski, Brian Lynch Still Photogapher: Phil Caruso “GOTHAM” SEASON 3 Dir. of Photography: Christopher Norr, Crescenzo Notarile, ASC, AIC Operators: Gerard Sava, Al Pierce, SOC Assistants: Braden Belmonte, Gavin Fernandez, George Tur, James Schlittenhart, Grace Preller Chambers Steadicam Operator: Gerard Sava Steadicam Assistant: Braden Belmonte Digital Imaging Tech: Dan Brosnan Loader: Samantha Panger “LITTLE BIG SHOTS” SEASON 5 Lighting Designer: Kieran Healy Video Controller: Chris Gray Ped Operators: Greg Smith, Helena Jackson, Keith Hobelman, Kary D’Alessandro, John Bromberek Hand Held Operators: Danny Webb, Ed Horton, Dylan Sanford, Derek Hernandez, Allen Merriweather Techno Jib Operators: Keith Dicker, David Eastwood, Brian Reason, Alex Hernandez

Production Credits.

Assistants: Jordan Jones, Robert Rendon, William Dicenso, Sam Pearcy Loader: Shannon Cooke Utility: Dick Saunders

WOODBRIDGE “THE NIGHT SHIFT” SEASON 4 Dir. of Photography: Arthur Albert Operators: Mark LaBonge, Nick Albert Assistants: Chris Norris, Tristan Chavez, Aileen Taylor, Jeff Lamm Digital Imaging Tech: Jesse Heidenfeld Digital Utility: Claudio Banks

COMMERCIALS NONYMOUS CONTENT “MARSHALLS” Dir. of Photography: Jess Hall, BSC Assistants: Craig Grossmueller, Nigel Nally Digital Imaging Tech: Jeff Tomcho Technocrane Operator: Chris Mayhugh Remote Head Tech: Jay Sheveck ART & SCIENCES “SMIRNOFF” Dir. of Photography: Autumn Durald Assistants: Steve Cueva, Manuel Serrano Digital Imaging Tech: Mike Kowalczyk Behind The Scenes: Jed Klemow

Steadicam Operator: David Kanehan Remote Head: Alex Hernandez, Derek Hernandez Utility: Jon Zuccro, Sean Woodside, Robert Cade, Dustin Stephens, Delvin Careathers, Joe Algandar

Production Credits.

“MAJOR CRIMES SEASON 5” Dir. of Photography: David A. Harp, Kenneth Zunder, ASC Operators: Chris Hood, Tim Roarke, Duane Mieliwocki Assistants: Matt Guiza, Randy Shanofsky, Dan Squires, Adam Tsang, Russ Miller, Veronica Bouza Digital Imaging Tech: Evin Grant

“MOM” SEASON 4 Dir. of Photography: Steven V. Silver, ASC Operators: Cary McCrystal, Jamie Hitchcock, Larry Gaudette, Candy Edwards Assistants: Nigel Stewart, Damian Della Santina, Mark Johnson, Benjamin Steeples Camera Utility: Alicia Brauns, Andrew Pauling Digital Imaging Tech: Robert Zeigler Video Controller: Kevin Faust Still Photographer: Ron Jaffee “RELATIVELY HAPPY” PILOT Dir. of Photography: Gary Baum Operators: Glenn Shimada, Travers Hill, Lance Billitzer, Tim Tyler Assistants: Adrian Licciardi, Chris Workman, Alec Elizondo, Ed Nielsen, Jason Herring Utility: Sean Askins, Dan Lorenze Digital Imaging Tech: Derek Lantz Video Controller: John O’Brien

“SPACED OUT” PILOT Dir. of Photography: Damian Acevedo Operators: Mark LaBonge, Patrick Thelander Assistants: Clint Kasparian, Tyler Allison, Marty Stiles, Eric Matos Digital Imaging Tech: Nathan Pena Digital Utility: Ryan Monelli, Paulina Gomez Technocrane: Steve Miller, Christopher DeFranco Still Photographer: Greg Gayne “THE BIG BANG THEORY” 10 Dir. of Photography: Steven V. SIlver, ASC Operators: John Dechene, Richard Price, SOC, Jamie Hitchcock, Brian Armstrong Assistants: Nigel Stewart, Chris Hinojosa, Steve Lund, Meggins Moore, Benjamin Steeples Camera Utility: Colin Brown, Jeannette Hjorth Video Controller: John O’Brien Digital Imaging Tech: Robert Zeigler “YOUNG SHELDON” PILOT Dir. of Photography: Tim Suhrstedt Operators: Lawrence Karman, Dan Gold Assistants: David White, Derek Smith, Jerry Patton, Vanessa Manlunas Loader: Aidan Ostrogovich Technocrane Operator: Chris Mayhugh Remote Head Tech: Jay Sheveck Still Photographer: Robert Voets WASHINGTON SQUARE FILMS, INC. “THE PRIVATE LIFE OF A MODERN WOMAN” Dir. of Photography: Lawrence McConkey Assistants: Anthony Cappello, Gus Limberis Jonathan Henry Digital Imaging Tech: Ted Viola Still Photographer: Mary Cybulski

A WHITE LABEL PRODUCT “TARGET” Dir. of Photography: Tristan Sheridan, John McCabe Assistants: Kevin Walter, John Clemens, Scott Miller Digital Imaging Tech: Othmar Dickbauer

BIG SPOON INDUSTRIES “BELLA TIRE” Dir. of Photography: Richard Henkels BISCUIT “HYUNDAI” Dir. of Photography: Peter Donahue Assistants: Stephen MacDougall, Daniel Ferrell, Lucas Deans, Whitney Jones Digital Imaging Tech: Ben Longsworth, Nick Strauser “KFC” Operator: Michael Merriman Assistants: Daniel Ferrell, Lucas Deans, Nate Cummings Digital Imaging Tech: Nataliia Carr BRIDGE STREET FILMS “PA LOTTERY” Dir. of Photography: Richard Henkels Assistants: Jim Mayfield, Dustin Raysik BUNKER “DUNKIN’ DONUTS” Dir. of Photography: Jeff Cutter Assistants: Lucas Deans, Noah Glazer Digital Imaging Tech: Daniel Applegate CMS “COMCAST” Dir. of Photography: Mott Hupfel Assistants: Ethan McDonald, Ryan Brown Digital Imaging Tech: Daniel Satinoff

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“CARL’S JR. & HARDEES” Dir. of Photography: Jeanne Vienne Assistants: Cheli Clayton Samaras, Larissa Supplitt Digital Imaging Tech: Cid Pineda Phantom Tech: Kevin Zanit “DIOR” Dir. of Photography: Tristan Sheridan Assistants: John Clemens, Scott Miller Steadicam Operator: Korey Robinson Digital Imaging Tech: George Robert Morse “MONTBLANC” Dir. of Photography: Matthew Lloyd Assistants: Keitt, Yale Gropman Digital Imaging Tech: Tom Wong Crane Operator: Stuart Allen “SAMSUNG DREAM” Dir. of Photography: David Vollrath Operators: Bruce MacCallum, Soren Nielsen, Mike Drucker, Htat Htut, David Morabito Assistants: Peter Morello, Rick Gioia, Dan Hersey, Bob Ragozzine, Walter Rodriguez, John Clemens, Nate McGarigal, Jordan Levie, Jeff Taylor Steadicam Operator: Jon Beattie Digital Imaging Tech: Joe Belack, Matt Martin Crane Operator: Stuart Allen COMPANY “AIRLINES FOR AMERICA” Dir. of Photography: Richard Henkels Assistants: Matt Cabinum, Elver Hernandez Digital Imaging Tech: Shawn Aguilar “DAIRY QUEEN” Dir. of Photography: Igor Jadue-Lilo Operator: Leif Johnson Assistants: Louis Massouras, Michael Ashe, Kymm Swank Digital Imaging Tech: Michael Borenstein

“NBCU MONDO 2017” Dir. of Photography: Andrew Turman Assistants: John Clemens, Mitch Malpica Steadicam Operator: Brant Fagan, SOC Digital Imaging Tech: Jeffrey Flohr EPOCH MEDIA GROUP “DELTA” Dir. of Photography: Peter Donahue Assistants: Jesse Cain, John Parson Digital Imaging Tech: Benjamin Longsworth Jib Arm Tech: Jay Sheveck Remote Head Tech: Jay Sheveck

眀眀眀⸀漀洀渀椀琀攀欀⸀琀瘀 “FROZEN MAN” Dir. of Photography: Richard Henkels IDENTITY “INFLUENCERS” Dir. of Photography: Max Goldman Assistant: Ethan McDonald, Gregg Horvath Digital Imaging Tech: Clark Birchmeier LOGAN & SONS “BALL PARK FRANKS” Dir. of Photography: Eric Schmidt Assistants: Lila Byall, Kira Hernandez Digital Imaging Tech: John Spellman

GENTLEMAN SCHOLAR “SNAPPLE” Dir. of Photography: Joe Maxwell Assistants: Ryan Mhor Digital Imaging Tech: Kevin Zanit

LOVE SEAT ENTERTAINMENT “IRREPLACEABLE YOU (BEHIND-THE-SCENES)” Dir. of Photography: Leland Krane

HEY BABY FILMS “SUPER 8 MOTEL” Dir. of Photography: Rob Hauer Assistant: Liam Miller Digital Imaging Tech: Raffaele Vesco

MISSING PIECES “MD LOTTERY GKV” Dir. of Photography: Stoeps Langensteiner Assistants: Ian Axilrod, Mike Panczenko Digital Imaging Tech: Damon Meledones

HUNGRY MAN “BANK OF AMERICA” Dir. of Photography: Richard Henkels Operator: Michael Merriman Assistants: Daniel Hanych, Joshua Friz, Jason Adler Digital Imaging Tech: Erika McKee

NOMAD FC “FACEBOOK” Dir. of Photography: Christophe Lanzenberg Assistants: Lucas Deans, Noah Glazer Digital Imaging Tech: Kevin Zanit

“FRAM” Dir. of Photography: Igor Jadue-Lillo Operator: Patrick Rousseau Assistants: Ryan Rayner, Dustin Whittlesey, Bill Marti Digital Imaging Tech: Michael Borenstein

OLD HARBOR PRODUCTIONS “DUNKIN’ DONUTS” Dir. of Photography: Tristan Sheridan Assistants: Jill Tufts, Daniel Mason Digital Imaging Tech: Steve Sherrick Libra Head Tech:: Jason Cortazzo

Production Credits.

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쬥 倀䠀夀漀瀀琀椀漀渀 쬥 䐀愀琀愀愀渀愀氀礀猀椀猀漀瀀琀椀漀渀 쬥 䠀䐀刀漀瀀琀椀漀渀 쬥 䄀搀瘀愀渀挀攀搀挀漀氀漀甀爀漀瀀琀椀漀渀 쬥 ㄀㈀嘀Ⰰ ㈀㐀嘀䐀䌀漀瀀琀椀漀渀 쬥 唀瀀最爀愀搀攀愀戀氀攀琀漀唀䠀䐀

CMY

PONY SHOW “AT&T” Dir. of Photography: John Toll, ASC Operators: Jacques Jouffret, John Skotchdopole, Mike Ferris Assistants: Markus Mentzer, Bob Hall, Jimmy Ward, Harrison Reynolds, Jerry Patton, Nathan Stern Steadicam Operator: Jacques Jouffret Digital Imaging Tech: Ethan Phillips Digital Utility: Francis Capone Technocrane Operator: Brian McPherson Remote Head Tech: Chris Bangma PSYOP “TARGET” Dir. of Photography: Christophe Lanzenberg Operator: Jess Haas Assistants: Lucas Deans, Noah Glazer Digital Imaging Tech: Kevin Zanit

Production Credits.

QUIET CONTENT “NISSAN” Dir. of Photography: Tim Hudson Operator: Patrick Rousseau Assistant: Erik Stapelfeldt, Nathan Cummings Digital Imaging Tech: Eric Yu Jib Arm Operator: John Betancourt Jib Arm Tech: Benton Ward Technocrane Operator: Bogdan Iofciulescu Technocrane Tech: Jeff Comfort Remote Head Tech: Jay Sheveck, Simon Shin

RADICAL MEDIA, LLC “LA-Z-BOY” Dir. of Photography: Scott Cunningham Assistants: Walter Rodriguez, Nate McGarigal Digital Imaging Tech: David Berman “MILLER LITE” Dir. of Photography: Max Goldman Assistants: Ethan McDonald, Paul Saunders Digital Imaging Tech: Erica McKee Phantom Tech: Brannon Brown “REALTOR.COM” Dir. of Photography: Eric Schmidt Operator: John Pingry Assistants: Lila Byall, Kira Hernandez, Noah Glazer Steadicam Operator: Chris Cunningham Digital Imaging Tech: John Spellman, Dane Brehm

RSA “CHILDREN’S HEALTH” Dir. of Photography: Johan Palm Assistants: Lucas Deans, Noah Glazer Digital Imaging Tech: Jeff Woodings Drone Pilot: Cameron Fitzmaurice Aerial Dir. of Photography: Michael Fitzmaurice Aerial Assistant: Stephen Scherba SANCTUARY “SOUTHWEST” Dir. of Photography: Jordan Parrott Assistants: Ethan McDonald, Paul Saunders Digital Imaging Tech: Eli Berg “TOYOTA” Dir. of Photography: Richard Henkels Assistants: Ethan McDonald, Paul Saunders Digital Imaging Tech: Erica McKee “TJ MAXX” Dir. of Photography: Autumn Durald Operator: Robby Baumbgartner Assistants: Steve Cueva, Haydn Pazanti, Manuel Serrano Digital Imaging Tech: Mike Kowalczyk SKUNK “DISNEY PRINCESS” Dir. of Photography: Richard Henkels SMUGGLER “HEFTY” Dir. of Photography: Robert Yeoman Assistants: Pat Kelly, Mary Anne Janke Digital Imaging Tech: David Kudrowitz STARDUST “HONDA” Dir. of Photography: Stuart Graham Assistants: Conrad Castor, Noah Glazer Digital Imaging Tech: Scott Resnick STUN CREATIVE “GOLDBERGS” Dir. of Photography: Eric Haase Operator: Josh Medak Assistants: Ethan McDonald, Lila Byall, Paul Saunders, Kira Hernandez Digital Imaging Tech: Daniel Applegate THE CALVARY “XFINITY SPORTS” Dir. of Photography: Max Goldman Assistants: Walter Rodriguez, Jeff Taylor Digital Imaging Tech: David Berman Movi Operator: Tom Wills

THE SWEET SHOP “SAGE ACCOUTING” Dir. of Photography: Richard Henkels TOOL OF NORTH AMERICA “HASBRO” Dir. of Photography: Gregory Wilson Operators: Mark Sparrough, Ron Egozi Assistants: Cory Maffucci, Tom Greco, Scott Miller Digital Imaging Tech: Vince Rappa “MD LOTTERY GKV” Dir. of Photography: Don Davis Assistants: Ian Axilrod, Mike Panczenko Digital Imaging Tech: John Vallon UNTITLED FILMS “AEROPLAN” Dir. of Photography: Richard Henkels “MCDONALD’S” Dir. of Photography: Richard Henkels

CREW PHOTO

Z: The Beginning of Everything (L to R) Alfonso Diaz A camera 2nd AC, Mike Derario B camera 2nd AC, And Edgar Colon A operator and Steadicam photo by Nicole Rivelli

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ROMBEAU INC. Sharon Rombeau Tel: (818) 762-6020 Fax: (818) 760-0860 Email: sharonrombeau@gmail.com

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Production Credits.

COMPANY PAGE Adorama 15 ARRI 17 Backstage Equipment 84 Blackmagic 7 Chapman Leonard 77 Canon 5 Cinemoves 9 Cine Gear Expo 4 Cooke Optics 25 Covert Camera Vehicles 85 Creative Solutions LA/NY 63 CW Sonderoptic 91 Filmotechnic 13 Fujinon 19 JL Fisher 83 K5600 81 Kino Flo 24 Lee Filters 27 Omnitek 87 ProCam Rentals 31 Paralinx 92 Produced By Conference 64 Red 21 Source Maker 33 Schneider Optics Teradek 2, 3 Tiffen 65 VER Camera Facilities 11 Warner Bros Photo Lab 86 Water Shot 88

Stop Motion. action & vfx Issue

PETER MOUNTAIN “It seems increasingly difficult these days to photograph anyone of importance isolated in quiet reflection on a movie set. Although everybody is radio-linked, they still feel the need to fill the frame with black puffer jackets. Given the restricted space of a pirate ship’s deck, a cannon always provides fine real estate, and one that others respect. I was very grateful when the film’s DP, Paul Cameron [ASC], took his moment there.”

PIRATES 5 MARCH 4, 2015 Queensland Australia

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