ICG Magazine - November 2018 - Reality/Live Television by ICG Magazine

ICG MAGAZINE

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54 THE FRONT RUNNER The seventh feature Eric Steelberg, ASC, has made with writer/director Jason Reitman, revisits the political campaign that changed America forever.

THE CONTENDER A large Guild camera team scores a TKO – for teamwork, communication, and creativity, in and out of the ring.

SPECIALS

AMERICAN IDOL: THEN & NOW / 36 Step up to the mic with the Guild members behind the most successful show in TV history.

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DEPARTMENTS GEAR GUIDE / 14 MASTER CLASS / 22 ZOOM-IN / 26 EXPOSURE / 30 PRODUCTION CREDITS / 78 STOP MOTION / 90 6

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CINE GEAR DAYS I’m in Atlanta, writing this on a Friday afternoon. I’m about to spend the weekend at the new Cine Gear Expo event, here in Georgia. Cine Gear has grown to become an extremely important event for this industry as a whole and our Local 600 membership in particular. The growth of Cine Gear has been mutually beneficial for both the many equipment manufacturers eager to be involved and the attendees, eager to see their many new gear options in the coming year. It’s a great relationship that has blossomed – the vendors flock to Cine Gear to get their gear into the hands of those most likely to use it; our members come to Cine Gear to test out and to give feedback on technology tailored to their production needs and new trends. An extremely important two-way street has developed at this show, and it’s more crowded with travelers than ever before. On top of that obvious synergy around the tech tools, Cine Gear has also become a place for highpowered networking. When do we get a chance as crewmembers to spend time with our colleagues and friends in this industry? It’s a great time to get to know your favorite DP, assistant, or operator, who may have the ability to recommend you to producers they regularly work with for a job. Cine Gear, like other trade shows, also presents the ICG with an opportunity to be a key part of educational and informational panels; Cine Gear offers a chance to relay the Guild’s ongoing messaging vis-à-vis safety in the workplace and our position as technological leaders. For example, tomorrow I’ll be on a panel titled, “Catching the New Waves in Image Acquisition – Large-Format Cameras and HDR.” It is moderated by our own Michael Chambliss and includes First Assistant Cameraperson Tom Cherry, Digital Imaging Technician Stuart Huggins, and Director of Photography Hilda Mercado, AMC, who are all Local 600 members. Our discussion will allow Cine Gear attendees to see the kind of problems and possibilities we face with this new technology. “Safety on Set” is another important panel at Cine Gear Atlanta. Chambliss, along with Digital Utility Anna-Marie Aloia (recipient of The Sara Jones Opportunity internship at SIM Digital), will be featured, along with members of IATSE Local

479, the DGA and SAG-AFTRA. The panel will highlight the “Fire In The Hole” video, which will encourage everyone in the audience to download and use the Local 600 Safety App – globally acknowledged in this industry as having more information in a single go-to smartphone application than virtually any other mobile tool available on sets. Information included will be presented about the range of Local 600’s members’ work on RF safety, the dangers of long hours, the Local free driving study and video, pending contract provisions for rides and rooms, additional protection for members advocating safety for others, and the additional funding for safety training outside of the western region. I will also be moderating a panel for the American Society of Cinematographers (ASC), an organization with which we’ve always been closely aligned, as most of their members are Guild members. Our relationship with the ASC grows in importance every year – as technology is developed and becomes more complex, we need ways to learn about how to work with these new tools and talk about them to the producers (who are going to be paying for them). There’s no better way to accomplish this than to follow closely the work of the ICG Training Committee, as well as that of the ASC’s Motion Imaging Technology Council, chaired by Curtis Clark, ASC, and co-chaired by Richard Edlund, ASC, and David Reisner. One sterling example of our shared mission with the ASC was on display most recently at our luncheon/awards ceremony for the Emerging Cinematographer Award (ECA) honorees, held each year at the ASC Clubhouse on the Friday before the ECA’s in Los Angeles. In addition, every year at the ASC Open House, our members meet some of the top names in cinematography. All of these relationships – Cine Gear L.A. and Cine Gear Atlanta, NAB Las Vegas and NAB New York, and working closely with the ASC in various capacities – have become important to our Guild in ways that are difficult to even quantify. But I think at events like Cine Gear Atlanta, we really can feel the symbiotic relationship cinematography engenders – it’s an art form that is shared across the world through the language of cinema and light.

Steven Poster, ASC National President International Cinematographers Guild IATSE Local 600

November 2018 vol. 89 no. 09

Publisher Teresa Muñoz Executive Editor David Geffner Art Director Wes Driver EDITORIAL ASSISTANT Tyler Bourdeau STAFF WRITER Pauline Rogers ACCOUNTING Glenn Berger Dominique Ibarra COPY EDITORS Peter Bonilla Maureen Kingsley CONTRIBUTORS Michael Becker Lewis Jacobs Cathy Kanavy Karen Kuehn Gregory Peters Phillip Williams

INTERNATIONAL CINEMATOGRAPHERS GUILD Local 600 IATSE NATIONAL PRESIDENT Steven Poster, ASC NATIONAL VICE-PRESIDENT Heather Norton 1ST NATIONAL VICE-PRESIDENT Paul Varrieur 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 2018, by Local 600, International Alliance of Theatrical Stage Employes, Moving Picture Technicians, Artists and Allied Crafts of the United States and Canada. Entered as Periodical matter, September 30, 1930, at the Post Office at Los Angeles, California, under the act of March 3, 1879. Subscriptions: $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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ast November was our first dip into theming an issue around unscripted content, most notably the reality and live-event formats that have come to dominate much of broadcast (and pay cable) television. This November picks up where 2017 left off, with our cover story on EPIX’s The Contender, an innovative show that really does live up to the often misleading genre of “reality television.” For those who missed The Contender the first time around (way back in 2005, when it aired for four consecutive seasons on three different networks), this fifth launch is not so much a reboot as a refresh for our times. While the premise is unchanged – two teams of eight fighters all living, training, and breathing boxing together, with only one competitor coming out on top – the visual approach has been re-imagined (by director Ramy Romany for Executive Producers Mark Burnett and Eric Van Wagenen) into a documentary film series worthy of Frederick Wiseman. As cinematographer Jason Hafer describes in Pauline Rogers’ cover story (page 44), “Mark and Eric wanted to bring an elevated level of authenticity and heightened visual storytelling to The Contender, and they gave Ramy and me full visual control to make that happen. Boxing is life to each of these 16 competitors. They train hard, beat or get beat, often get hurt – and all while their wives and kids are watching. There’s nothing fake about it.” I’ll say. Hafer’s Guild team used eight ARRI AMIRAs and one ALEXA Mini to become flies on the walls of every contestant’s journey, capturing a grittiness that’s rare for “reality TV.” Cinema glass was chosen over ENG lenses, and a custom 3D LUT (low saturation, high contrast, with warm mid tones and a hint of blue/green) gives the show a Rocky– esque “film” feel. In fact, operator Sherri Kauk says Hafer and Romany’s goal was to show how each competitor is on his own personal Rocky journey. “We talked about establishing coverage on the shadow side, because each contender fights – and dreams of being a champion – in the limelight,” Kauk states.

“We visually framed fighters against the sundrenched windows, in contrast to that limelight where their dreams and heroes exist.” Our feature, Live from New York! (page 62), visits with Local 600 crews who are very comfortable in the limelight, working annual live event spectaculars in New York City like The Tony Awards and the New Year’s Eve Live Ball Drop from Times Square. Each year (for the latter show) a family of Guild specialists, including Head Utility Jim Washburn (who leads a 100-person crew that wrangles nearly 20 miles of cable) helps capture a “World Feed” that is seen by almost one billion people. One cable run that Washburn and his team hang from telephone (and temporary) poles starts from the top of a skyscraper on 42nd Street and ends 18 blocks north in Central Park! Over at the Tonys, Guild operators like Tore Livia must push through equally tough assignments, like a three-minute-and40-second Steadicam shot of a hopping Hugh Jackman that began out on Broadway, went through all of Radio City Music Hall and ended up on stage. Likewise for operators like Charles Huntley and Jimmy O’Donnell, two of the four handheld cameras tasked with covering each Tony nominee the moment before the winner is announced. “No other camera can ‘cover’ your angle,” O’Donnell reveals in the article. “We can have two or three nominees in the same aisle, so you have to be ready to walk your winner down the aisle or scramble out of the way!” Getting out of the way – of the world’s most compelling unscripted content – is what Local 600 crews do better than anyone. Whether it’s the blood, sweat and (very real) tears The Contender’s operators must keep in focus each episode, or dealing with minus15-degree nights in Times Square, the Guild members profiled in this themed November issue help make sure “reality television” is exactly that.

David Geffner

Executive Editor

CONTRIBUTORS

Michael Becker

(Body and Soul, Stop Motion) “Reality shows present many challenges, most notably the many fast and unpredictable camera moves. You have to pay close attention to the multiple storylines to predict where things will go next – with six moving camera crews and a dozen mounted robo-cams, you can easily get locked into the wrong position. It’s definitely a game of chance, anticipating where to be to capture the best visual stories of the day.”

Phillip Williams

(Crossing the Line, Exposure) “Eric Steelberg’s work stands out in my mind because of the commitment to story, to the raw material. I love that Eric’s cinematography illuminates and elevates, without being flashy. With The Front Runner, he’s clearly upping his game while still maintaining that service to naturalism and understatement he’s had throughout his career, something that makes his on-going collaboration with [director] Jason Reitman so unique.”

ICG

THE CONTENDER

MAGAZINE

Twitter: @DGeffner Email: david@icgmagazine.com

cover photo: Michael Becker

THE FRONT RUNNER LIVE FROM NEW YORK!

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JOHN MEIKLEJOHN BY PAULINE ROGERS PHOTOS COURTESY OF JOHN MEIKLEJOHN

John Meiklejohn has been shooting live events in New York City for 60 years. And while the equipment has changed radically over time, “what you do as an operator really hasn’t changed,” he states. “You are charged with telling a story, and you can’t stumble. You have to make the viewer believe there is no camera – no operator – that they are seeing it for real.” When Meiklejohn started operating, “live” was the only mode of broadcast. “It was simply the nature of television,” he adds. “Stations were live – studio interviews, wrestling matches, bowling, music, news – whatever was happening. A trailer truck would pull up to the location and three or four cameras (the size of telephone booths) were cabled to send the signal through the telephone company lines to the main switcher” Back in those days, Meiklejohn notes, “the cameras had a device called a turret which held four different lenses: a 50mm wide, a 90mm, a 135mm, and a 200mm. Changing lenses was relatively easy – you just had to make sure you weren’t on air at the time. Of course, operators did get caught – life was flying by, people in the truck were anxious for the capture, you couldn’t always wait for the director – anticipation was key.” When zooms came in, crude as they were,

the turret went away and operators adjusted. The first real zoom was so thick (think the bottom of a Coca-Cola bottle) that you needed a lot of light to see the images. And moving it? “Awkward as could be,” Meiklejohn admits. “A rod attached to the zoom? Really.” In the early days, shooting sports was one of his favorite jobs. “I loved looking through the viewfinder, watching the batter swing, anticipating where the ball would go and following it,” he continues. “We’d make focus marks for ourselves. This mark would be for second base and this one for centerfield. After a while, you didn’t have to look – you knew the possibilities and that was important.” In the 1970s, music became another part of live operating. “I remember doing an ABC series, Night in the Park,” Meiklejohn recounts. “It was supposed to be one act in Central Park. Instead, we had The Eagles, Sly, and the Family Stone, Ike and Tina Turner and The Beach Boys. By then, we were shooting with Norelco PCP-70s, which were two pieces – a 35-pound camera and a 35-pound backpack connected by a two-foot cable. The operator was expected to wear both devices while shooting. We convinced the manufacturer to custom make an eightfoot cable, which allowed us to only have to (cont'd on page 24)

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handle the camera head and an assistant to wear the backpack and keep his hand on the cameraman’s belt to prevent him from crashing into people or stepping off the stage. In those days, you had to have both eyes in the viewfinder – no depth perception.” The freedom of movement allowed Meiklejohn to go up to Tina Turner and even touch her shoulder. “It provided an intimacy for the public that we don’t have today,” he says. Meiklejohn has shot pretty much everything the live format has to offer, all the time using his judgment to make the shots as seamless as possible. What he remembers most about the craft is the ability of live operators to split their personalities – trust that they can deliver an image that doesn’t take the viewer out of the moment, all the while feeling the moment. “For me, one of the biggest was when Sting and Sinead O’Connor did the Amnesty Concert in Chile, celebrating the end of Pinochet’s rule,” he remembers. “We had to approach the venue through a catacomb, where we saw chains and bracelets. It was a prison, even though it was a stadium. As we started to shoot, our eyes were burning. We found out

that over 20 thousand bogus tickets had been printed, and to control the crowd they had to use tear gas! I was up on a 40-foot tower that was almost knocked over.” Throughout the concert, Meiklejohn says, “the kids who were watching stood like statues. They were afraid to enjoy themselves, thinking they may be arrested. At the end of the concert, they brought out the mothers holding pictures of their children who’d disappeared. Now that’s one hell of a live experience.” For years, one of Meiklejohn’s specialties has been the close-up camera, which, he explains, is all about reading body language to know what the performer is going to do or might do. “And, you have to stay in focus,” he adds. “Even when they are running around. Even when a slight lean forward happens – you have to anticipate.” That task was particularly challenging two months after 9/11, when Meiklejohn was on the close-up camera in the middle of Madison Square Garden, surrounded by hundreds of New York City Firemen and Police Officers. And when he was shooting the 10th Anniversary at Ground Zero itself. “Every operator was a basket case, tears rolling down

their eyes – yet still professional – in focus and on the mark,” he says quietly. As of this writing, Meiklejohn is preparing to do one of the host cameras for the Macy’s Thanksgiving Parade. “The location has changed a little,” he remarks about shooting the world’s most famous holiday show, as he has for many years, “but it’s still about getting the shots assigned. And, like all live events outdoors in New York, finding ways to keep warm, making sure that you and your camera can take the cold, and packing a bag in case you’re trapped by the massive crowd.” After all these years, Meiklejohn still loves being part of the freelance band of “live event” gypsies that “is a unique entity in the world of business,” he concludes. “We are a warm and talented collection of brothers and sisters unified in our work ethic and our need to help and care for one another. The idea of teamwork is the guiding principle to which we all aspire. Sharing our ideas and ways to succeed in our work and in our lives is our ultimate goal. It is truly a rather delicious collaboration of individuals.”

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BETTINA LEVESQUE BY PAULINE ROGERS PHOTO BY ADAM ROSE

When Bettina Levesque was a young girl growing up in Florida, she dreamed of doing something glamorous and exciting with her life. Sports reporter, perhaps? But after her first day as an intern at an NBC affiliate in Miami, she realized that wasn’t her path. However, “The minute I walked into the studio,” she remembers, “I fell in love with the TV cameras. I was a secretary at that studio after school, and then I had the chance to learn camera at night.” Levesque began operating a TK-76 on the live trucks. “You had to carry the audio deck on your shoulder like a purse,” she recounts. “I wore two battery belts, one for the camera and one for the lights. It was heavy, but I didn’t

care – I wanted to prove I could do it.” Five years later, Levesque moved to a PBS affiliate, and her first sitcom – ¿Qué Pasa USA? with a crew from Los Angeles. When Phil Squyres said he would try to fit her in with Norman Lear’s shows in L.A., that’s all Levesque needed to hear. She made the move west and it was one sitcom after another – One Day at a Time, The Jeffersons, The Facts of Life and, some of her favorites, Three’s Company, Home Improvement and Married with Children. Since then this five-time Emmy winner (with 15 nominations) hasn’t stopped working. Thirteen years ago, she began to focus on reality competition, coming in on Season 4 of Dancing With the Stars. The show

has an interesting system that is the core of the shoot. “The whole pretense is that the dancers dance to the beat of the music,” Levesque explains. “We have predetermined shots that go along to a four-beat count. The AD is like a human metronome, counting continuously through the song. You know exactly when your shot is coming and for how long it will be on. This way, we can capture all of the nuances of the dance. I really like this style of shooting.” The approach has allowed Levesque to enhance her “beat” on shows like So You Think You Can Dance, America’s Got Talent, Hairspray Live! – and more. “On Hairspray Live! we had (cont'd on page 28)

more than 1000 scripted shots in the two-anda-half-hour show,” she relates. “Your memory is certainly challenged; the shots came so fast, you didn’t have time to look down at your notes, and all the while you are hoping that the actors hit their marks.” Does she feel the pressure working in a live format? “The thought of making a mistake on a live show always haunts a camera operator,” Levesque admits. “On Dancing With the Stars, I am one of 13 cameras, operating a very busy pedestal camera on the floor. We shoot in the round, in a small area where we are all on top of each other; and we’re constantly on the move. There is dance choreography in front of the camera and camera choreography behind . “I take copious notes about position and when to hide out in the wings – and when to duck for the crane,” she continues. “Sometimes, I am not able to get my shot from the exact position that I want because another camera operator is getting their shot – so we all have to compromise. With the crane inches

over my head, the Steadicam flying in front of my lens, and the handheld cameras kneeling on the floor next to me, I always have to be in the exact mark every time.” For American Idol, Levesque is a close-up camera for the singer – long lens, shooting through smoke, haze, filters, low lighting, and lens flares. “I look at it as playing a video game,” she smiles. “It requires complete concentration for a two-hour show. Focus is always critical, but when you are always on a tight lens, and you are live, there is not much room for error. You have to be on the same page as the director, feel the pattern of the takes, and be able to predict the erratic movements of the singer.” Levesque recounts one Dancing With the Stars moment, rehearsing a big production number. “I had a shot assignment to zoom into the tambourine that a dancer was playing,” she shares. “We rehearsed it, but in the camera meeting, our director said he wanted me to

zoom into the little symbol on the tambourine! I didn’t have a chance to rehearse that, so I had to use my years of experience, knowing the lens, how far away I was from the tambourine, and how to make an estimate of focus without a rehearsal. Luck and skill got me the shot – but it doesn’t always work out that way.” So what’s it like being a “live” operator in a format dominated by men? “I’ve learned that I can be feminine and still do the job,” Levesque says confidently. “I’m not competing with men, or seeing who can be the toughest operator. Yet, I feel that being a woman brings a different perspective to the position, a softness and balance to the boys’ club. The camera guys have always been very respectful and made me feel comfortable working beside them. Honestly, I have never felt less than an equal. Someone once said that if you love what you do, you never work a day in your life. So I guess I haven’t worked much!”

SCH_Baum_ICG_Emmy.qxp_Layout 1 9/27/18 12:58 PM Page 1

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JASON REITMAN BY PHILLIP WILLIAMS PHOTO BY FRANK MASI, SMPSP

Jason Reitman’s new film, The Front Runner, is a departure of sorts for the four-time Academy Award-nominated writer/director. A humanist (and often humorist) whose work has shown more than a touch of brilliance in mapping the shifting realities of contemporary America, Reitman has nonetheless always worked within the flexible parameters of fiction. With The Front Runner, based on the bestseller All the Truth Is Out: The Week Politics Went Tabloid, by Matt Bai, he tells the true story of Gary Hart’s ill-fated 1988 run for President: a watershed event that presaged the current state of affairs in American politics by thirty years, where reality TV has entered the Oval Office.

moment. The most important conversations are often happening in the background, while an innocuous conversation may be happening in the foreground. The filmmaker is giving the audience so much information that it feels like they are there trying to pick up what they can.

The Front Runner reunites Reitman with many of his long-time collaborators, including Production Designer Steve Saklad, Costume Designer Danny Glicker, and, most notably, Eric Steelberg, ASC, who has shot all of the director’s features. (The Front Runner is their seventh together.) The pair met as teenagers and started making short films before trying their hand at commercials and then features. “There’s a small group of people I’ve worked with on almost everything I’ve ever done,” he notes. “Eric is at the center; it’s a profound personal friendship and working relationship.” Reitman, who has always been driven to explore the personal side of his characters and the things that bind (or more often) break them, may have found his biggest canvas yet in The Front Runner. Hart’s fall and the aftermath probes large questions about what happens to potential leaders, their families, and the country they seek to serve when the drive for ratings drowns out everything else in the national conversation. What attracted you to this story? Jason Reitman: What we were interested in was how we got to this moment in 2018. In the story of the ’88 election, and specifically Gary Hart, we witnessed a crucial moment in which the traditional political press and the gossip press drove into the same lane and never separated. It was a bleak moment for those who thought Hart would be the next president. I imagine it raised many questions back then, but reflected in today’s world, and looking back, it raises questions like: “What kind of human being do we want in our leaders?” People are flawed, and we’re going to have to

think about what we’re willing to accept in our leaders. This was a departure for you, a story based on real events. What was the approach? The Front Runner was unique for me in a variety of ways. Most notably, as you say, it’s a true story, which meant that in every aspect of filmmaking − in the dialogue, what the characters wore, what their hair looked like, or just making rooms feel real − we had to stick to the truth. It was another filter that everything had to go through, no matter what choice I was making. I’m a huge Michael Ritchie fan. When I heard this story for the first time, I immediately thought of The Candidate. That film took an approach to politics in which the idea was to put the audience in the room at any given

Using multiple perspectives and ways into the story? Exactly. You’re given a sense from the get-go that, look, this is not going to be one point of view. This is a movie in which you’re going to have fifteen different points of view on a complicated moment in our history and you’re going to have to pick whom you agree with and through whom you’re really seeing this. It’s what I’ve been striving for since the beginning of my career: movies that don’t tell the audience how to feel but are instead posing questions. Movies that are made for the drive home. Were there other films that were touchstones? Every day at lunch during prep, we would watch a half hour to an hour of any given movie – from The Candidate to All the President’s Men, Broadcast News, and Primary Colors. We also watched the documentary The War Room. It has great detail work – wardrobe, props – that we liked. I remember we could see the guys eating popcorn out of coffee filters, and I thought, “We need to do that!” And what were those conversations, while or after seeing these other movies, that you could apply to The Front Runner? It was always, “What is making this room feel real?” We were trying to drill down on odd details that you otherwise never (cont'd on page 34)

★★★★★”

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★★★★★”

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WINNER GOLDEN LION

BEST FILM

★★★★★”

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“ON E O F T H E MOS T B EAU T I F U L F I L M S I’ V E EV E R S E E N .” - Joe Morgenstern

“N O O N E E LS E I S M A K I NG M OV I E S L I KE TH I S TODAY.” - Stephanie Zacharek

“E V E RY I MAG E- EV E RY E M OTI ON I S P E R F ECTLY S E T I N P LAC E.”

★★★★★”

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★★★★

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- Owen Gleiberman

“F IV E YE A R S A F T E R THE I NT E NS I TY O F ‘ GR AV I TY’ U S E D TH I S M E D I U M TO TR A NS CE ND E A RTH’S B O U NDA R I E S, ‘RO M A’R E T U R NS U S TO S TA BL E G R O U ND F R O M A BR I L L I A NT N EW P E R SP E CT I V E.

I T B EGS F O R M U LT I PL E V I EW I NGS.” - Eric Kohn

★★★★

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★★★★

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I N S E L E C T T H E AT E R S A N D O N

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“TH I S I S C UA R Ó N’ S G R E AT E S T F I L M YE T.” - Chris Nashawaty

“AT T H E H E A R T O F I T A L L I S A W O N D E R F U L

YA L I TZ A A PAR I C I O,

P E R F OR MANC E F R O M W H O B R I N GS TO T H E ROL E SOM E T H I N G GE N T L E, D E L I C AT E, S TO I C A N D S E L F L E SS.

S HE I S THE JEW E L O F TH I S O U TS TA N D I NG F I L M .” - Peter Bradshaw

“A R I C H LY T EX T U R E D M AS T E R P I EC E, ‘R O M A’I S C I N E M A AT I TS P U R E S T A N D M OS T H U MA N.” - Tomris L af fly

THIS DECEMBER

notice. It was the way people interrupted each other; it’s the way the camera would find things. For example, in The Candidate, you have this brilliant thing where camera operators and press people are turning their lights off, or turning their lights on, almost like a signal, saying, “This is important; this is unimportant.” The way [the films] used audio was also very interesting: using the ears to point your eye. We were about to make a movie where we would be fifteen actors on set, all miked at the same time, some speaking dialogue, some improvising. We would hand the actors articles from 1987 and say, “Read this and use it as a topic of conversation, and feel free to interrupt the main character!” There were days when Hugh Jackman was in the background and someone else was leading. They never knew when they would be the main character, so just show up and be ready to be a part of this world. Eric said you also revisited Robert Altman’s work. We watched Nashville, and our movie certainly takes a lot from Altman, but my north star was Michael Ritchie. He created what I believe he called his trilogy on winning: Smile, Downhill Racer and The Candidate, three films that are about winning a beauty pageant, winning a ski race, and winning an election. What does it mean to win? Why do we strive to win? What do we do after we win? In approaching a movie about a guy running for office, there was something within the general ethos of the Michael Ritchie movies, and the sense of humor and the wild way things happen in those films, that I wanted to capture. Your production designer, Steve Saklad, is another longtime creative partner. How did you work together on a true-to-life

period film? We wanted to create the sense that, when we drop into a campaign, or we drop into a news room, this needs to feel a hundred percent real. With the campaign office, we asked questions like, “What was this building the week before the campaign rented it?” Running a political campaign is kind of like making a movie. The trucks show up and you’re operating before the phones are working. What is on the walls? Where are you getting your coffee? What did you discover that you could do to enhance the sense of our being in a real time and place through costuming? There’s an old adage with period movies that if it takes place in 1780, people won’t notice the difference between 1770 and 1790. If you make a movie that takes place in 1987, they’re going to know if you’re a year off. And, we’re making a movie of people in suits, but they all have to have their own personality. I rely on the brilliance of my costume designer, Danny Glicker, whom I met on Thank You For Smoking. The first thing Danny said to me was: “In this movie, the necktie is the window to the soul.” I was hooked. It’s not typical for a DP and director to be able to work together for such a long time. Can you talk about that collaboration? Eric has a brain that is infinitely curious, devouring everything he can find when it comes to camera technique. And while that is important, it’s not nearly as important as his understanding of people − both the people that he’s working with and the people that he’s filming. Is it fair to say that the DP is crucial to creating a space where good work can happen, for the actors as much as for the rest of the team? I think that’s totally right. A cinematographer

really sets the tone on a set. It is their crew, their operator, and their assistant who are closest to the actor; they’re closer to the actor than I am! It’s the energy that they give as a team. We want our actors to feel that they are safe, that they have the room to explore, and that they know where they’re going. What makes your relationship continue to work so well? I think the primary thing between director and DP is communication. You need a shared understanding of what story you’re telling. Eric and I have dinner every Sunday night during a shoot, and we just talk. They’re very emotional conversations that range from what’s going on in our personal lives to the details of how we’re making the movie. Somewhat early on we started doing what we call “photo boarding:” we go to the sets in advance with a camera and shoot a still photo of every shot in the movie, with stand-ins in the locations. My assistant puts them together in what is essentially a storyboard for the entire movie. You can actually flip through and see the movie, and the crew can look at it and know exactly what we’re going to shoot. That’s a pretty extensive prep! [Laughs.] That period is interesting; it’s like we shoot the movie twice. At first, we go to the set and it’s just Eric and me, and some stand-ins walking through scenes. That’s the moment where we’re figuring the movie out visually. Just the two of us. There’s something really intimate about it, and by the time we actually start to shoot, we have such a clear sense of the approach that we can really just react to the things that are not working, knowing that we’ve done the heavier, creative lifting in advance. You have to learn to see with one set of eyes; Eric and I have come to a place where I think we do that.

“A cinematographer really sets the tone on a set. It is their crew, their operator, and their assistant who are closest to the actor; they’re closer to the actor than I am!”

AMERICAN

DOL THEN & NOW STEP UP TO THE MIC WITH THE GUILD MEMBERS BEHIND THE MOST SUCCESSFUL SHOW IN TV HISTORY. BY PAULINE ROGERS / PHOTOS BY ERIC MCCANDLESS

PHOTOS BY RAY MICKSHAW (2001-2005)

“It was one singer, one microphone, one piano, and three judges,” recalls operator Dave Eastwood, who began as Steadicam and is now remote camera on American Idol, the reality-based competition show that changed the face of the music industry more than 16 years ago. “Now we have house bands with only the best musicians and conductors,” adds Utility Charlie Fernandez, who has been with Idol since the single-piano days. “And, of course we’re on HD. Jibs are now Technocranes. We have rail cams, tower cams, remote heads and everything else.” Lighting Designer Kieran Healy, who was tasked by director Bruce Gowers to bring his rock-and-roll lighting (The Who, The Rolling Stones and more) to a modest “talent” show that began as a summer replacement, says that in the beginning, Idol was broken down into four phases. “We had auditions – at the Pasadena Civic Auditorium – where we used the house lighting package [a mixture of PARs and Lekos] to light a bare, empty stage as 300 hopeful contestants vied for a place in the top 24,” the multiple-Emmy-winner reflects. Healy created a plan for Phase II, “the recording studio,” a set on Stage 36 at CBS Television City, which was one of the industry’s most up-to-date facilities in 2002. It was a fairly simple hang, CBS’s package of Mole Richardson 5K and 2K Fresnel lamps and six cameras balanced for Tungsten, 3200 degrees Kelvin, twenty-four contestants and an audience of just 50. Since neither the judges nor the contestants moved around, lighting was from ETC 19-degree and 10-degree Ellipsoidals at 30-to-35-degree angles. “The built-in shutters helped contain the light,” Healy adds. “This worked well for the judges – I could put a little diffusion on Paula Abdul and double the light on Randy Jackson.” A small Vari-Lite package added a sense of theatricality. For Phase III, the final 12, Healy would draw from his rock-and-roll roots – large lighting trusses were set around the stage to create visual elements and complement the set. Performances were paramount – with Vari-Lite, Xenon Skylights above and theatrical beam lighting from the floor. The only key light was from the follow spots, so Healy could follow the talent anywhere. Lighting with computerized moving lights became a doubleedged sword. “Producers expected that meant ‘instant lighting,’” Healy continues. “Today, producers and directors are far more cognizant of the technology – but they still want instant, and we always try to deliver.” Phase IV of Idol in those early seasons had the finale staged at The Kodak Theater. Season four featured a young Carrie Underwood against a long-haired rocker named Bo Bice, for which Healy redesigned the lighting – Vari-Lite package, added strobes and a mirror ball. It was theatrical, and during the last 10 seconds, a fade-out to a single backlight made the images “staggering in their simplicity,” Healy espouses, invoking the old-school view that less is more. Those early Idol broadcasts, simple as they appear to be now, were always fraught with a few heart-stopping moments. Healy recalls one year at The Kodak, for the finale, five minutes before going live the lighting board stopped working. “I was sitting in the truck and didn’t tell the executives, as I knew we could make pictures by using the follow spots,” he reflects. “So, I set up the 12 spots, to be ready for anything. About 30 seconds to air I heard the programmer say: ‘We’re back.’ And I began breathing again. Going live – you have to be ready for anything.”

“IT’S ALWAYS A BALANCE – NOT DISTRACTING THE VIEWER FROM THE ACTUAL PERFORMANCES.” Lighting Designer Kieran Healy

In 2009, Idol, now a mega-hit, transitioned to digital. These days, in 2018, The New American Idol (revived by ABC after FOX ended the show in 2016), retains the same original structure, with four phases – Road Auditions, Hollywood Week (with the addition of Showcase performances in front of audiences in club situations), Studio and Finale. The big performance sections are still shot at CBS Stage 36. Ryan Seacrest, who has been with the show since the beginning, is still the host, and he’s still going everywhere – interacting with the audience and families at will, running into the crowd – and causing Healy to make sure lighting is up to any and all of his wanderings. The judges – not always content to stay in place – are Luke Bryan, Katy Perry, and Lionel Ritchie. “The set is a brand-new design by Florian Wieder, consisting of eight-foot-by-60-foot articulating video ceiling pieces with lighting built in,” Healy explains. “We also have a 34-foot-high-by90-foot-long Quad split rear vertical tracking wall. Even the floors are ‘video panels.’ The video is very dominant with custom content for each different ‘performance.’ In actual fact, we have to pull back sometimes, or a contestant is lost in all the video effects.”

Today, Idol is shot with 17 cameras – Sony 430013 (five pedestals with 95XZ lenses, one tripod with wide-angle lenses, two Technocranes with wideangle lenses, one overhead rail with wide-angle lens, one hothead robo with wide angle) and Sony P1-4 (three Tower cams with wide-angle lenses and one Steadicam with wide angle). “We shoot 720p,” Healy explains. “Not true HD, but close.” Lighting is the biggest challenge, as nothing is on the floor. Healy and team are constantly facing the dichotomy of supporting the vivid images and not overwhelming the performances. “It’s always a balance – not distracting the viewer from the actual performances,” he admits. The 90-foot screen that splits in the center – horizontally and vertically – is a challenging addition. “We light upstage of the screen and fill in the holes when it splits,” Healy says. “You need a substantial number of lights to act as ‘eye candy’ rather than seeing the back wall of the studio. “We’ve finally phased-out Tungsten lighting, and now we use a combination of LED and daylight sources,” Healy continues. The LD’s go-to light is the Ayrton GHIBLI LED Spot with a factory-equipped framing system on the rig (supplied by PRG Lighting). He has 50 of them.

“THE SET IS A BRAND-NEW DESIGN BY FLORIAN WIEDER, CONSISTING OF EIGHT-FOOT-BY-60-FOOT ARTICULATING VIDEO CEILING PIECES WITH LIGHTING BUILT IN.” Kieran Healy

“The eight different ceiling panels for the studio shows can be moved into different positions,” Healy explains, “so I needed a new moving-head spot fixture with an even field, framing system, and variable color temperature.” And the GHIBLIs can handle the challenge. Five of them key and backlight the judges – with the rest serving as performance lighting. The main challenge to this year’s design was navigating around a continuously moving ceiling, negating the security of fixed-position key lighting in the different scenes. Key lighting was selected and programmed into each scene, adding to the complexity of the shows. All of which is quite a difference from the solo piano/ performance of the reality TV phenomenon that began 16 years ago – and is very much alive today. While American Idol has spawned countless imitators, it is one of the few shows that has created genuine pop stars (Carrie Underwood, Kelly Clarkson, Jennifer Hudson, Clay Aiken, and Jordin Sparks, to name a few), and the only show in television history that has ranked number one in U.S. ratings for eight consecutive years. Executives from other networks have called it “the most impactful show in the history of television,” and who’s to argue with that claim? No other show can boast statistics like one Academy Award, two Golden Globe Awards, Eight Emmy Awards, 14 Grammy Awards, 14 American Music Awards, 14 American Country Music Awards, 17 Teen Choice Awards, 21 Broadway shows with Idol contestants, 31 Gold Records, 47 Platinum Records, 61 million albums sold, 78 contestants on Billboard charts, 259 million songs downloaded, 444 Billboard #1 hits, over 600 hours of live television, a worldwide audience of over 460 million, and aired in 53 countries. It’s as if the famous song that Kelly Clarkson sang (to top Justin Guarini in Idol’s debut season), A Moment Like This, has never stopped being played by the millions of Idol fans the world over.

LOCAL 600 CREW SEason 16 Lighting Designer Kieran Healy

Head Utility Charlie Fernandez

Operators Bert Atkinson Mike Carr Keith Dicker Nathanial Havholm Helena Jackson Ron Lehman Bettina Levesque Adam Margolis Rob Palmer Brian Reason Dylan Sanford Daryl Studebaker Damien Tuffereau Andy Waruszewski Easter Xua

Utilities Bob Cade Austin Droguett Joe Kukuczka Chris Metcalf Tikeri Thompson Kevin Tolkan Video Controller Chris Gray Still Photographer Eric McCandless

BODY AND SOUL

THE CONTENDER’S LARGE GUILD CAMERA TEAM SCORES A TKO – FOR TEAMWORK, COMMUNICATION, AND CREATIVITY, IN AND OUT OF THE RING.

PA ULIN E ROGERS

PHOTOS BY

RAY MICKSHAW MICHAEL BECKER

FRAMEGRABS COURTESY OF

EPIX

The Contender, re-booted for its fifth season (on its fourth network, EPIX) is not your typical “15 minutes of fame” reality show. When Executive Producer Eric Van Wagenen hired Ramy Romany to direct Mark Burnett’s 12-episode boxing competition series, from MGM and Paramount, his vision was to convert a reality competition show into a documentary film series. 46

As Local 600 DP Jason Hafer explains: “Mark and Eric wanted to bring an elevated level of authenticity and heightened visual storytelling to the return of The Contender, and they gave Ramy and me full visual control to make that happen. Boxing is life to each of these 16 competitors. They train hard, beat or get beaten, often get hurt – and all while their wives and kids are watching. There’s nothing fake about it.” Shot on location at the L.A. Design Center in South Los Angeles, the sets (production design by Stuart Frossell) integrated the pre-existing wood and brick of the two formerly derelict warehouses, converted to showcase the work of the area’s many furniture manufacturers. As Hafer describes, the fight ring, grandstands, master control room, pre-fight locker room and moody hallways where the fighters would walk from locker room to arena were on the first level, “and the training room, coach’s office, and fighter’s bedrooms were upstairs,” he states. “We constructed a brick wall with hooks and nameplates. Each time a fighter lost, his nameplate was put over one of the hooks, and he would walk over and hang his gloves as he left the building.” To follow that cinematic approach, Ramy wanted The Contender shot in 2.39:1 aspect ratio, using eight ARRI AMIRAs, one ALEXA MINI (which lived on a Ronin 2), and seven C-300 Mark IIs, rather than the Sony F800s used on the original four seasons of The Contender (which originally debuted in 2005 on NBC). Cinema glass was chosen over ENG lenses. “Our operators used Sigma Cinema 18-35mm and 50-100mm zooms, Zeiss 70-200mm zoom or the Tokina Cinema 11-16mm zoom. We also carried a set of Canon CNE Primes,” Hafer shares. “We wanted it to feel like a single-camera documentary feature. We encouraged our operators to cover scenes from the approach of finding the best light and compositions, even if that meant shooting a steep profile shot or a silhouette.” The Contender was captured in LOG-C 1920×1080 12-bit 4444, using a custom 3D LUT designed by Romany, Hafer, and colorist Dean Perme at Revolution post. “Ramy wanted to give the show a period feel that felt like film,” Hafer adds, “so we created a LUT that was low saturation, high contrast,

with warm mid tones and a hint of blue/green. The blue/green in the set and the blue/green highlights fit nicely with the warm skin tones and gave the show a distinct look.” The whole show, except for the fight, was framed and matted to a 2:40 ratio. Emmy-winning Lighting Designer and Local 600 member Oscar Dominguez created a look that was tweaked for each set and emotional moment by Lighting Director Brandon Davis. “Reality is often lit with a baseline, and then the ambient light is brought up to what is required,” Dominguez reveals. “But The Contender was very different. When Brandon and I walked into the wonderful sets with Stuart [Frossell], Jason and Romany, we analyzed each space for ways to use the natural light like windows, without treating them too much. We always kept in mind what was happening in each room and addressing the limitations of our cameras.” Dominguez says they used a wide range of lights, but the ones he came to call “our Swiss Army knives” were Hive’s new 100C and 200C Wasps. “They’re so small, we could put them anywhere, go for various color temperatures or full color, add reflectors or even lenses,” Dominguez adds. “This way, Brandon could mold the light to fit the room – and the situation.” Shot in sequence over several days, shooting began with training, breaks for interplay with the host, Olympic gold medalist and undefeated retired boxer Andre Ward, and went on to faceoffs, interviews, and the lonely walk to the ring on

Fight Night, with master interviews, the pre-fight intensity in the locker room and finally the fight itself. Operator Sherri Kauk recalls when she first met with Hafer and Romany, they described The Contender as a world that would bring the original Rocky (circa 1976) to life, “because each of these men is on his own Rocky journey,” Kauk offers. “We talked about establishing coverage on the shadow side, for each contender fights and dreams of being a champion in the limelight. Knowing this thematic intention, we visually framed fighters in contrast against the sun-drenched windows, in contrast to that limelight where their dreams and heroes exist. “When they are on the speed bag,” Kauk continues, “in the ring or working the jump rope, they are facing their strengths, confronting their weaknesses; when they’re eating breakfast with, sparring with, and laying back with their competitor-housemates, they are facing the guy who will support him through his journey while actively strategizing his demise.” The intensity of each personal story needed to be carried through the different stages. For example, during training, when fighters would do cardio, strength, and skill drills with heavy bags and speed bags, the operators needed to capture each specialized drill with the coaches and sparring partners. “Ramy wanted to maintain a certain style,” Hafer explains. “So we always wanted to keep the key upstage whenever possible using the windows that surrounded the training gym to be our upstage key/edge light.” “We wanted to keep the warehouse feel and not polish it up,” adds Davis. “We used Triolet bases with 575-watt HPL bare bulbs as a general light base to keep the look industrial. We then added the Hive 100s into the practical boxing ring areas, gym equipment areas, and general reality areas for day and night.” With so many cameras going, the AC’s worked closely, sharing lenses and doing battery runs

“while sweating with the fighters in their training room,” observes Danaya Wattanapan. “We had to assist our operators without being in the way of the other cameras in the room or distracting the challengers themselves.” Camera settings changed constantly. “We would switch to different frame rates and shutter angles on the fly to capture the intensity of the fighters as they trained,” the AC continues. “Operators rotated during training sessions, handing off full camera packages, which meant breaking down and rebuilding your operators’ camera multiple times a day.” Changing frame rates was a big deal. As Kauk says, it was both the physical and emotional journeys that would pull the audience in. As operator Dan Kavanaugh, SOC, relates: “Since boxing happens so fast, and the boxers are reacting through their instinct and muscle memory, and how the other fighter counters, overlaying dialogue from a fighter’s interview with footage of them in slow motion was the best vehicle to tell the story. For example, during an interview, they might be talking about a specific moment in the middle of the fight or during a training session, and slow-motion would enable us to jump away from the reality of the fight in front of us and go into a more personal perspective of our boxer during that moment.” The style allowed the operators to get a closer look at what it means to fight for a living – but it was also a challenge for the crew in the very limited space. “There is something to be said about being in a small confined room for hours with the best technicians in the business,” Kavanaugh adds. “We needed to capture the rollercoaster ride of emotions, the boxers’ interaction with legendary trainers Freddy Roach and Naazim Richardson, and their families and friends.” Kavanaugh says the Guild camera team “tried our best to be respectful” of the process, “shooting on the end of our lenses in cinematic tight-frame

“DIRECTOR RAMY ROMANY AND CINEMATOGRAPHER JASON HAFER GAVE US A LOT OF CREATIVE FREEDOM. WE THREW OUT THE STANDARD REALITY COVERAGE RULES AND BROUGHT IN A TRUE DOCU-STYLE CINEMA VÉRITÉ.” Dan Kavanaugh, SOC

“WE WERE SHOOTING SO MANY FRAME RATES IN THE ARENA SIMULTANEOUSLY THAT USING GOOD OLD-FASHIONED PAR CANS AROUND THE BOXING RING SEEMED LIKE A NO-BRAINER.” Lighting Director Brandon Davis

composition and playing it like a one-camera documentary style.” In fact, both locker rooms had one sound person and two operators, often shooting from the bathroom stalls! Operators did their own battery and card changes so AC’s or producers wouldn’t have to interrupt the pre- and post-fight process. “Ramy and Jason gave Alex Wentworth, Gene Bradford and me a lot of creative freedom,” Kavanaugh continues. “We threw out the standard reality coverage rules and brought in a true docustyle cinema vérité.” With 16 fighters, all with different personalities, the operators tried to capture the quiet and introspective, as well as the amped-up and ready-to-rumble moods. “I would try tight close-ups of their faces, headphones, small gestures with their hands or bodies – even holding a few seconds longer than might be normal,” Kavanaugh notes. “We’d also try for connection shots from the trainers or even items in the room to the boxer, finding quick moments as the boxers mentally prepared to go and fight.” Because The Contender was truly live, there was no stopping between elements. So some of the biggest challenges were technical transitions – from the locker room to fight. “My always-two-steps-ahead-of-me AC, Danaya, and I had about a minute to switch over to the fight mode,” Kavanaugh describes. “We had to take the camera, swap lenses, change the frame rate, change the viewfinder settings, format

new cards, put fresh batteries on the camera and change the aspect ratio as we went from shooting 2.40 to 16 by 9 for the fights.” “We were shooting so many frame rates in the arena simultaneously,” Davis adds, “that using good old-fashioned PAR cans around the boxing ring seemed like a no-brainer. We hung them in closer and shallower than we normally would to get them behind the fighters in different handheld camera shots around the ring. Oscar wanted controlled top light as well above the boxing ring. He and Stuart came up with a clever way to disguise eight Sumo space lights, which worked perfectly for playing on camera as well.” The fight itself was covered with 16 cameras. The Canon C300 Mark IIs shot real time, while the AMIRAs shot the slo-mo. The shutters on the AMIRA were at 210 degrees to capture all the detail of the blood and sweat flying off the fighters’ bodies. The 210-degree shutter angle helped by adding a little motion blur to smooth out the slow motion even more, and when the footage was converted to real time, it gave the footage a sharper look. “Our slow motion was shot at 95.904 frames per second, which is 23.976 times four,” Hafer explains. “This allowed us to shoot the entire fight in slow motion and capture all the awesome details in camera, and if the editors wanted moments in real time, they would just speed it up

times four. All cameras would shoot a timecode slate at the head of the fight for the editors to sync later. During the fight, we had two AMIRAS with Canon 17-120 ENG zooms outside the ropes on the apron in opposing corners, cross-shooting. An ALEXA Mini, on the Ronin 2, shot low and wide through the ropes, from the side ring at ground level looking up at the fighters.” With an AMIRA and a 50-100mm lens next to the Ronin, the low/wide-angle shooting into the lights allowed Hafer to capture those exciting moments – enhanced by the light flashes. The tighter spaces presented a healthy challenge for gimbal operator, John Lovell. Romany requested Lovell’s set up – ALEXA MINI on the Ronin 2 with the camera constantly moving. “For the majority of The Contender, I lived on a Tokina 11-16mm lens,” Lovell states. “Using this wide of a lens made it a challenge to keep other operators, boom shadows, or anything else out of my frame. My field of view was always 100 degrees, even in the fight sequence. The ultra wide shot contrasted well with the other operators and their tighter shots.” As for the other operators, they seemed to be everywhere. Two AMIRAs on Ronford standard legs with an Oconnor 2575D head and Fujinon

Premier 75-400mm zoom lenses – on platforms on the north and south sides of the ring – captured close-ups of the fighters; two more AMIRAs handheld on 50-100’s covered the teams and families; and C300 Mark IIs framed up Ward. “We got two shots of the fighters with the ropes in the foreground from a dolly in the grandstands on a 50-100 lens, wide shots from a Technocrane on a Fujinon Cabrio 14-35mm ENG zoom, and even an overhead tower cam, which telescoped up and down looking directly down on the ring on an 11-16mm Tokina Cine Zoom,” Hafer recounts. The Contender’s large Guild crew put itself into the action. Literally. “I remember one moment when I was crouched down in the dark hallway, in front of the pre-fight locker rooms, getting the lens and accessories ready to quickly change the camera to fight mode,” Wattanapan remembers. “I noticed there was something on the lens, so I tried to dust it off with a dry lens chamois, but that didn’t work. I pulled out my Pancro and flashlight to properly clean the lens and realized it wasn’t dust. There was dried blood on the lens from the previous fight! This happened several times, and it helped me understand the gravity of what we were shooting and what was on the line.” “I have so much appreciation and respect for everyone who worked on this season of The Contender,” Hafer concludes. “From the operators who fought through some long emotional scenes and never gave up on the story, to the AC’s who stayed on top of the constant camera body and lens swaps, to our LD, Brandon Davis, and Bill Essling, our key grip, whose teams were rocksolid from start to finish. Each department supported each other completely – and it shows in the final product. This is one we’re all very proud of.”

“USING THIS WIDE OF A LENS (TOKINA 11-16MM) MADE IT A CHALLENGE TO KEEP OTHER OPERATORS, BOOM SHADOWS, OR ANYTHING ELSE OUT OF MY FRAME. MY FIELD OF VIEW WAS ALWAYS 100 DEGREES, EVEN IN THE FIGHT SEQUENCE.” Gimbal Operator John Lovell

Standing (L-R): Mike Warfel, Chris Lobreglio, SOC, Alex Garcia, Josh Kade, Chris Savage, Danaya Wattanapan, Alex Wentworth, Chad Nagel, Dan Kavanaugh, SOC, Orlin Ivanov, Jason Hafer, Keith

LOCAL 600 CREW

Wilson, Ramy Romany (director), Gene Bradford, Rickie Gustilo, Andrew Kwon, Parker Bell, Brandon Haberman, John Lovell, Dana Pustetta, Armando Bibi Munoz, Thor

SEason 5

Fridleifsson, Alex M. Ferrufino, Daniel Bubb, Daniel Hagouel

Director of Photography Jason Hafer

Kneeling: Tayler Knight, Josh Collinsworth, Ronnen Horovitz,

Lighting Director Brandon Davis

Tony Garcia

Operators Vince Acosta MacGregor Barron Parker Bell Gene Bradford Rob Cammidge Andrei Cranach Michael Dean, SOC Malkuth Frahm Alex Garcia Brandon Haberman Daniel Hagouel Sherri Kauk Dan Kavanaugh, SOC Mitch Kim Tayler Knight Andrew Kwon Chris Lobreglio, SOC John Lovell Art Peña Dana Pustetta Dax Rhorer, SOC Sharra Romany, SOC Brett Smith Andy Waruszewski Alex Wentworth

Lead AC Josh Kade Assistants Corey Bringas Josh Collinsworth Thor Fridleifsson Rickie Gustilo Matt Hackbarth Dave Hawes Ronnen Horovitz Will Im Orlin Ivanov Cameron Kahangi Ian Mosley Armando Muñoz Chad Nagel Tony Perez Joe Prudente Bernie Smith Mike Warfel Danaya Wattanapan Utilities Chris Savage Bear Johnson DIT Jack Damon Still Photographers Michael Becker Ray Mickshaw

CROSSING THE FRONT RUNNER , THE SEVENTH FEATURE ERIC STEELBERG, ASC, HAS MADE WITH WRITER/ DIRECTOR JASON REITMAN, REVISITS THE POLITICAL CAMPAIGN THAT CHANGED AMERICA FOREVER.

PHIL L IP WIL L I AMS

PHOTOS BY

F R A NK MASI , SMPSP FRAMEGRABS COURTESY OF

WA RNER BROS.

THE

LINE

n today’s rapid, take-no-prisoners world of contemporary journalism – married as it is to the 24/7 news cycle and the constant demand for eyeballs – the once respected wall between private lives and public matters is a distant memory. Quaint as it may sound, there was a time when the White House press corps knowingly never reported on JFK’s sexual escapades or LBJ’s bruising strong-arm politicking because of a socalled “gentlemen’s agreement.” But with today’s viral news sources like TMZ, Fox News, Politico, The Huffington Post, and so many others, those who keep America’s government running have truly become “public servants.” Jason Reitman’s new film, The Front Runner, portrays that watershed moment in American political history, when mainstream journalism dove headlong into gossipy sensationalism and never looked back, with the ill-fated 1988 Presidential campaign of Democratic Senator Gary Hart (Hugh Jackman). Eric Steelberg, ASC (who has shot all of Reitman’s seven features), says The Front Runner is a story “about the moment in time when public figures’ personal lives became more important than their professional accomplishments.” An adaptation of Matt Bai’s All the Truth Is Out: The Week Politics Went Tabloid and written by Bai, Reitman, and Hilary Clinton’s former press secretary, Jay Carson, The Front Runner focuses on the dissolution of Hart’s presidential aspirations and the subsequent impact on his family and the national political culture. After reporters from The Miami Herald take the unprecedented step of putting a tail on Hart in order to verify rumors of an extra-marital affair, national coverage of his candidacy quickly swings away from the issues and onto Hart’s alleged infidelity, thereby

ensuring his campaign will never recover. The project, which presented Steelberg with his first opportunity to bring a true-story to the screen, was, in his words, “a culmination of everything I’ve done or ever wanted to do. It allowed me to take from all the experience I’ve had, and apply it all at one time.” Going back to early collaborations with Reitman on Juno, and director Marc Webb on (500) Days of Summer, Steelberg has often employed an understated naturalism; his imagery is warmly crafted to serve story, character, and tone above all else. Films like Up in the Air, Young Adult, Labor Day, or the most recent, Tully (all directed by Reitman), never allow form to trump substance. With The Front Runner, an authentic recreation of the 1980’s was essential if the filmmakers were to draw the audience into the story. “There was definitely a sense,” Steelberg emphasizes, “that we wanted the audience to know when the film starts – and in the way it starts – that this is something that really happened.” To wit, that meant using a visual vocabulary and toolset evocative of the times. And, as A-camera/Steadicam operator Matthew Moriarty recalls, “Eric and Jason knew from the very beginning we would be shooting on film.” In fact, Reitman and Steelberg actually considered shooting on 16mm. But after some initial testing, they opted for 35mm, because, as Steelberg notes, “16mm wasn’t great for wide shots; you don’t have enough resolution to see people’s faces. With such a large cast and so many wide shots planned, 35mm won out.” “And,” Moriarty adds, “you’re reminded when you see [35mm] that this is how movies looked back then. A period film will live or die based on what the Art, Costume, Hair and Prop Departments do. But on the camera end, shooting film gives them a major assist.” Fidelity to the era followed all the way through to postproduction. EFILM Senior Colorist Natasha Leonnet, who has been collaborating with Reitman and Steelberg since Juno, says they wanted the digital intermediate to be as invisible as possible since, in the 1980’s, it wouldn’t have existed. “They wanted it to feel seamless, but simultaneously not have any digital signatures,” she explains. “We used the Lustre Color Correction system, which has printer lights that mimic the printer lights that one would have experienced at the laboratory.” With that also came the directive from Reitman to maintain a sense that these are real events happening to well-known people. If the color was pushed, it might feel forced, and break the spell. For Leonnet, that meant never forcing the image to do something it wouldn’t do naturally, i.e., never imposing a look on the film. “You’re respecting the negative that Eric shot,” Leonnet continues. “You’re not changing the hues that are inherent in the production design or costumes. You’re not giving it a gloss that would be inappropriate. It’s a little bit more of a documentary style, but à la 1980’s.” Ironically, in wanting to emulate naturalism masters like Robert Altman, Alan J. Pakula, Sydney Lumet, and, most notably,

(top) DP Eric Steelberg, ASC; (middle) B-Camera Operator Cale Finot; (bottom) A-Camera Operator Matt Moriarty, SOC; Boom Operator Craig Dollinger; 1st AC Sebastian Vega; DP Eric Steelberg, ASC

Michael Ritchie’s 1972 political campaign classic, The Candidate (shot by Victor Kemper, ASC), Reitman [see Exposure, page 30] and Steelberg ended up with a cinematic language that drew more from the 1970’s than the 1980’s – when the film actually takes place. But as Steelberg shares in The Front Runner’s press notes: “We referenced the 1970’s not just because [the films] were so evocative, but also because they were absolutely pre the digital age. And part of Hart’s downfall had to do with satellite technology that ultimately led to [our current] Internet era – it allowed for 24/7 news coverage and mobile ENG crews.” Seventies-era techniques like long single takes, zooming rather than cutting, dolly, and track rather than Steadicam, and hand-held, where it would serve the story, were often employed. Zooms were used to move past characters in the foreground onto others talking in the background, allowing the audience to travel through the narrative without shaping the experience in absolute terms. As for doing complex single takes, Steelberg notes that he and Reitman have done oners in past movies, but never to this level of complication and usually only for one or two scenes. “We always thought it was a fun thing to do,” he describes of emulating Robert Altman’s famously long single takers, “but it never really seemed appropriate. Here we played with long dolly shots of people talking without cutting away, reframing within the shot, and allowing visuals to tell the story without the use of dialogue, which are all powerful cinematic devices.” One such Altman-esque “oner” actually begins the movie and is set four years earlier, at the 1984 Democratic Convention in San Francisco, where Hart, in his first run at the Presidency, concedes the nomination to then Vice-President Walter Mondale. As Steelberg details [in The Front Runner’s press notes]: “The opening [of the movie] had been scripted very traditionally and we could have done it in five or six shots, but we saw an opportunity to introduce the language of the film by doing [a oner]. It was not a slam-dunk. We had to close down a city street, bring in special cranes, create a virtual 3D model and spend a morning rehearsing. It was a monumental undertaking and relatively risky and we didn’t know what would happen. We shot one version in the daytime and weren’t entirely happy so we came back again that night, brought back the crane and the period cars and closed down the street again. On the last [of nine

“ I ALWAYS ENJOYED HOW CINEMATOGRAPHERS USED TO BE ABLE TO HAVE HARD LIGHT, MIXED WITH NATURAL LIGHT, LOOK SO LOVELY AND NATURAL.” Eric Steelberg, ASC

takes], the timing was somehow perfect, and seconds after, a huge thunderstorm came in.” Another challenging “oner” is when Gary and Lee Hart (Vera Farmiga) meet for a private conversation in a diner. The handheld shot, which involved Hart coming out of a car, actually necessitated the creation of a small 35mm rig that could be handed from one operator to another. The feature documentary The War Room (co-shot and co-directed by D.A. Pennebaker), about Bill Clinton’s 1992 Presidential campaign, was yet another source of inspiration, as the filmmakers sought to harness that film’s natural intimacy. “We choreographed the cameras, we choreographed the lens, the camera operating, and the dolly with the dialogue and the actors’ blocking,” Steelberg recalls. “It was as if you were standing in the room with the characters, just kind of walking around.” Given his independent film background, Steelberg often tries to get the job done with as small a kit as possible. “I took that approach further than ever on The Front Runner, working with as few lights as possible,” he adds. Drawing from 1970’s era DPs like Owen Roizman, ASC on Three Days of the Condor and The French Connection, Gordon Willis, ASC on The Parallax View, and Victor Kemper, ASC on Dog Day Afternoon, Steelberg relished the chance to push the use of hard light. “I always enjoyed how [those cinematographers] used to be able to have hard light, mixed with natural light, look so lovely and natural,” he offers. “Digital, with its tendency to add crispness and contrast to an image that inherently has those qualities, has made the use of hard light less desirable. So film’s texture lends hard light more character.” Panavision cameras were used, with an 11:1 Primo Zoom, and three Angénieux compact zooms – 15-40mm, 28-76mm, and a 45-120mm. All the lenses were detuned. “I wanted the benefits of these modern lenses, and their range,” Steelberg shares, “but, of course, that also brings a modern look. By detuning them, you take a little bit of the sharpness and contrast out.” Often employed to moderate electronic harshness and introduce some welcome flaws into digital cinematography, detuning lenses for a film shoot was a more unusual choice. “I’ve never encountered it before,” observes A-camera 1st AC Sebastian Vega. “I think the results we started seeing in dailies were beautiful.” For Vega, the process created a kind of distress to the fidelity of the optics that takes the viewer back into the period. In fact, the approach was so successful, Steelberg carried the detuned Panavision 11:1 over to his next project, Dolemite Is My Name, a 1970s period picture starring Eddie Murphy. The Front Runner was shot primarily on Kodak 5219, with some use of 5213 when more sharpness or resolution was needed. The stock was pushed one to two stops throughout and forceprocessed, which Steelberg calls a process of deconstructing through exposure and slight changes in processing, to add texture/grain and have the shadows fall off more quickly. “I underexposed and then pushed it to kind of bring it back up to a normal density,” he clarifies. “When you do that, beyond a certain point, it doesn’t brighten the image back up evenly. At first, it does it in the highlights, and then gradually works its way down to the shadows. So, if you do it enough – like with two stops – you’ll push the highlights a whole lot more than you’ll push the shadows, so you won’t have as much range in your shadows. That was something I saw in the old films we watched. There just wasn’t a lot of shadow range.” The return to film, and the subsequent emersion in a predigital workflow and mindset, also allowed Steelberg and his camera team to revisit some old school tools.

“THERE ARE A LOT OF OLD TOOLS THAT ARE VERY GOOD AT HELPING WITH CONTRAST, AND PUTTING LIGHT WHERE YOU WANT [AND NOT WHERE YOU DON’T].” Gaffer Dan Riffel

“I was pulling out a lot of snoots for Fresnel; incandescent light,” he recalls. “I didn’t use as many LED’s as usual. I also went back to using Nine-Lights, Nine-Light Pars, Par cans, Fresnels, and neon, actual neon. Film was built for incandescent lights and HMI’s, so you get a much better color response using those kinds of units.” For added realism, Gaffer Dan Riffel lit the film’s news conferences with units that would have been used in those actual situations. “We got several old FAY lights – two-light FAYs and four-light FAYs – and we just put them in the shot,” Riffel remembers. “And the further into the film we went, a Baby with a snoot on it was far more popular than a SkyPanel, or a Celeb, or any of the latest and greatest LED toys. There are a lot of old tools that are very good at helping with contrast, and putting light where you want [and not where you don’t]. We used a harder, more contained light in many cases, and it worked well.” The excitement and urgency of shooting film was felt throughout the set. “In my mind, The Front Runner would not have been the same movie if we had shot it on digital,” Steelberg muses. “You work more quickly with film. There’s less discussion about the image before you roll, and there’s just, generally, less second-guessing of the whole team – the operators and focus puller - like it used to be.” According to more than one Guild member, shooting film lifted everyone’s game; actors and crew alike tended to be ready on the first take, because they knew when you start rolling film, money is being spent. Reitman says his long-standing relationship with Steelberg has become a thing to value above the particulars of any one shoot or project – an essential part of the alchemy of good storytelling. “You start to see with one set of eyes,” the writer/director enthuses. “You have a shared understanding of what story you’re telling. Eric does something on all his films that I love: he makes sure that everyone on the team, down to the loader, reads the sides every day. For him, the most important thing is that everyone understands what story they’re trying to tell. Eric and I have kind of developed a language of feel; that’s really what we share.”

LOCAL 600 CREW Director of Photography Eric Steelberg, ASC A-Camera Operators/Steadicam Matt Moriarty, SOC A-Camera 1st AC Sebastian Vega A-Camera 2nd AC John “Utah” Hoffler B-Camera Operator Cale Finot B-Camera 1st AC Patrick Sokley B-Camera 2nd AC Jack Lewandowski Digital Utility Rachel Keenan Loader Nicole Turegano Still Photographers Frank Masi, SMPSP Dale Robinette Unit Publicist David Linck splinter UNIT Director of Photography Shelly Johnson Operator Bo Webb, SOC 1st AC Marcos Lopez 2nd AC Dan McKee

LIVE THEREâ&#x20AC;&#x2122;S NOTHING MORE ICONIC IN THE WORLD OF TELEVISION THAN A LIVE BROADCAST FROM NYC, AND YOU CAN BET LOCAL 600 CREWMEMBERS ARE IN THE THICK OF IT ALL.

PA ULIN E ROGERS

PHOTO COURTESY OF

COUN T D OWN EN T ERTA IN EN T

FROM

NEW YORK! 62

When the digital clock hits midnight and the famous “big ball” drops in Times Square, there can be more than a billion people watching the moment. When the famous façade of Radio City Music Hall bursts onto the screen, audiences around the globe are eagerly poised to watch The Tony Awards – with one spectacular production number after another. So, do the words “and we’re live from New York” add to the pressure on the Local 600 crewmembers who work these shows every year? Hardly.

THE TONY AWARDS “It’s a very New York story,” says operator Lyn Noland of The American Theatre Wing Tony Awards. Broadway has honored the best of those artists with “live theater in their blood” since April 6th, 1947. The Awards began in the Grand Ballroom of the Waldorf-Astoria and were broadcast on the Mutual Network’s WOR Radio. During that first production, host Brock Pemberton presented an award and called it a “Tony,” in honor of actress/ director/producer and co-founder of the American Theatre Wing, Antoinette Perry. The name stuck and the event just kept on growing. “We used to broadcast live from beautiful Broadway theaters, often rehearsing The Tonys in the day and live theater at night,” says Head Utility (for more than 30 years) Michael Cunningham. Today, it’s Radio City Music Hall, no live productions to work around – but it still does take a week to run cables and set up cameras (13 this year). “Lighting is hybrid,” adds Lighting Designer Robert Dickinson. “We have to deliver a product that references the live visual intent seen on a Broadway stage and make it acceptable for a live broadcast.” Those are two diametrically opposed philosophies. Contrast ratio, light angle, and intensity in the theater demand different criteria. Dickinson says the approach is to use “only intelligent luminaries over the stage. This allows for complete focus and color flexibility and very quick programming.” Lighting and screen technology is ever-changing, and that impacts both staging and broadcast. LED screens can now be installed as “virtual scenery.” The theatrical scenery can be photographed and projected on these screens to create the show’s “environment” – with smaller scenic elements and props rounding

out the image. It takes a special talent to navigate through each show’s environment and complex productions, such as Steadicam operator Tore Livia’s three-minute-and-40-second opening shot with Hugh Jackman, for the 2014 Awards. When Livia got the call from director Glenn Weiss to come in a few days early, he found out he’d be following Jackman hopping along Broadway, through the building, and up to the stage! “The three of us walked the shot,” Livia recalls, “which encompassed every show that was performing at The Tony Awards being peppered throughout the opening shot while capturing Hugh’s choreography of hopping all throughout the Radio City building. “There were two moments of pause that stopped the choreographic movement for us,” he continues. “One was when the stage elevator brought us down to the basement where choreography resumed as we walked past Sting, and Rocky and Aladdin cast members. And the second was entering a different elevator leading us back to stage level, where Hugh continued to hop his way to the stage for the end of the song. In typical

photo courtesy of CBS

Hugh Jackman fashion, we came back from the first commercial and he immediately gave me credit for the long opening shot – and joked that I operated it all in two-inch heels!” Dancing with the camera through a maze is typical for on-stage Jib Operator Jay Kulick, who says that working Radio City Music Hall, “you would think there’s comfortable room for [Local 600 Utility] Keith Conod and I to move around, but it’s always taken up with props, audio, [show casts and performers getting miked up], lighting and stage management.” Kulick recalls one year doing a Winner Walk-Off shot, which meant dollying the Jib backward to walk with the winner. “We had about eight feet of room to move,” he says. “At the end of the shot, I wound up bumping into and sitting on James Earl Jones’ lap. I said, ‘Excuse me’ – and we had a pretty good laugh.” Down in the audience is a much different dynamic – but just as challenging. “The smartest trick is not to panic,” offers operator Charles Huntley, who has been doing The Tonys since 1978. “You have to take each moment as it comes, not look for what is coming later. I love to make the picture tell the story as it is happening. I look out the side of my eyepiece to see a related reaction when I can.” “We have to be incredibly mobile and fast,” adds Jimmy O’Donnell, one of the other four handheld operators, who says getting into position for nominees can be nerve-wracking. “No other camera can cover your angle,” O’Donnell reveals. “Sometimes we can have two or three nominees in the same aisle. So, you have to be ready – to either walk your winner down the aisle – or scramble out of the way!”

Sometimes the unexpected kicks up, and that’s when things get interesting. Take the moment when Robert De Niro had a few choice words to say about President Trump, and the audience completely erupted. Talk about diving in and getting the angles of reactions that other cameras just can’t capture! The Local 600 crew was ready for it. Another interesting camera position is David Smith on a robotic dolly, set one audience row back from the stage. Smith controls the lateral movement and the robotic pan-head, zoom, and focus. His assistant, Martin Marietta, controls the tower height. “A lot of my responsibility is to stay out of the way,” Smith shares. “We’ve been using a Furio dolly because it can get low enough for audience heads behind the camera to hide it, but it’s not the fastest tower rig out there. So, getting from hiding position to my next shot, or from a shot to being hidden, can be nerve-racking. “Last year, we had a bit of a problem with the dolly, so we went through a lot of rehearsals with no tower adjustment capabilities,” Smith adds. “A new tower had to be shipped to New York, and we were getting pretty nervous. Once you shoot a performance rehearsal, you don’t see that act again until show day, so shot heights and timing for positions were unrehearsed. Once the new tower arrived, my assistants Martin Marietta and Ted Erne had me up and running in record time. It made for the thrill of live television being a bit more thrilling – but we got through it – albeit with some sweaty hands on the controls at times.” And those moments are just the tip of the iceberg when it comes to broadcasting The Tony Awards live. It would take a book to even crack the challenges of this event – which get more complex every year. But that’s what makes getting this family together for the event so exciting. “One of the things that shooting The Tony Awards has going for it is a very strong Local 600 crew,” Cunningham concludes. “From Utilities to Camera, this team has worked the event for many years – and it shows. The Tony Awards is New York!”

NEW YEAR’S EVE LIVE FROM NEW YORK The New Year’s Eve Ball Drop in Times Square started in 1907 as a successor to the various fireworks displays The New York Times owner, Adolph Ochs, organized to celebrate a new beginning. As interest grew, so did the event – which has been held every year (except for 1942 and 1943, because of the war blackouts). Today, nearly a billion people around the world breathlessly watch the 60-second countdown to the ball dropping. Capturing that iconic minute, the energy of the crowds (1 to 2 million on sight), and the acts that pepper this six-hour broadcast are just a few of the pressures a core of Local 600 members who specialize in live events take in stride every year. And if you thought Dick Clark’s New Year’s Rockin’ Eve, CNN, NBC, ABC, and the various other entertainment shows and networks that cover the ball drop do it all themselves, think again. “It’s really unique that no other entertainment show is set up in a unilateral shoot for other networks,” explains Charlie Prideaux, who has served as technical producer and director for over 20 years for The Times Square Alliance and Countdown Entertainment. Each year Prideaux gathers a “family” of Local 600 live event specialists to set up and capture everything from the crowds, their reactions, and specialty acts to the iconic ball drop, which starts 60 seconds before midnight for what is called “The World Feed.” The 30some entertainment venues and networks (as well as broadcasters around the world who pull from a satellite feed) tap into the images Guild members capture – and broadcast as if they are their own. “Last year,” Prideaux explains, “we had 18 cameras, some as high as the 22nd floor of #2 Times Square, around the entertainment stages, and even in the emergency lanes.” It takes close to three weeks to prepare the broadcast; and about 20 miles of cable – all wrangled by Head Utility Jim Washburn and a 100-person crew. “Times Square is at the busy crossroads of Broadway and 7th Avenue, between 42nd and 47th streets,” Washburn describes. “There are thousands of people flooding the area as the show is built, so all our cables have to be installed in the air. They are strung from lamppost to lamppost over traffic and pedestrians. No cable trough on the ground due to the frequent snow storms and the required plowing. And, because of the

67 photo courtesy of Countdown Entertainment

traffic, cabling can only be done overnight between 12 a.m. and 7 a.m. Cameras have to be set up on the four temporary stages on the street but also on several of the buildings surrounding the square.” “Jim and his crew are amazing,” adds Prideaux. “One run they have to do is from the top of a skyscraper on 42nd Street that ends 18 blocks north to Central Park. He has to use telephone poles as well as set up temporary poles for the miles of cable.” That includes not only the cables for the World Feed but also the audio and video to each stage.” “In addition to this massive multi-camera event, we also have the screen feeds,” Washburn adds. “This means physically running cable from the world feed truck on the corner of Broadway and 47th Street up to the screens on 50th, 52nd, 54th, then all the way up Broadway to 59th Street, Columbus Circle, then over to 7th Avenue for the final screen setup at Central Park South. The city requires us to hardwire all these screens since it is more reliable than a laser or microwave link. There is fear of a crowd surge – if the screens failed.” The challenges for Guild operators (who have special permits to be where no one else can go) are multi-fold. As operator Charlie Huntley reflects: “Talking your way to your location through a mass of people and police security can be tough. So is trying to stay warm – this year my wife ordered me a special hat and glove warmers. A few of us have been known to bring heating pads! If your butt is warm, all is right with the world at that moment – no matter what happens.” (No joke! One year, it was so cold – negative 15 degrees – the crew had to scramble to check the specs on the camera.) “I’ve been doing the Ball Drop for 22 years,” adds Jerry Cancel. “At midnight, when you see the ball with the pyro, that’s me – on the 27th-floor roof of the Radisson Hotel on 47th Street. I have a 101-millimeter Fujinon lens. With the 2X extender, I can fill my frame with the 34th Street sign. Of course, there are little things to watch out for – besides being in focus. For me, one of the things that I have to look out for is changes in advertising in Times Square. We’re told not just what to shoot – but more importantly what can’t be shot.” It takes a lot of coordination and cooperation to make this demanding live event all that it has to be, and everyone is in it together. “Last year was one of the coldest we’ve ever had,” recalls Cancel. “At about 11 p.m. my lens froze. I didn’t panic. I knew the engineers were there for me. They brought up lights and tarps to try to defrost my lens from below. We worked together – and figured out it wasn’t the lens but the zoom handle itself.” And like always, when the ball dropped, Cancel got the famous moment from his position, in all its glory – for over a billion people to enjoy. Local 600’s World Feed helps the world come together, even if just for a moment, to usher in a new year.

LOCAL 600 CREW 2018 TONY AWARDS Lighting Designer Robert Dickinson Lighting Director Noah Mitz Operators Robert Balton Robert Del Russo Ted Erne Charles Huntley John Kosmaczewski Jay Kulick Tore Livia Martin Marietta Lyn Noland Jimmy O’Donnell Mark Renaudin James Scurti David Smith Jim Tufaro Mark Whitman

Chyron Operator Deborah Cavanaugh Video Controller JM Hurley Technical Manager Robert Muller

Head Utility Michael Cunningham

LOCAL 600 CREW New Year’s Eve Live Operators Ryan Balton Mark Britt Jerry Cancel Manny Gutierrez Charlie Huntley Matt Kelly Mike Kirsic John Kosmaczewski Mike Milia Marc Nathan Bruce Novich Rick Seibert Damien Tuffereau Tom Wills, SOC Head Utility Jim Washburn Utilities Lee Alkaysi

Utilities Ramsey Alkaysi Robert Benedetti Keith Conod Anthony DeFonzo Kit Donovan John Heneghan Joe Mancusi Mike Moran Giuseppe Restivo Edward Ryan Jim Washburn

Frank Bourassa Keith Conod Michael Cunningham Anthony DeFonzo Pat Doyle John Escudero Jim Goldsmith Jon Hopkins Ed Lavin Robert Lopez Martin Marietta Mike Moran Russell Muccigrosso Mike Pulaski Zach Solomon Dylan Whitman Scott York DIT August Yuson

photos courtesy of Amy Hart for the Times Square Alliance

WILD AT 70

L TO R: GREGORY PETERS, CATHY KANAVY, KAREN KUEHN, LEWIS JACOBS

HEART NEW MEXICO-BASED UNIT STILL PHOTOGRAPHERS ARE A HEARTY BREED, WHOSE LOCAL KNOWLEDGE SAVES TIME AND MONEY

PHOTO BY

KA REN KUEHN A N D T ON Y BON A N NO LOCATION

BONANZA CREEK RA NCH LOCATION SCOUT

CYN DY MCCRO S S EN

KAREN KUEHN

When Local 600 Unit Still Photographer Karen Kuehn pitched us on a gallery spread showcasing the work of New Mexico-based IATSE unit photographers, we asked what makes her state so unique. “Not only is the talent pool here extremely varied and deep,” Kuehn proudly stated, “but a New Mexico-based still photographer has the local knowledge of the land and the environment that’s hard to beat.” And, Kuehn correctly observes, the landscape in New Mexico is not for the faint of heart. “The light can be quite severe,” she adds. “Sunrises and sunsets are painterly and spectacular, but the ever-shifting clouds − the same ones Ansel Adams often captured in his famous large-format photography − makes for challenging locations to capture stills. With hurricanes in the Southeast, snow in the Southwest, and fire a threat out West, surprises are commonplace; our unit photographers are very self-reliant and prepare for the worst, both of which can be invaluable to a production.” The value of New Mexico’s “big country” views has been clear to Hollywood since the first silent westerns rolled through more than a century ago; now, with the state having hosted everything from the 16-time Emmy-winning Breaking Bad to teen and fantasy projects like Roswell and Midnight, Texas, the value of hiring a “local” Local 600 unit photographer has never been higher. Step into the one-of-a-kind world of southwestern filmmaking, as seen through the eyes of those who know it best.

“This image, which has that real New Mexico feel, is from this past summer’s theatrical feature Ideal Home. It’s a behind-the-scenes of co-star Steve Coogan, silked and alongside Mary Towslee (wrangler for Movin’ On Livestock). Nothing like seeing a star being dusted out in the big open landscape. Being a slap-down cowgirl myself, I had to do a double take a few times, with a chuckle!”

LEWIS JACOBS “Cliffs of Freedom is a period film that takes place near the end of the Ottoman Empire in the late 1800s. It is the story of Greek independence from Turkish rule. This image was made several hundred feet above ground level looking down from a Janissary guard tower as the sun was about halfway set. New Mexico’s landscape will often double as other parts of the world.”

GREGORY PETERS “This image, from Season 1 of the WGN series Manhattan, which was set in 1943 in Los Alamos, New Mexico, during the race to create an atomic bomb, was taken at sunset after a rain-and-lightning delay, for which our abbreviated crew had to pile into vans and people movers to wait out. July is monsoon season in New Mexico, and it often produces these kinds of beautiful post-storm skies. This shot, shot with a Nikon D4 at f5.6, 1/250th of a second, with a 24-70mm lens at 70mm and ISO 3200, is of David Harbour (L) and Ashley Zukerman (R) confronting each other.”

CATHY KANAVY “We had very limited time to get promo images for Captain Fantastic, especially when the children and [lead actor] Viggo [Mortensen] were in their most eccentric wardrobe. Thunderstorms were coming in, and we could all hear the rumblings, so Viggo was hesitant; his “fatherly concern” for the children’s safety was clear. I explained that I had shot in these conditions before, and (as a local) knew we could finish in less than the hour we had to beat the storm (and the time allowed by production). There was no plan for the shots, so I just encouraged the kids to express their characters’ personality and have fun. Their enthusiasm, along with my professional assurances, convinced Viggo to go for it, and working as a tight “movie family,” we finished in 15 minutes. Safety first!

PRODUCTION CREDITS

COMPILED BY TERESA MUÑOZ – AS OF OCTOBER 1, 2018 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 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, Publicists, Additional Units, etc.). Please note that the deadline for the Production Credits is on the first of the preceding cover month (excluding weekends & holidays).

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

2BC FILMS, INC. “AT HOME WITH AMY SEDARIS” SEASON 2 Director of Photography: Robert Barocci Operators: Charles Beyer, Caitlin Machak Assistants: Gordon Arkenberg, Sarah Hendrick, Casey Johnson, Katie Greaves Loader: Matthew Martin

Assistants: Jeff Lorenz, Michele McKinley, Hunt Hibler, Kevin Menteer Camera Utility: Kate Steinhebel Digital Utility: Selvyn Price Jib Arm Operator: Jack Chisolm Jib Arm Assistant: Hunt Hibler Video Controller: Keith Anderson

20th CENTURY FOX “911” SEASON 2 Director of Photography: Joaquín Sedillo, ASC Operators: Brice Reid, SOC, Duane Mieliwocki, SOC, Phil Miller, SOC Assistants: Ken Little, Noah Thomson, Eric Guerin, Roger Spain, Naomi Villanueva, Jihane Mrad Steadicam Operator: Brice Reid, SOC Steadicam Assistant: Ken Little Camera Utility: Paulina Gomez Digital Utility: Joshua Smith

“SPEECHLESS” SEASON 3 Director of Photography: Rhet Bear Operators: Patrick McGinley, Hiro Fukuda, Brad Richard Assistants: Blair Rogers, Peter DePhilippis, Geoff Goodloe, Ulli Lamster, David Erickson, James Jermyn Camera Utility: Brittany Meadows

“AMERICAN HORROR STORY” SEASON 8 Director of Photography: Gavin Kelly Operators: BJ McDonnell, Nathan Levine-Heaney Assistants: Mike Vejar, Gary Johnson, Beaudine Credle, Dawn Nakamura Camera Utility: Zac Prange Digital Utility: Gabriela Hirata “CALL OF THE WILD” Director of Photography: Janusz Kaminski Operators: Mitch Dubin, SOC, George Billinger, SOC Assistants: Mark Spath, Jeff Porter, David O’Brien, Larissa Supplitt Steadicam Operator: George Billinger, SOC Digital Imaging Tech: Josh Gollish Loader: Tim Balcomb Camera Utility: Brandon Gutierrez Remote Head Tech/Operator: Jon Philion Still Photographer: Merie Weismiller Wallace “COOL KIDS” SEASON 1 Director of Photography: Chris La Fountaine, ASC Operators: Bruce Reutlinger, George La Fountaine, Chris Wilcox, Kris Conde Assistants: Brian Lynch, Jeff Roth, Craig La Fountaine Digital Imaging Tech: Shaun Wheeler Camera Utilities: Chris Todd, Vicki Beck Video Controller: Andy Dickerman “FRESH OFF THE BOAT” SEASON 5 Director of Photography: Greg Matthews Operators: Brian Morena, Brooks Robinson Assistants: Ray Dier, Tomoka Maronn Izumi, Chris Cobb, Steve Whitcomb Camera Utility: Adam Kolkman

“STAR” SEASON 3 Directors of Photography: Crescenzo Notarile, ASC, AIC, Bobby La Bonge Operators: Aiken Weiss, Jim Gucciardo Assistants: Maurizio Dotto, Chad Brock, April Ruane Crowley, Grace Preller Chambers Steadicam Operator: Aiken Weiss Loader: Trent Walker Utility: Anna-Marie Aloia “THE GIFTED” SEASON 2 Directors of Photography: Bart Tau, Peter Kowalski Operators: Matt Doll, Andrew Fisher, Christian Satrazemis Assistants: Justin DeGuire, Cristian Trova, Joe Waistell, Taylor Case, Lauren Gentry, Justin Cooley Steadicam Operator: Matt Doll Steadicam Assistant: Justin Deguire Digital Imaging Tech: Joe Dare Loader: Peter Johnston Digital Utility: Becca Bennett Still Photographers: Eliza Morse, Guy D’Alema “THE KIDS ARE ALRIGHT” SEASON 1 Director of Photography: Craig Kief Operators: David Sammons, Caleb Einhorn Assistants: Jarrod Oswald, Joe Solari, Richard Avalon, Conor Murphy Loader: Aaron Biller Digital Utility: Jason Faust Still Photographers: Nicole Wilder, Tony Rivetti, Jr. “THE WOMAN IN THE WINDOW” Director of Photography: Bruno Delbonnel, ASC Operator: Craig Haagensen Assistants: Andrew Harris, Connie Huang Digital Imaging Tech: Matthew Selkirk Loader: David Ross Still Photographer: Melinda Sue Gordon, SMPSP

“LAST MAN STANDING” SEASON 7 Director of Photography: Donald A. Morgan, ASC Operators: Gary Allen, Randy Baer, Larry Gaudette, John Boyd Assistants: Missy Toy-Ozeas, Damian Della Santina, Al Myers Camera Utilities: John Weiss, Steve Masias Digital Imaging Tech: Von Thomas

“THIS IS US” SEASON 3 Director of Photography: Yasu Tanida Operators: James Takata, Tim Roarke Assistants: Sean O’Shea, Rich Floyd, Brian Wells, Jeff Stewart Steadicam Operator: James Takata Steadicam Assistant: Sean O’Shea Loaders: Mike Gentile Still Photographer: Ron Batzdorff

“REL” SEASON 1 Director of Photography: George Mooradian, ASC Operators: Jack Chisholm, Ron Hirschman, Bruce Pasternack, John Boyd

ABC STUDIOS “AGENTS OF S.H.I.E.L.D.” SEASON 6 Directors of Photography: Allan Westbrook, Kyle Jewell Operators: Bill Brummond, Josh Larsen

Assistants: Coby Garfield, Tim Cobb, Derek Hackett, Josh Novak Steadicam Operator: Bill Brummond Digital Imaging Tech: Ryan Degrazzio Digital Utility: Andrew Oliver “BLACK-ISH” SEASON 5 Director of Photography: Rob Sweeney Operators: Jens Piotrowski, Troy Smith Assistants: Art Martin, Dan Squires, Tony Muller Digital Utilities: Pablo Jara, Eliza Wimberly “HOW TO GET AWAY WITH MURDER” SEASON 5 Directors of Photography: Michael Price, Jeff Jur Operators: Scott Boettle, John Hankammer, Andrea Rossotto Assistants: Heather Lea-LeRoy, Vanessa Morehouse, Darrell Herrington, Drew Han, Mark Sasabuchi, Michael Stampler Digital Imaging Tech: Andrew Osborne “JESSICA JONES” SEASON 3 Director of Photography: Manuel Billeter Operators: Michael F. O’Shea, Kate Larose Assistants: Marc Hillygus, Jason Rihaly, Vincent Tuths, Ryan Toussieng Loaders: Kelsey Middleton, Jonathan Peralta “JIMMY KIMMEL LIVE!” SEASON 16 Lighting Director: Christian Hibbard Operators: Greg Grouwinkel, Parker Bartlett, Garrett Hurt, Mark Gonzales Steadicam Operator: Kris Wilson Jib Operators: Marc Hunter, Randy Gomez, Jr., Nick Gomez Camera Utilities: Charles Fernandez, Scott Spiegel, Travis Wilson, David Fernandez, Adam Barker Video Controller: Guy Jones Still Photographers: Karen Neal, Michael Desmond 2ND UNIT Directors of Photography: Bernd Reinbardt, Steve Garrett “SMILF” SEASON 2 Director of Photography: Brian Burgoyne Operators: Abigail Linne, Rachael Levine Assistants: Gregory Wimer, Jill Tufts, Christian Hollyer, Talia Krohmal Loader: Toshadeva Palani Digital Utility: Thomas Bellotti Still Photographers: Claire Folger, Mark Schafer, Chris Malenfant, Dana Starbard, Seacia Pavao “STATION 19” SEASON 2 Directors of Photography: Oliver Bokelberg, ASC, Daryn Okada, ASC Operators: Ron Baldwin, Mariana Antunano Assistants: Tony Schultz, Chris Garcia, Diana Ulzheimer, Tim Tillman Steadicam Operator: Ron Baldwin Steadicam Assistant: Tony Schultz Digital Imaging Tech: Andrew Lemon Digital Utility: George Montejano, III AFN PRODUCTIONS-TELEPICTURES “THE REAL” SEASON 5 Lighting Director: Earl Woody, LD Operators: Kevin Michel, David Kanehann,

“CRAZY EX-GIRLFRIEND” SEASON Director of Photography: Ian Dodd Operators: Shasta Spahn, Bonnie Blake, Taj Teffaha Assistants: Eric Dyson, Eric Wheeler, Freddy Rosado, Blake Hooks Digital Imaging Tech: Sam McConville Utility: James Dunham “ENTERTAINMENT TONIGHT” Lighting Designer: Darren Langer Director of Photography: Kurt Braun Operators: Jaimie Cantrell, James B. Patrick, Allen Voss, Ed Sartori, Henry Zinman, Bob Campi, Rodney McMahon, Anthony Salerno Camera Utility: Terry Ahern Video Controllers: Mike Doyle, Peter Stendal “FAM” SEASON 1 Director of Photography: Patti Lee Operators: Mark Davison, Cary McCrystal, Jeff Miller, Jon Purdy Assistants: Don Davis, Vito De Palma, John Weiss, Jeff Johnson, Lisa Anderson Utilities: Anthony Leifheit, Lance Mitchell Digital Imaging Tech: T. Brett Feeney Video Controller: Clifford Jones “INSTINCT” SEASON 2 Director of Photography: Joseph Collins Operators: Edgar Colon, Laura Hudock Assistants: Eric Robinson, John Reeves, Marc Charbonneau, Sarah Scrivener Digital Imaging Tech: Jeffrey Hagerman Loaders: Quinn Murphy, Brittany Jelinski Still Photographers: John Lopez, Jeff Neumann, Mark Schafer

Steve Russell, Bob Berkowitz Steadicam Operator: Will Demeritt Camera Utilities: James Magdalin, Henry Vereen, John Markese Jib Arm Operator: Jim Cirrito Video Controller: Jeff Messenger A VERY GOOD PRODUCTION, INC. & WAD PRODUCTIONS “THE ELLEN DEGENERES SHOW” SEASON 16 Lighting Director: Tom Beck Ped Operators: David Weeks, Paul Wileman, Tim O’Neill Hand Held Operator: Chip Fraser Jib Operator: David Rhea Steadicam Operator: Donovan Gilbuena Video Controller: James Moran Head Utility: Craig “Zzo” Marazzo Utilities: Arlo Gilbuena, Wally Lancaster, Diego Avalos BCB PRODUCTIONS “BROAD CITY” SEASON 5 Director of Photography: Ashley Connor Operators: A.C. Litton, Kyle Wullschleger Assistants: Rebecca Rajadnya, Kali Riley, Tsyen Shen, Ryan Nocella Digital Imaging Tech: Jaime Chapin BEACHWOOD SERVICES “DAYS OF OUR LIVES” SEASON 53 Directors of Photography: Mark Levin, Ted Polmanski Operators: John Sizemore, Mark Warshaw, Vickie Walker, Michael J. Denton, Steve Clark

Utilities: Steve Bagdadi, Gary Cypher Video Controller: Alexis Dellar Hanson BENEFACTOR PRODUCTIONS “CHAMBERS” SEASON 1 Directors of Photography: Dana Gonzales, Eliot Rockett, Joe Gallagher, Paul Elliott Operators: Brian Bernstein, Mark LaBonge Assistants: Nick Shuster, Kinglea Bueltel, Ryan Bushman, Jason Seigel Digital Imaging Tech: Rafel Montoya Digital Loader: Jannis Schelenz Digital Utility: Oscar Montez Still Photographers: Ursula Coyote, John Britt BONANZA PRODUCTIONS, INC. “SHAMELESS” SEASON 9 Director of Photography: Anthony Hardwick Operators: Matt Valentine, Gary Hatfield Assistants: Ryo Kinno, Darby Newman, David Berryman, Tim Luke Camera Utility: Maya Morgan Digital Utility: Brooke Magrath Still Photographer: Paul Sarkis CBS “BULL” SEASON 3 Director of Photography: Derick Underschultz Operators: Barnaby Shapiro, Doug Pellegrino Assistants: Roman Lukiw, Soren Nash, Mike Lobb, Trevor Wolfson Digital Imaging Tech: Gabe Kolodny Loaders: Wyatt Maker, Nialaney Rodriguez

“MAN WITH A PLAN” SEASON 3 Director of Photography: Gary Baum, ASC Operators: Glenn Shimada, Travers Hill, Lance Billitzer, Ed Fine Assistants: Adrian Licciardi, Jeff Goldenberg, Alec Elizondo, Clint Palmer, Jason Herring Utilities: Danny Lorenze, Sean Askins Digital Imaging Tech: Derek Lantz Video Controller: John O’Brien “MURPHY BROWN” SEASON 11 Director of Photography: John Inwood Operators: Donna Quante, Greg Saccaro, Mark Schneider, Carol Wetovich Assistants: Alexander Worster, James Madrid, Samantha Silver, Stephen McBride Digital Imaging Tech: Luke Taylor Loaders: Jye-en Jeng, Lorenzo Zanini Still Photographers: Christopher Saunders, Will Hart “NCIS” SEASON 16 Director of Photography: William Webb, ASC Operators: Gregory Paul Collier, George Loomis Assistants: Chad Erickson, James Troost, Nathan Lopez, Helen Tadesse, Anna Ferrarie Still Photographer: Ron Jaffe “NCIS: LOS ANGELES” SEASON 10 Director of Photography: Victor Hammer Operators: Terence Nightingall, Tim Beavers Assistants: Keith Banks, Richie Hughes, Peter Caronia, Jacqueline Nivens Steadicam Operators: Terence Nightingall, Tim Beavers

Steadicam Assistants: Keith Banks, Richie Hughes Digital Imaging Tech: John Mills Digital Utility: Trevor Beeler  Still Photographer: Ron Jaffe Publicist: Kathleen Tanji “NCIS: NEW ORLEANS” SEASON 5 Director of Photography: Gordon Lonsdale, ASC Operators: Jerry Jacob, Vincent Bearden, Tony Politis Assistants: Brouke Franklin, Peter Roome, Jeff Taylor, Dave Edwards, Toni Weick, Stephen Vicari Steadicam Operator: Vincent Bearden Digital Loader: Levi Wells Digital Utility: Kolby Heid “THE NEIGHBORHOOD” SEASON 1 Director of Photography: Chris La Fountaine, ASC Operators: Bruce Reutlinger, George La Fountaine, Chris Wilcox, Kris Conde Assistants: Brian Lynch, Jeff Roth, Craig La Fountaine Digital Imaging Tech: Shaun Wheeler Camera Utility: Vicki Beck Video Controller: Andy Dickerman “THE TALK” SEASON 9 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 Utilities: Mike Bushner, Doug Bain, Dean Frizzel, Bill Greiner, Jon Zuccaro Video Controller: Richard Strock Still Photographer: Ron Jaffe CMS PRODUCTIONS “BAD EDUCATION” Director of Photography: Lyle Vincent Assistant: Kevin Akers Still Photographer: JoJo Whilden COLUMBIA “TOSH.0” SEASON 10 STAGE CREW Operator: Jason Cochard Camera Utilities: Benjamin Steeples, Kyle Kimbriel, Roger Cohen FIELD CREW Director of Photography: Andrew Huebscher Operator: Jason Cochard Assistants: Benjamin Steeples, Kyle Kimbriel, Roger Cohen, Delfina Garfias CONACO “CONAN” SEASON 8 Operators: Ted Ashton, Nick Kober, Kosta Krstic, James Palczewski, Bart Ping, Seth Saint Vincent Head Utility: Chris Savage Utilities: Baron Johnson, Josh Gwilt

CRANETOWN MEDIA, LLC “CENTRAL PARK FIVE” SEASON 1 Director of Photography: Bradford Young, ASC Operators: Stanley Fernandez, Jr., Christine Ng Assistants: Keitt, Gavin Fernandez, Christopher Eng, Samantha Panger Digital Imaging Tech: Nicholas Kay Loader: Ronald Wrase Still Photographers: Phillip Caruso, Atsushi Nishijima “DICKINSON” Director of Photography: Tim Orr Operators: Jeffrey Dutemple, Arthur Africano Assistants: Gregory Finkel, Bradley Grant, Emma Rees-Scanlon, Suren Karapetyan Loader: Patrick McKeown Still Photographer: Michael Parmelee “TIGERTAIL” Director of Photography: Nigel Bluck Operators: Korey Robinson, Jacqueline Fitzgerald Assistants: Johnny Sousa, Wesley Hodges, Kevin Howard, Jr., Corey Licameli Digital Imaging Tech: Matthew Harding Still Photographer: Sarah Shatz CRASH FOR GOLD PRODUCTIONS, LLC “CRASHING” SEASON 3 Director of Photography: Rodney Taylor Operators: Rod Calarco, Frank Godwin Assistants: Jerome Williams,

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Christopher Silano, Chris Cafaro, Cameron Sizemore Loader: Billy Holman Still Photographer: Craig Blankenhorn ENDURANCE MEDIA “COME AWAY” Director of Photography: Jules O’Loughlin Operator: Bela Trutz Assistants: Marcos Lopez, Trevor Beeler, E Gunnar Mortensen Loader: Kyle Kimbriel Digital Imaging Tech: Adrian Jebef Still Photographer: Hilary Bronwyn Gayle EPK: Cory Geryak EYE PRODUCTIONS, INC. “$1” SEASON 1 Director of Photography: Darran Tiernan Operators: Chris Cuevas, Rich Schutte Assistants: Norris Fox, Colin Sheehy, Jonathan Clark, Jason Cianella Digital Imaging Tech: Jamie Metzger Loader: Brian Bresnehan Digital Utility: Samar Kauss Still Photographer: Patrick Harbron “BLUE BLOODS” SEASON 9 Director of Photography: Gene Engels Operators: Stephen Consentino, Geoff Frost Assistants: Graham Burt, Jacob Stahlman, Chris Seehase, Kenny Martell Digital Imaging Tech: Ryan Heide Loaders: Neicy McFadden, Caleb Keeler “ELEMENTARY” SEASON 7 Director of Photography: Thomas Houghton, ASC Operators: Carlos Guerra, Jeremy Weishaar Assistants: Jason Cleary, Charlie Foerschner, Kyle Blackman, Patrick O’Shea Loaders: Dylan Endyke, Ryan Haddon Still Photographer: Elizabeth Fisher “MADAM SECRETARY” SEASON 5 Director of Photography: Learan Kahanov Operators: Jamie Silverstein, Peter Vietro-Hannum

Assistants: Heather Norton, Jamie Fitzpatrick, Amanda Rotzler, Damon LeMay Digital Imaging Tech: Keith Putnam Loaders: Christopher Patrikis, Kristina Lally Still Photographer: Mark Schafer “MACGYVER” SEASON 3 Directors of Photography: Mike Martinez, James L. Carter, ASC Operators: Ian Forsyth, Allen D. Easton, Paul Krumper Assistants: Al Cohen, Stefan Vino-Figueroa, Trevor Rios, Easton Harper, Mike Torino, Danny Vanzura Steadicam Operator: Ian Forsyth Digital Imaging Tech: Greg VanZyck Utility: Tyler Bastianson “MAGNUM P.I.” SEASON 1 Directors of Photography: Krishna Rao, Rodney Charters, ASC Operators: Keith Jordan, Jay Herron, Scott Mason Assistants: Tony Nagy, Brian Mastumura, Tommy Lewis, Rylan Akama, Zeke Hanohano, Sal Alvarez Steadicam Operator: Scott Mason Steadicam Assistant: Tony Nagy Digital Imaging Tech: Caleb Lucero Loader: Kilani Villiaros Digital Utility: Blane Eguchi FOX 21 “THE CHI” SEASON 2 Director of Photography: Abe Martinez Operators: Garret Benson, Richard Crow Assistants: Paul DeMarte, Rachel Donofrie, Michael Fierros, J’mme Love Loader: Tom Zimmerman Utility: Josh Smith Still Photographer: Parrish Lewis FTP PRODUCTIONS “MALIBU RESCUE” SEASON 1 Director of Photography: Keith Dunkerley Operators: Laurent Soriano, Dale Vance, Jr. Assistants: Ken Tanaka, Patrick Blanchet, Brendan Devanie, Carter Smith Digital Imaging Tech: Dan Moses

Loader: Chad Nagel Still Photographers: Tony Rivetti, Scott White 2ND UNIT Director of Photography: Jayson Crothers Assistant: Delfina Garfias FULL CANVAS ENTERTAINMENT “TYSON’S RUN” Director of Photography: Bruce Lane Operator: Jerome Fauci Assistants: Geran Daniels, Cat Leatherwood Steadicam Operator: Jerome Fauci Steadicam Assistant: Geran Daniels Digital Imaging Tech: Nick Hiltgen GEORGIA FILM FUND 79, LLC “10 MINUTES GONE” Director of Photography: Peter Holland Operator: Jake Avignone, SOC Assistants: Chris Owen Jones, Michael Wooten, Trisha Solyn, Josh Quiros Loader: Clark Birchmeier GOVERNMENT ISSUE, LLC “BODY CAM” Director of Photography: Pedro Luque Operators: Christopher Glasgow, Francis James Assistants: Ry Kawanaka, Trevor Tufano, Jonathan Robinson, Lance Romano Steadicam Operator: Christopher Glasgow Steadicam Assistant: Ry Kawanaka Digital Imaging Tech: Brian Stegeman HBO “VEEP” SEASON 7 Director of Photography: David MIller Operators: Bo Webb, Josh Williamson, Johnny Martin, April Kelley Assistants: Mark Figueroa, Greg Kurtz, Aaron Bowen, Will Evans, Tony Martin, Chris Garland, Maryan Zurek, Tyler Ernst Digital Loader: Rachel Mangum Digital Utility: Luigi Ventura Still Photographer: Colleen E. Hayes

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HGTM, INC. “HIGH MAINTENANCE” SEASON 3 Directors of Photography: Brian Lannin, Dagmar Weaver-Madsen Operator: Zack Schamberg Assistants: Pedro Corcega, Olga Abramson, Matthew Montalto, Haffe Acosta Loader: Jeff Makarauskas

HORIZON SCRIPTED TELEVISION, INC. “ANDI MACK” SEASON 3 Director of Photography: Matthew Williams Operator: Scott Hoffman Assistants: John Williams, David Rhineer, Kurtis Burr, Nick Nebeker Steadicam Operator: Scott Hoffman Digital Imaging Tech: Sean McAllister

HOLD FAST PRODUCTIONS “BOSCH” SEASON 5 Directors of Photography: Michael McDonough, Theo Van de Sande, ASC Operators: Nicholas Davidoff, Dan Coscina Assistants: Danny Brown, Mike Thomas, Tim Hennessy, Kokoro Lee Steadicam Operator: Nicholas Davidoff Loader: Bob Campi Utility: Jake Schultz Still Photographers: Aaron Epstein, Ron Jaffe

“DAVID MAKES MAN” SEASON 1 Director of Photography: Todd A. Dos Reis, ASC Operators: Robert Scott, Grayson Austin Assistants: Kevin Smith, Steven Latham, Julianna Junker, Ognjen Sarovic Steadicam Operator: Grayson Austin Steadicam Assistant: Steven Latham Digital Utility: Jaime Striby

HOP, SKIP AND JUMP PRODUCTIONS “GOOD TROUBLE” SEASON 1 Director of Photography: Marco Fargnoli Operators: Nick Franco, Patrick Rousseau Assistants: Seth Kotok, Jeff Saldin, Danny Gardner Steadicam Operator: Nick Franco Steadicam Assistant: Seth Kotok Loader: Ryan Polack Digital Utilities: Melissa Vilardo, Dylan Neal

IT’S A LAUGH PRODUCTIONS “SYDNEY TO THE MAX” SEASON 1 Directors of Photography: George Mooradian, ASC, Tom Eckelberry Operators: Ken Herft, Cory Gunter, Tom Conkright, Jack Chisholm, Vince Singletary Camera Utilities: Terry Gunter, Kate Steinhebel Digital Utilities: Mike Pusatere, Monica Schad Video Controllers: Keith Anderson, Brian Dodds Still Photographer: Ron Tom JAY SQUARED PRODUCTIONS, LLC “BLINDSPOT” SEASON 4 Directors of Photography: Andrew Priestley, Jon Delgado

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Operators: Pyare Fortunato, Peter Ramos, John Romer Assistants: Andrew Smith, Aleksandr Allen, Kyle Clark, Christian Bright, Bryant Bailey, Deborah Fastuca, Kjerstin Rossi, Darnell McDonald Steadicam Operator: Pyare Fortunato Digital Imaging Tech: Chloe Walker Still Photographer: Phil Caruso JUNGLELAND PRODUCTIONS, INC. “JUNGLELAND” Operator: Terrence Hayes Assistants: Jason Wittenberg, Dan Marino Digital Imaging Tech: Leonard Anthony Mazzone Still Photographer: Claire Folger Publicist: Scott Levine “MANIFEST” SEASON 1 Directors of Photography: Timothy Norman, Brad Smith Operator: Jeff Muhlstock Assistants: Robert Mancuso, Adriana Brunetto-Lipman, Michael DeRario, Amber Rosales Loaders: Matthew Richards, Cory Maffucci Still Photographers: Giovanni Rufino, Christopher Saunders, Phillip Caruso KAPITAL ENTERTAINMENT “TELL ME A STORY” SEASON 1 Director of Photography: Doug Emmett Operators: Afton Grant, Gabor Kover Assistants: Johnny Sousa, Elizabeth Singer,

Robert Wrase, Katie Waalkes Loaders: Tyler Swanek, Kansas Ballesteros Still Photographers: Patrick Harbron, Linda Kallerus LADY PRISON PRODUCTIONS, INC. “ORANGE IS THE NEW BLACK” SEASON 7 Director of Photography: Ludovic Littee Operators: Scott Tinsley, Rebecca Arndt Assistants: Beka Venezia, James Daly, Justin Mancuso, Maxwell Sloan Digital Imaging Tech: Andrew Nelson Loader: Joshua Waterman Still Photographer: JoJo Whilden LATE SEVENTIES “MINDHUNTER” SEASON 2 Director of Photography: Eric Messerschmidt Operators: Brian Osmond, William Dearborn Assistants: Alex Scott, David Edsall, Gary Bevans Loader: Liam Doyle Still Photographer: Merrick Morton LONG TERM 2, LLC “THE CONTENDER” SEASON 5 Director of Photography: Jason Hafer Operators: John Lovell, Alex Wentworth, Dan Kavanaugh, Tayler Knight, Gene Bradford, Chris Lobreglio, MacGregor Barron, Andrew Kwon, Michael Dean, Alex Garcia, Dana Pustetta, Brandon Haberman, Art Peña, Dax Rhorer, Sherri Kauk, Mo Frahm, Vince Acosta, Sharra Romany, Andrei Cranach, Bret Smith, Andy Waruszewski, Mitch Kim, Rob Cammidge Assistants: Joe Prudente, Ian Mosley, Danaya Wattanapan, Mike Warfel, Armando Muñoz, Cameron Kahangi, Chad Nagel, Dave Hawes, Orlin Ivanov, Corey Bringas, Rickie Gustilo, Matt Hackbarth, Will Im, Keith Wilson, Josh Collinsworth, Bernie Smith, Tony Perez MAIN GATE PRODUCTIONS, LLC “GOD FRIENDED ME” SEASON 1 Director of Photography: Stefan Czapsky, ASC Operators: Thomas Schnaidt, Daniel Hersey Assistants: Blackford Shelton, Marcos Rodriguez-Quijano, Behnood Dadfar, Alfonso Diaz Digital Imaging Tech: Chandler Tucker Loaders: Miguel Gonzalez, Angel Vasquez Still Photographers: David Giesbrecht, Sarah Shatz “GOTHAM” SEASON 5 Director of Photography: David Stockton Operators: Gerard Sava, Alan Pierce Assistants: Braden Belmonte, George Tur, Tony Coan, James Schlittenhart Steadicam Operator: Bill Brummond Digital Imaging Tech: Robert Strait Loader: Austin Restrepo MARVEL “RUNAWAYS” SEASON 2 Director of Photography: Dave Perkal, ASC Operators: Lawrence “Doc” Karman, Joel Perkal Assistants: Ken Bender, Robyn Buchanan, James Barela, Luis Gomez Loader: Baird Steptoe, Jr.

MESQUITE PRODUCTIONS “FOR ALL MANKIND” SEASON 1 Directors of Photography: Stephen McNutt, ASC, Ross Berryman Operators: Tim Spencer, Mike McEveety Assistants: Stephen Pazanti, Haydn Pazanti, Jorge Pallares, Arthur Zajac Steadicam Operator: Tim Spencer Steadicam Assistant: Stephen Pazanti Digital Imaging Tech: Mike DeGrazzio Digital Utility: Robert Ruelas Still Photographer: Nicole Wilder “LA’S FINEST” SEASON 1 Director of Photography: Robert Gantz Operators: Ian Fox, Jody Miller, Pete Romano Assistants: Jamie Felz, Casey Muldoon, James Barela, Luis Gomez, Mark Connelly Digital Imaging Tech: Kevin Britton Digital Loader: Kyle Jacobs Digital Utility: Claudio Banks Still Photographer: Nicole Wilder “SNEAKY P3TE” SEASON 3 Director of Photography: Arthur Albert Operators: Nick Albert, Jordan Keslow Assistants: Ron Peterson, Casey Nearing, Greg Williams, Tamara Arroba Steadicam Operator: Jordan Keslow Loader: Jesse Heidenfeld Still Photographer: Ron Jaffe MINIM PRODUCTIONS, INC. “DEVS” SEASON 1 Director of Photography: Rob Hardy Operator: Grant Adams, SOC, Assistants: Patrick McArdle, Ray Milazzo, Seth Gallagher, Blake Collins Steadicam Operator: Grant Adams, SOC Steadicam Assistant: Ray Milazzo Digital Imaging Tech: Natalie Carr Loader: Mike Prior Digital Utility: Zach Madden “Y: THE LAST MAN” PILOT Director of Photography: Rodgrigo Prieto, ASC Operators: Michael Fuchs, Chris Hayes Assistants: Ethan Borsuk, Steven Search, Cornelia Klapper, Caroline Ibarra Digital Imaging Tech: Bjorn Jackson Loader: Peter Perlman Still Photographer: Macall Polay NBC “AMERICAN NINJA WARRIOR” SEASON 10 Director of Photography: Tim Baker Operators: Bry Sanders, John Armstrong, Jay Mack Arnette, Rob Cammidge, Brian Connolly, Megan Drew, Jason Hafer, SOC, Jeff Hamby, Ashley Hughes, Jeremiah Smith, Rodrigo Rodrigues, Brett Smith, Jed Udall, Danny Whiteneck, Brenda Zuniga, SOC Techno Jib Operator: Michael Ryan Fletchal Jib Operator: Brian Gaetke Techno Jib Puller: Chris Dickon, Jason Kay Lead Assistant: Dominic DeFrank Assistants: Patrick Bellante, Shelby Cipolla, Andres Cuevas, Gerry Lano, Jesse Martinez Steadicam Operators: Brian Freesh, SOC Austin Rock Digital Imaging Techs: Lorie Moulton, Trevor Cohen Utilities: Timothy Farmer, Sherwin Maglanoc Steadicam Assistant: Rick Smith BTS Operator: Andrew Kwon

BTS Assitant: James Martinez Video Controller: Alan Pineda Still Photographer: Eddy Chen “CHICAGO FIRE” SEASON 7 Director of Photography: Lisa Wiegand, ASC Operators: Will Eichler, Vanessa Joy Smith Assistants: Luis Fowler, Zach Gannaway, Brian Romano, Gary Malouf Steadicam Operator: Will Eichler Digital Loader: Derek Ashbaugh Digital Utility: Amy Tomlinson Still Photographer: Elizabeth Morris “CHICAGO MED” SEASON 4 Director of Photography: Lex duPont, ASC Operators: Faires Anderson Sekiya, Chris Hood, Joe Tolitano Assistants: George Olson, Keith Hueffmeier, Sam Knapp, Laura Difiglio, Patrick Dooley, Joey Richardson Loader: Matt Brown Digital Utility: Emmanuel Bansa Still Photographer: Liz Sisson “CHICAGO PD” SEASON 6 Director of Photography: James Zucal Operators: Scott Dropkin, SOC, Darryl Miller, Seth Thomas Assistants: John Young, Don Carlson, David “YT” Wightman, Jamison Acker, Phillip Walter, Kyle Belousek Steadicam Operator: Scott Dropkin, SOC Loader: Nick Wilson Utilities: Marion Tucker, Alan Dembek 2ND UNIT Director of Photography: Darryl Miller “F.B.I.” SEASON 1 Director of Photography: Tari Segal Operators: Afton Grant, Phil Oetiker Assistants: Lee Vickery, George Lookshire, Niknaz Tavakolian, Jorge Del Toro Steadicam Operator: Afton Grant Loaders: Amber Mathes, Nkem Umenyi Still Photographers: Michael Parmelee, Christopher Saunders “I FEEL BAD” SEASON 1 Director of Photography: Tom Magill Operators: Josh Harrison, Bry Sanders Assistants: Adam Cowan, Dustin Fruge, Melissa Fisher, Skip Mobley Utility: Phoebe Krueger Loader: Dustin Keller Still Photographer: Evans Vestal Ward “MIDNIGHT, TEXAS” SEASON 2 Director of Photography: Mike Spragg, BSC Operators: Matthew Pearce, Josh Turner Assistants: David Leb, Matt Cabinum, Betty Chow, John Hamilton Steadicam Operator: Matthew Pearce Steadicam Assistant: David Leb Digital Imaging Tech: Tim Gregoire Loader: Taylor Hilburn Digital Utility: Katy Jones “NEW AMSTERDAM” SEASON 1 Director of Photography: Andrew Voegeli Operators: Julian Delacruz, Fabio Iadeluca Assistants: Alexander Worster, James Madrid, Samantha Silver, Stephen McBride Digital Imaging Tech: Luke Taylor

Loaders: Jye-en Jeng, Lorenzo Zanini Still Photographers: Christopher Saunders, Will Hart “SUPERSTORE” SEASON 4 Director of Photography: Jay Hunter Operators: Adam Tash, Hassan Abdul-Wahid, Danny Nichols Assistants: Jason Zakrzewski, Brandon Margulies, Eric Jenkinson, Ryan Sullivan, Esta Garcia, Rikki Alarian Jones Loader: Grace Thomas “TALES OF THE CITY” SEASON 1 Director of Photography: Federico Cesca Operators: George Bianchini, Jennie Jeddry Assistants: Ben Spaner, John Fitzpatrick, Brent Weichsel, Tsyen Shen Digital Imaging Tech: Paul Schilens Loaders: Holly McCarthy, Katherine Rivera “WILL & GRACE” SEASON 10 Director of Photography: Gary Baum, ASC Operators: Glenn Shimada, Travers Hill, Lance Billitzer, Ed Fine Assistants: Adrian Licciardi, Jeff Goldenberg, Alec Elizondo, Clint Palmer, Jason Herring Utilities: Danny Lorenze, Sean Askins Digital Imaging Tech: Derek Lantz Video Controller: Stuart Wesolik Still Photographer: Chris Haston

NETFLIX “SANTA CLARITA DIET” SEASON 3 Director of Photography: Paul Maibaum, ASC Operators: Gary Camp, Heather Brown Assistants: Jon Sharpe, Jim Thibo, Kyle Sauer, Mike Cahoon Steadicam Operator: Gary Camp Steadicam Assistant: Jon Sharpe Loader: Sarah Lankford Camera Utility: John Mentzer

PEACHTREE CINEMA 6, LLC “WELCOME TO PINE GROVE” Director of Photography: Alice Brooks Operators: Jerome Fauci, Luis Lopez de Victoria Assistants: Geran Daniels, Josh Hancher, Benjamin Eades, Saul McSween Steadicam Operator: Jerome Fauci Steadicam Assistant: Geran Daniels Digital Imaging Tech: Joe Dare Loader: Cory Blake

“UNTITLED HENRY JOOST/ARIEL SCHULMAN SCI-FI PROJECT” Director of Photography: Michael Simmonds Operators: Paul Daley, Chad Chamberlain Assistants: Justin Simpson, Cody Gautreau, Chris Flurry, Bryce Marshall Steadicam Operator: Chad Chamberlain Digital Loader: Zander White Camera Utility: Eric Van der Vynckt Still Photographer: Skip Bolden Publicist: Diane Slattery

PINEAPPLE “PINEAPPLE HARVEST” Director of Photography: Benjamin Kasulke Operators: Marc Carter, Shelly Gurzi Assistants: Jacqueline Stahl, Justin Watson, Michael Ash, Giselle Gonzalez, Rafiel Chait, Renee Treyball Digital Imaging Tech: Chris Hoyle

PACIFIC 2.1 “THE POLITICIAN” SEASON 1 Directors of Photography: Nelson Cragg, Simon Dennis Operators: Andrew Mitchell, Jesse Feldman, Nicole Lobell Assistants: Penny Sprague, Markus Mentzer, Matt Brewer, Ben Perry, Jared Wilson, Nate Lewis, Shannon Van Metre, Justin Steptoe Steadicam Operator: Andrew Mitchell Steadicam Assistant: Penny Sprague

POSSIBLE PRODUCTIONS “BILLIONS” SEASON 4 Directors of Photography: Giorgio Scali, Alexander Dynan Operators: Peter Agliata, Mark Schmidt Assistants: Edwin Effrein, Cai Hall, Leonardo Gomez, Andrew Hamilton Digital Imaging Tech: Joe Belack Loaders: Kansas Ballesteros, Christopher Charmel “RAY DONOVAN” SEASON 6 Directors of Photography: Robert McLachlan, ASC, David Franco Operators: Eric Schilling, Patrick Quinn

“SCHOOLED” SEASON 1 Director of Photography: Steve Gainer Operators: Brian Shanley, Jonathan Goldfisher Assistants: Shereen Saleh, Kymm Swank, Joseph Cheung, Colleen Haley Digital Imaging Tech: Mike Bosman Digital Loader: Mimi Phan

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SALT SRING MEDIA “ARE YOU SLEEPING” SEASON 1 Directors of Photography: Colin Watkinson (Pilot), Nicole Whitaker, Russ Alsobrook, ASC Operators: Josh Medak, Justin Browne Assistants: Niranjan Martin, Darin Necessary, Jeremy Cannon, Claudio Banks Steadicam Operator: Justin Browne Steadicam Assistant: Darin Necessary Digital Imaging Tech: Pat Paolo Digital Utility: Nicola Caruso SEARCH PARTY PRODUCTIONS, LLC “SEARCH PARTY” SEASON 3 Director of Photography: Kathryn Westergaard Operators: Chris Aran, Bill Saxelby Assistants: Timothy Trotman, Carolyn Pender, Zachary Grace, Omar Guinier Loader: Yayo Vang Still Photographers: JoJo Whilden, Jon Pack SONY “JEOPARDY!” SEASON 35 Director of Photography: Jeff Engel Operators: Diane L. Farrell, SOC, Mike Tribble, Jeff Schuster, L. David Irete Jib Arm Operator: Marc Hunter Head Utility: Tino Marquez Camera Utility: Ray Thompson Video Controller: Gary Taillon Still Photographer: Carol Kaelson

“THE GOLDBERGS” SEASON 6 Director 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 Photographers: Nicole Wilder, Adam Taylor “WHEEL OF FORTUNE” SEASON 36 Director of Photography: Jeff Engel Operators: Diane L. Farrell, SOC, Jeff Schuster, Ray Gonzales, Steve Simmons, L. David Irete, Mike Corwin Camera Utility: Ray Thompson Head Utility: Tino Marquez Video Controller: Gary Taillon Jib Arm Operator: Randy Gomez, Sr. Still Photographer: Carol Kaelson STALWART FILMS, LLC “NOS4A2” SEASON 1 Director of Photography: Martin Ahlgren Operators: Alec Jarnagin, Edwin Rubio Assistants: Liz Silver, Robert Bullard, Richelle Topping, Chris Boylston Still Photographer: Dana Starbard STEP UP PRODUCTIONS “STEP UP: HIGH WATER” SEASON 2 Director of Photography: Rohn Schmidt Operators: Spencer Hutchins, SOC, Stewart Smith Assistants: Mary Stankiewicz, Ian Campbell, Laura Ostapiej, Christy Fiers Steadicam Operator: Stewart Smith Loader: Dwayne Green Digital Utility: Najee Rawlins TOPANGA PRODUCTIONS, INC. “SWAT” SEASON 2 Directors of Photography: Francis Kenny, ASC, Craig Fikse Operators: Tim Dolan, Brian Pitts, Michael Otis Ropert Assistants: Ryan Parks, Logan Turner, Thane Characky, Riley Padelford, Esther Woodworth, Mike Fauntleroy Camera Utility: Carl Lammi Loader: Jonathan Taylor Still Photographer: Ron Jaffe TRISTAR PRODUCTIONS, INC. “YOU ARE MY FRIEND” Director of Photography: Jody Lipes Operator: Sam Ellison Assistants: Aurelia Winborn, Elizabeth Hedges Digital Imaging Tech: Anthony Hechanova Loader: Gabriel Marchetti Still Photographer: Elizabeth Terrell UNIVERSAL “DIRTY JOHN” SEASON 1 Director of Photography: Todd McMullen Operators: Chris Murphy, Erdem Ertal Assistants: Dave Egerstrom, Eric Guthrie, Matt Guiza, Jerry Patton

Loader: Michael Langford Camera Utility: Ben Shurtleff Still Photographer: Nicole Wilder “GOOD GIRLS” SEASON 2 Director of Photography: Tim Bellen Operators: Dave Hirshmann, Chris Haifley, Ana Amortegui Assistants: Steve Bellen, Jessica Ramos, Erik Emerson, Jennifer Stuart, Jim Nygren, Kristina Lechuga Digital Loader: Bryce Marraro Digital Utility: Sooz Edie Still Photographer: Justin Lubin “HAPPY!” SEASON 2 Director of Photography: Niels Alpert Operators: Jon Beattie, Frank Larson Assistants: Andrew Juhl, Christopher Wiezorek, Yale Gropman, Daniel Pfeifer Loader: Sean McNamara “LAW & ORDER: SPECIAL VICTIMS UNIT” SEASON 20 Director of Photography: Michael Green Operators: Brant Fagan, SOC, Mike Latino Assistants: Chris Del Sordo, Matt Balzarini, Emily Dumbrill, Justin Zverin Loader: Jason Raswant Still Photographer: Michael Parmelee “THE ACT” SEASON 1 Director of Photography: Zachary Galler Operator: Danny Eckler Assistants: Josh Hancher, Saul McSween, Warren Brace, Aaron Willis Steadicam Operator: Danny Eckler Loader: Jennifer Braddock Digital Utility: Matt Nelson Still Photographer: Seth Johnson WARNER BROS. “BIG BANG THEORY” SEASON 12 Director 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, Whitney Jones Camera Utilities: Colin Brown, Jeannette Hjorth Video Controller: John O’Brien Digital Imaging Tech: Benjamin Steeples “LETHAL WEAPON” SEASON 3 Directors of Photography: Andy Strahorn, William Wages, ASC Operators: Victor Macias, Joseph Broderick Assistants: James Rydings, Kaoru “Q” Ishizuka, Troy Blischok, Kelsey Castellitto Digital Imaging Tech: Peter Russ Digital Utility: Spencer Shwetz Still Photographers: Ron Jaffe, John P. Fleenors “MOM” SEASON 6 Director of Photography: Steven V. Silver, ASC Operators: Cary McCrystal, Jamie Hitchcock, Larry Gaudette, Candy Edwards Assistants: Meggins Moore, R. Nigel Stewart, Damian Della Santina, Mark Johnson, Whitney Jones Camera Utilities: Alicia Brauns, Andrew Pauling Video Controller: Kevin Faust Digital Imaging Tech: Benjamin Steeples

“THE PERFECTIONISTS” SEASON 1 Director of Photography: Larry Reibman Operators: Matt Moriarty, Phil Anderson Assistants: Kyril Cvetkov, Jerry Turner, Mike Crockett, Patrick LaValley Steadicam Operator: Matt Moriarty Steadicam Assistant: Kyril Cvetkov Digital Imaging Tech: Sean Rawls Loader: Jasmine Karcey Still Photographer: Allyson Riggs “YOUNG SHELDON” SEASON 2 Director of Photography: Buzz Feitshans, IV Operators: Neil Toussaint, SOC, Aaron Schuh Assistants: Matt Del Ruth, Tom Vandermillen, Grant Yellen, Brad Gilson, Jr., Megan Boundy Digital Loader: James Cobb Digital Utility: Joe Sutera Still Photographers: Bill Inoshita, Michael Desmond “SPLITTING UP TOGETHER” SEASON 2 Director of Photography: John Tanzer Operators: Andrew Shuttleworth, Gretchen Warthen Assistants: Rob Monroy, Darin Krask, Jeff Lynn, Aldo Porras Camera Utility: Raul Perez Digital Imaging Tech: Raffaele Vesco “THE CONNERS” SEASON 1 Director of Photography: Donald A. Morgan, ASC Operators: Jon Purdy, Vito Giambalvo, John Dechene, Richard Price Assistants: Jeff Johnson, Steve Lund, Marianne Franco, John Weiss Camera Utilities: Robert Deane, Kenneth Williams Digital Imaging Tech/Video Controller: Von Thomas “WHAT/IF” SEASON 1 Director of Photography: Jeff Mygatt Operators: Benjamin Spek, Joel Schwartz, Harry Garvin Assistants: Dennis Seawright, Dale White, Steven Magrath, Dustin Keller, Chuck Whelan, Kirk Bloom Loader: Leslie Kolter Still Photographer: Ron Jaffe WOODBRIDGE PRODUCTIONS “THE BLACKLIST” SEASON 6 Directors of Photography: Michael Caracciolo, Saade Mustafa Operators: Derek Walker, Devin Ladd, Jack Donnelly, Peter Reniers Assistants: Daniel Casey, James Gourley, Gareth Manwaring, Edwin Herrera Mike Guaspari, Edgar Velez Loaders: Katheryn Iuele, James Parsons Still Photographers: Christopher Saunders, Will Hart, Virginia Sherwood

COMMERCIALS ANONYMOUS CONTENT “T-MOBILE” Director of Photography: Tim Hudson Assistants: Erik Stapelfeldt, Daisy Smith Digital Imaging Tech: Eric Yu “VANDERBILT” Operators: Tom Richmond, Matt Klammer, Brian Lannin, Andrew Pulaski, Jay Kulick, Joe De Bonis, Ari Robbins, Stew Cantrell Assistants: Walter Rodriguez, Nate McGarigal, Mark Weston, Pedro Corcega, Nate Slevin, Jenna Hoffman, Mike Csatlos, Dante Corrocher, Amber Rosales, Dan Merrill, Austin Kite, Matt Degreff, Eric Schwager Jib Arm Techs: Steve Dahl, Dan DeNitto Digital Imaging Tech: Dave Satin Lead Tech: Adam Gonzalez BELIEVE MEDIA “GOOGLE PIXEL” Director of Photography: Carlos Veron Operator: Joseph Messier Assistants: Erick Aguilar, Adam Dorris, Natalie Abraham Digital Imaging Tech: Joe Hedge “L’OREAL PREFERENCE” Director of Photography: Pieter Vermeer Assistants: Peter Morello, Nate McGarigal Digital Imaging Tech: Jeff Flohr BRAND NEW SCHOOL “HONDA” Director of Photography: Shawn Kim Assistants: Lila Byall, Kira Hernandez Digital Imaging Tech: Dylan Johnson “SIZZLE 2018” Director of Photography: Tristan Sheridan Assistants: Peter Morello, Nate McGarigal Digital Imaging Tech: Othmar Dickbauer CAVIAR “JPMC” Director of Photography: Jay Feather Steadicam Operator: George Gianchini Assistants: Jeff Taylor, Adam Miller, Eric Schwager, Justin LeBlanc Digital Imaging Tech: George Robert Morse CMS PRODUCTIONS “HUMBLE” Director of Photography: David Jones Assistants: Ethan McDonald, Jordan Pellegrini Digital Imaging Tech: Tyler Goeckner-Zoeller “SMILF SEASON 2 PROMO” Director of Photography: Joseph P. Lavallee Assistants: Darryl Byrne, Jan Burgess DIXON/DAVIS MEDIA GROUP “DIXON DAVIS COMMERCIAL” Director of Photography: Tom Inskeep Assistant: James Hair ELEMENT PRODUCTIONS “LIBERTY MUTUAL INSURANCE” Director of Photography: Patrick Ruth Assistant: Michael Rodriguez Torrent

FULL MOON FILMS “MICHELLE LUJON GRISHAM FOR GOVERNOR OF NEW MEXICO” Director of Photography: Jim Simeone Assistants: Lane Luper, Daniel Maestas

PELLINORE PRODUCTIONS “AT&T” Director of Photography: Eric Schmidt Assistants: Ethan McDonald, Marcus Del Negro Digital Imaging Tech: John Spellman

TOOL OF NORTH AMERICA “COX COMMUNICATIONS” Director of Photography: Daniel Voldheim Assistants: Daniel Ferrell, Nate Cummings Digital Imaging Tech: Michael Borenstein

FURLINED “TOYOTA” Director of Photography: David Devlin Operator: Eric Zimmerman Assistants: Ethan McDonald, Marcus Del Negro, Daniel Hanych, John Takenaka Digital Imaging Tech: Jesse Tyler Crane Operator: Bogdan Iofciulescu Crane Tech: George Dana

PICROW, INC. “RWJ SOMERSET” Operator: Layna McAllister Assistants: David Leyse, Alex Waterston, Jeff Saldin Digital Imaging Tech: Hunter Fairstone

WONDROS “NISSAN” Director of Photography: Maz Makhani Assistants: George Hesse, David Stellhorn Digital Imaging Tech: Eric Yu

GIFTED YOUTH “TACO BELL” Director of Photography: Andrew Wheeler Operator: Brian Sowell Assistants: Lucas Deans, Chris Slany, John Parson, Noah Glazer Digital Imaging Tech: Lanlin Wong HARVEST FILMS “ESPN CW” Director of Photography: Peter Donahue Assistants: John Clemens, Scott Miller Digital Imaging Tech: Robert Cauble Loader: David Gallagher HERE BE DRAGONS “BK PHILLY CHEESE KING” Director of Photography: Bob Chappell Operator: David Waterston Assistants: Peter Morello, Jim Mayfield, Andy Hensler Digital Imaging Tech: Dave Satin JOINERY “HONDA” Director of Photography: Kai Saul Assistants: Shaun Mayor, Brian Udoff, Marcus Del Negro Digital Imaging Tech: Tyson Birmann LOVE SEAT ENTERTAINMENT “1ST WIVES CLUB INTERVIEWS” Director of Photography: Marc Bloomgarden Operator: Ittai Eshed Digital Imaging Tech: James Demetriou Still Photographer: JoJo Whilden O POSITIVE “CDW” Director of Photography: Maryse Alberti Operator: Michael Berg Assistants: Nina Chien, Al Rodgers, Jordan Levie Digital Imaging Tech: Pat Cecilian Loader: Sam Elliot “PEDIGREE” Director of Photography: Joe Zizzo Assistants: Adam Miller, Jeff Taylor Digital Imaging Tech: Mariusz Cichon PARK PICTURES “AD COUNCIL” Director of Photography: Shawn Kim Operator: Greg Benitez Assistants: Lila Byall, Joe Canon, Kira Hernandez Digital Imaging Tech: Benjamin Longsworth

PRETTYBIRD “SAMSUNG” Director of Photography: Frank Lasse Operator: Michael Merriman Steadicam Operator: Chris Cunningham Assistants: Lucas Deans, Jesse Cain, John Parson Digital Imaging Tech: Mark Wilenkin RADICAL MEDIA “COMCAST” Director of Photography: Eric Schmidt Assistants: Ethan McDonald, Marcus Del Negro Digital Imaging Tech: John Spellman RSA FILMS “JAGUAR” Director of Photography: Rebecca Baehler Assistants: Michael Farrell, Paul Toomey Digital Imaging Tech: Michael Borenstein SOMOROFF STUDIOS “RED LOBSTER” Director of Photography: Michael Somoroff Assistant: Tom Bracone Digital Imaging Tech: David Berman SPEARS & ARROWS “MCDONALD’S” Director of Photography: Mischa Lluch Assistants: Erik Stapelfeldt, Daisy Smith Digital Imaging Tech: Eric Yu SWEETSHOP “IKEA” Director of Photography: Todd Martin Operator: Stew Cantrell Assistants: Chevy Anderson, Filipp Penson, Daniel Cardenas Digital Imaging Tech: Joe Belack SUPERPRIME “NEXUS” Director of Photography: Monika Lenczewska Assistant: Lucas Deans Digital Imaging Tech: Sean Goller THE CORNER SHOP “US CELLULAR” Director of Photography: Bryce Fortner Assistants: Salvatore Coniglio, Suzy Dietz Digital Imaging Tech: Paul Maletich THE DIRECTORS BUREAU “DELL” Director of Photography: Autumn Cheyenne Durald Assistants: Erik Stapelfeldt, Sasha Wright Digital Imaging Tech: Steve Harnell

CREW PHOTO: MINDHUNTER SEASON 2

(L to R) A Camera 2nd AC: Gary Bevans, B Camera 1st AC: David Edsall, B Camera Op: Will Dearborn, B Camera Dolly Grip: Mike Mull, Loader: Liam Doyle, A Camera Dolly Grip: Dwayne Barr, Haji Muya, A Camera Op: Brian Osmond, A Camera 1st AC: Alexander Scott, Director of Photography: Erik Messerschmidt. Photo Credit: Michele K. Short, Unit Still Photographer

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M O T I O N

L to R: operators Alex Garcia, Tayler Knight, Andrew Kwon

S T O P

MICHAEL BECKER I HAD A GREAT EXPERIENCE ON THIS NEW SEASON OF THE CONTENDER . WITH 16 CONTESTANTS FORMING TWO TEAMS OF EIGHT, MULTIPLE CAMERAS AND AUDIO CREWS ARE USED TO COVER THE UNFOLDING STORIES. I HAD JUST TRANSITIONED TO MIRRORLESS FROM DLSR AND FOUND IT PARTICULARLY USEFUL ON THIS SHOW. THINGS MOVE QUICKLY WITH THE MANY CAMERAS OFTEN USED ON AN UNSCRIPTED REALITY SHOW, AND THE ABILITY TO LOOK AT THE LIVE VIEW ALLOWED ME TO KEEP BOTH EYES OPEN FOR THE FAST-PACED COVERAGE. PLUS, BEING ABLE TO GET UNUSUAL PERSPECTIVES OVERHEAD, OR THROUGH THE ROPES OF THE RING, WAS A GREAT TOOL FOR FINDING INTERESTING COVERAGE.

Nancy Schreiber, ASC

YOUR CRAFT CAPTURED When DP and longtime EOS 5D series user, Nancy Schreiber, ASC heard about the new EOS C700 FF, she had to try it. Housing a 5.9K full-frame sensor, the C700 FF pairs exceptionally well with the anamorphic and full-frame lenses you know and love. With built-in anamorphic de-squeeze capabilities and RAW capture, the C700 FF image draws viewers into your story. LEARN MORE AT USA.CANON.COM/PROVIDEO