ICG Magazine - October 2017 - The Workflow Issue

ICG MAGAZINE

THE WORKFLOW ISSUE FEATURING

BLADE RUNNER 2049

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[contents]

38

WONDERSTRUCK

OSCAR NOMINEE ED LACHMAN, ASC, RETEAMS WITH VISIONARY AUTEUR TODD HAYNES CREATING TWO STORIES IN DIFFERENT TIME PERIODS THAT MIRROR EACH OTHER IN SILENCE

DEPARTMENTS

GEAR GUIDE / 14 DEEP FOCUS / 22 FIRST LOOK / 28 EXPOSURE / 32 PRODUCTION CREDITS / 78 STOP MOTION / 90

58 6 OCTOBER 2017

BLADE RUNNER 2049

ROGER DEAKINS, ASC, BSC, REVEALS WHAT LIES BEYOND “RIDLEYVILLE” IN DENIS VILLENEUVE’S NEW BLADE RUNNER 2049

50

66 72

ACES: WHERE ARE WE NOW? THE LONG, WINDING ROAD: VERSIONING

SAME KIND OF DIFFERENT AS ME

CORRECTION:

This image from Insecure, in our September TV issue (Table of Contents, page 6, and Hella Fun, page 60), was incorrectly attributed by HBO to second season photographer Justina Mintz.

The photo was taken by Lisa Rose.

DON BURGESS, ASC, BRINGS HIS LEADING-EDGE DIGITAL WORKFLOW TO THE EARTHY TONES OF SMALLTOWN MISSISSIPPI

The new Blackmagic URSA Mini Pro is the world’s first digital film camera with the features and controls of a high performance broadcast camera!

The new URSA Mini Pro is a true digital film camera with a 4.6K image sensor, 15 stops of dynamic range and a wide color gamut that delivers amazingly rich skin tones, natural color response and incredible detail. You also get built in ND filters, dual C-Fast and SD card recorders, an interchangeable lens mount and more! URSA Mini Pro works in both film and video modes, so it’s perfect for digital film or broadcast use all while delivering better image quality!

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Built in ND filters with IR compensation reduce the amount of light entering the camera. The filters are designed to match the colorimetry of the camera, providing additional latitude so you can use diff erent aperture and shutter angle settings for shallower depth of field, and specific levels of motion blur even in bright conditions.

You get both dual C-Fast 2.0 and dual SD/UHS-II SD card recorders so you can choose the media that works best for you. C-Fast cards are ideal for full resolution RAW recording, while common, inexpensive SD cards are perfect for ProRes or RAW HD. With non-stop recording, when one card is full recording automatically continues onto the next!

Powerful Features and Controls Like the world’s best broadcast cameras, URSA Mini Pro features tactile control buttons, switches, knobs and dials on the side of the camera, giving you direct access to important settings. They’re laid out logically, making them easy to remember so you can change settings without having to look at the buttons or take the camera off of your shoulder! Plus, every control is redundant!

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With URSA Mini Pro, you get a single camera that works with virtually all professional lenses! You can work with high quality EF photographic lenses, large PL cinema lenses, and even B4 HD broadcast lenses, all with the same camera! URSA Mini Pro comes with an EF mount and you can purchase optional PL and B4 lens mounts separately.

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Photo by Scott Alan Humbert

PRESIDENT’S

LETTER OCTOBER 2017 • VOL. 88 NO. 08

Steven Poster, ASC

QUESTIONS AND ANSWERS Composer Mason Williams once noted that “the question is often much more interesting than the answer,” and we’re in a technological era where there are often many answers to each question. Sometimes those answers are based on the work done by the many different artisans in our Guild. Whether it’s a camera loader, camera assistant, camera operator, digital imaging technician or director of photography, each answer can be specific to each of our many crafts.

But what are those questions?

Typically they evolve around new and emerging technologies that are coming at us at a blinding pace from every corner of the industry; and, true to Williams’ quote, the questions can be far more interesting than any individual answer. For example, as I write this, Sony is introducing Venice, the company’s first fullframe digital motion-picture camera system to include a firmware upgrade to accommodate 36-mm-wide 6K-resolution capture. And the camera system is just the beginning of any workflow.

When film was the predominant imaging platform, directors of photography molded specific emulsions to the needs of their projects.

That is still true, with the main difference being the vast number of choices digital technology requires us to make to determine a successful workflow – choices made by every job classification in our Union.

Involvement begins at the earliest stages, as with digital imaging technicians helping to design on-set workflows, and interfacing with Editorial to help preserve the original intent of the image-capture team on down through the pipeline. The DIT will often have to query the DP, the post supervisor and a project’s editors, resulting in many more answers to parse through than questions asked. Working with the DP, they will develop ideas for the colorist to – again – help preserve original intent.

Speaking of original intent, directors of photography, who have been involved with previsualization since that format’s conception, are now tasked with helping to create effective post8 OCTOBER 2017

National President International Cinematographers Guild IATSE Local 600

visualization, developing visual concepts with the VFX team that may play all the way through production. New tools that utilize metadata help to preserve the DP’s original intent – examples include the ASC’s Color Decision List (CDL), which allows for the exchange of basic primary color grading information between equipment and software from different manufacturers, as the image moves from set to post.

Camera assistants, too, are faced with much more complex technology – remote systems and various metadata collection systems – all creating workflow questions that need to be answered before day one of production. Likewise for the many file-based Cloud systems that have enveloped our industry, requiring data handling to be developed from scratch with each project.

This month’s issue includes an article about one of the most exciting technologies for preserving the original intent of images captured on set: the Academy Color Encoding System, more commonly known as ACES. These digital production standards, more than a decade in the making, help to build image pipelines that offer end-to-end color consistency – what is seen on set is exactly what is seen in dailies, in VFX, in DI and in the archival process. ACES provides a much bigger information bucket than we’ve ever had before, and it reflects an industry tradition of jointly agreed standards, be they the Digital Cinema Initiative (an open architecture that ensures a uniform and high level of technical performance, reliability and quality) standards created by the Hollywood studios, or the many different standards drawn up by the Society of Motion Picture & Television Engineers (SMPTE) that date back to almost the beginnings of our industry.

As we can see, there are always many answers to the same question, depending on who is asking the question, who is answering the question, and the ever-evolving availability of new technology and systems. One question for me that remains unchanged in the last 25 years is: what is the Holy Grail of digital technology? I’ve always felt the answer is an end-to-end, deviceindependent color management system. With the advent of ACES, we’ve taken a giant step in that direction. Now it’s up to our industry to complete the journey.

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October 2017 vol. 88 no. 08

Publisher Teresa Muñoz Executive Editor David Geffner Art Director Wes Driver ACCOUNTING Glenn Berger Dominique Ibarra COPY EDITORS Peter Bonilla Maureen Kingsley EDITORIAL ASSISTANT Tyler Bourdeau STAFF WRITER Pauline Rogers CONTRIBUTORS Melinda Sue Gordon, SMPSP Matt Hurwitz Debra Kaufman Kevin Martin Stephen Vaughan, SMPSP

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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10 OCTOBER 2017

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.

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WIDE ANGLE THE WORKFLOW ISSUE

A

sk 35 hard-core cinema buffs what sequel they’d most like to see, and my bet is 34 would say Blade Runner.

(That one holdout is my wife, who won’t go near the sci-fi or fantasy genre.) Thirty-five is hardly an arbitrary number (more on that later), but it may as well be the number of reasons why Blade Runner is so beloved, and enigmatic.

As ICG writer Kevin Martin points out in our cover story, Humanity 2.0 (Page 38), Ridley Scott’s future-noir masterpiece made nary a dent when it premiered in the summer of 1982, going up against the likes of The Road Warrior, Star Trek II, Poltergeist and E.T. Derived from Philip K. Dick’s Do Androids Dream of Electric Sheep?, Scott’s film was far ahead of its time (as time has borne out). Its pre-digital effects (supervised by Douglas Trumbull and David Dryer), darkly graphic cinematography (by Jordan Cronenweth, ASC), and punk rock production design (by Lawrence Paul), which actually helped birth the cyberpunk movement, were so crazily different from anything of that era, audiences needed the rest of the decade to catch up. That’s why it became the cult classic it rightly deserved to be through a new platform at that time called “home video.”

Thirty-five years later they (we) finally get our wish with Blade Runner 2049 and a creative brain trust that reads like a fan-boy’s dream. Not only is Ridley Scott back (as executive producer) to steer the sequel toward the best possible outcome, he brought in French-Canadian auteur Denis Villeneuve (Arrival, Sicario) as director and the soon-to-be Oscar winner (one can only hope, after 13 nominations) Roger Deakins, ASC, BSC. That team also includes original Blade Runner concept artist Syd Mead (who developed the spinners and L.A.’s 2019 retrofit look of the original) for a key sequence set in Las Vegas, where an updated “Blade Runner” (Ryan Gosling) goes searching for his elder counterpart (Harrison Ford), who’s been missing for 30 years.

Warner Bros. is not revealing much more of the story than that. But based on the fascinating workflow that Deakins, Production Designer Dennis Gassner, DIT Joshua Gollish and Aerial 12 OCTOBER 2017

DP Dylan Goss break down in Martin’s story (and the images that accompany it), the world’s most highly anticipated sequel will not disappoint.

What also does not disappoint (I saw a screening in late August) is Wonderstruck, from director Todd Haynes, and his longtime cinematographer, Ed Lachman, ASC (also overdue for an Oscar). This magical gem will please film purists (and family audiences) to no end. Working from a screenplay by novelist Brian Selznick (Hugo), Haynes and Lachman tell parallel stories – one in silent black and white, circa 1927, and the other in color, in 1977, with a gritty palette that characterized New York movies of that era.

The stories flow back and forth (with great help from editor Affonso Gonçalves and Guild camera operators Craig Haagensen, SOC, and Peter Agliata) in a kind of visual alchemy. Haynes told ICG writer Matt Hurwitz (Exposure, page 32) that he needs to build his images through a conceptual framework, and with Lachman he’s found “the perfect half-mirror” with which to work.

“For Ed, the narrative component resides in the image. I have to find the image within the narrative calling,” Haynes describes.

That’s a lovely way of emphasizing how communal an art moviemaking is – whether the story is about machines striving to be human, or deaf children searching for their parents, the sum is always greater when the main creative parts inspire each other – and every crewmember on the show. The emotional rides for which both these projects aim reminds me of a sly moment in the original Blade Runner, when Tyrell explains to Deckard that by “gifting” his machine creations with a past, the corporation creates a “pillow for their emotions.” To which the burnt-out cop responds: “You’re talking about memories!”

And to which those of us enthralled by visual storytelling – in ambitious efforts like Blade Runner 2049 and Wonderstruck – would, in turn, respond: “You’re talking about great cinema.”

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

CONTRIBUTORS

Debra Kaufman (31 Flavors)

“When I started working in the post industry, home entertainment was just beginning. Now, everyone knows the value of repurposing, and versioning has become an important source of revenue. I enjoyed learning the impact of versioning on the creative process. In another version of my own life, I’m a beekeeper and love watching the magic that bees create every day.”

Kevin H. Martin (Humanity 2.0)

“This is the fifth time I’ve had the honor of speaking with Roger Deakins for ICG, and I continue to be amazed by the quality and variety of his work. While I find the look of the original Blade Runner to be nothing short of miraculously good at times, 2049 promises to be visually compelling on its own terms.

I keep my fingers crossed that this time, Deakins receives a long-overdue acknowledgement from the Academy.”

Stephen Vaughan, SMPSP (Humanity 2.0, Stop Motion)

“I tell people, ‘Never take a movie assignment with rain or night in the title, and I’ve added that caveat to films where dystopian appears in the first five pages because it usually means shooting in squalid, overcrowded environments, and potentially choking back smoke. That was the world I inhabited on Blade Runner 2049 and even 36 years ago on the original Blade Runner. Nowadays, the air is yellower and climates are many times fiercer: which makes for great images.”

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[deep focus]

HOYTE VAN HOYTEMA

Classically trained at the National ´ Hoyte Van Film School in Łódz, Hoytema, ASC, FSF, NSC, is here to tell you there’s still no format on the planet that compares to analog IMAX. His last two films, Dunkirk and Interstellar back that claim up.

DISCUSSION OF FILM VERSUS @@ THE DIGITAL HAS HAD A DEVASTATING

IMPACT ON ANALOG FILM, with people being frightened they’d miss out on a digital revolution or be accused of not being progressive.

RESULT IS AN OVERHAUL THAT @@ THE HAPPENED WAY TOO SOON, LEAVING

proven solid technology and superior quality to bleed to death. There is still no digital format that compares to the resolution and color depth of (among others) analog IMAX. There is still no method more future-proof than film projection because it has no cap on resolution.

(continued on page 24)

PHOTOS FROM DUNKIRK BY MELINDA SUE GORDON, SMPSP 22 OCTOBER 2017

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[deep focus]

FOUND NO PROJECTION @@ WESYSTEMS THAT WOULD

APPROXIMATE THE INTENDED look of Dunkirk, without additional DI grading. LUT’s would react differently on a wide variety of exposures and contrast ratios within the image.

There’s no easy and satisfactory workflow that can translate an entire film to appear acceptable on either one of these formats, and they all need a lot of tweaking to approximate the original analog grade. Effectively, one needs to do a separate DI for each projection format – a lot of time and money if you want to do it right.

SHOT HER DIGITALLY, @@ IWHICH WAS THE

FACT THAT MOST PROJECTORS ARE STILL @@ THE PROJECTING 2K IS ABSURD; and a [de facto] cap on

resolution by exhibitors only slows progress. Even though the technology has moved forward, [the audience] must continue watching an inferior product for purely economic reasons. It’s a huge investment for theaters to replace their projectors, or post houses to overhaul their workflows to keep pace with technological advances.

PERFECT FORMAT FOR EXPERIMENTATION. The film revolved around giving something synthetic a human soul. It was something I tried to do with the images as well, an experiment to find a beating pulse underneath the binary of a digital image.

IS A GRAND AND @@ THERE RIGHTFUL PLACE FOR DIGITAL

OF THE REASONS CHRIS [NOLAN] AND I WANT @@ ONE TO SHOOT ON FILM is the belief that cinema provides a

magical canvas that can only be experienced at the theater. Not in a nostalgic sense, but viscerally, emotionally. By shooting Dunkirk on film, we wanted to do as much as possible in camera, investing time and energy in making our finest prints optical and analog to preserve as much as possible of the original quality of our acquisition format.

24 OCTOBER 2017

TECHNOLOGY. Among others, Chivo and Roger [Deakins] are proving that time after time – each new project they shoot is impeccable and soulful.

But we also need to preserve the diversity of the various media, to keep the widest variety of tools available, as opposed to settling on just one acquisition format.

(continued on page 26)

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[deep focus]

IS, AT THE MOMENT, THE ONLY AS FILMMAKERS, WE MUST @@ FILMMAKING @@ ART FORM WHERE ONE OF THE TOOLS is in danger BELIEVE AUDIENCES SEE THE of being gone forever if we are not careful. Can you imagine that suddenly all musicians are forced to play on synthesizers instead of violins and pianos? Or painters will not have access to oil paint any longer and will have to use acrylics from now on? It just isn’t right.

TOO OFTEN WE COMPROMISE ON QUALITY @@ MUCH UNDER THE FLAG of “no one notices the difference.”

Endless comparison tests are designed to prove that we have arrived at a quality standard that is acceptable. But I believe we have to keep pushing for higher quality, because the eyes and the senses of the audience become more and more sophisticated with time.

DIFFERENCE BETWEEN 2K and 4K, because there is a difference.

And with time, I can guarantee you that 2K will be considered unwatchable, even though the lay person perhaps will not yet directly pinpoint a difference. Seeing a print of Ryan’s Daughter in 70 millimeter will illustrate clearly what I am talking about. Finding something with that immediate clarity nowadays will be a challenge…one wonders what happened to progress.

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[first look]

GHOSTS IN THE MACHINE As digital pirates become more brazen with IP attacks, cyber security experts insist no project is safe – for now.

by Pauline Rogers

28 OCTOBER 2017

We all heard the story about Orange Is the New Black being held for ransom.

And when Netflix didn’t respond, the cyber bully released several episodes on the Web. Then other cyber thieves went after HBO’s Game of Thrones, Room 104 and Ballers – and leaked them online. And that’s just what’s been reported in trusted media sources.

Experts insist that in today’s digital world, every step in the creation chain of “intellectual property” is open to being hacked. Ironically, that could well be the result of industry workflows growing ever more mobile and efficient – the lowered cost of powerful portable computing tools, such as smartphones, tablets, and laptops, has facilitated a globalized Cloud- or Web-based workflow. But the hidden cost of quickly moving all that data is that it is an easier moving target for cyber hackers to breach security. To cope, the industry has spawned a whole new business: expert computer plumbers who are determined to shore-up the pipes before the leak can begin.

The threat is not limited to the

high-profile post breaches played up in the news. Production is targeted as well – from payroll and contact info to different iterations of elaborate VFX shots from major franchises prior to release. Such images can drive box-office sales when the movie opens (or kill it if a not-so-great image is leaked).

For those wondering why companies are adamant about work no longer being done – or shared – on personal electronic devices, Lulu Zezza, former senior vice president of physical production at The Weinstein Company and founder of Three Zebra Solutions (which provides consulting services for safe production information management) suggests deploying endpoint management, such as Microsoft Intune or Sophos or AirWatch, to all computers and mobile devices.

“Endpoint Management is a first step toward gaining control of the assets and information created on a production by deploying it to authorized BYOD computers, phones and tablets,” Zezza explains. “This does not enable the company to read every email or listen (continued on page 30)

Photo by James Bryan Toten

Jason

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[first look]

in on phone calls or steal contacts,” she is quick to add. “It’s to let them determine if new applications and operating systems are safe and updated to the most recent security patches. It’s also to enable remote locking and remote wiping of the devices if they are lost or stolen, and enable management of the ports on the devices to prevent and/ or track unauthorized copying, sending, or access of the company data [payroll, tax ID and phone numbers, and script changes to physical design].”

Zezza notes that for sensitive locations, the process “can be used to disable camera devices and/or how pictures are stored and shared. The unauthorized rehearsal snapshot can be prevented from being taken or texted.” Transporting assets safely from set through the post-production pipeline is also a major concern, and why companies like Aspera, Media Shuttle and Fortium are developing technology to protect those almost-finished assets.

Fortium’s MediaSeal is focused on the editing phase, where people are working with the final cut in formats such as Apple ProRes. “Before MediaSeal came along, encrypted files were not compatible with editing programs, and so encryption couldn’t be used,” explains Fortium Chief Executive Officer Mathew Gilliat-Smith. Fortium

30 OCTOBER 2017

developed a way to make encrypted files compatible, and NBCUniversal designed a software workflow compatible with postproduction workflows so as not to delay and add extra steps to the editing process.

“MediaSeal hands off encrypted files to editing programs for playback, controlling access by user and individual file,” GilliatSmith continues. “It encrypts files using the advanced encryption standard, AES 256.

It handles all image and video file types, plus Word, Excel, PDF documents and so on. The encryption stays with the file.

Authorized users who receive a protected file can carry on working with it while it remains encrypted. Normally, a file is encrypted during fast file transfer, but once it’s received and opened, it’s in the clear without protection.”

That means no more sharing a file with 20 or 30 employees; it is one file for one user.

And even if a file is accidentally shared, the recipient won’t have access to it. If someone copies out a file, the person who encrypted the file is informed immediately and can take remedial action.

If that all sounds a bit stifling, experts caution that these are still early days for cyber-security protocols in the film and television industry. Protecting IP, ultimately, means protecting industry jobs, a concept

that harks back to the days of DVD piracy and the imperative to protect assets that are now part of a global exhibition pipeline.

“By using MediaSeal technology, we are able to create a ‘certificate’ for every individual,” explains Mike Jackman, Executive Vice President Post Production and Worldwide Delivery for FilmNation.

“If the theater [director, producer, music or sound editor, etc.] does not have an individually authorized flash-drive key, it simply won’t work. We don’t have to worry about the movie getting into the wrong hands and being leaked because it will not be playable without the key.”

It’s unfortunate that new technology, for all its many benefits, has also spawned the need for high-level security, but cyber pros say it was inevitable once the digital genie was let out of the bottle. Even more disturbing, perhaps, is that this is just the tip of the iceberg. End Point Management and programs like MediaSeal might give studios and productions some breathing space. But they all know they can’t get too comfortable because, like it or not, there’s a hacker out there that, right now, is working on a way to break current encryption technology. Or as one cyber security professional phrased it, the “dark Web” never rests. And neither can we.

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OCTOBER 2017 31

[exposure]

TODD HAYNES

photo courtesy of Paul Hughen

by Matt Hurwitz photos by Mary Cybulski

32 OCTOBER 2017

SINCE HE FIRST BEGAN MAKING MOVIES IN NEW YORK’S INDIE COMMUNITY, SHORTLY AFTER GRADUATING IN THE LATE 1980s, TODD HAYNES HAS STEERED FAR AFIELD FROM THE NORM. His first feature, 1988’s Superstar: The Karen Carpenter Story, told the singer’s story exclusively with Barbie dolls. His 2007 biopic of Bob Dylan (I’m Not Here) featured seven different actors portraying the singing legend, including a small child and a woman (Cate Blanchett), with each version of Dylan featuring a different visual approach. Haynes’ work has explored many eras, with one time period often providing perspective on another. [The 1998 film Velvet Goldmine, shot by Maryse Alberti, tells the story of the rise and fall of a glam rocker in the 1970s, along with an investigation of his life ten years later.] Since 2002, Haynes has worked closely with Ed Lachman, ASC, who, along with production designers Mark Friedberg and Judy Becker, has helped craft award-winning projects that include Far From Heaven (2002), set in 1950s Connecticut; the 2011 HBO mini-series Mildred Pierce and, recently, the Oscar-nominated Carol.

Haynes’ latest, Wonderstruck, continues to break all molds. Based on the children’s book by Brian Selznick (Hugo), it tells parallel stories centered on two deaf children, 50 years apart, one in 1927 silent black and white, the other in full 1970s urban color – which Haynes seamlessly ties together in one compelling and imaginative package.

OCTOBER 2017 33

[exposure] You’ve been working closely with cinematographer Ed Lachman for 15 years. In what ways has he become the perfect visual collaborator for the stories you tell? Todd Haynes: Ed is, at

the core, a visual artist. He understands the world and the stories we tell through an almost formal visual sensibility, informed and inspired by great films, photographers, painters, sculptors. I, too, as a film viewer, can slip from the cognitive to the purely perceptual – sometimes I struggle to simply follow plot. But in the films I’m making, I need to build my images from a conceptual framework. I need to answer the question: why are we making this? So with Ed I have a perfect half-mirror with which to work.

The narrative component, to him, resides in the image. I have to find the image within the narrative calling.

Your films always have a unique visual style – how do you work with a DP to develop that look for different

projects? It always begins with the

particular demands, the language, ideally the unique set of finite rules that comes from the subject of the film. This provides me with a visual and stylistic pathway that the cinematographer and I embark on together, always with a look book or image book as the first collection of references, moods, styles to guide us on our way.

You’ve continued shooting on film, which many have abandoned for digital capture. Why? Film is both

imaginary and real. It’s a projection on the wall of something material that was once there. I suppose that materiality, preserved in the actual celluloid strip of film, is something I have had a hard time surrendering. I remember working on a flatbed in college – I would take the night shift as I always liked working in the wee hours – and there was a dubber in the next room, where if you needed a piece of sound or music, you would go and record it from

some source onto a piece of magnetic tape.

Then you would literally carry your strip or spool of whatever it was – a snip of Brian Eno, the sound of rain or birds chirping – back into the editing room and tape-splice it in. That strange interplay of absence and presence is something that gives film its unique power.

Wonderstruck’s Production Designer, Mark Friedberg, told me, “Todd likes to look at decades through the prism of other decades.” Would you agree? Oh, yes, it’s exactly what Mark

says. I’m interested in decades that were in the process of re-examining the past themselves. This was definitely true in the seventies, where a sort of nostalgia for the nineteen-twenties, the thirties, all of the “golden era” of Hollywood was starting.

And this was relevant to a film about glam rock [Velvet Goldmine] that the styles and the references were self-consciously engaging with the past. We all remember (Continued on page 36)

34 OCTOBER 2017

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OCTOBER 2017 35

[exposure]

“MY WORK IS OFTEN ABOUT ONE DECADE INTERPRETING ANOTHER – AS WE ALWAYS DO, WHENEVER WE THINK WE’RE BEING NEUTRAL AND ACCURATE.” how much the nineteen-fifties became very interesting during the seventies. And how movies like American Graffiti and shows like Happy Days became almost fetish objects of the past. My work is often about one decade interpreting another – as we always do, whenever we think we’re being neutral and accurate. There’s no way that our own experience and our own prism and frame is not informing what we’re looking at and why we’re looking at it.

Wonderstruck visualizes two very different periods – the nineteentwenties in black and white and the nineteen-seventies, in a color scheme specific to that time. What’s your process like for developing the look of a period film? Each film is its own

process; I never really feel there’s such a thing as achieving the objective reality of a certain period from the past. All you have are artifacts that were generated, either from the past or, as we were just describing, from other periods that look back on the past. So, to me, what that means is, you have to think about why you’re looking here and not there, for those indicators.

Can you give us some examples? Far

From Heaven is a film entirely about the movies of the fifties and not a film about the fifties. So I was not interested in any historical documentation or archival footage from Hartford, Connecticut in the nineteen-fifties. I was interested in how the Hollywood backlot of Los Angeles was interpreting and filtering the kind of ethos of nineteen-fifties contemporary culture through its own artifice. In Carol [also set in the nineteen-fifties] we took a very different strategy. We were looking at photographs that were taken on the streets of New York City at that time, such as [those by photographers] Saul Leiter and Helen Levitt. Saul was so interested in the abstractions that would happen: the imperfections of the frame, the strange

36 OCTOBER 2017

hybrid of moments of the day, smudges on glass windows, snow and weather and dirt and dust, refracting and limiting what you could see. He was really interested in what was innately abstract about the documented world, and the imperfections of the lens and of the color process.

How has your workflow changed as you’ve moved from indie budgets to studio films? Resources change,

the sophistication and size of creative departments, but in many ways, it is always the same. It relies on a deep immersion into the period you are exploring – the history, the styles, the cinema and art, the conventions and practices, the popular music and events, the clothes and hair.

I’ve always tried to find people to extend and fulfill my own curiosity for all those details, and to show how much the details matter to me by the creative departments researching and recreating them.

Once upon a time, using digital technology, like VFX, would have a big impact on smaller budgets. Has that part of moviemaking changed?

Well, certainly it is more affordable. It’s more integral to the way we already shoot films. Even if we shoot on negative, we’re finishing and cutting and doing post digitally. Our timing process is always digital these days. It wasn’t that long ago, where on I’m Not There, Ed and I still had some digital effects in the film, but we finished the film, did all of our color timing optically. So it was the last time I ever did that [laughs].

The post process has changed quite a bit since your early days. How have you adapted in that respect? I’m so

happy that I’ve been able to straddle both sides of this emerging technology. Even for the editing process, where I used to work in non-linear editing on a flatbed – before digital editing became an option. I think for

people who have had the experience of first learning how to cut a movie on film – the way you think about cutting, the way you think about time, the way you remember versions of your previous cuts – are all skills that we don’t have to maintain anymore.

But I’m grateful that I had to go through that because I do think it sharpens your wits and provides an appreciation for what you’re doing every time you make a cut. The cut actually has a kind of memory, and, in a way, I like knowing that that was once the case in a very material sense.

You typically take a few weeks off between filming and beginning post.

Why is that? Each stage for me in

making a film is a process of relinquishing what it was that came before. And one of the biggest transitions is departing from production and turning oneself over body and soul to post. So this comes with another little period of dreaming (and studying), where I go through all the dailies alone and make meticulous notes – literally hundreds of pages of chicken scratching, logs and scene plans. These are passed on to my editor, Affonso Gonçalves, who has already gotten to know the material very well while we were shooting it, which he can then transform into a first cut of the film. I started out cutting my own films, having a hands-on role on the process, so this is my way of relaying to my editor my own “first cut.” But with an editor with the depth of vision and abilities of Affonso, it’s really just my way of passing the baton.

As noted, digital technology has had a massive impact on postproduction – what are your thoughts about how it has affected capture? Digital technology is a tool. I’m suspicious when I see it changing the way films are shot and cut, let alone conceived. The digital has entered and altered our lives, to be sure, but the last time I looked, we’re still flesh and blood.

OCTOBER 2017 37

HUMANITY

2.0 ROGER DEAKINS, ASC, BSC, REVEALS WHAT LIES BEYOND ‘RIDLEYVILLE’ IN DENIS VILLENEUVE’S NEW BLADE RUNNER 2049

BY KEVIN H. MARTIN PHOTOS BY STEPHEN VAUGHAN, SMPSP FRAMEGRABS COURTESY OF WARNER BROS. 38 OCTOBER 2017

RIDLEY SCOTT’S 1982 MASTERPIECE, BLADE RUNNER,

DERIVED FROM PHILIP K. DICK’S CULT NOVEL DO ANDROIDS DREAM OF ELECTRIC SHEEP?, HIT THEATERS DURING ONE OF THE MOST FERTILE SUMMERS EVER FOR SCIENCE-FICTION/ FANTASY CONTENT. THE DIRECTOR’S FOLLOW-UP TO ALIEN DEBUTED AFTER THE ROAD WARRIOR, STAR TREK II, POLTERGEIST AND E.T. HAD CLEANED UP AT THE BOX OFFICE, AND WAS, AMAZINGLY (IN HINDSIGHT), A BOXOFFICE DUD. OCTOBER 2017 39

F

Fortunately, it soon underwent a critical reassessment, with viewers discovering the groundbreaking movie (which went on to spawn book and computer-game sequels) on home video. Blade Runner’s gorgeous cinematography (by Jordan Cronenweth, ASC, with additional photography by Steven Poster, ASC) and cutting-edge analog visual effects (supervised by Douglas Trumbull and David Dryer) became a well-mined source of inspiration for innumerable productions; it also fueled interest in the nascent print movement of “cyberpunk.”

But Scott has long resisted a return to what his crew dubbed “Ridleyville,” until now. With Blade Runner 2049, he becomes an executive producer, handing over the directing reins to Denis Villeneuve (Arrival). The sequel’s story (details of which have been kept tightly under wrap) appears to blend the old and new: a cop named K (Ryan Gosling) is caught up in a mystery that carries the potential for global disaster.

So he tracks down long-missing detective Rick Deckard (Harrison Ford), who decades earlier had vacated the same job currently filled by the younger man – that of a “blade runner,” responsible for “retiring” renegade humanoid replicants.

Blade Runner 2049 reunites Villeneuve with his cinematographer from Prisoners and Sicario, Roger Deakins, ASC, BSC. And as the 13-time Oscar nominee recalls: “I was naturally very interested by the idea, and Denis’ ideas for it. The film has elements of continuity, like with the Deckard character, but there wasn’t any attempt to emulate the original’s unique style. I’m simply not Jordan Cronenweth, so I wouldn’t choose to light this film in that way.”

A perpetual acid-rain landscape was an iconic aspect of Scott’s urban vision for 2019.

And as Deakins adds, “that worked because it was a kind of film noir set in Los Angeles.

This time there’s more visual variety as we venture outside the city, which now feels like what Denis described to me as ‘Beijing in smog.’ It’s a much sparser look than the original film, but there were a lot of specific design influences. During the boarding, we studied everything from Japanese wooden architecture to a Brutalist look that Denis liked, partly inspired by some buildings in London where we had initially scouted and considered shooting.”

WHILE THE ORIGINAL BLADE RUNNER WAS SHOT ALMOST ENTIRELY ON WARNER’S BACKLOT AND STAGES, 2049

was based in and around Budapest. “Ridley had done The Martian there [at Korda Studios],” reports production designer Dennis Gassner, “so when London fell out, we abided with some structures found in 40 OCTOBER 2017

“ONE THING THAT ROGER, DENIS AND I ALL SHARE IS THE DESIRE TO CONTROL EVERY ELEMENT. THAT’S WHAT THIS FILM IS ABOUT.” -PRODUCTION DESIGNER DENNIS GASSNER

Hungary, along with what we could build on stage. One thing that Roger, Denis and I all share is the desire to control every element.

That’s what this film is about – the first one too, though they had different tools from our CG and digital matte paintings – creating a very precise impression, along with scale.”

When Gassner began working with Villeneuve in Montreal, he asked for a single word that described the director’s concept.

“He paused, then said, ‘Brutality,’” Gassner reveals. “That word also sums up winter in Montreal – pictures don’t do it justice,” he smiles.

Gassner says weather elements affected his approach to architecture as well. “The original’s Tyrell building showed Ridley’s monolithic approach to the world, so we tripled that, expanding to a harsher architectural style evolved in response to the battering elements,” the designer continues.

“While this is a speculative future – our thought was hybrid tech, a pseudo-Anbaric [transmission] power source – it doesn’t mean technology has made things easier.

The situation is such that things still seem very challenged.”

Blade Runner’s famed visual futurist, Syd Mead, who developed the spinners – along with the so-called “retrofit” style of future L.A. – also contributed design work for 2049’s Las Vegas sequence. With significant credits on Tron, 2010, Aliens and the first Star Trek feature, Gassner describes Mead as “practically a metaphor for himself. You know the quality of what you’re going to get, along with his signature, which was the look for Ridley’s original film.

“With franchises,” Gassner adds, “you have to honor the established elements while meeting audience expectations. I’m about to do my fourth James Bond film, and

acknowledging the efforts of Ken Adam and others is a big part. But we still need to make it new for ourselves, and on 2049, that meant expanding the poetry that Denis brought.”

Deakins and Villeneuve concurred on shooting with ALEXAs (XT Studio, augmented by the Plus and Mini cameras) and capturing in 3.4K to Codex in MXF/ ARRRIRAW. “We decided to shoot this open-gate, like Sicario,” Deakins shares. “I did shoot tests with the Alexa 65, which produces fantastic images, but for this project it just didn’t feel right.

“People bandy about all these numbers in regard to resolution but there’s a lot more to consider rather than the amount of data,” Deakins notes about differing opinions on image quality. “Important are such things as latitude, noise level, chromatic aberration and, most importantly, halation that can be created by the sensor.

OCTOBER 2017 41

I like lenses that are clean and sharp, so I went with the Zeiss Master Primes, which are fast and also don’t flare the highlights. I don’t like image artifacts [like flaring] that can, though not always, distract from the narrative.”

“ALL OF THE COLOR SCHEME WAS CONTROLLED IN CAMERA AND THIS GIVES IT A REALITY I DOUBT IT WOULD HAVE HAD IF LEFT TO POST.” -ROGER DEAKINS, ASC, BSC

42 OCTOBER 2017

ONE STRONG VISUAL ELEMENT IN 2049’S NARRATIVE EMERGES IN SCENES FEATURING NIANDER WALLACE ( Jared Leto), the new

maestro of replicant manufacturing. “He has the ability to create any mood in his facilities, and that shaped the tone and texture of the lighting,” Gassner describes. “When Roger saw our designs, he seized on water as being a useful tool for infusing the lighting with a unique look that developed out of the story itself. Everything in lighting is about character for Roger. When we first worked together on Barton Fink, that meant integrating practical and motivating lights to create a synergy, of which Roger is a master.

This film justified his history and knowledge of storytelling with light.”

Deakins felt the environment inhabited

by Leto’s character was all about a feeling of ‘sunlight,’ even in closed-off interiors, with illumination always seeming to be alive and in motion. “We’re often lighting very flat surfaces, panning lights or using chasers to create this effect,” he notes. “I also had a number of sets utilizing lights projected through water or bouncing off the surface of water to create caustic patterns of ‘sunlight’ on the walls.”

Other scenes (not specified to avoid spoilers) exploited virtually the whole range of lighting tools. “One whole set was lit by just eight twofoot LED fixtures,” Deakins adds, “while another used 120 10Ks on three 25-feet-in-circumference circular tracks. All were on chasers for the particular moving-light effect. Elsewhere we lit a set using 50 Skypanels, another using 280 Betweenies and, for another, 250 Space-lights, so the volume and approach varied throughout.”

Visualizing the exterior landscape often required waiting on Mother Nature. “We wanted a very gray atmosphere for the city, often with rain or snow, and flatly refused to shoot anything in the sun,” Deakins laughs. “Some of that was done on stage, where we had Gerd Nefzer, our German effects guru, create heavy misting effects. We also built rather large sets on the backlot and then waited for the right weather.”

When K finally meets up with Deckard, it’s in a dusty, ochre-colored Las Vegas (shot in Budapest.) “That orange environment was done in three different ways,” Deakins remarks.

“The opening part was on stage and, for this, I had Tiffen make some specific red filters for in front of the lens. While most of my lighting was tungsten-based Spacelights, there were some 20 Maxi-Brutes gelled green to give a feeling of yellow light against the predominantly red filtration.

“The second section was an interior shot on location in Budapest,” he continues. “For this we

OCTOBER 2017 43

had HMI sources from outside the windows, which were in turn diffused and gelled with the same color gels that we had used for lens filtration previously. Then, for the third part of the sequence, we had a very large set that used a couple hundred open-faced 2Ks and sixty 10Ks, with all those lamps bounced and gelled to maintain our color. All of the color scheme was controlled in camera and this gives it a reality I doubt it would have had if left to post.”

Deakins continues to employ a single LUT, which he has favored for years. “I made slight adjustments with [DIT] Joshua Gollish to skew it just a bit one way or the other, but I use basically one LUT and do as much in camera as possible,” he adds.

Gollish, who has worked on all of Deakins’ digital features, reports that monitor calibration was as important as ever to the cinematographer, and to digital workflow consultant James Deakins.

“From their first digital film, In Time, we have been able to maintain the highest level of accuracy on displays for different departments, in various color spaces from ITU-Rec709 to DCI-P3,” Gollish explains.

“We brought our own equipment as well as Efilm’s to achieve a monitoring solution from set to dailies. We vetted camera media to the most precise level possible, tracking SMART status and the number of LBA blocks written before any camera ever rolled on a test shoot, and ensuring integrity from Codex XR to CFast mags. We used DoD level of encryption and data security near set to back up the media, as well as data clearing after the shoot.”

Gollish says James specifically oversees the workflow to ensure that Deakins’ work – from capture to editorial to VFX to final color – is represented as intended. “We implemented a common show look with various units shooting all over the world,” he adds. “Where there were DIT’s involved, we made certain that data-handling procedures and color pipeline were parallel to ours – identical in the case of second unit, down to hardware and monitoring.”

ONE GLOBETROTTING UNIT – RANGING FROM THE U.S.A. TO ICELAND AND SPAIN – was headed up by aerial DP Dylan Goss, a Sicario vet who found himself operating under a directive that was a first for him after more than twenty years of flying.

“Much of this film was unconventional for aerials in that we essentially chased storms and rain the whole time,” Goss reflects. “Our job was to find the Blade Runner 2049 look out in nature so it matched the studio look of the main unit.

And the look mandated by Roger came with the caveat of capturing those shots without 44 OCTOBER 2017

a post re-light in mind – so we absolutely avoided direct sun and flat light. Roger and Denis implied that some leeway was allowed regarding the previs, but getting the look in camera was non-negotiable.”

Work first got underway above Mexico City – chosen for its Brutalist architecture – to depict K’s spinner flights through Los Angeles. Goss says, “We sent select takes on a secure system and received very specific feedback about what worked. We quickly became focused on the edges of storms. When that weather would break, we might have atmosphere and cover, but also

hopefully some decent backlight or rim light.

“We would lift off with rain spinners going and race toward what we hoped was soon-to-break darkness,” he continues. “For shots with movement in relation to a flying vehicle, we flew a second helicopter to serve as a tracking marker, giving the camera a proper target against which to make moves.

That helicopter would be replaced in post, but our moves remained authentic.” The team later ventured to Nevada’s Valley of Fire, making sure to arrive ahead of the weather. “It is pretty rare to get rain there,” Goss admits. “Having the lease to hold

“MUCH OF THIS FILM WAS UNCONVENTIONAL FOR AERIALS IN THAT WE ESSENTIALLY CHASED STORMS AND RAIN THE WHOLE TIME” -AERIAL DP DYLAN GOSS

OCTOBER 2017 45

“ LIGHTS ROGER AND EXPOSES WITHIN THAT [ONE LUT] FRAMEWORK, VERY MUCH THE WAY HE WOULD USE A FILM STOCK.” -COLORIST MITCH PAULSON

for certain conditions – and to end up capturing those red rocks with all the diffused rain and haze in-camera – was amazing.”

Goss worked with aerial specialists at Team5, using their Shotover system for single-camera setups. At the request of VFX supervisor John Nelson, he also developed a variation on the company’s Hydra 6 camera array. It was primarily for use on scenes shot in Iceland, which represented a portion of K’s journey down the California coastline of 2049.

“We had unparalleled support from ARRI, [which] wrote custom software to drive the hand-built, quickly-engineered array the way I needed,” Goss reveals.

“Meeting the needs of John and Roger had us wiring multiplexed lens drives to control modified lenses and building a one-off enclosure to accommodate Alexa Mini camera bodies.”

THE SPINNER ITSELF PROVED TO BE A MAJOR DESIGN EFFORT. “Our lead spends much of the film in it traversing 46 OCTOBER 2017

this environment,” notes Gassner. “The graphic strength of that car became what I call the pattern language of the film itself, helping define the differences between the original and the ‘present day’” of 2049.

At one point, a spinner crash-lands in water. “We had talked about going to Malta for the tank, but the expense ruled that out,” Deakins reveals. “Production found another local studio and built an exterior tank. We pumped a lot of smoke around that and, since it was late in the year, by 8 p.m. the water would start to steam, which helped us with the look we were trying to achieve.

Special effects built a track that allowed the craft to slowly descend, as if sinking, and there were wave machines involved, so it was quite a big production.”

Visually, the scene posed a particular challenge for Deakins. “It’s supposed to be dark, so I didn’t want to put lights outside the craft but we still needed to see where we were and to see the action involved. We decided to go for it. We said let’s just make it so the lights coming from the vehicle itself are the light sources, creating pools of light surrounded by complete darkness.

I think this effect makes the scene more scary but it was also quite scary for me.”

The scene was also one of the few times he utilized a Technocrane on the production. “This film really echoed Sicario in its fairly minimal camera movement and not a lot of elaborate action,” Deakins relates, adding that Aero cranes and remote heads were more common, augmented by drones and some Steadicam.

The spinner’s flying scenes were achieved with the cars placed on gimbals.

“Sometimes we shot those against backings, which usually got replaced by VFX,” Deakins states. “We built a lot of interactive lighting gags into those shots, especially when the vehicle is under attack.”

Deakins says he looked back on some of his past films to employ a proven technique that involved putting large elastic bands on wires to propel practical light sources at speed across the vehicle, “to give the impression that some form of weapons fire is passing right by them,” he explains.

“I’d used it to dramatize passing lights when someone is looking out a window

OCTOBER 2017 47

48 OCTOBER 2017

“I DON’T KNOW WHAT PEOPLE ARE EXPECTING, BUT THIS ISN’T JUST ANOTHER VERSION OF WHAT THEY SAW IN 1982 – IT IS VERY MUCH DENIS’ FILM.” -ROGER DEAKINS, ASC, BSC

from aboard a train, but here on this film – where we often had very elaborate and technical solutions involving programming lights and very complex dimmer work – it seemed funny that something so simple to set up worked so well.”

GREEN SCREEN WAS OCCASIONALLY MANDATED ON 2049, but Deakins

resists using it as a default solution. “Green screen can kill the naturalistic look of lighting,” he adds. “On Unbroken’s bomber set, VFX wanted green screen all around the set, but it would have interfered with the light entering the cockpit. So we surrounded the bomber with white silk and lit through that. [For 2049] we’d often surround a set with grey cyc, or put bounce material there to get our look. VFX does have to deal with rotoscoping, but that’s much easier now than it used to be. For our backlot exteriors, I thought green screen was fine, because it doesn’t affect the foreground, but I won’t compromise the look when working in close quarters.”

Deakins remained closely involved during postproduction, overseeing the DI with Villeneuve at Deluxe’s Efilm.

Colorist Mitch Paulson notes that even with the mix of stage, locations and VFX, 2049 still had a very consistent look, relative to his efforts in the DI.

“Roger lights and exposes within that [one LUT] framework, very much the way he would use a film stock,” Paulson states. “Scenes cut together very well because of the planning that went into shooting. There were the inevitable small differences, and Roger, who was at every session, would have me massage the images to his satisfaction.”

Paulson employed Autodesk Lustre for the different deliverables required for 2049, which included 3D and HDR. “There are technical differences when you work in Dolby Cinema or Dolby Vision for home entertainment versions,” the colorist explains. “HDR lets you have significantly deeper blacks and much brighter whites – but it’s ultimately up to cinematographers and directors how much they want to take advantage of that. Roger’s approach was really all about preserving the look and feel of the P3 version.”

Deakins notes that the highlights in HDR can pop in distracting ways, so suppressing the highlights was a good way to make that version conform to the regular release. “For the IMAX version, I’m adding a bit more color,” he says.

“Most of those cinemas use a silver screen, so the edges fall off in density, and color gets washed out.”

Outside of Skyfall, Deakins has not been involved with spinoffs and sequel

projects, but he stresses that Blade Runner 2049 offers a distinctly different treatment than the original. “It’s really not a conventional sequel at all in my mind,” he concludes. “I don’t know what people are expecting, but this isn’t just another version of what they saw in 1982 – it is very much Denis’ film.”

CREW LIST Director of Photography Roger Deakins, ASC, BSC Steadicam Pete Cavaciuti A-Camera 1st AC Andrew Harris DIT Joshua Gollish Still Photographer Stephen Vaughan, SMPSP Publicist Larry Garrison AERIAL UNIT Aerial Dir. Of Photography Dylan Goss Aerial Technician Justin Webber DIT Paul Maletich

OCTOBER 2017 49

CRIES AND WHISPERS 50 OCTOBER 2017

/

ED LACHMAN, ASC AND VISIONARY DIRECTOR TODD HAYNES CONJURE UP PARALLEL STORIES AND ERAS, WHICH MIRROR EACH OTHER IN SILENCE

BY MATT HURWITZ PHOTOS BY MARY CYBULSKI OCTOBER 2017 51

IT’S 1927 IN HOBOKEN, NJ, AND A 12-YEAR-OLD GIRL, DEAF SINCE CHILDBIRTH, ESCAPES TO NEW YORK CITY TO FIND HER MOTHER, A SILENT FILM ACTRESS. A HALF-CENTURY LATER, IN MINNESOTA, A 12-YEAR-OLD BOY WHO HAS EXPERIENCED THE DEATH OF HIS MOTHER AND A RECENT LOSS OF HEARING, HEADS OFF TO NEW YORK CITY TO FIND THE FATHER HE’S NEVER KNOWN. THESE NARRATIVES ARE TOLD IN PARALLEL FASHION, LEADING TO A MYSTERIOUS CONCLUSION; THE 1927 SILENT FILM UNFOLDS IN BLACK AND WHITE WITH ONLY MUSIC AS AN ACCOMPANIMENT, WHILE THE MORE RECENT TALE IN THE 1970’S IS TOLD IN PARTIAL SILENCE AND IN A GRITTIER STYLE OF SHOOTING. 52 OCTOBER 2017

W

*

WONDERSTRUCK, BASED ON BRIAN SELZNICK’S BEST-SELLING CHILDREN’S NOVEL, was shot by 2017

ASC Lifetime Achievement recipient Ed Lachman, ASC, who has collaborated with director Todd Haynes since 2001’s Far From Heaven. Lachman states that, “Brian Selznick’s story offered Todd a cinematic idea that took form as a mystery, accumulating clues, posing and answering questions, all within a child’s imagination. The parallel stories mirror each other in the world of deafness.”

Haynes (see Exposure, page 32) says he intended the storytelling to be conceptually and thematically split. “That becomes a stylistic challenge, and also distills the mystery of the story – why are these two stories being interwoven?” the director asks. The parallel time frames allowed Haynes to explore the differences in the life of a city 50 years apart. And that, describes Production Designer Mark Friedberg, is right up Haynes’s alley. “Todd is very much a student of history, both cinematic and cultural. His films tend to look at decades through the prism of other decades.”

Typically for Lachman, Wonderstruck was shot on film. “I wanted to achieve a better color depth that references the 1970’s film stocks. The black and white negative in 1920’s silent period films had a specific grain structure and contrast that I also wanted to replicate.”

OCTOBER 2017 53

Wonderstruck was fluidly achieved by A-camera operator Craig Haagensen and B-camera operator Peter Agliata. “They created a subjective perspective of how a deaf child might experience the world, using the cinematic language of our different time periods of the 1920’s and 1970s,” Lachman adds.

Haagensen describes bringing an audio recorder to the location scouts.

“Sometimes in this film it’s important to include material that the kids should have been aware of and were not, due to their deafness. You see what’s happening that would produce a sound, and then you’ll isolate the character from what the audience knows is going on around them.

That help tells the audience, ‘This is what it’s like to not hear what’s happening.’”

Wonderstruck was also unique in having a deaf actress (Millicent Simmonds) portray Rose, the young girl in 1927. The filmmakers referenced black and white silent-era classics like Murnau’s The Last Laugh, King Vidor’s The Crowd and Victor Sjöström’s The Wind. “We looked to create a visual metaphor for deafness, both for Rose in 1927 and Ben in 1977,” Lachman adds. “I like to think of Rose hearing with images like those black and white films made you feel.”

Both the 1927 and 1977 footage were shot on ARRICAM ST and Cooke Speed Panchros. Lachman notes that, “the Panchros were actually used back in the 1920’s and in the 1970’s, but they are not so flat-field corrected. The falloff is pleasing when capturing faces and landscapes.”

One memorable scene in the blackand-white portion includes Rose going to watch one of her mother’s then-current movies. Titled Daughter of the Storm, the film is Haynes’s homage to the silent film classic The Wind, which starred Lillian Gish. (Rose’s mother is even named Lillian.) For this film-within-a-film, Lachman shot at a slightly slower frame rate of 22 frames per second. He used Tiffen black and white filters (yellow, orange and light red), with ND grads.

* THE JOURNEY OF BEN (OAKES FEGLEY) BEGINS AT HIS MINNESOTA FARMHOUSE shortly after the death of his

mother (Michelle Williams). He finds an old book of hers entitled “Wonderstruck,” which is about curating collections for museums. Inside is a bookmark from a New York bookstore that offers a clue, which sets him out on a journey to find 54 OCTOBER 2017

his missing father. While looking through the book, a freak accident with lightning destroys his hearing.

His arrival by bus at the Port Authority, near Times Square, offers a stark contrast to the visual opulence of Rose’s world. The streets, in 1977, are experiencing economic decay. The physical deterioration helped to visualize what Lachman describes as, “New York City in economic decline, and there was a hardship to the imagery of that era.”

Ben’s world also references the work of Owen Roizman, ASC, from the 1971 classic The French Connection. Observes Lachman: “There was an interest in street reality in the New York films at that time – shooting on real locations, motivating the light from sources – that was different from the orchestrated camera movements and composed studio lighting of the black-and-white era.”

Colorist Joe Gawler (who founded Harbor Picture Company six years ago where Wonderstruck was posted) says Haynes and Lachman “embraced the gritty feeling that cast the seventies. It’s dirty, with no real white whites or black blacks anywhere. As soon as Ben steps into the Port Authority terminal, you feel the heat of the summer.”

The 1977 color footage was shot on Kodak 5219 (500T) and 5207 (250D).

Though Lachman says The French Connection was shot on 5254, it was not only the stock that produced a green to magenta/yellow shift in that film. “The shift was also from the print stocks,” he reveals. “They had started to eliminate some silver, and, for big orders, used Fuji, which had a tendency to go green/ magenta in the blacks and yellow in the highlights. Adds Gawler with a smile: “I don’t think I had enough yellow/green in my Da Vinci system to make Ed happy.”

One wonderfully illustrative scene takes place on several blocks adjacent to the Port Authority terminal (filmed on Brooklyn’s Flatbush Avenue), where the camera follows Ben as he chases a thief who swipes his wallet. Designer Friedberg says the scene required dressing two full blocks, and hundreds of background extras in full costume and make-up. “The investment of paying two full blocks of businesses to ‘let me change your sign and redress your storefront,’ as well as, ‘Do you mind if we throw garbage everywhere and make your place look terrible?’ was a complicated affair,” he recalls.

For the scene, Lachman and his Key Grip, Jimmy McMillan, made use of Western dollies (as had been used on French Connection, per Roizman, whom

Lachman consulted) to track Ben down the street. Haagensen was placed in a rickshaw dolly to follow Ben through crowds. (B-camera operator Peter Agliata was also shooting.) Haagensen used a gyro system dubbed the “ESP” – Enhanced Stabilized Platform – he first used 30 years earlier on 9 ½ Weeks, and since on such films as Finding Forrester, Fisher King and Black Rain.

“It’s a small, handheld camera unit,” the operator explains. “And combined with the rickshaw, which couldn’t always handle some of the bumpy streets, provides a more stable handheld feeling.”

Haagensen will typically order an offcamera finder and six-foot cable when doing such shots, allowing him to cradle the camera under his forearm and still view his shots clearly. When using an electric cart, Haagensen used a Tango head. “Since we didn’t have a stabilized head,” he adds, “I sat sidesaddle on the back of the car, with my assistant, Gus Limberis, and the camera between us. The Tango head would allow us to level the camera as needed, to keep things vertical as we panned during the shot.”

* A GOOD PART OF WONDERSTRUCK TAKES PLACE IN THE MUSEUM OF NATURAL HISTORY, where the two

storylines merge. Shooting in the museum presented some limitations, most notably on lighting. Or as Friedberg describes: “It’s a museum of precious things – you can’t have movie lights fading them.” Lachman considered pushing the Kodak film a stop or more and shooting wide open, “but because of the limitations of how much equipment I could bring in and out every night, timewise, we made the decision to shoot on ALEXA [Mini],” capturing in 4:2:2 ProRes with Cooke Speed Panchros and Zeiss high speed lenses.

Lachman’s longtime gaffer John DeBlau says he was able to use the museum’s PAR cans, supplemented by Source Maker LED blankets. The wolf diorama in the Hall of North American Mammals plays a crucial part in the story and was the only exhibit that allowed for additional lighting. “It had a couple of cool white fluorescents with gels – and one of them was even burned out, which I brought to their attention!” says DeBlau.

Another key location was the Queens Museum, site of the historic New York Panorama model built for the World’s Fair in 1964 and featuring 400,000 handmade structures. That museum’s built-in lighting

THE PHYSICAL DETERIORATION OF THE STREETS HELPED VISUALIZE WHAT LACHMAN DESCRIBES AS,

“ NEW YORK CITY IN ECONOMIC DECLINE, AND THERE WAS A HARDSHIP TO THE IMAGERY OF THAT ERA.”

OCTOBER 2017 55

system, which would cycle through dawn, day, dusk and night (the latter via black lights illuminating fluorescent windows on buildings) was deemed inadequate; so DeBlau brought the ARRI SkyPanels (which he had demonstrated at ARRI Rental in New Jersey) to Lachman’s attention.

“It was far better than having three sets of lights for each time of day,” DeBlau says. “My dimmer board operator, Ted Read, could control a single setup and provide all the color changes we needed.

And you can plug five of them into a 110-V regular outlet.”

To photograph the delicate model, Lachman used a 15-foot Technocrane, set up on one side walkway, while a drone system, provided by Aerobo, was brought in to capture an overview shot Haynes required. “When [the four-man Aerobo team] first flew [the drone] over the model, it kicked up a huge cloud of dust,” Haagensen recounts,” and you couldn’t see a thing. That was probably 50 years of dirt!”

A model of the Panorama was built in miniature by the art department to represent Ben’s visions, which were scripted as flashbacks. Haynes and Executive Producer Brian Bell considered using animation, but that would have created another visual style. So Friedberg suggested building models, some as large as 16 feet by 10 feet.

The models were photographed by 2nd Unit DP Ivan Abel using a Revolution Lens system with snorkel lens that allowed Abel to get extremely close to the model, and a Technodolly motioncontrol system. The latter, provided and operated by Anthony Jacques of Reality Visual Effects, offers a 15-foot Technocrane and can program repeatable shots, including variable frame rates. Abel shot with the ALEXA Mini at 3.2K over a period of nine days, with Zeiss Ultra Prime and Super Speed lenses, and his aperture mostly at F16. “We tested several systems, but the Revolution system had a nice sharpness from corner to corner,” Abel remarks. “The imagery doesn’t look like miniatures, which was our goal.”

*

WORKFLOW-WISE, CAMERA NEGATIVE WAS SENT TO FOTOKEM IN L.A.,

processed and scanned flat on a Spirit telecine and then sent to Gawler and dailies colorist Jamie Payne. Lachman observes that, “you want to get your dailies as close to your vision of the film 56 OCTOBER 2017

as possible, because directors and editors get married to what they see in the edit room day in and day out.” Dailies didn’t go to set, but Lachman would come in on days off or weekends and review the week’s work and provide any notes.

To make the ALEXA footage cut smoothly with the film footage, Gawler utilized LiveGrain, flawlessly replicating the grain structure of both the Double-X Negative and 5219 stocks. “There are tools within LiveGrain that allow us to play with where shadows, midtones and highlights express themselves,” Gawler explains. “People had concerns about the intercutting of digital and film, but Livegrain made it truly seamless.”

VFX work was mostly about addressing anachronisms, adding CG cars, CG crowd, trees and forest. That included creating matte paintings and set extensions of city skyline and streets such as in the ferry scene where Rose drops a CG paper clip that flies amongst the ship’s passengers, and retrieving it, she discovers the pristine 1927 Manhattan skyline.

Visual effects were split among three vendors – FrameStore, Alchemy 24 and FOLKS VFX – under the supervision of VFX Supervisor Louis Morin. Working remotely in Montreal with editor Affonso Gonçalves back at Harbor, scenes would be sent via FTP to Morin.

“We’d send a QuickTime as a reference,” Gonçalves details, “and then Todd and I would discuss what we needed with Louis, using cineSync, a software that allowed us to draw on screen to explain what we were looking for.” Morin would cut finished shots into the Avid timeline and FTP them back to Gonçalves, ready to be dropped back into the timeline. “It syncs automatically with their Avid file,” Morin adds.

Gonçalves had an interesting editorial challenge in creating, essentially, a silent movie. “They actually shot it with dialogue, and I made my cut leaving the dialogue in,” he remembers. “But silent films are different as the shots are often held longer, so fewer edits are needed. You have to capture just the big moves or big looks, and you sit on [the frame] a little bit.”

Wonderstruck interweaves two distinct visions of New York City – 1927 and 1977 – in a visual silence of black and white and color. “It takes us through different time periods, characters, miniatures, and cinematic language,” Lachman concludes.

“Its heart is with how children access the language of imagination, be it through hearing or deafness, in the mystery of their lives.”

“ ITS HEART IS WITH HOW CHILDREN ACCESS THE LANGUAGE OF IMAGINATION, BE IT THROUGH HEARING OR DEAFNESS, IN THE MYSTERY OF THEIR LIVES.” -ED LACHMAN, ASC

CREW LIST Director of Photography Ed Lachman, ASC Director of Photography (2ND UNIT) Ivan Abel A-Camera Operator Craig Haagensen A-Camera 1st AC Constantine “Gus” Limberis A-Camera 2nd AC Randy Schwartz B-Camera Operator Peter Agliata B-Camera 1st AC Tim Metivier B-Camera 2nd AC Graham Burt Loader Nicholas Koda Still Photographers Myles Aronowitz Mary Cybulski David Giesbrecht

OCTOBER 2017 57

DEEP IN THE HEART 58 OCTOBER 2017

DON BURGESS, ASC, BRINGS HIS LEADING-EDGE DIGITAL WORKFLOW TO THE EARTHY TONES OF SMALL-TOWN MISSISSIPPI

BY KEVIN H. MARTIN PHOTOS BY DALE ROBINETTE

IF YOU THINK A COMPLEX DIGITAL WORKFLOW IS ONLY SUITED TO A BIG VFX FRANCHISE, THINK AGAIN. SAME KIND OF DIFFERENT AS ME, WHICH IS BASED ON A PERSONAL MEMOIR BY ART DEALER RON HALL (GREG KINNEAR), IS AN EARTHY, LOCATION-BASED DRAMA THAT CENTERS AROUND HALL’S STRUGGLE TO KICK-START HIS FAILING MARRIAGE. HE’S CHALLENGED BY HIS WIFE (RENÉE ZELLWEGER) TO RESTORE A LOCAL MISSION, AND IN SO DOING MEETS AN AGED EX-SHARECROPPER (DJIMON HOUNSOU) WHO FOREVER ALTERS BOTH THEIR LIVES. AFTER HIS WIFE DIES AND THE MISSION IS RESTORED, HALL ANGLES FAR AFIELD FROM THE GLAMOROUS ART WORLD HE KNOWS, AND INTO THE STRANGER’S LIFE. OCTOBER 2017 59

H

HELMED BY FIRST-TIME F E AT U R E D I R E CTO R MICHAEL CARNEY, who also

co-scripted with Hall and Alexander Foard, the film was shot by Don Burgess, ASC. For more than two decades, Burgess has served as cinematographer for many projects from filmmaker Robert Zemeckis – both live-action and motioncapture – including an Oscar nomination for Forrest Gump and the director’s most recent effort, Allied (2016).

With franchise VFX-filled spectacles on his résumé like Terminator 3: Rise of the Machines and Spider-Man, Burgess says he welcomed the intimate scale of this project.

Upon meeting Carney, he remembers that “Michael seemed quite passionate and specific about the film he wanted to make, and his script seemed like a really engaging take on Ron Hall’s book.”

The DP renewed his collaboration with producer Mary Parent, with whom he had worked on Monster Trucks.

“Considering we had a first-time director, Mary felt it was important for me to have my [regular] crew, [so] I took all my [key department heads] with me,” Burgess reports. “Ideas

60 OCTOBER 2017

like that [are what make her] such a great producer.” The Burgess regulars included A-camera operator Matthew Moriarty, 1st AC Zoran Veselic and 2nd Unit/B-camera operator Michael Burgess, augmented by Gaffer Rafael E. Sánchez and Key Grip Michael Coo. Although known for his leading digital workflow, Burgess employed many traditional tools for Same Kind of Different As Me, ranging from carefully planned gradations of color temperature to camera filtration and image desaturation.

“After spending so many years shooting film, I still try to achieve as much as possible on the day rather than through post work,” he elaborates. “I try to set looks before starting to shoot, especially the colors. In preproduction I shoot tests and come up with CDLs that serve our locations and make our wardrobe look right. I break down the whole movie, using a colored marker to note every aspect of each scene, which helps keep things straight later, since we’re not shooting in continuity. I always know which kind of diffusion, which filters, and which color temperature are needed.”

Burgess’ plan contained seven distinct stages. “Ron’s telling of the events as they unfold in his life is presented in a clean fashion,” he explains. “Flashbacks are dealt with using diffusion and warmer hues, with Denver’s flashbacks taken to even more of an extreme; we see his life as an uneducated sharecropper looking very glimmer-glass.

“AFTER SPENDING SO MANY YEARS SHOOTING FILM, I STILL TRY TO ACHIEVE AS MUCH AS POSSIBLE ON THE DAY RATHER THAN THROUGH POST WORK.” -DON BURGESS, ASC

OCTOBER 2017 61

“Those cotton-field scenes have a distinctive feel that let you know you’re way back in time, which works as time seems to leave him behind,” he adds. “Then the whole restoration of the mission has its own arc of lighting, starting out dark and dingy, with a lot of lights not working. Because Ron’s wife has such interest and energy in it, the place gets brighter, quite literally, as the lights get put in and the place seems to come to life.”

BURGESS SAT IN WITH PRODUCTION DESIGNER WILLIAM O. HUNTER to hear the

designer’s game plan, and then worked that into the stages for the mission’s changing look. “Once I knew when the new paint would go on, and when the newer fixtures would go in, that would inform how I gave the place more life to the look. I started with no fill light there, so that was another aspect in addition to color temperature to make it seem more alive in later scenes. Then when she gets sick, some cooler tones come back in; the last time she visits, when the upgrades are all done, our lighting reflects that along with a comfortable feeling of warmth.”

Though the film was shot entirely on location in Mississippi on practical locations, Veselic fully prepped the project in Los Angeles. “Sometimes there are limitations with space while on location that can hurt you visually,” the 1st AC observes. “But Don did a great job of scouting and prepping, so there were really no surprises. He is exceptionally organized, with everything broken down on paper in what I call a bible.

Everybody knows which filter and color temperature is required – and that is scenespecific for the whole shoot, listing every special rig or crane, whether a stabilized head is going to be used and exactly when those items will be needed. And when there’s a weather issue, he has a backup space for us to go, so we’re never going to stall out.”

Burgess admits to finding it tougher to schedule and rig when dealing with realworld limitations. “You have to block in a way that limits you, given the real walls and ceilings, and you have to make sure you don’t scratch anything up!” he cheerfully acknowledges. “Because that wall isn’t going to be moving, you have to work through these issues, which impacts the freedom actors have to move around and directors have in how they can stage things. So there is a bit of fine-tuning going on, once I let them know that I can’t get the composition unless we move somebody over a bit.

Shooting in tight locations made a virtue of Burgess’ continued use of the RED EPIC DRAGON, with ARRI Zeiss Ultra Prime glass. Second Unit and B-camera operator Michael Burgess notes that “the RED 62 OCTOBER 2017

“ FOR THIS MOVIE, WE SUBTLY USED WARM AND COOL COLORS TO HELP CONVEY EMOTIONS AS THE STORY PROGRESSES.” -COLORIST CORINNE BOGDANOWICZ

camera is of a size that really helps you out when you’re in a situation like we found here, where you can’t pull walls or fly ceilings.”

Michael Burgess and Moriarty often employed sliders to finesse their camera moves. “It’s very helpful for quick, on-the-fly adjustments,” he states, “which we need to make sometimes, just because acting is a very organic process and those performers are not going to be able to repeat everything in precisely the same way each time. No matter how superb they are, they aren’t machines.

So it’s beneficial to be able to capture those great moments, and sliders really help us be flexible enough to do just that.

THE ABILITY TO WORK SPONTANEOUSLY IS ENABLED BY BURGESS’ APPROACH,

which involves using a headset with his operators, focus pullers and dolly grips during the shot. “There’s a lot of emotional material in this show,” adds Michael Burgess.

“So there were times when you didn’t want the actors to have to keep playing this intense material over and over again, and it made sense to make sure we wouldn’t miss any special moment or spend more time to try to get a repeat performance from one of these great performers.”

Oftentimes B-camera’s position was worked out in advance, but on other occasions Michael Burgess would be challenged to find something that worked without compromising the main angle. “Everything that I hunted for angle-wise always kept in mind what the lighting for A-camera allowed for. Don tends to light for one camera but can fiddle things to make it work for two.

It really depended, scene-to-scene, on what story points were being addressed. Another big help in facilitating all this was the fact that Matthew and I have done a handful of films together with Don as A- and B-camera operators, so we knew going into the scene what each of us needed to tell the story.”

When Same Kind of Different as Me

OCTOBER 2017 63

was filmed (in 2014), LED lighting units had not yet attained their current level of proliferation, so Don Burgess relied mostly upon a more traditional lighting package supplied by gaffer Rafael Sanchez. “We try to do as much pre-lighting as possible while rehearsal is going on, so after the scene is blocked, we’re already pretty close and not having to start from scratch,” he shares. “When we want to see the daylight environment outside the house through the windows, we’re going to get into HMIs to make things feel like it is the sun coming in the windows. The combination of 4K RED Dragon with Zeiss Ultra Primes provides latitude when it comes to balancing interiors and exteriors. Once you find the camera’s sweet spot, you can light for mood.”

Sanchez supplied a variety of tungsten ­units –12Ks, 18ks and Pars – combined with KinoFlos and other soft light sources. For night work, Burgess likes to bring out the 20Ks, and when shooting backlight during those hours, he cools it off with a 1/8 CTB. “Then on interiors, I typically use practicals so it feels like they are lighting the scene, but in fact that they are being augmented by off-camera sources. There’s just not a way to let the actors look good when you’ve got these hot spots of practicals next to their faces. You’ve got to light it traditionally, which involves knowing where to put proper lights to get them in a good light while giving the impression of natural light. That’s the constant battle, how much artificial light to incorporate while retaining the natural look.”

RED FOOTAGE WAS RECORDED TO CARDS, WITH LIGHT IRON HANDLING DIGITAL DAILIES. “Every day in every

scene, we set a look that would bake in,” says Burgess. “That data is transmitted with the material, so when we get back to Light Iron, 64 OCTOBER 2017

we have a reference. The pre-cut movie that you’re shooting is what I base my notes on, so these 230 scenes each have attachments about what the scenes look like. When the film is cut, your thoughts adjust to what the movie has become; maybe you see something in the performance that wasn’t on the page, and you adjust.”

Burgess’ ongoing collaboration with Light Iron and its president, Michael Cioni, is a fluid one that takes into account the many advances in technology. “Dating from my first digital feature, The Book of Eli [ICG January 2011], until today, there has been a lot of evolution in the digital workflow,” Burgess declares. “Michael has worked closely with me to make sure that the thoughts of what was going on during the shoot get communicated properly, with ideas translated to colorist Corinne Bogdanowicz and through to the final product.”

Cioni, who recalls being mesmerized

by Burgess’ cinematography for Contact, first teamed with the DP on The Muppets, where they began laying the foundation for a fully mobile, file-based 4K workflow.

“At the time, mobile dailies systems, iPad review, 4K capture, and file-based workflows were still extremely experimental,” Cioni relates. “But Don sets an impressive pace of progressive ideology designed to shrink turn-around times as well as improve creative control. Eight films later, our workflow continues to be refined, and Don’s forwardthinking attitude sets him apart as one of the most innovative cinematographers of all time.”

Bogdanowicz acknowledges that she and Burgess will reference what was done on set, but for final color, they start over from scratch. “That enables us to do a more sophisticated, balanced job in the final color grading,” she explains. “For this movie, we subtly used warm and cool colors to help convey emotions as the story progresses.

The look is natural and beautiful, with the

focus being on the characters and their emotions. You can’t have anything that distracts from that.”

For a dream sequence, a light touch was needed to carefully differentiate from the rest of the picture. “We make a very creamy, warm environment emerge from some cooler elevator doors opening,” Bogdanowicz notes.

“The look is still natural, but these enhanced colors make the difference between inside and outside more distinct, like you are walking through the elevator doors to another world.”

Looking back upon Same Kind of Different as Me, Burgess’s recollections are of a “smaller film than we usually get to make, one where everyone was deeply involved.

In Mississippi, we found the people down there had a deep love for the book, and were willing to invest in ways to make sure it got made, including donating their homes for us to live and shoot in,” he concludes.

“Coupled with the utter professionalism of the principal actors, who were always able and willing to adapt so as to let us get the blocking to work, and their open friendly attitude as collaborators, we knew we’d always be able to do our job properly, even when time and money weren’t in abundance.

It was wonderful to be able to achieve what we set out to do, such as making subtle visual adjustments that would help audiences feel all the important emotional moments to the fullest.”

CREW LIST Director of Photography Don Burgess, ASC A-Camera Operator Matt Moriarty A-Camera 1st AC Zoran Veselic A-Camera 2nd AC Craig Bauer B-Camera Operator Michael Burgess B-Camera 1st AC Sebastian Vega B-Camera 2nd AC Louis Smith Still Photographers Steve Dietl Dale Robinette

OCTOBER 2017 65

ROSY BOUQUET Hollywood has been sipping the ACES workflow since 2014. How mature is the technology now, and how widespread the adoption?

by Pauline Rogers

ACES (ACADEMY COLOR ENCODING SYSTEM) FIRST BEGAN ITS DEVELOPMENT IN 2004 AS A JOINT BRAIN TRUST OF MORE THAN FOUR-DOZEN INDUSTRY PROFESSIONALS STRIVING TO CREATE A STANDARDIZED APPROACH TO DIGITAL IMAGE FILE INTERCHANGE, COLOR MANAGEMENT, AND LONG-TERM ARCHIVING – FROM CAPTURE TO FINISH.

And since the debut of Version 1.0, in 2014, some productions (and their DP’s) have been thrilled to implement a full start-to-finish ACES workflow – Sony Pictures’ Life and Spider-Man: Homecoming, and Marvel/Disney’s recent Guardians of the Galaxy: Vol. 2, are just a few recent theatrical releases that come to mind.

And ACES has become the internal standard for many large VFX houses. But as many have lamented, the system has not reached full adoption as evidenced by the current ratio of more TV shows and features not yet employing a full or partial ACES workflow than the converse.

Why is that so, and where are we today?

Bill Baggelaar, senior VP of technology at Sony, says the adoption of new technologies takes place over a period of time and involves all aspects of production. “New cameras, new software tools, and new systems don’t become the norm overnight,” Baggelaar shares. “Due to the high-stakes nature of what is being produced, people fall back on what they know. And change can be difficult because the benefits of a new technology have to be borne out.”

A recent presentation to the Directors Guild by Andy Maltz, managing director of The Academy’s Science and Technology Council, offered a clear and simple breakdown of the process. Maltz explained that at its core, ACES is a set of digital production standards used to build image pipelines that offer end-to-end color consistency. This means that what is seen on set is exactly what is seen in dailies, in VFX, in DI and – just as importantly – in the archival (Continued on page 68)

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Life / Shot by Seamus McGarvey, ASC, BSC / Courtesy of Columbia Pictures

Guardians of the Galaxy: Vol. 2 / Shot by Henry Braham, BSC / Photo by Chuck Zlotnick/Marvel

process. It enables pipelines that save not only time but money. “Think ‘timecode for color’ or sprocket-hole size and spacing for digital images,” Maltz explained.

The benefits of ACES from the user’s standpoint are many. The system creates a common interchange file format among all departments and simplifies communication among all individuals handling and viewing images. It also enables non-proprietary highdynamic-range workflows and a standardized archival master file.

The best (and one of the first) examples of how ACES can impact a production was the television movie Deliverance Creek, shot by Theo van de Sande, ASC, and discussed extensively

by ICG’s Cine Gear Panel in 2015 (http://www. icgmagazine.com/web/geared-for-change/). In essence, Van de Sande says he wouldn’t have been able to create a project worthy of an ASC nomination (such as Deliverance Creek received) prior to ACES because he would not have been able to see in the DI suite exactly what he had before he left the set.

“I didn’t have to start from scratch,” Van de Sande recounted, “and I didn’t have to give the timer raw material and create the image, when he really had no idea what I created.

Normally, finishing a television project takes at least a week, but with ACES, it took 14 hours.”

Since then, Van de Sande has done two features (including Bad Santa 2), seven pilots and six episodes in four different countries, eight cities and nine camera crews – all with ACES. 68 OCTOBER 2017

Deliverance Creek / Shot by Theo van de Sande, ASC / Photos courtesy of Theo van de Sande

Graves / Shot by Bradford Lipson / Courtesy of Lionsgate

For Henry Braham, BSC (The Legend of Tarzan, Guardians of the Galaxy 2), ACES was important because he could track the entire pipeline, so that “when I sat down with the colorist to grade the final picture,” he says, “we could pick up from where we left off – and there was a really good foundation to build on.”

Braham says that ACES allowed his color grade to take into account all the requirements of post-production and final delivery. “This is especially important when multiple visualeffects vendors from all over the world are working on the same picture, and everyone needs to follow the same rules,” he adds. “The foundations of the color and the ‘negative’ are built on rock. Without [ACES], you can get some unwelcome surprises when finishing the movie.”

“ I USE A LOT OF COLOR CONTRAST IN MY LIGHTING,” LIPSON EXPLAINS. “ACES HELPS ME MAINTAIN THAT LOOK FROM START TO FINISH. IT’S EASIER TO TAKE RISKS, KNOWING THAT DAILIES WILL LOOK GREAT.”

THERE ARE EXAMPLES OF ACES’ IMPACTING AN EPISODIC SERIES PIPELINE AS WELL. Guild DP Brad Lipson

has used ACES on The Wedding Ringer and Finding Carter. In between these projects, when he wasn’t able to implement ACES, he found issues with color management and inconsistent dailies, or that the look changed between dailies and other venues.

“There is also the potential problem of the files that are used for editing varying from the intention of the original look at the time the project was shot,” Lipson adds.

Which is why he pushed ACES on his current TV show, Graves, which could not afford to hire a DIT. “I use a lot of color contrast in my lighting,” Lipson explains. “ACES helps me maintain that look from start to finish. It’s easier to take risks, knowing that dailies will look great.”

Lipson’s dailies colorist, John Robinson, with Picture Shop, agrees. The two used the on-set Teradek COLR devices to build a small library of ACES looks that they shared.

“Brad and I worked closely, especially during the first two weeks of shooting, where we would go back and forth and really dial-in the vision with which my color would start,” Robinson recounts. “The starting color space enabled me to quickly reuse grades targeted specifically for the talent as well as the sets, regardless of the camera origination.

Furthermore, matching the ACES version from dailies to visual effects and final color helped me sleep well at night – I know that wherever my dailies correction traveled, everyone saw what I saw on my monitor in New Mexico.”

Multi-camera is also taking advantage of ACES. Cinematographer Bill Berner and DIT Dave Satin are using ACES on Kevin Can Wait Season 2.

“We’ve chosen to replace LiveGrade onset color management with WonderLook Pro software, which is ACES based,” explains Satin. “The show is produced by Sony, and the studio requires that we shoot with Sony F55s. The post workflow is different from other shows because even though we deliver XAVC UHD files in S-log3 Cine for final color, the creative editorial assets are the proxy files generated in camera, with custom LUTs created by me to match on-set color.

ACES works well because all of the shot-toshot level-matching and color-consistency work that would normally be done by me with Iris or LUT trims is done with lighting.

It’s a departure, but it works for us.”

DIT/Colorist Stephen Latty says he finds the ACES workflow greatly preferable to a LUT-based color management system, both technically and aesthetically.

“I think the ACES image looks more like the scene that the cinematographer saw with their own eyes,” he explains, “and this gives them confidence in the OCTOBER 2017 69

Graves / Shot by Bradford Lipson / Courtesy of Lionsgate

image. The consistency of ACES across the color pipeline also makes color work done on set more useful; all the color grading I do on set gets passed on as the starting point for the finishing grade. And the post-production benefits are clear; the most important is the ease with which you can bring a Rec-709 project into HDR with ACES.”

“ LMT’S ALLOW USERS TO DESIGN THEIR OWN LOOK FOR A PRODUCTION,” MALTZ EXPLAINS. WHAT WILL THE NEXT ITERATION OF ACES LOOK LIKE? Maltz says the development

team is focused on different components, some of which shipped with ACES 1.0 and are just now being used in production, like LMT’s (Look Modification Transforms).

“LMT’s allow users to design their own look for a production,” Maltz explains. “The notion that ACES 1.0 enforces a film look is not accurate. Any color reproduction system has to start somewhere in terms of converting camera-raw or scene-referred CGI images to a fully rendered, displayable image. LMT’s enable you to change the default rendering to just about anything you’d like, although there are some rules to be followed to protect overall image quality.” (On-set look-management systems 70 OCTOBER 2017

and color correctors provide this capability in their software, and they also integrate software tools from camera manufacturers like ARRI to make this easier.)

Two other components undergoing enhancement are ACESclip (the prime metadata carrier in the system that allows users to describe the details of the image pipeline, including custom looks they have created) and the Common LUT Format, or CLF. Maltz says ACES did not anticipate a fully mathematical description of custom looks. “But there is a big push toward the ability to add extensions like this that can work their way between facilities and all the way into archives,” he relates. “In 50 years, when someone goes back to what was created today, they will have the metadata to know what the image should look like on the screen.”

Many of the technical components in ACES historically came from small, Academy-led development teams. But what about input from the user side? Maltz says the ACES team has had requests for educational material and documentation, i.e., an easier way to understand what can feel like a complicated process. And “a simplerto-understand-and-implement process of creating custom looks sort of follows that request for documentation,” he adds.

ACES users have also requested an open-source development process.

“That’s a challenge,” Maltz adds, “because it’s not just the software. As an example, OpenEXR is an open-source file format fully specified and implemented in a

publicly accessible software repository. But ACES is also an architecture and a system: it includes technical specs and recommended practices in addition to software tools. To take it to a more community-driven opensource model would mean something a little different.”

ACES Project Leadership is cognizant that users have their own needs and requirements. So instead of calling meetings at the Academy in Hollywood for working groups, when people are busy working – around the world – they’ll try virtual meetings with ACES Central (link to www. acescentral.com), an online workspace dedicated to community discussions and collaboration.

One such discussion was about an issue cinematographer Bruce Alan Greene posted about a recent color-correction project. “[My] frustration has to do with the ACES transform, which seems to always be the first action taken on the camera original footage (in my case, ARRI LogC),” Greene wrote on ACES Central. “The difficulty is that I don’t always like the transform contrast, but I feel, if I were able to change the contrast of the camera original, before the transform, I could do what I need to do.” Maltz responds that “a contrastreducing LMT would do the trick here, and the ACES Team is working hard with the ACES Product Partners to get these needed tools in the hands of filmmakers.”

For a deeper overall technical dive, check out ACESCentral at www.acescentral.com

THE INTERNATIONAL CINEMATOGRAPHERS GUILD/LOCAL 600

SALUTES ARRI ON 100 YEARS OF CINEMATIC EXCELLENCE

New technologies impact set-to-post pipeline with a challenging array of deliverables

by Debra Kaufman

CINEMATOGRAPHERS AND COLORISTS HAVE FACED THE CHALLENGES OF VERSIONING FOR DECADES, FROM HOME ENTERTAINMENT CHOICES TO IMAX AND 3D. HIGH DYNAMIC RANGE (HDR) HAS ADDED YET ANOTHER VERSION TO THE MIX, THIS ONE PARTICULARLY CHALLENGING SINCE THERE’S MORE THAN ONE FLAVOR: DOLBY VISION, HDR10, HDR10+ AND HLG (HYBRID LOG GAMMA).

WE SAT DOWN WITH THREE PAIRS OF CINEMATOGRAPHERS AND THEIR GO-TO DI ARTISTS TO LEARN HOW THEY ARE HANDLING THE REQUIREMENTS OF “VERSIONING” ON THEIR MOST RECENT PROJECTS.

72 OCTOBER 2017

DARIUSZ WOLSKI, ASC, AND COMPANY 3 SENIOR COLORIST STEPHEN NAKAMURA ON ALIEN: COVENANT AND OTHER PROJECTS Wolski, who earlier this year completed Alien: Covenant with his long-time colorist Nakamura, says HDR has changed imagemaking in different ways. “Technology allows us to do amazing things, but, at the same time, it can push aesthetics in ways that don’t make me happy,” he states. “HDR is brighter and sharper and more contrasty, but it’s gone too far.” In response to the challenges of today’s many versions, Wolski says he pays close attention to the quality of the light on stage and on location. “We are lighting softer and softer,” he notes. “I remember when fluorescents were soft light, and now that’s hard light! I am now using light in the most invisible way possible, with as much natural light as possible.” Wolski adds “to get the most robust image, you try to keep your exposure in the middle” and make sure “the whites and blacks are still

there.” “Having a great DIT on set who watches you is also important,” he insists.

Nakamura, who grades with the Blackmagic Da Vinci Resolve, says he always starts with the theatrical presentation, for what could ultimately be up to ten versions. “[The theatrical version] will always be my master and where I start all my other grades,” he reflects. “Everything has got to feel like the theatrical presentation.” He says he is often faced with the fact that when he’s doing a 1,000-nit HDR grade, the imagery can look completely

Photos Courtesy of Twentieth Century Fox

“THE POINT WAS TO MAKE THIS GUY LOOK HARSH, AND BECAUSE THERE’S MORE LIGHT PUSHING THROUGH THE IMAGE, IT LOOKS BRUTAL IN HDR AT 1,000 NITS.” -COLORIST STEPHEN NAKAMURA

different. “It doesn’t feel the same if it’s a lot brighter,” he adds. “That’s the challenge, and there is no formula.” As a result, the HDR grade can end up taking most of his time. “I have to go back, sometimes three times or more, with a fresh set of eyes and ask myself, what is this movie supposed to look like?”

Nakamura continues. “Will the viewers feel the way the cinematographer wants them to feel?”

In Alien: Covenant, Nakamura singles out a scene in the medical room that director Ridley Scott and Wolski wanted to look very white, with a harsh, bright light.

“The actor in the scene is also very white looking,” Nakamura notes. “There was very little color there except for the blood. The point was to make this guy look harsh, and because there’s more light pushing through the image, it looks brutal in HDR at 1,000 nits.” Each movie brings specific challenges for versioning, Nakamura points out, which is why they “evaluate on a project-by-project basis.”

Wolski says he pays close attention to Nakamura’s understanding of the changing technologies. “I’m learning I’ll never stop learning,” the DP states, noting that it’s not unlike the days of film, when “every two years a new high-speed film stock debuted.”

Wolski believes “the biggest danger is that everything is going to look the same,” and Nakamura stresses that they “have to prevent the picture from looking too contrasty.” “We have to interpret the feel of the movie into all deliverables,” the colorist concludes. “But there’s a compromise for every single one.”

OCTOBER 2017 73

Photos Courtesy of Sony Pictures

CLAUDIO MIRANDA, ASC, AND TECHNICOLOR SENIOR DI COLORIST MIKE SOWA ON ONLY THE BRAVE Only the Brave will be released in IMAX, HDR and SDR, and cinematographer Miranda, who used the Sony F65 to shoot the movie, says he wasn’t required to account for each version in production. “I’m just creating a good negative for the camera, and that doesn’t really change,” he observes. “We always capture the middle point that serves all versions equally.” Sowa agrees. “I haven’t really noticed cinematographers doing anything different,” he says. “They’re not shooting for any one specific display.

They just want to get all the information captured.”

In Only the Brave, the Granite Mountain fire is the major storytelling point, and HDR helped. “We made it hotter and increased the intensity,” Miranda says.

“Once the fire is 30 feet tall, it’s brighter than the sun, and I’m stopping down.” Although the workflow for Dolby Vision’s version of HDR starts with the creation of the HDR version, Sowa prefers to first grade the SDR version. “The human eye doesn’t go from HDR to SDR very well,” explains Sowa, who colors with the Autodesk Lustre. “Going from brightness to darker is very difficult. Virtually all the time I start with HDR to 74 OCTOBER 2017

create an SDR version, nobody is happy, because peoples’ eyes are adjusted to the cleaner, brighter image of HDR.” By starting with the SDR, he says, everyone becomes adjusted to that level of brightness, and a move to HDR is “more natural to the eye.”

For Only the Brave, Sowa says he and Miranda tried to keep the same color decisions for both versions, while changing the dynamic range for the HDR version. “It’s a little hard on the eyes if you have everything go to 34-foot lamberts,” the colorist explains. “But there is a time and place to use that, and it was nice to have that capability for the fire. HDR has also expanded the color gamut, so we could go into those zones and saturate certain areas. The blacks are also true blacks, rather than standard cinema.” The HDR result, says Sowa,

means the imagery of Only the Brave is extremely clear and pops off the screen.

“It’s all flame, sky, mountain detail that you typically can’t resolve clearly in an SDR world,” he adds.

Sowa also notes that the versions he creates are related to nit value, with a 4,000-nit archive master and a 1,000nit HDR master – the standard for streaming. Although he likes the idea of making versions off an HDR master, he says the tools for doing this aren’t ready. Instead, he derives each version from original files, requiring a trim pass.

“All the versions need artistic input,” Miranda stresses. “Coloring for HDR is easy to adapt to, but it requires aesthetic decisions to get it right. It shouldn’t be something left unsupervised or to some oddball LUT. It has to be part of the creative process.”

“COLORING FOR HDR IS EASY TO ADAPT TO, BUT IT REQUIRES AESTHETIC DECISIONS TO GET IT RIGHT.” -CLAUDIO MIRANDA, ASC

OCTOBER 2017 75

76 OCTOBER 2017

Bruno Calvo/SHOWTIME Mark Schafer/SHOWTIME

This season, Showtime’s hit series The Affair moves from New York to Los Angeles, but that’s not the only change. “We always shot 2K with ALEXA,” remarks cinematographer Fierberg.

“For the first two years, we immediately downres’d and mastered in 1080P. Last year we shot in 2K and mastered in 2K, and then downres’d for versions. This season we’re shooting in 3.5K with ALEXA Minis, mastering to 3.5K and then down-resing to 1080P and any other versions we need.”

In approaching this upcoming season, Fierberg says he tested lenses and filters to see what changes were necessary to go from 2K to UHD. “I thought the strength of the filters I was using would have to change, and I tried a lot of lenses and filters,” he recalls. “I was somewhat surprised that, other than the camera body, the filtration and lenses turned out to be the same.” Fierberg uses Panavision’s Ultra Speed lenses and Tiffen Half Soft FX. Moving between Los Angeles and New York will be a jigsaw puzzle for Porter in terms of retaining the look. But having a higher resolution file doesn’t change what he does. “It may cause us to do more beauty fixes, such as soften the close-up of a woman who might be older,” he notes. “What Steven can’t achieve with his filtration in camera, we do in color.” In fact, Fierberg is less concerned with the switch in resolution, from 2K to 4K, than in color space. “I want to master in at least P3 and then knock it down to Rec.709,” he says, although Showtime most likely will not make that particular change, and the network hasn’t yet addressed a switch to HDR. And because of the lack of a universal HDR standard, Fierberg says he’s glad he doesn’t have to address those issues yet. “There’s no perfect answer for trying to go HDR and SDR at the same time,” he says. “It’s like trying to do an answer print without knowing how it will be projected.”

Porter agrees, noting that moving into a P3 color space would be ideal – and would also get them closer to HDR, when and if the decision is made to create that version. Adopting P3 color space would change Porter’s workflow at MTI Film, he says, but all the tools are already in-house, including a Sony X300 HDR monitor. And there would be benefits. “It will allow us to explore a lot more colors, so we have to decide what to enhance. That’s something Steven and I would have to do together.” On set, says Fierberg, the DIT would need a P3compatible monitor, but “otherwise there’s no change. If I lit the whole thing for Rec.709, but it was recorded and mastered in P3, there wouldn’t be any big surprises. I’ve done it before on movies.”

Phil Caruso/SHOWTIME

STEVEN FIERBERG, ASC, AND MTI FILM DI ARTIST STEVEN PORTER ON THE AFFAIR

OLIVER BOKELBERG, ASC, BVK ON CINEMATOGRAPHY

‘

Oftentimes it is the unexpected, that

captures a special moment that reads authentic.

My objective is to serve the story; to avoid drawing attention to the camera, yet guide emotions with my tools available: lighting, composition and movement.

Oliver Bokelberg is clear, straight-forward, and honest— like his images. No artificial rim light or Hollywood glow.

While Oliver is praised for his fresh moving images on one of TV’s long-running dramas, Scandal, he thinks of himself as a documentarian, forever championing natural light—always striving to make it feel real. The last thing he wants to worry about on-set is gear; that’s what his prized crew and trusted rental house are for. Now in its seventh season, Scandal has fostered a positive set environment, ripe with creativity— ready to pique viewer interest with each weekly episode.

ver.com

VER Camera Prep facilities:

CAMERA | LIGHTING | LED | VIDEO | AUDIO | BROADCAST | RIGGING | AV

LOS ANGELES | NEW YORK | CHICAGO | NEW ORLEANS | ATLANTA | MIAMI OCTOBER 2017

77

PRODUCTION CREDITS COMPILED BY TERESA MUÑOZ – AS OF SEPTEMBER 1, 2017 ICG Magazine strives to maintain an up-to-date and accurate record of all crew members for the Production Credits section.

In order for us to continue to provide this service, your input is 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 address to Teresa Muñoz at teresa@icgmagazine.com

78 OCTOBER 2017

“EMPIRE” SEASON 4 Dir. of Photography: Paul M. Sommers Operators: Joe Williams, Barnaby Shapiro Assistants: Betsy Peoples, Shannon DeWolfe, Andy Borham, Uriah Kalahiki Loader: Torey Lenart Utility: Amanda Kopec “FRESH OFF THE BOAT” SEASON 4 Dir. of Photography: Brandon Mastrippolito Operators: Greg Matthews, Brian Morena Assistants: Ray Dier, Tomi Izumi, Christian Cobb, Steve Whitcomb Camera Utility: Adam Kolkman “THE GIFTED” SEASON 1 Dir. of Photography: Bart Tau, Frank Perl Operators: Marcis Cole, Andy Fisher Assistants: Christian Satrazemis, Brandon Dauzat, Jonny Quintana, Mike Fisher Steadicam Operator: Marcis Cole Steadicam Assistant: Chrisitan Satrazemis Digital Imaging Tech: Mark Gilmer Loader: Peter Johnston Digital Utility: Becca Bennett Still Photographer: Eliza Morse “THIS IS US” SEASON 2 Dir. of Photography: Yasu Tanida Operators: James Takata, Miguel Pask Assistants: Sean O’Shea, Rich Floyd, Brian Wells, Jeff Stewart Steadicam Operator: James Takata Steadicam Assistant: Sean O’Shea Loader: Mike “Mad Dog” Gentile Still Photogapher: Ron Batzdorff ABC STUDIOS “CODE BLACK” SEASON 3 Dir. of Photography: Spencer Combs Operators: Jason LeBlanc, Mike Sharp, Brian Garbellini Assistants: Jon Sharpe, Stephen Franklin, Jim Thibo, Yusef Edmonds, Bill Marti, Tim McCarthy Digital Loader: Joe Pacella “CRIMINAL MINDS” SEASON 13 Dir. of Photography: Greg St. Johns Operators: Darcy Spires, Mike Walsh Assistants: Keith Peters, Tim Roe, Todd Durboraw, Robert Forrest Steadicam Operator: Mike Walsh Steadicam Assistant: Keith Peters Utility: Jacob Kuljis “HOW TO GET AWAY WITH MURDER” SEASON 4

Dir. of Photography: Michael Price, ASC Operators: Joe Broderick, John Hankammer, Scott Boettle Assistants: Heather Lea-LeRoy, Vanessa Morehouse, Darrell Herrington, Drew Han, Mark Sasabuchi, Michael Stampler Digital Imaging Tech: Andrew Osborne Digital Utility: Wil Sterner

Operators: Lawrence “Doc” Karman, John Pingry Assistants: Jon Lindsay, Jim Apted, Scott Whitbread, Kyler Jae Steadicam Operator: Lawrence “Doc” Karman Stedicam Assistant: Jon Lindsay Digital Imaging Tech: Kevin Britton Loader: Wiley Schott

“JIMMY KIMMEL LIVE!” SEASON 15 Lighting Director: Christian Hibbard Operators: Randy Gomez, Parker Bartlett, Kris Wilson, Garrett Hurt, Marc Hunter, Mike Malone Camera Utilities: Charles Fernandez, Scott Spiegel, Travis Wilson, David Fernandez, Adam Barker Video Controller: Guy Jones Still Photographers: Karen Neal, Michael Desmond

“DAYS OF OUR LIVES” SEASON 52 Dir. of Photography: Mark Levin, Ted Polmanski Operators: John Sizemore, Mark Warshaw, Vickie Walker, Michael J. Denton Camera Utilities: Steve Clark, Steve Bagdadi

2ND UNIT Dir. of Photography: Jimmy Lindsey “SCANDAL” SEASON 7 Dir. of Photography: Oliver Bokelberg, ASC, Daryn Okada, ASC Operators: Ron Baldwin, Bill Boatman Assistants: Jon Zarkos, Jorge Pallares, Anthony Schultz, Hannah Levin Digital Imaging Tech: Andrew Lemon Utility: George Montejano, III Still Photographer: Mitchell Haddad “KEVIN (PROBABLY) SAVES THE WORLD” SEASON 1 Operators: Steve Fracol, Michael Gfelner Assistants: Lex Rawlins, Thomas Nemy, Christy Fiers, Sherri Leger Loader: Erin Strickland Digital Utility: Darrell Lane Still Photogarpher: Guy D’Alema AFN PRODUCTIONS-TELEPICTURES “THE REAL” SEASON 4 Lighting Dir./Dir. of Photography: Earl Woody Operators: Kevin Michel, David Kanehann, 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 15 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 Control: James Moran Head Utility: Craig “Zzo” Marazzo Utilities: Arlo Gilbuena, Wally Lancaster BEACHWOOD SERVICES “ALEX, INC.” SEASON 1 Dir. of Photography: Eric Edwards

BET/CRANETOWN MEDIA “50 CENTRAL” SEASON 1 Dir. of Photography: Ron Egozi Operator: Terrence Burke Assistants: Jack Berner, Michelle Clementine BIG INDIE PICTURES, INC. “WINDOWS ON THE WORLD” NY UNIT Dir. of Photography: Reynaldo Villalobos, ASC Operators: Christopher Moone, Kerwin DeVonish Assistants: Adam Gonzalez, Robert Lau, Austin Kite, Zachary Grace Camera Utility: Christian Carmody Digital Imaging Tech: Michael Maiatico Still Photographers: Cara Howe, Zach Dilgard BONANZA, INC “ORIGINALS” SEASON 5 Dir. of Photography: Roger Chingirian, John Smith Operators: Ian Forsyth, Brian Davis Assistants: Matt Brewer, Trevor Metscher, Uly Domalaon, Kyler Dennis Utility: Andy Lee Digital Imaging Tech: Billy Mueller “SHAMELESS” SEASON 8 Dir. of Photography: Kevin McKnight Operators: Matt Valentine, Ric Griffith Assistants: John Szajner, Ryan Jackson, Brandon Szajner, Gaston Richmond Digital Loader: Ken Williams Digital Utility: Kat Soulagnet Still Photographer: Paul Sarkis BOOK CLUB FOR CATS, LLC “BOOK CLUB” Dir. of Photography: Andrew Dunn Operators: Dan Gold, SOC, Gerry O’Malley Assistants: David White, Gretchen Hatz, Nino Dotto, Josh Benavidez Digital Imaging Tech: Nate Kalushner Still Photographer: Melinda Sue Gordon BREAKING IN PICTURES “BREAKING IN” Dir. of Photography: Toby Oliver, ACS Operators: Damian Church, Myron Parran Assistants: Brian Udoff, Geoffrey Waters, Christine Hodinh, Verlon Allen Steadicam Operator: Damian Church Digital Imaging Tech: Oliver Mancebo Utility: Alex Waters

//////PRODUCTION CREDITS

20TH CENTURY FOX “AMERICAN CRIME STORY: VERSACE” SEASON 2 Dir. of Photography: Simon Dennis Operators: Andrew Mitchell, SOC, Brice Reid, Jesse Feldman, SOC Assistants: Penny Sprague, Ben Perry, Greg Williams, Jared Wilson, Eric Guerin, Dawn Nakamura Digital Utility: Justin Steptoe Camera Utility: Baird Steptoe, II

OCTOBER 2017 79

“Without passion there is no art, only technique.”

Mary Robinette Kowal

. n io s s pa R U O is t r a r ou y op h S At Picture A Post Production & VFX Company www.pictureshop.com 818.855.SHOP

//////PRODUCTION CREDITS

CABAZON DINOSAUR, INC. “HOT AIR” Dir. of Photography: Alex Nepomniaschy, ASC Frank Prinzi, ASC Operators: Jay Silver, David Isern Assistants: Behnood Dadfar, Brenton Ayers, Sean Souza Digital Imaging Tech: Gary Isaacs Still Photographer: Walter Thomson CALLING GRACE PRODUCTIONS “MY DINNER WITH HERVE” Dir. of Photography: Maryse Alberti Operator: Joseph Arena Assistants: Carlos Doerr, Nino Dotto, Tammy Fouts, Nathan Lewis, Rafiel Chait,Nick Neino Digital Imaging Tech: James Notari Technocrane Operator: Nico Bally Technocrane Tech: Colin Michael West Remote Head Tech/Operator: Jay Sheveck, John Bonnin Still Photographer: Peter Iovino CBS “CRAZY EX-GIRLFRIEND” SEASON 3 Dir. of Photography: Todd Dos Reis, ASC Operators: Ian Dodd, Richard Crow Assistants: Eric Dyson, Megan Morris, Joel Perkal, Eric Wheeler Steadicam Operator: Richard Crow Digital Imaging Tech: Sam McConville Utility: Andres Raygoza Still Photographer: Ron Jaffe

80 OCTOBER 2017

“ENTERTAINMENT TONIGHT” SEASON 36 Dir. of Photography: Kurt Braun Operators: Jaimie Cantrell, James B. Patrick, Ed Sartori, Henry Zinman, Bob Campi, Rodney McMahon, Anthony Salerno Camera Utility: Terry Ahern Video Controllers: Mike Doyle, Peter Stendal “MAN WITH A PLAN” SEASON 2 Dir. 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 “NCIS: LOS ANGELES” SEASON 9 Dir. 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 “NCIS: NEW ORLEANS” SEASON 4 Dir. of Photography: Gordon Lonsdale, ASC Operators: Jerry Jacob, Tony Politis,

Vincent Bearden Assistants: Peter Roome, Brouke Franklin, Jeff Taylor, Toni Weick, Dave Edwards, Sienna Pinderhughes Steadicam Operator: Vincent Bearden Digital Loader: Christian Wells Digital Utility: Kolby Heid Still Photographer: Sam Lothridge “SCORPION” SEASON 4 Dir. of Photography: Ken Glassing, Fernando Arguelles Operators: Paul Theriault, Chris Taylor Assistants: Scott Ronnow, John Paul Rodriguez, Chris Mack, Tim Sheridan Digital Imaging Tech: Greg Gabrio Utility: Tyler Ernst Still Photographer: Ron Jaffe “THE INSIDER” SEASON 13 Dir. of Photography: Kurt Braun Operators: Jaimie Cantrell, James B. Patrick, Ed Sartori, Henry Zinman, Tom Van Otteren, Bob Campi, Rodney McMahon, Anthony Salerno Camera Utility: Terry Ahern Video Controllers: Mike Doyle, Peter Stendal “THE TALK” SEASON 7 Lighting Director: Marisa Davis Ped Operators: Art Taylor, Mark Gonzales, Ed Staebler Hand Held Operators: Ron Barnes, Kevin Michel, Jeff Johnson

COLUMBIA “TOSH.0” SEASON 9 STAGE CREW Operator: Jason Cochard Camera Utilities: Benjamin Steeples, Kyle Kimbriel, Roger Cohen FIELD CREW Dir. of Photography: Andrew Huebscher Operator: Jason Cochard Assistants: Benjamin Steeples, Kyle Kimbriel, Roger Cohen, Delfina Garfias CONACO “CONAN” SEASON 7 Operator: Ted Ashton, Nick Kober, Kosta Krstic, James Palczewski, Bart Ping, Seth Saint Vincent Head Utility: Chris Savage Utilities: Baron Johnson, Josh Gwilt “THE WHO WAS? SHOW” Dir. of Photography: Russell Swanson Operator: Michael Hauer Assistants: Eve Strickman, Kellon Innocent Digital Imaging Tech: Luke Taylor Still Photographer: Seacia Pavao

DELTA BLUES PRODUCTIONS, LLC “QUEEN SUGAR” SEASON 2 Dir. of Photography: Antonio Calvache, ASC, Kira Kelly Operators: Grayson Austin, Robert Stenger Assistants: Michael Charbonnet, Bryan DeLorenzo, Jonathan Robinson, Ryosuke Kawanaka Steadicam Operator: Grayson Austin Steadicam Assistant: Michael Charbonnet Digital Imaging Tech: Brian Stegeman EYE PRODUCTIONS, INC. “ELEMENTARY” SEASON 6 Dir. of Photography: Thomas Houghton, ASC Operators: Carlos Guerra, Jeremy Weishaar Assistants: Kate Larose, Jason Cleary, Charlie Foerschner, Kyle Blackman Loaders: Dylan Endyke, Patrick O’Shea Still Photographer: Christopher Saunders FREEFORM “THE FOSTERS” SEASON 5 Dir. of Photography: Kees Van Oostrum, ASC Operators: Rory Knepp, Jordan Keslow Assistants: Carlos Doerr, Megan Boundy, Tammy Fouts, Nicholas Neino Digital Utility: Duncan Robertson Digital Loader: Glen Landry FRITZIE PRODUCTIONS “ALEXA & KATIE” SEASON 1 Dir. of Photography: Chris La Fountaine Operators: George La Fountaine, Kevin Haggerty, Chris Wilcox, John Dechene

Assistant: Craig LaFountaine Camera Utilities: Chris Todd, Vicki Beck, Andy Dickerman Digital Imaging Tech: Ryne Niner Still Photographer: Nicole Wilder FOX 21 TELEVISION STUDIOS “THE CHI” SEASON 1 Dir. of Photography: Loren Yaconelli Operators: Scott Dropkin, Darryl Miller Assistants: Paul DeMarte, Chris Dame, Eric Arndt, Nina Portillo Steadicam Operator: Scott Dropkin Steadicam Assistant: Paul DeMarte Digital Utility: Max Moore Loader: Tom Zimmerman 2ND UNIT Dir. of Photography: Abe Martinez Operators: Darryl Miller, Joe Fitzgerald Assistants: Keith Hueffmeier, Dean Simmon, Wil Hughes, Brian Romano Digital Utility: Denis DuBrock FOX SEARCHLIGHT “ARRESTED DEVELOPMENT” SEASON 5 Dir. of Photography: Patrick Stewart Operators: Patrik Thelander, Phil Miller, Parker Tolifson Assistants: Palmer Anderson, Rachel Wiederhoeft, Joseph Soria, Tash Gamper, Brian Udoff Camera Utility: Zack Marchinsky Digital Utility: Jenny Woo

//////PRODUCTION CREDITS

Jib Operator: Randy Gomez Head Utility: Charlie Fernandez Utilities: Mike Bushner, Doug Bain, Dean Frizzel, Bill Greiner, on Zuccaro Video Controller: Richard Strock Still Photographer: Ron Jaffe

OCTOBER 2017 81

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“CHICAGO MED” SEASON 3 Dir. of Photography: Lex duPont, ASC Operators: Scott Steele, Faires Anderson Sekiya, Joseph Fitzgerald Assistants: George Olson, Laura Difiglio, Keith Hueffmeier, Sam Knapp, Jason H. Bonner, Patrick Dooley Loader: Joey Richardson Utility: Matt Brown Still Photographer: Elizabeth Sisson

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//////PRODUCTION CREDITS

FX TV G02 Z4, LLC “Z NATION” SEASON 4 Dir. of Photography: Alexander Yellen, Peter N. Green Operator: Federico Verardi Assistants: Coty James, Nick Kelling, Shaun Springer, Kyle Petitjean Loader: Nicole Heigh GREEDY HIPPO, LLC “THE COOLEST GIRL IN THE WORLD” Dir. of Photography: Andrew Wehde Operator: Gary Malouf Assistants: Patrick Sokley, Sarah Guenther Loader: Keith Anderson Still Photographer: Linda Kallerus IT’S A LAUGH PRODUCTIONS, INC. “K.C. UNDERCOVER” SEASON 3 Dir. of Photography: Joseph W. Calloway Operators: Cory Gunter, Brian Gunter, Larry Blumenthal, Helena Jackson, Ken Herft, David “Boomer” Dougherty, Deborah O’Brien, Vito J. Giambalvo Digital Utilities: Selvyn Price, Terry Gunter Jib Arm Operators: Devin Atwood, John Goforth, Brian Gunter Video Controller: Nichelle Montgomery LADY PRISON PRODUCTIONS, INC. “ORANGE IS THE NEW BLACK” SEASON 6 Dir. of Photography: Ludovic Littee Operators: Scott Tinsley, Denny Kortze Assistants: Beka Venezia, Rebecca Arndt, Justin Mancuso, Maxwell Sloan

82 OCTOBER 2017

Operators: Matt Credle, Jordan Slovin Assistants: Beaudine Credle, Charles Murphy, Andrae Crawford, Dustin Keller Digital Utility: Claudio Banks Loader: Bryan Jones Still Photographers: Richard Foreman, Nicole Wilder

Digital Imaging Tech: Matt Selkirk Loader: Joshua Waterman MAKESHIFT, LLC “THE MAN WHO KILLED HITLER AND THEN THE BIGFOOT” Dir. of Photography: Alex Vendler Operator: Jonathan Goldfisher Assistants: Jeanna Kim, Chris Boylston 2ND UNIT Dir. of Photography: Todd Somodevilla Assistant: Mark Ferguson MARVEL ENTERTAINMENT “AGENTS OF S.H.I.E.L.D.” SEASON 5 Dir. of Photography: Feliks Parnell, Allan Westbrook Operators: Kyle Jewell, Bill Brummond Assistants: Coby Garfield, Derek Hackett Steadicam Operator: Bill Brummond Digital Imaging Tech: Ryan Degrazzio Digital Utility: Josh Novak Remote Head Operator: Clay Platner Still Photographers: Kelsey McNeal, Ron Jaffe 2ND UNIT Dir. of Photography: Kyle Jewell Operators: Tony Cutrono, Miguel Pask MESQUITE PRODUCTIONS “SHUT EYE” SEASON 2 Dir. of Photography: Marshall Adams, ASC

“CHICAGO PD” SEASON 5 Dir. of Photography: Rohn Schmidt Operators: James Zucal, Will Eichler, Seth Thomas Assistants: John Young, Don Carlson, David “YT” Wightman, Jamison Acker, Phillip Walter, Kyle Belousek Steadicam Operator: William Eichler Digital Loader: Nicholas Wilson Digital Utilities: Michael Gleeson, Marion Tucker 2ND UNIT Dir. of Photography: James Zucal

“LAW & ORDER: SVU” SEASON 19 Dir. of Photography: Michael Green Operators: Jonathan Herron, Michael Latino Assistants: Christopher Del Sordo, Matthew Balzarini, Emily Dumbrill, Justin Zverin Steadicam Operator: Jonathan Herron Loader: Jason Raswant Digital Utility: Brianna Morrison “SUPERSTORE” SEASON 3 Dir. of Photography: Jay Hunter Operators: Adam Tash, Hassan Abdul-Wahid, Danny Nichols Assistants: Jason Zakrzewski, Ryan Sullivan, Brandon Margulies, Sean Mennie, Eric Jenkinson, Rikki Alarian Jones Camera Utility: Estefania Garcia Digital Imaging Tech: Paul Maletich “THE BRAVE” SEASON 1 Dir. of Photography: Mike Spragg, BSC, Jimmy Lindsey, ASC Operators: Matthew Pearce, Sean Maxwell

SCH_McLachlin_ICG_Final.qxp_Layout 1 7/28/17 4:41 PM Page 1

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“WILL & GRACE” SEASON 9 Dir. of Photography: Gary Baum 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 NEW LINE CINEMA “ISN’T IT ROMANTIC” Dir. of Photography: Simon Duggan Operator: Parris Mayhew Assistants: Bradley Grant, Antonio Ponti, Suren Karapetyan, Mabel Santos Haugen Digital Imaging Tech: Patrick Cecilian Loader: Corey Licameli Still Photographer: Michael Parmelee NETFLIX “SANTA CLARITA DIET” SEASON 2 Dir. of Photography: Paul Maibaum, ASC Operators: Craig Fikse, Heather Brown Assistants: Chuck Katz, David O’Brien, Mike Cahoon, Jan Ruona Steadicam Operator: Craig Fikse

Steadicam Assistant: Chuck Katz Loader: Kyle Sauer Digital Utility: Sarah Lankford NICKELODEON “HENRY DANGER” SEASON 4 Dir. of Photography: Michael Spodnik Operators: Tim Heinzel, Mike Tribble, Scott Ostermann, Dana Ross Camera Utilities: Frank Maronski, Jimmy Elliott, Doug Minges Jib Tech: Ryan Elliott Video Controllers: Jim Agnor, Bob Kaufmann Still Photographer: Lisa Rose NIGHT SCHOOL FILMS, LLC “NIGHT SCHOOL” Dir. of Photography: Greg Gardiner Operators: Mick Froehlich, Daniel Eckler Assistants: Josh Hancher, Rodrigue Gomes, Saul McSween Loader: Jennifer Braddock Digital Utility: Chandra Sudtelgte Still Photographer: Eli Ade PICROW, INC. “GOLIATH” SEASON 2 Dir. of Photography: Edward J. Pei, ASC Operators: Andy Graham, Rob Carlson, Brian Bernstein Assistants: James Sprattley, James Dunham, Maryan Zurek, Jim Gavin, Tracy Davey, Eric Guthrie Steadicam Operator: Rob Carlson Loaders: Jeremy Hill, Peter Pei

RIVIERE PRODUCTIONS “HOT DATE” SEASON 1 Dir. of Photography: Richard Card Operator: Blaine Baker Assistants: Hunter Whalen, Sara Ingram, Jai Mansson Digital Imaging Tech: John Waterman SIDE STREET ENTERTAINMENT “PORTLANDIA” SEASON 8 Dir. of Photography: Joe Meade Operators: Simon Miya, Tyson Wisbrock Assistants: Cameron Carey, Peggy Knoebel, Danielle Carroll Laoder: Justen Hundley SONY PICTURES “JEOPARDY!” SEASON 34 Dir. of Photography: Jeff Engel Operators: Diane L. Farrell, SOC, Mike Tribble, Jeff Schuster, L. David Irete Jib Arm Operator: Marc Hunter Head Utility: Tino Marquez Camera Utility: Ray Thompson Video Controller: Gary Taillon Still Photographer: Carol Kaelson “THE GOLDBERGS” SEASON 5 Dir. of Photography: Jason Blount Operators: Scott Browner, Kris Denton Assistants: Tracy Davey, Nate Havens, Gary Webster, Jen Bell-Price Digital Imaging Tech: Kevin Mills Digital Utility: Dilshan Herath Still Photographers: Nicole Wilder, Adam Taylor

//////PRODUCTION CREDITS

Assistants: David Leb, Sebastian Vega, Betty Chow, Ryan Bushman Steadicam Operator: Matthew Pearce Steadicam Assistant: David Leb Digital Imaging Tech: Giovanni Carranza Loader: Taylor Hilburn Digital Utility: Katy Jones Still Photographer: Ursula Coyote

OCTOBER 2017 83

“WHEEL OF FORTUNE” SEASON 35 Dir. of Photography: Jeff Engel Operators: Diane L. Farrell, SOC, Jeff Schuster, Ray Gonzales, Steve Simmons, L. David Irete, Mike Corwin Camera Utility: Ray Thompson Head Utility: Tino Marquez Video Controller: Gary Taillon Jib Arm Operator: Randy Gomez, Sr. Still Photographer: Carol Kaelson

//////PRODUCTION CREDITS

STALWART FILMS, LLC “THE WALKING DEAD” SEASON 8 Dir. of Photography: Paul Varrieur, Duane Manwiller Operators: Deke Keener, Cooper Dunn Assistants: David Galbraith, Bruce Robinson, Matt Horn, Robert Veliky Steadicam Operator: Deke Keener Steadicam Assistant: David Galbraith Loader: Daniel Irons Camera Utility: Chris Morales Still Photographer: Gene Page Publicist: Brandee Brooks STEP UP PRODUCTIONS, INC. “STEP UP: HIGH WATER” SEASON 1 Dir. of Photography: Joaquin Sedillo, ASC Operators: Spencer Hutchins, SOC, Brett Mayfield Assistants: Larry Gianneschi, IV, Steven Latham, Louis Smith, Nick Gianneschi Steadicam Operator: Brett Mayfield Digital Imaging Tech: Mark Gilmer Loader: Kelsey Symons Digital Utility: George Zelasko SUNSET PICTURES “CRAZY FOR THE BOYS” Dir. of Photography: Massimo Zeri, AIC Operators: Aaron King Assistants: Rome Williams, Christian G. Hawkins, Wilbert Jay Johnson, Niko Feldman Steadicam Operator: Aaron King Digital Imaging Tech: Giovanni Moriconi Still Photographer: Joe Mast

84 OCTOBER 2017

THE CHAPERONE MOVIE, INC. “THE CHAPERONE” Operators: Peter Nolan, Lawrence McConkey Assistants: Andrew Brinkman, Andrea Romansky, Alec Nickel, Kyle Gorjanc Loader: George Lookshire Still Photographer: Barry Wetcher TNT “GOOD BEHAVIOR” SEASON 2 Dir. of Photography: Brendan Galvin, ISC Operators: Matt Doll, Mike Repeta Assistants: Patrick Borowiak, Roy Knauf, Sean Yaple, Zach Smart Digital Imaging Tech: Andy Bader Still Photographer: Brownie Harris 2ND UNIT Dir. of Photography: Derek Tindall Operator: Greg Magidow Assistants: Will Hand, Alan Aldridge, Darwin Brandis, Courtney Bridgers, Will Cooper “THE LAST SHIP” SEASON 5 Dir. of Photography: Chris Baffa, ASC, Peter Kowalski Operators: Bud Kremp, SOC, Wally Sweeterman, Ben Spek Assistants: Michael D. Alvarez, Roger Spain, Jeff Lorenz, Ana Amortegui, Ulysses Domalaon, Scott Whitbread Steadicam Operator: Bud Kremp, SOC Digitual Utility: George Ballenger Utility: Ben Shurtleff Technnocrane Operator: Chris Mayhugh Technocrane Tech: Colin Michael West Remote Head Tech/Operator: Jay Sheveck TV LAND “HEATHERS” SEASON 1 Dir. of Photography: Adam Silver Operators: Mike Jechort, Luke Rocheleau Assistants: Alaina McManus, Robyn Buchanan, John Ruiz, Brian Freeman Digital Imaging Tech: Chase A. Abrams Digital Utility: Ryan Murray Still Photographer: Dale Berman

TWENTY MILE PRODUCTIONS, LLC “WHERE’D YOU GO BERNADETTE” Dir. of Photography: Shane Kelly Operator: Ben Semanoff Assistants: Deb Peterson, David Taylor, Jason Cianella, Benedict Baldauff Digital Imaging Tech: Curtis Abbott Still Photographer: Wilson Webb UNIVERSAL “HAPPY!” SEASON 1 Dir. of Photography: Niels Alpert, Andrew Voegeli Operators: Jon Beattie, Frank Larson Assistants: Robert Lau, Chris Wiezorek, Casey Johnson, Daniel Pfeifer Loader: Todd Rawiszer Stil Photographer: Michele Short “SHADES OF BLUE” SEASON 3 Dir. of Photography: Stefan Czapsky, ASC Operators: David Taicher, Eric Tramp Assistants: Greg Principato, Raul A. Erivez, Pete Keeling, John C. Walker Steadicam Operator: David Taicher Steadicam Assistant: Greg Principato Digital Imaging Tech: Chandler Tucker Loaders: Brian Lynch, James McEvoy “MR. ROBOT” SEASON 3 Dir. of Photography: Tod Campbell Operators: Aaron Medick, Brian Jackson Assistants: Michael Garofalo, Wesley Hodges, Patrick Bracey, John Larson Digital Imaging Tech: Doug Horton Loaders: Kaih Wong, Alivia Borab WANDERING BARD “BRAID” Dir. of Photography: Todd Banhazl Operator: Steigerwald Assistant: Rebecca Rajadnya, Tsyen Shen Digital Imaging Tech: Loic de Lame Still Photographer: Danny Feighery WARNER BROS. “LETHAL WEAPON” SEASON 2 Dir. of Photography: David “Mox” Moxness, ASC, Andy Strahorn

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“LUCIFER” SEASON 3 Dir. of Photography: Christian Sebaldt, ASC, Tom Camarda Operators: Kenny Brown, Eric Laudadio Assistants: Ryan Pilon, Nathan Crum, Rob Magnano, Jason Kinney Digital Imaging Tech: John Reyes Digital Utility: Bryce Marraro Still Photographers: Ron Jaffe, John P. Fleenor

Operators: John Dechene, Richard Price, SOC, Jamie Hitchcock, Brain Armstrong Assistants: Nigel Stewart, Chris Hinojosa, Steve Lund, Meggins Moore, Benjamin Steeples Camera Utilities: Colin Brown, Jeannette Hjorth Video Controller: John O’Brien Digital Imaging Tech: Robert Zeigler “THE MIDDLE” SEASON 9 Dir. of Photography: Blake T. Evans Operators: John Joyce, Bret Harding Assistants: Jefferson T. Jones, Roger Spain, Bryan Haigh, Suzy Dietz Steadicam Operator: John Joyce Steadicam Assistant: Jefferson T. Jones Loader: Richard Kent

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

“MOM” SEASON 5 Director of Photography: Steven V. Silver, ASC Operators: Cary McCrystal, Jamie Hitchcock, Larry Gaudette, Candy Edwards Assistants: Meggins Moore, Nigel Stewart, Damian Della Santina, Mark Johnson, Benjamin Steeples Camera Utilities: Alicia Brauns, Andrew Pauling Video Controller: Kevin Faust Digital Imaging Tech: Robert “Bob Z” Zeigler “THE BIG BANG THEORY” SEASON 11 Director of Photography: Steven V. Silver, ASC

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ARTS & SCIENCES “KFC” Dir. of Photography: Corey Walter Jib Arm Operator: Martin Yee Assistants: Christian Carmody, Kyle Repka, Meg Kettell Digital Imaging Tech: Mariusz Cichon Monster Remote Tech: Vinnie Laraway ASSEMBLY FILMS “PERDUE” Dir. of Photography: Declan Quinn, ASC Assistants: Stanley Fernandez, Keitt, Chris Eng Digital Imaging Tech: Abby Levine A WHITE LABEL “TARGET” Dir. of Photography: Santiago Gonzalez Operators: Ian Woolston-Smith, Yousheng Tang Assistants: Chevy Anderson, Oliver Lanzenberg, Ryan Nocella Digital Imaging Tech: Joe Belack

“MAJOR CRIMES” SEASON 6

“ME, MYSELF AND I” SEASON 1 Dir. of Photography: Craig Kief Operators: Dave Sammons, Todd Barron Assistants: Jarrod Oswald, Joe Solari, Richard Avalon, John Roney Digital Imaging Tech: Aaron Biller

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COMMERCIALS 1ST AVENUE MACHINE “APPLEBEE’S WHAT IT’S MADE OF” Dir. of Photography: Stefan von Borbely Assistants: Walter Rodriguez, Dan Keck Digital Imaging Tech: George Robert Morse AEROPLANE “TAYLOR SWIFT-LOOK WHAT YOU MADE ME DO” Dir. of Photography: Darius Khondji, ASC, AFC Assistants: Faith Brewer, Laura Goldberg, Daisy Smith, Matt Sumney Digital Imaging Tech: Dan Skinner ANONYMOUS CONTENT “THE NORTH FACE” Dir. of Photography: Jody Lee Lipes Assistants: Tim Spencer, Eric Macey, Madison Rowley Digital Imaging Tech: Sean Rawls

BELIEVE MEDIA “LEXUS” Dir. of Photography: Nic Restrepo Operator: Daniel Ferrell Assistants: Nate Cummings, Lucas Deans, Adam Newell Digital Imaging Tech: Bryce McDonald BIG BLOCK “ESPN” Dir. of Photography: Tristan Nyby Assistants: Salvatore Coniglio, Bryant Lemelle Digital Imaging Tech: Raffi Vesco BIG FOOT CONTENT “SIMON MALLS” Dir. of Photography: Flor Collins Operator: Matthew Baker Assistants: Laura Goldberg, John Scivoletto, Andrew Dickieson Digital Imaging Tech: Michael Borenstein

//////PRODUCTION CREDITS

Operators: Victor Macias, Robert Givens Assistants: James Rydings, Kaoru “Q” Ishizuka, Troy Blischok, Kelsey Castellitto Digital Imaging Tech: Mike DeGrazzio Digital Utility: Spencer Shwetz

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OCTOBER 2017 85

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BISCUIT “LYFT” Dir. of Photography: Phedon Papamichael, ASC Assistants: Laura Goldberg, Noah Glazer, Daniel Ferrell, Nate Cummings Digital Imaging Tech: Lonny Danler “TARGET” Dir. of Photography: Eric Schmidt Assistants: Lila Byall, Lauren Gadd Digital Imaging Tech: Calvin Reibman B-REEL FILMS “FOOD LION” Operator: Mark Karavite Assistants: Christian Shonts, Chris Lymberis, J.G. Gribble, Monica Barrios-Smith Digital Imaging Tech: Ian Edwards

//////PRODUCTION CREDITS

CAMELOT COMMUNICATIONS GROUP “UPMC HP MEDICARE-STRAIGHT TALK” Dir. of Photography: Joe Grasso Operator: Jeff Garton Assistants: Colin Sheehy, Mark Patnesky

Operator: Beau Grantland Assistants: Peter Morello, Blake Alcantara, Nate McGarigal Digital Imaging Tech: Jessica Ta CMS “CBS STAR SHOOT 2017 NY” Dir. of Photography: Zak Mulligan Operator: Christine Ng Assistants: Nick Timmons, Rebecca Rajadnya, Bayley Sweitzer Digital Imaging Tech: Tom Wong Phantom Tech: Tyler Isaacson “FABLETICS” Dir. of Photography: Tucker Korte Assistants: Brad Rochlitzer, Emily Hock Digital Imaging Tech: Michael Borenstein “MOVING FORWARD” Dir. of Photography: Hernan Otano Operator: Beau Grantland Assistants: Peter Morello, Blake Alcantara, Nate McGarigal Digital Imaging Tech: Jessica Ta

CAVIAR “CHRYSLER PACIFICA” Dir. of Photography: Adam Frisch Operator: Vincent Foeillet Assistants: Daniel Ferrell, Ethan McDonald, Noah Glazer Digital Imaging Tech: Bryce McDonald

“NUMBERS” Dir. of Photography: Eigil Bryld Operator: Dave Knox Assistants: Keitt, Eddie Rodriguez, Dan Keck Digital Imaging Tech: Robert Cauble

CFM INTERNATIONAL “VW TIGUAN” Dir. of Photography: Patrick Murguia Assistants: Bobby Mancuso, Aurelia Winborn, Michael DeRario Digital Imaging Tech: Dan Brosnan

COMPANY FILMS “CONSUMER CELLULAR” Dir. of Photography: Richard Henkels Assistants: Ethan McDonald, Marcus Del Negro Digital Imaging Tech: Shawn Aguilar

CHELSEA PICTURES “CAT’S PRIDE” Dir. of Photography: Kip Bogdahn Operator: DJ Harder Assistants: Ethan McDonald, Shaun Mayor Digital Imaging Tech: Gaylen Nebeker

CPV PRODUCTIONS INC., DBA SAVILLE PRODUCTIONS “UNTITLED” Dir. of Photography: Cary Lalonde Assistant: Paul Santoni Digital Imaging Tech: Nathan Pena

“PROJECT X” Dir. of Photography: Hernan Otano

86 OCTOBER 2017

CUBICO “50 CENTRAL” Dir. of Photography: Ron Egozi

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Operator: Terrance Burke Assistants: Jack Berner, Michelle Clementine FURLINED “EYELOVE” Dir. of Photography: Jeff Cutter Operator: Seth Kotok Assistants: Daniel Hanych, Ethan McDonald, Paul Saunders Digital Imaging Tech: John Spellman “FARMERS INSURANCE” Dir. of Photography: Jeff Cutter Operator: Dino Parks Assistants: Daniel Hanych, Steve Mattson, Paul Saunders Digital Imaging Tech: John Spellman “STARBUCKS” Dir. of Photography: Nic Restrepo Assistants: Daniel Ferrell, Lila Byall, Nate Cummings, John Parson Digital Imaging Tech: Jesse Tyler

FULWELL “KEURIG” Dir. of Photography: Scott Henriksen Operator: Shasta Spahn Assistants: JD Murray, Lila Byall, Noah Glazer, Nate Cummings Digital Imaging Tech: Josh Miller HECHO EN 72 “SMIRNOFF” Dir. of Photography: David Robert Jones Operator: Keith Dunkerley Assistants: Ethan McDonald, Shaun Mayor, Jordan Martin Digital Imaging Tech: Mike Kellogg HEY BABY, LLC “UPS” Dir. of Photography: Jonathan Freeman Assistants: Liam Miller, Sam Elliot HUNGRY MAN, INC. “GEICO” Dir. of Photography: John Lindley, ASC Assistants: Scott Koenigsberg, Dean Martinez

CREW PHOTO: LEATHEL WEAPON SEASON 2

(L TO R) A 2nd Kaoru Ishizuka / B Op Rob Givens / B 2nd Kelsey Castellitto / Utility Spencer Shwetz / DP David Moxness ASC ACS, DP Andy Strahorn (not photographed) / A 1st James Rydings / C 1st Laurent Soriano / DIT Michael Degrazzio / B 1st Troy Blischok / C Op Eric Roizman / C 2nd Joey Joyce / A Op/Steadi Victor Macias / Photograph by Unit Photographer Ray Mickshaw

MOXIE PICTURES “COCA-COLA COMPANY” Dir. of Photography: Rob Hauer Assistants: Chris Holloway, Nan Segler, Steven McCrary Digital Imaging Tech: Evan McIntosh Steadicam Operator: Chris Campbell O POSTIVE “BUD LIGHT” Dir. of Photography: Dion Beebe, ASC Operator: Vincent Vennitti Assistants: Richard Gioia, Peter Morello, Jordan Levie, Jeffrey Taylor, Nate McGarigal, Kyle Repka Digital Imaging Tech: Daniel Brosnan “VITAL FARMS” Dir. of Photography: Richard Henkels PARTIZAN “FDA” Dir. of Photography: Steeven Petitteville Assistants: Nicolas Martin, Alan Certeza, Joseph Canon Digital Imaging Tech: Will Chung

PECUBU “SUBARU” Dir. of Photography: Tami Reiker, ASC Assistants: Daniel Hanych, Scott Kassenoff, Paul Saunders Digital Imaging Tech: Ben Longsworth RADICAL MEDIA, LLC “HONDA” Dir. of Photography: Salvatore Totino Operator: Ian Clampett Assistants: Raymond Milazzo, Tommy Klines, Blake Collins Digital Imaging Tech: Francesco Sauta Robocam: Robert Russ “KATE SPADE” Dir. of Photography: Adam Newport-Berra Operator: Afton Grant Assistants: Johnny Sousa, Michael Burke, Andrew Hamilton Digital Imaging Tech: Peter Symonowicz RAUCOUS “CAMPBELL’S” Dir. of Photography: Jonathan Freeman Operator: Dana Morris Assistants: Lila Byall, Daniel Ferrell Digital Imaging Tech: Jesse Tyler

SANTUARY “COST PLUS WORLD MARKET” Dir. of Photography: Khalid Mohtaseb Assistants: Lucas Deans, Tahlee Booher SIBLING RIVALRY “GOOGLE HOME 3” Dir. of Photography: Pete Konczal Assistant: Brett Walters Digital Imaging Tech: Tyler Isaacson SPARE PARTS “TONIGHT SHOW BRANDING” Dir. of Photography: Alexander Dynan Assistants: Christian Carmody, Meg Kettell Digital Imaging Tech: Michael Maiatico STATION FILM “SIERRA TRADING POST” Dir. of Photography: Jeff Venditti Assistants: Adam Miller, Sam Elliot Digital Imaging Tech: David Berman Technocrane Operator: Scott Buckler STIR FILMS, LLC, DBA SWEET RICKY “PARTY CITY” Dir. of Photography: Peter Nelson Assistant: Michael Torrent

//////PRODUCTION CREDITS

Digital Imaging Tech: Anthony Hechanova Still Photographers: Christopher Raymond, Danny Feighery

OCTOBER 2017 87

STUN CREATIVE “DISNEY NOW” Dir. of Photography: Matt Egan Operator: Jimmy Kniest Assistants: John Scivoletto, Jeff Caples, Nate Cummings Digital Imaging Tech: Michael Borenstein “TBS-THE LAST OG” Dir. of Photography: Eric Haase Operator: Vince Vennitti Assistants: Brett Walters, Adam Miller, Jeff Taylor Digital Imaging Tech: Carlos Cicchelli SUPERLOUNGE “TOYOTA” Dir. of Photography: Mike Svitak Assistants: Derek Edwards, Miles Pepper Digital Imaging Tech: Pat Paolo THE ARTIST COMPANY “ATKINS” Dir. of Photography: Tami Reiker, ASC Assistants: Daniel Hanych, Paul Saunders Digital Imaging Tech: Bret Suding TOOL OF NORTH AMERICA “AT&T/ESPN UNLIMITED FOOTBALL” Dir. of Photography: Larkin Seiple Assistants: Matt Sanderson, Britta Richardson Digital Imaging Tech: Kyle Hoekstra Technocrane Operator: Colin Michael West Technocrane Tech: Philip Hallford Remote Head Tech: Jay Sheveck

“COMCAST” Dir. of Photography: Tobias Schliessler Assistants: Paul Santoni, Tyler Emmett Digital Imaging Tech: Matt Love “IBM” Dir. of Photography: Jarin Blaschke Assistants: Gordon Arkenberg, Kris Enos Digital Imaging Tech: Robert Cauble Still Photographer: Jessica Miglio

UNTITLED, INC. “CIGNA” Dir. of Photography: Phedon Papamichael, ASC Assistants: Cary Lalonde, Paul Metcalf, Brendan Devanie, Amanda Levy Digital Imaging Tech: Michael Borenstein Steadicam Operator: Ari Robbins, SOC

“MIDAS” Dir. of Photography: Jeff Cutter Operator: Dino Parks Assistants: Daniel Hanych, Lucas Deans, Paul Saunders Digital Imaging Tech: Daniel Applegate “TINDER” Dir. of Photography: Pablo Berron Assistants: Ethan McDonald, Arthur Zajac Digital Imaging Tech: Ryan Kunkleman “TOYOTA RAV4” Dir. of Photography: Jeff Cutter Assistants: Lucas Deans, Noah Glazer Digital Imaging Tech: John Spellman “USAA” Dir. of Photography: Greg Daniels Assistants: Stephen MacDougall, Vic Deruddere Digital Imaging Tech: Erica McKee

//////PRODUCTION CREDITS

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88 OCTOBER 2017

COMPANY PAGE Adorama 21 ARRI 19 ARRI Rental 37 Backstage Equipment 84 B&H The Studio 86 Blackmagic 7 Camerimage 89 Canon 5 Chapman Leonard 31 Cinemoves 9 Cineo Lighting Cooke Optics 27 Creative Solutions LA/NY 23 CW Sonderoptic 91 DJI 11 Filmotechnic 65 Fujinon 29 G-Technology 25 JL Fisher K5600 81 Kino Flo 26 Lindsey Optics 82 Matthews 13 Mole Richardson 85 NAB NY 4 Paralinx 92 Picture Shop 80 Red 15 Samy’s Cinema Works 17 Schneider Optics 83 Team5 30 Teradek 2,3 VER Camera Facilities 77 Zeiss 35

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www.adorama.com www.arri.com/skypaneleffects www.arrirentalgroup.com www.backstageweb.com www.BandH.com/thestudio www.blackmagicdesign.com www.camerimage.com www.usa.canon.com www.chapman-leonard.com www.cinemoves.com www.cineolighting.com/Std410 www.cookeoptics.com www.creativesolutions.io www.cw-sonderoptic.com www.dji.com/ronin-2 www.filmo-usa.com www.fujinon.com www.g-technology.com www.jlfisher.com www.k5600.com/onelight www.kinoflo.com www.lindseyoptics.com www.msegrip.com www.mole.com www.nabshowny.com www.paralinx.net www.pictureshop.com www.red.com www.samyscinemaworks.com www.schneideroptics.com team5.rentals www.cinema.teradek.com www.ver.com www.zeiss.com/cine/cp3

TELEPHONE

ADVERTISING REPRESENTATIVES WEST COAST & CANADA

(888) 88 DOLLY

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

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ALAN BRADEN INC. Alan Braden Tel: (714) 846-7147 Fax: (714) 846-8271 Email: alanbradenmedia@gmail.com

OCTOBER 2017 89

[stop motion]

STEPHEN VAUGHAN, SMPSP

BLADE RUNNER 2049

A nighttime street in Budapest and snow driven by Ritter fans. Stay warm and be careful of errant VW Bugs and swinging crane arms. Shouldn’t swallow too much of that chemical snow, as it’s hardly an ingredient for snow creams. But everyone here says the stuff is “perfectly safe.”

90 OCTOBER 2017

THALIA

M O.8

SUMMICRON-C

SUMMILUX-C

CW Sonderoptic GmbH Wetzlar, Germany | Los Angeles, USA

www.cw-sonderoptic.com sales@cw-sonderoptic.com

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