ICG Magazine - October 2018 - The Workflow Issue by ICG Magazine

ICG MAGAZINE

A STAR IS BORN FIRST MAN

VIDA

Filmmakers at 41st Mill Valley Film Festival FILMS

•

PANELS

•

WORKSHOPS

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MASTER CLASSES

Barry Jenkins, If Beale Street Could Talk

Felix Van Groeningen, Beautiful Boy

Karyn Kusama, Destroyer

Pawel Pawlikowski, Cold War

Joel Edgerton, Boy Erased

Alfonso Cuarón, Roma

Paul Dano, Wildlife

Peter Hedges, Ben Is Back

Matthew Heineman, A Private War

Connie Field, The Whistleblower of My Lai

Nia Da Costa, Little Woods

Peter Farrelly, Green Book

Eleanor Coppola, Two For Dinner

Stephen Moyer, The Parting Glass

Anna Paquin, The Parting Glass

MVFF41 | OCTOBER 4 -14, 2018 | MVFF.COM

ICG MAGAZINE

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OCTOBER 2018

56 FIRST MAN

La La Land’s Damien Chazelle and Oscar-winner Linus Sandgren, FSF, take “one giant step” with this lunar odyssey.

A STAR IS BORN

Matthew Libatique, ASC, tunes up another great musical drama.

DEPARTMENTS GEAR GUIDE / 16 BOOK REVIEW / 24 REFRACTION / 26 ZOOM-IN / 30 REPLAY / 34 EXPOSURE / 40 PRODUCTION CREDITS / 78 STOP MOTION / 92 8

VIDA

STARZ’s new half-hour drama, set in East Los Angeles, implodes female Latin stereotypes, with color, texture, and style to burn.

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Photo by Scott Alan Humbert

P R E S I D E N T ’ S L E T T E R

SNAP SHOTS I recently had the pleasure of attending the 25th Anniversary screening of The Joy Luck Club, beautifully remastered for the Motion Picture Academy Archive collection so that future generations will experience its stunning cinematography (by Guild member Amir Mokri) for years to come. The Academy screening reunited director Wayne Wang with six of the film’s eight actresses for a Q&A, as well as author Amy Tan and the film’s producer, Janet Yang. While seeing The Joy Luck Club was as satisfying and beautiful as when it debuted 25 years ago, and while it was great fun to mix with so many Hollywood luminaries, I was star-struck by a man who would have gone unnoticed if not for the Leica sticker I saw on the back of his cell phone. When, in the prescreening reception, I asked him about the sticker, and he introduced himself as Nick Ut, I knew I was in the presence of a giant. This Vietnamese-American photographer, who shoots for the Associated Press, won both the 1973 Pulitzer Prize for Spot News Photography and the 1973 World Press Photo award for an image called “The Terror of War” – one of two photographs that came to symbolize the Vietnamese conflict. Nick Ut’s shot of a young South Vietnamese girl, running naked down the street after her village was mistakenly targeted with napalm, illuminated the war’s impact on non-combatants. The other image that came to be so iconic, shot by fellow AP photographer and Nick Ut’s close friend, Eddie Adams, depicted a Saigon police chief executing a North Vietnamese prisoner in the opening moments of the Tet Offensive. That photograph, which also won the Pulitzer Prize and World Press Photo award, in 1969, hammered home the war’s brutality on both sides. In both cases, as horrific as the scenes unfolding before their cameras were, Ut and Adams possessed the courage and mastery of craft to snap the shutter, surely not knowing the impact their work would have, but determined to do their jobs nonetheless. The proof of how a single photograph can remain powerful and relevant for so many generations was seen in 2012, when on the 40th anniversary of “The Terror of War,” Nick Ut became only the third person inducted into Leica’s Hall of Fame; I

was tremendously honored to spend much of the night hearing about his experiences behind the camera. The reason I mention this is because it relates directly to our Still Photographer members. With the advent of new technology, there was a moment when producers felt they could do away with unit photographers and pull frames from digital footage. Of course, we knew that was a complete waste of time because it would cost thousands of dollars more to wade through the footage, and that the slower shutter speed of digital (movie) cameras would make it very difficult to find an image sharp enough to be effective for mass marketing. To create a single photograph that sums up an entire narrative, and that can be used to draw in an audience, is a very specific talent. Our Guild set photographers, while not subjecting themselves to the life-or-death danger of war correspondents, still go “into battle” every day with a mindset that nothing will compromise their professional goals. Everything from having to negotiate for a decent angle during production to carving out the necessary time with talent, lighting, production design and locations to fulfill the studio/network’s mandates, are some of the craft’s challenges. Perhaps even more important than unit photographers’ skill to help drive a project toward financial success is the role they play as our industry’s archivists. Like a timeless image from a war half a century old that lives on in our collective mindset, tugging at each new generation’s social conscious to work to end human suffering and conflict, the unit photographer captures a moment in time, a still life of an era of this industry that will never come again. It reminds us of what we’ve lost and what we’ve gained from the most compelling and influential art form humanity has created.

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

October 2018 vol. 89 no. 08

Publisher Teresa Muñoz Executive Editor David Geffner Art Director Wes Driver EDITORIAL ASSISTANT Tyler Bourdeau STAFF WRITER Pauline Rogers ACCOUNTING Glenn Berger Dominique Ibarra COPY EDITORS Peter Bonilla Maureen Kingsley CONTRIBUTORS Kevin H. Martin Matt Hurwitz Erica Parise

INTERNATIONAL CINEMATOGRAPHERS GUILD Local 600 IATSE NATIONAL PRESIDENT Steven Poster, ASC NATIONAL VICE-PRESIDENT Heather Norton 1ST NATIONAL VICE-PRESIDENT Paul Varrieur 2ND NATIONAL VICE-PRESIDENT John Lindley, ASC NATIONAL SECRETARY-TREASURER Eddie Avila NATIONAL ASSISTANT SECRETARY-TREASURER Douglas C. Hart NATIONAL SERGEANT-AT-ARMS Christy Fiers NATIONAL EXECUTIVE DIRECTOR Rebecca Rhine

PUBLICATIONS & PUBLICITY COMMITTEE Henri Bollinger, Chair

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ADVERTISING POLICY: Readers should not assume that any products or services advertised in International Cinematographers Guild Magazine are endorsed by the International Cinematographers Guild. Although the Editorial staff adheres to standard industry practices in requiring advertisers to be “truthful and forthright,” there has been no extensive screening process by either International Cinematographers Guild Magazine or the International Cinematographers Guild. EDITORIAL POLICY: The International Cinematographers Guild neither implicitly nor explicitly endorses opinions or political statements expressed in International Cinematographers Guild Magazine. ICG Magazine considers unsolicited material via email only, provided all submissions are within current Contributor Guideline standards. All published material is subject to editing for length, style and content, with inclusion at the discretion of the Executive Editor and Art Director. Local 600, International Cinematographers Guild, retains all ancillary and expressed rights of content and photos published in ICG Magazine and icgmagazine.com, subject to any negotiated prior arrangement. ICG Magazine regrets that it cannot publish letters to the editor. ICG (ISSN 1527-6007) Published Monthly by The International Cinematographers Guild 7755 Sunset Boulevard, Hollywood, CA, 90046, U.S.A. Periodical postage paid at Los Angeles, California. POSTMASTER: Send address changes to ICG 7755 Sunset Boulevard Hollywood, California 90046 Copyright 2018, by Local 600, International Alliance of Theatrical Stage Employes, Moving Picture Technicians, Artists and Allied Crafts of the United States and Canada. Entered as Periodical matter, September 30, 1930, at the Post Office at Los Angeles, California, under the act of March 3, 1879. Subscriptions: $92.00 of each International Cinematographers Guild member’s annual dues is allocated for an annual subscription to International Cinematographers Guild Magazine. Non-members may purchase an annual subscription for $48.00 (U.S.), $82.00 (Foreign and Canada) surface mail and $117.00 air mail per year. Single Copy: $4.95 The International Cinematographers Guild Magazine has been published monthly since 1929. International Cinematographers Guild Magazine is a registered trademark.

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first became aware of Matty Libatique (ASC) two decades ago with the festival hit Pi, directed by Darren Aronofsky in what kicked off a long creative partnership between the two men. Pi told a nearly inscrutable New York story about a mathematician whose brilliance is coveted by Wall Street sharks and Chasidic Jews. It was shot in 16mm black and white on Kodak Plus-X (7276) and Tri-X (7278) and then blown up to 35mm. The high-contrast, grainy look was daring and totally unconventional; at the time I thought: “These guys are fresh! Can’t wait to see what they do next.” Next, of course, became five more features (Requiem For A Dream, The Fountain, Black Swan, Noah, and Mother!), each more visually bold than the one before, along with a handful of projects Libatique shot for other directors (Iron Man 1 and 2, Cowboys & Aliens, She Hate Me, Straight Outta Compton), whose indie roots are as hardened as Libatique’s; i.e., Jon Favreau and Spike Lee. With our October cover story for A Star Is Born, Matty’s working for a first-time director, Bradley Cooper, yet still bringing a street-funk intensity to every frame of this musical drama. Libatique, who discovered the MōVI rig on Straight Outta Compton (ICG August 2015), is perfect for this latest version of A Star Is Born, and not just because he’s shot music his whole career. Videos for Justin Timberlake, Jay Z., The Cranberries, and Tracy Chapman dot his résumé; but, for me, Mattty’s camera is always filled with musical energy. Audiences will get a taste of that in A Star Is Born, as operators Scott Sakamoto, SOC; Chris Herr and 2nd Unit DP/Operator Chris Moseley traded off (or teamed up) on the MōVI, a device Libatique describes as a “handheld/Steadicam hybrid” and what Herr says feels like “operating a camera in outer space.” Of course, the MōVI, like any tool Matty’s used to move the camera, is part of a visual plan that puts story first, in this case, concert sequences that are completely unique. In Matt Hurwitz’s story (page 44), the DP reveals that Cooper wanted “everything on the stage,” meaning no objective POV’s from the audience or proscenium shots – the lens had to be a laser beam focused on Cooper and Lady Gaga’s emotional journeys. Speaking of journeys, our second October

feature is First Man (page 54), from the Oscar-winning team behind La La Land (ICG December 2016), Damien Chazelle and Linus Sandgren, FSC. The film profiles Neil Armstrong, in the years leading up to “the most dangerous space mission NASA ever attempted,” and uses a host of film platforms – 16mm, 2-perf Techniscope 35mm, and IMAX 70mm – to create much of the space footage in-camera. Sandgren and Chazelle used giant LED walls (instead of green screen), as well as more traditional solutions, like gimbal-mounted full-scale spacecraft mockups against black, and physical miniatures. Oscar-winning VFX house DNeg created 90 minutes of playback footage for the LED screen, while Production Designer Nathan Crowley’s team had to 3D-print many of the models because, as Crowley laments in Kevin Martin’s article, “all the great miniature building companies are gone.” Change is hard; it takes fearlessness and curiosity. Both qualities are present in our third feature, the new STARZ drama Vida (page 66), set in East L.A. Not only does this TV series shift the narrative in front of the camera – it’s centered on two estranged Latina sisters who reunite at their mother’s funeral to learn their matriarch was living with another woman – but Vida has women in every major role behind the camera, from showrunner Tanya Saracho to directors Rose Troche and So Yong Kim, to (most notably for this magazine) Guild cinematographers Carmen Cabana and Ava Berkofsky (who joins the Vida team for Season 2). Art, makeup, costume, assistant directing, music, and even the editing departments are all headed up by women, allowing the show to break the kind of ground Matty Libatique would no doubt welcome and approve. Vida’s creative team brings a streetwise intensity to its filmmaking that thrives on risk and innovation. The whole approach to visual storytelling (like Libatique’s remarkable career) has a swagger that seems to say, “I don’t care what you think about me, just as long as you feel what I’m about.”

CONTRIBUTORS

Matt Hurwitz (Almost Famous)

“The rich performances in Bradley Cooper’s A Star Is Born are only accentuated by Matthew Libatique’s intimate shooting style – both in the dramatic scenes and in the film’s many concert performances. Matty and his team shoot the latter in a way unlike most music films, helping tell the story of musicians as people, not simply as stars.”

Erica Parise

(La Vida Loca, Stop Motion) “I feel so fortunate to be a part of the inception of the STARZ Channel’s Vida. Our DP, Carmen Cabana, is one of the many incredible Latina powerhouses at the center of the production, and she brings so much energy and adventurousness to her shots.”

ICG MAGAZINE

David Geffner

Executive Editor

Twitter: @DGeffner Email: david@icgmagazine.com

A STAR IS BORN FIRST MAN

cover photo: Clay Enos

VIDA

maximum stabilization reimagined

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B O O K

R E V I E W

MAGIC AND MIRACLES 100 YEARS OF MOVING IMAGE SCIENCE AND TECHNOLOGY

Edited by Philip J. Cianci Review by Pauline Rogers

It's 350-plus pages, with type that might benefit from a magnifying glass; but for any history-of-technology buff, or student who wants to get a well-rounded and fact-filled education on the industry, Magic and Miracles, 100 Years of Moving Image Science and Technology, the second of a three-book effort by SMPTE, is well worth a read. The first book in the series, The Honor Roll and Honorary Members of the Society of Motion Picture and Television Engineers, recognized 89 individuals who have significantly contributed to the organization’s work; the third, yet to come, The History of the Society of Motion Picture and Television Engineers, is a detailed chronology of the organization’s development and work. As author Arthur C. Clarke is quoted as saying in an early chapter, “Any sufficiently advanced technology is indistinguishable from magic.” And that’s what this book is about – not just the meeting of like minds whose passion is entertainment, but also the magic those partnerships have brought to the industry. Why is SMPTE perfect for telling this story? Because, unlike some of those organizations that live by their acronyms, SMPTE members truly contribute to moving the technology forward. SMPTE, as multiple Emmy-award-winning SMPTE Life Fellow and book contributor Mark Schubin explains, “is a society of engineers, and engineers solve problems.” As Schubin goes on to note about the group’s history: “The Society of Motion Picture Engineers (SMPE; the T, for ‘television,’ was added in 1950) was founded in 1916.” In the first five years, the Society asked the first president, Charles Francis Jenkins, “to prepare a sketch of the conception, early history, and development of the motion picture.” What does Magic have to say about the technology behind the industry? Just about everything you might want to know – or that you didn’t know you would want to know! There’s a section on Motion Pictures that includes quotes from Edward Kellogg, writing this in the 1955 SMPTE journal: “The art of the silent film had attained superb quality and the public was satisfied. Why then, producers asked, should Hollywood scrap the bulk of its assets, undertake staggering conversion costs, and force upon the public a new and doubtful experimental art?” Kellogg may have been talking about the transition from silents to talkies, but the same could be said about every new format SMPTE members have courageously developed and “forced on the public.” And the book takes them all on.

Television, too, gets its due, with fascinating revelations. Like how the medium’s technology has enhanced our ability to view some of history’s most memorable events. Did you know that John Glenn’s October 1998 launch coverage wasn’t just a first in history? It was also the first-time digital delivery was made, with the introduction of HDTV. Want to know more about Disney’s contribution to animation? It’s there with words about Honorary Member Walt Disney, who won SMPTE’s Progress Medal in 1940. Would you like to understand more about NTSC or HDTV? The panels involved in its development, the processes used, the compatibility factor, and more are included in the book – with words from the engineers who took these processes down the road to reality. The book also includes signposts on the road that has led to today’s superlative visual effects. You’ll read about the contributions of pioneer (and Honorary Member) Linwood G. Dunn, ASC, as well as Honorary SMPTE members James Cameron and George Lucas. The art of visual effects even includes obscure tidbits, like how Miss Bennett materialized in the roadster in Topper (1937). Magic also tackles the distribution explosion and a new age, where, as editor Cianci notes, we are “communicating with an inexpensive personal communication appliance (PCA) that allows the world community to be contacted regardless of location. The same personal contact number will allow citizens to retrieve data and images from the world’s museums and sounds from the world’s environment.” And SMPTE members are right in the thick of things – making sure that this can happen, with the quality the organization and the industry demand. Magic and Miracles is not a sit-down-andread-from-cover-to-cover book. It’s thick with charts and pictures – and photographic tributes to the members and honorary members whose passion for technology is paramount. But it’s well worth having on your bookshelf. Take the time to flip through the massive content – and bookmark, even just in your mind, the areas that fascinate – so you can go back and learn a little more each time you pick it up. ISBN: 9781614829980 Magic and Miracles can be purchased through the SMPTE website – member and non-member pricing available. Also available on Amazon for $90.

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JOANNE KIM VP Post Production Technology Legendary Pictures

THE TRIALS AND TRIBULATIONS OF A GOOD "DAM" WORKFLOW I didn’t know it then, but learning how to record and cut audio on mag, and shoot and process my own 16mm film (and then splice and tape the edits by hand) created an invaluable foundation for today’s complex workflows. I went through the entire process of capturing, editing, and distributing for exhibition, all the while unraveling and discovering issues in each process that could have been resolved in an earlier process of the workflow. Moments of clarity that I hadn’t captured something correctly and that now rippled downstream into my VFX and post-production workflow, ultimately affecting my final deliverable, were inevitable. What’s interesting is that the “workflow” I just described has been executed for over a hundred years and repeated hundreds of thousands of times, but the fundamental principles of foresight and anticipation of the choices made upstream of the process remain a key factor in workflow design today – and will be in the future. As Wayne Gretzky once said: “A good hockey player plays where the puck is. A great hockey player plays where the puck is going to be.” In my view, “a great workflow” scales with

the inevitable and constant developments in technology and industry standards. Watching, anticipating and understanding the implications of these new technologies and standards are key. With the advent of digital formats, new cameras, and distribution platforms, workflows have gotten more complicated. There are a variety of formats we can capture today, and a medley of platforms used to both distribute and consume product. We have television screens that not only can display Rec. 709 with a gamma 2.4, but are also capable of displaying P3 color volume. Some displays even claim to achieve over 90 percent BT.2020 color volume with a PQ curve for HDR. These same TVs are also capable of displaying Dolby Vision with Dolby Atmos as well as HDR10+ with dynamic metadata for scene-based interpretation, and variety of flavors of Hybrid Log Gamma (HLG), all of which are encoded HEVC with its own set of specific configurations. Resolution is another consideration. UHD (3840×2160) and 4K (4096×2160) are terms that are used interchangeably, mostly as a marketing convenience. Many consumers

27 portrait by Nicola Goode, SMPSP

“Few would disagree that as distribution windows grow increasingly tighter, workflows will be continually redesigned.”

seem to digest what 4K means over UHD because it’s easy to quantify 4K as four times the number of pixels of HD and is thus an easier sell (more is better!) than something called UHD or “Ultra HD,” which just makes it sound like it’s, well, beefy HD, whatever that might be. But, technically speaking, 4K at 4096 horizontal resolution is specific to the Digital Cinema Initiatives (DCI) specifications and refers to theatrical screens, whereas UHD at 3840 horizontal with the same 2160 vertical is not technically 4K and refers typically to consumer displays. And oh, yes, 8K is right around the corner, and 16K is peeking its head out right behind it. All of which is to say, it’s not enough to have the foresight of knowing what to expect – workflows should be designed as component-based, creating a more agile and flexible streamlined process that can adapt to new technologies and standards. We’ll all be hearing that term – component-based – more frequently; I use it to refer to the workflows as well as the assets that are generated and used in these workflows. Workflows of the past typically consisted of self-contained systems that were applied to specific operations and generated a specific result. That result was then fed into another disparate workflow to generate another result, so on and so forth. Building on a framework that uses APIs to connect any number of systems (or components) to a central framework acts as an aggregation point and allows for a more efficient workflow that can track and process a massive amount of information and assets for more than one department – maybe even for the entire studio. It’s no longer about fulfilling a single departmental workflow, but rather an enterprise solution that ties all the disparate workflows together.

In addition to the component-based workflow at a system level, the two standards that have really come to shine are ACES and IMF. The recent technological advancements in consumer televisions alone have been dizzyingly fast, and a workflow like ACES can future-proof content by leveraging the output display LUT to fit future displays, yet keep the creative intent of the filmmakers. This is a simpler task than restoring the show and guessing what color space it was originally graded in and then trying to guess at the original creative intent. Of course, ACES continues to be a work in progress. Today, it offers a better workflow than what had previously existed, ensuring important metadata is preserved and fidelity of a show is maintained when restored from archive. The IMF standard is a prime example of taking advantage of a component-based workflow to design a workflow for the multitudes of distribution formats and archival requirements. IMF streamlines the localization process into an operation that can take a quarter of the time it used to take to localize hundreds of different languages, leveraging the component-based structure of IMF. The elements are not married, but rather disparate audio, video, timed text, etc. (typically MXF files), and are brought together using what’s called a composition playlist (CPL). The CPL is just an eXtensible Markup Language or XML document that will define the timeline of a specific version; it calls up the specific MXF track files for that version. The CPL is the “aggregator” in this scenario. Components are brought together and married utilizing an XML document that states how the pieces are put together, where they should start and stop playout, when the timed text should be laid in on the timeline,

etc. A single CPL could also define where to insert textless material in the middle of a sequence and playout that piece, without ever having to re-render the entire sequence to apply that insert. A clip replacement can now only require the single clip and a new CPL that calls out where that clip should be played within that original sequence. This would save a day’s worth of work, importing in the entire sequence, cutting in the clip, and then re-rendering out the sequence. The component-based workflow lets us manage current requirements – which makes it a good workflow design. What makes it great is that it also prepares us and allows us to integrate whatever comes next. Few would disagree that as distribution windows grow increasingly tighter, workflows will be continually redesigned. It’s not just about creating a seamless current workflow – we have to build an agile workflow around a solid framework that can allow us to leverage restful APIs to build onto that framework and allow for the pieces to move as requirements change. At Legendary, building out an asset management system with a model that can provide an immediate requirement for tracking and curating assets, but also providing a framework that can integrate artificial intelligence and machine-learning engines in the coming years – or maybe months – is a key element. These engines will grow and evolve, and it’s not a stretch to think that they’ll be replaceable through the years; but, there again, it’s about anticipation and expectation of the model and the workflow being designed to evolve with the components. Of course, as AI gets better and the machines get smarter, we’ll have more to worry about beyond just workflows!

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MANINDER SAINI by Pauline Rogers photo courtesy of Maninder Saini

“Being a DIT is the intersection and balance between technical knowledge and creativity,” says Pennsylvania-born Digital Imaging Technician Maninder “Indy” Saini. It’s an interest Saini developed early while studying Theatre and Philosophy at Smith College, where she had her first chance to work with video cameras. When she moved to New York City, she started a newtechnology theater company that emphasized multimedia aspects in each production. But, it was an encounter with producer Julia Mintz (who produced the TV special Space Shuttle Discovery: John Glenn Launch in conjunction with NASA), and an opportunity to attend and work for Vince Gancie’s Santa Fe International

high-definition workshops that sealed her interest. Saini says that her early DIT work’s “deductive reasoning and logic, and narrowing down in a systematic way what is and what is not working” was important. “When there was a failure,” she adds, “and it wasn’t obvious where the breakdown was, I would start at the camera side and work down the chain to find the failure – and how to fix it. Of course, all the time I’d have an AD asking when we could continue filming!” Today’s gear is more stable and the functions well defined, so Saini’s job is more of a balance between overseeing technical and creative color aspects. “The DPs I work

with utilize on-set color as a tool, alongside the lighting, for creative exploration on set,” she continues. “I always start with a waveform for exposure and color. I use it to build the foundation of what I’m going for, and then the rest is by eye and instinct. I make sure there is a fat negative with proper exposure, and then the look can get deeply experimental. Especially as time in post for DI is becoming more limited, this tool is extremely valuable.” Saini’s résumé is varied and extensive. She just came off an eight-month project (NDA in place) that involved 3D and HFR. She’s worked with Oscar winners/nominees like Rodrigo Prieto, ASC, Peter Deming, ASC, and John Toll, ASC. One Ford spot with Prieto (cont'd on page 30)

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stands out: “Turn-around on commercials is so fast – the editors are on set taking what you just shot. We filmed over many days with multiple locations a day. It’s a busy process to jump back and forth between being part of the shooting process, paying attention to every shot for quality and exposure, and diving into making the dailies that are due as close to wrap as possible. We had some rain sequences that were supposed to start pre-dusk and end at night. I had to work quickly to offer options, and while the client felt, in the end, it was going to work, I still ended up massaging the dailies.” Twin Peaks, with Peter Deming, only had enough of a budget for a part-time DIT. Saini remembers that in the first few weeks, “we built looks with specific tones or moods with varying color shifts and contrast levels for both interior and exterior environments. These looks could be loaded, stored and recalled in the ALEXA/AMIRA, displayed on the output to all the monitors, and attached as metadata that would travel with the media through the pipeline. “By the end of the shoot,” she adds, “we

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had over 50 pre-built looks that were both specific and versatile. It was a fun working environment because some locations were connected to the original series and the look needed to recall the past show; for some sets, the hues and colors were extremely specific.” John Toll’s Billy Lynn’s Long Halftime Walk, directed by Oscar-winner Ang Lee, was uncharted territory. “When HD first started becoming a popular format, many people said it wouldn’t last and complained that it wasn’t as good as film,” Saini describes by way of background. “But the bottom line is that new formats and cameras are just tools to serve the creative process. Visionary storytellers will continue to find new and different ways to express a creative vision to an audience. [Billy Lynn] was delivering across a multitude of formats, with the hero format of 120fps in 4K 3D. The creative choices were infinite, especially with no precedent.” Saini says that as “a technician,” she generally works to make the technology invisible to the creative goals. “But when the format is brand new,” she adds, “the landscape is wide open, and technology and

creative exploration go hand in hand. I first experienced this with HD and then with 3D and now with HFR [high frame rate]. With Billy Lynn, the looks would change from day to day. We would try something, watch it in dailies, and then based on the feedback, sometimes I would regrade a scene the next day with a different contrast/saturation or color goal in mind. It was an extremely demanding and satisfying process.” As workflows, cameras, and third-party equipment become more streamlined, creative opportunities not only increase, they make the DIT’s role on-set more crucial and expansive. The DP is free to pursue her vision with the director in depth when there is a skilled technologist/color management expert covering her back, as Saini has shown throughout her career. “As a DIT, there is always something new to learn,” she concludes. “Today, there is 8K acquisition, 4K on-set monitoring, HDR, HFR and open endto-end color workflow tools such as ACES. Technology is not slowing down!”

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INSTINCT by Pauline Rogers Photos by Francisco Roman/CBS

For CBS’s Instinct, Episode 12, “Live,” the NYPD is tracking a film student/killer who live-streams murders from his steampunk film set. It was an ambitious scene, requiring integration of multiple sets, coordinating VFX, designing and playing back specific computer graphics and multiple points-of-view – all on a tight TV schedule. “We had a lecture hall where students watched as multiple VFX images of the student film camera POV streamed,” explains cinematographer Joe Collins. It was shot in a medium-sized lecture hall with tiered seating at Manhattan College. Collins used the tungsten practical lighting of the lecture hall for ambiance. “We would dim or kill the balanced practicals on a shot-by-shot basis and use ARRI SkyPanels (S30’s and S60’s) as key and fill. Occasionally, we would use a Leko bounced into unbleached muslin to wrap actors’ faces.” Camera choices were specific for the sequence, with the Panavision DXL1 as A-Camera (operated by Edgar Colon and assisted by 1st AC Eric Robinson and 2nd AC Marc Charbonneau) and RED Weapons as B-camera (Ted Chu operator, John Reeves 1st AC, Sarah Scrivener 2nd AC) and C-camera (Laura Hudock operator, Scott Koenigsberg 1st AC, Quinn Murphy 2nd AC, and loader Max Collins). They employed dollies on track, shooting students in wide, medium and close-up shots. Shot compositions needed to accommodate VFX lay-in of the live video feed in post, so Collins says they gave it a little extra room in frame. “We used the 24mm prime lens – from our set of four 70mm Primo prime lenses – for the live streaming footage, knowing this would be the primary source of all VFX footage and computer/video playback footage,” he relates. A Blackmagic camera with 16-35mm zoom lens was used as both an “on camera” prop for traditional footage when shooting the scenes and for recorded “live” 4K footage from the student’s camera, for VFX options in post. The Precinct set on stage 10 of Broadway Stages in Greenpoint, Brooklyn, was lit by a combination of overhead practicals, desk lamps, wall sconces and computer screens chosen by Production Designer Ray Kluga. “Our theatrical film lighting comes from 10K’s on trusses outside the windows, and 10K’s in grid above the atrium area of the set,” Collins explains. “LED lights provide the levels for the Rosco cloth Day/Night drop, which is enhanced by the ARRI SkyPanels pushed through diffusion and LightTools, egg crates, and then a few 5K bounces into white floor matte.” The team shot to accommodate the multitude of computer screens with graphics

L to R: Director Jim McKay, DP Joe Collins, Key Grip Matt Staples

depicting the search for the “live stream” signal, plus TV monitors playing back the previously recorded student camera POV of the steampunk set. Both graphics sequences were designed and laid-in by Mike Sime of Visual Alchemy, who says “we treat our displays as additional actors in the scene. We coordinate with Joe and [DIT] Jeffrey [Hagerman] to ensure that the camera sees the screen as content as Joe wishes [normal, warm, blush]. Often we’re called upon to play with the content, adding noise, static, and glitches for additional life. We straddle between the art department, camera, set decoration and even sound.” The steampunk set (designed by Kluga), created at an abandoned warehouse in Red Hook, was a major undertaking, and Collins was determined to get the look in-camera. “Joe’s approach in this set was much more stylized than anything I had been involved with previously,” Hagerman offers. “The interaction between light and dark, with vivid colors and muted undertones, served to underlie the psychological propensities of the crazed murderer as well as that of his victims. Joe took the time to understand the space, allowing the location to almost become its own character.” Hagerman worked closely with gaffer Pat Fontana, keeping a close eye on his Leader 5333 waveform monitors to make sure they weren’t clipping any valuable color information as a result of the varied mix of LED’s and traditional lights. “We used LED lighting beneath the chair

platform [where the victim is strapped] and pushed up through Plexiglas floorboards,” Collins recounts. “Director Ed Ornelas chose red and blue colors because he wanted the steampunk ethos to be influenced by [Italian horror master] Dario Argento. This was enhanced practically with smoke from Special Effects.” “This scene is a perfect example of what you can do in low light,” Hagerman adds. “Darkness is never just a lack of photons as such; it lies more in maintaining a precise lighting ratio. Joe’s execution reminds me of Gordon Willis [ASC]. The intention behind what is motivating the shadows interplays on screen with the characters’ motivations toward violence.” The scene was shot with one DXL1 (at 8K), two RED’s (at 6K), and one Blackmagic (at 4K). “Visual Alchemy designed the graphics for when the student killer loses his signal due to Julian’s [Naveen Andrews’] interference,” Collins explains. “We shot this practically, in real time, with images on the computer screen. We had to shoot the live streaming student piece as one setup on DXL, and then replace that with Blackmagic for shooting the traditional footage of the scenes. The Blackmagic recorded student POV’s continuously while we shot traditionally.” The other piece of the puzzle is Julian’s bunker, which is a set. “It’s an empty industrial building that he’s turned into a high-tech hideout,” Collins adds. “Everything is dark: black walls and black iron columns. We lit the exterior of the windows with sodium vapor lights and the interior by sparse tungsten practicals and computer screens. We enhanced this with half domes and light mats for the Tungsten feel and used one S30 with grid set to 6000K for the computer feel.” Before everything was brought together, Hagerman had to make sure that the LUT’s he developed for the three different sets would integrate with Dylan [Alan Cumming] and [NYPD Detective] Lizzie Needham’s [Bojana Novakovic’s] racing to find the student/killer. “The driving footage was shot in Red Hook with three cameras on a tow rig,” Collins explains. “We had two Reds on hostess trays cross-shooting: one on the passenger side, one on the driver’s side with 50mm primes. The DXL1 was mounted on a Scorpio image stabilizing head on the insert car with an 80mm lens, in a two-shot through the windshield with a polarizing filter. This allowed us to get all three angles simultaneously. We lit with a 4K rigged on the insert car pushing through 4-by-4 129 diffusion and draped a sheet of bleached muslin over their laps.”

During this sequence, the pair uses Dylan’s iPad to watch the live feed and talk on FaceTime with Julian from his lair. The insert on the iPad was shot poor man’s process in Harlem, handheld with the DXL inside the car. “The iPad had a screen generated from the prop department,” Collins reveals. “[VFX vendor] The Molecule laid in the live streaming steampunk footage that was shot on the DXL1 in post and then laid Julian’s FaceTime footage over the steampunk footage, also shot on DXL1. In prep, we determined Julian’s placement so that Dylan’s eyeline would be correct.” For the iPad, Collins and his team had to determine where the footage would play back on screen, what size Julian’s FaceTime screen image would be, and where that image would be placed. The footage of the steampunk set was determined by the placement of the student camera. Julian’s coverage was determined by the practical position of his computer in his lair. “We knew iPad coverage would be from the middle of the back seat, over Dylan’s left shoulder, so it also worked for Julian’s (neutral) eyeline,” Collins describes. “We needed The Molecule’s input for the iPad screen – Blue? Green? Black? Gray?” The Molecule’s workflow began in preproduction – sussing out the potential scenes that require VFX assistance. One of their early

questions was whether any footage or still images that appear on a screen will be shot practically with video playback. “For the steampunk sequence, it was determined early on that the student film portion would be filmed separately and provided during post,” explains The Molecule’s VFX Supervisor Luke DiTommaso. “We recommended applying a gray screen to allow the appropriate amount of illumination to the screen.” Once the footage was received, they were able to efficiently track, matte, and burn the footage onto the iPad screen, maintaining practical reflections. The FaceTime footage was added as a layer that was comped over the lower left portion of the screen. “Instinct has always allowed us to expand our creativity on an array of VFX and motion graphic techniques,” DiTommaso adds. “The steampunk sequence was very streamlined in its execution due to the amount of careful detail Joe and his team gave to the specific cameras and lighting used, in addition to how well the screens were prepped during production.” Once post stepped in, it was up to Technicolor PostWorks editor Pat Kelleher to take the high-resolution footage and create a mockup to see what each element would look like. The trickiest aspect, of course, was the iPad sequence. “The composites needed to be done in

specific layers,” Kelleher explains. “First the steampunk and then Julian on top. It was important to understand that the practical shots would be colored differently. It has become standard fare for VFX houses to supply the post houses with mattes for layered shots. It gives the colorist greater flexibility in grading composites.” The multitude of elements was sent to Technicolor PostWorks New York colorist John Crowley, who reports that he received “a 1920×1080 23.98 ProRes 444 file from online and exported it the same once our color pass was complete. “We use Baselight Color Corrector for grading,” Crowley adds. “By using Baselight, I am able to take advantage of its 3D Perspective Compositing tool for some screen replacements, its Paint tool for cleanup work and its Perspective Tracker for isolating an object and/or skin tone. We also use multiple layers to discretely enhance all of Joe’s beautiful looks for the show.” “As always, with television, the schedule was tight, and it was a challenge to coordinate all the various elements required to pull this sequence off,” Collins concludes. “But with the combined talent and efforts of The Molecule, PostWorks, Visual Alchemy, Post Producer Antonia Ellis, DIT Jeff Hagerman and our amazing camera crew – we delivered!”

2 0 1 8 E M E R G I N G CINEMATOGRAPHER A W A R D S

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PETER CHIARAMONTE by Kevin H. Martin / photo by Daniel McFadden

Documenting the “behind the scenes” of our industry has existed nearly as long as the film camera. In addition to magazine stories and the occasional “making of” table books, there have been TV’s Hollywood and the Stars and That’s Hollywood, with the latter documenting current and vintage movies, an approach aped by the later Movie Magic series, which focused on effects work. When the laserdisc arrived, such supplementary features as filmmaker commentaries and exclusive behind-thescenes footage pulled back the curtain even more. Long before EPK cinematographer Pete Chiaramonte became a Guild member, he’d make a point of haunting video stores every Tuesday night. It wasn’t just a matter of catching the newest DVD releases; he sought out and scrutinized the classics, like those shot by the legendary Conrad Hall, ASC. Chiaramonte also made a point to study those supplemental “extras,” to better uncover the secrets behind how films were made. While Chiaramonte’s career has included DPing several shorts and performing crew duties on features ranging from The Butler, Django Unchained, and Studio 54 to Before I Wake, beginning with Terminator Genisys, he has served as a behind-the-scenes cinematographer documenting the making of more than a dozen features. These include Hidden Figures, Black Panther, Baby Driver and the upcoming Godzilla: King of the Monsters, plus a featurette about Sony’s Passengers and the upcoming space epic First Man, profiled in this issue. ICG: Do you have a philosophy when it comes to shooting B-roll? Chiaramonte: Our job is to be a fly on the

wall, so while the scene being shot is part of our perspective, we are looking at the larger view, showing what is going on both behind and in front of the camera. Showcasing all this unseen hard work is a way to give audiences an honest but different perspective on the process, and, hopefully, some insight into those making creative decisions. Is it often instructive for you as well? Absolutely. When you want more than anything else to become a filmmaker, you need to take advantage of every learning experience. When you’re in film school, you don’t know anything, but you’re trying to learn. So you watch movies and talk movies, and if you’re like me, you’re always digging into the cinematography. With green screen–heavy shows, do you consider different approaches, like shooting concept art to flesh out a shot’s intention? Passengers is a good example of that: when you went on that set, it really looked like they had built an entire spaceship – no joke! And there wasn’t as much green screen as you might think, as the interiors all had their own lighting built in, though of course that was all augmented by Rodrigo Prieto [AMC, ASC]. Either way, the scale was enormous. For First Man, which wasn’t a green screen show at all – in fact, I was amazed at what [DP] Linus Sandgren [FSF] and his team achieved incamera – we couldn’t be with the main unit the first day because they were shooting intimate family scenes. So, I went to the mill where they were building the space capsules. I didn’t yet know much about the project, so I made a point of shooting these things in various stages of assembly – some were partially built, others were just shells. We shot the plan

drawings and talked to Special Effects about their involvement in manufacturing pieces based on NASA reference. Then I returned later to shoot these elements as they neared completion, so we had a kind of visual history of these incredible constructs. Baby Driver (ICG June 2017) involved multiple units and also had that unique dynamic of tying the visuals to specific beats in songs. Every department on that film had their own cues to keep in time with the music, so documenting that aspect was a very cool opportunity. [Director] Edgar Wright had a video feed going right to the editor on set, which is something you rarely see. Sometimes, when dealing with heavily choreographed scenes, it is hard for me to get in there to do my part, even if I’m just on sticks or with my camera on my shoulder because ideally, you want to be able to see 180 degrees one way and then have a clear 180 back. One massive Steadicam shot was so elaborate, there was no way for me to cover the whole thing from the ground with the camera on my shoulder. So I rigged an action camera overhead to capture the dance between Steadicam operator and the actors from a birds-eye view. Do you have a lot of cooperation with the main unit? You need their cooperation to get a good vantage point, so preplanning is essential, but there’s also improvisation. For some of Baby Driver’s car chases, Unit Publicist Rachel Roth and I would be running with cameras and sticks in hand from block to block, trying to reach the next corner to shoot a car racing by. Another time I was hauling my Sony PKW-FS7 all the way up to the top of a six-story parking garage to get an overview. If you can’t get a (cont'd on page 42)

“Showcasing all this unseen hard work is a way to give audiences an honest but different perspective on the process, and, hopefully, some insight into those making creative decisions.”

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“Linus [Sandgren] is definitely an artist, yet he’s always approachable. You can ask him why he’s using a particular tool or taking this approach to shooting, and he’ll tell you everything, from lens types to lighting.”

and I’d be in the shot. It was such a fluid and organic process.

master that shows the crew shooting the scene, either by setting up overhead or rigging a pulley system, then you’re just shooting the movie, which is redundant.

Are there examples where you must innovate to capture a visual point? When the gimbal was spinning the capsule to suggest out-of-control movement, I covered those takes by shooting a lot of slow motion, which was the best way for the viewer to comprehend the complexity of the moves. Then, with that established, you change up and show the actual speed of this incredible machine.

Was there a particular sequence requiring multiple camera coverage? The Biscuit’s a crazy piece of technology to watch and shoot. When they prep at base camp, you see them get the crew safely secured before going to location. I’d rig multiple cameras, one next to the stunt driver’s helmet, so you could see his perspective with the car body beyond him. From the front end, we’d set up so you could see the actors pretending to drive as well as the [drive pod] above. Is there a protocol to follow when interviewing the on-camera talent? Generally, we do the interviews whenever they’re available, though the bigger names, along with director and producers, are usually handled during post. Toward the end of the movie, people tend to have more and better stories to tell anyway. Tell us more about First Man. I wasn’t a space person going in, but you wind up falling in love with the whole NASA thing. How can you not get pumped up about this great American story, as well as how terrific it is to put these visions up on screen? In Florida, seeing [Apollo XI] astronauts Buzz Aldrin and Mike Collins in person, leaving the same building they left on the way to the launch pad, you pinch yourself to make sure it’s really happening. The filmmakers showed such a remarkable attention to detail, making every effort to match the time of day and lighting present in the documentary images. Linus had one camera in exactly the same position

that the documentary camera was when the astronauts passed back in [1969.] So it wasn’t just the technical challenge to cover the units that proved memorable? First Man gave me cause to remember the depth of my love for cinematography. When you’re at school, you have this tremendous excitement about all of the processes, but then with the passage of years, you can get more caught up in the business side. So the driving thought and lifelong dream of “I’m going to be a cinematographer and make movies” sometimes gets obscured by bumps in the road, and your perspective about the joy that got you fired up in the first place gets fogged up. It was when I started talking with [First Man] unit still photographer Daniel McFadden that I realized just how lucky I was to work on a project this significant. Plus, they were [originating] on film, and shooting on nearly every format imaginable. What are your thoughts on Linus Sandgren, who won the Oscar for La La Land? Linus is definitely an artist, yet he’s always approachable. You can ask him why he’s using a particular tool or taking this approach to shooting, and he’ll tell you everything, from lens types to lighting. And the fact that [director] Damien [Chazelle] is the same age as me also played into things in ways that inspired me to fall in love with filmmaking more deeply. Damien and Linus create this open environment where everyone feels invested. And they change things up, suddenly going vérité. I remember being tucked up next to Damien as they shot the family in this replica of the Armstrong home, and out of nowhere, Linus would turn his camera around

What was the most difficult sequence to capture? When I saw the Gemini capsule, I was thinking, “How do they get two guys in there?” And then, of course, my next thoughts were, “How are they going to shoot this, and where am I going to find a place to shoot them shooting this?” The operators had it as tough as the actors, taking a ride on this gimbal-mounted capsule. Linus was so generous about letting me get in to cover moments, and in ways that most DP’s probably wouldn’t, given the possibility for interfering with the shot in such a tight space.

The new 200K SoftSun units for the moon were a First Man innovation. I remember when Linus told us about that, and how we needed to document that completely. And when we were out there on location, with that single powerful light source and everything else in total darkness … it was like you were really on the moon! Until it snowed! [Laughs.] It never snows in Georgia – unless you’re shooting Georgia for the moon, and then it snows. Most of the time you can get away with shooting in some light rain, but when it comes to the moon, weather is just not an option. We were pretty limited in our options for coverage because we usually had to shoot from behind a black wall they had set up. And there were the issues with helmet faceplates reflecting everything, so we’d often have a Sony or a GoPro up on the crane as well. Are there any particular objectives or benchmarks you have for future work? There’s a lot of cool BTS stuff happening that is increasingly cinematic. I like how the true documentary style is becoming embraced, which will make this kind of storytelling more progressive and exciting. Studying all those “extras” on DVDs, and all that time spent on set pays off because it’s still a learning experience. And it’s fun!

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BY M ATT HUR WITZ / PHOTOS BY CLAY ENOS / FRA M EGRABS COURTESY OF W ARNER BROS

A 48

At the Stagecoach Festival in Palm Springs last year, as the changeover was being made from Tommy James to Willie Nelson, Hollywood star Bradley Cooper took the stage with his band, Promise of the Real, led by Nelsonâ&#x20AC;&#x2122;s own son, Lukas, and belted out two songs (which were not amplified for the festival audience to hear). Capturing the performance was Oscar-nominated cinematographer Matthew Libatique, ASC, and operator Chris Moseley, stealthily grabbing footage before the group hurried offstage.

This grab-n-go indie-style scene opens Cooper’s new take on the Hollywood classic, A Star Is Born, which he also directed. Cooper stars as country rock idol Jack Mayne, alongside Lady Gaga, whose character, Ally, he discovers and helps become a star, even as his own star fades into oblivion due to personal demons. The duo’s naturalistic performances, coupled with Cooper’s earthy visual approach, help tell the tale far differently from the previous three versions (including the revered MGM version in 1954, starring Judy Garland and James Mason). “Bradley was specific that [his film] should not look like any music movie that went before us,” describes producer Bill Gerber. “He wanted [audiences] to feel like they were really experiencing what it’s like to be a person who gets very famous,” but to do so in a unique way, adds Libatique. “It feels homemade and earnest. It’s crafted and very specific in every decision we made.” Like its predecessors (including the 1976 version starring Barbra Streisand and Kris Kristofferson, both of whom visited Cooper’s set), A Star Is Born has a rich love story at its core, interspersed with live performances. And, as Libatique describes, “the narrative and the performance portions were one and the same. We used a lot of handheld and a camera that had flexibility.” Following initial testing for Gaga with Janusz Kaminski, ASC, Libatique (who has a long history with musical projects, including Straight Outta Compton, ICG August 2015) felt an immediate creative connection with Cooper, even though they had never worked together. “Bradley called me after and said Matty totally got the movie, and

already had a shorthand,” offers Gerber. “It was a great collaboration from the onset.” On the recommendation of Warner Bros. executive producer Ravi Mehta, A-camera/ Steadicam operator Scott Sakamoto, SOC, who also had not worked with Libatique, was brought on board. First AC Matt Stenerson, who got his start in the late ’90’s as a 2nd AC for Libatique, pulled focus for Sakamoto. Second Unit DP Chris Moseley operated B-camera, assisted by 1st AC John Holmes, though Holmes would shift to pulling focus for Libatique when the latter operated handheld during concert scenes. Peter Berglund filled out the operator corps as needed. Libatique used the ALEXA Mini for its small form factor and light weight, both of which provided enough “freedom to shoot handheld and in tight spots, while also offering studio camera quality,” Stenerson says. Digital Imaging Technician Michael Kowalczyk says a tight prep schedule did not allow time to create LUT’s, so the Mini’s inherent low contrast curve (LCC) was used as a base, with slight adjustments. “Matty would come in the tent and try some things, just to get a sense of what he’d like,” Kowalczyk relays. The DIT would save TIFF images for Libatique, who would do his own grading in Adobe Photoshop Lightroom each night after shooting to give to the dailies colorist. Kowalczyk describes Libatique as a master of light. “You walk out of the tent, see the sources, and it’s all consistent,” the DIT marvels. Company 3 Co-Founder and Digital Finishing Artist Stefan Sonnenfeld agrees. “Matty and Bradley’s basic premise was to keep a sense of realism, which was so important to this film. But it also had to be quite beautiful, without being overt,” especially

“THE COOKE 65MM WAS MY FAVORITE LENS IN THE SET, BECAUSE IT HAS A MINIMUM FOCUS TO A SPHERICAL LENS.”

Matty Libatique, ASC

in concert imagery. “You don’t come out of this movie saying, ‘God, that didn’t look like a real concert.’ Everything is true to form.” For lenses, Libatique turned to CamTec Motion Picture Cameras president Kavon Elhami, who provided sets of vintage Cooke as well as older Kowa anamorphics. Elhami worked with Cooke to develop a custom modified coating to help enhance flaring, and for even more pronounced flares during concert sequences, CamTec provided a set of older Kowa anamorphics. “They don’t have a lot of coating on them,” Sakamoto explains. “And they had huge flares when a light hit them.” The Cooke set also included a 65mm lens, which became Libatique’s workhorse for his onstage handheld work capturing performances of Cooper or Gaga. “That was my favorite lens in the set,” the DP shares, “because it has a minimum focus that’s more akin to a spherical lens. Typically, anamorphic lenses have a weak minimum focus – you can’t get too close to your subject. This lens is essentially a macro – I could really get in close to Bradley when he was playing, and get in close to his fingers,” as well as capture the personal facial

THAT’S MORE AKIN

expressions so integral to the musical scenes. Another key piece of gear was Freefly Systems MōVI Pro, a 3-axis gimbaled stabilizer that Libatique used on Straight Outta Compton, and which he has incorporated in different ways ever since – as a remote head or as a handheld device that can move over objects and get through doorways. The MōVI was typically operated in a twoperson fashion, with the rig held/moved by Chris Herr, in conjunction with either Sakamoto or Moseley, who would operate pan and tilt via an Alpha Wheels remote device from 1A Tools. “Imagine a remote head on a dolly, and you have a dolly grip pushing the camera, but the operator is operating on wheels,” Libatique explains. “It’s the same thing, but here, it’s like a handheld/Steadicam hybrid.” Adds Key Grip Tana Dubbe, “It differs from a Steadicam in that the dolly grip, or whoever is carrying it, can look where he’s going, while a Steadicam operator has to be watching the monitor.” [Dubbe adds that the MōVI’s “Majestic mode,” where the grip also operates, was not used on A Star Is Born.] Key to the MōVI’s success was Herr using it in conjunction with Cinema Devices’ AntigravityCam

(see ICG April 2018, Dream Weaver), a rig that allows the operator to easily boom the MōVIgimbaled camera up and down, via a system of arms, supported by bungees and pulleys, all while maintaining a constant iso-elastic tension on the bungee. “It’s like a jib arm or crane—there’s no lifting or pushing,” Herr explains. “You just coax it up or down like a weightless camera in outer space.” Herr, who worked all but three days of the 48-day shoot, says Libatique “uses the MōVI in a lot of ways. But Matty’s one of those people who knows when and where not to use it.” The performance scenes in A Star Is Born were filmed at a variety of locations and music festivals, many of which Production had to squeeze in stage time, or, at the very least, utilize the stage and lighting setup during a publically scheduled show. Gerber, who has attended Coachella Valley Music and Arts Festival for years, arranged with Coachella’s producers, AEG and Goldenvoice, to shoot portions of A Star Is Born there, “and then, two months before shooting,” he relates, “Beyoncé dropped out [of Coachella], so they asked if they could have [Gaga] take her place.” Production shot between Coachella’s two main weekends, filming the concert after Jack and Ally first perform together, as well as show segments for a road montage sequence. The

process was similar to concert scenes shot at The Greek Theatre three weeks later (when Sakamoto joined the production, before wrapping on Black Panther, Steve Campanelli, SOC taking his place for one week during Coachella). The music, written by Cooper and Lukas Nelson, as well as by Gaga and other contributors, was not performed live for the extras present. Cooper and Nelson’s band had pre-recorded the backing tracks at the famous Village Recorders in West L.A., where studio sequences featured in the movie were also filmed. The band then played along, unamplified, for the camera. [The exception was Gaga’s solo piano performances, which she insisted on recording live.] The two stars’ live vocals, though tracked by the production sound mixer, also didn’t go out through the P.A., though they could be heard by the crew, along with the music, in their Clear-Com HME wireless intercom system. This was used to protect the film’s unreleased tunes from going viral before release. The extras, when needed, were usually made up of Lady Gaga’s “Little Monsters” fan base and invited to participate. “[Gaga] would explain that ‘the songs we’re doing right now, that I need you to cheer for, I can’t really play them,’ and they would cheer as if they could hear them,” relates Stenerson. “But we would take a break or reset, and she would play them her own songs. That’s not something you see all the time.” Concert footage comprised four cameras: Libatique on handheld (with his favorite 65mm Cooke lens) capturing close-ups of Cooper; Sakamoto also doing close-up work (either handheld or Steadicam), and Moseley and Berglund on long lenses on the sides on stationary dollies. Herr would also have the MōVI onstage, either with Sakamoto operating the wheels, or Moseley operating the MōVI if Sakamoto was on Technocrane with crane grip Bogdan Iofciulescu. In the latter case, the crane base would often be placed toward the rear of the performers, with the arm swinging out to cover musicians. Cooper’s general approach to concert footage was unique as he

photos by Neal Preston

“YOU DON’T COME OUT OF THIS MOVIE SAYING,

‘GOD, THAT DIDN’T LOOK LIKE A REAL CONCERT.’ EVERYTHING IS TRUE TO FORM.” DIT Michael Kowalczyk

assembled a reel of dozens of music films to guide himself and Libatique away from cliché trappings. “Bradley’s instinct, which I agreed with, was to just keep everything onstage – to not have the objective crowd POV,” Libatique recounts. “There are no proscenium shots in the film.” Adds Sakamoto: “He and Matty wanted the camera to feel free and be with [the actors] all the time. It was a story about them, not necessarily their performance.” Sakamoto says that same freedom extended to the coverage, as he and Libatique would “attack the stage at the same time, trying to avoid each other.” Adds Dubbe: “You can plan all you want, but once the music starts and they get into it, all bets are off. And that’s the way to do it – get your infantry in place, and just be open to inspiration. When he’s [operating handheld], Matty’s like a Tasmanian devil. It’s intense.” Despite the seeming chaos, Libatique was able to orchestrate the coverage via his HME intercom, noting that he “knew what lens I had on every camera, so I knew what they could each capture and how to guide them.” A similar arrangement was in place with Libatique’s gaffer, Jeff Ferrero, and dimmer board operator Eric “TK” Androvich. As Ferrero relates: “Matty had all the songs broken down into color palettes,” with various portions of the stage divided up to allow him to call out cues to Androvich to switch on or off, or add a color to fit a mood Libatique sensed in the performance. “Rather than being concerned about effects,” Ferrero adds, "Matty wanted to give the audience a certain feeling via the use of color.” When possible, Androvich was given the music ahead of time to develop lighting cues, which Libatique would tweak. Then, in final color timing, Sonnenfeld would provide enhancements. “When you polish things too much, they become contrived,” the longtime digital colorist states. “It was important to be meticulous, but not to a point where you’re taking away some of the realism Bradley and Matty put into it.” The team also made use of the CamTec exclusive ColorCon, and Color-Con Mini, wireless devices developed by CamTec that were operated remotely by Androvich. The Color-Con, placed in the matte box, is ringed with RGB LED’s, which, when interacting with different diffusion type filters, produces a “flashing” of the image in the camera, in essence softening the image based on the color of the light in the scene. Color Con units were placed on multiple cameras allowing Libatique to call out adjustments to Androvich, who would immediately implement them on each camera. Innovations were also found in scenes away from the stage, like in Jack’s woodsy home, where Cooper’s character ultimately succumbs to his depression. The shot, which shows Jack emerging from his truck to enter his garage, starts inches from the pavement. As his boot steps out from his truck, we follow him into the garage, the camera rising up to drift over his waist, as he places his hat down, and then pulls back as he shuts the door. “That scene could only have been shot with the MōVI, using the AntigravityCam,” Herr explains. “The way the arms articulate as you move lets us get into the garage, float around, and boom up and out. It can fit into places you wouldn’t think it could.” The MōVI was also part of a skillfully executed shot revealing the aftermath of Jack’s death. The camera starts on

“YOU CAN PLAN ALL YOU WANT, ONCE THE MUSIC STARTS

BUT

AND THEY GET INTO IT, ALL BETS ARE OFF.

AND THAT’S THE WAY TO DO IT – GET YOUR INFANTRY IN PLACE, AND JUST BE OPEN TO INSPIRATION.” Key Grip Tana Dubbe

a wide of the house, with police lights flashing, and passes quickly across the yard, making its way into the house, to a close-up of a neon sign of a French phrase uttered upon his and Ally’s meeting. “That house had become part of their lives, where they started together,” Libatique explains. “So the question was how do you visually show that Jack had been found and that there was an aftermath?” With a crane out of the question, and the landscape too steep for a Steadicam, Dubbe and her grip team used a CableCam system, tying a cable high in the front of the property, with its other end at a tree close to the house. The MōVI was attached to a carriage and latch, with a wireless release system devised by Best Boy James Coffin, to unlatch it at its far end. At that point, Dolly Grip John Mang, who hid out of sight of the lens, could pick up the MōVI rig and continue the shot, as a handoff, walking it into the house – all with the camera under Sakamoto’s control (via the wheels). “That was Bradley’s vision,” Sakamoto shares. “He wanted the image to keep growing, come into the house, into this great neon sign that is iconic to them and iconic to her.” “We wanted to refer back to the start of their relationship,” Libatique concludes. “The police light meant the end of it. And getting us up to that neon sign, with those words, at the very end, brought us back to where it all began.”

LOCAL 600 CREW MAIN UNIT Director of Photography Matthew J. Libatique, ASC A-Camera Operators/Steadicam Scott Sakamoto, SOC Stephen S. Campanelli, SOC A-Camera 1st AC Matthew T. Stenerson A-Camera 2nd AC Joey O’Donnell B-Camera Operator Chris Moseley B-Camera 1st AC John Holmes B-Camera 2nd AC Jeff Stewart MōVI Operator Chris Herr DIT Mike Kowalczyk

Loader Johanna Cerati Still Photographers Clay Enos Neal Preston Unit Publicist Heidi Falconer 2nd UNIT Director of Photography Chris Moseley A-Camera 1st AC Chris Toll A-Camera 2nd AC Sal Alvarez DIT Nina Chadha Loader Jorge Cortez

SHOOT THE

LA WINNER WITH

MOON

LAND’S DA MIEN

LINUS THE

SANDGREN,

FS F ,

LUNAR

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TAK E

“ONE

AN D

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O D Y S SE Y FIRST

BY KEVIN H. M ARTIN PHOTOS BY DANIEL M CFADDEN / FRA M E GRABS COURTESY OF UNIVERSAL PICTURES

O S CAR STE P ”

M AN

T The massive U.S. effort to land a man on the moon was a technological and logistical accomplishment to rival any other, especially given it was accomplished in a relatively small timeframe. Director Damien Chazelle found the true-life story of the first man on the moon, Neil Armstrong [Ryan Gosling], and his wife [Claire Foy], set against the tumultuous decade of the 1960â&#x20AC;&#x2122;s, a project he simply had to tackle.Â 58

The filmmaker discussed the project – an adaptation of the biography by Jim Hanson – with his director of photography, Linus Sandgren, FSF, as far back as the shooting of the Oscar-winning La La Land (ICG December 2016). Sandgren says, visually, Chazelle wanted to go in the opposite direction of La La Land. “To create the necessary sense of immersion, he felt a cinéma vérité approach would be advisable,” Sandgren explains. “Handheld Super 16 with zooms emerged as our starting point in our discussions. “The story has a grand dramatic span,” he continues. “We portray the danger of the quest through the claustrophobic action inside the spacecraft, while at the same time explore the mysterious inner cosmos of [the astronauts’ mindsets]. It is a gritty world, as NASA is experimenting with human life, and at what cost? The intimate and epic are interlaced.” Based on such narrative criteria, the filmmakers chose to shoot in Super 16mm, 2-perf Techniscope 35mm, and IMAX 70mm. “Inside the space crafts, and being in so close, we found that Super 16mm 500T stock felt both more intimate and more real than 35mm” Sandgren adds. “Outside the crafts, we used 2-perf 35mm to capture a finer detail, shot on 500T stock that we push-processed plus one stop. When we get to the moon surface, which is so surreal, we wanted a dramatic difference, and switched to IMAX [MSM 9802 65mm] outside the ship.” Sandgren selected Fujinon zooms for Super 16 and 35mm shooting with Aaton Penelope for 35mm and Xtera for Super 16, which facilitated the heavy use of handheld. When they couldn’t use the go-to Fujinon zooms, which found frames quickly, they had Camtec Vintage Ultra

Primes and spherical Kowa Cine Prominars, both in 35 and 16mm. Variations in processing were also used to create story point–specific emphasis. “We wanted the world of NASA to be raw and dramatic, yet sharp enough to feel the scale of that world, so we shot that in 2-perf,” Sandgren continues, “using push processing to give us grain and contrast. For the lives of the astronauts at home with their families, we went softer, pull processing 2-perf for a gentler contrast and less grain.” Armstrong’s personal life also informed the way Sandgren chose to light the film. “Memories that haunt him throughout his journey,” he relates, “the increasing amount of deadly victims, and the foreboding of the trip to the land of death inspired us to use a lot of black negative space in the compositions.” Examples include an earth interior that might have daylight shining in from outside, but it doesn’t fill the room, leaving large pools of black darkness. Sandgren says the film “had to feel period accurate and authentic, while observed with some sort of neonoir mindset.” The director and DP, along with Production Designer Nathan Crowley, wanted to avoid the typical green screen approach to space films by using as much in-camera capture as possible. This right-tool-for-the-right-job approach involved shooting gimbal-mounted full-scale spacecraft mockups against black, plus building physical miniatures of the vessels and the Saturn V moon rocket. It also meant getting VFX (the Oscarwinning DNeg firm and VFX supervisor Paul Lambert) involved early to deliver backgrounds

in time for the main unit shoot. Before that, a huge curved LED screen from Fuse Technical was needed to play back this imagery across a cylindrical half-circle, 60-foot-diameter and 35-foot-tall VER-provided processing and screen control hardware. Fred Waldman headed up the Visual Integration department, charged with workflow management for issues pertaining to the LED screen. “Producer Adam Merims approached me well before shooting,” explains Waldman, whose efforts in prep were furthered by systems engineers Mitch Lathrop and Jared LeClaire. “The wall was fed by six 4K outputs with over 40 million pixels, so synching those up so things didn’t tear wasn’t an easy process. We couldn’t find an off-the-shelf media server that got the color right, so we wound up creating our own. Our server room was 98 decibels. The machine was so loud, you needed earplugs.” Waldman marveled at the finessing of color values achieved by the VFX vendor. “What DNeg put into the color was amazing. Despite the limitations of 8-bit color space, they still achieved a rich look. Paul Lambert was able to evaluate the values produced by LED, then compensated for those to get the proper colors onto the film stock.” DNeg’s renders were built into a spherical array by Waldman’s team. “It was like you were on the inside of a dome seeing the environment in 360 degrees all around you,” Waldman adds. “The content could be rotated, so if we were looking due north out of Cape Canaveral and Damien asked to see the view in the other direction, or up into the sky, we could spin it.” For Sandgren, the LED screen proved ideal for shooting scenes aboard the Gemini and Apollo ships, as well as Armstrong’s X-15 rocket plane. “The images were so bright that the screen had a stop of F8 and a half at 250 ASA – only four

under the exposure of sunlight!” he exclaims. “By keeping the screen 30 feet away, we had a realistic falloff in focus from the interior with actor to the background. With the X-15 flight, we captured details you couldn’t have gotten with the best post VFX, such as Earth being reflected across Ryan’s eye.” Aerial DP Dylan Goss says early conversations made clear Sandgren’s “intent to shoot with grit that fit the era. And those conversations quickly became about solutions that were less conventional than I usually see,” Goss shares. “Gear has evolved to where we have very sophisticated mounts at our disposal, [but] a good deal of the aerial photography – the exception being the effectsheavy X-15 landing that used the [RED-based] Team5 Hydra camera array – used period mounts and were shot on 35mm gear.” “One fun part was sourcing an original un-stabilized Tyler side mount to embrace the film’s dynamic,” Goss continues. “The factory units are effectively retired, so we had to enlist veteran Tech Rob Rubin with the promise that Rob would get the unit up to spec and rentalready. The Tyler Mount work was with an ARRI 235, and the stabilized plate unit used a modified ARRI 535 that, due to its long profile from rear-mounted 1000-foot mags and some engineering help, is uniquely shaped to fit into the Shotover – a modified Team5 film unit. It was a blast to enlist those legacy tools for what Linus envisioned.”

(L to R) B-Camera Operator Davon Slininger, DP Linus Sandgren, and B-Camera 1st AC Andy Hoehn

DNeg contributed VFX for the X-15, and that work, together with space scenes, added up to about ninety minutes of imagery for playback on the LED screen. “That included all views of Earth from space and the lunar approach,” Lambert relates. “It was scary to commit to having so much material ready at the head of the schedule, but it was necessary for on-set playback.” As for the lunar terrain, Lambert benefitted from the voluminous Apollo reference imagery, which included elevations for the actual Tranquility Base landing site. “What took us time was figuring out just how the moon reflects light,” he adds. “There are certain perspectives where it looks chalky, so we altered the lighting setups, depending on the angle. For the landing approach, we rendered one continuous piece – and that took all our processing power. But that didn’t limit us visually as it once would have, since the flexibility to spin and reposition this spherical imagery gave us versatility with image repositioning when shooting.” While Sandgren and his director worked up shot lists, they opted to leave things somewhat open to allow for improvisation. Two cameras were the norm, with Sandgren on A-camera and Davon Slininger operating B-camera. Slininger says the B-camera was never used for traditional coverage or to get the reverse of what A-camera was shooting. “Linus would tell me where he was going to start and where he might end,” Slininger reflects. “I’d look for another shot and follow the action without either ending up in his shot or running into him. Sometimes Linus and I would ask each other where we thought

“GEAR HAS EVOLVED TO WHERE WE HAVE VERY SOPHISTICATED MOUNTS AT OUR DISPOSAL, BUT A GOOD DEAL OF THE AERIAL PHOTOGRAPHY USED PERIOD MOUNTS AND WERE SHOT ON 35MM GEAR.” Aerial DP Dylan Goss

an actual 1960’s documentary cameraman might have been [if he had been] there to capture it all.” Slininger says he strove to balance the need for nailing specific story points while maintaining the on-the-fly documentary feel. “If you actually filmed the Armstrong family having dinner, you’d want to be considerate and give them some space,” he adds. “On the other hand, no one really knew if Neil Armstrong would ever make it back to Earth, [so] you wanted to be up close to them for that emotion. This meant being incredibly tuned in to every nuance as if it were all unfolding live in front of us.” Crowley’s team was challenged to reproduce the 1960’s era spacecraft interiors and exteriors. While able to rent or buy some existing full-scale mockups, they wound up having to rebuild them extensively and construct the majority from scratch. “A major issue for our vessel interiors was figuring out all the camera angles in advance because we’d have to disassemble these things to get the camera in, and each segment had its own dedicated electronics,” he shares. Lighting for the cramped interiors was also challenging for gaffer Stephen Crowley, who worked on illuminating the gimbal-mounted mockups. “Linus knew his tools and came in with a vision,” the gaffer recounts. “He and Damien spent a lot of time figuring out sun position and craft movement, especially on Gemini, which involved timing out the approach of the Agena. That helped answer questions before they became real problems.” Stephen Crowley praises the accomplishments of the fixtures team, which accounted for the illumination of every console and button. “They created a separate control panel we could move in after removing a section of capsule mockup to accommodate for camera,” he reveals. “Every instrument matched. The replacement console was laminated Plexiglass; this allowed us to remove part of the laminate and place single LED elements in key places. We also used 12-volt incandescent bulbs behind certain controls to backlight the laminate. It provided an acceptable reflection in the helmet glass. We had RGB bi-color interior work

lights on either side of the console and between the astronauts’ seats. We could go to red lighting or add some green out of camera, recreating the look of 60sera bulbs.” To portray a scene in which a thruster malfunction imperils the Gemini capsule after docking is complete, the ship’s out-of-control rolls were achieved in part with a pair of gimbals, augmented by the ever-handy LED screen. “I’ve done a lot of blue screen,” Stephen Crowley reports, “and it creates a level of stylization, whereas doing all this live was like shooting a real event – so much so it gave you motion sickness!” This is how Sandgren describes the lighting rig for the sun on the LED stage: “Our key grip, Tony Cady, worked hard for many weeks to figure out how to realize an idea I had about a single-source sunlight that could rotate around the nodal point of the set, at an even distance and in any given direction. Tony designed an overhead circular truss, resembling a 360 motion-controlled rotisserie, from which an elevator was traveling around and across. At the bottom was the remote head, which had a 5K Par with a blue glass filter, calibrated to the same color temperatures as the LED screen. “The gimbal and camera would be shaking,” he adds, “but since the image and sunlight were rotated, that magnified the limited gimbal action. There were also views [captured by the Craft Splinter Unit] with the camera mounted to the outside of the full-scale mockup, which used a fixed 20K. In NASA footage, the exterior views all use hard-mounted cameras, so we duplicated that approach with our exterior mockup shots.” Waldman says that special effects supervisor J.D. Schwalm and associate Steve Rosenberg “were able to take our digital system for the LED screen and get it to communicate with their analog gimbal system. They had an R/C waldo that fit in their hand, a scaled-down duplicate of the full rig, and tied that operation to our video system.” The gimbals were multi-axis units. “Each gave

“IT WAS TRULY DIFFICULT TO REPRODUCE THE GEMINI CAPSULE MOTIONS. I T STILL AMAZES ME THAT ARMSTRONG WAS ABLE PULL OUT OF THAT SITUATION GIVEN HOW DISORIENTING IT MUST HAVE BEEN.” Production Designer Nathan Crowley

you X/Y/Z motion, pitch, and yaw with only 45 degrees of motion,” adds Nathan Crowley. “SFX would need to add a roll unit to the gimbal to achieve spin. It was truly difficult to reproduce the Gemini capsule motions. It still amazes me that Armstrong was able to pull out of that situation given how disorienting it must have been.” Spacecraft and rocket miniatures were also used, alongside full-size exterior craft builds for fixed camera mounts, but, as Nathan Crowley laments, “all the great miniature building companies are gone. So we 3D-printed most of the models. The art department had sixteen 3D printers for traditional work and two enormous Big Rep machines from Germany that had built platforms measuring 3.5 by 3.5 feet. That let us print large-scale models of the lunar lander and Command module in two passes, as well as the Saturn 5 and Titan rockets with their launch pad structures. Those machines ended up running around the clock for six months.” While miniatures worked well for achieving shots of spacecraft that were too ambitious with full-scale mockups, that was not an option when it came to the lunar surface. “There’s always one challenge on every film that is a monster, like on Interstellar, when it was a matter of how do you build the ‘Tesseract’ practically?” Nathan Crowley describes. “This time, it was the lunar surface. It was quite amazing when we found this giant gray quarry in Georgia, about 400 feet by 500 feet, with sand nearly the same color as that on the moon.” With a viable location, Sandgren’s challenge was creating a sufficiently bright source light to represent the harsh fill-free key effect, made famous from NASA imagery. In HBO’s From the Earth to the Moon, powerful lights were bounced off a suspended mirror, but that was a smaller space inside of a hangar. “With a Beebe light you’d have multiple shadows,” Sandgren relates, “so the only single-source solution was a Lumisys 100K Softsun. At 500 feet away and 150 feet in the air for the correct sun angle, it covered the set, but IMAX cameras like a higher stop, so I thought, what about using two 100Ks? Stacking them worked fine for exposure and okay for shadows since they were tied together, but it wasn’t ideal. Softsun inventor David Pringle was with us on the test in L.A. He explained that

“DAMIEN WANTED IT PORTRAYED AS CLOSELY WE POSSIBLY COULD, THE FRAGILITY OF

AND INTIMATELY AS

BOTH SCARY AND CLAUSTROPHOBIC, EMPHASIZING

THEIR SURROUNDINGS ON THIS BOLD AND DANGEROUS JOURNEY.” Linus Sandgren, FSF

LOCAL 600 CREW Main Unit

Miniature Model Unit

Director of Photography Linus Sandgren, FSF

Director of Photography Tim Angulo

A-Camera 1st AC Jorge Sanchez

1st AC Joseph Provenzano

A-Camera 2nd AC Melissa Fisher

2nd AC Cindy Hsieh

B-Camera Operator Davon Slininger

Motion Control Operator Joshua Cushner

B-Camera 1st AC Andy Hoehn

Loader Jennifer Braddock

B-Camera 2nd AC Paul Woods Loader Will Whittenburg Still Photographer Daniel McFadden Unit Publicist Rachel Roth AERIAL UNIT Director of Photography Dylan Goss Camera Tech Rob Rubin 1st AC Lex Rawlins

Insert Splinter Unit & Craft Splinter Unit Director of Photography Mattias Rud 1st AC Michael Dzialowski 2nd AC Cait Rodiek Loader Daniel Irons

his bulbs are hand-blown in a factory, which made me ask, half-jokingly, ‘Could you build us a 200K?’ And he said he’d think about it.” In fact, Pringle’s team did build a pair of 200Ks in less than two months – an engineering miracle that seems appropriate given it was in service of dramatizing the miraculous Apollo missions. The flicker-free daylight-balanced source could be dimmed without color temperature variation, and the 100-degree beam provided a T5.6 stop on IMAX. At nearly fifteen feet in length, the 200,000-watt light, amazingly, did not present an unreasonable rigging solution. “We used it for nearly everything except close-up shots,” Sandgren states, adding that for close-ups like the famous first footprints on the lunar surface, parallel beam projectors were employed. Here, Sandgren departed from the established handheld look. “We found cutting from inside the cramped craft to the moon outside was something similar to when you go scuba diving for the first time,” he shares. “So everything on the moon used very smooth camera movement, all done from cranes.” For the Lunar Module’s ascent from the surface, Sandgren shot a crane plate on the ALEXA 65, emulating the lift-off trajectory. “We cover Neil Armstrong’s life over nine years,” Sandgren concludes. “For Damien, this was not just about [Armstrong], but about experiencing the true nature of early manned space travel. He wanted it portrayed as closely and intimately as we possibly could, both scary and claustrophobic, emphasizing the fragility of their surroundings on this bold and dangerous journey.”

L.A. STAR Z â&#x20AC;&#x2122; S FE M ALE

NE W

LATIN

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W When STARZ approached writer/producer Tanya Saracho (How To Get Away With Murder, Looking) about developing the new series, Vida, they told her it would be about gentrification, Chipsters (Chicano hipsters) and Millennial women in East L.A. The idea intrigued Saracho, who was born in Mexico and gained fame as a playwright in Chicago. “I wanted to humanize us – Latinx,” she describes. “To portray us as true to life: flawed, fierce, flailing, fighting, female. I want a normalized, realistic notion of Latinx queerness, fully-fledged and true to life – as I know it. And I want Latinas front and center, for once.”

Once STARZ and Saracho fleshed out the story of two sisters (Melissa Barrera and Mishel Prada) coming home for their mother’s funeral, and discovering that she’d recently married a woman, as well as confronting the changes in their neighborhood, the search was on for a production team. Saracho consciously sought out women who could support this vision. The show’s casting director, composer, head of post, art director, costume designer, and AD’s are all women. The writers and directors are mostly Latina and mostly women. Saracho also wanted a female DP. “The way it looked, the textures, the way it was shot, all had to serve [our] aesthetic,” she explains. “We are a colonized people, and that story is written all over our skin tones – in different shades. It was important to not wash us out or saturate us but to get as near to life as possible.” Her choice was

Venezuelan Carmen Cabana. A key aspect to the story was the portrait of the Boyle Heights neighborhood and the Mexican culture in Los Angeles. Cabana and production designer Ruth Ammon spent time walking the area, learning about the natural aesthetic – the quality of the light on the buildings, the murals, colors, and textures. “[The area is like] an explosion of shapes and color, but at the same time, the colors are faded from the intense L.A. sun, from dust and the passage of time,” Cabana observes. “There is also a melancholy [feel] because, within the same wall, you can see layers of old murals or old paint under new art, and very soon all that will be completely gone and replaced by Starbucks and who knows what else.” Cabana became interested in the street lighting at night because, like the rest of the city, the East L.A. neighborhoods are transitioning

â&#x20AC;&#x153;TANYA [SARACHO] IS LATINA AND UNDERSTANDS ALL

THE SKIN TONALITIES... SO WE PAID CLOSE ATTENTION TO THE TONE

TO EMPHASIZE THEM AS A STATEMENT OF OUR DIVERSITY." DP Carmen Cabana

from warm sodium vapor to white LED’s. “You have that combination of sources within the same block,” she explains. “Also, there are neon lights that decorate businesses, as well as the bare light bulbs that illuminate the street vendors.” The other preproduction conversation was skin tones. “Tanya is Latina and understands all the skin tonalities,” Cabana continues, “so we paid close attention to the tones to emphasize them as a statement of our diversity. During the camera test we tried several filters – cosmetic rouge, cosmetic burgundy, rose, salmon and sometimes 1/8 CTO. We assigned gels to the different characters and, of course, when we had them all in a room, we had to settle for just one choice.” Cabana and her 1st AC, Michael Chomieniec, did extensive camera testing to find the right balance to support these unique visuals. “We ended up with two ALEXA Minis, with primarily Cooke S5 lenses as well as different specialty lenses like a 100 macro, zooms, and a Super Baltar 25mm for shots that called for flares,” Chomieniec recalls. “We decided on handheld for an organic, down-to-earth feel, which, shooting mostly wide open, was quite a challenge in a number of sequences,” he adds. It’s something that focus puller Kira Murdock thoroughly enjoyed. “There was a hefty amount of close, minimum focus, or with diopters wide open on Cooke S5s and macro lenses,” Murdock relates. “Very shallow depth of field and very intimate with the actors in their most emotionally charged scenes. I was impressed with how they were able to let the camera go so deeply into their personal space.”

While handheld mostly dominated the aesthetic, Cabana also decided on integrating tools like Steadicams, raptors, Technocranes, drones and more. “But we would use them in a way in which they wouldn’t call too much attention to themselves,” she explains. Integrating these tools early on also opened a path for the new directors’ ideas. For instance, Rose Troche, director of Episode 4, wanted a full 360 with the characters appearing in different places. “I thought that was such a great way to tell a story that normally would just be captured as a montage, but she came up with a single shot idea, and it was a lot of fun,” Cabana explains. “The camera had to spin very slowly in one direction, and the characters had to run past it in the opposite direction and find their places before the camera would get to them.” To achieve this in a low ceilinged bar location, for example, lighting had to be invisible. Cabana asked Key Grip Oscar Garcia to make some drawing cutouts that they could put on the face of the SkyPanels on the stage so that, when the characters saw them, they would just look like cool artistic lights in the bar, not a piece of film equipment. “I also bought several water projectors from Amazon that I had been using in my bedroom for my own amusement, and noticed that they cast these great flares,” Cabana continues. “They’re lightweight and cheap, and you can control the colors with a remote. That’s the backlight that you see at the end of that 360 sequence when the two girls come together.” Episode 3, directed by Rashaad Ernesto Green, also had

Vida showrunner Tanya Saracho (right) on location in East LA with lead actresses Mishel Prada (left) and Melissa Barrera (center)

some stunning visual moments. One, in particular, is when Eddy (Ser Anzoategui) is chatting and smoking with her neighbor on the rooftop, and Emma (Prada) overhears the conversation. “The crew lit the rooftop with two color sources,” Cabana describes. “One recreating the blue moonlight mixed with sodium accents behind the characters and near the right corner of the frame, which is where the stitch was going to happen. The camera work consisted of a slow Steadicam by Dave Frederick [SOC], a push-in on a two-shot behind them. That would become a single of Eddy, and then she would exhale a large puff of smoke and we would tilt up with it and pan to the right as if the smoke also traveled right.” This became the transition point for a 50-foot Technocrane shot of the smoke coming down, and with it the camera, then a zoom out to reveal Emma smoking at the fire-escape stairs. “We wrapped around her face to show her expression, and the shot would progressively widen as we zoomed out and retracted all the way to the bottom of the building,” Cabana adds. “The end frame is a beautiful wide, low angle of the building and the city lights.” Lighting the sequence was challenging. Sodium vapors were rigged on the top of the building, which also provided flaring. Down on the street were larger Tungsten sources going through layers of diffusion and shaped to have enough shadow areas to give the walls volume. “The most complex part was how to light the actress’s face in a favorable way and without casting shadows from the crane,” Cabana states. “We settled for rigging a small LED light above the lens so when the camera looked at her directly, she would have a good eye light, but when the camera wasn’t on her, the intensity of this light would be so subtle that it would not affect the textures of the building.” Yet another unique sequence opens Episode 6 (also directed by Troche). One of the sisters, Lyn (Barrera), is getting a “limpia” (spiritual cleanse). The concept was to create a black vault with different spotlights and have the bathtub and candle in the middle. Cabana cross-keyed with Lekos and PAR cans

Director of Photography Carmen Cabana (L)

rigged above, so they could dolly around. “The problem was that the space wasn’t large enough, because half of it we had to use for a green screen sequence, and we had a very packed day with complex setups,” the DP recalls. “Since the limpia was very specific and required rehearsals, we didn’t have enough time to make the bathtub and other elements blend with the dance floor and so forth on a circular dolly, so we adjusted the camera language and broke-up the scene in beats that still had beautiful camera movements and told the story. I love how Steve Porter at MTI colored that sequence; he brought this beautiful glow to the skin and gave it a gorgeous surreal aspect.” Viewer be warned: there is a lot of sexual content in Vida. And while it may be a natural fit for the story, it was definitely a challenge for camera. “With sexual-content scenes, there is a balance achieving the technical aspect of it while also making everyone, including the cast and crew, feel comfortable,” Cabana describes. “Humor and respect go a long way.” In fact, Episode 2 features a graphic sequence that needed strict camera/actor coordination. Director So Yong Kim wanted a shot that traveled from a bird’s eye view of a man’s face (Jackson, played by Anthony De La Torre), down his chest to end behind Lynn’s head. “The tricky part was to perform this camera movement in such a way that you would hide the sock that the actor had to wear around his privates, and even more challenging was to have the remote head move through his legs!” Cabana explains, “and make it all look natural.” The rest of the sexual-content scenes in this series are a little looser. Most are handheld and fluid with the actors. The camera doesn’t watch rehearsals because these sequences need to feel organic. If they are messy, the camera can be messy. Or as Cabana puts it: “The camera becomes an extension of what is happening between the actors, and it needs to be as free as possible.” Department coordination on Vida is, by necessity, very close. Once the elements are captured on set, the DIT hands the dailies over to MTI using JPG’s and LUT’s of pre-established looks to apply grades for review purposes on set. “Production sends raw camera original data, where it is loaded onto a SAN and processed via MTI Film’s

Cortex software,” describes Porter. MTI’s Mauricio Tassara applies a dailies color pass. These DNX 36 dailies go to editorial, and they retain the camera original files for post. “Once the show is cut and locked, editorial provides MTI with EDL’s,” Porter adds. “MTI loads these into an Avid Flame system and assembles the show using camera original. The conformed show then comes to me in a one-to-one compressed MXF format for final grading. Carmen and I work very closely on the final look.” Cabana, who praises the teamwork on Vida, calling the show “everyone’s baby,” says the series also makes a strong statement to the larger industry – a group of women as department heads can collaborate and create a successful show. “It’s not about undermining the talents of men,” she adds. “It’s about proving to anyone who ever had doubts about the talent and capacity of women, that we can do it all and we can do it extremely well.” In fact, many interviewed for this article expressed pride in a show that represents Latinas in a different light. All agreed stereotypes were broken through complex, true-to-life characters; boldness goes hand-in-hand with the upfront LGBT theme. And the ground-breaking should continue for Vida’s second season, for which Saracho promises more intricate and realistic stories, as well as unique visuals. “Vida has had a great response, and now that STARZ renewed us, we have almost double the episodes,” Cabana concludes. “For that very reason, we are introducing another eye to the show by bringing in cinematographer Ava Berkofsky, whom I met during an interview for Insecure and fell in love with her personality. Ava and I did a rear projection test together and got along so well, we make a great team. I respect Ava’s work and I want her to find a very welcoming home on Vida. I can’t wait for all the beautiful things we will create in Season 2. Now that we are starting to get the screenplays, we are going to turn our office into a gallery.”

LOCAL 600 CREW SEASON 1 Director of Photography Carmen Cabana A-Camera Operator Conner Vandeer A-Camera 1st AC Michael Chomieniec A-Camera 2nd AC Miguel Torres B-Camera Operator/Steadicam David J. Frederick, SOC B-Camera 1st AC Kira Murdock B-Camera 2nd AC Katie DeTemple Bianca Garcia C-Camera Operator Jeffrey Carolan, SOC C-Camera 1st AC Chris Collins DIT Julio Saldarriaga Utility Matthew Borek Still Photographer Erica Parise

Photos by Beth Dubber

PRODUCTION CREDITS

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JUNGLELAND PRODUCTIONS, INC. “JUNGLELAND” Operator: Terrence Hayes Assistants: Jason Wittenberg, Dan Marino Digital Imaging Tech: Leonard Anthony Mazzone Still Photographer: Claire Folger Publicist: Scott Levine “MANIFEST” SEASON 1 Directors of Photography: Timothy Norman, Brad Smith Operator: Jeff Muhlstock Assistants: Robert Mancuso, Adriana Brunetto-Lipman, Michael DeRario, Amber Rosales Loaders: Matthew Richards, Cory Maffucci Still Photographers: Giovanni Rufino, Christopher Saunders, Phillip Caruso KAPITAL ENTERTAINMENT “TELL ME A STORY” SEASON 1 Director of Photography: Doug Emmett Operators: Afton Grant, Gabor Kover Assistants: Johnny Sousa, Elizabeth Singer, Robert Wrase, Katie Waalkes Loaders: Tyler Swanek, Kansas Ballesteros Still Photographers: Patrick Harbron, Linda Kallerus LADY PRISON PRODUCTIONS, INC. “ORANGE IS THE NEW BLACK” SEASON 7 Director of Photography: Ludovic Littee Operators: Scott Tinsley, Rebecca Arndt

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Assistants: Beka Venezia, James Daly, Justin Mancuso, Maxwell Sloan Digital Imaging Tech: Andrew Nelson Loader: Joshua Waterman Still Photographer: JoJo Whilden LATE SEVENTIES “MINDHUNTER” SEASON 2 Director of Photography: Eric Messerschmidt Operators: Brian Osmond, William Dearborn Assistants: Alex Scott, David Edsall, Gary Bevans Loader: Liam Doyle Still Photographer: Merrick Morton LONG TERM 2, LLC “THE CONTENDER” SEASON 5 Director of Photography: Jason Hafer Operators: John Lovell, Alex Wentworth, Dan Kavanaugh, Tayler Knight, Gene Bradford, Chris Lobreglio, MacGregor Barron, Andrew Kwon, Michael Dean, Alex Garcia, Dana Pustetta, Brandon Haberman, Art Peña, Dax Rhorer, Sherri Kauk, Mo Frahm, Vince Acosta, Sharra Romany, Andrei Cranach, Bret Smith, Andy Waruszewski, Mitch Kim, Rob Cammidge Assistants: Joe Prudente, Ian Mosley, Danaya Wattanapan, Mike Warfel, Armando Muñoz, Cameron Kahangi, Chad Nagel, Dave Hawes, Orlin Ivanov, Corey Bringas, Rickie Gustilo, Matt Hackbarth, Will Im, Keith Wilson, Josh Collinsworth, Bernie Smith, Tony Perez

CREW PHOTO: CASUAL

(L to R) Front Row: Brian Outland (A Camera Operator), Jason Oldak (DP), Demian Scott Vaughs (B Camera Operator). Back Row: John Ruiz (A Camera 1st AC), Nathan Saks (Camera Utility), Mariela Ferrer (B Camera 2nd AC), Teddy Phu Thanh Dahn (Data Wrangler), Evan Wilhelm (B Camera 1st AC), Brian Freeman (A Camera 2nd AC). Photo by Greg Lewis

CREW PHOTO: CREED 2

(L to R) Row 1: “B” 2nd - AC Jim McCann; DP - Kramer Morgenthau, ASC; DIT - Ryan Kunkleman. Row 2: “A” 2nd AC - Eve Strickman; “A” 1st AC - Aurelia Winborn. Row 3: “E” 1st AC - Tim Kane; “E” Op - Chong Pak; “B” 1st AC - Michael Leonard; Loader Sean Galczyk; “E 2nd AC - Eric Lichtenstein; “D” 2nd AC - Leon Sanginiti; “D” Op - Kerwin DeVonish; “A”/Steadicam Op - Michael Heathcote; “D” 1st AC - Tom Greco. Row 4: “B” Op - Kyle Rudolph Photo by Barry Wetcher

MAIN GATE PRODUCTIONS, LLC “GOD FRIENDED ME” SEASON 1 Director of Photography: Stefan Czapsky, ASC Operators: Thomas Schnaidt, Daniel Hersey Assistants: Blackford Shelton, Marcos Rodriguez-Quijano, Behnood Dadfar, Alfonso Diaz Digital Imaging Tech: Chandler Tucker Loader: Miguel Gonzalez, Angel Vasquez Still Photographers: David Giesbrecht, Sarah Shatz “GOTHAM” SEASON 5 Director of Photography: David Stockton Operators: Gerard Sava, Alan Pierce Assistants: Braden Belmonte, George Tur, Tony Coan, James Schlittenhart Steadicam Operator: Bill Brummond Digital Imaging Tech: Robert Strait Loader: Austin Restrepo MARVEL “RUNAWAYS” SEASON 2 Director of Photography: Dave Perkal, ASC Operators: Lawrence “Doc” Karman, Joel Perkal Assistants: Ken Bender, Robyn Buchanan, James Barela, Luis Gomez Loader: Baird Steptoe, Jr.

Danny Whiteneck, Brenda Zuniga, SOC Techno Jib Operator: Michael Ryan Fletchal Jib Operator: Brian Gaetke Techno Jib Puller: Chris Dickon, Jason Kay Lead Assistant: Dominic DeFrank Assistants: Patrick Bellante, Shelby Cipolla, Andres Cuevas, Gerry Lano, Jesse Martinez Steadicam Operators: Brian Freesh, SOC Austin Rock Digital Imaging Tech: Lorie Moulton, Trevor Cohen Utilities: Timothy Farmer, Sherwin Maglanoc Steadicam Assistant: Rick Smith BTS Operator: Andrew Kwon BTS Assitant: James Martinez Video Controller: Alan Pineda Still Photographer: Eddy Chen “CHICAGO FIRE” SEASON 7 Director of Photography: Jayson Crothers Operators: Rob Stenger, William R. Nielsen Assistants: Melvina Rapozo, Zach Gannaway, Brian Romano, Gary Malouf Digital Loader: J’mme Love Digital Utility: Nathan D. Sullivan Still Photographer: Elizabeth Morris 2ND UNIT Director of Photography: William R. Nielsen

MESQUITE PRODUCTIONS “FOR ALL MANKIND” SEASON 1 Directors of Photography: Stephen McNutt, ASC, Ross Berryman Operators: Tim Spencer, Mike McEveety Assistants: Stephen Pazanti, Haydn Pazanti, Jorge Pallares, Arthur Zajac Steadicam Operator: Tim Spencer Steadicam Assistant: Stephen Pazanti Digital Imaging Tech: Mike DeGrazzio Digital Utility: Robert Ruelas Still Photographer: Nicole Wilder

“CHICAGO MED” SEASON 4 Director of Photography: Lex duPont, ASC Operators: Faires Anderson Sekiya, Chris Hood, Joe Tolitano Assistants: George Olson, Keith Hueffmeier, Jason Bonner, Laura Difiglio, Sam Knapp, Patrick Dooley Steadicam Operator: Faires Anderson Sekiya Steadicam Assistant: George Olson Loader: Joey Richardson Digital Utility: Matt Brown

MINIMS “DEVS” SEASON 1 Director of Photography: Rob Hardy Operators: Grant Adams, SOC, Assistants: Patrick McArdle, Ray Milazzo, Seth Gallagher, Blake Collins Steadicam Operator: Grant Adams, SOC Steadicam Assistant: Ray Milazzo Digital Imaging Tech: Natalie Carr Loader: Mike Prior Digital Utility: Zach Madden

“CHICAGO PD” SEASON 6 Director 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

“Y: THE LAST MAN” PILOT Director of Photography: Rodrigo Prieto, ASC, AMC Operator: Michael Fuchs Assistants: Ethan Borsuk, Steve Search, Cornelia Klapper, Caroline Ibarra Steadicam Operator: Michael Fuchs Digital Imaging Tech: Bjorn Jackson Loader: Peter Perlman Still Photographer: Macall Polay

2ND UNIT Director of Photography: James Zucal

NBC “AMERICAN NINJA WARRIOR” SEASON 10 Director of Photography: Tim Baker Operators: Bry Sanders, John Armstrong, Jay Mack Arnette, Rob Cammidge, Brian Connolly, Megan Drew, Jason Hafer, SOC, Jeff Hamby, Ashley Hughes, Jeremiah Smith, Rodrigo Rodrigues, Brett Smith, Jed Udall,

“F.B.I.” SEASON 1 Director of Photography: Tari Segal Operators: Afton Grant, Phil Oetiker Assistants: Lee Vickery, Niknaz Tavakolian, George Lookshire, Jennifer Leavitt Loader: Amber Mathes Still Photographers: Michael Parmelee, Christopher Saunders

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“I FEEL BAD” SEASON 1 Director of Photography: Tom Magill Operators: Josh Harrison, Bry Sanders Assistants: Adam Cowan, Dustin Fruge, Melissa Fisher, Skip Mobley Utility: Phoebe Krueger Loader: Dustin Keller Still Photographer: Evans Vestal Ward

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

“MIDNIGHT, TEXAS” SEASON 2 Director of Photography: Mike Spragg, BSC Operators: Matthew Pearce, Josh Turner Assistants: David Leb, Matt Cabinum, Betty Chow, John Hamilton Steadicam Operator: Matthew Pearce Steadicam Assistant: David Leb Digital Imaging Tech: Tim Gregoire

Loader: Taylor Hilburn Digital Utility: Katy Jones “NEW AMSTERDAM” SEASON 1 Director of Photography: Andrew Voegeli Operators: Julian Delacruz, Fabio Iadeluca Assistants: Alexander Worster, James Madrid, Samantha Silver, Stephen McBride

NETFLIX “SANTA CLARITA DIET” SEASON 3 Director of Photography: Paul Maibaum, ASC Operators: Gary Camp, Heather Brown Assistants: Jon Sharpe, Jim Thibo, Kyle Sauer, Mike Cahoon Steadicam Operator: Gary Camp Steadicam Assistant: Jon Sharpe Loader: Sarah Lankford Camera Utility: John Mentzer PACIFIC 2.1 “THE POLITICIAN” SEASON 1 Director of Photography: Nelson Cragg,

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Simon Dennis Operators: Andrew Mitchell, Jesse Feldman, Nicole Lobell Assistants: Penny Sprague, Markus Mentzer, Matt Brewer, Ben Perry, Jared Wilson, Nate Lewis, Shannon Van Metre, Justin Steptoe Steadicam Operator: Andrew Mitchell Steadicam Assistant: Penny Sprague PALLADIN PRODUCTIONS, LLC “SHRILL” SEASON 1 Director of Photography: Joe Meade Operators: Tyson Wisbrock Assistants: Cameron Carey, Danielle Carroll, Jerry Turner, Hollie Metrick Loader: Laura Roe Still Photographer: Allyson Riggs PENNY LANE PRODUCTIONS, LLC “THE DEUCE” SEASON 2 Director of Photography: Yaron Orbach Operators: Phil Martinez, Luke Owen Assistants: Waris Supanpong, Becki Heller, Randy Schwartz, Nathalie Rodriguez Loaders: Joshua Waterman, Brian Lynch Still Photographer: Paul Schiraldi PICROW STREAMING, INC. “THE MARVELOUS MRS. MAISEL” SEASON 2 Directors of Photography: Eric Moynier, M.D. Mullen, ASC Operators: Jim McConkey, Greg Principato Assistants: Anthony Cappello, Rossana Rizzo, Kellon Innocent, Andrea Bias Digital Imaging Tech: Charlie Anderson Loader: James Dan Drummond Still Photographer: Nicole Rivelli “NINTENDO SWITCH FAMILY SHOWDOWN” Operators: Madison Dyer, Dennis Dwyer Assistants: Conrad Castor, Seth Gallagher, Kristi Arnds, Ian Congdon, Grace Thomas Digital Utility: Binh C. Than POSSIBLE PRODUCTIONS “RAY DONOVAN” SEASON 6 Directors of Photography: Robert McLachlan, ASC, David Franco Operators: Eric Schilling, Patrick Quinn Assistants: Michael Endler, Yvonne Vairma, Justin Whitacre, Martin Peterson Digital Imaging Tech: Tim Nagasawa Loaders: Kyle Gorjanc, Brian Grant Still Photographers: Jeff Neumann, Mark Schafer, Christopher Saunders PP21 PRODUCTIONS, LLC “BLACK LIGHTNING” SEASON 2 Directors of Photography: Scott Peck, Michael Watson Operators: Glen Brown, Fernando Reyes Assistants: Anthony Zibelli, Alan Newcomb, Alfredo Santiago, Rodell Francis Steadicam Operator: Glen Brown Steadicam Assistant: Anthony Zibelli Digital Imaging Tech: Justin Warren Digital Utility: Chandra Sudtelgte RASCAL PRODUCTIONS, LLC “WEIRD CITY” SEASON 1 Directors of Photography: Paula Huidobro, Darren Genet Operators: Dan Ayers, Yamit Shimonovitz Assistants: Brian LeGrady, David Mun,

Yoshihiro Kinoshita, Jessyca Harrison Digital Loader: Sherri Miranda Still Photographer: Lisa Rose SALT SRING MEDIA “ARE YOU SLEEPING” SEASON 1 Directors of Photography: Colin Watkinson (Pilot), Nicole Whitaker, Russ Alsobrook, ASC Operators: Josh Medak, Justin Browne Assistants: Niranjan Martin, Darin Necessary, Jeremy Cannon, Claudio Banks Steadicam Operator: Justin Browne Steadicam Assistant: Darin Necessary Digital Imaging Tech: Pat Paolo Digital Utility: Nicola Caruso SONY “JEOPARDY!” Director of Photography: Jeff Engel Operators: Diane L. Farrell, SOC, Mike Tribble, Jeff Schuster, L. David Irete Jib Arm Operator: Marc Hunter Head Utility: Tino Marquez Camera Utility: Ray Thompson Video Controller: Gary Taillon Still Photographer: Carol Kaelson “SCHOOLED” SEASON 1 Director of Photography: Steve Gainer Operators: Jonathan Goldfisher, Brian Shanley Assistants: Shereen Saleh, Joseph Cheung, Kymm Swank, Gina Victoria Digital Imaging Tech: Mike Bosman Digital Loader: Mimi Phan “THE GOLDBERGS” SEASON 6 Director of Photography: Jason Blount Operators: Scott Browner, Kris Denton Assistants: Tracy Davey, Nate Havens, Gary Webster, Jen Bell-Price Digital Imaging Tech: Kevin Mills Digital Utility: Dilshan Herath Still Photographers: Nicole Wilder, Adam Taylor

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“WHEEL OF FORTUNE” Director of Photography: Jeff Engel Operators: Diane L. Farrell, SOC, Jeff Schuster, Ray Gonzales, Steve Simmons, L. David Irete, Mike Corwin Camera Utility: Ray Thompson Head Utility: Tino Marquez Video Controller: Gary Taillon Jib Arm Operator: Randy Gomez, Sr. Still Photographer: Carol Kaelson SOUND OF METAL, LLC “SOUND OF METAL” Director of Photography: Daniel Bouquet Assistants: Richard Crumrine, Matthew Hedges Loader: Joshua Weilbrenner Still Photographer: Robert Clark STEP UP PRODUCTIONS “STEP UP: HIGHWATER” SEASON 2 Director of Photography: Rohn Schmidt Operators: Spencer Hutchins, SOC, Stewart Smith Assistants: Mary Stankiewicz, Ian Campbell, Laura Ostapiej, Christy Fiers Steadicam Operator: Stewart Smith Loader: Dwayne Green Digital Utility: Najee Rawlins

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CREW PHOTO: HOUSE OF CARDS SEASON 6

(L to R) Back Row: B Op - Erin Henning, DP - Dave Dunlap, A Dolly Grip - Ralph Shrerer, Loader - Anna Jay, B 1st - Nick Hahn, DP - Tim Norman, B Dolly Grip - Rodney French, - Jessica Pinns, A Op - Gary Jay Front Row: B 2nd - Chris Gleaton, A 1st - Ian Axilrod, A 2nd - Vanessa Morrison Photo by David Giesbrecht

TOPANGA PRODUCTIONS, INC. “SWAT” SEASON 2 Directors of Photography: Francis Kenny, ASC, Craig Fikse Operators: Tim Dolan, Brian Pitts, Michael Otis Ropert Assistants: Ryan Parks, Logan Turner, Thane Characky, Riley Padelford, Esther Woodworth, Mike Fauntleroy Camera Utility: Carl Lammi Loader: Jonathan Taylor Still Photographer: Ron Jaffe TRIFFER FISH PRODUCTIONS, LLC “CAVIAR” Director of Photography: Ryan Samul Operator: Bobby Boothe Assistants: Erik Kandefer, Zachary Grace Loader: Matt Suter Still Photographer: Walter Thomson TURNER NORTH CENTER PRODUCTIONS, INC. “THE LAST O.G.” SEASON 2 Director of Photography: Antoine Vivas Denisov Operators: Robert Pagliaro, David Taicher Assistants: Paul Colangelo, Cai Hall, Mabel Santos Haugen, Andrew Hamilton Loader: Joshua Bote Still Photographer: Macall Polay

UNIVERSAL “DIRTY JOHN” SEASON 1 Director of Photography: Todd McMullen Operators: Chris Murphy, Erdem Ertal Assistants: Dave Egerstrom, Eric Guthrie, Matt Guiza, Jerry Patton Loader: Michael Langford Camera Utility: Ben Shurtleff Still Photographer: Nicole Wilder “ERASE” PILOT Director of Photography: Christopher Probst, ASC Operator: Jeffrey Dutemple Assistants: Wesley Hodges, Andrew Peck, Leonardo Gomez, Kevin Howard Loader: Kaih Wong Still Photographer: JoJo Whilden “GOOD GIRLS” SEASON 2 Director of Photography: Tim Bellen Operators: Dave Hirshmann, Chris Haifley, Ana Amortegui Assistants: Steve Bellen, Jessica Ramos, Erik Emerson, Jennifer Stuart, Jim Nygren, Kristina Lechuga Digital Loader: Bryce Marraro Digital Utility: Sooz Edie Still Photographer: Justin Lubin “HAPPY!” SEASON 2 Director of Photography: Niels Alpert

Operators: Jon Beattie, Frank Larson Assistants: Andrew Juhl, Christopher Wiezorek, Yale Gropman, Daniel Pfeifer Loader: Sean McNamara “LAW & ORDER: SPECIAL VICTIMS UNIT” SEASON 20 Director of Photography: Michael Green Operators: Brant Fagan, SOC, Mike Latino Assistants: Chris Del Sordo, Matt Balzarini, Emily Dumbrill, Justin Zverin Loader: Jason Raswant Still Photographer: Michael Parmelee ULTRALIGHT BEAM, LLC “WAVES” Director of Photography: Drew Daniels Operator: Osvaldo Silvera, SOC Assistants: Troy Dickerson, Carla Sosa, Sean Gilbert, Billy Wells, Jennifer Galipault Steadicam Operator: Osvaldo Silvera, SOC Digital Utility: Sean Lunski Underater Operator: Sean Gilbert Still Photographer: Jeff Daly VAMPIRE PRODUCTIONS, INC. “VAMPIRES VS. THE BRONX” Director of Photography: Blake McClure Assistants: Kevin Walter, Scott Miller Loader: Jon Sandin

WARNER BROS. “BIG BANG THEORY” SEASON 12 Director of Photography: Steven V. Silver, ASC Operators: John Dechene, Richard Price, SOC, Jamie Hitchcock, Brian Armstrong Assistants: Nigel Stewart, Chris Hinojosa, Steve Lund, Meggins Moore, Whitney Jones Camera Utilities: Colin Brown, Jeannette Hjorth Video Controller: John O’Brien Digital Imaging Tech: Benjamin Steeples “LETHAL WEAPON” SEASON 3 Directors of Photography: Andy Strahorn, William Wages, ASC Operators: Victor Macias, Joseph Broderick Assistants: James Rydings, Kaoru “Q” Ishizuka, Troy Blischok, Kelsey Castellitto Digital Imaging Tech: Peter Russ Digital Utility: Spencer Shwetz Still Photographer: Ron Jaffe “MOM” SEASON 6 Director of Photography: Steven V. Silver, ASC Operators: Cary McCrystal, Jamie Hitchcock, Larry Gaudette, Candy Edwards Assistants: Meggins Moore, R. Nigel Stewart, Damian Della Santina, Mark Johnson, Whitney Jones Camera Utilities: Alicia Brauns, Andrew Pauling Video Controller: Kevin Faust Digital Imaging Tech: Benjamin Steeples “YOUNG SHELDON” SEASON 2 Director of Photography: Buzz Feitshans, IV Operators: Neil Toussaint, SOC, Aaron Schuh Assistants: Matt Del Ruth, Tom Vandermillen, Grant Yellen, Brad Gilson, Jr., Megan Boundy Digital Loader: James Cobb Digital Utility: Joe Sutera Still Photographers: Bill Inoshita, Michael Desmond WOODBRIDGE PRODUCTIONS “THE BLACKLIST” SEASON 6 Director of Photography: Michael Caracciolo Operators: Derek Walker, Devin Ladd Assistants: Daniel Casey, Gareth Manwaring, James Gourley, Edwin Herrera Loader: James Parsons, Katheryn Iuele Still Photographers: Christopher Saunders, Will Hart, Virginia Sherwood

COMMERCIALS ACCOMPLICE MEDIA “CHEVROLET” Director of Photography: Rob Hauer Assistants: Tiffany Aug, Kristiona Arnds, John Takenaka, Brian Winikoff Movi Tech: Jason Robbins Digital Imaging Tech: Raffaele Vesco

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BACKYARD PRODUCTIONS, INC. “ELIQUIS” Director of Photography: Flor Collins Operator: Chris Aran Assistant: Joseph Christofori Digital Imaging Tech: Matthew Dorris BULLITT “FORD” Director of Photography: Eric Treml Operators: Michael Ashe, Shelly Gurzi Assistants: Louis Massouras, Christian Kessler, Eric Matos, Daisy Smith, Vessie Kazachka Digital Imaging Tech: Scott Stephens CAVIAR “FOX SPORT” Director of Photography: Dan Adlerstein Assistant: Jonathan Helms Digital Utility: Mike McGee CMS “JIM” Director of Photography: Scott Cunningham Assistants: Walter Rodriguez, Matt Degreff Steadicam Operator: Manolo Rojas Digital Imaging Tech: David Berman COMPANY FILMS “RUBY TUESDAY” Director of Photography: Richard Henkels Assistants: Ethan McDonald, Sasha Wright Digital Imaging Tech: Erica McKee

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COMMUNITY FILMS “AMICA MUTUAL INSURANCE COMPANY” Director of Photography: Tami Reiker, ASC Operator: Brad Richard Assistants: Sarah Brandes, Jared Jordan, Jimmy Ward Digital Imaging Tech: Bret Suding FROOMER PICTURES “IN-N-OUT” Director of Photography: Brett Froomer Assistant: Ambar B. Capoor Digital Imaging Tech: Anthony Dias

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FULL MOON FILMS “DEAN PHILLIPS FOR US CONGRESS” Director of Photography: Jim Simeone Assistant: Brian Suerth “KEN HARBAUGH FOR US CONGRESS-OH” Director of Photography: Jim Simeone Digital Imaging Tech: Basil Pinzone GLP CREATIVE “TITLEIST” Director of Photography: Patrick Ruth Operators: Kyle Rudolph, Kerwin DeVonish, David Seoane Assistants: Nina Chien, John Clemens,

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CREW PHOTO: SANTA CLARITA DIET SEASON 3

(L to R) Standing - Jon Sharpe, A Camera 1st AC: Jim Thibo, B Camera 1st AC: Kyle Sauer, A Camera 2nd AC: Paul Maibaum ASC, Director of Photography: Stephen Franklin, B Camera 2nd AC (Seated - L to R) Gary Camp, A Camera/Steadicam Operator: Heather Brown, B Camera Operator Photo by Saeed Adyani

Richard Gioia, Robert Lau, Robert Ragozzine, Walter Rodriguez, Daniel Keck, Jordan Levie, Mitch Malpica, Kyle Repka, Jeffrey Taylor Technocrane Techs: Kevin Gilligan, Michael Cambria, Sebastian Almeida Digital Imaging Tech: Thomas Wong HERE BE DRAGONS “LAND O’LAKES” Director of Photography: Eric Ulbrich Assistants: Colin Sheehy, Mark Patnesky Digital Imaging Tech: Curtis Abbott Movi Tech: Rob Ruscher HEY BABY FILMS “PUBLIX” Director of Photography: Pablo Berron Assistants: Liam Miller, Paulina Bryant Digital Imaging Tech: Michael Kowalczyk HEY WONDERFUL @RSA “CVS” Director of Photography: Daniel Bombell Assistants: Ethan McDonald, Ryan Monelli Steadicam Operator: Chris Glasgow Digital Imaging Tech: John Spellman “ROSS” Director of Photography: Dion Beebe, ASC Operator: Michael Lloyd Assistants: Ryan Rayner, Dennis Geraghty,

Paul Santoni Digital Imaging Tech: Alex Carr HUNGRY MAN “ESPN” Director of Photography: Jeffrey Kim Operator: Paul Daley Assistants: Walter Rodriguez, Justin Simpson, Matt Degreff Digital Imaging Tech: Paul Schilens IDENTIFY MEDIA, INC. “KOHL’S FALL STILLS” Director of Photography: Michael Berg Assistants: Sam Elliot, Mitch Malpica Digital Imaging Tech: David Berman JOINERY “ACURA” Director of Photography: Stuart Graham Assistants: Lila Byall, Noah Glazer, John Holmes Digital Imaging Tech: Dane Brehm M SS NG P ECES “LEXUS” Director of Photography: Garrett Shannon Operators: Miguel Pask, Ivan Acero Assistants: Kevin Hughes, Seth Gallagher, Alex Zolad Digital Imaging Tech: Raffaele Vesco Camera Utility: Robert Russ

“NY LOTTERY” Director of Photography: Minka Farthing-Kohl Assistants: Evan Walsh, Sachi Bahra Steadicam Operator: Yousheng Tang Digital Imaging Tech: John Osterman MOXIE PICTURES “COACH” Director of Photography: David Jacobson Assistants: Walter Rodriguez, Jordan Levie Digital Imaging Tech: Thomas Wong NON FICTION “EL POLLO LOCO” Director of Photography: Adam Bricker Assistants: Matt LaRoche, Tash Gamper-Kulapalan Digital Imaging Tech: Michael Borenstein OLD HARBOR PRODUCTIONS, INC. “FINALLY” Director of Photography: Jonathan Freeman Assistants: Mary Anne Janke, Michael Rodriguez Torrent Digital Imaging Tech: David Berman PARK PICTURES “XFINITY” Director of Photography: Larry Fong, ASC Assistants: William Coe, Ryan Creasy Digital Imaging Tech: Robert Howie

PRETTYBIRD “UNDER ARMOUR NY” Director of Photography: Michael Ragen Operator: Yousheng Tang Assistants: Adam Miller, Nate McGarigal, Jeff Taylor Digital Imaging Tech: George Morse PULSE “OLAY” Director of Photography: Colin Watkinson Assistants: John Clemens, Jeff Taylor Digital Imaging Tech: Tom Wong RAUCOUS “COMCAST BUSINESS” Director of Photography: Matthew Woolf Operators: Vince Vennitti, Frank Rinato, Rick Sarmiento Assistants: Michael Garofalo, Joe Volpe, Alex Waterston, Rodrigo Milan, Carlos Barbot Digital Imaging Tech: Joe Belack STATION FILM “ALWAYS HEALTH” Director of Photography: Kip Bogdahn Assistants: Ethan McDonald, Sasha Wright Digital Imaging Tech: Lee de Arakal TECHNOBABBLE PRODUCTIONS, INC. “AFFILIATES SET VISIT” BEHIND THE SCENES Director of Photography: Gary Nardilla

TOOL OF NORTH AMERICA “MICROSOFT” Director of Photography: Kramer Morgenthau, ASC Assistants: Richie Masino, Tristan Chavez Digital Imaging Techs: Ryan Kunkleman, Michael Borenstein WONDROS “NISSAN ALTIMA” Director of Photography: Maz Makhani Assistants: George Hesse, Dan Taylor Digital Imaging Tech: Will Chung WOODSHOP “CHILI’S” Director of Photography: Tom Lazarevich Operator: Heather Brown Assistants: Clint Moran, Jeremiah Thorne Digital Imaging Tech: Patrick McGraw “CHIPOTLE” Director of Photography: Tom Lazarevich Assistant: Clint Moran Digital Imaging Tech: Patrick McGraw “REECE’S” Director of Photography: Tom Lazarevich Assistant: Clint Moran Digital Imaging Tech: Patrick McGraw

THE DIRECTORS BUREAU “DELL” Director of Photography: Autumn Durald Assistants: Ethan McDonald, Sasha Wright Digital Imaging Tech: Steve Harnell

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