VENICE Extension System 2. Greater. Creative. Freedom.
The new VENICE Extension System 2 gives filmmakers greater creative freedom with two cables and the ability to separate the VENICE 2 sensor from the camera body anywhere from 10 to 40 feet away. It’s perfect for tight spaces, handheld setups, or the next time you need to fit six cameras in the cockpit of a fighter jet or race car.
“The Sony Rialto 2 allows for unencumbered visual accessibility. It’s now an essential tool for creative shot designs to make difficult camera positions work. I can now have the visual fidelity of VENICE 2 in a compact and portable system.” — Matt Sakatani Roe
Behind the scenes and screengrabs from “Tonight We Ride,” with Director of Photography Matt Sakatani Roe.
WORK, WORK, WORK…
Welcome to the October issue of ICG Magazine, the third of four print/digital hybrid issues for 2024. As the industry starts to ramp-up its workload, talented ICG members have been doing some incredible work. Much of it was showcased last month, in September, by those ICG members nominated for (and hopefully winning, as I’m writing this before the big night) Emmy Awards. Also last month, we saw the great work of aspiring Local 600 directors of photography showcased at Local 600’s annual Emerging Cinematographer Awards (ECA’s).
I’m also honored to Spotlight our National Training Committee, who are consistently providing skills-training for members. In August, the Training Committee conducted a 1st AC in-person and live-broadcast virtual training, which was an incredible event. It was put together and led by National Training Chair Rocker Meadows, National Training Director, Richard Negri, Training Assistant Lisa Dooley, and moderated by Matthew Borek. Instructors included Lawrence Nielsen, Ambar Capoor – who have worked on putting this program together for the last couple of years – and myself. Training programs like these are one of the great benefits of being a Local 600 member, and they provide tremendous value to this union.
So, please enjoy this issue of ICG Magazine, which spotlights ICG members who are innovators and entrepreneurs – filmmakers who are creating new products being used by their fellow members on set. It always makes me proud to read about union members whose talent and ingenuity are also aimed at making this industry more efficient and making the work of their union brothers and sisters that much easier and smoother to achieve.
Best to everyone.
Baird B Steptoe
Photo by Scott Everett White
National President International Cinematographers Guild IATSE Local 600
Publisher
Teresa Muñoz
Executive Editor
David Geffner
Art Director
Wes Driver
STAFF WRITER
Pauline Rogers
COMMUNICATIONS
COORDINATOR
Tyler Bourdeau
COPY EDITORS
Peter Bonilla
Maureen Kingsley
CONTRIBUTORS
David Geffner
Margot Lester
Kevin Martin
Niko Tavernise
COMMUNICATIONS COMMITTEE
Chris Silano, Chair
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October 2024 vol. 95 no. 08
IATSE Local 600
NATIONAL PRESIDENT
Baird B Steptoe
VICE PRESIDENT Chris Silano
1ST NATIONAL VICE PRESIDENT Deborah Lipman
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Alex Tonisson
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.
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Copyright 2024, by Local 600, International Alliance of Theatrical Stage Employes, Moving Picture Technicians, Artists and Allied Crafts of the United States and Canada. Entered as Periodical matter, September 30, 1930, at the Post Office at Los Angeles, California, under the act of March 3, 1879. Subscriptions: $88.00 of each International Cinematographers Guild member’s annual dues is allocated for an annual subscription to International Cinematographers Guild Magazine. Non-members may purchase an annual subscription for $48.00 (U.S.), $82.00 (Foreign and Canada) surface mail and $117.00 air mail per year. Single Copy: $4.95
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WIDE ANGLE
Our annual October 2024 Product Guide issue is packed with surprises.
Starting with my report from two of this industry’s most popular trade shows, Cine Gear Expo LA and NAB Show ( On The Street , Page 72), it’s clear that AI remains the single biggest disruptor technology. However, there’s little consensus on when, and what, its impact will be.
What was more clear from this year’s shows was the variety (and high quality) of expert panels. Whether that was listening to Wally Pfister, ASC, BSC, DGA; Jeff Cronenweth, ASC; and Erik Messerschmidt, ASC (two Oscars and eight Oscar nominations between them if you’re counting) in the RED-sponsored “Unleashing Creativity” or hearing how Local 600 member Christine Ng used Canon’s new Cinema EOS C400 to shoot and direct a short film (“Making Scary Good”), probing perennial challenges like low-light performance, full-frame shallow depth of field, and capturing pleasing skin tones, the technical/creative info presented was fantastic.
The gear on hand was equally enticing, including a new camera from Blackmagic Design – the URSA Cine 12K – that had longtime Local 600 directors of photography like Christian Sebaldt, ASC, and Steve Gainer, ASC doing backflips (metaphorically speaking) over how their workflows will improve. Sebaldt called the full-frame 3:2 12K sensor “simply genius,” adding that “just being able to shoot wider or tighter on the same lens by changing the sensor mode (and slightly cropping) saves me time when every second on the set counts.” Gainer was also impressed, describing his newfound ability to source for screens with a single camera body as “a blessing. My prior work required an array of cameras to fill the screen,” he adds, “but not so anymore!”
Innovation abounds in this 2024 Product Guide
Check out ICG freelancer Margot Lester’s unique article, 600 Side Hustles (page 56), highlighting more than a dozen Local 600 member-inventors who created products that benefit their union brothers and sisters. Some of the products were born out of the downtime brought on by a global pandemic (followed by two historic work actions). Other gems had a lengthy
gestation and only came to market after inventors began sharing their creations on set.
Examples include 2nd AC Kelly Simpson, a 22-year ICG member, who, as a camera trainee in the late 1990s, was frustrated by what she describes as “the mish-mash bags from other industries” many AC’s were using. So, in 1999, Simpson started making purpose-built bags for herself. And while she says she never intended to start a business, “other film workers would see my bags on set and ask me how they could get one.” Operator Danny Brown, an 11-year ICG member, iterated a camera accessory from the most unlikely of sources – unless you’re a hockey player like Brown, who always has some spare pucks in the toolkit. Brown’s creation, dubbed “the Knuckle Puck,” spins easily on and off anything with a ⅜ thread, putting, as Brown describes, “one’s hands closer to the center of the camera body and farther away from the battery.” The first question he gets on set? “Is it an actual hockey puck?” (Yes!)
As for union members having each other’s backs, there’s no better example than my cover story ( The Incredibles , page 26) on the new FOX series Rescue: HI-Surf , shot with an all-Hawaii-based team on the island of O’ahu. While living/working in paradise may sound idyllic, this 19-episode show, created by John Wells and Matt Kester ( Animal Kingdom), was a demanding shoot. For starters, it’s 100 percent day exteriors and 100 percent handheld, requiring a 270-degree shooting zone. That meant Director of Photography Anka Malatynska (who headed up the land unit) had to wrangle Hawaii’s alwayschanging light in creative ways.
Producing Director Loren Yaconelli (a 30year ICG member) points out that not only was Rescue’s seven-month shoot injury-free, “our production team participated in several real-life rescues.” Director of Photography Don King, who led the water unit, credits longtime Hawaiian ocean expert Brian Keaulana (Water Unit director) with maintaining the “highest levels of safety protocols” in an environment where you can only mitigate risk, not eliminate it. “How cool is it to make a show about the lifeguard community on the North Shore,” King asks in my article, “with the world’s best lifeguard [Keaulana] heading up your water team?”
Like every member in this union, King adds, “pretty darn cool.”
David Geffner Executive Editor
Email: david@icgmagazine.com
The Incredibles
“I’ve been an ocean person my whole life and spent plenty of time in the Hawaiian Islands, so I know first-hand just how crazy challenging it must have been to shoot 19 episodes of the new FOX series Rescue: HI-Surf in the water on jet skis, or handheld in the deep sand of Oahu’s North Shore. Big props to Director of Photography Anka Malatynska, Director of Photography Don King, Director (and longtime Local 600 DP) Loren Yaconelli and the all locallybased Hawaiian Guild camera team for making the near-impossible look like a day at the beach.”
600 Side Hustles
“It’s always energizing to talk to creative problemsolvers, as I did for this month’s special feature on ICG members who have invented new products to help their union kin on set – especially when they turn those solutions into thriving businesses. My parents were entrepreneurs, and I’ve had my own writing business, The Word Factory, for half my life.”
Cover Photo by Zack Dougan / FOX
Photo by Sara Terry
MARGOT LESTER
DAVID GEFFNER
Beyond Bi-Color
The New BLAIR LED Engine
Widest Range of Tunable White
2,500K-10,000K Full ASC MITC +/- Green
Accurate Spectrum from Tungsten to CIE Daylight SSI[P3200] 87 | SSI[CIE D5600] 87
True Ultra Low-End Dimming Precise to 0.1%
DYLAN GOSS
AERIAL DIRECTOR OF PHOTOGRAPHY
PHOTOS BY JUSTIN LUBIN, SMPSP
While Dylan Goss has been a member of Local 600 for some 35 years and has roots in Hollywood that date much longer than that via his father, Michael C. Gross (who co-designed the legendary “no ghosts” logo for Ghostbusters), many industry peers – let alone millions of movie-goers – have no idea just how prevalent Goss-captured images are in both film and television. The list of tentpole features, critically acclaimed dramas and even comedies that make up his early work as an aerial camera operator, and then, over the last two decades, an aerial director of photography and aerial unit director, is astounding. We’re talking about every major franchise – from Star Trek to Spider-Man, Terminator to Planet of the Apes, Fast & Furious to Avengers, Matrix to Dune –and many more we don’t have room to list.
Yet for all his phenomenal success in the air, Goss insists it was an early education on the ground (where he was mentored by ICG camera-department members) that provided the best possible foundation. “I am forever thankful for that first decade on the truck learning core camera skills,” he told ICG Magazine for this month’s profile. And looking at the totality of his résumé, one can’t help but think of that sage proverb, “A journey of a thousand miles begins with a single step.” Or in Goss’ case, “a single flight.”
ICG: You took an interesting path in this industry. How did it come about? Dylan Goss: Before my father worked in the film industry, he was an art director for print magazines (Esquire, National Lampoon). I remember his still cameras and being sort of obsessed with them as early as the beginning of grade school. Later, in high school, I got into still photography, and once we had moved out to L.A., got into photo class and took pictures at the football games for the school paper. By then, my dad was working in the film industry and my summer jobs were all in the production office, getting to PA and eventually on set. During some time off from school I was able to go onto a show full-time working with SFX during preproduction. Through a stroke of luck, I ended up in the camera department when filming started, and then got into Local 659 before we had wrapped (Ghostbusters II).
Any early mentors and their future impact?
On Ghostbusters II , both 1st AC Larry Hezzelwood (later of Panavision fame) and 2nd AC Mikael Glattes were really good to me. They knew I was about as green as it gets. Later, a few of the operators on Quantum Leap, which I came on and off of for most of its five seasons, were big mentors – Tim Vanik, Ron High and Tom Connole. But in aerials, my first shoot was assisting Michael Kelem, who had already had a long career going back to the Gyrosphere. Mike showed me the ropes, working with a sort of “who’s who” of flying in the mid-1990s.
What was your first union job? Ghostbusters II , and even though I was working with the camera department, I started as an outsider. There were dues I needed to pay back then, so I was given the video monitors. There was
no VTR role yet on set, and while the gear was on the camera truck, nobody wanted to have to deal with it as an add-on to what they were already busy doing. So, I did my best –with apologies to all the excellent VTR people who have come since [laughs] – stringing out cables and figuring it out. A lot of the scenes later in the movie had that green ghost slime, and by the end of the story, it was all over the place. Most of my memories were late nights staying to wipe off piles of these old 50-footlong 10-pin video cables and trying to keep them working.
When did you start doing aerial work and when did you make the leap to large VFX franchise projects? It was one single day. I came off The River Wild as an AC and got the opportunity for a day call as a technician for
the big aerial head, then the Spacecam. They were a small company, and their two systems were all computer-controlled with hand-wired boards; you had to type arcane prompts into a command line. Since I was an electronics and computer nerd growing up, it seemed like a good fit. Cut to me in the back of a tiny Jet Ranger helicopter, bumping all around, trying to type stuff and thinking I had made a big mistake. [Laughs.] Those jobs were crazy but the specialty had tons of upside, the biggest being a much shorter path to operating.
Did you start with operating aerial gimbals?
Yes, but even after eventually doing what felt like a ton of big commercial ads, Super Bowl spots and things, the large movies still proved elusive. Through some lucky circumstances, I ended up on a big aerial unit for the Neill Blomkamp film Elysium. I remember walking to a meeting one day, and Alan Purwin, whom I’d flown with plenty on commercials and known for years (he actually flew that very first job in the 1990s), looked over and said: “I didn’t know you did movies.” Somehow that was it.
Describe what an aerial DP does. It worked out well for me that coming up we did get the director or main unit DP with us onboard so much more. The job has gotten more independent. With how filmmaking has evolved, I am sent off more often than not after a Zoom brief while the main unit is on stage somewhere or working in a completely different location. Depending on the complexity of the work, there can be aerial scouting, or maybe we are given some location selects and Google Earth pins. Sometimes it’s only a mood board and we have to go find where the shot works. Depending on the show, my main relationship can be with a producer, the main or second unit DP or director, or VFX. These changes have led to my embracing the Aerial DP and Aerial Unit Director roles and taking ownership of the shots. Sometimes it’s nice when there’s a shoot where we just come in and marry-up with 1st or 2nd unit, to see everyone and take a bit of that responsibility off too, and get to focus on other aspects of the aerials.
You recently had some interesting challenges shooting 8-perf VistaVision, with a 1000foot mag and 1000-millimeter lens. It was for an upcoming Paul Thomas Anderson film. The helicopter played in a long, continuous
sequence, and they demanded 1000-foot loads for runtime. It’s a big, awkward payload that required cutting up the gimbal quite a bit and quick-turn machining parts to make the firm shoot dates production had given us. Even then, after getting things to fit, the stability was poor as the large magazine wasn’t rigid enough for the way the modern designedfor-digital gimbals stabilize. With time running out, we ended up laser scanning the mags and creating contour fitting 3D-printed braces for them. Fortunately, that did the trick. Also using VistaVision, to get the telephoto frame they were after, the Panavision 11-1 needed a doubler. Pulling my own focus at 1000-millimeter in large-format was a blast. [Laughs.]
How often do you get the chance to shoot film these days? It feels like film aerials turn up about once a year for us. The current generation of aerial heads only take film as an aftermarket modification, and that’s only for the largest gimbals here in L.A. or Europe. I have happily informed production that we can originate the aerials on film as well, and I enjoy that on some level – but there is also that wave of realizations in prep and when working where it’s like “Oh, yeah, I remember this.” These are remote heads after all, and that sort of thing does mesh well with immediate feedback, i.e., digital.
Tell us about Dune: Part 2 . Director of Photography Greig Fraser is always on the leading edge with whatever he shoots. It was such a wonderful and rare job. Everybody on the team knew each other from at least the first film, and we went to many of the same locations. That said, it was like a totally new project with what Greig and the others brought to the second film. The trust was there from the other film. So instead of continuing the status quo, there was a real energy of taking that trust and pushing things forward. Coming into the dailies room at night and seeing Greig’s work from the day was first off, just awesome –but secondly very motivating to dig in and pull one’s own weight.
How has capture gear evolved for aerial cinematography? I try to lean into doing tricky integrations and pushing the gear if we see a smart way to do it. One of the early things I want to know is what the main unit is up to. We want the same cameras and lenses for
the aerials when that’s at all possible. If that’s sometimes getting into a prime lens workflow or carrying true-anamorphic zooms, great! I like to use the larger Shotover K1 [6-axis] gimbal because I can offer the show so much more flexibility in this respect. The smaller gimbals are about compromises – and to a degree, drones are often that way as well.
You read my mind. How has drone capture changed what you do? A decade into multirotor drones being a thing, creatives seem to understand the tool – or flying time and payload capacity aren’t conversations that are needed much. There are places where drones make sense, such as close proximity and tight spaces. They can also do their own thing, particularly unique are those super highenergy FPV shots. And for projects where budget breeds creativity, the cost differential is big. But when there is a larger creative need being catered to, if emotional descriptors like “majestic” and “grand” are used, or there is talk of big arcs and momentum, things still point to using a jet aircraft. This is also why I have to make my way mainly on the larger films – they seem to have the luxury of having those types of conversations more often.
Any words of advice for younger ICG readers looking to get into aerial DP/plate work? It’s a small community. If you’re already on set, then meeting the aerial team when they come in for their shots, and just showing your enthusiasm for what they do is probably the best start. It only takes that one connection to get going. But I also suggest not skipping the part on the ground. I am forever thankful for that first decade working on the truck and learning core skills by doing setup after setup each day.
Favorite location ever and why? Wow, that is a tough one. Photographically, cinematically, it’s hard to beat flying over Hong Kong at night. New York City also has quite the sense of scale when you’re up there, but Hong Kong defines the word awesome. It’s also one of the hardest places for getting flight permissions and equipment approvals in the world. As a location and a country, Iceland is special for me. The U.S.? Valley of Fire State Park [Nevada] in low light comes to mind. In Namibia, there are colossal deep-red sand dunes that go on forever to the horizon, like giant waves in the deep ocean. I could go on and on…
ASC Mentor Award M. David Mullen, ASC
HONOREES
Sweet Santa Barbara Brown
INCOMPLETE Shot by Adam Carboni
The Unreachable Star Shot by Matthew Halla
Pirandello on Broadway Shot by Jessica Hershatter
Iron Lung
by Allen Ho
Sands of Fate
Nick
Bearing Witness: A Name & A Voice Shot by Dylan Trivette
Shot by Dominic Bartolone
Shot by
Mahar Bloom Shot by Andrew Trost
Shot
PRODUCTION DESIGNER
JOKER: FOLIE À DEUX
MARK FRIEDBERG
Production Designer Mark Friedberg’s résumé is in large part a reflection of his interests and passions. Featuring a large number of indie films, this American History major has contributed to socially conscious fare including the Barry Jenkins-directed Selma and If Beale Street Could Talk. Friedberg has also provided designs for multiple films by diverse filmmakers such as Darren Aronofsky, Jim Jarmusch, Todd Haynes, Ang Lee and Wes Anderson.
BY KEVIN H. MARTIN PHOTO COURTESY OF MARK FRIEDBERG
Friedberg’s contribution to Todd Phillips’ two Joker films includes enthusiastic support for the rough-hewn, on-the-fly approach to filmmaking and attention to period detail. The evidence of garbage strikes in the first Joker resonates with what transpired during the 1970s in New York City and echoes similar onscreen moments in 1976’s Marathon Man [shot by Conrad Hall, ASC]. Perhaps the film’s most memorable image, Arthur Fleck outdoors in full Joker regalia, dancing in joyful madness, threatens to supplant another iconic 70s movie – The Exorcist – when it comes to emblematic film images featuring long, steep staircases. (The location, in a Highbridge neighborhood within The Bronx, is now known locally as the “Joker Stairs” and has become a genuine tourist attraction.) ICG Magazine talked with the Emmy-winning designer (for Todd Haynes’ directed mini-series Mildred Pierce ) about Joker: Folie à Deux
ICG: Were you surprised to hear that a sequel to Joker was in the works? Friedberg: I wasn’t that surprised there would be a sequel, but I was surprised by the route selected to find our way back to the character and further explore Arthur’s internal world. Of course, when we made the first one, we all swore there’d never be a sequel. But then again, no one was expecting it to be received in any way approaching the way it was. The first Joker was kind of open-ended, both emotionally and narratively, with audiences weirdly identifying with Arthur. So, Todd became interested in seeing where the character might go next; clearly, the creative impetus was there beyond just the financial aspect.
What did you make of the huge audience response to the first film? I think people reacted so strongly because it was basically an independent film, but made at a studio, by a group of filmmakers who approached [the material] honestly and maintained their sense of truth to the story. Joaquin [Phoenix] went into some very dark places in that film, revealing intimate aspects that people responded to, much more than the typical response to a big spectacle movie. I think, in general, it’s safe to say that people feel disconnected; so, seeing somebody championing that feeling while exposing the craziest and worst parts of themselves was compelling. Recently, we scouted the New York subways for a Spike Lee project. They’re notoriously challenging concerning rules and regulations, so we’re always trying to be careful in our dealings because we’re going to be asking them to do
things that generally you’re just not allowed to do there. I mean, we don’t go on the subway to kiss, we go there to do hard, challenging things. The rep from MTA – who we drove crazy on the first film since we broke every single rule – said Joker was her favorite movie that she’d been a part of, and that it was the first film she’d ever seen that dealt honestly with mental illness. That was touching to hear.
And the sociological impact? Viewers seem to have an interesting response to what Arthur does. We’ve all had those “I could just kill this person” thoughts, but he actually carries through with them! And the viewers often feel a sense that it was justified – but then, they reconsider, because can it really be justified? So, we’re sort of challenged to confront our own responses to Arthur, and I think this film confronts these aspects even more than the first one. I’m very excited to see that it works on its own as a standalone, not needing the original to support it. Viewers who hadn’t seen the first film might well take away a different perception of Arthur from those who did see the original.
When you found out how the sequel would be a departure in certain ways, did that spark your interest anew? When Todd first contacted me, the script was still in process, and I admit to feeling a little skeptical. Then he came over to see me and explained just how this one was going to be different, including musical numbers. “Okay. That’s interesting!” [was my response]. Ironically, I had just worked on [the upcoming] Mustafa musical, which was clearly not in the same vein.
So Joker: Folie à Deux offered different challenges that built on what went before? It isn’t quite the same world as the first film, given the musical aspect, and there’s less of a focus on exterior locations. We didn’t need to define the city in the same way because we’d already seen Arthur as this kind of lost soul moving around and through Gotham. This time things grew more abstract, as the exploration went to what was going on inside the character. Films with music are inherently abstract – a stylized way of telling stories. Although, you can see a rhythm inside of Arthur throughout the first film that hints at a kind of musicality, plus there’s his dancing.
Your work on character-driven projects suggests that you take your design cues as much from the emotional states of the characters as from the environments and
time periods. The impetus in this film was to make it feel real, not operatic. Even though this is a big Hollywood project, I still hope it feels like a small independent film [laughs]. Violence takes different forms, and that creates a subtext to work from. The first Joker involves five killings, as opposed to something like The Avengers, where whole cities are wiped out. The difference is that you feel the killings here, seeing the expression in their eyes as they end, so the violence has a much different context and carries a lot more weight. In this particular case, we’re talking about real issues with violence and mental illness, so these are very intense issues.
How comfortable were you with the “jazz” style of filmmaking evolved by Director of Photography Lawrence Sher and Todd Phillips? I’ve done two movies now with Larry, who has done a lot with Todd. I’m not sure if the jazz dynamic is strictly something they worked out or whether it was in tandem with Joaquin, but I will say that when we get to shooting, there’s not a science that has everything worked out in advance. And that was especially true here with a movie involving song and dance. We had a healthier budget this time, but I think it has retained that gritty, torn-paper rawness, both emotionally and visually.
Thoughts on working with Larry Sher? To Larry’s credit, and especially Todd’s, we were able to maintain the integrity of how Arthur sees the world. And I think that is because Larry is very much a filmmaker and knows where we are in the story all the time. He doesn’t make a shot because it is pretty. Larry and I are different people, but we’re brothers in our collaboration. He’s a busy cinematographer who brings a lot of toys to the party, and some of those are big, so our major interior sets had to accommodate Technocranes. I would like to think he felt very supported by us in our efforts to help him with his lighting, and I had a great deal of trust working with him, and that trust lets you be brave. If you can’t be brave, you can’t be good – of that I’m sure.
You started doing 2nd-unit direction on recent projects, and continue to work on a lot of indie-style films. Mildred Pierce and The Underground Railroad are two of the projects I’m most proud of. Long-form narrative appeals to me because I’m a person of literature who loves reading novels, so chapter-based cinema is pretty cool from my perspective. And getting to collaborate with inspired directors like Todd
Haynes and Barry Jenkins is so rewarding. Those were both hybrid projects, done with an indie mindset but featuring a lot of studio-built sets. With Railroad [ICG Magazine May 2021], it isn’t just that the show turned out so well, but also that our end of things turned out to be very satisfying. The source material is a novel with magic realism where you don’t question these seeming impossibilities. But then you go back and start thinking, “They didn’t have elevators back then!” But it kind of bridges to our present and how the struggle that happened back then is still with us. Making that film in Georgia during a Trump election year was a powerful experience.
Darren Aronofsky’s Noah [shot by Matthew Libatique, ASC] must have been an immense undertaking. The ark dimensions are there in the Bible; there’s some room for interpretation when the measurements are in cubits since everybody’s forearm is a different length, but you can narrow down the size to a fairly reasonable estimate. The fact that down through history the ark has been realized in a way that makes it look like a house on a rowboat is something I never understood, plus it didn’t jibe with early shipmaking. Darren
didn’t want that either, and he’d been thinking about this story since elementary school. He didn’t want to do the “fable” version, he wanted a film that felt more contemporary. That means if the Earth is about to end, I’m not taking the time to sand my ship! I’m making a shipping container.
Your biggest challenge on that film was… We were all New York filmmakers and looked the world over for the right forest within which the ark could be constructed, and we found it … in Great Neck, Long Island! There was an oldgrowth forest – rich people lived there, so the trees didn’t get cut down – and an arboretum that was perfect for us. We built about threefifths of the ship outdoors there, full height and width. Then we built the interior in the Williamsburg armory, filling it up completely since we built all three levels, 50 feet high, which let us shoot down through to the base to sell the scale. Our ark survived the electrical outage that hit New York during that time. Power was out in every building south of 34th Street, but not in our ark.
Your films with Wes Anderson are period pieces, but he’s a director with a sensibility
where time endlessly overlaps. There’s no reality, per se, in a Wes Anderson film. It’s just Wes’ world [laughs]. The Life Aquatic came from him having seen Jacques Cousteau as a kid. That is where I built another big ship, and it was insane. If you think of [a designer’s] work as being symphonic, and generally we’re charged with creating harmony, every once in a while we get to stand up and play a solo. Between Aquatic and Noah, that’s what those two ships were for me. I’m probably proudest of that set for The Life Aquatic , which was built tip-to-tip on Fellini’s stage at Cinecittà, in Rome. I think even [Fellini’s] funeral was held there. So, working there was a bit daunting, and it took nine months. There were geared engines made of wood and animatronic dolphins swimming in a tank at the bottom. Nautical engineers helped us figure out every rib of that ship. One night, I was there alone looking at this thing, and I suddenly became kind of overcome with emotion that we had actually gotten it done and that it had turned out. And these two older gentlemen, who had probably been sweeping these stages since its earliest days, came up to me and said, “Kid, the maestro would be proud.” That’s the highest praise I’ve ever received from anyone.
PHOTO BY NIKO TAVERNISE
BY DAVID GEFFNER
FOX TV’S RESCUE: HI-SURF MIXES ART-HOUSE INTIMACY WITH WHITE-KNUCKLE ACTION TO HIGHLIGHT THE COMMUNITY OF LIFE-SAVERS WORKING THE “SEVEN-MILE MIRACLE” OF O’AHU’S FAMED NORTH SHORE.
PHOTOS BY ZACK DOUGAN / FOX
Local 600 Director of Photography Anka Malatynska knows a thing or two about tight-knit, location-specific communities that thrive on adrenaline-fueled action sports. Born and raised in Poland around family and friends who chased big-mountain climbing, Malatynska discovered a similar passion for the natural world through a like-minded community of wave-riders. After fine-tuning her camera and lighting skills in the indie/documentary world, she landed work on the Hawaii-based I Know What You Did Last Summer and NCIS: Hawaii, and made Hawaii her home. When the opportunity arose to shoot a new John Wells episodic for FOX, based in and around surfing’s most hallowed ground – O’ahu’s North Shore, aka the “Seven-Mile Miracle” of ocean breaks that include Haleiwa, Sunset, Off the Wall, and Pipeline – Malatynska was, in surfing lingo, “beyond stoked.”
“I was aware of Ke Nui Road, the [HBO] pilot John had done, and had heard he might be returning for another project,” she shares. “So, I had my agents seed the idea that I’m based in Hawaii and would love to be involved if possible. I got an email, pretty much out of the blue, from my agent saying [Producer] Joe Incaprera had asked if I would be interested in coming over from NCIS to this new show about lifeguards on the North Shore. I loved NCIS and the whole group of people on that show. But my feeling is the riskier road is the more fulfilling one.”
Those risks included tackling a show that grew from 12 to 19 episodes, and a director (Wells) who wanted an all-handheld indie vibe, for an action drama that required two simultaneous camera teams – land and water. Working a 7-day episode schedule, the series is 100 percent day exterior and subject to Hawaii’s rapidly shifting natural conditions of sun, clouds, rain, wind, mud and waves. And, by the way, every episode would feature at least one dramatic rescue (and often more) in and around the ocean with the actors mostly doing their own stunt work.
“John and [Showrunner] Matt [Kester] wanted to faithfully depict this amazing lifeguard community on the North Shore, the ‘other Hawaii,’ if you will,” Malatynska continues. “And they went after that look straight away in the pilot, with transitions and B-roll that included chickens on set and following
trash trucks around North Shore. That was all shot by Kilani Villiaros, a young woman who moved up to fulltime B-Camera operator on this show, and who, like everyone else on the team, was local to Hawaii.”
Showrunner/Writer Kester ( Forever , Animal Kingdom), who has lived and surfed on the North Shore for most of his life, says the Ke Nui Road pilot he and Wells did in 2022 for HBO was based on the “Junior Lifeguard program on the North Shore, and I thought it was a great story,” Kester says. “I wanted to tell it as a YA [Young Adult] show because my kids were in the Junior Guards. Ke Nui Road didn’t go to series, but FOX saw what we had shot and loved it. They asked if we could rework it as an adult action drama, which sounded great – as long as we could do the rescues in a way that accurately represented this community, because otherwise, what’s the point? The respect for lifeguards on the North Shore is off the charts. They certainly don’t do it for the money. They’re real-life superheroes, selfless and more than willing to risk their own lives to save others.”
Kester says the way to convincingly simulate rescue scenarios in life-threatening conditions – without putting a production team in real life-threatening surf – was to “have people like [On-Water Producer/ Director] Brian Keaulana, [Local 600 Director of Photography] Don King and [Director] Loren Yaconelli [ASC] all working together,” he describes. “With water
and land units shooting at the same time, it can be difficult to maintain continuity, as the water footage is always dynamic and in motion. Our answer was to always keep the land coverage in motion, as well as shooting handheld and working all-day exteriors, both of which helped keep the overall look as seamless as possible. Loren is a producing director who’s also a DP, Don [King] has spent his entire career shooting in heavy water, and Anka Malatynska is super creative and open to new ways of working. Together they formed this incredible team that made the show what it is.”
Yaconelli, who was focused on directing when the Ke Nui Road pilot was shot, is well-acquainted with the style Wells wanted for Rescue: HI-Surf “Having worked on five seasons of Animal Kingdom,” she describes, “I know John likes to have that grounded, gritty feeling where you’re right there with the characters. So, it was important to always be in the perspective of our lifeguards, and when you’re handheld you’re able to do that in a visceral way. But we also had to get all the story beats the network wanted. Balancing those two things can be challenging if you haven’t worked in that style. There was a learning curve. But I was comfortable with John’s approach.”
Moving to the director’s chair in 2019 on Shameless (a show she also shot), Yaconelli says she always approaches the material with a DP’s brain, “in that whatever I read on the page I see visually in my head. That will never change,” she continues. “The advantage is that it gave Anka and me a shorthand; we could talk about shots and blocking and know we’re speaking the same vocabulary. Even if styles are different, as mine and John’s are, my feeling is that if you can control the blocking, you can control the photography. So, I was very specific with Anka about the blocking, and that helped push the show in a direction I wanted to go as a storyteller.”
Malatynska smiles when she recounts, “I often say the limitation is the gift, and this show took that to the nth degree! The goal was always to scale back on production resources and be as nimble as possible. John’s philosophy was all about creating this 270-degree field of view where the company could turn and shoot in any direction, very quickly. Our conversations in prep
would always end with John saying, ‘That sounds like a great plan, Anka, but I really just can’t wait to get to set and see what we discover!’”
Yaconelli, who directed Episodes 3, 8, 11, 13 and the finale, adds, “I have experience working on the water from my time on Animal Kingdom, but this show took water work to a completely different level. There were many times I was directing from the back of the Jet Ski and asking [the driver] to move close to the actors so I could talk with them, and then quickly having to move over to where Don King was to work with him. We had monitors in Otter Boxes, but if you stared too long at them you’d get motion sickness! We also had a floating dock anchored off-shore, and I could direct from there. But the Jet Skis were the fastest way to work on the water. Really it came down to having great storyboards, and trusting Don and Brian to get what we needed.”
King, whose skills in the ocean place him in a highly select group [ICG Magazine, Tunnel Vision, July 2011], says his goals in the water were much the same as Malatynska’s on land. “The style of the show was to be as intimate as possible with our hero lifeguards, while still showing a lot of their environment,” he describes. “Many TV shows I’ve done live in that tight close-up, and then go in for wider coverage. The beautiful part of this approach was that I was able to be really close with the actors in the water, but on a wider [prime] lens so we can see the danger around them.”
The wide-and-close approach also plays into King’s strengths as a DP/ operator. “Because,” as he adds, “if I’m not right there in the water I can’t truly see what’s going on. I was injured later on in the season – not related to the series – and that was a learning experience – and a bit frustrating. It’s hard to communicate with operators while they’re in the water, and you’re on a boat or the ski. It’s hard to convey the nuances of the shot you’re trying to achieve. Fortunately, I had great people like Dave Homcy and Vince Lucero to rely on when I couldn’t get in the water. Operating on the surface in the wave zone is a subspecialty of the underwater camera world, and it brings both challenges and rewards. It’s a dynamic environment, and if you do it
WATER UNIT DIRECTOR OF PHOTOGRAPHY DON KING (ABOVE) FOUND SHOOTING ACTORS WHO DO THEIR OWN STUNTS “REWARDING, BECAUSE YOU’RE NOT LIMITED IN YOUR MOVEMENT OR COVERAGE. YOU SEE THE EMOTION ON THE ACTOR’S FACE; YOU DON’T HAVE TO FAKE IT BY SHOOTING A PROFILE OR BEHIND A STUNT DOUBLE.”
right you can get beautiful results.”
Another unique aspect of shooting a TV series on the ocean is what King describes as “spending way too much time trying to capture a shot you’ve fallen in love with. For a show like this, where the water scenes are all about dramatic and intense rescue efforts, we’re looking to be in the most difficult environment we can find, often right in the impact zone, and get the scene in as few shots as possible. That’s why working with Loren [Yaconelli] was so great. She’s really good at making a judgment call of the shots we need, but even more importantly, not wasting time on the shots we don’t need. Loren’s worked in the water and knows it’s an environment where you just can’t control everything. What the ocean gives you is what you’re going to get.”
King and his team – including B-Camera Operator Lucero, 1st AC Will Wacha, Key Grip Alan Mozo and longtime Oahu-based Operator Homcy – used custom water housings from AquaTech and Water Housings Hawaii, a Hydroflex bag with remote FIZ control, and, thanks to Wacha and Mozo, always had cameras in multiple lens configurations ready to go. The footage they captured was highenergy, high-octane rescues, set in the ocean but sometimes bridging land and sea (as in Episode 2 when a teenage girl falls into a mountain stream and is swept all the way out to the ocean). The rescues involved multiple cameras, a full posse of Jet Skis, and pinpoint coordination to maintain a safe “set.”
Malatynska’s land footage, while also dynamic and fluid, more intimately traces the personal ups and downs of the lifeguards when they are out of the water. They include the station’s captain, Harlan “Sonny” Jennings (Robbie Magasiva); his experienced second-in-command Emily “Em” Wright (Arielle Kebbel); Emily’s one-time flame, now engaged to another woman, Will Ready (Adam Demos); single and always on the prowl Laka Hanohano (Kekoa Kekumano), and the two rookies vying to prove their worth – Hina (Zoe Cipres) and Kainalu (Alex Aiono). Shot all handheld by A-Camera Operator Ruben Carrillo (relieved occasionally by Homcy) and B-Camera Operator Villiaros, the land unit’s footage often feels more Wong Kar-Wai than action sports.
The strength of scenes like those in Episode 1, where Sonny walks along a path to visit a memorial for his deceased nephew (whose drowning haunts Sonny’s dreams), or a quiet conversation at the end of Episode 2, where Sonny and his teenage daughter talk about the nephew’s passing, rested on the shoulder (literally) of Carrillo and his roving camera. Born in Mexico to artist parents, Carrillo shot news in California in the mid-90s (covering the Northridge Earthquake and the O.J. Simpson trial) before moving to Hawaii. He started doing narrative work in 2010, day-playing on Hawaii Five-0, and says the large amount of handheld work on Rescue: HISurf played into his strengths of having shot sports and documentaries in Hawaii for more than 25 years.
“To get that intimate, raw feeling John and Anka
wanted, the camera had to be really close to the actors most of the time, and usually from that character’s perspective,” Carrillo recounts. “Anka chose the RED RAPTOR with Panavision VA Primes and Angénieux 15-40-millimeter, 30-76-millimeter, and 45-120-millimeter zooms, and I spent almost the whole season on the 35- and 50-millimeter primes, switching to the zooms for the action sequences.” Carrillo employed the RAPTOR in underslung low mode (nicknamed “Heavenly” by the crew), as he says it provided the most flexibility “from high to scraping-the-floor low,” he adds. “[Shooting underslung] allows me to really feel the action and highlight what I feel are the most important moments.”
For the Episode 1 scene, Carrillo saw a shot during a rehearsal that he pitched to Wells and Malatynska. “I wanted to walk in Low mode, slightly behind Sonny, and allow the backlit flowers to cross in between the two of us as he approached the memorial to place a lei for his nephew,” he continues. “Robbie Magasiva was dialed-in, with his emotion
and intensity driving the movement of my shot. Operating is like a dance, and this was one of those moments where the synergy between actor, camera location and light all flowed seamlessly.” Carrillo was the only camera covering the Episode 2 conversation with Sonny and his daughter. It was the beginning of the season when the show’s style was still new to him. “We were doing low-mode shots, and I had not acclimated to full-time hand-held,” he remembers. “But we all knew it was an important scene because it set up a lot of the understanding behind what drives Sonny’s behavior over the next several episodes.
As Wells and Malatynska wanted the camera framing and movement to bring the viewer deep into the scene, Carrillo says, “we ended up underslung hand-held at 80 millimeters in extreme close-ups. I remember my muscles burning and sweat dripping down my face because I hadn’t become accustomed to this amount of handheld work. I also don’t use any kind of support for the camera as it limits the amount of
flexibility I have in my range of movement. In my opinion, using a rig changes the movement and makes the hand-held feel slightly more mechanical.”
Carrillo heaps generous praise on his focus puller, 1st AC Nigel Nally, noting that “we had so many scenes shot on primes at T/1.4 and very close to the talent. It was a lot of shallow depth-of-field work, and both Nigel and [B-Camera 1st AC] Brandon [Ho] hung in there and nailed it. A lot of it is good communication so the AC knows what the operator is going to do. But there’s also an intuitiveness that develops as the season progresses. Pulling focus is one of the most difficult jobs on any set, and I have to give Nigel and Brandon huge props. They did an excellent job.”
Given the scaled-down production and Wells’ desire to have a full field of view in day locations, Malatynska’s lighting options were limited. “Ninety-five percent of the show was natural light, so it was mainly about having
ABOVE: DIRECTOR OF PHOTOGRAPHY ANKA MALATYNSKA (WITH A-CAMERA OPERATOR RUBEN CARRILLO) SAYS THAT "WHILE LOCAL KNOWLEDGE IS IMPORTANT, IT'S THE SKILL-LEVELS [OF HAWAIIBASED CREWS] THAT STANDS OUT – IT'S INCREDIBLY HIGH."
BELOW: B-CAMERA OPERATOR KILANI VILLIAROS SAYS BECAUSE THE ENTIRE SHOW WAS HANDHELD, BOTH SHE AND CARRILLO, “HAD TO FIND WAYS TO MAKE OUR SHOTS DYNAMIC WITHOUT A DOLLY OR STEADICAM.”
BELOW: SHOWRUNNER/WRITER MATT KESTER SAYS “RISK CAN ONLY BE MITIGATED, NOT ELIMINATED," WHEN SHOOTING IN THE OCEAN. “SO YOU NEED TO BE ABSOLUTELY RIGOROUS WHEN IT COMES TO SAFETY PROTOCOLS.”
ABOVE: WATER UNIT DIRECTOR BRIAN KEAULANA, DP DON KING, KEY GRIP ALLEN MOZO
“THIS IS AN ISLAND, AND THE PEOPLE YOU WORK WITH ARE YOUR NEIGHBORS.
CREWS HERE TAKE THAT TO HEART.”
DIRECTOR OF PHOTOGRAPHY
ANKA MALATYNSKA
latitude and bit depth that played a big part in allowing us to shoot these high-contrast scenes where the brightest and darkest areas of a shot were fairly extreme. There were definitely certain shots where we were in a dark interior setting and Anka asked me to avoid windows or white walls, and we would develop the shot around that.”
As Kester noted, one of the show’s biggest asks was maintaining continuity between land and water. In fact, the series opens with some intense water footage at a Pipeline packed with surfers, while a young Florida tourist stands on the sand with his board, preparing to surf one of the world’s most dangerous waves for the first time. Clearly shot on different days and times, it sets up the series’ most obvious visual obstacle –trying to seamlessly marry the water and land footage.
your rig off and grab another without losing any time. Loren and John also made sure the storyboards were dialed in so we could just look at a board and know: ‘This is the shot we need to get.’ Not having a board is like a game of telephone, and the intent gets lost in translation as word is passed down from Ski to Ski.”
the right approach to the light we had,” she describes. “Of course, when I’m working outside, I gravitate toward side and back light. If we have to use top or frontal light, it’s for the grittier scenes. But I also felt the need to protect our actresses – who were working without much make-up – by putting them in backlight whenever possible and keeping the interior light levels down. By episodes six, seven and eight, I sensed that FOX was okay with that approach – until I got a note around episode 11 that if we don’t want them to blow out the windows in post, I needed to pick up the ratios. [Laughs.] John always wanted us to try new things, so then I was like: ‘OK, we’ve tried the new things, now we need to find a balance with the old things.’”
Working on the North Shore in the winter, Malatynska goes on to explain, “means the sun is typically low, and you have this beautiful arc of light where the mountains are always backlit and the ocean is always front lit. We were only supposed to shoot through the spring, but with the added episodes we ended up going deep into the summer, when the ocean is backlit. More accurately, by 9 a.m. the sun is already overhead, and it’s top-light all day long. We’d try to go inside to counter that, but sometimes we had to embrace light that’s not flattering, as it was hard to avoid in July.”
Carrillo adds that “with the show’s all-day exteriors, and shooting mainly on primes, Anka was looking to capture a lot of nice flares. Artistically, the lens flares seemed to pair well with the North Shore vibe. Of course, modern digital sensors have a lot of
“Wind, clouds, sun, tide, waves –everything changes quickly in Hawaii,” Yaconelli explains, “so maintaining continuity is always going to be a challenge. That’s why working with the storyboard artist to have a clear idea of what’s needed is so important. You can’t schedule for the weather, and both Anka and Don were pretty good sports in that respect. The best you can hope for is it will be cloudy on both days you’re in a scene, and then it will look great, or you hope it’s sunny for the underwater work so the light streams through. We had days on the North Shore with rain, and if it wasn’t too heavy, we’d keep shooting.”
Malatynska says she knew her work would need to mesh with acquired footage, i.e., heavy surfing action/wipeouts at Pipeline. “Originally, I had planned to use the Panavision DXL because I thought that sensor would be a bit more forgiving with all the natural daylight,” she recounts. “But I knew Don had designed custom housings for the RAPTOR for his water footage, and it was a much lighter rig when put together than the DXL, so that became the choice moving forward. I wanted to shoot everything at 8K even though FOX’s deliverables are 4K, and we ended up with a baseline of 5K. I would sometimes expand the functionality of the Panavision primes by going to 8K to get a wider field of view. We’d still process at 4K, but doing that sort of expanded my prime set – using a 24 millimeter at 8K instead of a 21 millimeter helped smooth things out because every shot is moving.”
In the water, Homcy says the commitment (by Wells and Yaconelli) to have “more people working to make things run smoothly was impressive. We had two cameras every day I was there,” he describes, “and a third camera as a back-up body so you could literally drop
Homcy references a water scene, with Kebbel doing her own stunt, that had surprising benefits. “I shot a cave rescue scene where Arielle comes down to rescue a free diver – a stunt player – who’s gotten trapped,” he recounts. “The stunt diver was on a two-minute breath-hold, and I was on scuba tucked way back into the cave. Arielle dove down, struggled to free the diver, and bumped her head on the top of the cave as she was pulling him loose. She reacted on camera and it was all real. I was worried the head bump would be an issue, but she did four more takes and killed them all! And it’s her face and her reaction to the environment that I got in full close-up, in a cave, in the ocean.”
King shares a similar feeling about shooting actors who do their own stunts. “It’s rewarding,” he states, “because you’re not limited in your movement or coverage. You see the emotion on the actor’s face, and the action they’re doing in the water, and you don’t have to fake it by shooting a profile or behind a stunt double. Of course, the actors all varied in their abilities. Kekoa [Laka] is a lifeguard here in Hawaii, so he looked great on camera during all the rescues. Some of the others took more time and grew more comfortable as the season progressed. Brian and the stunt team would provide added training on their days off, and that added a lot to the show. Robbie [Sonny] set the tone, as he would come down on his day off, train on the Jet Ski, watch what we were doing, and demonstrate a commitment that, I’m sure, inspired the entire cast.”
Of course, even with the world’s best water team, “the ocean is,” as Kester points out, “not a safe environment. You need to be absolutely rigorous when it comes to safety protocols,” he insists. “And, thankfully, Brian Keaulana is the best in the world when it comes to shooting in the water. His entire career, post-lifeguard, has been devoted to ocean and big-wave safety; he pioneered the use of Jet Skis in the line-up. For every shot where you see one or two picture Jet Skis, there’s a flotilla of Jet Skis behind that, followed by a marine safety boat.” Kester praises the show’s water operators. “Don King, Dave Homcy, Vince Lucero and Alan
Mozo are so comfortable in large, dangerous surf,” he adds. “In many ways, they’re also part of the safety crew. They’re able to keep our actors and the rest of our crew calm because they’ve encountered every situation imaginable.”
Homcy agrees, noting that “there was a 100 percent effort to make sure the water unit was supported, right down to special FX having hot tubs on the beach after we came out. There were days you’d spend 10 hours in the water, and even wearing a full suit, you’d come out cold and beat. But with Brian Keaulana, you know you’ve got the best of the best always watching your back, so I never worried about being safe on this show. They never compromised, in any way.”
King says having “one of the top lifeguards in the world running the water unit for a show about lifeguards is pretty cool. Brian’s philosophy, and I share it, is that you can only manage risk in the ocean, not eliminate it. That means reducing as many distractions as possible, scaling down the crew to the most experienced people, and being aware of what’s happening around you at all times. With the right protocols,
we can create what looks like a dangerous situation that’s actually very safe.”
Yaconelli notes that “this was 19 episodes of a network TV series where not a single gun was fired and no violence, other than the occasional fistfight. The big rescue in episode three [with two kayakers stuck on a reef as waves pour in and the lifeguards have to swim them out] was so memorable for me because it was my first time in the water with this incredible team.
The footage Don got looks really dangerous, but we were literally a dozen feet away from the actors, working in this keyhole that felt completely safe.” Yaconelli also points to a drone [implemented by Brian Keaulana], that was employed every day overhead for shark safety. “Not only did it keep our water team safe, but one day the drone spotted a tiger shark near some swimmers, none of whom were connected to our production. Within moments, four of our Jet Skis were racing out to have them clear the area.”
Such real-life rescues were not uncommon. Malatynska recounts the team shooting a scene at Three Tables (between Waimea Bay and Sharks Cove on the North
Shore) “and our set lifeguard ended up saving a snorkeler.” There was also an incident where “a beginning surfer began flailing for help, and Robbie, who was in his lifeguard wardrobe, started directing him to safety,” she adds. “Arielle was first on the scene to a motorcycle accident, and used all the training Brian and his team had provided to calm the guy down until EMS showed up on the scene. It was crazy how many actual rescues our company ended up participating in during this show.”
Safety was also a priority out of the water – North Shore sand is notoriously heavy, making the potential for injury (particularly for a camera operator working long, hand-held days) ever-present. As Carrillo describes: “Working on the North Shore of Oahu in the sun and running through deep sand all day is physically exhausting, but having the support of a great camera team and dolly grip helps tremendously. There were days when I was tracking a lifeguard who was racing down the beach on a quad, while I was shooting from a quad, and then
we would both jump off mid-shot and race on foot to continue the rescue. The adrenaline I get from getting to do my job in these circumstances usually surpasses the amount of fatigue that comes from shooting them. And our EP’s would always offer rooms at the end of the day if I was too tired to drive home, which speaks to the show’s high regard for safety.”
Keeping safety top of mind not only comes from working regularly in unpredictable terrain, it’s also a habit practiced by crews fully dedicated to their craft – and their fellow members. As Yaconelli recounts: “I had one scene that ran five pages, and we played it as one connected scene. Ruben hung in there take after take, the camera always on his shoulder, and did an incredible job. Kilani came up day-playing on NCIS, and this was her opportunity to be a full-time B-Camera Operator. I pushed for her because I don’t see enough female operators, and I felt like she could step up to the position, and she did a great job. A big part of capturing the North Shore community was the vignettes and transitions in each episode, and we would just send Kilani out to find that footage. What
she came back with was unique and special –she brought a lot of value to this show.”
As Malatynska describes: “Hawaii is not a place that’s 15 crews deep. Producers need to come in with a great deal of respect. If you mistreat people or compromise safety in any way, you’re going to have problems.”
Malatynska adds that while “local knowledge is obviously super important, given all the challenging location work, I also think people don’t realize how incredibly high are the skill levels of the union members. We were able to pull the show together with a fully local crew, and that was a big part of what Matt and John wanted to do with this show. There’s also a level of personal respect that’s different from other places I’ve worked. This is an island, and the people you work with are your neighbors. Crews here take that to heart.”
Malatynska, who gave up her non-local status after leaving NCIS, says being a local DP in Hawaii and hiring an all-local crew is much different than “a DP who comes in from the mainland, has the UPM or line producer hire everyone, and then leaves after the shoot is over. There’s not the same
level of connection. I leaned on our key 1st AC Nigel Nally, whom I'd worked with on I Know What You Did Last Summer, to put together our crew. I knew how great he was from that experience and always thought if I get a show based here, he would be the first one I look to for help.”
King, who describes Rescue: HI-Surf as the crown jewel in a career already overflowing with quality experiences, says Director Wells and Showrunner Kester “set a very positive tone from day one, and when it comes from the top like that, everyone buys in. They gave us seven months to hone our techniques and take things to a higher level than we ever had and do it on a regular basis.
“I’m so proud of the ICG members that live and work in Hawaii,” King concludes. “It’s not just knowing every part of these islands; the quality of work and the efficiency is world-class. I’m lucky in that I get to travel and work with different camera teams, and everyone is really good – the standards in the industry are very high. But as far as I’m concerned, the Hawaii guys are at the top. Besides their versatility, it’s their great attitudes. The crews here are special.”
A-CAMERA OPERATOR RUBEN CARRILLO (OPPOSITE) SAYS RUNNING THROUGH THE DEEP SAND O N THE NORTH SHORE ALL DAY "IS PHYSICALLY EXHAUSTING, BUT HAVING THE SUPPORT OF A GREAT CAMERA TEAM AND DOLLY GRIP HELPS TREMENDOUSLY. OUR EP’S WOULD ALWAYS OFFER ROOMS AT THE END OF THE DAY IF I WAS TOO TIRED TO DRIVE HOME, WHICH SPEAKS TO THE SHOW’S HIGH REGARD FOR SAFETY.”
LOCAL 600 CREW
Director of Photography
Anka Malatynska
A-Camera Operator
Ruben Carrillo
A-Camera 1st AC
Nigel Nally
A-Camera 2nd AC
Kanoa Dahlin
B-Camera Operator
Kilani Villiaros
B-Camera 1st AC
Brandon Ho
B-Camera 2nd AC
Geoff Lau
Loader
Blane Eguchi
Digital Utilities
Kristina “Zaz” ZaZueta
Kino Carrillo
Craig Sakai
Still Photographer
Zack Dougan
WATER UNIT
Director of Photography
Don King
Camera Operator
Dave Homcy
A-Camera 1st AC
Will Wacha
A-Camera 2nd AC
Jeff Makarauskas
B-Camera 1st AC
Tom Haley
B-Camera 2nd AC
Bailey Nagy
Loader
Josh Trotter
Additional 2nd AC
Keoki Saguibo
Lawrence Sher, ASC, and director Todd Phillips continue the tale of Gotham’s most misunderstood comic, this time around joined by the “love of his life.”
BY KEVIN H. MARTIN
PHOTOS BY NIKO TAVERNISE / WARNER BROS. FRAMEGRABS COURTESY OF WARNER BROS.
Director Todd Phillips’ 2019 film Joker was considered something of an experiment while in development, and even throughout production. Trading on the established DC Comics branding, it dared to deliver a new version of the classic villain, Joker (Joaquin Phoenix) that dispensed with his usual nemesis role and dared to humanize Arthur Fleck, the failed comedian behind the mask. The film, scripted by Phillips and Scott Silver, depicted a vision of Gotham that felt like a part of America’s past, with era-appropriate movie titles on city marquees, minus the usual Gothic architectural trappings that had characterized previous Batman films. Genuflecting in the direction of such Martin Scorsese classics as Taxi Driver (shot by Michael Chapman, ASC) and The King of Comedy (shot by Fred Schuler, ASC), Joker mixed pathos, horror and black comedy often within the same scene, becoming the first R-rated movie to make over a billion dollars worldwide, and winning an Oscar in the process.
Mounting a follow-up was not a foregone conclusion for Phillips, so Warner Bros. fall release, Joker: Folie À Deux , represents another bold departure from the comic IP. “We weren’t ever thinking of reining things in to make it more of a traditional comic villain story,” the four-time-Oscarnominated filmmaker describes. “And this film picks right up from the first one. We had a free hand creatively because Warner had a regime change between the two movies, so we kind of skated by without having a spotlight shined on us. It was, ‘They did one Joker movie; they know what they’re doing,’ which was fine with me. The budget increase gave us more time on set to shoot, and if need be, reshoot.”
For Joker: Folie À Deux, Phillips continues his lengthy association with Director of Photography Lawrence Sher, ASC, dating back to the 2009 comedic hit The Hangover. Sher had also shot features ranging in scale from indie hit Kissing Jessica Stein to Godzilla: King of the Monsters. Sher says this new film is “a continued exploration of Joker/Arthur’s psyche. A significant amount of the action occurs in just two locations: Arkham Asylum and a courthouse. Plus, there are aspects involving fantasy, including diegetic singing, which are the movie’s three key elements.
“This idea of the shadow self within
Arthur – or within ourselves, for that matter – and how it is pushed away or embraced, is the core of our exploration,” Sher continues. “At the heart of this film is a love story with Harley Quinn [Lady Gaga], showing a connection that Arthur – or at least Joker –never had. The first film revealed his desire for connection, with the world and his neighbor, but this time something develops, albeit in a complex fashion. When we did the first movie, I remember Joaquin saying, ‘I wish this shoot would never end.’ And I thought then, they’re going to come back to this. But now Arthur is the most famous inmate in Arkham, and they’ve made a TV movie about him seen by everyone, so he is a genuine celebrity. Of course, having a big spotlight is never good when dealing with prison guards who are trying to put the inmates in their places.”
Phillips notes that Sher’s ability to capture Phoenix’s spontaneity in the first film is among the traits he most relishes in a director of photography. “Larry’s ability to react in the moment is something I saw in him early on in our collaboration, during the comedies,” Phillips notes. “Larry liked to capture all the chaos, and it wasn’t a matter of, ‘Hey stop, now we’ll move over there.’ He liked to light and design for 360 degrees so that Zack Galifianakis or Robert Downey Jr. in Due Date or Joaquin in Joker weren’t ever limited by logistics.”
Sher adds that he and Phillips made it a point in Joker: Folie À Deux to shoot every scene top-to-bottom. “Even if the scene was intended to be presented in a final form with lots of cuts,” Sher describes, “we still tried to do it as one sustained shot. The fluidity for that requires 360-degree environments lit from within and outside the windows. That is the case for most of the film, except when we go into – and I hate to even call them this – the musical numbers. They’re really moments of diegetic singing. All That Jazz was my main reference because I had to think of a movie that felt like a tonal mirror. That film has the grit of a New York movie and an energy of desperation with this man at odds with himself. And it all felt authentic, instead of the musical tradition of leaving reality behind.”
The Frederick Wiseman documentary
Titicut Follies (1967), about a Massachusetts mental hospital, was another touchstone. “It was incredibly sad but also wonderful, with these weird guards, and presenting a very different way to treat mental patients,” Sher continues. “References like these form an interesting basis for many of my conversations with department heads as well as my key grip and camera department members. The references may not even be evident in the final product, but they serve their purpose, even just as a leaping-off point.”
Sher notes that while One From the Heart (shot by Vittorio Storaro, ASC, AIC) wasn’t a specific reference, “it did come up because Coppola built Las Vegas on stage –even the exteriors,” he marvels. “Our film is very stage-heavy, and Storaro’s use of color mirrors my own interests. A film like that might come up while driving in a location van, like, ‘Have any of you guys seen One From the Heart recently?’ Just bringing it up got the conversation going. The idea of Arthur expressing himself through music and dance was always present; we just take it a bit further this time. When he meets [Harley Quinn] in music class, it introduces sunlight into his world. So this stunted, dead-inside man starts coming back to life, even despite the threat of being put to death, which are the stakes with his trial.”
A-Camera 1st AC Gregory Irwin, who has worked with Sher for more than two decades, says the DP always has a firm idea of what he wants. “What I love about [Sher] is that he leaves the matter of execution up to me,” Irwin elaborates. “We shot ALEXA 65, and getting lenses to cover that large format is always an issue. Not that there aren’t lenses designed to do that, but those aren’t necessarily the right lenses for us. So, our preps run six to eight weeks, and the majority of that time is spent on glass that is very close focus so we can get down to eight inches when need be and fast [in speed.]
“This means we have to take a lot of existing lenses and rebuild them to create sets that work for our needs,” Irwin adds. “We wound up going through 200 to 400, combining different makes and models, but
“LARRY’S ABILITY TO REACT IN THE MOMENT IS SOMETHING I SAW IN HIM EARLY ON IN OUR COLLABORATION, DURING THE COMEDIES.”
they match. We went through ARRI Rental on the first film, but this time out, Dan Lopez, the main lens guy at Otto Nemenz, was instrumental in our lens assembly process. We needed light lenses to offset the weight of the camera body, and tried to keep the camera stripped-down to whatever degree was possible.”
Sher shot 80 percent of the movie on just a few focal lengths.
“There’s a Nikkor 58-millimeter 1.2 lens that goes down to something like 10-inch focus,” he notes. “We used that in nearly every scene. There was also a 90-millimeter Leica and a 50-millimeter Hasselblad, plus a 35-millimeter and occasionally a 21-millimeter.” One major difference from the first Joker was the decision to shoot with IMAX in mind. As Sher continues: “We were framing for 2.20, 1.90 and 1.43 for Super IMAX or whatever the branding is on those forty theaters like Lincoln Square and Universal City Walk. When you pop out from 2.20 to 1.43, it creates as immersive an experience as possible.”
The film’s emphasis on Arthur’s interior thoughts was reflected in the decision to focus on stage versus location. “Close to 95 percent of the movie was done on stage at Warner and Universal,” states Production Designer Mark Friedberg [ Exposure , page 22], “although a few important scenes and connective material were filmed in New York. I try to make my sets complete enough to be their own world, which allows [Sher] to aim the camera in any direction. Since Larry wanted to use a Technocrane inside, that meant wilding walls was a given. Our close collaboration extended into designing lighting, both outside the sets and built-in. In the first film, most scenes were lit by practical light, but that was done by the
electrical department, which transformed movie lights into period fixtures. Things have changed in this LED universe, and we can get a huge volume of light, but we still wanted to maintain a kind of source-ness.”
Chief Lighting Technician Rafael Sanchez assembled a lighting package that allowed for shooting in normal environments as well as theatrical/fantasy moments. “The art department and our set decorator chose period fixtures, and then we’d find LED’s that could fit inside,” Sanchez describes. “That gave us a lot of creative options in terms of color temperature, and also let us balance with what came in from outside.”
The heart and soul of both movies is Joaquin Phoenix, whose creative contributions were channeled by Phillips through frequent discussions. As the director shares: “It’s not that I’m surprised by what Joaquin does – I mean, he and I talk about this a lot. But Larry is often surprised, and the crew is definitely surprised by some of his choices. There are always those ‘Where did that come from?’ moments. But that kind of excitement is what you get from good actors who are reactive to what you’ve written. They embody the text, then add to it in ways you can’t imagine. It’s in Joaquin’s blood to be spontaneous, so we surround and support him with help from all departments.”
That support took the form of a “jazz style” of shooting. Or as Irwin relates, “We don’t really do a rehearsal. We have an idea of what Joaquin is going to do and an understanding of the story points. But beyond that, each take involves a lot of discovery and exploration. I’m watching and reacting in real time with my focus-
DIRECTOR TODD PHILLIPS
pulling. It’s like playing jazz, and it affords us something that goes beyond what is seen in the previs and storyboards. An actor zigs one way, the camera zags another way, and the scene unfolds in a different and possibly better way. Sometimes brilliance emerges; other times it might not be the right fit. But it’d be foolish not to take advantage of the potential gains with such occurrences.”
With Sher’s regular A-Camera Operator Geoff Haley, SOC (who did the first Joker ), on another project, Colin Anderson, SOC stepped into that role. “More often than not I was on the dolly,” Anderson recounts. “And Larry operated B-Camera [aided by 1st AC Cheli Clayton-Samaras], which was where a lot of the improv came in. Larry occasionally would encroach on my shot, but it was all good owing to his facility with the crane. We’d often get shots that were otherwise impossible, using a 45-foot telescoping Scorpio with a Matrix head. A-Camera Dolly Grip John Mang was on the bucket, with crane operator Jason Talbot on the pickle. Those two – and I don’t say this lightly –are the very best at what they do in the whole world. It was extraordinary to watch them work without rehearsal, executing complicated crane moves that flew over our heads and went down through narrow passages.”
Sher adds that he never planned the shot beyond the initial lighting. “I’d know where [Gaga] and Joaquin were going to be and where the action effectively takes place, but at ‘action’ we start moving in real time while using these Riedel Bolero headsets that let me talk to the crane operator, dolly grip dimmer board operator and focus pullers. The combination of Jason and John made the crane work like Steadicam, but I could also go 25 feet in the air or drop down to the deck, or push through people or between chairs. We also put the Matrix head on a dolly so Mang could operate it like a Steadicam. That afforded Todd and me the freedom to keep things moving and to do something different every take.”
This free-form approach took some getting used to.
“At first it was disconcerting,” Sher allows. “Do I start on him? Do I push in on this line? I honestly often would not know. I had my headphones on really loud and let everyone know where we wanted to go as the scene progressed. It was like I had these incredible musicians around me and I was conducting a piece without any sheet music.
“And when the music did come in,” he continues, “we didn’t have a sudden change in style, like the way you’d always have in musicals with waves coming in on the left
and then the other side in synchronization. It wasn’t about choreographing dozens of people; it was a moment of comedy or drama that just happened to have singing instead of talking. The discovery that happens in real-time when the camera is in a different place and looking at things with a fresh perspective is astonishing; we mixed the lack of control from documentary filmmaking with the tech toolset that Scorpio cranes and all these other tools provide.”
Shooting was largely low-light, r anging from T/1.3 to T/2. “With shallow focus, the reaction usually has to be very quick, and you generally try to keep the eyes sharp rather than the ears,” Irwin notes. “Fortunately with the advent of digital, I’m sitting comfortably with a high-def monitor in front of me and the Preston remote-focus system at hand. I don’t have to constantly think, ‘Is he four feet away, or only three foot, 11 inches?’ If there is a mistake, I can correct it very quickly. In wider shots, you have to make more real-time decisions than in close-ups, because while they’re playing dialogue, you’re introducing visual story elements. Because of the jazz approach, those elements might be foregrounded at first, but in another take, they could fall into the distance, or we could change emphasis by racking focus to an in-frame prop.
“And with a camera operator like Colin, who is often reaching for a story point, I’m going to support that move as best I can,” Irwin adds. “There were times when Colin saw me going for a rack, and he’d tilt or pan subtly to support my move. That trust factor with partners makes all the difference; it allows you to capture something beyond expectation. And the process extends to the actors. Joaquin might make a move that suggests something for me, and it is a tenthof-a-second opportunity. Focus pulling has become a creative process rather than a technical one. And that makes for a joyous work experience.”
The improvisational aspect also affected the musical sequences.
Or as Phillips notes: “The music aspect is the very factor that could have changed the way things were done. When you have to deal with playback, that imposes a lot of restrictions, and so the thought might be, ‘Now you have to calm down and make this movie like a serious person.’ But we came up with a new way where we had people sing live. In most movies, people are matched to a prerecorded track. That would have been too predetermined for Joaquin. So we had a piano player on set in a soundproof booth,
playing into either Joaquin or Gaga’s ear.”
The wow factor came with the idea to have the piano player follow the actors’ performances, rather than leading them. “That meant Joaquin’s tempo might change between takes, letting him stay fresh and not feel like he had to do something eighteen times the same way,” Phillips adds, “because that’s the death of any actor, especially Joaquin. Gaga hadn’t ever done it this way, either, but she’s a genius and was [like], ‘Sure, okay, I’ll do it like that,’ and nailed it. The changing of tempos did introduce problems for my editor, composer and playback mixer, Jason Stasium. But that got solved by retrofitting the music to fit the changing tempos.”
Sher says there is one section of the film that hews more toward a traditional musical sequence. “In the vernacular, it would be the ‘11 o’clock number,’ he explains, “and while it is broken up to appear in different parts of the movie, it has Joker and Harley dancing on a rooftop under a large ‘Hotel Arkham’ sign. There is a practical starfield background and painted cutout buildings evoking Gotham behind, plus a huge, nine-foot moon. Every time we shot that rooftop dance, we started with the camera in a different place. [Lighting Console Programmer] Bryan [Booth] and Raffi could respond to my in-the-moment verbal cues, so as I pushed in, the moon or stars could get illuminated further, or the light color could shift to warm things up or cool them. The other great part of this approach is that if Todd didn’t like something, there was no downtime reprogramming a cue, and we could go to the next take. So, during pre-lighting, we’d spend our time trying to create as many options as possible so we knew which groups of lights would be tied together. That way we could present him with multiple lighting choices before shooting.”
“We were deliberately theatrical with the approach,” acknowledges Friedberg, “because the rooftop set is truly a fantasy, differing from the mostly hyperreal approach elsewhere. We wanted that setting to feel like a dream of a place more than an actual one. Instead of using photographic processes for our backgrounds, we employed some of the last great scenic painters in California.”
Another fantasy bit was dubbed “The Joker and Harley Show,” and visualized in a style similar to the 1960s Sonny and Cher Show . “The production design element featured painted backgrounds and a chapel with a lit-up walkway on Warner Bros.’ big
“TODD ALWAYS TAKES BIG SWINGS AND THIS ONE IS DEFINITELY PROOF OF THAT, OFFERING AN EXCITING WAY TO EXTEND THIS CHARACTER AND STORY.”
Stage 16 [see Exposure, page 22],” Sher notes. “Harley is all in white and Joker wears a white suit, contrasting with a reflective black floor. The sun setting in the distance was handled mechanically, like an old Broadway show.”
Sanchez found the TV show lampoon to be a fun departure. “Any practicals visible in frame had to be period lamps appropriate for a television studio,” he relates. “Then we had LED’s off-camera augmenting the practicals that further emphasized the desired color choices. We’d sometimes need to go to a strong primary color or a heavy cyan look on these fantasy scenes. Bryan [Booth] is a great partner, game for any suggestion Larry or Todd might make, and he was right there with us at the DIT station during shooting.”
Arthur’s trial is described in the press as “the trial of the century,” and it’s covered by live TV cameras. Irwin explains that “the courtroom cameras were something we started work on during camera prep. We wanted the ability to use the views from these broadcast cameras in the movie, which was similar to ‘The Murray Franklin Show’ in the first film. On that we had ALEXA Minis built into vintage broadcast pedestal cameras. We took that to a new level this time, placing RED Komodos inside the broadcast shells. My wonderful AC, Jared Jordan, took the lead on that, making sure these museum cameras were returned in the same condition as when we received them. In the interim, we put in new machine plates to support the Komodos, which could use long zoom lenses to cover from wide to close-up on this very large set. Our friends at Otto Nemenz were instrumental in helping us achieve this, with aid from their
machine shops and technical guidance throughout.” Local 600 operators, decked out in full wardrobes, after undergoing hair and makeup, operated the cameras during the scene.
“We had a variety of looks for the courtroom, ranging from sunny to overcast,” Sanchez describes. “There were practicals built in, plus all the exterior sunlight effects coming in through windows. For the daylight, there were bigger lights outside to give us that return energy inherent in a large source, when the light strikes the floor then bounces up and off the wall. We used a new MBS head, the Vulcan 18K PAR remote head, that let us go back and pick up exactly where we had been before, owing to the tech inside it that tells it exactly what space it inhabits. Inside the courtroom was all LED, with tops of units in the top part of the set on a truss with motors that let us lower or raise, depending on the camera view. When shots moved around the actors, there were crossfades to avoid bad shadows turning up.”
Arthur makes an impassioned closing statement on his own behalf, which Anderson captured on Steadicam. “There was other coverage, but we did this eightminute, 11-second scene three times in single takes,” he states. “There were a lot of intricate moves, including a pair of 360s and several 180s, and it ends with me going into a crouch-and-hold as he sits down. With the camera as heavy as it is, you feel the rewards after it is done; you really know you’ve accomplished something.”
The New York location work that concluded live-action was nearly all exteriors. “We did a lot of LED replacement on streetlights,” Sanchez shares. “In the
Arkham Asylum yard, we used a lot of tungsten, putting PAR globes inside Cobra heads. There was Xenon for searchlights, which were handled by human operators; and when simulating a fire effect, we had a lot of Vortex units. I found the team in New York to be a terrifically talented group, which was a nice way to end things, as well as shooting in New York being something on my bucket list.”
The film’s limited exteriors included aerial views by 2nd Unit Director of Photography Hans Bjerno, who shot plates of New York and San Francisco that were blended invisibly together to show the geographical relationship between Gotham and Arkham Asylum. “Even though we weren’t a big tentpole, we still used a lot of VFX,” Phillips explains. “A lot of the work on Downtown Gotham is there to make the city feel cavernous. Personally, I wouldn’t know how to do a film with VFX on the traditional comic book movie scale. Then again, we already have got the greatest effect, since we have Joaquin Phoenix!” Like its predecessor, Joker: Folie À Deux underwent its DI at Company 3 under the eye of supervising finishing artist Jill Bogdanowicz.
“Todd and I had done sequels together before with the Hangover movies,” Sher concludes, “but we never fell into the trap of taking the path of least resistance and just giving what is expected. Todd always takes big swings and this one is definitely proof of that, offering an exciting way to extend this character and story. I can’t think of anyone else who would make the kinds of decisions Todd was able to make, and then deliver something that feels so utterly unique. I love that.”
LAWRENCE SHER, ASC
LOCAL 600 CREW
Director of Photography
Lawrence Sher, ASC
A-Camera Operator
Colin Anderson, SOC
A-Camera 1st AC
Greg Irwin
Additional 1st AC
Jared Jordan
A-Camera 2nd AC
Jamie Pair
B-Camera 1st AC
Cheli Clayton Samaras
B-Camera 2nd AC
Jerry Patton
C-Camera Operator
Janice Min, SOC
C-Camera 1st AC
Chris Toll
C-Camera 2nd AC Robin
BY MARGOT LESTER
PHOTOS COURTESY OF THE SUBJECTS
“Solve a problem for yourself and others will want it too,” declares Tyler Goeckner-Zoeller, DIT and inventor of the TK Cover. “I take pride in keeping my DIT cart as clean as possible, but one item on my cart would never get clean: my Element Tk color panel,” he recalls. “The rubbery surface collects dust and is hard to clean. I also heard that over time the rubber surface breaks down and can become sticky.” Yuck! So he grabbed some vinyl, commandeered his motherin-law’s Cricut machine, and custom-cut a cover. “You need to be very precise, and it took more hours to get right than I expected, but not as much time as other product developers!”
Today his covers are available in multiple colors and patterns for most Element and Stream Deck panels. “Getting the first sale was pretty exciting,” he states. “Because it means someone else has the same problem.” In addition to U.S. sales, Goeckner-Zoeller also gets orders from Canada and the U.K. “Having people ask me about it and where they can get it, and seeing people with it on their carts at preps, is pretty cool.”
Like iPad covers and ePencil tips, TK covers are a simple but elegant solution to annoying everyday problems. They may not lead to great leaps forward, but they make life better in very tangible ways.
“Even small problems have solutions,” GoecknerZoeller concludes. “Find yours.”
“I love efficiency – maybe too much at times,” laughs Operator Justin Browne, founder of JB Steadicam. “The transfers between Steadicam and Studio mode were anything but efficient. I saw how much time was being wasted and I knew there was a better way.”
Hence, Browne developed the SOS (Steadicam on Sticks) Plate in 2012 to help facilitate rapid transfer. “After we created version 1.0, I thought I had the perfect product. How wrong I was!” he admits. “At first when I was given advice or suggestions, I wanted to dismiss them. I quickly realized that was a fool’s mentality. I had to embrace suggestions.”
Using feedback from peers and colleagues, Browne spent five years iterating the plate. That, coupled with his extensive onset experience and input from expert machinists Mark Wheeler and Sal Gonzales, made the product viable. Or as Browne insists: “Without [Wheeler and Gonzalez], I would just be a Steadicam operator with a good idea.”
The current version delivers dual benefits.
“Transfer time was cut tenfold, and switching between modes became a nonissue,” he notes. “Now, productions, DP’s, and directors won’t mind you throwing the camera on sticks because it only takes 60 seconds, not 10 minutes. But most importantly, it saves operators’ bodies and backs.”
Browne says he’s a true believer in self-inspired innovation.
“I originally made five SOS Plates for my Steadicam friends who were frustrated with Steadisticks – standing there in the rig not moving,” he explains. “Little did I know at the time how big a problem this really was. I just sold my 900th SOS Plate, proof that ‘my’ issue was actually an ‘all of us’ issue.”
SOS PLATE
STEADI-TO-STUDIO CONVERTER
$485
JBSTEADICAM.COM
“Pure frustration” was Kelly Simpson’s inspiration for the MyGoGear product line. “When I was a camera trainee, AC’s were using a mishmash of bags from other industries,” the camera assistant recalls. “The repurposed bags didn’t make sense for what we did. We needed mission-specific designs.”
MYGOGEAR
In 1999, Simpson started making purpose-built bags for herself. “It was never my intention to start a business, but other film workers would see my bags on set and ask me how they could get one. Organic interest from the field was what encouraged me,” she adds. “But there were many times I wanted to throw in the towel. Continually asking myself, ‘What is the next indicated action?’ is the antidote to overwhelm and helps keep me on task.”
In 2016, Simpson emptied her bank accounts to produce 100 of each design. She manufactures in small batches to respond to user feedback. Every detail is thought-through and set-tested to function on a master level in any weather. “This gear would not exist without the core group of craftspeople whose stitchery translate my napkin sketches into finished, high-quality products,” she says.
“It was risky and humbling; moving from boutique to these kinds of numbers was a huge gamble,” Simpson adds. “But it’s worked out! I’m very proud that the MyGoGear collection has earned the trust and loyalty of film pros worldwide. MacGyver-like inventions born on set from hardearned wisdom are special. Design, re-design, prototype, test, re-design, repeat, repeat again. Then take the leap.”
“Almost everyone in the industry at one time or another has tried to use in-camera WiFi, and most of those people have been frustrated by how poorly it works,” observes Local 600 DIT Curtis Abbott, who co-founded Bit Part with fellow DIT’s Ian Edwards and Damon Meledones to improve on off-theshelf hardware. “We set out to create a simple solution that doesn’t require the knowledge of a network engineer nor a ton of hardware deployed on set,” Abbott describes.
The bitbox, fabricated in the U.S., plugs right into the camera or tablet (see ya, dongles!) and uses the existing network to cover ultra-long ranges, saving cinematographers, DIT’s and AC’s time, money and effort throughout the production. The founders are committed to sustainable manufacturing and fair labor practices in production, manufacturing, and day-to-day operations.
Sounds simple, yet Abbott says building hardware was anything but.
“Things took a little longer than we thought,” he explains. “It was like having a second full-time job. You need to consider the scope of what you’re trying to do because every little thing you add will either add complexity or time, or in the worst cases, both. It was exhausting and incredibly exciting, and of course, all of the pieces came together just under the wire.”
The trio got a lot of support from NAB’s PropelME startup program, which provides multiple forms of support for earlystage companies in broadcast, media and entertainment. “We can’t say enough good things about that program – and we really hope other small camera-related startups leverage it as a valuable opportunity to get on the show floor,” adds Abbott.
Sometimes, too much time on your hands can be a good thing. And, during the COVID lockdown, 2nd AC Chris Metcalf passed the days crafting cable ties he would later prototype and iterate with others while working the overnight on Big Brother. “I’ve had a few hiccups along the way and still have a lot to learn – but that is part of growth,” Metcalf reflects.
METCALF NOODLES
He spent nearly a year tweaking and perfecting prototypes before Metcalf Noodles officially hit the market, in February 2021. “I still remember launching the announcement video from my cozy hotel room in Lake Tahoe, where I was stuck in a mandatory five-day quarantine before diving into a new show,” he adds. “Ah, the good old days of quarantine life, right?”
The stylized 3-, 6- and 13-inch cable wraps come in different hues, including traditional camera-labeling colors, sports team or brand colors. “Sure, there are similar products out there, but with Metcalf Noodles, you get a unique, personalized touch,” he explains. “The vibrant, customizable colors make your cables stand out and make it a breeze to identify your gear.”
A key takeaway from the experience is the pride of having something of one’s own.
“On set, I’m just a humble AC, helping others achieve their dreams, not my own,” Metcalf concludes. “But with Metcalf Noodles, it’s different – my name is literally attached to it. I have the freedom to make all of the business and creative decisions and can build this brand up in whatever ways I choose.”
An avid e-bike rider, 1st AC Jason Knoll thought that technology would be great on his cart, so he partnered with DP/Operator Jeremy Mackie to design and build a motorized kit system to help crew members navigate sets and location moves without exhausting and dangerous pushes.
“We started tinkering with electric motors and carts in 2020 and committed to starting the business in 2021,” Knoll recalls. “The first rush of designing thrilled us, but we learned there’s a big difference between having the idea and executing it to a professional level.”
For Knoll and Mackie, that meant details like sourcing electronic parts and connectors and learning advanced soldering and motor-control systems. The offset fork forced them to learn CAD design, too, since manufacturers provide support for low-volume companies. They dove into courses on business management and finance, evaluated shipping management programs, and undertook website and graphic design. The final product was unveiled at Cine Gear 2021.
“The work continues after the debut,” Mackie shares. “Learning how to appreciate and manage that there’s no definite end point to product development, finding grace and time to know when to push and when to hold back and consider improvements have been some of the biggest lessons. You have to commit to marketing/sales/branding in a way that feels right for you but still gets the job done or you won’t have a sustainable business.”
The duo is grateful for the new project and for their jobs on set that helped to inspire the e-bike creation. The lessons learned in both worlds are the same: Be there for each other, identify and commit to priorities, and do the very best job you possibly can.
MAKE YOUR CART GO
MOTORIZED CART KIT
$3495–$3995
MAKEYOURCARTGO.COM
Operator Danny Brown is a hockey player who’s always got a puck or two in his kit. While working on Season 1 of Loot, he saw an opportunity to deploy the sports gear into a camera build. After a few hours of cogitation, he had it figured out and the Knuckle Puck was born.
The accessory spins easily on and off anything with a ⅜-thread, putting one’s hands closer to the center of the camera body and farther away from the battery.
KNUCKLE PUCK CAMERA
“The first question is, ‘Is it an actual hockey puck?’” Brown smiles. “And the answer is: Yes! The size, weight and texture are pretty perfect.” The product launched in March 2021 and sold out within a month. “People were posting the product on their socials, which was fun to see,” Brown adds.
Based on his initial success, Brown has extended the line. “I try to put my efforts into different designs to keep people excited about new editions,” he describes. Other products include Knuckle Puck Chin Straps that tidy up camera cabling with the camera letter displayed neatly on the fluid or gear head, and custom Knuckle Grips for handhelds, which are made to order after a short molding session with the operator.
“These products were created as solutions to problems that I encountered myself,” Brown concludes. “If an idea works for you, it’ll work for others too. And there are so many online tools to make a small business successful. Your idea won’t be for everyone, but that’s fine. Have fun and learn along the way.”
Many innovations come from humble beginnings. Steadicam Operator Matthew Hutchens, SOC, fashioned the first version of Hammerhead Wheels out of reclaimed wood and old pulleys connected by rubber bands to an even older rollerball computer mouse.
“It was clunky but it worked,” Hutchens recalls. “I was excited that I seemed to be on a good path, so I started learning 3D modeling and how to code Arduino microcontrollers.”
Hutchens’ solution is designed for people new to geared head and remote head operating.
“You can’t think about which way you’re turning the wheels, it has to become second nature or you’re going to burn a take,” he adds. “Before, the most accessible option was strapping a laser pointer on a geared head at a rental house, which is both boring and not super relevant. The real learning had to be on set, which is not ideal.”
Hutchens also wrote his own gaming software. A 360 video player allows you to ‘operate’ inside any 360 video, and he’s developing a simulator so you can map and modify motion paths using keyframes. Hutchens also created a module to control a Ronin gimbal and an Etch-a-Sketch previz operator sim, “which is the unsung hero of this story,” he adds. Cine Tracer is adding support for this advancement.
What’s his advice to other innovators? Stay focused. “It’s easy to get bored, frustrated or just weighed down, but if you can keep that original need in mind and surround yourself with people who also see the value,” Hutchens describes, “it can really push you through when it gets hard.”
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The CamWok 5000 is pretty much what you think it is: a shallow dish with a camera mount that makes lowangle precision shots quicker and easier with two axes (pan/tilt) or three (pan/tilt/roll).
“It’s kind of goofy, and for some shows it will never come out,” shares Operator, longtime NEB member, and Founder of CamWok Nation Dave Chameides. “But there are other times when it’s exactly what you need.”
CAMWOK 5000
The idea was sparked by a similar rig Chameides saw DP and Operator Patrick Rousseau using on Snowfall . While operating on Lucifer , Chameides improved the idea. Soon others were asking for their own, so Chameides iterated the original concept into a second model and combined the best of both to create the 5000.
“At the end of the day it’s a wok, so there wasn’t a ton of engineering involved,” he deadpans. “I found a fabricator by calling around, and they pointed me to the powder coaters they use. It’s not a great deal of work for me, maybe a half day on one Sunday a month – so not a big issue. Most people who order understand that I’m working, it may be a day or two wait, and that sometimes stock runs low.”
While he loves innovating, Chameides gets the most pleasure from working with his kids to develop the company’s cheeky website, enjoying the product’s high “pun-per-use factor” and donating all the proceeds to charities, such as Food On Foot, every time an order comes in. “It’s fun, it’s useful, and buying one helps people in need,” Chameides concludes. “What could be better?”
You don’t think much about labeling media cards until something goes wrong – then those tiny labels have a big impact. That’s what prompted 1st AC Dominic DeFrank to develop the Cam-Tape line of products.
DeFrank’s innovations eliminate the frustration of dealing with lost tape ends and solve the problem of unclear, error-prone labels scrawled in writing only readable by the original author. Cam-Tape, the first release, is for larger cards; Micro Cam-Tape is perfect for the more diminutive cards often used with GoPros and DSLR cameras. The patent-pending Built-In Grab Tab Fold and Detach System simplifies the shot card DIT cycle with preprinted, standardized tags and user-friendly tabs that are easy to peel off and reapply.
“I devoted about six months to writing the business plan and developing the product design,” DeFrank recalls. “I spent an additional four months researching and finding the perfect manufacturing vendor, which I eventually found with Pro Tapes. Quality and design are not things you want to rush, so I’m glad I took the time I did before going to market.”
The product officially launched in January 2024.
Running a business while doing crew work requires disciplined time management and task prioritization. “I found writing a daily punch list the night before I had a day off, then waking up and knocking those four or five things out was a very effective tool for me to keep the product moving forward to market,” DeFrank shares. “Being passionate and committed to your idea is crucial; finding the balance between your primary work and your side hustle is key to success.”
Operator John Paul Meyer was already running CGE Tools, the maker of Industry Marks™, when a colleague asked him to construct a box for storing them.
He designed the container and then had a revelation.
“Since I like magnets, I glued some into the bottom to keep the steel T-marks in place even if the box was upside down,” Meyer recounts. He presented the oneoff and promptly forgot about it until he was on a show that had 50-plus backgrounds needing to be precisely marked.
“Our 2nd AC’s were running around with their hands full of T-marks,” Meyer remembers. “Occasionally, they needed to help their 1st AC and were forced to set down 15 or more of them. I thought there had to be a better way.” That’s when he resurrected the box. He made a CAD model, executed a 14-hour 3D print and explored 25 design variations over the next year before choosing the final product and completing the first production run.
Launched in late 2022, the maple and walnut MarksBox is available in three sizes. It’s got a mineral-oil finish, so it’s durable and easy to touch-up if scratched.
“I’m very proud of how I was able to bring together utility and beauty,” Meyer beams. And he can’t help but be a role model for other Guild members who have a good idea. “CGE Tools is 15 years old. Over that time, I have created six product lines consisting of over 30 individual products,” Meyer concludes. “If I can do all of that by myself and still be a full-time camera operator, anyone can make and sell one individual product.”
Chris Burket calls Burk Bags, his side hustle of 15 years, “a great way to stay busy in between jobs. It’s tricky and sometimes exhausting, especially when I’m working a fulltime job five days a week.” But Burket says he loves it, and “I just keep going.”
The 1st AC started the company after spending loads of money buying “bags that fell apart rather quickly. I wanted something that could stand the test of time,” Burket insists. “All my products are designed with durability in mind as our industry is so hard on equipment and we need things that last.”
Burket says he’s always looking for new ideas to serve the film industry and has extended the brand into lifestyle and aviation. His product line includes general-use bags, pouches and covers, as well as items custom-designed for specific gear like the Ronin Run Bag and Pancro Pouch.
“My product development cycle takes a long time, as I want things tested before I commit the time and resources to make a production run,” he notes. "I take my prototypes on set with me or give them to a friend starting a long-term show. This is a chance to see what might wear out and also how to improve the design and functionality.”
Burket is quick to caution other innovators that “every idea you have is not a good one. Don’t throw all your time and money at one idea before you know if it can be profitable. Take it slow and let the business develop over time so you can adapt and find your market.”
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GEAR BAGS AND POUCHES
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With global temperatures rising year after year, any solution that reduces heat-related discomfort is a win. “Wearing a surveillance coil around your ear gets uncomfortable enough. Add heat and sweat…and forget about it,” describes Camera Assistant Kristina S. Lechuga. Seeking relief, her business partner and husband, Linh T. Nguyen, designed a prototype wrap in 2016. They started selling Walkie Woogies on set and gifting them as well. “We get to work on set with some of the most talented and inventive people,” Lechuga adds. “Their thoughts are priceless.” After users reported the wraps were comfortable and reduced condensation (which means less frequent cleaning), Lechuga and Nguyen knew they had a viable product.
The duo makes each Woogie by hand to ensure quality. “This also allows for more personalized options, such as custom colors or being able to address any issues customers may have,” Lechuga adds. “Anyone working in the film industry knows you need to stay adaptable, and this approach has helped us grow. Instead of seeing competitors as obstacles, we see them as a chance to improve.”
Juggling their crew work and the business can be challenging, especially when both are on out-of-town productions. “There are times when we have to send out shipments before a day’s call and answer emails at lunch – it’s just the nature of having a side hustle,” she allows. “Having a website – and seasonal assistants –are key to keeping the business moving.”
Based on her experience, Lechuga encourages anyone with an idea to give it a chance: “You never know what you have until you try.”
“I’ve been making camera accessories since 2014, mainly around products that I need on set that don’t exist,” shares Operator Connor O’Brien, SOC. His company, 1A Tools LLC, introduced Alpha Wheels and products for Freefly and DJI gimbals. Its newest offering is the 2 24v modification for cameras requiring higher voltages of 21 V+, like for ARRI’s Alexa 35 and RED’s Raptor XL.
“Previously, you’d have to fly an on-board battery on the gimbal, which not only made it much heavier but slowed production for changing batteries on set,” O’Brien explains. “A few minutes here and there can waste a lot of time. In our constantly changing industry, now more than ever, I think it’s more important to be as fast and efficient as possible.”
The upgrade for the Ronin 2 enables builds that are faster, lighter and more streamlined.
“I can continuously shoot on set without having to stop for battery changes since these higher voltage cameras can be powered directly through the Ronin 2 itself,” O’Brien explains. “I can even power 24-volt film cameras on the Ronin 2, like the ARRI 416 and 235.”
O’Brien models everything, including the PCB boards, with CAD software and prototypes with 3D printers. He tests products in many settings, including music videos, commercials and feature films. And he embraces the lessons learned from what hasn’t worked.
“Don’t be afraid to fail,” he counsels. “Failure is part of the process of learning. Be open-minded to criticism, and never stop learning. Remember, you can do anything you set your mind to. I find persistence is super important with new endeavors.”
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BY DAVID GEFFNER
PHOTOS BY TROY HARVEY
In these hectic times, something is reassuring, even inspiring, about settling into a dark theater to hear three of the world’s most celebrated directors of photography talk shop. That was the feeling I got when Naida Albright, Senior Director, Global Strategic Relations for RED Digital Cinema, introduced a Friday afternoon panel at Cine Gear LA Expo 2024 with the opening words: “Please welcome three men who have two Oscars and eight Oscar nominations between them: Wally Pfister, ASC, BSC, DGA; Jeff Cronenweth, ASC; and Erik Messerschmidt, ASC!” for the RED-sponsored “Unleashing Creativity,” in an SRO Screening Room at Warner Bros. Studios.
Beyond the obvious shared habit of using RED cameras, these three filmmakers, as I would find out, share an approach to visual storytelling filled with surprises. In response to Albright’s first question about choosing a project, Messerschmidt said, “For me, it’s almost 95 percent about who’s the director. That’s because historically, I’ve been wrong about scripts so many times. When a director is excited, enthusiastic, curious and can articulate what they want to explore, that gets me excited to get involved. That’s where we, as cinematographers, get to contribute to the filmmaking process – that exact relationship.”
Cronenweth expressed a similar thought, adding, “There’s no disclaimers that come up under your name when the titles roll, saying, ‘You were not in agreement about this’ or ‘They promised you this, this, and this, and none of it showed up!’ It’s inevitable that you can’t answer every question, but you do your best to find out who you’re going to battle with and who will have your back.”
When quizzed about the difference between narrative and commercial work, of which all three panelists frequently shoot (and direct), Cronenweth said the main challenge has been trying to preserve creative intent. “You often get pitched a progressive idea, and then once the machine starts, you have to fight
to not reach for the safest way forward. If you let everybody’s voice be heard, you go right for mediocrity, and that’s not what anybody wants when they hire any of us on this stage.”
Pfister agreed, adding that “DP’s and directors have to fight and negotiate – more than I can ever recall – to preserve their vision. I shoot and direct commercials, and while I have to fight for time in the editing room, they sometimes don’t even tell you when they’ve scheduled the color session! Where I come from that’s kind of insane – to have to ask when the color work is happening, because, as both the director and the DP, it would be nice to be there. An experienced and respectful editor will reach out to you, but once that post process shifts into gear, it can steamroll right past.”
The comparison between the workflow in Europe and America was stark. As Pfister added, “In the U.K. you get a week to do your Director’s Cut, after shooting is finished, and they expect you to stick around! You’ll be involved in visual effects and with the sound mix. On several occasions, I’ve even been asked to present the finished cut to the client, with the main reps from the creative agency. That kind of respect for the creative process has eroded here – dramatically so. Back when we were shooting film exclusively, they needed us a little bit more.”
One place creative respect has not chipped away is in the lower-budgeted independent world. A case in point was a compelling panel entitled “Making Scary Good,” featuring the work of Local 600 member Christine Ng, who used Canon’s new Cinema EOS C400 to shoot and direct a short film. Challenges explored with the project included low light performance, full-frame shallow depth of field, pleasing skin tones and excellent image quality. Ng, who paired the C400 with Canon’s RF 17120 zoom and RF Primes, was asked questions by Director/Cinematographer Michael Bravin and joined on the stage by Canon Senior Professional Market Specialist Paul Hawxhurst.
“Paul was able to bring the C400 on my tech scout,” Ng described, “and having the triple base ISO really helped me out. We did a bunch of test shots to look at the dynamic range of several base ISO’s, rating them –pulling and pushing – and were able to review those during our camera prep. That tool was so helpful because I was able to apply the sweet spot and work quickly in the beautiful space we used [a period movie theater] without having to light the entire interior.”
Hawxhurst added that “the triple base ISO is probably the biggest innovation in this camera, so being able to test it out with Christine in advance, seeing how far we could push everything, was huge going into this project. Honestly, I think we even played it on the safe side and could have pushed the system even further.” Ng noted that “the way Canon’s cameras reproduce skin tones is beautiful, and I use them a lot in my beauty work. So, when we came up with the storyline for this project, I wanted to have an actress in a dressing room lit up with vanity lights, as I knew it would play to the camera’s strengths, with flattering soft light on her face.” Hawkshurst said, “Christine used a LUT with CMT.709 – Canon Monitor Transfer – which provides more options than you would normally get with a standard Rec.709 LUT, color space and gamma.”
“Using that LUT out of the camera, my DIT, George Robert Morse, did a quick pass on set,” Ng followed up. “So when we got to color grading, it was streamlined – what I got on set was what I wanted for the final look.”
Other Cine Gear 2024 panels included Matt Frazer, Business Development Manager
for Panasonic LUMIX, talking about the crossover between the company’s consumer and business lines. “Panasonic has always been a disruptor in that we often partner with other companies to co-develop a product,” Frazer announced. “We partnered with Leica to include an L-mount on our S-series full frame cameras; we partnered with Olympus on the G-series cameras to offer the largest assembly of cropped-sensor lenses in any global market. And now we have our GH7, a Micro Four Thirds hybrid mirrorless camera that offers advanced video capabilities, including internal ProRes RAW and ARRI LogC3 recording, ensuring maximum sensor potential and high dynamic range.”
Frazer invited former Local 600 camera assistant/2nd Unit DP Art Adams, currently a product specialist, Cinema Lenses for ARRI, onto the stage to talk about LUMIX’s licensing agreement with ARRI to include LogC3 on the GH7 (for a $200 upgrade fee). Adams charted ARRI’s history with the Log codex, having been born out of the company’s history with archival and efforts to retain as much detail as possible when scanning a film negative. “That evolved,
basically, into the best way to capture the full dynamic range of a camera,” he explained, “and I want to say our implementation has been the gold standard for this industry for 12 years. [LogC3] is robust and reliable, and has proven its value. It’s exciting to see it on a camera platform like the LUMIX, which is so different from what we do at ARRI. It extends the possibilities between the two brands.”
For ICG’s “The Art & Science of Camera Motion” panel, on Cine Gear’s second day, Local 600 Business Representative Ryan Sullivan moderated a session that featured Operators Dawn Fleischman, SOC, and Shanele Alvarez, SOC, talking about how to safely execute “long and successive” takes, so common in the Unscripted genre where Fleischman and Alvarez work. Sullivan noted that “long takes and a ‘let’s keep rolling’ shooting style pose a significant risk of repetitive stress injuries to camera operators. Concerns brought forth by the ICG Local 600 Safety Committee resulted in a professional study of the risks and a CSATF Safety Bulletin offering guidance for producers and crew.” The panel offered attendees the chance to learn about the risks involved
with long and successive takes, and how to communicate them to Production. Fleischman, who has some 30 years of experience and Alvarez almost a decade, offered expert tips and broke down some of the latest equipment designed to help Guild operators have long and healthy careers," Sullivan described.
Placing creative power firmly in the hands of the filmmakers is what Blackmagic Design has been focused on ever since the company introduced its first camera (BMCC) in 2012. That may be why their showcase product at Cine Gear Expo LA – the URSA Cine 12K – made such a big splash with ICG members.
Tim Schumann, senior product manager for the URSA line, shared that the Blackmagic Cine 12K URSA LF is a brand-new form factor, with the company having taken user feedback from the last decade and redesigning the camera from the ground up.
“We had good results with the URSA Mini and URSA Broadcast line in terms of color science and telemetry,” Schumann described. “But one of the main areas of feedback was the
challenges with those systems when linking up with multiple accessories, which in the cinema industry is so important. With the URSA Cine 12K, we tried to include as many connectors as possible, as well as provide a line of customized accessories that come with the kit. Of course, users will still want to accessorize to their needs, but the goal was to make this camera all things to everyone, as much as possible, so you don’t have to immediately go out and spend thousands just to rig it up.”
Along with the URSA Cine 12K body, users get a slew of accessories including PLmount and EF-mount, and 19-mm and 15-mm production base plates, and added compatibility with standard ARRI dovetail plates, “which so many users said was important,” Schumann added. “Blackmagic RAW is the main record format, but it also does H.264 proxy files at the same time. Every time you record a Blackmagic RAW clip, you’re recording an H.264 proxy, which makes it very easy to get into whatever post program is being used. Obviously in our case, that would be Resolve.”
The URSA Cine 12K has already found favor with two longtime ICG directors of
Wes Donahue was showing off the company’s new Quantum 32, a reference-grade monitor suitable for both on-set work and in post. “The whole idea of this display is that it’s a true set-to-post solution,” Donahue described. A lot of DP’s want to see HDR on set, usually to compare the HDR and SDR and have a hybrid managed workflow. It’s preferable to see those looks on the same display where the LUT’s were created, in the post environment. This monitor can do that thanks to its quantum dot OLED panel. The entire OLED layer is one color, blue, which has the most light energy of all the organic phosphors. When we were in the all-SDR world, red, green and blue could all get up to 100 nits with no problem. But with HDR, the red and green lag behind.”
Hugo Gaggioni, Chief Technology Officer for Sony’s Professional Group, was debuting the company’s BVM-HX3110 mastering monitor, a 4000-nit version of Sony’s hugely popular HX-310 display, and a display that was first shown as a prototype at NAB 2023. The 30.5-inch 4K HDR unit can be used for critical evaluation, color grading, live production and post-production. It features a dual-layer antireflection LCD panel with Sony proprietary signal processing, supporting a higher peak luminance while maintaining no-compromise deep blacks. The BVM-HX3110 offers brighter
specular highlights and introduces a new optional fast-pixel response mode for reduced motion blur. It also provides a wider viewing angle, as well as a standard IP interface for SMPTE ST2110 signals, to complement Sony’s Networked Live ecosystem. Gaggioni said it was “raising eyebrows, because with a screen that bright, people can see things they never noticed before.”
Other vendors getting plenty of foot traffic included Flanders Scientific, whose XMP550 55-inch HDR Mastering Monitor won a Cine Gear Expo Technical Award in 2023. For 2024, Flanders debuted the XMP310, a 31.5-inch UHD QD-OLED reference display primed to handle what it calls “the most demanding HDR and SDR monitoring needs of colorists, editors and directors.” Another was Lilliput, whose extensive display line included six different 8K 12G-SDI/HDMI 2.0 studio production monitors and a plethora of on-camera monitor options, including the 4K 12.5-inch HDMI 2.0/SDI and 4K 13.3-inch HDMI 2.0/SDI unit. Zeiss Lenses was popular as well, showing off the industry’s first high-speed (T1.5) cine lenses made specifically for full-frame mirrorless cameras. One unique product that could be of great value to ICG directors of photography was the ViewScreen Scout, a real-time previewing app for the iPhone that allows users to block and
record shots with CG assets, import custom assets (3D sets, characters, vehicles, and props) in real-time and do virtual walkthroughs of sets before they are built. New to the U.S. market was the Irix line of lenses, whose durable, sealed construction makes them resistant to rain, sand and dust and popular with European DP’s and camera operators specializing in environmental and documentary work with a cinematic flavor.
The flavor of NAB Show 2024 leaned heavily into AI and the technology’s coming impact on the film and television industry. ICG Magazine Publisher Teresa Munoz, who walked the show floor, noted that “there seemed to be more questions than answers [surrounding AI], and a great deal of discussion surrounding the growing use of AI tools and how that acceptance will influence productions from previs to post. There were hundreds of exhibits, in one form or another, promoting AI products or services.” Munoz detailed ICG Magazine’s media presence, singling out elements like “the virtual publication wall display, online newsstand, upgraded publication bin, and Central Hall football tower showcasing our Feb/March print edition, which was sold out by day two of the show.”
LOCAL 600'S "SUSTAINABLE PRODUCTION ACROSS THE GLOBE” PANEL WAS MODERATED BY ICG ASSISTANT WESTERN REGION DIRECTOR/ ADVANCED PRODUCTION TECHNOLOGY SPECIALIST
MICHAEL CHAMBLISS (FAR LEFT) AND INCLUDED (L TO R) GREEN
SPARK GROUP PRESIDENT ZENA HARRIS, LOCAL 705 COSTUME
DESIGNER GEORGINA CURTIS, ICG DIRECTOR OF PHOTOGRAPHY
ALICIA ROBBINS, AND HANS LAU, CHAIR OF THE CODES & STANDARDS COMMITTEE AT IATSE LOCAL 728 HOLLYWOOD
STUDIO ELECTRICAL LIGHTING TECHNICIANS AND DIRECTOR OF CHANGE MANAGEMENT AT THE DADCO/SUNRAY GROUP.
Working with the ICG ad sales team, Munoz visited a plethora of key ICG vendors, including Abel Cine, Adorama, Aoto, Aputure, ARRI, Astera, Atlas Lenses, Atomos, B&H, Band Pro, Barbizon, BB&S, Blackmagic Design, Blazar, Boland, Bridge Technologies, Cartoni, Canon, Carl Zeiss, Chapman Leonard, Chimera, Chrosziel, Cinco, Cinema Devices, Creamsource, Creative Solutions (Teradek, Small HD, Wooden Camera), DataVideo, DJI, DZO Film, EIZO, Elation, ETC, Fiilex, Filmotechnic, Freefly, Fujjinon, Hudson Spider, IDX, Ikan, Irix, JL Fisher, JVC, Kino Flo, Laowa, Libec, Lilliput, Marshall, Mo-Sys, Nanguang/ Nanlite, Nikon/MRMC/RED, Panasonic/Lumix, Port Keys, Schneider, Shape, Small Rig, Tilta, TRP, TV Logic, Videndum, Western Video, Zhiyun-Tech and Zylight.
Educational sessions at NAB 2024 included “On-Set Leadership – Working on Larger Crews.” Led by DGA director A.J. Bleyer, the session focused on how larger, 100-plus crewmember sets work and the etiquette of understanding each department. Topics covered included the roles of the DP and the producer, how best to work with AD’s, department heads, Stunts, and police, and how to build effective on-set leadership communication. The session “Creative Solutions to Camera Movement” zeroed-in
on drone use, and best practices and applications in aerial photography for directors of photography, operators and directors. The panel, moderated by Canon fellow Michael Bravin, included Davis DeLillo, Caden McMahon, Jordan Temkin and Jonny Mass.
Local 600 was well-represented at NAB with members like Roberto Schaefer, ASC, AIC, hosting a three-hour interactive workshop titled “Script to Screen – The Cinematographer’s Process.” Schaefer walked attendees through his creative process of how to transform words on a page into compelling imagery. Topics included pre-planning, key crew relationships, and Schaefer’s creative inspirations for films like Monsters Ball, Quantum of Solace, Stay, The Paperboy and Finding Neverland. The BAFTAnominated Guild member also went through set plots, lighting challenges and solutions, and technical choices in the interactive session. Longtime Guild member David Stump, ASC was on a Monday panel entitled “Generative AI and the Role of the Cinematographer.”
Joining Stump were Local 600 Director of Photography Alicia Robbins and Alex Nelson, owner of vintage glass supplier Zero Optik, to talk about what the future of cinematography may look like with the advent of AI tools and how AI saturation may one day influence productions from previs to post.
ICG’s “Sustainable Production Across the Globe” panel was moderated by ICG Assistant Western Region Director/Advanced Production Technology Specialist Michael Chambliss and included ICG Director of Photography Alicia Robbins, Local 705 Costume Designer Georgina Curtis, Green Spark Group President Zena Harris, and Hans Lau, chair of the Codes & Standards Committee at IATSE Local 728 Hollywood Studio Electrical Lighting Technicians and director of change management at the DADCO/Sunray Group. “The two biggest problems when it comes to sustainability in our industry,” Lau explained, “are transportation, with all the large Diesel trucks moving equipment around all day from base camp to a location, and power generation. The industry began with carbon light and then went into halogen, HMI, tungsten, et cetera, with productions using megawatts of power. When they’re on location, they use a Diesel generator. Even when working on a soundstage, there are multiple Diesel generators spewing out carbon dioxide and nitrogen oxide – basically, poison if you’re anywhere nearby – for up to 18 hours a day. So you’ve also got an air pollution issue with diesel generators, and a noise pollution issue when they’re used in residential neighborhoods, where we often work in California shooting commercials.”
ABOVE: LOCAL 600 OPERATOR JOFRE ROSERO, PANELIST ON "FOCUS ON 'CINE+LIVE': INSIGHTS FROM PIONEERING LEADERS ADVANCING CREATIVE CONTENT DELIVERY."
Ways to mitigate the noxious effects of Diesel-powered generators include using hydrotreated vegetable oil (HV), a Diesellike fuel that can be produced without fossil resources by processing renewable waste lipids. “The problem is there’s like one gas station in Atlanta where you can find that product, and it’s very hard to find in California,” Lau added. “Batteries are one way to solve the localized problems of air and noise pollution, but batteries are merely carriers for energy. The numbers from 2023 in the U.S. showed that 43 percent of our energy comes from burning natural gas, 18 percent from nuclear power, and 16 percent from burning coal. None of those sources are particularly sustainable, and that’s almost 80 percent of what we put into the batteries. The U.K. is doing much better than we are – about 50 percent of their power is derived from wind and solar, so the
film industry there has a better understanding of the entire power chain.”
Robbins, who shot Season 3 of Bridgerton in the U.K., said that “we had a hydrogen power plant, which is much cleaner than Diesel, that powered base camp and most of the stages. I didn’t even know I was helping the show’s carbon footprint by shooting at higher ISO’s. I shot at 2500 for all of my interiors, even daytime interiors on the stages, because I liked the way the light moved through our spaces and how it looked at the higher ISO with the Sony VENICE. I [used high ISO’s] for aesthetic reasons, but having the light levels so low, and using so much less power, had an impact.
“Netflix has a huge green initiative, and when I talked to their sustainability department, they said cinematographers can have such a big influence [on bringing down fossil fuel consumption],” Robbins continued.
“They said we can be the ones pushing the initiative forward by getting the power down and using more LED’s. I told them that working at high ISO’s with LED’s can mean the LED’s shutting off if you’re down below four percent, or there can be color shifts. So, to shoot at high ISO’s with LED’s means getting [Netflix] to get us the right gear and the best products.
“They also didn't understand why I'd need a generator to power a large light source if we were shooting a day exterior," Robbins concluded. "And I had to explain how we needed to balance out that huge natural source with a bigger artificial source, especially shooting in the U.K., where there’s a lot of cloud cover. Honestly, it was just great to finally have such an open conversation with [the streaming platform Netflix] about how we, as cinematographers, can help green up sets.”
ABOVE: THE BVM-HX3110 MASTERING MONITOR, A 4000-NIT VERSION OF SONY'S HUGELY POPULAR HX310 DISPLAY (FAR RIGHT), AND A DISPLAY THAT WAS FIRST SHOWN AS A PROTOTYPE AT NAB 2023.
PRODUCTION CREDITS
COMPILED
BY
TERESA MUÑOZ
The input of Local 600 members is of the utmost importance, and we rely on our membership as the prime (and often the only) source of information in compiling this section. In order for us to continue to provide this service, we ask that Guild members submitting information take note of the following requests:
Please provide up-to-date and complete crew information (including Still Photographers, Publicists, Additional Units, etc.). Please note that the deadline for the Production Credits is on the first of the preceding cover month (excluding weekends & holidays).
Submit your jobs online by visiting: www.icg600.com/MY600/Report-Your-Job
Any questions regarding the Production Credits should be addressed to Teresa Muñoz at teresa@icgmagazine.com
101 STUDIOS
“THE MADISON”
DIRECTOR SOF PHOTOGRAPHY: ROB MCLACHLAN, ASC, CSC
OPERATORS: ERIC SCHILLING, SCOTT DROPKIN, ABBY LINNE, BRITT WEST, JED SEUS
ASSISTANTS: DAVID LEB, TIM CLARKE, SAM PEARCY, NATHAH CRUM, AUSTIN GREEN, SOPHIA BASILIADIS, MATTHEW BREWER, DAN MARINO, RYO KINNO, MICHAEL PICCOLA
STEADICAM OPERATOR: ERIC SCHILLING
LOADER: KYLE JACOBS
CAMERA UTILITY: EMMETT CROCKETT
DIGITAL UTILITY: MATEO CABALLERO
20TH TELEVISION
“9-1-1” SEASON 8
DIRECTORS OF PHOTOGRAPHY: ANDREW MITCHELL, PJ RUSS
OPERATORS: BRICE REID, PHIL MILLER, PAULINA GOMEZ
ASSISTANTS: JAMES RYDINGS, KAORU "Q" ISHIZUKA, CARLOS DOERR, BASSEM BALAA, MELVINA RAPOZO, JENNIFER LAI
STEADICAM OPERATOR: BRICE REID
DIGITAL UTILITY: BEAU MORAN
CAMERA UTILITY: JOE PACELLA
“DOCTOR ODYSSEY”
DIRECTORS OF PHOTOGRAPHY: SIMON DENNIS, ASC, BSC, JOHN T. CONNOR
OPERATORS: ERIC SCHILLING, KEITH DUNKERLEY
ASSISTANTS: DAVID LEB, ROB MONROY, NATHAN CRUM, JARED WILSON
STEADICAM OPERATOR: ERIC SCHILLING
STEADICAM ASSISTANT: DAVID LEB
DIGITAL IMAGING TECH: SCOTT RESNICK
LOADER: SONIA BARRIENTOS
“MID-CENTURY MODERN”
DIRECTOR OF PHOTOGRAPHY: GARY BAUM, ASC OPERATORS: ALEC ELIZONDO, DEBORAH O'BRIEN, LANCE BILLITZER, EDDIE FINE
ASSISTANTS: NIGEL STEWART, BRADLEY TRAVER, CHRIS WORKMAN, JEFF ROTH, YUKA KADONO
DIGITAL IMAGING TECH: DEREK LANTZ
CAMERA UTILITIES: DAN LORENZE, RICHIE FINE
VIDEO CONTROLLER: JOHN O'BRIEN
“WILL TRENT” SEASON 3
DIRECTORS OF PHOTOGRAPHY: TIMOTHY GILLIS, FERNANDO REYES-ALLENDES, AMC
OPERATORS: STEWART SMITH, SOC, CRISTIAN TROVA
ASSISTANTS: GERAN COSTDANIELLO, MICHAEL FISHER, ANDY KOPEC, BENJAMIN EADES, KYLE FORD
STEADICAM OPERATOR: STEWART SMITH, SOC LOADER: STEVEN DAVID WALTON
DIGITAL UTILITY: NATHANIEL POBLET
STILL PHOTOGRAPHERS: DANIEL DELGADO, MATT MILLER, ZAC POPIK, WILFORD HAREWOOD
ABC STUDIOS
“GODFATHER OF HARLEM” SEASON 4
DIRECTORS OF PHOTOGRAPHY: JACK DONNELLY, JAY FEATHER
OPERATORS: ERIC ROBINSON, ALAN MEHLBRECH
ASSISTANTS: JEROME WILLIAMS, MARC CHARBONNEAU,
MIKE SWEARINGEN, VINCENT LARAWAY
STEADICAM OPERATOR: ALAN MEHLBRECH
LOADERS: THOMAS FOY, RALEIGH CAPOZZALO
STILL PHOTOGRAPHERS: SCOTT MCDERMOTT, LINDA KALLERUS, DAVID GIESBRECHT
BEACHWOOD SERVICES, INC.
“DAYS OF OUR LIVES” SEASON 59
DIRECTOR OF PHOTOGRAPHY: DAVID MEAGHER
OPERATORS: MARK WARSHAW, MICHAEL J. DENTON, JOHNNY BROMBEREK, JOHN BOYD, STEVE CLARK
CAMERA UTILITY: GARY CYPHER
VIDEO CONTROLLER: ALEXIS DELLAR HANSON
CBS STUDIOS
“ELSBETH” SEASON 2
DIRECTOR OF PHOTOGRAPHY: JOHN ARONSON
OPERATORS: BARNABY SHAPIRO, KATE LAROSE
ASSISTANTS: SOREN NASH, RENE CROUT, NIALANEY RODRIGUEZ, ALISA COLLEY
LOADERS: PARKER RICE, JANAE HARRISON
STILL PHOTOGRAPHERS: MICHAEL PARMELEE, ERIC LIEBOWITZ
“FRASIER” SEASON 2
DIRECTOR OF PHOTOGRAPHY: GARY BAUM, ASC
OPERATORS: ALEC ELIZONDO, DEBORAH O'BRIEN, LANCE BILLITZER, EDDIE FINE, BRIAN GUNTER
ASSISTANTS: NIGEL STEWART, CHRIS WORKMAN, BRADLEY TRAVER, JEFF ROTH, YUKA KADONO
DIGITAL IMAGING TECH: DAN LORENZE
UTILITIES: RICHIE FINE, ADAN TORRES
VIDEO CONTROLLER: DEREK LANTZ
STILL PHOTOGRAPHER: CHRIS HASTON
“NCIS” SEASON 22
DIRECTOR OF PHOTOGRAPHY: WILLIAM WEBB
OPERATORS: GREG COLLIER, CHAD ERICKSON
ASSISTANTS: JAMES TROOST, NATE LOPEZ, HELEN TADESSE, YUSEF EDMONDS,
ANNA FERRARIE, DREW HAN CHO LOADER: MIKE GENTILE
“NCIS: ORIGINS” SEASON 1
DIRECTOR OF PHOTOGRAPHY: KEVIN MCKNIGHT
OPERATORS: MICHAEL ALBA, MATT VALENTINE
ASSISTANTS: TAYLOR FENNO, KEVIN MILES, RICH FLOYD, HUNTER JENSEN
LOADER: VICTORIA BETANCOURT
DIGITAL IMAGING TECH: BRANNON BROWN
DIGITAL UTILITY: BECKY CINTORA
“SEAL TEAM” SEASON 7
DIRECTOR OF PHOTOGRAPHY: ERIC LEACH
OPERATORS: DOMINIC BARTOLONE, THOMAS TIECHE
ASSISTANTS: TODD AVERY, ARTURO ROJAS, RYAN JACKSON, JULIO ZEPEDA, GARY WEBSTER
STEADICAM OPERATOR: DOMINIC BARTOLONE
DIGITAL IMAGING TECHS: RAUL RIVEROS, TIM BALCOMB
LOADER: WILLIAM RANDALL
CHOICE FILMS, INC.
“THE OUTLAWS”
DIRECTOR OF PHOTOGRAPHY: JOHN INWOOD
OPERATOR: DAVID TAICHER
ASSISTANTS: DOUGLAS FOOTE, DONALD GAMBLE
STILL PHOTOGRAPHER: DAVID SCOTT HOLLOWAY
CRANETOWN MEDIA, LLC
“THE BETTER SISTER” SEASON 1
DIRECTORS OF PHOTOGRAPHY: ISIAH DONTE LEE, DUANE MANWILLER
OPERATORS: MARK SCHMIDT, AILEEN TAYLOR
ASSISTANTS: SAMANTHA SILVER, CAMERON SIZEMORE, ANABEL CAICEDO, FRANK MILEA, BENEDICT BALDAUFF
DIGITAL IMAGING TECHS: HUNTER FAIRSTONE, MICHAEL ASHLEY
LOADERS: JERON BLACK, HUSSEIN FARRAJ
DENISE SZALMA
STILL PHOTOGRAPHERS: JOJO WHILDEN, EMILY ARAGONES, CRAIG BLANKENHORN, CARA HOWE
DXO PRODUCTIONS, LLC
“DEXTER: ORIGINAL SIN”
DIRECTOR OF PHOTOGRAPHY: ED PEI
OPERATORS: BRIAN BERNSTEIN, JORDAN KESLOW
ASSISTANTS: JAMES SPRATTLEY, JAMES DUNHAM, MARYAN ZUREK, JEREMY HILL
LOADER: ANDREW FLORIO
STEADICAM OPERATOR: JORDAN KESLOW
CAMERA UTILITY: KAREN CLANCY
HBO
“THE GILDED AGE” SEASON 3
DIRECTORS OF PHOTOGRAPHY: MANUEL BILLETER, CHRIS LA VASSEUR
OPERATORS: OLIVER CARY, PYARE FORTUNATO, SCOTT TINSLEY
ASSISTANTS: JOHN OLIVERI, TROY SOLA, BRENDAN RUSSELL, BRIAN LYNCH, LOTTE SKUTCH
STEADICAM OPERATOR: PYARE FORTUNATO
DIGITAL IMAGING TECHS: MATT SELKIRK, JAKOB FRIEDMAN
LOADER: BRANDON OSBORN
STILL PHOTOGRAPHERS: KAROLINA WOJTASIK, JON PACK
HIGH ROLLER PRODUCTIONS, LLC
“POKER FACE” SEASON 2
DIRECTORS OF PHOTOGRAPHY: JARON PRESANT, CHRISTINE NG, TARI SEGAL
OPERATORS: REBECCA ARNDT, NADINE MARTINEZ
ASSISTANTS: HAMILTON LONGYEAR, COURTNEY BRIDGERS, KELLON INNOCENT, RODRIGO MILLAN GARCE, AMBER MATHES
DIGITAL IMAGING TECH: GEORGE ROBERT MORSE
LOADERS: AARON CHAMPAGNE, KATIE GREAVES
STILL PHOTOGRAPHERS: SARAH SHATZ, JON PACK
JUKEBOX, LLC
“THE RUNAROUNDS”
OPERATORS: JOHN LEHMAN, DEREK TINDALL, STEVE ANDRICH
ASSISTANTS: LARRY GIANNESCHI, ELI WALLACE-JOHANSSON, ERIK OLSON, DOMINIC ATTANASIO, NICK CANNON, PALMER ANDERSON
CAMERA UTILITY: PAIGE MARSICANO
LOADER: TYLER LATHAM
STILL PHOTOGRAPHER: DENNIS MONG
DRONE OPERATOR: ANDREW RORK
KANAN PRODUCTIONS, INC.
“POWER BOOK, III: RAISING KANAN”
SEASON 5
DIRECTORS OF PHOTOGRAPHY: JEFFREY DUTEMPLE, FRANCIS SPIELDENNER
OPERATORS: GREG FINKEL, BRADLEY GRANT
ASSISTANTS: MARK FERGUSON, SUREN KARAPETYAN, EMILY DEBLASI, KEITH ANDERSON
DIGITAL IMAGING TECH: MATTHEW RICHARDS
LOADERS: MICHAEL FULLER, JOSH MUNSON
STILL PHOTOGRAPHER: CARA HOWE
UNIT PUBLICIST: EVELYN SANTANA
LA GOONS FILM, LLC
“IHG”
DIRECTOR OF PHOTOGRAPHY: CALE FINOT
OPERATORS: CHRIS FLURRY, ROME JULIAN
ASSISTANTS: ZACH BLOSSER, JEFF TAYLOR, LANCE ROMANO, CHAD TAYLOR
DIGITAL UTILITY: KYE RUDDY
MIXED BAG PRODUCTIONS
“RIGHTEOUS GEMSTONES” SEASON 4
DIRECTORS OF PHOTOGRAPHY: PAUL DALEY, MICHAEL SIMMONDS
OPERATORS: PETER VIETRO HANNUM, BARRET BURLAGE, TIM SUTHERLAND, DON DAVIS, DAN JONES, JAMIE SILVERSTEIN
ASSISTANTS: DAMON LEMAY, JAMES THOMAS, MATTHEW MEBANE, NICK BROWN, JUSTIN SIMPSON, EMILY RUDY, JUSTIN URBAN, DOUG TORTORICI, LAURA ROBINSON, BRODY DOCAR, AMANDA ROTZLER, OREN MALIK
DIGITAL IMAGING TECH: CHANDLER TUCKER
CAMERA LOADER: ERICH COMBS
STILL PHOTOGRAPHER: JAKE GILES NETTER
MONTEREY PICTURES, INC.
“UNTITLED MLB PROJECT”
DIRECTOR OF PHOTOGRAPHY: TERRY ZUMALT
OPERATORS: DEVON HOFF-WEEKES, DAVID NEWTON
ASSISTANTS: DEVIN KEEBLER, ETHAN SERLING, CASSIE COKER
DIGITAL IMAGING TECH: JOSHUA GREYTAK
NBC UNIVERSAL TELEVISION, LLC
“CHICAGO MED”SEASON 10
DIRECTOR OF PHOTOGRAPHY: SHAWN MAURER
OPERATORS: JOE TOLITANO, BILLY NIELSEN
ASSISTANTS: GEORGE OLSON, PATRICK DOOLEY, BRIAN KILBORN, RICHARD COLMAN, MATTHEW WILBAT, JJ LITTLEFIELD
STEADICAM OPERATOR: CHRISTOPHER GLASGOW
LOADER: TREVOR SNYDER
DIGITAL UTILITY: TRENTON LUETTICH
STILL PHOTOGRAPHER: GEORGE BURNS
“FBI” SEASON 7
DIRECTOR OF PHOTOGRAPHY: BART TAU
OPERATORS: AFTON GRANT, ANDY FISHER
ASSISTANTS: ADAM GONZALEZ, YURI INOUE, MIKE LOBB, MARVIN LEE
LOADERS: MATTHEW JENSEN, DAVID DIAZ
STILL PHOTOGRAPHER: BENNETT RAGLIN
“FBI MOST WANTED” SEASON 6
DIRECTOR OF PHOTOGRAPHY: LUDOVIC LITTEE
OPERATORS: CHRIS MOONE, SCOTT TINSLEY
ASSISTANTS: JOHN FITZPATRICK, DAN PFEIFER, JOHN CONQUY, TYLER MANCUSO
LOADERS: ANTHONY VITALE, HUSSEIN FARRAJ
STILL PHOTOGRAPHER: MARK SCHAFER
“HAPPY'S PLACE” SEASON 1
DIRECTOR OF PHOTOGRAPHY: GARY BAUM, ASC OPERATORS: DAVID DECHANT, DEBORAH O'BRIEN
DAMIAN DELLA SANTINA, EDDIE FINE
ASSISTANTS: BRAD TRAVER, SEAN ASKINS, YUKA KADONO
DIGITAL IMAGING TECH: DEREK LANTZ
VIDEO CONTROLLER: JOHN O'BRIEN
CAMERA UTILITIES: RICHIE FINE, DANNY LORENZE
“LAW & ORDER” SEASON 24
DIRECTOR OF PHOTOGRAPHY: JON DELGADO
OPERATORS: DEKE KEENER, BEAU GRANTLAND
ASSISTANTS: JASON RIHALY, JACOB STAHLMAN, EMILY DUMBRILL, KELSEY MIDDLETON
STEADICAM OPERATOR: RICHARD KEENER
LOADER: LISA CHIN
STILL PHOTOGRAPHERS: VIRGINIA SHERWOOD, IAN BRACONE, MICHAEL PARMELEE
“LAW & ORDER: ORGANIZED CRIME” SEASON 5
DIRECTORS OF PHOTOGRAPHY: JIM DENAULT, JON BEATTIE
OPERATORS: JOHN PIROZZI, NIKNAZ TAVAKOLIAN
ASSISTANTS: ALEX WATERSTON, LEE VICKERY, DERRICK DAWKINS, PATRICK ARELLANO
LOADERS: WILLIE CHING, BERNARDO RUIZ POZO, VINCE FERRARI
STILL PHOTOGRAPHERS: GIOVANNI RUFINO, RALPH BAVARO, VIRGINIA SHERWOOD, DAVID GIESBRECHT
“LAW & ORDER: SPECIAL VICTIMS
UNIT” SEASON 25
DIRECTOR OF PHOTOGRAPHY: FELIKS PARNELL
OPERATORS: JON HERRON, CHRISTOPHER DEL SORDO
ASSISTANTS: JOSEPH METZGER, CHRISTIAN CARMODY, RYAN HADDON, LIAM GANNON, MARY NEARY
STEADICAM OPERATOR: JONATHAN HERRON
LOADER: JAMES WILLIAMS
STILL PHOTOGRAPHERS: PETER KRAMER, VIRGINIA SHERWOOD, EMILY ARAGONES
“TED” SEASON 2
DIRECTOR OF PHOTOGRAPHY: JEFFREY C. MYGATT
OPERATORS: BILL BRUMMOND, TOBY TUCKER, MICHAEL SHARP
ASSISTANTS: PATRICK BENSIMMON, DALE WHITE, SCOTT BIRNKRANT, FERNANDO ZACARIAS, ERIC GUERIN, JIHANE MRAD
STEADICAM OPERATOR: BILL BRUMMOND
DIGITAL IMAGING TECH: HANNAH THOMAS
NETFLIX PRODUCTIONS, LLC
“BLACK RABBIT” SEASON 1
DIRECTOR OF PHOTOGRAPHY: IGOR MARTINOVIC
OPERATOR: ARI ISSLER
ASSISTANTS: ALEXANDER WORSTER, STEPHEN MCBRIDE, ANJELA COVIAUX, YALE GROPMAN
STEADICAM OPERATOR: MATTHEW PEBLER
DIGITAL IMAGING TECH: LUKE GARAI TAYLOR
LOADERS: MCKENZIE JAMES RAYCROFT, DAVID STOREY
“HAPPY GILMORE 2”
DIRECTOR OF PHOTOGRAPHY: ZAK MULLIGAN
OPERATORS: MICHAEL FUCHS, REBECCA RAJADNYA
ASSISTANTS: TROY DOBBERTIN, ALEC FREUND, JAMES SCHLITTENHART, FRANCES DE RUBERTIS
DIGITAL IMAGING TECH: TOM WONG
LOADERS: MASHA PAVLOVA, JORDAN BAN
STILL PHOTOGRAPHER: SCOTT YAMANO
2ND UNIT
DIRECTOR OF PHOTOGRAPHY: PAT CAPONE
“SIRENS”
DIRECTOR OF PHOTOGRAPHY: GREG MIDDLETON
OPERATORS: JEFF DUTEMPLE, JOHN GARRETT
ASSISTANTS: ERIC SWANEK, EMMA REESE-SCANLON, TYLER SWANEK, TAYLOR PRINZIVALLI
DIGITAL IMAGING TECH: CHANDLER TUCKER
LOADER: JEFF DICKERSON
STILL PHOTOGRAPHERS: MACALL POLAY, CHRIS SAUNDERS, EMILY ARAGONES
NON-PRECEDENTIAL PRODUCTIONS, LLC
“THE REHEARSAL” SEASON 2
DIRECTOR OF PHOTOGRAPHY: MARCO CORDERO
OPERATORS: JONATHAN MITCHELL, JOHN IKENOUYE, MARKUS MENTZER
ASSISTANTS: CAMERON RIDDLES, JACOB LAUREANTI, HANNAH CARPENTER, JEFF TAYLOR, ANDRES MELO, SARAH TAKIZAWA-MACLEAN
LOADER: BEN IKER
STILL PHOTOGRAPHER: JOHN JOHNSON
OH, HI PRODUCTIONS, LLC
“OH, HI!”
DIRECTOR OF PHOTOGRAPHY: CONOR D. MURPHY
OPERATOR: LELAND KRANE
ASSISTANTS: SHAUN MALKOVICH, EMILY O'LEARY, MYO CAMPBELL
DIGITAL IMAGING TECH: SIN COHEN
STILL PHOTOGRAPHERS: GWEN CAPISTRAN, SPENCER PAZER
PARALLAX TV PRODUCTIONS, LLC
“THE PITT” SEASON 1
DIRECTOR OF PHOTOGRAPHY: JOHANNA COELHO
OPERATORS: RYAN WOOD, AYMAE SULICK
ASSISTANTS: JACOB DEPP, KIRSTEN CELO, PETER DEPHILIPPIS, KELLSIE DOMNITZ
DIGITAL IMAGING TECH: JEFFERSON FUGITT
DIGITAL UTILITY: TOSHA PALANI
STILL PHOTOGRAPHER: GREG LEWIS
SONY
“JEOPARDY!” SEASON 39
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: JEFF MESSENGER
VIDEO UTILITIES: MICHAEL CORWIN, JEFF KLIMUCK
STILL PHOTOGRAPHER: TYLER GOLDEN
“WHEEL OF FORTUNE” SEASON 40
DIRECTOR OF PHOTOGRAPHY: JEFF ENGEL
OPERATORS: DIANE L. FARRELL, SOC, L.DAVID IRETE, RAY GONZALES, MIKE TRIBBLE
HEAD UTILITY: TINO MARQUEZ
CAMERA UTILITY: RAY THOMPSON
VIDEO CONTROLLER: JEFF MESSENGER
VIDEO UTILITIES: MICHAEL CORWIN, JEFF KLIMUCK
JIB ARM OPERATOR: STEVE SIMMONS
STILL PHOTOGRAPHER: CAROL KAELSON
STALWART PRODUCTIONS, LLC
“THE TERROR: DEVIL IN SILVER”
SEASON 3
DIRECTOR OF PHOTOGRAPHY: JULIE KIRKWOOD
OPERATORS: RYAN TOUSSIENG, JULIEN ZEITOUNI
ASSISTANTS: ANDREW PECK, RANDY MALDONADO GALARZA, EMMALINE HING, ROSE FORMAN
DIGITAL IMAGING TECH: CURTIS ABBOTT
LOADERS: AMELIA SUMMAR, MAX SCHWARZ
STILL PHOTOGRAPHER: EMILY ARAGONES
STAMFORD MEDIA CENTER AND PRODUCTIONS, LLC
“STAMFORD MEDIA CENTER-WILKOS” SEASON 17
OPERATORS: RON THOMPSON, VICTOR MATHEWS, ANTHONY LENZO, MARC NATHAN, DOMINICK CIARDIELLO, JON ROSE, CHARLES BEDI
ASSISTANT: ROBERT BENEDETTI
CAMERA UTILITIES: JOE MANCUSI, ANTHONY DEFONZO, ROBERT FRITCHE, FRANK CAIOLA
CHYRON OPERATOR: DAVID KATZ
TURNER NORTH CENTER PRODUCTIONS, INC.
“AND JUST LIKE THAT”SEASON 3
DIRECTORS OF PHOTOGRAPHY: TIMOTHY NORMAN, ANDREI BOWDEN SCHWARZ
OPERATORS: PETER AGLIATA, TODD ARMITAGE
ASSISTANTS: CHRISTOPHER ENG, JOHN REEVES, SARAH SCRIVENER, MABEL SANTOS HAUGEN
DIGITAL IMAGING TECH: ANDREW NELSON
LOADERS: NYLE HIGGS, PHILIP BABICH
STILL PHOTOGRAPHER: CRAIG BLANKENHORN
UNIVERSAL TELEVISION
“THE EQUALIZER” SEASON 5
DIRECTORS OF PHOTOGRAPHY: TERRENCE L. BURKE, CLIFF CHARLES
OPERATORS: JOE BLODGETT, MALCOLM PURNELL, RICARDO SARMIENTO
ASSISTANTS: STACY MIZE, JELANI WILSON, CHRIS GLEATON, ROB WRASE, ZAKIYA LUCAS-MURRAY, COLIN MORRIS
STEADICAM OPERATOR: JOE BLODGETT
DIGITAL IMAGING TECH: TIFFANY ARMOUR-TEJADA
LOADERS: CHRIS BAZATA, ALEX LILJA
STILL PHOTOGRAPHERS: EMILY ARAGONES, MICHAEL GREENBERG
VIBRANT PRODUCTIONS, LLC
“UNTITLED BIGELOW-OPPENHEIM”
DIRECTOR OF PHOTOGRAPHY: BARRY ACKROYD, BSC OPERATORS: GREGOR TAVENNER, KATHERINE CASTRO, ALAN PIERCE
ASSISTANTS: NOLAN BALL, CORY STAMBLER, JASON BRIGNOLA, TIM METIVIER, CHRISTINA CARMODY, JAMES DEAN DRUMMOND, EVE STRICKMAN, ANDY HENSLER
DIGITAL IMAGING TECH: KYO MOON
LOADERS: CLARIE SNODE, PAUL SPANG, SAM FORNASIERO
STILL PHOTOGRAPHER: EROS HOAGLAND
COMMERCIALS
ANONYMOUS CONTENT
“VW ATLAS”
DIRECTOR OF PHOTOGRAPHY: CHRIS BLAUVELT
ASSISTANTS: MIKE BLAUVELT, PETER PARSON, JOHN PARSON, COURTNEY MILLER, CARRIE LAZAR, NOAH GLAZER
DIGITAL IMAGING TECH: SEAN GOLLER
ARTS & SCIENCES
“FANDUEL”
DIRECTOR OF PHOTOGRAPHY: AUTUMN DURALD, ASC
ASSISTANTS: ETHAN MCDONALD, ALAN CERTEZA
DIGITAL IMAGING TECH: LONNY DANLER
CAVIAR
“TURBOTAX”
DIRECTOR OF PHOTOGRAPHY: ALEXIS ZABE
ASSISTANTS: DUSTIN MILLER, BAS TIELE, PATRICK ROMERO, KEITH BRONSDON
STEADICAM OPERATOR: WILLIAM CHRISTENSEN
DIGITAL IMAGING TECH: NINA CHADHA
CENTRAL FILM NORTH
“AURIGA PRINT”
DIRECTOR OF PHOTOGRAPHY: FLORIAN STADLER
ASSISTANTS: ALAINA MCMANUS, ERIN ENDOW
DIGITAL IMAGING TECH: JORDAN LIVINGSTON
CMS PRODUCTIONS
“IHG”
DIRECTOR OF PHOTOGRAPHY: BEN MULLEN
ASSISTANTS: MATTHEW BOREK, ELIZABETH COGGINS
STEADICAM OPERATOR: JAMES MARIN
DIGITAL IMAGING TECH: PETE AGUIRRE
“SVLV-MV”
DIRECTOR OF PHOTOGRAPHY: LUKASZ JOGALLA
OPERATOR: CHRISTOPHER DUSKIN
ASSISTANTS: STEVE CUEVA, HAYDN PAZANTI, ARTHUR ZAJAC
STEADICAM OPERATOR: GEORGE BILLINGER
DIGITAL IMAGING TECH: NICK FRY
“TOYOTA 4 RUNNER”
DIRECTOR OF PHOTOGRAPHY: SAM CHASE
OPERATORS: JULIA LIU, PATRICK QUINN, NATHAN SWINGLE, DAN MASON
ASSISTANTS: ASA REED, MARY ANNE JANKE, FELIX GIUFFRIDA, CHRIS MALENFANT, AUDREY STEVENS, MICHAEL RODRIGUEZ TORRENT
DIGITAL IMAGING TECH: WILL FORTUNE
LOADER: MATT MEIGS
DIGITAL UTILITY: KEENAN KIMETTO
DIVISION 7
“CHEWY”
DIRECTOR OF PHOTOGRAPHY: CHRISTOPHER LEW
ASSISTANTS: CORY SOLON, COLLEEN MLEZIVA
DIGITAL IMAGING TECH: NIINA CHADHA
EPOCH
“COMCAST”
DIRECTOR OF PHOTOGRAPHY: ALEXIS ZABE
ASSISTANTS: WAYNE GORING, KARLA MENDOZA
STEADICAM OPERATOR: RENARD CHEREN
DIGITAL IMAGING TECH: NINA CHADHA
FARM LEAGUE
“NIKE, WATCH US WIN”
DIRECTOR OF PHOTOGRAPHY: ROB HAUER
ASSISTANTS: ERIC MACEY, JASMINE KARCEY
DIGITAL IMAGING TECH: JOHN SPELLMAN
GIFTED YOUTH
“NATIONWIDE”
DIRECTOR OF PHOTOGRAPHY: CRISTINA DUNLAP
OPERATORS: SHANELE ALVAREZ, SOC, RACHEL DUSA
ASSISTANTS: KYLE PETITJEAN, JENNA HOFFMAN, EVAN WILHELM, JASON GARCIA, LIAM MILLER, JONATHAN DEC
DIGITAL IMAGING TECH: NINA CHADHA
HUNGRY MAN
“WHATSAPP”
DIRECTOR OF PHOTOGRAPHY: JONATHAN SELA
OPERATOR: LAURENT SORIANO
ASSISTANTS: LILA BYALL, MICHAEL ASHE, KELLY SIMPSON, NOAH GLAZER, GAVIN GROSSI
DIGITAL IMAGING TECH: JORDAN HARRIMAN
ICONOCLAST “NIKE”
DIRECTOR OF PHOTOGRAPHY: JAMES LAXTON, ASC
ASSISTANTS: ALEX SCOTT, JONATHAN CLARK
DIGITAL IMAGING TECH: KEVIN SHIRAMIZU
LITTLE PRINCE
“SOFI”
OPERATOR: CAMERON DUNCAN
ASSISTANTS: CARRIE LAZAR, NOAH GLAZER, LILA BYALL, GAVIN GROSSI
DIGITAL IMAGING TECH: CASEY SHERRIER
LONDON ALLEY
“PROJECT COLUMBIA”
DIRECTOR OF PHOTOGRAPHY: JONATHAN SELA
OPERATOR: DAVID MYRICK
ASSISTANTS: LILA BYALL, NOAH GLAZER, CARRIE LAZAR
DIGITAL IMAGING TECH: ZACK MARCHINSKY
CRANE TECHS: COREY KIEFER, BRETT FOLK
OBJECT & ANIMAL
“EBAY”
DIRECTOR OF PHOTOGRAPHY: EVAN PROSOFSKY
ASSISTANTS: JASMINE CHANG, JOE ASHI
DIGITAL IMAGING TECH: NINA CHADHA
O POSITIVE
“UBER EATS”
DIRECTOR OF PHOTOGRAPHY: GYULA PADOS
OPERATOR: MATT BAKER
ASSISTANTS: HECTOR RODRIGUEZ, DANIEL HANYCH, JESSE BARBA
DIGITAL IMAGING TECH: JASON BAUER
ONE AT OPTIMUS
“WEBER FUSION”
DIRECTOR OF PHOTOGRAPHY: JAMIESON MULHOLLAND
RADICAL MEDIA
“AMAZON FIRE”
DIRECTOR OF PHOTOGRAPHY: CRISTINA DUNLAP
ASSISTANTS: KYLE PETITJEAN, COLLEEN MLEZIVA
DIGITAL IMAGING TECH: NINA CHADHA
REVERSE
“ONSTAR”
DIRECTOR OF PHOTOGRAPHY: LOGAN TRIPLETT
OPERATOR: JUN LI
ASSISTANT: ADAM KIRSCHHOFFER
DIGITAL IMAGING TECH: ZACK MARCHINSKY
SMUGGLER, INC.
“STARBUCKS”
DIRECTOR OF PHOTOGRAPHY: LAURA MERIANS
ASSISTANTS: ETHAN MCDONALD, ALAN CERTEZA
DIGITAL IMAGING TECH: CONRAD RADZIK
STIR FILMS, LLC
“PNC, GET RICH QUICK”
DIRECTOR OF PHOTOGRAPHY: DOUG P. GORDON
ASSISTANT: MARY ANNE JANKE
SUPPLY & DEMAND
“MAZDA”
DIRECTOR OF PHOTOGRAPHY: SAMUEL BAYER
OPERATOR: JESS CANNON
ASSISTANTS: NICOLAS MARTIN, JAMES BARELA,
ROBYN BUCHANAN, LUIS GOMEZ
DIGITAL IMAGING TECH: FABRICIO DISANTO
ARM CAR OPERATOR: ROB RUBIN
OCULUS TECH: YURIY FUKS
BAND PRO 7
CINE GEAR 6
ECA AWARDS 20
SWEET RICKEY
“DRAFT KINGS”
DIRECTOR OF PHOTOGRAPHY: KIP BOGDAHN
OPERATOR: KRISTY TULLY
ASSISTANTS: CARRIE LAZAR, NOAH GLAZER, LILA BYALL
DIGITAL IMAGING TECH: CASEY SHERRIER
UTILITY: ANDI CORBAXHI
THE CORNER SHOP
“NYULH”
DIRECTOR OF PHOTOGRAPHY: BILL POPE, ASC
ASSISTANTS: JOHN FITZPATRICK, CORNELIA KLAPPER
DIGITAL IMAGING TECH: MALIKA FRANKLIN
TOOL OF NORTH AMERICA
“AFLAC”
DIRECTOR OF PHOTOGRAPHY: ERIC SCHMIDT
ASSISTANTS: LILA BYALL, DANIEL HANYCH, LAURA GOLDBERG, GAVIN GROSSI, ERIC MATOS
DIGITAL IMAGING TECH: JOHN SPELLMAN
WEST COAST & CANADA
ROMBEAU INC.
Sharon Rombeau
Tel: (818) 762-6020
Fax: (818) 760-0860
Email: sharonrombeau@gmail.com
EAST COAST & EUROPE
ALAN BRADEN INC.
Alan Braden
Tel: (818) 850-9398
Email: alanbradenmedia@gmail.com
NIKO TAVERNISE
JOKER: FOLIE À DEUX
The moments between director and actor are some of the best behind-the-scenes shots to witness and capture. It’s kind of the simplest form of filmmaking – just a conversation about how the character is evolving or emoting. To me, it’s a timeless second worth capturing. Here Joaquin Phoenix and Todd Phillips are in the courtroom set designed by Mark Friedberg on a stage at Warner Bros. Studios in Burbank. Lighting by Director of Photography Lawrence Sher, ASC, and his team.
FILM & TV SPORTING
Masterpiece’s Entertainment Division understands the complex logistics of the industry including seemingly impossible deadlines, unconventional expedited routings, and show personnel that must be on hand. Masterpiece has the depth of resources to assist you in making sure everything comes together in time, every time.
Our range of services, include:
• Customs Brokers
• Freight Forwarders
• ATA Carnet Prep & Delivery
• Border Crossings
• Domestic Truck Transport
• International Transport via Air or Ocean
• Expedited Shipping Services
• 24/7 Service Available
• Cargo & Transit Insurance
• Custom Packing & Crating
FESTIVALS
UNMATCHED LOW-LIGHT PERFORMANCE
V-RAPTOR XL [X] and V-RAPTOR [X] offer 17+ stops of dynamic range, providing unmatched low-light performance and unlocking more options to capture subtle detail and nuance while maintaining color fidelity and reproduction.
SHOT BY
Cinematographer: Yongsoo Shin