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SOCIETY OF OPERATORS . WINTER 2020

MOTHERLESS BROOKLYN BAD BOYS FOR LIFE

SOC.ORG · WINTER 2020SOC.ORG · VOL. 29, NO.1 : THE RISE OF SKYWALKER

CONTENTS DEPARTMENTS FEATURES 4 16 LETTER FROM THE PRESIDENT "Same Place, Different Time" 6 an interview with Craig Haagensen, NEWS & NOTES SOC by Kate McCallum SOC Member David Fredrick 22 Teaches Workshop at AFI, SOC Underwater Camera Operating STAR WARS: THE RISE OF 16 Workshop SKYWALKER 8 "The Will Be With You… Always" ESTABLISHING an interview with Colin Anderson, SOC an interview with Dave Levisohn, by David Daut SOC by Kate McCallum 28 38 THE IRISHMAN THE 2020 SOC LIFETIME "I Heard You Paint Houses" an interview with P. Scott Sakamoto, ACHIEVEMENT AWARDS SOC by Kate McCallum by David Daut 32 42 BAD BOYS FOR LIFE TECH TALK "They’re Back!" "SOC Technical Achievement by Christopher T.J. McGuire, SOC Award 2020: Sony’s VENICE Rialto Extension System" 22 ON THE COVER: BTS; - Lionel Essrog, © 2018 Warner Bros. Entertainment 44 Inc. All Rights Reserved. Photo by Glen Wilson INSIGHT Meet the Members 45 SOC ROSTER 48 SOCIAL SOC 28 32

CAMERA OPERATOR · WINTER 2020 1 Society of Camera Operators

OFFICERS Dale Myrand, Benjamin Spek, CONTRIBUTORS Niko Tavernise Dave Thompson, Dan Turrett, Glen Wilson Gary Adock Rob Vuona Board of Governors Colin Anderson, SOC Charities Brian Taylor TRIVIA George Billinger, SOC Membership Drive Lisa Stacilauskas Source .com President George Billinger Peter Cavaciuti, SOC, ACO, Historical Mike Frediani 1st Vice President Mitch Dubin GBCT, ASSOC. BSC TO SUBSCRIBE Membership Dan Gold, 2nd Vice President Dan Turrett Steven Cohen, SOC or for subscription information Dan Turrett Secretary Lisa Stacilauskas Marcis Cole, SOC questions: SOC.org or Technical Standards Eric Fletcher Treasurer Bill McClelland David Daut 818-563-9110 Sergeant-at-Arms Dan Gold Education David Sammons Tom Fletcher FOR ADVERTISING STAFF AND CONSULTANTS David Fredrick, SOC BOARD MEMBERS Craig Haagensen, SOC INFORMATION Membership Services & Operations Colin Anderson Dave Levisohn, SOC (818) 563- 9110 or Coordinator John Bosson David Emmerichs Kate McCallum [email protected] Bookkeeper Angela Delgado Eric Fletcher Christopher T.J. McGuire, SOC For digital editions and back Calligrapher Carrie Imai Michael Frediani Pete Ramano, ASC ißssues: SOC.org Business Consultant Kristin Petrovich Geoffrey Haley P. Scott Sakamoto, SOC Camera Operator is a quarterly and Createasphere Matthew Moriarty Ian S. Takahashi, SOC publication, published by the David Sammons CAMERA OPERATOR MAGAZINE Society of Camera Operators. Dave Thompson PHOTOGRAPHY Publishing Consultant Gretchen Warthen François Duhamelel Kristin Petrovich Chris Haston Managing Editor Kate McCallum COMMITTEE CHAIRS Jonathan Olley Is a registered trademark. Layout & Production Awards George Billinger, Mitch Albert L. Ortega All rights reserved. Stephanie Cameron Dubin, Dan Gold, Geoff Haley, Bill Ben Rothstein Advertising Jeff Victor McClelland, John “Buzz” Moyer, Michael Tackett

CAMERA OPERATOR available for free online

SOCIETY OF CAMERA OPERATORS . WINTER 2018

SOCIETYSOCIETY OF CAMERA OF CAMERA OPERATORS OPERATORS . FALL 2017 . FALL 2016 THE SHAPE OF WATER DOWNSIZING

SOC.ORG · WINTER 2018SOC.ORG · NO.1 VOL. 27, THE POST

Sully Only the BraveLa La Land DARKESTNocturnal HOUR Animals SOC THE DISASTERManchester ARTIST by the S SOC.ORG · FALL 2017SOC.ORG · FALL VOL. 26, NO.4 TechnicalWONDERSTRUCK Achievement Awar

View issues on your desktop and mobile devices. issuu.com/cameraoperators Michael Frediani, Michael

2 SOCIETY OF CAMERA OPERATORS · SOC.ORG Recording Formats Mounting Points Heads Up Display Timecode Advanced Connections See recording formats, Standard ¼ inch mount View critical status and recording Lock timecode for perfect 12G-SDI, HDMI, microphone resolution and frame rate. points on top and bottom. information or swipe to hide it. sync with camera recordings. inputs and more.

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CAMERA LearnOPERATOR more· WINTER 2020 at www.blackmagicdesign.com 3 Letter from the President

Dear SOC Members and Camera Operator Readers:

Congratulations to the nominees and honorees of this year’s memorable SOC Lifetime Achieve- ment Awards that took place on Saturday, January 18th at the Loews Hollywood Hotel.

It was a great honor to present Jamie Lee Curtis with this year’s SOC President’s Award, Na- talie Portman with the SOC Governors Award, and Steven Poster, ASC the SOC Distinguished Service Award for his years of tireless service as President of the ICG: International Cine- matographers Guild. These awards have the legacy of being presented to individuals who demonstrate dedication, consistent and enlightened service, and leadership in the film and media industries.

It is with great pleasure that the SOC presented Colin Anderson, SOC with the Lifetime Achievement Award for Camera Operating. Anderson is known for his work on Star Trek: The Rise of Skywalker (2019), Velvet Buzzsaw (2019), Phantom Threads (2017), and Star Trek: Episode IV: The Force Awakens (2015) to name just a few. He was the recipient of the 2011 SOC Camera Operator of the Year – Feature Film Award for his work on The Town. The SOC also awarded Dave Levisohn, SOC the SOC Camera Operator Award for Live & Non-Script- ed. Some of Dave’s credits include; All in the Family, Grease Live, America’s Got Talent, and several prominent awards show such as The , The Grammy Awards, The Golden Globe Awards, and The Screen Actors Guild Awards to name a few. David has also been nominated 54 times and has won 19 for Outstanding Technical Direc- tion, Camerawork, and Video Control for a Limited Series, Movie or Special.

The Camera Operator of the Year – Feature Film went to Geoff Hayley,SOC for his work on Joker, and The Camera Operator of the Year – Televisionwent to Jim McConkey, SOC for his work on The Marvelous Mrs. Maisel. Congratulations!

I’d also like to offer a special thank you to our Awards producer, Kristin Petrovich, our vol- unteers, and to everyone who once again helped make the awards such a success. Thank you!

This coming year, the Board of Directors will continue to increase our membership and focus our efforts on elevating the position of the camera operator. The SOC believes that through education and working with our fellow industry professionals, we can strengthen and elevate the craft of the camera operator in the entertainment industry.

Our continued efforts and passion to advance the art and craft of the camera operator is the result of your dedication, effort and participation, and we thank you—our members and corporate sponsors —for your support!

Here’s to continued success in 2020!

Sincerely,

George Billinger, SOC Society of Camera Operators, President

4 SOCIETY OF CAMERA OPERATORS · SOC.ORG CAMERA OPERATOR · WINTER 2020 5 News & Notes SOC MEMBER DAVID FREDERICK TEACHES WORKSHOP AT AFI Both groups worked with Pete Romano, ASC, were limited in size This past fall, the American Film Institute graduate level first year to ten, and had to be scuba certified. They each had an opportunity to Class invited past SOC President David Frederick shoot an underwater shoot and were able to keep the content. back for the fifth year in a row to present and speak at a full-day class taught by professor, Jacek Lassus, ASC, PCS. The third tier was designed for camera assistants, and focused on camera prep, underwater housing and the role of 1st AC for under- Dave presented on topics which included: real world professional water productions. The group worked with expert instructors but set procedures and politics, safety as job number one, skills training did not dive. necessities, and striving for ultimate creativity in compositions and camera movements. Special thanks to the HydroFlex team for bringing their expertise and to the SOC volunteers for helping create an unforgettable The underlying theme of the day was how camera operators serve experience for our attendees: Chris Salas, Evan Morton, Cong the many levels of productions with artistic, efficient, and economic Zhou, Chris Pilarski, Anthony Perrella Jr, Jun Li, Keith Jeffries, savings aspects in . All students filled out SOC Student and Yongmin Choi. Membership applications, and two were already members. Thank you also to Sheroes Entertainment for providing their lovely mermaid models and Divers for their gear rentals and equipment.

David Fredericks, SOC with AFI Cinematography Class. Courtesy of David Fredericks

SOC UNDERWATER CAMERA OPERATING WORKSHOP SOC Underwater Camera Operator Workshop in action. Courtesy of SOC

A huge thank you to everyone who participated in the SOC Under- Camera Operator had the chance to ask instructor Pete Ramano, water Camera Operating & Assistant Camera Workshop in partner- ASC for his takeaways on the workshops: ship with HydroFlex this past Fall. Pete Romano, ASC: I was very encouraged to see so many people The SOC had two successful weekends at the iconic Warner Bros. demonstrate a real interest in the field of underwater cinematography. Ranch where attendees got valuable instruction from the HydroFlex We filled two workshops over two weekends with camera people, many team on composing underwater shots, prepping cameras for under- of whom traveled long distances—even internationally—to attend. We water and much more. kept the number of attendees at about 32 per weekend so we could give the participants real hands-on experience over one day of class- The advanced operating workshop was designed for working camera work and two days of pool experience. This year we added a section for operators that have ample experience above and below water. camera assistants which, I think, was a crucial decision. An underwater The second participant tier was for intermediate camera operators, operator needs knowledgeable and efficient support on the surface. A that have experience above water and somewhat limited below. competent, well-trained AC is key to a successful underwater shoot.

6 SOCIETY OF CAMERA OPERATORS · SOC.ORG

& CO: Can you share any thoughts about your involvement regard- News Notes ing the workshop and teaching? More stories include underwater and action water sequences; more Ramano: When I commit to something I am all in, especially when commercials feature water work; and most significantly—more dis- it involves the field I am passionate about. Though I was trained as tribution platforms have heightened the demand for more product. I an underwater cameraman in the Navy, translating that experience would say there is more going on than ever before. to the very unique challenges of shooting for film and television, was a vastly different experience. I starting building my own equip- Whether one wants to specialize in underwater cinematography, or ment and figuring out a lot of the techniques that worked as I went simply have that competency as one more skill that makes you a valu- along. So to be able to share all I have learned, and frankly continue able camera professional, I think now is the best time ever to pursue to learn, is an amazingly satisfying experience. It's exciting to help that opportunity. the next wave young men and women develop their technique, their eye and their confidence. Which leads me to note that we were es- pecially pleased to see that over 30% of this year's attendees were PETE ROMONO, ASC female, that included equal numbers of operators and AC's. And I think the students appreciated that our teaching staff also reflected Pete Romano, ASC is a former Navy a healthy male/female ratio. Diver and member of the Pacific Fleet Underwater Combat Camera Group. CO: Can you offer any advice for operators interested in underwa- In 1985, he built his first underwa- ter operating and what might be their future prospects? ter housing for the -35 3 film Courtesy of Pete Romano Courtesy of Pete Ramano: The most important attribute to have if you're serious camera after recognizing the need for about adding underwater operating to your skill set is that you must standardized equipment to simplify and enhance the underwater be a competent diver who is comfortable and confident in the wa- shooting process. Soon after camera rental houses were representing ter. Remember that you are essentially a working diver tasked with his product and Hydroflex, Inc. was born. By 1988, Hydroflex add- pushing a camera around. It's essential to know the mechanics and ed high power underwater lights to the inventory that were devel- principles of , too. All this should be second oped specifically for . Since then Hydroflex has continued nature so that by the time the camera is handed off to you in a pro- to design equipment for the evolving needs of the motion picture duction setting, your only consideration is making the shot happen industry. Along the way, Hydroflex has been honored with two Mo- to everyone's satisfaction. tion Picture Academy Technical Achievement awards, and an SOC Technical Achievement Award. As an underwater director of photog- Even with the advent of CGI and all it can do, underwater cinema- raphy, Pete has amassed numerous credits, notable among them are: tography has expanded exponentially in the 30 years since I entered The Abyss,Titanic, , Waterworld, Pearl Harbor, the field. Producers and writers aren't afraid of the supposed expense Men of Honor, Tree of Life, Edge of Tomorrow, Mission Impossible: 4 & and complexity of shooting underwater the way they once were. 5, Ad Astra, Gemini Man, and the upcoming Call of the Wild.

MARCH MAY Calendar • March 29, 2020 • May 16, 2020 March BOG Meeting J.L. Fisher Industry Mixer • May 24, 2020 APRIL May BOG Meeting • April 18, 2020 NAB Show, Vegas MORE EVENTS • April 26, 2020 Please log onto SOC.org to see all April BOG Meeting upcoming happenings.

8 SOCIETY OF CAMERA OPERATORS · SOC.ORG CAMERA OPERATOR · WINTER 2020 9 & THE CAMERA COMPARISON CHART News Notes (Formerly known as the Fletcher Camera Chart) each cameras credit’s list allowed us to better understand what our created by Gary Adcock and Thomas Fletcher needs, requirements and look we are trying to achieve for our own productions. We all have gone to a movie or watched a TV show and wondered what it was shot with, so by allow us to credit their cameras helps those productions and their directors of photography while sup- porting the manufacturers marketing efforts too. The best example of that on the 2019 Camera Comparison Chart is Canon's C300MK2, where every credit listed for that camera was nominated for the Acad- emy Award for Documentary Filmmaking this year, every one.

GARY ADCOCK

Few exemplify the changing technological landscape in digital cinema more than Gary Adcock. With a unique understanding of on-set technologies and their relationships in post-production has allowed him to act Hauser Marc by Photo Find the Camera Comparison Chart at soc.org/CO as a guide in the evolving relationship between acquisition, edit, and delivery. Gary is one of the co-authors and tech editor for the origi- From its introduction, the Camera Comparison Chart was designed nal version of the Data Handling Procedures and Best Practices guide to provide a tool to educate their producers in the used by IATSE Local 600 ('s Guild). Gary has been wide variety of tools available to them for content creation. We have a speaker on cinematography and the related technologies at events kept the Camera Comparison Chart focused those mainstream pro- around the world, and has presented on various topics at the National duction-centric cameras that are available for purchase and rental Association of Broadcasters Las Vegas convention continuously since around the world to maintain that relevance. That fact is the reason 1999, as well as presenting on a diverse array of subjects at NAB Shang- that cameras such as ARRI’s Alexa 65 and ’s DXL cameras hai, IBC Show, Interbee and Broadcast India. His knowledge and are not included herein, even though those cameras are widely uti- capabilities keep him in demand as both a consultant and technical lized in both television and feature film production. writer for a wide array of manufacturers and publications. You can Being relevant to the rental industry has always been our key focus, follow Gary on and Instagram as @garyadcock or read his blog Tom’s former company, Fletcher Camera and Lens, was one of the at garyadcock.com. most influential rental houses educating both crews and produc- TOM FLETCHER tions in the earliest days of HDTV and what has become a digital revolution as we move into mainstream delivery of 4K and HDR Tom Fletcher is currently the Director of content. Rental houses have always been a focal point for advancing Marketing at Fujifilm/FUJINON. He is production technology in the film and television communities they an accomplished entrepreneurial in the serve. The rental houses are important because any new generation of motion picture and broadcast camera in-

production cameras are often out of the price range most users could dustries having created Fletcher Camera Fletcher Tom Courtesy of comfortably afford, so renting those cameras allow a wider array of and Lenses in 1987 and then sold the busi- users access to the highest level of cinematic production tools that ness in 2014. Tom is an actively involved member of following orga- could not have been achieved in other ways. nizations: Production Equipment Rental Group (PERG), American Society of Cinematographers (ASC), Society of Operating Camera- When we started there was not a large amount of information com- men (SOC), and the Digital Cinema Society (DCS). Tom is also well plied or published on the cameras used as part of most projects. Near- known for publishing the yearly Camera Comparison Chart. ly all high-end projects were shooting film, where the cameras were sometimes secondary to the film stocks that were used. The advent Tom is a graduate of University of Illinois (Champaign), and also of digital production made everyone far more aware of the differenc- holds a Certificate in Business Administration from the University of es between each camera and the manufacturer’s products. Showing Illinois (Chicago).

10 SOCIETY OF CAMERA OPERATORS · SOC.ORG Cine Gear Expo Los Angeles 2020

THE STUDIOS AT PARAMOUNT, HOLLYWOOD, CA

FILM COMPETITION JUNE 4 EXHIBITS SEMINARS EXHIBITS JUNE 5-6 DEMONSTRATIONS MASTER CLASSES JUNE 7 NETWORKING FULLCAMERA DETAILS: OPERATOR WWW.CINEGEAREXPO.COM · WINTER 2020 SPECIAL EVENTS11 an interview with Dave Levisohn, SOC by Kate McCallum

Dave Levisohn, SOC on the set of DANCING WITH THE STARS. Photo courtesy Dave Levisohn, SOC

Dave Levisohn, SOC is this year’s recipient of the SOC Lifetime Before I was drafted, I could not get into the business. I spent two Achievement Award Camera Operator Live & Non-Scripted and it’s years operating at Fort Bliss, Texas. super obvious why. Levisohn has had a very successful career in tele- CO: Where you truly got to start following your ‘bliss.’ How ap- vision for 50 years, has been nominated for Emmys 54 times, and propo! How did you end up on camera in the Army? has been the winner of 19 Emmy Awards for Outstanding Technical Levisohn: When I was drafted into the Army I had an interview… Direction, Camerawork, Video Control for a Limited Series, Movie or maybe the third day I was in. They asked what I did as a civilian. I said Special. That must be a record! I was schooled as a camera operator. Lucky for me—they needed one Camera Operator: Congratulations on receiving the SOC Lifetime at Fort Bliss, Texas, so after basic training, I was assigned to the Fort Achievement Award for Camera Operator Live & Non-Scripted, Bliss Educational Network. Dave. Can you share a bit about your background? How you get Fort Bliss was a missile school for the Army and foreign countries. I started in your illustrious career? basically just shot a lot of classroom stuff. Not that exciting, but better Levisohn: I was born in the Bronx, and spent my teen than the alternative at the time. years in Massapequa, Long Island. I took a lot of photos when I was CO: Did you have mentors who helped you along the way towards growing up in public school, and was the kid who used to operator breaking into Hollywood? the projector for all the classrooms. Levisohn: After I got out of the Army, I moved to Los Angeles and After one year of college at Michigan State University I left there to got a job working at Video Tape Enterprises. At the time, it was the go to, RCA Institute in and enrolled in a six-month only independent mobile unit in Los Angeles. There I met Dean Hall, course in the basics of television production. a freelance camera operator, who had worked at ABC. He took me I actually got my first break into operating when I was in the Army. under his wing, and today is still a good friend.

12 SOCIETY OF CAMERA OPERATORS · SOC.ORG THE MOST HIGHLY ANTICIPATED EVENT IN THE BUSINESS OF STORYTELLING

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*Discount only applies to non-NAB member rates CAMERA OPERATOR · WINTER 2020 13 Other colleagues who helped me out were camera operators who I worked with when I was at CBS Television City. All had worked on "live" television. Going back to Playhouse 90's and many of the great variety shows, at the time. In 1969, I became member of Local 659. At that time, I was one of only 10 freelance “Electronic Operators” in the Union. CO: What happened next? And what have been some of the most memorable projects you’ve operated on? Levisohn: In 1971, I started working at KTLA until 1973, when I went to work for CBS. During my time there I worked on shows such as; Sonny and Cher, Tony Orlando and Dawn, All in the Family, Maude, the pilot for The Jeffersons, One Day at A Time, Welcome Back Kotter. Also NFL Football and NBA Basketball. I left CBS in 1977 and worked on the TV movie Once Upon a Brothers Grimm. Since then, I’ve been an operator on 100’s of TV episodes, and numerous longform MOW’s, specials, documentaries, and high-profile award shows such as the Emmy Awards, the Academy Awards, the MTV Music Video Awards and the Grammy Awards. Some of my most memorable projects have been operating on clas- sics like: Don Kirshners Rock Concert, All In The Family, and Sonny and Cher. Working on the live version of the movie Fail Safe which produced, Stephen Frears directed, and John Alonzo was the DP, and the live version of the movie Grease, which was an- Top: On camera circa 1962. Photo courtesy of Dave Levisohn, SOC other standout moment in my career. And—so many great moments Bottom: On camera circa 2019. Photo by Chris Haston happened on the Grammy Awards. CO: Do you have any advice for camera operators wanting to break into “live” television and non-fiction TV? Levisohn: Breaking into TV as an operator? That's a hard one. Espe- cially if you want to get into the "Variety" genre. But nowadays doing sports and reality is the only way to get started. The days of network,"summer replacement" are gone. That's where a lot of training took place. CO: Can I ask you a personal question? 19 Emmy Awards? Where do you keep them all? Please tell… Levisohn: I keep them in a back room. Not that I am not proud of receiving them. But would be a little ostentatious to have them out. But my SOC Award is out for everyone to see. It means a lot to have received an award from your peers. DAVE LEVISOHN, SOC CO: What are you working on currently, Dave? David Levisohn, SOC has had a very successful career in televi- Levisohn: Right now, I keep doing what I always have—live tele- sion for 50 years. Levisohn has been nominated 54 times and has vision events and variety shows. Every once in awhile, I fill in on been the winner of 19 Emmy Awards for Outstanding Technical sit-coms. Direction, Camerawork, Video Control for a Limited Series, Movie I really enjoy what I have done and still do. But most important is or Special. the camaraderie and friends that I have, and get to work with. Been Photo courtesy of Dave Levisohn a good ride.

14 SOCIETY OF CAMERA OPERATORS · SOC.ORG SOCIETY OF CAMERA OPERATORS EDUCATIONAL WORKSHOPS

Join the SOC in 2019 for Camera Operating Workshops taught by working professionals. These workshops are designed to sharpen your skills, teach techniques for operating, better understanding of the roles and responsibilities on set, and to elevate the craft of camera operating.

Underwater Camera Operating Workshop Operating in the 4th Dimension - Working with Telescopic Cranes Camera Operating for Cinema & TV Camera Operating for Live & Sports Production Running the Set – the Role of the Operator

SOC members will receive details via emails in addition to priority registration and discounts. Workshops will be noted if non SOC members are able to register.

CAMERA OPERATOR · WINTER 2020 15 Motherless Brooklyn Same Place, Different Time an interview with Craig Haagensen, SOC by Kate McCallum

EDWARD NORTON-Lionel Essrog; -Paul Randolph. © 2018 Warner Bros. Entertainment Inc. All Rights Reserved. Photo by Glen Wilson

16 SOCIETY OF CAMERA OPERATORS · SOC.ORG Motherless Brooklyn is a 2019 American neo-noir crime film written, produced and directed by Edward Norton, based on the 1999 novel of the same name by . Set in New York City in 1957, the film follows a private investigator with , who is determined to solve the murder of his mentor. Norton also stars in the film, along with , Gugu Mbatha-Raw, Bobby Cannavale, Cherry Jones, and Willem Dafoe.

Camera Operator: You’ve worked on Escape at Dannemora, I got an email from er-looking street brownstones of Harlem that some great such as Jacob’s Ladder, Dick Pope, a DP I knew of but had never Manhattan now has largely seen refurbished. 12 Monkeys, and Carol to name a few. worked with. He was arriving in NYC and The Harlem Jazz Club was the real deal from How did you get into camera operating wanted to meet while he was there. Nothing of the era, where jazz performers working in and how did you get hired to work on unusual here, as DP’s would occasionally call the clubs of Midtown and Downtown Man- this film? just to have a chat, not related to any work of- hattan went to meet, relax, and jam. Other Craig Haagensen: During my 12 or so years fer. Dick operates the films he DP’s, so I didn’t Manhattan locations gave us Moses’ office, as a 1st AC on commercials, I had the good think of our meeting as an job interview. It our late-night diner, the Depression Era pool fortune to work with a few companies that was a refreshing conversation with a world exteriors, Washington Square, and various primarily used British directors and DP’s class DP, and after three hours time to split. other virtually unmodified interiors. The such as Nick Roeg, , and a host Only then did he broach the subject of work- pool scenes, in particular, blended a Lower of other British commercial directors. I of- ing together, with me as A operator, and Dick Eastside Depression WPA pool exterior with ten worked with Ian Wilson, , operating as occasional B camera. Dick is a the a beautifully tiled Depression Era pool Peter Biziou and others. Peter was hired by master of lighting simplicity and has a great located in the Bronx. sense of humor to boot, which helped carry us to DP 91/2 Weeks and asked me We didn’t do stage work until the end of the through a couple of rough patches! to be his . Adrian needed an op- show, primarily the fight on the Harlem fire erator and asked me for recommendations. CO: Who made up your production team? escape, and the grand interior of the long- Adrian impressed upon me he didn’t want Haagensen: My team consisted of 1st AC, gone original Penn Station. Razed by the someone too far set in their ways. With Eric Swanek; 2nd AC, Mike Guthrie on A city to “modernization,” the art department this in mind, I gave him two names. One camera; 1st AC Bobby Mancuso, with 2nd got original blueprints from the Museum of was just beginning as a feature operator, AC Justin Mancuso on B camera. The guys New York to recreate Penn Station’s wonder- could be molded a bit, and had the added interchanged occasionally, as we did do a lot ful interior to exacting scale. Only the the advantage of operating Panavision’s version of single camera work. The trade-offs were benches in the waiting area, and banks of of . The other operator was expe- smooth a silk, to be expected having two ex- lockers were physical props. A staircase at the rienced, but no stick in the mud. He was a traordinary A camera teams on board. DIT, far end painted green provided the frame- risk taker and open-minded—heck, he even Patrick Cecilian provided the anchor for our work for VFX. We shot this at the repur- flew his own helicopter! Adrian asked a few film’s look. posed Long Island Grumman Aircraft plant, questions, listening carefully. A week later I now transformed into huge film stages. Dick got a call from Adrian. He had spoken to the CO: I read that this was a passion project of used open faces 20Ks high to one side of the two operators I had suggested, and a bunch Norton's ever since he read Lethem's novel set to replicate sunlight piercing thru win- of others, and had decided to ask me to be in 1999, and that the film took nearly 20 dows, and the smoky cigarette atmosphere his operator. Peter was not happy that I had years to go into production. The book is so prevalent then. been poached! Larry Huston was brought on set in contemporary times, but Norton felt as out 1st AC, and he was perfect for the job. that setting the film in the 1950’s would CO: What camera and lens did Edward Operating wasn’t something on my radar. It create more of a noir feeling that would Norton as director, and your DP choose took me two weeks to decide to do it and I better suit the plot and dialogue. Where to use to get the look and feel for the era? really thought it would get boring fast. Boy, did you end up shooting the film and was Haagensen: Dick Pope’s lens choice were was I wrong! it difficult to find locations from that era? the new Cooke Classics. They are same op- As to Motherless Brooklyn, just as I was finish- Haagensen: We filmed between Manhattan tical design as the Cookes we used in the ing my time on the production, and Brooklyn. Brooklyn offered the old- 60s and early 70s. Back then, the set of 25,

CAMERA OPERATOR · WINTER 2020 17 BTS: Lionel Essrog-EDWARD NORTON, director of photography, Dick Pope, Mike Morini on dolly, and camera operator Craig Haagensen, SOC. Photo by Glen Wilson

35, 40, and 75mm all fit in one case small We did have a few days of 50’ Technocrane, called for a follow vehicle and a communi- enough to perch on a 14x8 platform on the tracking back from a door knob and leading cation method that would have been bur- rear of the Movieola dolly. The new incar- the sprint down the hallway by the Giant. densome and time-consuming to arrange. nations have many of the same anomalies Our key grip, Dave Stern, measured care- We had lots of driving to record, and key as the originals—mild internal flaring, vi- fully and placed a 12-foot platform for the grip Dave Stern built a clever X-Y system gnetting in corners, small optical aberra- crane’s base that provided just enough space of sliders in the backseat area of our period tions, but barreled for today’s camera sys- between the stage wall and arm counter- cars that gave great mobility to our camera. tems. In other words, they have character to squeeze a deck of cards between. We could quickly reposition the camera for and look great. Our cameras were Alexa XT two shots, French overs and the like. It left I always order an extended cable for the EVF, and Alexa Mini. scant room, or comfort for the operator, but 5’ or 6’ long. This allows me to get the view- it had the great advantage with the director CO: Were you using any other special equip- finder off the camera and do shots not pos- and key actor, and that made communica- ment on set that made your job easier? sible with the finder or a monitor mounted tion, often on the fly, a breeze. For instance, Haagensen: The overall thought was to on the camera. With the EVF in the hand, when in one setup, Edward is driving slowly avoid the most modern tools of filmmak- I’m able to do a 180 plus degree pans while down a Brooklyn street when he spots Gugu ing (Steadicam, Gravity, stabilized heads, stuffed into the back seat area of our vehicles Mbatha-Raw, and Cherry Jones walking on drones) as much as possible, and use that without moving around with the camera as the sidewalk against his flow. I was able to which fit the time period, and the style of it rotates. Of course, this can be done with easily see the approaching women outside that time. a wireless remote head, but that would have my frame and, on my own cue, timed my pan off Edward to pick them up, and fol- TRIVIA: Edward Norton met and consulted many members of the Tourette's low their progress through the side windows Association of America to prepare for the role. The film has received ap- and bodywork, and then continued tracking with them through the rear widow as Ed- proval from the organization as well. Photo by Stephane Malenfant ward continued driving past them. We could

18 SOCIETY OF CAMERA OPERATORS · SOC.ORG BTS: Lionel Essrog-EDWARD NORTON; Paul Randolph-WILLEM DAFOE; and Craig Haagensen, SOC. Photo by Glen Wilson easily communicate between us that the shot Haagensen: I can’t speak to how Edward Edward and let him focus on other matters, was still working, which cued Edward to pull juggled his roles as director and , especially on our first days of shooting. Day to the curb, and with a smooth stop while we but add to this, producer and writer, as well. one had Edward, Bruce Willis and co-star see the women ascend distant brownstone Genius and careful preparation works, but I Ethan Suplee working a complex stakeout steps and disappear inside. was most impressed with his calm demeanor with three other featured artists that leads We hadn’t planned that the shot would hold despite what must have been a stressful grind to a car chase. Our use of these photos and together that long, and 1st AC, Bobby Man- for 45 days. later, drawings of the storyboards faded over cuso, who was pulling focus remotely on the Edward had scouted extensively prior to any a couple of weeks as Edward grew to depend Mini, was taken by surprise but maintained of us coming on board. He had used his lo- on Dick’s lighting skills, and our combined calm...and focus...throughout. Now, a remote cations scout, producers, and himself as a framing tastes to tell the noir story as he en- head would have worked, but not seeing the stand-ins for iPhone shots to be recorded visioned. Dick would sometimes operate a women outside my frame would have required as a sort of storyboard used for our first few second camera if he saw any possible addi- optimal timing, rehearsal, and cueing with locations days of filming. Dick and I would tional coverage the editor might find useful. cumbersome comms. It’s a wonderful shot, carefully analyze the photos for equivalent What proved very helpful was Dick insisting smoothly telling the story in one continuous focal length, distance and , and I join in scouts for the few weeks leading up take. Edward’s driving, and trust that things match the frames for Edward. I would set up to filming. We, as operators, can offer our were still working, helped make the shot. the camera to replicate the shot as envisioned thoughts and experience, but it’s the direc- CO: Norton was both the lead and direc- in our quiet conversation while Dick sweet- tor’s vision we must adhere to. I’ve never tor, and he played a character with To- ened the light. We’d then offer this up to Ed- felt that showing up on day one of shoot- urette’s? How’d he juggle these roles and ward, who in the meantime would have been ing helps us to do that. Having time with how did you and the production team in conference with the actors for the scene. a director prior to the first day’s work is a work together to support him behind and And—he would always seemed quite ready very valuable investment. As operators, we in front of the camera? himself. This took a good deal of off have differing opinions about why so many

CAMERA OPERATOR · WINTER 2020 19 TRIVIA: Edward Norton's second turn in the director’s chair after directing Keeping The Faith (2000).

Alec Baldwin, two weeks fresh from hip re- placement, opens his first major scene rap- idly striding along a long hall and abrupt- ly turning into an office, exploding into a city hall meeting. We had to do this shot a number of times, and Alec, a straight- ahead professional, made no complaints. Dollyologist, Mike Morini pushed low be- hind Alec, his full-sized Fisher dolly in crab drive position with a Libra remote head supporting the Alexa. His full-sized Fisher dolly wheels then turn 90 degrees and we follow Alec as he abruptly turns and strides straight thru the beautifully detailed 100 The Grand Ballroom at The Plaza in New York City. Photo by Glen Wilson year-old, wood-framed doors of the 42nd Street Library’s President’s office, to disrupt projects see DP’s operating the show. But, focal length and frame for Edward’s desk the Mayor’s meeting in progress. Dick and from my point of view, directors may feel with a finder, but when Edward enters our I did several scouts with the grips, resulting that the DP, at his side through weeks or frame and sits down, minor adjustments in assurances we’d not be thrown out on our months of prep, now sees his vision clearly, may be called for, or better yet already ear if we hit that aged wood. I worked with and if the DP is able to operate a camera, let factored in with “guestimation,” because a camera scenic, Charles Kern to mitigate the the DP supplant a skilled operator. What the stand-in is not going to move A to B with dolly’s crash over the door threshold with director may not realize is a skilled camera the Tourette’s driven motions Lionel would a layered showcard ramp painted as granite operator’s role is much more than simply fol- express. Edward’s simply had confidence in floor. Alec understood the mechanical chal- lowing actors. An experienced operator will his team, and never proofed or checked his lenges and was a trooper. have seen many more sets than any director work with playback before we moved onto CO: Do you have any thoughts about the will, and that experience results in a look-up the next set-up. future of film and how it’s being distribut- book of to problems and, hopeful- CO: You had such a strong cast of talented ed now? Where do you think we’re headed? ly, a sense of style and taste that enhances actors to work with. Any stories to share Haagensen: Hey, I thought these questions the project. about working with them? Bruce Willis? would be easier! I’ve read about struggle the- CO: Norton had to get rather vulnerable Willem DaFoe? Etc. ater owners and streaming companies are to embody the qualities of a person with Haagensen: This was my fifth film with having, particularly with release windows. Tourette’s. Do you know how he prepped Bruce Willis and it was a treat to work with Streaming companies are new, brash, and for this and how did you work in your him again. I find him to be easy for camera, boldly spending gobs of money on produc- role as the camera operator to key into very helpful, and a kind and professional ing product, and upsetting the status quo. his gestures, etc. artist. He was a great supporter of Edward’s That’s okay, as Hollywood needs a shake-up Haagensen: I have no knowledge of the project, and Edward has spoken about once in a generation. process Edward employed preparing for Bruce’s important contribution over many Challenges such as the early television revo- his character as Lionel. I’m sure every art- years towards getting the project made. lution hurt theater attendance but brought ist has their own special practices they’ve Harold. Image courtesy of CBS Films established over time and experience. As TRIVIA: A newspaper headline identifies "The Lindbergh Palace Hotel" as the to how we shot Edward’s performances, it setting for the subsequent scene—a fictional hotel also found in The Royal was important to allow his character, Lio- Tenenbaums. Clearly, this is a sly tribute to the many movie nel space—as his hands were performance credits of most of the principal actors. features. For instance, you can decide on

20 SOCIETY OF CAMERA OPERATORS · SOC.ORG us 1:85::1 and then 2:35::1 wide screen to Haagensen: Well, Peter Biziou gave me successfully challenge the “TV Pumpkin” excellent advice when I was starting out. format. Now TV is , sort of, but That was to understand the genre you still nowhere near the challenge your eyes would like most to work in. He said if TECH ON SET Alexa XT & Mini in 4K; have scanning something like Ford v Ferrari you do your job well, you’ll do well in any Cooke Classic lenses; in a darkened theater with chest-thumping genre, but being good at one that’s a hit will Libra Wireless Remote sound versus a “home theater” with sound likely suck you into more of that genre. Or- unmatched (too big/too small) to the pic- der your life early on in your career so you head; and 50’ ture size and table lamps reflecting in the can afford to say “No” when you should. Technocrane screen. Maybe it will be VR? But—that’s Always ask to read the screenplay before to not really a group endeavor like TV or a big saying “Yes.” There’s more to this, but these screen theater. Wherever things go, there two points are a good start. will still be gems made, regardless of dis- As to TV versus features, a feature operator tribution methods. It’s the future writers I going to TV can be a great enhancement to worry more about. the show, provided they’ve learned to take CO: You’ve also worked in television. command of their job prior. On the neg- How would you speak to the differenc- ative side, some TV shows resent change es of working on a series versus feature from their norm. Pull a wall? Have the set films? scenic tape and/or paint a problem? Dress or modify set dressing? Expected on a fea- Haagensen: Ha! You ask good questions! ture, often not so much on a series. Some Quick answer, smaller screen, less attention series definably reach feature-level quality. to detail. Also, opportunities for the oper- Peaky Blinders and some of Jack Ryan (Sea- ator to contribute fully can be somewhat son 2) come to mind, but it is usually direc- limited by both show ethos and the tor driven. A feature has the same director episode’s director. There can be resistance to throughout. A series may not see a really CRAIG HAAGENSEN, SOC break from the “normal” day’s work, what good director twice in a season. A good Craig Haagensen, SOC camera opera- with repeating locations and sets. For Mr. showrunner or producer can guide this, but tor, Motherless Brooklyn, has a long ca- Robot (Season 1), I was so pleased to have there are reasons why directors are episodic. reer working on multiple projects with a free hand to express Elliot’s unease with For a feature operator, it can be daunting. Adrian Lyne, Ridley Scott, , framing. Prior to the start of production, I For a TV operator jumping onto a feature , , Jonathan was informed the producer/writer, Sam Is- set, having the tools of scenics, props, set Demme, and DP’s Adam Greenberg, mail enjoyed the frames in Ida, a 2015 nom- dressers, special grip and camera gear com- , , Adrian inated foreign film shot in 1.67:1 on a 4:3 ing and going, not just at your fingertips, Biddle, , Peter Biziou, chip Alexa with very little wall adornment. but demanding your attention, can be chal- Roger Pratt, Richard Yuricich, and This format was once called “TV Pumpkin.” lenging, as well! There are few “same old . Some of his favor- Mr. Robot, however, was to be a 16:9 wide thing” days on a good feature. ite past projects include Jacob’s Lad- format show. I searched my film library and CO: What are you doing next? der, 12 Monkeys, Carol, and Mr. Robot presented a series of frame pulls suggesting (Season 1). Haagensen has DP’d sever- how I envisioned the frames for Mr. Robot, Haagensen: Short term—some things you al features, and is also a DGA member, and hoped we might go beyond them. Lat- must suspend doing when 12-hour days having acted as director/DP on se- er, I had several operators comment of those and 2.5-hour lunches a week occupy many quences for Black Rain, The Interpret- first season’s frames, sometimes negatively, of your months. er, The Next Three Days, and We Own as in they were “very unconventional” and Long term—hopefully impart some of the Night. His most recent project was “disquieting”—just as Elliot felt. Objective what I learned over the years about oper- working with director, and achieved. Sometimes life is good! ating. Enjoy the SOC Lifetime Achievement DP, Bruno Del Bonnel on Women in Award night. Bike. Kayak. A bit of writing. CO: Any advice to television camera op- the Window. erators wanting to work in features or Hang out with my wife. Photo by Michael Tackett vice-versa?

CAMERA OPERATOR · WINTER 2020 21 Star Wars: The Rise of Skywalker The Force Will Be With You…Always an interview with Colin Anderson, SOC by David Daut

Daisy Ridley is in STAR WARS: THE RISE OF SKYWALKER. Copyright: 2019 Ltd. Photo by Jonathan Olley

42 years after it began with ’s Star Wars, the “Skywalker Saga” reaches a conclusion in its ninth entry, Star Wars: The Rise of Skywalker, produced and directed by J.J. Abrams who co-wrote the screenplay with Chris Terrio. The film stars Daisy Ridley, , , , and Carrie Fisher, and sees the heroic Resistance forced to contend with the mysterious return of the evil Emperor . SOCIETY OF CAMERA OPERATORS · SOC.ORG TRIVIA: When George Lucas originally laid out plans for 12 episodes, then reduced it to nine, he said that C-3PO and R2-D2 would be the only char- acters to appear in all nine. This proves to be true: Anakin Skywalker and difficult. He has incredible energy and his sets Obi-wan Kenobi, the only other characters to appear in every movie of the are fun and collaborative. Because J.J., Dan, original and prequel trilogies, did not appear in the sequel trilogy. Anthony and I have done six films together I feel that Daniels is the only actor to appear in all nine episodes. he trusts us implicitly, and whenever Dan or I voice an opinion, I really believe he trusts Camera Operator: To start, tell me a bit these films. How did those profession- our input. about what it’s like to work on not just one, al relationships start, and how have they CO: It feels like the audience has an almost but two Star Wars movies. And not just any evolved over time? instinctual understanding of what Star Star Wars movies either—you got to both Wars is supposed to look like, but the re- reintroduce this series to a new generation Anderson: I met on The Skeleton in 2005, and when Dan was asked by J.J. ality is that the technology and equipment with The Force Awakens and now help put Key has been incredibly varied over the years. the final punctuation mark on this trilogy Abrams to do Mission: Impossible III in 2006, You have the original film shot primarily of trilogies. I bet that’s pretty surreal! he offered me the operating job. It was the first time either of us had worked with J.J.— on Panavision PSR 35mm, you have At- Colin Anderson: Let me start by saying and talk about a career defining moment! J.J. tack of the Clones which was really the first that I’m on record for declaring that my life has to be one of the finest directors to work production of that scale to shoot entirely would never be the same upon completion of with. His insight, humor, loyalty, wit, and tal- on digital using Sony HDW-F900s, and The Force Awakens. It was a singular moment ent are second to none. There is no set that then more recently Episodes VII and VIII in my career and one that I was convinced I’d rather be on, and coupled with the way had select sequences shot with massive would never be replicated. The feeling of Dan uses and trusts his operators, it makes it IMAX 65mm rigs. What kind of equip- excitement and anticipation was palpable, a dream position. One of the enormous bene- ment did you use on The Rise of Skywalk- and indeed so was the responsibility. It had fits of doing six films with J.J.—and nine with er and what went into finding the look of somehow escaped me prior to shooting just Dan—is that you become incredibly close to this film that aims to not just wrap up a how important these films were to so many each other in terms of knowing or anticipat- trilogy of films, but a saga that’s spanned people, and as it dawned on me, the pres- ing what has to be done. I have learned J.J.’s over 40 years? sure to deliver a film that met the incredi- style over the years which has led to a wonder- Anderson: While tipping my hat to the dig- ble expectations of the fans grew and grew. ful shorthand way of working. That applies to ital world, I was thrilled when the decision I never thought that in the course of my ca- Dan as well so you end up with this efficient, was made to shoot The Rise of Skywalker on reer I would play a part in the rebirth of this collaborative, symbiotic relationship, which film. Having said that, it did not come as a storied franchise and also get to close it out. hopefully translates to the screen. I’ll forever big surprise as both Dan and J.J. have become This is the stuff of dreams! be indebted to Dan, firstly for his continued champions of shooting on film. Even though employment of me, and secondly for intro- was in a strange way Attack of the Clones on digital was the excep- The Rise of Skywalker ducing me to J.J. an even weightier responsibility, as it had to tion, I think it was really important to honor work in itself, and also punctuate the trilogy CO: Tell me a little bit about J.J. Abrams the previous films and continue in that tradi- of trilogies. There is no greater magnifying as a director. What kind of energy does he tion. For a film of this size we had a relative- glass than the one that is on Star Wars, so bring to set and what is he like as a collab- ly modest camera package on the main unit. to play a part in preserving this unbelievable orator working with you and Dan Mindel? There were 3x Panavision XL bodies and an legacy is one of the highest honors I can ARRI 435 for high-speed work. Dan Sasaki, think of; something we all dream of being a Anderson: When you operate on a J.J. the lens guru from Panavision, had adapted part of and are immensely grateful for hav- Abrams film you have to prepare yourself the C-Series Anamorphic Primes to what he ing had the opportunity. to be challenged to the limit of your ability. dubbed “retro” C’s. This involved softening There are times when we are shooting the them slightly and adding a bit of warmth. The CO: You’ve been working with J.J. Abrams first shot of the day and it’s so hard that by basic rule of thumb was to use these lenses on now for his entire feature directing career, the time you get it, it feels like you head is the Resistance as they had the softer more for- starting on Mission: Impossible III back about to explode—and it’s only the first set- giving look. The First Order on the other hand in 2006. And with the exception of Super up. Having said that, he couldn’t be more got the Primo Anamorphic lenses which were 8, you’ve worked alongside Dan Mindel understanding of the challenges we face and sharper, more contrasty and less forgiving. The as your director of photography on all of is constantly apologizing for making a shot two series of lenses lent themselves well to the

CAMERA OPERATOR · WINTER 2020 23 Colin Anderson with Director, J.J. Abrams on the set of, STAR WARS: TRIVIA: Security was so tight during filming, THE RISE OF SKYWALKER. Photo by Jonathan Olley / Lucasfilm Ltd. said it was "like being in the CIA." environments of the protagonists, as the Resis- with film that can scratch, I think we coped Anderson: There is no doubt that J.J. has a tance had a forest base with an earthy organic really well. There were logistical challenges cinematic style, but I believe that it is inher- feel, and the First Order were primarily on the getting the gear in and out of some of the ent in him and manifests itself in his entire clean, sterile, shiny Star Destroyers. Rounding more inaccessible locations but our camera body of work. The fact that his two Star out the basic package were an AWZ, 10:1, crew, who were also on Episode VII, handled Wars films have been so successful is a tes- 11:1, and 3:1 dubbed the “Hubble.” it beautifully. I have to confess that it was a tament to his style, and not something that bit of a thrill shooting in the same locations he has developed specifically for these films. CO: A few years back when we talked to as Lawrence of Arabia! He absolutely has a playful element to his you about working on The Force Awak- film making which is what makes his films ens, you discussed some of the difficulties CO: In terms of style, Abrams’ pair of Star so appealing and is perfect to connect with of shooting the sequences in the Wars films breaks a bit from tradition by the broad age range of his audience. J.J. also Rub al Khali desert. When you found out having most of its big starfighter battles uses his playful style in amazingly creative Abrams wrote another desert planet into take place in atmosphere on planets rather ways. He takes pride in achieving so much this script—this time the Wadi Rum val- than in the void of space. They’re shot a bit in camera even though his films appear to be ley in Jordan standing in for Pasana—did more playfully too; The Force Awakens has heavy. At times he will insist on you preemptively start sweating, or did that snap zoom during the Millennium Fal- staying on the existing sets so as not to add a you feel like an expert at desert shoots by con chase on Jakku, and in the battle with visual effect shot. Films with these size bud- that point? the Sith fleet over Exegol there are a hand- gets often demand gimbals for all the flying Anderson: Nothing can prepare you for the ful of whip pans and similarly “punchy” sequences but most of the time J.J. prefers heat that we had to deal with in the desert on camera work. Were any of those achieved to use a poor man’s process where the ac- Force Awakens, but this time around, because practically, and how did you strike that bal- tors will all pitch one way while the camera we were between seasons, the ance between honoring the legacy of this dutches in the opposite direction to simulate was positively benign. Despite the normal institution while also expanding upon its a turn. Add in camera shake, by J.J. grabbing challenges of working in the sand, especially cinematic vocabulary? and shaking the magazine, and you have a

24 SOCIETY OF CAMERA OPERATORS · SOC.ORG TRIVIA: Colin Anderson on the set of, As per Star Wars tradition, someone or something "has a bad STAR WARS: THE RISE OF SKYWALKER. feeling about this..." This time, it is (Billy Dee Williams). Photo by Jonathan Olley / Lucasfilm Ltd. very realistic flying sequence! This leads to the entire set. Were any of these techniques from The Force Awakens and work his other preference of shots developing: we borrowed for The Rise of Skywalker and it into the fabric of The Rise of Skywalker. It will seldom shoot a master and then do tra- was there anything you did on this film that required a lot of mental gymnastics for J.J., ditional coverage. He prefers the camera to you’ve never done before? Dan, and Roger Guyet (visual effects super- set the scene and then without cutting, the visor) to take that footage, map it for motion Anderson: During pre-production there was camera will follow the action as the scene control and then work it into the new sets, a discussion to shoot the film as “old school” unfolds. It can become incredibly complicat- matching lighting, tone and story content. as possible. We had a traditional camera pack- ed and appear to take a lot of time to set up There was no face replacement used and I age and kept things fairly simple in a nod to but the payoff is getting a dynamic exciting think it’s a testament to their skill that it the early films. Although we used cable-cams scene while biting off a big page count. This blends in so seamlessly. and drones and a 75-foot Technocrane for naturally increases the pressure on the DP, some sequences nothing was particularly in- CO: Right. Obviously VFX and editing operator, 1st AC and dolly grip but that’s ex- novative or groundbreaking. Dan Mindel for are a big factor in the end result, but as actly why we do it, to be challenged. example only used “old-style” lighting on the you point out, there are a ton of consid- actor’s faces eschewing LEDs and saved them erations that need to be made on set to CO: Star Wars films have always helped to for lighting the backgrounds. Of course there make that as believable as possible. Could pioneer new filmmaking technology and are always exceptions—the interactive light- qyou describe a little bit more the process techniques, and these most recent films are ing on the actors faces while flying in the of shooting those scenes that Carrie Fisher no exception. In Solo: A Star Wars Story Falcon was from content on LED screens sur- would be added to after the fact? Was there they set up a whole projection system sur- rounding the cockpit. a stand-in for the actors to act against? Did rounding the cockpit you have the archival footage to refer to on set in order to better simulate the lighting Carrie Fischer was an essential part of all the set or was that all planned out in advance? of a space battle in-camera, and on The previous films and it was imperative to have Last , Steve Yedlin used ARRI SkyPan- her close out the trilogy of trilogies. J.J. came Anderson: When we did a scene involving el LED soft lights to create over up with the idea of using unused existing Carrie we had a stand-in to line up the shot

CAMERA OPERATOR · WINTER 2020 25 TECH ON SET:

3x Panavision XL bodies; ARRI 435; Custom “retro” Panavision C-series Anamor- phic Prime lenses; Primo Anamorphic lenses; AWZ, 10:1, 11:1, and “Hub- ble” 3:1 lenses

Colin Anderson on the set of STAR WARS: THE RISE OF SKYWALKER.. Photo by Jonathan Olley / Lucasfilm Ltd.

and also to give the other actors in the scene making those scenes work and how that gets slashed on Kijimi and then spills across the someone to play off. The stand-in was dressed effect was achieved? floor in Ren’s quarters on the Star Destroyer. in costume, and hair and make-up got her as close as possible to look like Carrie, but in re- Anderson: From a photographic and style CO: The epilogue of this movie sees Rey ality no part of her was used in the final mov- point of view it was important to make the visit the Lars homestead on Tatooine— “ForceTime” lightsaber battles between Rey ie. Visual effects out Carrie’s face from The where Luke grew up in the original film— and Ren as visually arresting as possible. To Force Awakens and put her onto a digital body making that the only location to appear in in the new scene. We had the archival foot- make it as impactful as it needed to be, the each of the three Star Wars trilogies. Did age on set for reference purposes. If the scene two locations had to be as visually contrasting you return to the original shooting location demanded a moving shot the data that had as possible to sell the idea that they were in two in Tunisia for those scenes, and what was different places. When Rey was in Ren’s quar- already been captured on Force Awakens was the feeling like on set during that shoot? fed into the motion control rig and applied ters it had pure white walls and floors creat- Anderson: We shot the Lars homestead on to the new shot. ing a stark, sterile, bright environment. When the shot cuts to Ren on Kijimi it’s at night, Tatooine in Jordan—and coincidentally on CO: This film takes Rey and ’s with snow flurries, brown walls and pockets the last two days of production in Jordan. connection through the Force established of darkness. Our stunt coordinator Eunice, There was obviously an enormous amount of in The Last Jedi (and I believe lovingly working with J.J. would choreograph the fight secrecy involved with that particular set. We dubbed “ForceTime” by ) so that when one of the actors spun through all knew the importance of this scene—it was and expands on it in really interesting the foreground, the editors would be able to a defining moment: the end of the film, the ways to the point where these characters cut from the one environment to the other on end of the trilogy, and I have to admit we were can engage in entire lightsaber duels while the body . Another gag that helped sell all feeling the pressure. Most of it was shot at each is physically in a separate location. the separate locations yet also connect them at magic hour and with there being quite a few Can you talk a bit about the challenges of the same time was the bag of red berries that shots it required careful planning. While we

26 SOCIETY OF CAMERA OPERATORS · SOC.ORG were waiting for the right light we mapped franchise, what are the things you hope script crawl starts on the screen and John Wil- out every shot with the lenses and dolly po- people will look back on in The Force liam’s iconic score swells, I know I’ve played a sitions for each camera. When the light was Awakens and The Rise of Skywalker and small part in what is to come, and I’m filled right it became an almost military operation, take inspiration from 42 years from now? with gratitude for the incredible opportunity an intensely focused and disciplined set. It’s that was handed to me! in stress filled times like these that you realize Anderson: It’s almost impossible to quantify the importance of knowing and trusting the the responsibility and privilege it’s been hav- people around you, and when the sun set and ing a part in the making of these two films. we knew we had it, the relief and sense of ac- The fact that it has meant so much to so many complishment was amazing. people made the desire to satisfy them enor- mous. I hope when all is said and done and CO: Last question: now that you’ve been people look back over the years they will say able to leave your mark on this storied we did it right. Personally for me, when the

Zorii (Keri Russell) in STAR WARS: THE RISE OF SKYWALKER. Photo by Jonathan Olley

COLIN ANDERSON, SOC

Born and raised in South Africa, Colin Anderson had a love of photography instilled in him from an early age by his then news photographer father. Upon joining the film industry he worked his way up through the ranks for 10 years before he moved to the . Based in Los Angeles, he started camera operating in 1995 as well as specializing in Steadicam. To date Colin has worked almost primarily on feature films with notable directors such as J.J. Abrams, , and . DAVID DAUT His collaboration with J.J. Abrams includes all six films that J.J. has directed, including A writer and film critic for close to Mission: Impossible III, both Star Trek films, Star Wars: The Force Awakens, and the latest ten years, David Daut specializes in Star Wars: The Rise of Skywalker. Some of the other titles he has worked on include analysis of genre cinema and immer- There Will Be Blood, Good Night, and Good Luck, The Town, Argo, The Master, Phantom sive media with bylines at Lewton Bus, Thread, and the film: Silence. No Proscenium, and Heroic Hollywood. Colin was the recipient of the 2020 SOC Camera Operator Lifetime Achievement Award, David studied at the USC School of has had four nominations for the SOC Camera Operator of the Year Award and one win, Cinematic Arts and currently works and has been nominated once by the BSC for Camera Operator of the Year. as a freelance writer based out of Or- ange County, . Photo courtesy of Colin Anderson Photo courtesy of David Daut

CAMERA OPERATOR · WINTER 2020 27 The Irishman I Heard You Paint Houses an interview with P. Scott Sakamoto, SOC by Kate McCallum

TRIVIA: "I heard you paint houses" were the first words Jimmy Hoffa ever spoke to Frank "The Irishman" Sheeran. On The Tonight Show, remarked that the term, along with "I also do my own carpentry work," refer to both the hit and the clean-up.

Dipping bread in wine, known as Intinction, speaks to the shared Catholic traditions of Russell Bufalino () and Frank Sheeran (Robert De Niro). Photo courtesy of

The Irishman is an American epic crime film directed and produced by Martin Scorsese and written by , based on the book I Heard You Paint Houses by Charles Brandt. It stars Robert De Niro, , and Joe Pesci, with Ray Romano, Bobby Cannavale, Anna Paquin, Stephen Gra- ham, Stephanie Kurtzuba, Jesse Plemons, and Harvey Keitel in supporting roles. The film follows Frank Sheeran (De Niro), a truck driver who becomes a hitman involved with mobster Russell Bufalino (Pesci) and his crime family, including his time working for the powerful Teamster Jimmy Hoffa (Pacino).

28 SOCIETY OF CAMERA OPERATORS · SOC.ORG TRIVIA: Al Pacino said that, to him, the process of filming The Irishman was how it felt filming movies in the 1970s.

Above: P. Scott Sakamoto, SOC on the set of THE IRISHMAN with Robert De Niro. Below: P. Scott Sakamoto on the set of THE IRISHMAN. Photos by Niko Tavernise

TRIVIA: At three hours and thirty minutes, this is the longest film Martin Scorsese has directed, and the longest mainstream film released in over twenty years.

CAMERA OPERATOR · WINTER 2020 29 Camera Operator: What a line-up of talent. with Suren Karapetyan, second AC working Powerful actors and a dramatic story. How those cameras. With the unique camera set- did you get hired to work on this film? up, which we fondly called the three-headed TECH ON SET: ST; Arricam monster, it was a learning experience for all P. Scott Sakamoto: This movie was in the LT; Red “Helium”; of us. For me, that’s my best scenario, where making for a long time. I was a good friend ARRI Mini; Cooke I can learn and push myself as an operator. with the late Zoran Veselic, first assistant cam- Pancro’s; Zeiss Ultra eraman, who was DP Rodrigo Prieto's long CO: Speaking of learning experiences… Primes time assistant. We had just finished working CGI was used for de-aging process, did together on Black Panther and Zoran recom- that effect your work? mended me to Rodrigo for The Irishman. Ro- single close-up of him in the private plane drigo and I had only a two-day prior working Sakamoto: With the size, weight and geom- before he flies out to see his best friend Hoffa relationship, but with Zoran's push, I believe etry of the array camera, it always posed a was just an amazing bit of acting. You can that was enough for Rodrigo to offer me the physical challenge when trying to do a simple feel his confliction without one word said. operating job. Being a Marty Scorsese movie over the shoulder or even a close eyeline shot. Pacino was also a pleasure to watch perform. with these actors, I felt like it was a bucket list As a rule, I always stay out of the actor’s eye- During the union meeting scenes, he would of movie jobs. I truly feel quite fortunate. line but the array camera made it very difficult because of its size. From the actor's perspec- rally the Teamsters (extras) into a frenzy CO: Yes, what a great opportunity. Classic. tive, they saw three separate lenses focusing speaking off script and ad-libing. It was amaz- Who made up your camera team? on them or six lenses on a two-camera setup. ing to witness. Pescis’ performance is a stand- Quite intimidating! Fortunately, with the ex- out and I feel underrated. When he delivers Sakamoto: Unfortunately, Zoran could not perience of our veteran actors they overcame the final order you feel the weight of betrayal. do the job due to illness, so Rodrigo selected the three-headed monster and were able to He’s a mob boss but also a father figure. Trevor Loomis to be the A first AC with An- achieve incredible performances. thony Coan his second. Ethan Borsuk was CO: What style were Scorsese and Rodrigo the B first AC with Brendan Russell 2nd AC. CO: Where did you shoot the film? Any going for? Matthew Selkirk was DIT, Carrie Wills film unique locations used? loader, and Ross Citrin the digital loader. Sakamoto: The Irishman follows the life of And we had still photographer, Niko Tav- Sakamoto: The Irishman was based in New Frank Sheeran from his beginning as a driver ernise on set. Trevor and I have had a long York with most locations being one to two to his end of life. Marty's vision was to learn relationship but the New York crew was new hours north of Manhattan. Being a period about his friendships and devotion from to me. With our diverse backgrounds and movie, the locations were in small towns or an observational perspective. We kept the experience, we had the best of both coasts, on rural roads with little development or camera moves subtle and let the perform- which made for an excellent camera crew. modern architecture. We shot well over 100 ers play the wide frame, no big push-ins or locations really pushing for authenticity and zooms. Rodrigo used his degrading of color CO: What equipment did you use on set? the look Marty wanted. We built the Villa di throughout the movie to help the story re- New tech? Roma and Umberto’s Clam House restaurant flect the passage of time. Frank outlasts his sets in an old wooden warehouse in Brooklyn. Sakamoto: Being a movie that spans over 50 friends and enemies. The last shot is of him All others were on location. Hoffa would be years, Rodrigo chose to shoot film with its in a nursing home; one eye on a half-open happy, the Teamsters logged a lot of miles. natural grain and soft palette. We used the door reflects an end of an era. Arricam ST and LT. For the de-aging VFX CO: And speaking of Hoffa/Pacino; it Let us hope it’s not an end of an era for this scenes Rodrigo and ILM decided a digital must have been amazing working with team of actors with Marty Scorsese at the helm. format was a better choice. Our digital cam- such top actors as De Niro, Pacino, and era consisted of an array of three cameras on Pesci. Any anecdotes? CO: I so agree—one of the greats. What one platform. The main taking camera was are you doing next? a Red Helium with two Alexa Mini's on ei- Sakamoto: Having the opportunity to work ther side working only as witness cameras. with Robert De Niro, Al Pacino, and Joe Pes- Sakamoto: Working with Rodrigo and The Mini's were recording only in infrared ci was such a dream. And…the supporting Scorsese was such a great experience; I hope lights so they were equipped with special actors were all incredible—an all-around sol- I have the good fortune to be invited to their IR ring lights. Both Mini witness cameras id cast. Watching De Niro's eyes in a close- next adventure. Presently, I’m working with were slaved together and needed their own up, seeing his lips tighten, I really felt that the talented DP Matty Libatique on The assistants. We had Bradley Grant, first AC confusion that challenged his morals. That Prom, here in Los Angeles.

30 SOCIETY OF CAMERA OPERATORS · SOC.ORG P. Scott Sakamoto on the set of THE IRISHMAN. Photo by Niko Tavernise

P. SCOTT SAKAMOTO, SOC

P. Scott Sakamoto, SOC, has been operating A camera and Steadicam since 1992, and was the recipient of the 2018 SOC Camera Operator Lifetime Achievement Award. Scott is a Los Angeles native and after attending film school he met who became a mentor and in- spiration. His credits include: Matewan, Michael Clayton, , Dark Knight Rises, The Revenant, A Star is Born, and Ford v Ferrari. Photo courtesy of P. Scott Sakamoto

Frank Sheeran (Robert De Niro) and Russell Bufalino (Joe Pesci) in THE IRISHMAN. Photo courtesy of Netflix

CAMERA OPERATOR · WINTER 2020 31 BAD BOYS FOR LIFE They’re Back! by Christopher T.J. McGuire, SOC

Mike Lowrey (), Marcus Burnett (MARTIN LAWRENCE) prepping their new non-lethal weapons in Columbia Pictures' BAD BOYS FOR LIFE. Photo by Ben Rothstein Bad Boys for Life is an American buddy cop action comedy film directed by Adil El Arbi and Bilall Fallah, produced by Jerry Bruckheimer and Will Smith and starring Smith and Martin Lawrence. The sequel to Bad Boys (1995) and Bad Boys II (2003) and the third and final instalment in the Bad Boys trilogy, Marcus and Mike have to confront new issues (career changes and mid-life crises), as they join the newly created elite team AMMO of the Miami police department to take down the ruthless Armando Armas, the vicious leader of a Miami drug cartel. Well, after at least 15 years the ultimate “bad , then the camera slides across boys” were set to return. the front of the Porsche into real time, and TECH ON SET: the passenger door flies open and hits the fire SONY CineAlta Venice While I was in Hungary shooting with the hydrant with the flustered Martin Lawrence Digital Cameras; Primarily G Series Panavision Anamorphic original “bad boy,” Arnold Schwarzenegger, climbing out not so gracefully. I received the call from the original dream Lenses (which were coated to crusher, Barry Waldman to see if I would be We attained this shot, like many, with the give the Miami look). interested in operating on Bad Boys for Life...!! experienced support of dolly grip, Dar- 70 – 200 and 35 – 80 ryl Humber; on the pickle, Mike Howell; Telephoto lenses. PULLING THE TEAM TOGETHER key 1st AC, Donnie Steinberg, and myself working together as a team. Using the Tech- Interestingly, the studio had hired two un- nocrane, we were able to swing low across count, shot duration, character, and camera known directors from Morocco and Belgium, the front of the vehicle and swoop up to the movement, should have its ups and down in Adil El Arbi and Bilal Fallah, as they had al- over shoulder of Martin onto Will. The tim- sync with the story beats. We pinpointed mo- ready shot a few credible movies in Belgium ing of Martin’s door hit was the most im- ments where we needed the rhythm to slow and I was keen to check out their work. portant thing that had to happen in order down and use longer takes, on Steadicam, or to make the gag work, so using the Occulus The first movie I watched wasBlack , a film Technocrane, and a single camera. head (provided by Cinemoves), and nimbly that took the form of a contemporary take gripped by Darryl, we were able to get into on Romeo and Juliet, very well acted and the These slower moments should be alternated a rhythm, and after a few takes we were in pace and visuals were fresh and dynamic. with fast-paced parts where the shotcount, the tune with the timing to then work on the The second movie, Gangsta, took a very sim- camera movement, and the amount of cameras dialogue. I’m glad this was first up for ev- ple drug deal gone sour story and turned it used go up tremendously.” —DP, Robrecht eryone to see, as it’s a finessed shot that I’m into high-octane thriller which was beauti- Heyvaert incredibly proud of. ful, yet raw in its look. TOOLS OF THE TRADE The DP, Robrecht Heyvaert is the talented THE DP’S PERSPECTIVE cinematographer behind the movies, and We used Steadicam many times as the cor- Robrecht was always in direct conversation could also add Revenge, directed by Coralie rect tool for specific sequences and as Ro- with the directors every moment of the Fareat, to his list of credits. I absolutely loved brecht stated, we could control the pace with shoot, and luckily he was happy to share Revenge as it had that raw, spaghetti the tool applied. his overall experience with me here in this feel to it. Again, a simple story that the visu- article; “From the first conversations with the As with all Bad Boys movies there’s always als took to another level. directors it was clear the camera work in Bad been a sense of movement—always forward, Robrecht’s use of the camera dynamic was Boys For Life was going to have two sides. On especially with and explanation. truly fresh, and this totally engaged my excite- one hand we were fully embracing the stylistic As well as shooting in the beautiful cosmo- ment for being a part of the project, knowing choices made in the first Bad Boys films, and politan Miami Beach, we shot most of the that this team from deep Europe would bring all the low angles, long lenses, slo-motion, and movie in Atlanta, downtown and an awe- about an energised third installment of the smooth camera moves that come with it. On some wrecking yard with old vehicle parts Bruckheimer and Simpson Bad Boys saga. the other hand, a rawer hand-held vibe would be introduced in certain sequences as the direc- —this leant itself to be an ideal setting for a PRODUCTION BEGINS tors did in their earlier features. Finding the major shoot out which included some great right tools, and even more important, the right Steadicam, hand-held, Technocrane and The first shot on the trailer for the movie is balance between these two sides was one of the drone work. the of Mike Lowery and Marcus Bur- goals during prep and shoot. After the shoot out in the chop shop, Cap- net as they get out of Mike’s Porsche GT3. Another goal was finding the right rhythm, tain Howard is aggressively grilling Mike With the gorgeous Miami sunlight hitting and make it as variable and funky as the arena Lowery about his terminal judgments, and the side lines of the beautiful blue car we where the story takes place—the vibrant city of this was shot as a classic walk-and-talk with up to see Will Smith enter the frame in Miami. The rhythm, being a cocktail of shot the Steadicam.

TRIVIA: This was the firstBad Boys film not to be directed by .

CAMERA OPERATOR · WINTER 2020 33 Christopher T.J. McGuire, SOC and Matt Haskins on the set of Columbia Picturtes' BAD BOYS FOR LIFE.

TRIVIA: This was the firstBad Boys movie to be filmed in Panavision (anamorphic) with Sony CineAlta Venice 6K dig- ital cameras, and the first film in the franchise to be shot digitally, unlike the first two which were filmed on 35mm film in the standard spherical format and the Super 35 format. It's also the secondBad Boys movie to be filmed in the widescreen 2.39:1 "scope" .

Depending on the situation I’ll throw the Bjerno, Patrick Loungeway, Igor Meglic and As with most movies and TV shows now, Betz Wave on for the added benefit of a sta- each of their specialised crews who made for I feel it’s a healthy time to be using various ble horizon, and this was a good situation for some excellent Bad Boys Bruckheimer action applications to achieve different shots for the pace of the walk. Some of the sequence I pieces. sequences that require a specific look—one walked, and some of it was shot off my trusty such sequence in Bad Boys was to be on As the main unit we punctuated the main Backstage Shotsaver Dolly—essentially for South Beach, Miami on Ocean Drive which actors in the narrative moments of the se- leading on longer focal lengths the Shotsaver involved most of the cops in the show. The quences. One such sequence was on a mo- helps with a consistent pace. scene had a sense of distortion and confu- torbike with a side car which housed an sion, and a 360 was called for to add to the It really depends of how the blocking works automatic machine gun. With Mike Lowery disorientation of the characters. While Stea- out as to whether the Rickshaw or Shotsav- ably piloting the motorbike, and Marcus dicam seemed the obvious choice, I felt that er Dolly can be employed—so when decid- Burnett capably in control of the machine the Ronin2 might be the correct tool to use ing on whether to wear the camera or hard gun, a motor bike chase ensues while the to continually rotate around the crowd and mount, of paramount consideration was comedy fires thick and fast. Throughout the pick off and transition to other players cru- to keep an eye on the blocking and discuss night, we trawled up and down Ted Turner cial to the scene. Darryl Humber wore the where the natural cut would be. Drive in Atlanta on the back of a Chapman Leonard vehicle fitted with a 30’ Scor- Easi-Rig and with the Ronin2, he was able CAR CHASES AND HELICOPTERS pio Crane and an Occulus remote head from to maintain pace around the melay and I Cinemoves Atlanta. Will and Martin rode was able to operate the head on a longer lens The stunning 2nd unit car chases in the the motorbike and side car on a tow behind to move from character to character. The movie, and the amazing helicopter work the truck, and we used the crane to move sequence worked great and the worn head were choregraphed and captured by some around them as they were chased by the proved itself as a controlled stabilised remote of the best in the business including: Fred motorbike gang. I remember freezing cold head with which I could concentrate more North, Henrik Hasen, Spiros Razatos, Hans nights in downtown ‘Hotlanta!!’ easily on the transitions.

34 SOCIETY OF CAMERA OPERATORS · SOC.ORG Christopher T.J. McGuire, Vanesa TRIVIA: On October 31st 2018, Martin Lawrence tweeted a picture of himself and Will Hudgens, and Nick Jay on the set Smith on the set of Bad Boys III (Bad Boys for Life) with the caption "Bad Boys for life," of Columbia Pictures' BAD BOYS FOR LIFE. confirming once and for all that production is finally underway after years of delays.

COMMENTS FROM THE CAMERA TEAM There was a true sense of cooperation with the package that allowed us to pull off some unique crew. We were all moving in the same direction, shots. On one occasion we designed a shot that I’ve been lucky to work with Tom Lappin as and working to get our DP and directors the most descends through a ventilation fan into a pris- the B camera operator on a few projects and exciting shots possible. I think we achieved that on laundry room as inmates stab a guard to he was able to add his point of view about goal.” —B Camera Operator, Tom Lappin death. We used a special mechanical disconnect working alongside me on Bad Boys for Life: system from Cinemoves to disconnect from the Another great use of the Ronin 2 stabilized descender rig and lead two other guards pull- “As the B camera operator there is always a head was in a scene which called for a de- ing their fellow wounded guard away from the challenge of being too aggressive and in the scend through different levels of a building prisoners and out of the laundry room. The way or being too passive and not being useful. and then detach the remote head and walk descender rig’s speed was controlled by B dolly I was very fortunate on Bad Boys 3. We had a backwards with the protagonist. grip, Kenny Bolton, while the disconnect and DP who was receptive and encouraged me to leading run out of the room was handled by A find fun shots. I was also lucky to have Chris I have also been able to bring on Steadicam/ dolly grip, Darryl Humber. McGuire on A camera. Chris and I have devel- camera operator, Stewart Smith, to the show oped a wonderful working relationship over the for C camera duties, as there were sequences Toward the climax of the movie, Will travels to years, and there is a true sense of collaboration that required an extra Steadicam for when the ruined Hidalgo Palace to find the shooter between us. Chris allows me to get close and I was operating the Technocrane. Stewart that nearly killed him. The interior of the set was that enables me to get dynamic shots—not just and I had invested in the Ronin 2 and made a massive three-story spiral staircase, and a glass standard “B” camera long lens shots. good use of the system together as a team. ceiling atrium with several wings off of each side of the main staircase. We designed a shot with the I was also very fortunate to have a first-class “On Bad Boys 3, I was invited to operate C R2 that brought Will into the set low, scraping team of assistants; with Sean Moe on focus and camera as well as head tech our Ronin 2 (R2) over the ground as his feet walk across dusty floor Zach Junquera as the second we were able to get package. With the R2, Venice, and our G se- with live rats crawling around, it booms up and exciting shots on the fly. Who needs rehearsals!? ries lenses, we had a fairly light-weight camera over his shoulder into a POV to see the extent of

CAMERA OPERATOR · WINTER 2020 35 the ruin above in the atrium, pans around and difficult shots, ably assisted by 2nd AC Matt about 30 feet above the crowd. Camera reach- tilts back down to land on Will as it pushes into Haskins and we were all supported by Dig- es the guardrail, goes over it, and drops down a close-up. The shot saw 360 degrees, boomed ital Loader Melissa Porter and Utility Matt among about 30 extras to a close-up of our bad from three inches off the ground to six feet and Matches. guy facing us on a couch in foreground with involved moving down a small set of three stairs, another actor over his shoulder. This was one The classicBad Boys slo-mo wraparound was so we decided to use Cinema Device’s Antigravi- of those shots where everyone had to be on their one of those difficult shots—shooting high tycam support rig. This rig isolates footsteps and game and Chris, Mike Howell on the pickle, speed on a Technocrane, tracking around allows all the lens height range of a MK-V AR or and myself were constantly communicating, and booming up as Martin rises up into ARRI Trinity, but it allows from far more precise calling out cues or possible dangers. It's always frame as Will joins him, was the shot that framing choices with an operator on the wheels. nerve wracking swinging a Technocrane among really brought us together as a tight unit— I operated the Antigravitycam while Chris oper- actors and extras, so I had spotters keeping an the unit also included Darryl Humber, again ated the wheels and talked through the timing of eye on any wayward background. I think it as my dolly grip, who was critical in making the shot over the HMEs. was a very cool use of the crane and fun to do.” sure the head was consistent in the move for — Dolly Grip, Darryl Humber It was a pleasure to work on such an action both Donnie and I to get into a flow to ex- packed and visually stunning film. Using all of ecute the shot. Darryl was keen to remem- MOST MEMORABLE MOMENT the available tools to help tell and enhance the ber the nightclub sequence and his thoughts follow: story was a very rewarding experience for me. The whole shoot was an amazing experience, Thank you to Robrecht Heyvaert, Chris Mc- “The shot I enjoyed the most was the Tech- but my most memorable moment was get- Guire, and Tom Lappin for having me along nocrane shot in the club. Adil, Bilall, and Ro- ting the chance to discuss a choreographed for the ride.” —Steadicam/Camera Opera- brecht are not afraid to push the difficulty scale move I was shooting on the Steadicam with a tor, Stewart Smith on the Technocrane and we did a lot of shots well-known director who was making anoth- er of his well-known cameo appearances. He As much as the movie called for the skill set that started wide and swooped around before fi- was to appear from a crowd of people, and of camera operators, also very important was nally ending in a close-up or an over-the-shoul- then I was to pull him onto the dance floor the high calibre of the focus pullers—essen- der. This one was no exception. Camera start- and circle him 360 while he spoke to the tial for a lot of the work. ed high to one side of the interior of a packed dance club. There were about 300 background crowd, introducing Mike Lowery. I’m glad I was happy that my friend Donnie Stein- extras and the camera descended among them, to say the sequence went off without any ex- berg was the key 1st as his attention to the then picked up our actors entering the club. We plosions or car chases crashing through, and overall execution of the shoot is paramount, pulled back with them before rising and pan- my first experience working with Michael especially with his ability to organise the ning the camera to see the packed room, and Bay went great, and without the ‘Bayhem’ I crew but also to keep the sharps on some then ascending rapidly to a hanging platform was half expecting...!

CHRISTOPHER T.J. McGUIRE, SOC

Christopher T.J. McGuire, SOC began his career in the UK on various TV shows including: World in Action, This Morning, Dispatches, and Planet Pop, then moved into feature films. He contributed to the early-stage development of what is now called Omega from MK-V, and used it on many productions including Harry Potter and the Order of the Phoenix. As owner and operator of this equipment he was able to open up new possibilities for use in both the commercial and motion pictures worlds, as well as continuing to photograph narrative using all the different platforms available. McGuire’s eclectic resume as a camera / Steadicam operator includes: True Detective Season 1, Terminator: Dark Fate, Detroit, American Made, Conan the Barbarian, and Pitch Perfect 1, 2, and 3. Chris endeavors to be true to his passion for movie making, commits himself to the craft, and encourages ALL of his colleagues the best he can. With the release of his Steadicam Warriors—carictatures of animals operating . The carictatures have a range of graphic designs and he hopes to bring together ALL of his Steadicam / camera colleagues together as a collection of hard-working caricatures personalities. steadicamwarriors.com

36 SOCIETY OF CAMERA OPERATORS · SOC.ORG The Society offers different levels of membership for individuals and manufacturers in the production community – Active, Associate, Educator, Student and Corporate.

CAMERA OPERATOR · WINTER 2020 37 The 2020 SOC Lifetime Achievement Awards by David Daut · photos by Albert L. Ortega

SOC Camera Operator of the Year - Television Nominee Mitch Dubin and LEGION crew plus spouses/partners.

On January 18, at the Loews Hotel in the heart of Hollywood, the Soci- As the evening unfolded, heartfelt words were exchanged as awards ety of Camera Operators hosted their 2020 Lifetime Achievement Awards. were presented to respected colleagues and longtime friends. Among Attendees from across the film and television industry came out to cele- the highlights of the night were Jamie Lee Curtis’s acceptance speech brate the accomplishments of those whose work defines the very essence for the SOC President’s Award where she described the professional of cinema. Following a red carpet reception, the awards show began as the intimacy and trust shared between actor and operator; Natalie Port- SOC’s President, George Billinger, SOC welcomed the assembled talent. man being presented the SOC Governors Award by Mitch Dubin, SOC; Billinger made a point of noting that half of the camera operators shoot- Andy Romanoff, SOC conjuring up a detailed image of his good friend ing the awards show for its simultaneous online broadcast were women as he presented the Distinguished Service Award to Steven Poster, ASC; and reaffirmed the society’s commitment to diversity and inclusion. and J.J. Abrams describing his incredulity at Camera Operator Lifetime

38 SOCIETY OF CAMERA OPERATORS · SOC.ORG Achievement Award winner Colin Anderson’s, SOC impassioned hatred of eucalyptus trees.

The SOC is proud to host this show—the only one of its kind to honor the industry’s below- the-line crew. We would like to thank every- one who was able to attend, and for those who were unable to make it, the archived broadcast is available for viewing at socawards.com. LIFETIME ACHIEVEMENT AWARDS: President’s Award Jamie Lee Curtis Governors Award Natalie Portman Distinguished Service Award Steven Poster, ASC Camera Operator Colin Anderson, SOC Camera Operator Live & Non-Scripted Dave Levisohn Mobile Camera Platform Operator J “Moose” Howery Camera Technician Heather Norton Still Photographer Frank Masi Technical Achievement Award SONY VENICE Extension System (“Rialto mode”)

Top left: Jame Lee Curtis, President's Award. Top right: Presenter J.J. Abrams with Colin Anderson, SOC Camera Operator Lifetime Achievement Award. Center: Steven Poster, ASC, Distinguished Service Award. Bottom left: Natalie Portman, Governors Award. Bottom right: Frank Masi, Still Photographer Lifetime Achievement Award.

CAMERA OPERATOR · WINTER 2020 39 THE NOMINEES FOR COY FILM: AND THE NOMINEES FOR COY TELEVISION: Sam Ellison – A Beautiful Day in the Neighborhood Chris Cuevas – Watchmen Craig Haagensen, SOC – Motherless Brooklyn Mitch Dubin, SOC – Legion Geoff Haley, SOC – Joker Jim McConkey, SOC – The Marvelous Mrs. Maisel SOC David Luckenbach, SOC – Ford v Ferrari Jeff Muhlstock, – Mr. Robot Sean Savage, ACO, SOC – Game of Thrones Dale Myrand, SOC –

Left: Geoff Haley, SOC with his award for Camera Operator of the Year – Film. Right: Jim McConkey, SOC with his award for Camera Operator of the Year – Television. Below: SOC Awards at the Loews Hollywood Hotel.

40 SOCIETY OF CAMERA OPERATORS · SOC.ORG ON THE RED CARPET...

Top, L to R: Emcee Andrea Fasano; SOC Camera Technician Award recipient, Heather Norton; Presenter, SOC Technical Committee Chair, Eric Fletcher, SOC with Sony's Dan Perry. Middle, L to R: SOC Technical Achievement Award recipient; SOC Mobile Camera Platform Operator Award recipient J "Moose" Howery; SOC COY - Television Award nominee, Sean Savage, ACO, SOC and wife Karen Savage. Bottom, L to R: Presenter Louis J. Horwitz and SOC Camera Operator Live & Non-Scripted Award recipient Dave Levisohn, SOC; Brian Taylor, SOC - Charity Committee Chair and wife. SOC TECHNICAL ACHIEVEMENT AWARD 2020 Tech Talk Sony’s VENICE Rialto Extension System more space? Put the PL mount on and use the same lenses that you are using in studio mode. The options we have, and our ability to problem solve just how we can get the camera there are much less limited. Add that you can also remote mount the sensor/lens combo somewhere that it might be a bit too dangerous to have a manned camera, and you have a clear winner.”

We congratulate Sony and their Venice engineering team for creating a that expands our abilities as operators to deliver the shots that the director and DP previously only dreamed of.

Dan Perry, of Sony was presented with their Technical Achievement Award at the SOC Awards show, while joining the industry in cel- ebrating the best of the best in production and camera operating. The SOC Technical Achievement Award is given to a manufacturer or Perry commented, “We are honored to have the SOC recognize the technology that has demonstrated superior engineering, advancement Rialto with this award. I am so proud of our Sony Atsugi engineering of camera operation, and substantial facilitation of the craft. This team that listened to the voice of the customer and delivered an out- year’s award recipient was Sony’s innovative VENICE Rialto Tethered standing tool that is quickly becoming an industry standard.” Extension System.

The SOC hosted a full day of demonstrations on October 26, 2019 at the SOC offices, courtesy of Tiffen. Each participating technology was presented by the manufacturers to the blue ribbon jury of SOC judges made up of: Technical Chair, Eric Fletcher, SOC; Andrew Ans- nick, SOC; Dave Fredrick, SOC; Lawrence Karman, SOC; Mark La- Bonge, SOC; Rocker Meadows, SOC; John Perry, SOC; Manolo Rojas, SOC; and Gretchen Warthen, SOC.

After the presentation to the judges, the companies demonstrat- ed their gear to SOC members. A special thank you to the judges, and all the companies that participated. SOC Technical Committee Chair, Eric Fletcher, SOC with Sony's Dan Perry, SOC Technical Achievement Award recipient. Photo by Albert L. Ortega. Technical Chair, Eric Fletcher, SOC said this, “For the past five years I have been honored to have amazing juries to evaluate the technologies Congratulations Sony! for the SOC Technical Achievement Award. And—as everything with progress—the submission and technologies just keep getting better, VENICE Extension System / SONY making the jury’s job of determining a winner more and more chal- lenging. With just 20 minutes for each presentation, each of the sub- Sony’s VENICE Extension System (aka “Rialto mode”) provides out- mitters jampack their time with demo’s, information, and answering standing mobility for camera operators. Nicknamed “Rialto” mode, the jury’s questions. the Extension System separates the sensor block from the camera body by up to 18 feet with the same image quality and functionality After much deliberation, Sony emerged as the clear choice of the that has made VENICE a preferred camera. The lightweight sensor Jury. The Rialto now gives us more choice for where we can place block weighs only 4 pounds with a PL mount, ideal for handheld sta- the camera. In five minutes you can take your studio camera and bilizers and gimbals. And its small size is perfect for tight spaces, such turn it into a small easily mountable sensor module with multiple as vehicles, aircraft and VR rigs. Users can switch from VENICE’s choices for lens mounts. Need to fit it into a really tiny spot? You traditional mode or extended “Rialto” mode in under 3 minutes, al- can use the native Sony mount and their tiny lenses. Have a bit lowing for ultimate flexibility on set.pro.sony/venice

42 SOCIETY OF CAMERA OPERATORS · SOC.ORG ADDITIONAL SUBMISSIONS: Steadicam M-2 / The Tiffen Company

The revolutionary Steadicam M-2 recently started delivering. It represents one of the greatest leaps forward in Steadicam technology in decades. The integration of the Volt technology into the rig provides operators with an assistive tool for operating with more confidence during challenging shots. The rig itself is among the lightest and most rigid Steadicam rigs ever produced with all the features needed to move effortlessly between feature film, television, broadcast and live event applications. And the ability to customize and swap out different elements like top stages and posts offers a flexibility never before available.

steadicam.com/m-2 The Refined Hydraulic Control / J.L. Fisher Inc.

We have taken our existing hydraulic control design and refined it by making over 50 different changes. The results of these efforts have been well received and are proving successful. Smoother, gentler starts and stops on the lift beam, better acceleration, a precise start point for arm movement in both directions, a faster top speed in both directions, and much smoother movement are just some of the highlights of the RHC upgrade. We also have a way to set and maintain a constant, repeatable lift speed in either direction.

jlfisher.com Ergorig / Cinema Devices

The Ergorig is a compact lightweight body vest system that displaces the weight of a camera from the operator’s shoulder to the hips, removing spinal compression and muscular fatigue. In combination with the Undersling for weightless low mode handheld work, there are no overhead structures that would interfere with camera operation, allowing the same width/height footprint and freedom of movement of wearing nothing at all. The system, available in two sizes, is fully adjustable for waist size as well as torso height. It can include spacers to more comfortably accommodate female operators as well as any waist size.

cinemadevices.com/ergorig CineLight 480 Super Quad / FLOUTEC

The new CineLight 480 Super Quad is a constant output BiColor Tunable DMX LED long throw panel, soft lighting fixture of high-quality pure, white light with inter- changeable diffusion, and a CCT range from 2700 K to 6700 K. It features a constant output of pure white light making it the largest and most powerful luminaire on the market; the light output is equivalent to 4 CineLight 120. The great thing about this light is that, unlike the much more expensive competitors, the CineLight 480 Super Quad is a self-contained luminaire that does not need a ballast or power supply.

fluotec.net/cinelight-studio-480-super-quad-tunable

CAMERA OPERATOR · WINTER 2020 43 Insight PETER CAVACIUTI, SOC, ACO, GBCT, ASSOC. BSC What was one of your most challenging shot or challenging day in the industry? On 1917, the German Tunnel set, never had so much “Fullers Earth” and rubble dropped on myself and rig, both had deep cleaning after the shot! What is your most memorable day in the industry? I guess sitting chatting alone with for an hour in Mentmore Towers, over an evening break, on , many questions answered by Stanley. The person who helped you most in your career? Without a doubt , we have helped each other out of the recent personal woes of our team Manchester United’s fall from grace. Credits: 1917, , Skyfall, Eyes Wide Shut, Photo by François Duhamel

STEVEN COHEN, SOC What is your most memorable day in the industry? Way back in the day, I was hired as an additional assistant cameraman on The Betsy. When I arrived at the location for my first night of shooting, I was assigned to get into the period picture car, hunker down in the rear seat behind the actors, and pop up and slate the scene when the time came. Upon the director calling "Cut," the actor in the front seat turned to me and introduced himself: "Are you the new assistant? Please call me Larry." It was Lord Lawrence Olivier! I could have happily retired right then. Credits: Survivors of the Shoah, March of the Living, Various Infomer- cials, Dot.Com, various corporate events and concerts. Courtesy of Steven Cohen,SOC

Courtesy of Marcis Cole, SOC MARCIS COLE, SOC What was one of your most challenging shot or challenging day in the industry? Doing a one'er on City of Angels. I had to link several stories in one shot as an ER came under siege with many wounded. What is your most memorable day in the industry? Doing A camera 2nd Unit on Titanic. The person's who helped you most in your career? Gorge Paddock, Chris Harroff, Guy Bee, Dave Emmerichs, and James Muro. What is the job you have yet to do but most want to do? Working on a Bond film. Credits: Titanic, Training Day, First Purge

44 SOCIETY OF CAMERA OPERATORS · SOC.ORG Anthony Deemer Michael Fuchs John H. Joyce SOC Roster William Demeritt Michael Fylyshtan David Judy Kris Andrew Denton Paul M. Gardner Mark Jungjohann Randall Robinson * Brian Bernstein Kevin Descheemaeker David Gasperik David Kanehann CHARTER MEMBERS Parker Roe Justin Besser Lou Barlia Joel Deutsch Eric Gerber Mark Karavite Sam Rosen George M. Bianchini Parker Bartlett Don Devine Michael Germond Lawrence Karman Peter Salim George Billinger * Paul Basta Kenny Dezendorf George R. Gifford Jason Kay Lou Schwartz Howard H. Bingham Michael Benson * Twojay Dhillon William Spencer Gillis Derek Keener Chris Schwiebert Daniel Bishop Stephanie Benson David E. Diano * Christopher Glasgow Adam T. Keith Michael Scott Maceo Bishop Rupert Benson Jr. Troy Dick Mark Goellnicht David Kimelman Bob Seaman Bonnie S. Blake Bob Bergdahl Jim van Dijk Daniel Gold Taro Kimura Hal Shiffman Jason Blount Howard Block Alfeo Dixon Dan Kneece * Roger Smith Jeff Bollman Donald R. Burch Timothy Dolan Robert Gorelick Rory Robert Knepp Fred Smith John Boyd Jerry G. Callaway Tetsuyuki Domae Roger Grange David T. Knox Michael St. Hilaire Katie Boyum David Calloway Rick Drapkin Afton M. Grant Beth Kochendorfer Ray Stella Hilaire Brosio Philip Caplan Megan Drew Chad Griepentrog Robert Kositchek Joe Steuben Garrett Brown Mike Chevalier Scott C. Dropkin Ric Griffith Bryan Koss John C. Stevens Kenny Brown Bill Clark * David Drzewiecki James Gucciardo Bud Kremp Carol Sunflower Pete Brown Dick Colean Mitch Dubin Robert Guernsey Kris Krosskove Bill Swearingen Scott Browner Steve Conant Simon Duggan, ACS Pedro Guimaraes Jay Kulick Joseph F. Valentine Neal Bryant Jim Connell Orlando Duguay Craig Haagensen Mark LaBonge Ron Vidor Stephen Buckingham Rick Cosko James Duhon Chris C. Haarhoff Thomas Lappin Sven Walnum Robin Buerki Jack Courtland Mark Duncan Jess Haas Per Larsson Gary Bush Elliot Davis Jeffrey Dutemple Bob Hagerty Jeff Latonero ACTIVE MEMBERS Rod Calarco Sam Drummy Allen D. Easton Kevin Haggerty Sergio Leandro da Silva Peter Abraham Stephen S. Campanelli Joe Epperson Pauline Edwards Geoffrey K. Haley Richard Leible Steve Acheson, Jr. J. Christopher Campbell Michael Ferra William Eichler John Hankammer Alan Lennox Grant Lindsay Adams JR D. Campbell Ron Francis David Elkins Simon Harding Rachael Levine Jamie Alac Susan A. Campbell William Jay Gahret Jason Ellson Tim Harland Ilan Levin Jeffrey Canfield Jim Glennon Danny Alaniz David Emmerichs Joshua Harrison Mikael Levin Ray Gonzales Michael Alba Stewart Cantrell Kevin J. Emmons Matt Harshbarger Sarah Levy Jerry Good Jeffrey Alberts Jose A. Cardenas Ramon Engle Daryl Hartwell Jimmy Lindsey, ASC Jack Green, ASC Shanele Alvarez Robert Carlson Ezra Epwell Kent Harvey Abigail Linne Gil Haimson Colin Anderson Jeffrey Carolan Alex Escarpanter Chris Hayes Hugh C. Litfin Peter Hapke Nathan Anderson Michael Carstensen Steve Essig Nikk Hearn-Sutton John Lizzio Lutz Hapke Philip Anderson Peter Cavaciuti Brant S. Fagan Mike Heathcote Christopher Lobreglio Bill Hines Kevin W. Andrews Vincent Cerone Diane L. Farrell David Heide Chris Loh Jim Hoover Zefred Ansaldo Dave Chameides Dianne Teresa Farrington Dawn J. Henry Hal Long Bill Howard Andrew Ansnick Lou Chanatry Gregory Faysash Alan Hereford Patrick Longman John Huneck Mariana Antunano Charles Chen Jesse Michael Feldman Steven F. Heuer Jessica Lopez Wayne Kennan, ASC Christopher Arata Joe Chess Jr. Ellie Ann Fenton Kevin Hewitt Benjamin Lowell Bob Keys Francois Archambault John Christopher Michael Ferris Brandon Hickman David Luckenbach Gary Kibbe Joseph Arena Cuthbert George Feucht David Hirschmann Greg Lundsgaard David Kurland Robert Eugene Arnold Craig Cockerill James Anthony Firios Jamie Hitchcock Kenji Luster Norm Langley Wayne Arnold Steven Cohen Andrew Fisher Scott Hoffman Guido Lux Thomas Laughridge * Will Arnot Marcis Cole Lance Fisher Abe Holtz Rob Macey Steve Lydecker Ted Ashton Jr. Keith Colodny Dawn Fleischman Jerry Holway Vincent C. Mack Brice Mack III Kjetil Astrup Kris A. Conde Torquil Fleming-Boyd Paul Horn Paul S. Magee Joe Marquette Jr. Sébastien Audinelle Andrew Glenn Conder Michael-Ryan Fletchall Casey Hotchkiss Giuseppe Malpasso Owen Marsh * Mark August * Brown Cooper Eric Fletcher Bradley Hruboska Kim Marks Bob Marta * Andrei Austin Dan Coplan Christopher Flores Colin Hudson Justin Marx Bob McBride Grayson Grant Austin Fares Corbani Michael Flueck Ashley Hughes Jared G. Marshall Ed Morey Jacob Avignone Gilles Daniel Corbeil Houman Forough Philip Hurn Cedric Martin Tom Munshower Daniel Ayers Luke Cormack Felix Forrest Matthew Hutchens Adam Marschall Fred Murphy Jesse Bactat Ross Coscia Ian Forsyth Spencer Hutchins Philip J. Martinez Al Myers Lonn Bailey Javier A. Costa Justin Foster Alexa Ihrt Daniele Massaccesi Lee Nakahara Scott Baker Richard J. Cottrell Steve G. Fracol Dave Isern J. Steven Matzinger Jay Nefcy James Baldanza Tom Cox Malkuth “Mo” Frahm Christopher Ivins Nathan Maulorico Rik Nervik David Baldwin Jr. Rod Crombie Keith Francis Eugene W. Jackson III Brennan Jakob Maxwell Leigh Nicholson James Ball Bradley Crosbie Tom “Frisby” Fraser Jerry Jacob Parris Mayhew King Nicholson Christopher Banting Jeff L. Crumbley James Frater Francis James Peter McCaffrey John G. Nogle Jeff Barklage Grant Culwell David J. Frederick * Alec Jarnagin Bill McClelland Dan Norris Angel Barroeta Francois Daignault Michael Frediani * Gary Jay Jim McConkey Skip Norton John James Beattie Nicholas Davidoff Brian Freesh Simon Jayes Calum McFarlane David B. Nowell, ASC Jonathan Beattie Markus Davids Steven French Andrew “AJ” Johnson David B. McGill Wayne Orr Jonathan Beck Collin Davis Dan Frenkel Christopher D. Jones Patrick McGinley Richard Price Tim Bellen Richard W. Davis Guido Frenzel Quenell Jones Ian McGlocklin Ernie Reed Stefano Ben Roberto De Angelis Mick Froehlich Steven Jones Michael P. McGowan Arnold Rich Garrett Benson Andrew A. Dean Jeff Fry Sven Joukes Christopher T.J. McGuire

CAMERA OPERATOR · WINTER 2020 45 Ossie McLean Matthew Pebler Teddy Smith Gareth Paul Cox Andres Hernandez Aaron Medick Paul C. Peddinghaus Vanessa Smith ASSOCIATE Richard P. Crudo, ASC Orlando Herrera Alan Mehlbrech Karin Pelloni Dean Robert Smollar MEMBERS Jack Cummings Daniel Hertzog Luisa Mendoza Andre Perron John Sosenko Christine Adams Chad Daring Anthony P. Hettinger Hilda Mercado John Perry Andy Sparaco Justin Aguirre Farhad Ahmed Dehlvi John M. Hill, Jr. Olivier Merckx Matthew A. Petrosky Mark Sparrough Jeechul Ahn Enrique Xavier Del Rio Andrew Hoehn Matias Mesa Jonathan F. Phillips Benjamin Xavier Spek Brian Aichlmayr Galindo Christopher Horne Jack Messitt Alan Pierce William Spencer Gills Colin Akoon James DeMello Chris Horvath Mark J. Meyers Theo Pingarelli Francis Spieldenner Jamie Alac John Densmore Nichole Huenergardt Mike Mickens John Pingry Lisa L. Stacilauskas Tyler Allison Johnny Derango Brett Hurd Duane Mieliwocki Jens Piotrowski Charles Stancliff Ana M. Amortegui Caleb Des Cognets Jake Iesu Mike Milia Joseph Piscitelli Robert Starling Greg Arch Ronald E. Deveaux Toshiyuki Imai Darryl Miller David Plakos Meagan Stockemer Fernando Arguelles Vincent DeVries Andrew A. Irvine Marc A. Miller Carl Prinzi Thomas N Stork Michael Artsis Eric Druker Gregory Irwin Phillip Miller Sasha Proctor Timothy Sutherland Joshua Ausley Matthew Duclos Michael Izquierdo Thomas Miller Adrian Pruett David L. Svenson Richard Avalon Keith Dunkerley Mark Jacobs Ethan Mills James Puli Kenichi Taguchi Laurence Avenet-Bradley Colin Duran Neeraj Jain Andrew Mitchell Louis Puli David Taicher John Bailie Brian James Dzyak Jendra Jarnagin William Mitchell Kelly Pun Ian S. Takahashi Blaine Baker Robert Eagle Jennie Jeddry William Molina Ryan Purcell Yousheng Tang Denson Baker Richard Eldridge Keith Jefferies Mike Mollica Yavir Ramawtar Jaron Tauch Ryan Vogel Baker Edward Endres Lacey Joy Mitch Mommaerts Hector Ramirez Gregor Tavenner Jeffrey Ball Pedro Escobar Henry Joy IV Christopher Moone Juan M. Ramos Brian Taylor Thomas Bango David T. Eubank Jessica S. Jurges Mark Emery Moore James B. Reid Christopher Taylor Tyson Banks Allen Farst Timothy Kane K. Neil Moore Juan Pablo Reyes Gregory Taylor Michael Barron Nicholas A. Federoff Ray Karwel Matthew Moriarty John Rhode Paige Thomas Craig Bauer Ellie Ann Fenton Frank Kay Josiah Morgan Dax Rhorer David James Thompson Adam Wayne Beck Stanley Fernandez April Kelley Dana Morris Selene Richholt , ASC Trevor Beeler Kristin Fieldhouse Alan G. Kelly Josh Morton Alicia Robbins Eduardo Flores Torres Andres Bermudez Stephanie Fiorante Mark H. Killian Manolo Rojas Moscopulos Ari Robbins Remi Tournois Justin Berrios Tom Fletcher Dae Hyun Kim John “Buzz” Moyer Peter Robertson Neil C. Toussaint Robert Beverlin Mike Fortin Douglas Kirkland Jeff Muhlstock Brooks Robinson Jamie Trent Nicholas Bianchi Tammy Fouts Sean Kisch Nick Müller Dale Rodkin Bryan Trieb Alicia Blair Michael A. Freeman Christian Kitscha Michael James Mulvey Eric Roizman Bela Trutz Stas Bondarenko Fred M. Frintrup Michael Klaric Scott T. Mumford Sharra Romany Michael Tsimperopoulos Peter Bonilla Hiroyuki Fukuda Michael Klimchak Peter Munson, Jr. John Romeo Chris Tufty * Jean-Paul Bonneau Ruixi “Royce” Gao Nick Kolias Keith Murphy Peter Rosenfeld Dan Turrett David Boyd Sandra Garcia Mark Knudson Sean Murray Jesse Roth Brian Tweedt Katherine Brennan Geoffrey George Robert Kraetsch Saade Mustafa Rafael Sahade Joseph Urbanczyk Maksim Brenner Hannah Getz Brian Kronenberg Dale Myrand James Sainthill Matt Valentine Mary Brown Shingo Gima Robert La Bonge Yoshinobu Nagamori P. Scott Sakamoto Dale Vance, Jr. Rochelle Brown Jake Glaviano Michael Landrian Leo J. Napolitano Sanjay Sami Paul D. Varrieur Donald Brownlow Daniel Godar Laurence Langton Marco Naylor David M. Sammons Leandro Vaz Da Silva Deborah Brozina Michael Goi, ASC Tung Le Robert Newcomb Joel San Juan Ron Veto Clyde E. Bryan Al Gonzalez Hoang Khang “Khann” Julye Newlin Juanjo Sanchez Adi Visser Sasha D. Burdett Emily Gonzales Le Nguyen George Niedson Bry Thomas Sanders Stefan von Bjorn Jorge Bustamante Geoff Goodloe Barbie Leung William Nielsen Milton A. Santiago Rob Vuona Leslie McCarty John M. Goodner Alan Levi Kenny Niernberg Ricardo Sarmiento Michael J. Walker Chip Byrd Adam Goral Mark Levin Terence Nightingall Daniel Sauvé Timothy N. Walker Eusebio Cabrera Giulia Governo Ilya Jo Lie-Nielsen Kurt Nolen Gerard Sava Gareth Ward Anthony Q. Caldwell Noble Gray Jun Li Randy Nolen Sean Savage Gretchen Warthen Calvin Callaway John Greenwood Tian Liu Austin Nordell Ron Schlaeger Mic Waugh Justin Cameron Adam Gregory Niels Lindelien Loy Norrix Michael Scherlis Raney “Bo” Webb Ryan Campbell Phil Gries Marius Lobont Casey Norton Mark Schmidt Aiken Weiss Jack Carpenter Matthew Griffith Eamon Long Connor O’Brien Job Scholtze Drew Welker David John Carroll Ryan Grosjean Gordon Lonsdale William O’Drobinak Vadim Schulz Alex Wentworth Marc Casey Heather Grothues Dominic Lopez Mark D. O’Kane Richard Schutte Des Whelan Quaid Cde Baca Tomasz Gryz Bob Lord Michael D. Off David Jean Schweitzer Robert Whitaker Kirsten Celo Lauren Guiteras Jasmine Lord Andrew William Oliver Fabrizio Sciarra Mande Whitaker Johanna Cerati Josef “Joe” Gunawan J’mme Love Tony O’Loughlan Bob Scott Parker Whittemore Kenneth Chan Shelly Gurzi Carl Nenzen Loven John Orland Brian Scott Jeffrey Wilkins Jac Cheairs Marco Gutierrez Justin Lutsky Brian Osmond Ian Seabrook Ken Willinger Ian Chilcote Jason Hafer Christopher Lymberis Kako Oyarzun Dave Selle Tom Wills Damian Church Badra Haidra Dominik Mainl Georgia Tornai Packard * Benjamin Semanoff Chad Wilson Celeste Cirillo-Penn Bob Hall Bala Santosh Majji Heather Page Lisa Sene David A. Wolf Kerry Clemens Adam Hamer Steven Mangurten Nick Paige Barry Seybert Ian D. Woolston-Smith Mark Cohen Mufeng “Derek” Han Max Margolin Curtis E. Pair Barnaby Shapiro Santiago Yniguez Gregory Paul Collier Tobias Winde Harbo Aaron Marquette Victor J. Pancerev David Shawl Brian Young Antoine Combelles David “DJ” Harder Nicole Jannai Martinez Noah Pankow Chelsea Lee Shepherd Lohengrin Zapiain Nathan J. Conant James Hart Emma Massalone Andrew Parke Osvaldo Silvera Jr. Chad Zellmer Shannon Connally John Hart Joshua Mayes Patrick J. Pask Gregory Smith Mirko Zlatar Chad Cooper Kyle Hartman Brett Mayfield Micah Pastore Marques Smith Brenda Zuniga Christopher “Chase” Cope Jason Hawkins Ray McCort Al “Tiko” Pavoni Needham B. Smith III Gabriel Paul Copeland Adam Heim David William McDonald

46 SOCIETY OF CAMERA OPERATORS · SOC.ORG Mike McEveety Dylan Rush Evan Zissimopulos Carmen Chan Lucien Night Josh McKague Kish Sadhvani Ron Kelley Jiayao Chen Ruben Palacios Nathan Meade Christian Salas-Martos CORPORATE Kathleen Kennedy- Shun Man Cheung Weerapat “Art” Rocker Meadows William Tanner Sampson Abel Cine Marshall Yongmin Choi Parnitudom Marcel Melanson Sean Sanchez Anton Bauer Jerry Lewis Petr Cikhart Connor Pollard Alexandra Menapace Christian Satrazemis Arri, Inc. Gary Lucchesi Autumn Collins Melissa Pratt Sophia Meneses Chris Sattlberger Atomos Larry McConkey Richard Colman Karina Prieto Macias Christopher Metcalf Nick Savander B&H Foto & A. Linn Murphree M.D. Dennis Connelly Cheng Qian Jonathan Miller Steve Saxon Electronics Corp. Diana Penilla Guilherme Costa Ryan Richard K. Adriana Modlin- Ryan Schultz Band Pro Film & Video Andrea Damuding Matthew Richter Liebrecht Angelia Sciulli Blackmagic Design Robert A. Torres John Darian Marco Rivera Madelyn Momano Carolyn Scott Canon, USA Inc. George Toscas William Dauel Edgar Santamaria Michael Monar Christopher Seehase Carl Zeiss Roy H. Wagner, ASC Dakota Diel Emil Schonstrom Kenneth R. Montgomery Brian Sergott Microimaging, Inc. Michael A. Garcia Simon Sidell Autumn Moran Alexander Seyum Chapman/Leonard Sam Gilbert Carley Steichen Vincent Moretto Sathish Shankutty Studio Equipment RETIRED MEMBERS Christian T. Hall Jennifer St. Hilaire- Dean Morin Haley Shepard CineDrones Aldo Antonelli Yuqiao Han Sanchez Mark Morris James Shipley Cinema Devices Paul Babin Marisa Harris Amara Stinson Evan Morton Yael Shulman Cinemoves Inc. Tom Barron Myles Anthony Holt Grace Thomas Matthew C. Mosher Stephen Siegel Codex Al Bettcher Guanchun Hu Joshua Thomas Damon Mosier Peter Sikkens Cooke Optics Limited James Blanford LaKisha Renee Hughes Kendra Tidrick Jekaterina Most Karina Maria Silva CW Sonderoptic Bruce Catlin Carolyn Scott Hunt Romas Usakovas David Mun Pierson Silver Duclos Lenses Anthony Cobbs Piankhi Iknaton Akina Van de Velde Matthew Murnan Anil Singh Fujifilm/Fujinon Ivan Craig Daniel James Anna Vialova Filmtools, Inc. Nicholas Matthew Musco Michael Skor Richard A. Cullis Crystal Kelley Gideon Watson Geo Film Group, Inc. Hassan Nadji Jan Sluchak George Spiro Dibie, ASC Sung Yen Lai Watcharawit “Koon” Helinet Aviation Services Sam Naiman Joshua Smith Robert M. Feller John P. Lansdale Ya-inta History For Hire Navid John Namazi Robert F. Smith Jerry Fuller Shangche Lee Kehan Yang Imagecraft Zach Nasits Tyson Smith Dick Fisher Eric Liberacki Linxuan “Stanley” Yu Productions, Inc. Michael Nelson John Snedden Anthony Gaudioz Bocong Lin Cong Zhou JL Fisher, Inc. Colemar Nichols Laurent Soriano Rusty Geller Ari Linn Yiyao Zhu JVC Professional Dennis Noack David Speck Wynn Hammer Tianyi Liu Video Products Chastin Noblett Derek Stettler Ken Hilmer Bali Majji Litepanels Jose Maria Noriega Michael Stine Gary Holt Francesco Malandrino * Past SOC President Manios Digital & Film Louis Normandin Landis Stokes Robert C. Horne Jeff-Steven Arevalo Mojica Matthews Studio Crescenzo G.P. Joshua Stringer Douglas H. Knapp Fabian Montes Current as of Equipment Notarile, ASC Aymae Sulick Michael Little Joshua Montiel February 11, 2020. Monster Remotes Tiffany Null Jeremy Sultan Heather MacKenzie Takuya Nagayabu Jorel O’Dell Andy Sydney Other World Computing James Mann Bodie Orman Tiffany Taira Panasonic Cinema Stan McClain * Pascal Orrego Julio Tardaguila Panavision Michael McClary Jarrod Oswald Fabian Tehrani Preston Cinema Systems Ron McManus Paul Overacker Matthew Thorp Mike Meinardus AD INDEX Justin Painter John Twesten Schneider Optics Emmanuel Metaxas Blackmagic Design 3 Sigma Larry Mole Parker Jonathan Tyler Robert “Bob” Moore blackmagicdesign.com Steven D. Parker Thomas “Joe” Tyler Sim International Sol Negrin, ASC Art Parnitudom Justin Uchendu Sony Electronics David L. Parrish Chapman/Leonard Studio Andrew Parrotte Gary Ushino That Cat Camera Support Aaron Pazanti Equipment C2 Florencia Perez Cardenal Daniel Urbain Tiffen Richard Rawlings Jr., ASC Angelica Perez-Castro Sandra Valde Transvideo Andy Romanoff chapmanleonard.com Mariia Perlifonova Thomas Valko Wooden Camera Frank Ruttencutter Cine Gear Expo 11 Anthony Perrella, Jr. Michael Velitis Carl Schumaker Sr. cinegearexpo.com Mark W. Petersen Nick Vera EDUCATORS Chuck Schuman Jon Philion Benjamin Verhulst John M. Grace Philip D. Schwartz Cinemoves Back Cover Tyler Phillips Marshall Victory Ron McPherson Guy Skinner cinemoves.com W. S. Pivetta Jesse Vielleux Rafael Nobre George B. Stephenson Fluotec 2 Ted Polmanski Breanna Villani Mauricio Vega Gene Talvin Robert Primes, ASC Miguel Angel Vinas Ralph W. Watkins Joseph N. Tawil fluotec.com Joe Prudente Terry Wall Ronald Veto J. L. Fisher 7 Delia Quinonez Louis-Pascal Walsh HONORARY Bill Waldman David Rakoczy William Walsh John Bailey, ASC Adam S. Ward jlfisher.com Jem Rayner Grant Walther Tilman Buettner Leitz Cine Wetzlar 9 Brice Reid Neil Watson James Burrows STUDENTS leitz-cine.com Claudio Rietti Jared Wilson Alexander Calzatti Jack Armstrong Nathan Rigaud Ryan Wood Trevor Coop Reynaldo Aquino NAB Show 13 Mario Rodriguez Peiqi “Eric” Wu Roger Corman Sammy Avgi nabshow.com Tyler Rocheleau Tim Wu Dean Cundey, ASC Melissa Baltierra That Cat Camera Support 5 Andy Romero Daniel Wurschl Bruce Doering Zakrey Barisione Tim Rook Watcharawit “Koon” Clint Eastwood Bedik Bedikian cameraslider.com Peter J. Rooney Ya-Inta Tom Hatten Ziryab Ben Brahem Tiffen C3 Daria Rountree Tim Yoder Caitlin Brown Jordi Ruiz Maso Yasutomo Yoshida Gale Anne Hurd Jian Cao tiffen.com Jan Ruona Scot Zimmerman Sarah Jones Stephen Carlus

CAMERA OPERATOR · WINTER 2020 47 Social SOC Curated by Ian S. Takahashi, SOC

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society_of_camera_operators society_of_camera_operators @marantu Geoff Haley, SOC 2020 winner of the Camera ———————————————————————— Operator of the Year – Film - @jokermovie #bestJobEver #thesoc #cameraOperator #Photog- ———————————————————————— rapher #Camera #Lens #DirectorOfPhotography #TheSoc #bestJobEver #thesoc #cameraOperator #Cinematography #Cinematographer #Videography #Photographer #Camera #Lens #Photography #Videography #PhotographyIsLife #DirectorOfPhotography #Cinematography #CameraSupport #CameraAccessories #SOC #bts #Cinematographer #Videography #Photography #movies #film #TheSOC #Videography #PhotographyIsLife #CameraSupport ———————————————————————— #CameraAccessories #SOC #bts #movies #film hugh.litfin That’s the darnedest tallest camera riser ————————————————————————- I’ve ever seen! bjdzyak I don't think Geoff ever has a day off! raphpstl Her face says it all

Follow the SOC membership on Instagram. See iconic photos from behind-the-scenes, on-set backstories, and images that inspire. Join in the conversation! @ Society_of_Camera_Operators

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