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Why use a fully CGI image on the cover of Camera Operator magazine? Even if a shot like this is made in the computer, it certainly tells the reader what they are going to read about. Frankly, with a movie like this, I think many people forget that there were camera operators involved at all. With such great work, I’d hate for that to happen. —Jack Messitt, editor COURTESY OF WETA OF COURTESY

Features The Dolly Grip Has My Back by Dan Gold SOC Proof that the dolly grip is a camera operator’s best 8 friend and lifesaver. Taming 3D Steadicam for Avatar Cover by David Emmerichs SOC Hazards and solutions for Steadicam with two cameras 14 on board. Crossing the Line Introducing a new series Camera operators try their hands at above the line 22 Jake Sully’s fi ghting jobs like directing. blue alien from Avatar, based on motion capture with actor Sam Truth Never Lies Worthington, by Sawyer Gunn courtesy of WETA Interview with Director Aiken Weiss and DP David J 24 Frederick about their award-winning movie. Midnight Movie by Hunter Clark Interview with Jack Messitt about writing and directing 34 an award-winning horror fi lm.

Departments 3 Letter from the President 42 Hi-Def with Jeff by Dan Kneece SOC by Jeff Cree SOC 4 Editor’s Message 46 Advertisers’ Index by Jack Messitt SOC 47 Last Take 6 News & Notes What’s going on with members 48 Roster of the SOC and in the industry. as of 5/12/10 SOCIETY OF CAMERA OPERATORS Letter fr om the President When that happens the art goes out the BOARD OF GOVERNORS window, the point of view is lost, and ™ OFFICERS the director’s vision is compromised. President ...... Dan Kneece Th e majority of our eff orts are reduced 1st Vice President ...... Jack Messitt Let’s Make nd to movies by committee. Rethink Fresnel. 2 Vice President ...... David Mahlmann 3rd Vice President ...... Bonnie Blake Real Movies I for one long for the return Litepanels® revolutionary Sola Series offers a Treasurer ...... Warren Yeager of the way it was when I got Recording Secretary ...... Dan Gold whole new world of LED Fresnel lighting. Designed Sergeant-at-Arms ...... Warren Yeager n our present day cinematic into this business. for today’s production, the Sola Series combines Iworld things are are Independents could the pleasing single-shadow properties of a Fresnel BOARD MEMBER COMMITTEE CHAIRS changing at a very put together a fi lm with Litepanels award-winning advantages Awards ...... David Mahlmann rapid rate. Produc- for a few hundred including full range dimming with no external Charities ...... Bonnie Blake ballasts or head feeders. Communications ...... Warren Yeager tions are being shot all thousand, and get Corporate Liaison ...... David Mahlmann over over the globe, in it picked up and out Daylight-balanced Sola fixtures are simply the COY Awards ...... Dan Gold most versatile Fresnels ever made, offering beam East Coast SOC Rep ...... Alec Jarnagin places that may or may to the masses through control of 70º to 10º, along with focus & dimming Events ...... Mark August not resemble the locales in theaters and drive-ins. It was – via a convenient touch screen (Sola6 & Sola12) Education ...... Steve Fracol the original stories, for the commonplace, possible and or easy to use camera-like controls (SolaENG). Membership ...... Susan A Campbell Merchandising & Promotions . .Aiken Weiss sake of dollars and not the happened frequently, but And, unlike HMI Fresnels, Litepanels Sola Series Publications ...... Jack Messitt projects themselves. now with the advent of the offers full range dimming from 100% down to Screenings ...... David Tolsky Kickbacks and cheap labor blockbuster, smaller eff orts zero without noticeable color shift. What’s more, Technical Standards ...... Erwin Landau powerful and energy efficient Solas draw just a President Emeritus ...... David J Frederick are the determining factors in are cut out and the new fraction of the power of conventional Fresnels and our business at present. defi nition of a low budget BOARD MEMBERS AT LARGE can plug into a standard household outlet to Studios and facilities are being JOEL LIPTON fi lm is one that costs millions Aldo Antonelli ...... Douglas Knapp produce soft, luminous output. Dan Coplan ...... George B Stephenson built in foreign lands to save instead of thousands. Samuel “Buddy” Fries . . . .Christopher Tufty and make money. If fi lms turn out to What does this mean for us as New! David Allen Grove ...... Ron Vidor be good in addition it’s a bonus, but it’s Camera Operators? In a nutshell, Sola Series LED Fresnels: not a deal breaker if they don’t and if less quality work, less projects you can • Heat & flicker free STAFF AND CONSULTANTS Offi ce Administrator ...... Diana Penilla they aren’t gimmicks can be used to get believe in, less passion, and more of • 100% to 0 instant dimming Webmaster ...... Gregory White unsuspecting audiences into the a factory mentality. We are making • No noticeable color shift Website Staff ...... Astrid Phillips • 1/3 the weight of HMIs Publications Manager . . . . . Douglas Knapp theaters anyway. New buzz words like widgets, delivery vehicles for product • No external ballasts Publications Layout ...... Lynn Lanning 3D and Empire Imax can be used to coax placement, and setting the groundwork • Instant restrike Publishers ...... IngleDodd Publishing viewers, but all too oft en the corners cut for video games. Where are the great Calligrapher ...... Carrie Imai • Touchpanel controls Eco-friendly: 95% less energy Legal Reps David Adelstein, Geffner & Bush leave audiences disappointed and characters, the great scenes, the great • 50,000 hours LED life & DMX built-in. disgruntled that they spent extra and quotes, the great moments that we is a registered trademark. didn’t get their money’s worth. What carry with us for a lifetime? ® All rights reserved. to do? I think it is still possible to have them, Th e simple answer is to start making but we all have to work toward that Think Litepanels. Camera Operator is published 3 times a year movies again. Not celluloid versions goal in earnest. Writers have to write by the Society of Camera Operators of video games or remakes of old ideas stories and characters that truly inspire SOLA MODELS or miscasting just for the sake of box us, directors have to fi ght for them, SolaENG Sola6 Sola12 Subscription Rates: USA $20/year WEIGHT 10 oz. (.28 kg) 6 lbs. (2.7 kg) 14 lbs. (6.4 kg) Outside USA $28/year (U.S. Funds Only) offi ce, but honest to goodness movies studios have to take chances on some- POWER DRAW 30W 75W 250W Subscribe online at that rivet you to the seats of the theater thing that isn’t a guaranteed success in OUTPUT EQUIV. 250W tungsten Fresnel 650W tungsten Fresnel 2000W tungsten Fresnel www.SOC.org and don’t let you go until they’re done the hopes that greatness will come from with you. Films that leave you with a the unknown and we have to step away For display advertising information, contact: great sense of satisfaction at the end and from the blockbuster. We just have to Sola12 Sola6 SolaENG Dan Dodd that joyous feeling that you’ve really do it. We have to make a conscious (310) 207-4410 x236 witnessed something life changing aft er move toward smaller interesting less fax: (310) 207-1055 [email protected] all is said and done. Th at’s what we’re commercial fi lms again. Aft er all we are lacking these days. I’m not saying there fi lmmakers. We tell stories. We make For article submissions, please contact: aren’t exceptions, but for the most part magic with the placement of our lens. SOC Attn Magazine PO Box 2006 we’re in a cultural void. How can we settle for anything less? Toluca Lake, CA 91610 Part of what’s at fault is the large Sincerely, Phone (818) 382-7070 amounts of money involved in produc- © 2010 by the Society of Camera Operators tion. Just like the many establishments

™ in the fi nancial crisis, these mega-movies 1x1™ Series MiniPlus™ Series Micro™ Series Ringlite® Series SeaSun® Series Sola Fresnel Series have become too big to fail and are Visit the SOC web site www.SOC.org propped up at all costs resorting to test screenings and changed endings if the test subjects don’t like what they see.

® ® Litepanels 818 752 7009 • [email protected] • www.litepanels.com A Vitec Group brand Spring/Summer 2010 CAMERA OPERATOR: LETTER FROM THE PRESIDENT 3 Editor’s Message “Above the line” jobs are tremen- dously stressful, especially in today’s more corporate-infl uenced industry. Take Advantage of Your Crew But every director and producer should know that the “below the ilmmaking has always been a visual medium and with the line” crew is there to help tell their Freemergence of 3D, this is only becoming more evident. story the very best way it can be told. But good storytelling is so much more than simply getting Giving the crew an idea of the big good visuals or exceptionally inventive coverage. picture is extremely helpful in Without good dialogue, no one will care if the scene is one allowing us to do our jobs. Th e more continuous Steadicam shot or that it takes place in a purely we know, the more we can help bring MESSITT SOC OF JACK COURTESY digital world. Without rich characters to care about, it won’t a director’s true vision to life. And knowing that there are matter if the fi lm looks amazing. Without a compelling hundreds of eyes looking out for them can really allow a storyline, none of our hard work on set will really matter. director to step back and focus on what really matters. A well-told story is an emotional journey that carries the It has been my experience that the more you allow your audience along for the ride. Th at is where the director comes crew to do the jobs you hired them to do, the better the in. A director is there to make sure that the most important experience will be for everyone—right down to the aspects of fi lmmaking remain in focus. audience. Much is made of the division between “above the line” and Great ideas can come from the most unlikely of places. “below the line” positions. But as more “below the line” crew Allowing the crew to help fi ll in some of the details can be members make their way to the director’s chair, the more we a treasure trove of good ideas. Not that anyone should feel come to realize that every member of the crew is a part of the obligated to take every idea. In fact, I think that knowing fi lmmaking process. when to say no is one of the director’s most important jobs. Regardless of your position on set, from PA to camera But the more you allow for a creatively open environment, operator to director and producer, you are a fi lmmaker. the more opportunity you will have to benefi t from the vast No movie or television show can be made without the help experience of your crew. of every single person involved.

WE HAVE MONEY TO LOAN NOW! CAMERA OPERATOR SPRING/SUMMER 2010 Thanks to our member-shareholder based system, we don’t Editor ...... Jack Messitt SOC need to borrow money to make loans, WE HAVE IT! Our Managing Editor/ assets are based in our membership share deposits. YOUR Art Director ...... Lynn Lanning deposits provide the money we loan back to you and your Post-Production fellow members at affordable rates that are among the Manager . . . . Douglas Knapp SOC lowest in the industry. Cover Photo . . . . .Courtesy of WETA Production Coordinators Our wide variety of specialized loans are designed to serve ...... IngleDodd Publishing the unique needs of our membership; Share-secured, Advertising Director . . . . Dan Dodd Signature, Instrument, RV and New & Used Auto financing and refinancing, to Home Loans and Home Equity Line of Credit (HELOC), WE HAVE THE MONEY for the loan CONTRIBUTORS you need, when you need it! We invite you to check and Jeff Cree SOC compare our rates with other lenders. We PROMISE to David Emmerichs SOC BEAT or MATCH any approved loan rate.* David J Frederick SOC Dan Gold SOC Our unsurpassed service, personal attention to your needs, Dan Kneece SOC specialized loans and low, low rates, you’ll find Musicians’ Lynn Lanning Interguild Credit Union your ONE STOP financial partner. George Leon David Mahlmann SOC Jack Messitt SOC Aiken Weiss SOC

PHOTOGRAPHY Claudette Barius Mark Fellman Dan Gold SOC George Leon Joel Lipton Zade Rosenthal Ruben Russ Alex Szuch Kristoffer Villarino Aiken Weiss SOC

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4 CAMERA OPERATOR: EDITOR’S MESSAGE Spring/Summer 2010 News & Notes What’s going on with members and in the industry

Panavision sponsors breakfast, demos new 3D equipment

anavision has added to its rental inventory the Element PTechnica Quasar 3D Rig fi tted with Panavision Genesis cameras and Primo prime lenses. Th e modular rig was reviewed in a mini workshop Q& A presented by the Society of Camera Operators (SOC) at their quarterly breakfast meeting held at Th e Motion Picture & Television Fund Home in Woodland Hills. Sharon Walker from Panavision and Chris Burket from Element Technica explained the features of the stereoscopic rig and answered questions from the attending cinematographers and camera operators about the many technical and aesthetics details of acquiring 3D footage using the Quasar 3D rig. Another smaller 3D rig , the Neutron, was also presented. It is designed for 1/3 or 2/3 inches cameras such as Iconix or SI2K-mini. More information and photos are available at http:// fi lmcastentertainment.blogspot.com/2010/04/quasar-3d- panavision-at-soc.html —George Leon PHOTOS BY GEORGE LEON PHOTOS

6 CAMERA OPERATOR: NEWS & NOTES Spring/Summer 2010 Th e Dolly Grip Has My Back

by Dan Gold SOC

Dan Gold SOC (right) with Dolly Grip Tim Christie at the edge of the Grand Canyon on Due Date. Photo by Dan Gold SOC. he dolly grip is the camera operator’s partner. I like always changes and a lot of the decisions that aff ect the to think of us as a team. True, the operator has his success of a shot will occur while you’re rolling. An actor will Tunique responsibilities and the dolly grip has duties miss the mark or the scene will take an unexpected turn and that are his alone. But when it comes to planning and both the camera operator and the dolly grip have to be ready executing the shot, they work together toward the same to adapt to what is happening in front of them. If the dolly goal: to successfully translate a bit of storytelling into a grip is hesitant or feels that he doesn’t have the endorsement visual medium. of the camera operator and the director of photography he For me, as a camera operator, there is no more important won’t take those chances that are necessary to make the shot collaborator on the set than the dolly grip. As the director work on the spur of the moment. and the director of photography discuss the shot, a good Many dolly grips use on-board monitors to help them see dolly grip is already thinking about what kind of track to use. exactly what the operator sees. If there is a problem, if an I believe in looking through a director’s viewfi nder to set the actor is being blocked or the shot isn’t moving along the way start mark and end mark so everyone agrees on the shot. it should, they can make an adjustment and see the results Once the director and director of photography turn their of the change right away. But a good dolly grip knows what’s Armed with the information about the shot, the dolly grip is ready to suggest how to proceed. I’ve learned that this is a good time for the camera operator to listen. concentration to other matters, the dolly grip and I start our happening in the frame even without looking at the monitor. discussion. Shall we build a plywood dance fl oor or use rail He understands the shot, he knows the focal length, he sees or maybe just roll on the fl oor? It’s so important for a camera what the operator is doing and where the actors are and even operator to share information with his dolly grip so he can without the monitor, he is able to see the frame and make make informed choices in the planning stages. Among other those little accommodations in the movement of the dolly things, they should discuss the focal length of the lens, the that make the diff erence between a spoiled take and a speed of the move, and whether or not the actors will have successful shot. Dan Gold SOC, Mike Brennan, and Zoran Veselic on Spiderman. Photo by Zade Rosenthal. to cross the dolly track. On dolly shots or crane shots using remote heads, we oft en Armed with the information about the shot, the dolly grip use wireless intercoms so the dolly grip and the camera is ready to suggest how to proceed. Over the years I’ve learned operator can talk throughout the shot and make those little changes on the fl y. Th ose kinds of shots are really fun because In one scene we were inside a burning building where the that this is a good time for the camera operator to listen. by actually consulting each other during the shot, it becomes Green Goblin lures Spiderman inside the fl aming structure Th e dolly grip will recommend orienting the dolly in a a true collaboration. Th e dolly grip is swinging the crane to trap him. Michael Brennan, fi rst assistant Zoran Veselic certain direction. He may suggest using an off set or a around, extending and retracting, the camera operator is and I were all wearing fi re resistant fi remen’s uniforms as we slider to reposition the camera slightly or perhaps we need panning and tilting and the whole time we’re communicating sat in the building surrounded by burning timbers. A couple a camera riser. An experienced dolly grip has seen many and improvising, reacting to what’s happening in front of the of times during the shot, while both hands were holding up camera operators struggle with the execution of a shot lens. It’s a very fl exible, fl uid way of working that oft en ends the camera, I felt a warm spot on my arm or leg and looked and can really help with some simple solutions. in unexpected and exciting results. down with my other eye to see a burning ember smoldering I can’t tell you how many times over the years I’ve had In addition to planning and executing the shot, dolly grips on my jacket. Each time, Michael Brennan calmly and gently an impossible shot turned easy by the dolly grip quietly have responsibilities that are outside the realm of actual dolly removed the fl aming wood fragment without disturbing the putting my seat into a diff erent post on the dolly. In the movement. But these are just as important to the success of shot. It was comforting to know Mike was there to prevent days before remote heads camera operators oft en found our work. Safety—particularly the camera operator’s safety— me from bursting into fl ames. themselves climbing over the arm on the dolly to clumsily is one of the dolly grip’s most important jobs. Recently I was working with dolly grip Tim Christie on execute 360 degree panning shots. One day the dolly grip It is the dolly grip’s responsibility to guide the operator a movie called Due Date. I’ve done three movies with Tim suggested that we put an 18-inch riser under the head through a handheld shot when he can’t see where he is going. and he’s one of those great dolly grips that seems to read your allowing us to drop the arm 18 inches. Th e camera was If I’m shooting handheld while backing up through the set mind. He knows exactly what we need to do to make the shot still at the right height but now the arm was down out of trying to stay in front of fast moving actors, I put total trust work before we even discuss it. He’s always right. On the rare the way. I could walk around over the arm 360 degrees in my dolly grip. It’s his responsibility to safely pull me past occasion when I disagree with him about how to do some- with no problem. I’m still amazed at the simplicity of that the obstacles, cueing me with a light but fi rm touch. He tells thing, we try it my way and inevitably we end up doing it solution. me when to turn or step up or down and delivers me to the Tim’s way. I trust Tim. Aft er the preliminary work of planning and setting up, end mark in the same way he would as if pulling the dolly. At the rim of the Grand Canyon, we shot a handheld scene the dolly grip’s contribution to the execution of the shot When we shot Spiderman, I was fortunate enough to work with Robert Downey Jr and Zack Galifi nakis. Of course we is extremely important. It’s essential that the camera with Michael Brennan, one of the best dolly grips I’ve ever were not supposed to go near the edge of the canyon without operator empower the dolly grip. He needs to know that had the pleasure of working with. He is a natural at moving safety harnesses. But we were shooting an action scene and the operator trusts him, trusts his judgment and his taste the dolly and swinging the Technocrane and we did some the actors were moving around quite a bit. When they came so that he feels the freedom and has the confi dence to 1st Assistant Mikael Glattes sitting on the crane with wonderful moving shots thanks to his talents. But I was also at us, we had to keep backing up to keep them in the shot. make adjustments to the shot on the fl y. Camera Operator Dan Gold SOC; dolly grip Dwight happy to have him standing right next to me on many Perhaps we ended up being closer to the edge that we should Air Force One

No matter how much you plan in advance, something LaVers at the base of the crane; fi lming . BARIUS CLAUDETTE handheld occasions. have been. I had my back to the canyon edge, an edge that

10 CAMERA OPERATOR: THE DOLLY GRIP HAS MY BACK Spring/Summer 2010 Spring/Summer 2010 CAMERA OPERATOR: THE DOLLY GRIP HAS MY BACK 11 dropped off about 5,000 feet. Of course, Tim was behind me a 100 by 100-foot tank on Stage 16 at Warner Brothers. But guiding my movement the whole time—and we were moving when we begin to shoot, the ship starts to bounce up and pretty quickly. At the end of each take I’d put the camera down on a huge hydraulic gimbal. Wave machines create 4 to down and look back at the 5,000 foot drop behind us and 6 foot swells. Water cannons blast the ship from 2500 gallon think, “Boy I’m glad Tim’s back there keeping me away from dump tanks and 100 mile per winds whip from the fans. that thing.” But while we were rolling, I never thought twice I was trying to hold onto the camera for dear life and about my safety because I felt Tim’s hands on my belt guiding Mike was keeping me from sliding off the deck, dropping me through the shot. I knew he would never let me get near the camera, landing on my head, and falling into the water. that cliff . Like I said, I trust Tim. No one was holding Mike, but he was holding me with On Th e Perfect Storm, Mike Schwake was the dolly grip and thousands of gallons of water pouring all over us, making I was very lucky to have him. Mike is a master dolly grip and an sure I didn’t get slammed into the side of the hull or washed amazing crane operator. He did so many crazy Technocrane over the side. shots on that movie. While I had the luxury of operating the Th ese are just a few stories from years of great partnerships.

Camera Operator Dan Gold SOC and Dolly Grip Mike Schwake in the tank on Th e Perfect Storm. CLAUDETTE BARIUS CLAUDETTE

Libra Head or Mega Mount from a remote location well out A good experienced dolly grip can make the camera operator’s of harm’s way, Mike was being drowned by thousands of job so much easier and more gratifying. He can be a wonder- gallons of water during the shot. ful collaborator and partner. I fi nd that the dolly grip is oft en I was not in the clear on every shot though. I did a lot of one of the most level-headed crew members on the set. Th ey handheld shots from the ships’ decks while getting pounded have a unique perspective from back there, behind the dolly. with wind, rain and waves. In one scene, a Coast Guard cutter Th ey tend to see the big picture more easily than the rest of us. tries to rescue parajumpers in heavy seas. Th e men fi ght the Over the years I have not only enjoyed working on shots raging waters as they try to climb a net thrown over the side with these talented individuals, but also confi ding in them of the ship. In a harness, I was handholding a Panafl ex in a and commiserating with them. As camera operators we not water bag over the side of the hull, shooting down into the only trust our dolly grips to help us to get the shot, but we water. Mike Schwake had rigged a bungie cable over my head trust them with so much more. Th ey are there to save our to help me support the weight of the rig and was holding on lives, both fi guratively and quite literally. to my harness. Sure, the reality is that the ship is only a set piece. We’re in

12 CAMERA OPERATOR: THE DOLLY GRIP HAS MY BACK Spring/Summer 2010 Taming 3D Steadicam for Avatar

by David Emmerichs soc

Photos by Mark Fellman CGI images courtesy of WETA

Jake Sully (Sam Worthington) wiith his unborn avatar. of the many computers connected the cameras through his company. For those of you not essentially the same image. Why would you want to do this? to my 3D camera via the fi ber familiar with 3D cinematography, some technical informa- Th e distance between the cameras aff ects the amount of 3D optic cable that followed me every- tion follows. For those of you well-versed in the technology, apparent in a scene. Th e farther apart the cameras, the more where. I had stepped through the please bear with me. 3D you see—the closer together, the fl atter the image. looking glass to fi nd myself in Th e Fusion 3D camera system we used consisted of two Longer lenses and close-ups benefi t from a smaller IO (oft en New Zealand at Stone Street heavily modifi ed Sony F950s mounted at right angles to each less than an inch), and scenic wide shots look better with Studios shooting the live action other in a support frame. One camera sat horizontally in the more separation. With moving shots these parameters change portions of James Cameron’s conventional position shooting through a half-silvered mirror constantly so we changed the IO on the fl y to compensate. Avatar. (beam splitter), and the other ran vertically, shooting the Convergence is another variable that changes frequently. My involvement began in Los refl ection on the mirror’s surface. Th e two cameras mimic Convergence is best described in visual terms. Hold up a Angeles in 2007 when Director of Photography Mauro Fiore asked me to be the Steadicam operator for Cameron’s new fi lm. Producer Jon Landau invited me to visit the performance capture Simulcam in action: David frames up a shot stage to watch the actors run of Jake’s avatar lying on the gurney, while around in their funny suits as they Jim Cameron looks at a low resolution character visible on the monitor. Jake’s avatar wakes up for the fi rst time. Scenes like this were easier to choreograph and frame recorded the performances that using the Simulcam system which made it possible to see the avatars on the Steadicam WETA Digital would eventually monitor. Th is is a fi nal image from the fi lm; the resolution of the live image was much lower. turn into fully rendered photo- real scenes on the alien jungle he ten foot tall blue alien needed to move just a little world of Pandora. I saw ten minutes of low resolution 3D camera right to balance the composition. I looked up footage cut together with music and sound eff ects and found Tfrom my Steadicam monitor and started to ask him to myself completely absorbed in the world and the characters. shift to his left ... and he wasn’t there. I was getting pretty excited about my involvement in the fi lm. I’d become so used to seeing the virtual character on my Th en I saw the camera I’d have to carry and I wasn’t excited screen that I’d briefl y forgotten he didn’t really exist. His any more. Th e obvious diffi culty with 3D at the moment is performance existed. It had been recorded on the performance that you have to carry around two cameras. Th e Steadicam capture stage in Los Angeles months earlier by actor Sam is heavy enough with just one, thank you very much. Vince Worthington. Now it existed as a digital fi le playing on one Pace, a long time collaborator with James Cameron, provided

Shooting the interaction between the humans and the as-yet nonexistent Avatars using Simulcam, which allows me to see the Avatars on my monitor.

human binocular vision, though there are more variables fi nger and stare at it. Your eyes are converged on your fi nger. in the camera system than in human vision. For instance, Now look at something in the distance. Your eyes are con- human eyes have a fi xed focal length—roughly 43mm when verged on the background and you’ll see two out-of-focus compared with 35mm spherical lenses—whereas you can fi ngers in the foreground. Th e cameras do the same thing, put nearly any focal length lens you want on a camera. Focal pivoting to recreate this eff ect. For the viewer, the plane of length directly aff ects another parameter which is fi xed on convergence is the same as the plane of the screen. Anything a person but variable on a 3D camera rig: the interocular behind the plane of convergence appears to be within the distance. Th is is the distance between the imaging devices, screen receding into the distance while anything in front of whether they’re eyes or cameras. In camera systems it’s also the plane of convergence looks like it’s popping out of the called the interaxial distance, but we used the term inter- screen. ocular, which I’ll shorten to IO from now on. On Avatar, we usually set convergence at the same plane In humans the IO is fi xed at around 2.5 inches, but with as focus—linked via soft ware. Th is meant that our A-Camera the beam-splitter camera rig that distance can be brought fi rst assistant—the incomparable Larry Nielsen—pulled both all the way down to zero where both cameras are shooting focus and convergence while Sean Kelly pulled IO.

16 CAMERA OPERATOR: STEADICAM 3D ON AVATAR Spring/Summer 2010 Spring/Summer 2010 CAMERA OPERATOR: STEADICAM 3D ON AVATAR 17 For the Steadicam operator these camera adjustments moving the camera around well, or they simply want you to As I struggled to tame present a unique problem. As convergence and IO change put the camera in the right place at the right time, which is, my bucking Steadicam, throughout a shot, the camera in the horizontal position is when you come right down to it, the most fundamental I learned more about sliding side to side and pivoting all the time—throwing off aspect of the job. Avatar really was Jim’s vision and as such he shooting 3D. We had the balance of the rig. It made me crazy in prep. I couldn’t had a very clear idea of what he wanted to do. He was open a mobile theater called wait to have to operate a real shot on set with everything to suggestions, but when he told me he wished he could plug Th e Pod that followed shift ing on me. a remote control directly into my cerebral cortex, I knew he us to every set. Before As for the weight of the system, we arrived at a nice was fi rmly in the “right place and time” camp. I wasn’t going Jim signed off on a shot solution. I replaced the bottom of my PRO sled with the to be coming up with the shots, but I’d damn well try my best we always watched it in camera’s fi ber optic converter/power module and used a to make them perfect for the movie. Th e Pod in 3D. We’d all lightweight LCD monitor. When all was said and done Alas, this was not to be, at least not at fi rst. don our polarized glasses the rig weighed about the same as a Panafl ex XL with a I knew I was going to struggle with the balance of my rig as and Jim would give notes 50mm Primo. Not too bad considering I was carrying the camera moved from side to side, but I thought I’d be able on where the convergence two cameras. Actually, to be accurate, I was carrying half to memorize the moves the camera made and compensate for should be and call out of two cameras. Th e other half of each Sony F950 sat in a them. I was wrong. adjustments for the IO. rack at the other end of the fi ber optic cable where the video Th e fi rst scenes I shot involved people walking around in Th ere are all sorts of signals were simultaneously recorded on tape and Codex the sets for the remote link location: essentially two long things to consider when hard drives. parallel containers connected by a corridor making a layout shooting 3D, and I My fi rst day on set started well. Th e sets were amazing, like a big letter H. During fast moves around corners, when received a crash course the cast and crew were wonderful, and Jim (he’s not the you need the sled to be perfectly balanced to make level fast on the subject. I learned Mr Cameron type; he’s Jim) was like a kid in a candy store. pans, the actors naturally get closer to the camera or you lose that it’s tough to do He’s got a tough reputation, but if you know your craft and them around the corner. 1st AC Larry Nielsen would rack something as common understand what he wants, he’s a pleasure to work with. focus as the actor neared, the convergence would shift , and the as an over-the-shoulder I’ve found there are generally two kinds of directors when Steadicam would roll. Th e shots are in the movie and I grit shot. Th e shoulder in LED tracking markers glow on the camera as it comes to their expectations of the camera operator. Th ey’re my teeth when I see them. I know, nobody else cares. It sucks the foreground is soft Simulcam tracks every move the Steadicam makes. either expecting a lot of input and creativity in addition to to be a perfectionist sometimes. as you’d expect, but there are two of them and if the IO is too wide, the split between the two images shots to do and it worked perfectly on the fi rst try. It’s no can be distracting or even hurt your eyes. Longer lenses and a exaggeration to say it saved my ass. Jim looked at what I was smaller IO were the answer. able to do and said something along the lines of, “So this is Likewise you have to be careful with practical lights in the how you shoot when you’re not blindfolded with one arm tied background. Th ey split into two and can bleed over actors in behind your back.” Aft er that we shot a signifi cant amount of the foreground. Mauro and his gaff er, Chris Culliton, found the live action with the Steadicam and life was good. that light smoke, dimmer lights, and a smaller IO helped. Th en came the next curveball: Simulcam—the system that An embarrassing moment in Th e Pod taught me another allowed us to see the purely digital avatars on our monitors. lesson. I watched the video feed from only one camera— Glenn Derry is the tech-wizard who built the system and it usually the fi xed one mounted in the vertical position so I was pretty amazing. It was also pretty complicated. Th e didn’t get thrown off from seeing the camera pan when I was camera I carried now sprouted long stalks with infrared LED locked off but convergence was shift ing. I hadn’t checked what clusters on the end of them. Fixed cameras hidden within the the other camera saw and I ended up photographing a c-stand live action sets recorded where those LEDs were in space, that wasn’t in frame for the left eye, but had snuck into the thus tracking every move I made. right eye frame. Aft er that I made sure there was another pair Quite oft en, the move I made was to stick myself in the eye of eyes watching the camera I wasn’t monitoring. with one of the LEDs while panning, but that’s beside the I admit to being skeptical about 3D at fi rst, as I’d never been point. Th at spatial information, combined with the anima- a fan of it in the past, but Jim doesn’t use 3D as a gimmick. His tion of the avatar, was piped back to my rig through the fi ber characters don’t wave guns or spears out over the audience’s optic cable with the result that I could see the avatar on my head and there aren’t meteors rushing at you in an attempt to monitor and move around him as if he were really there. make you duck. He uses 3D to make you feel more a part of Th e actors couldn’t see him, of course, but it made it far the world he’s created. It’s another tool that, if used properly, easier to tell them where to look and where to go. I could helps you forget you’re in a movie theater. even see the set’s computer holograms hovering in mid-air David demonstrates the automatic Jim saw me struggling to keep the Steadicam under control and all the digital environments outside the windows. Th e sliding balance plate that made it during moves where the IO and convergence shift ed, and told resolution was pretty low—everything looked like a late possible to shoot smoothly while the the guys at Pace Camera to come up with a solution. Th e nineties video game—but it was perfectly adequate for our 3D camera moved around on the sled. president of the company, Patrick Campbell, came through purposes. Jim could even run over to the Avid and cut a shot Vince Pace, whose company built the camera rigs, and director James with fl ying colors. He built and programmed a slick motor- into the scene in progress to see if everything was working. Cameron look on. ized plate that slid the whole bottom portion of the sled side It was a lot more eff ective than cutting in an empty plate to side to counter what the camera did on the other end. and trying to imagine the avatars in the shot. He installed it the day I had some fairly big Steadicam As with much of the cutting edge technology we were

18 CAMERA OPERATOR: STEADICAM 3D ON AVATAR Spring/Summer 2010 Spring/Summer 2010 CAMERA OPERATOR: STEADICAM 3D ON AVATAR 19 playing with, there was a price to pay for using Simulcam. and most of the frenetic action takes place in the CGI jungle. 3D presents its unique challenges, All of that computer processing takes time, resulting in a Th at left me with a lot of character interaction to fi lm, some- and for the Steadicam operator they six frame delay between the action in front of me and what thing I’ve not had much of a chance to do in recent years. are potentially daunting. How many I saw on my monitor. No one was shooting at me, throwing burning cars at me, of you have seen the photograph of You’ve probably dealt with older video down-converters or blasting dirt, water, fi re or smoke in my face. It was kind of the operator with two Sony F23s on that have two or even three frame delays. For the most part nice. Jim wasn’t going for the presently trendy and hopefully his rig? Ouch! But with cooperation you can deal with it, but it becomes a real problem when soon-to-fade overly shaky handheld look, which was a relief. from everyone involved it’s possible you’re trying to follow fast action or land whip pans. Imagine It’s a great technique for some action scenes, but I feel it’s too to solve just about anything, and I that with a quarter of a second delay. oft en used to disguise the fact that the director has little to ended up quite comfortable with the When you’re looking through the eyepiece and waiting show you, and in dialog scenes it’s nauseatingly distracting. 3D rig I used on Avatar. for an actor to stand up, you’re reacting in much less than So it was a pleasure to operate well-craft ed shots designed to In the interest of full disclosure I a quarter of a second. I ended up having to memorize the tell a story. have to confess that I didn’t operate avatar’s moves and anticipate everything by six frames. Many of Avatar’s futuristic sets had detailed and multilevel all of the Steadicam in Avatar. Th e Luckily the avatar was guaranteed to do exactly the same fl oors so the Steadicam made it possible to do longer shots production ran long and I had to thing every shot. No missing marks or false starts from these that traveled from room to room while maintaining the look return to Los Angeles to start another movie at the beginning of 2008, so Roberto De Angelis took over for the last few weeks. But I can proudly say that most of the Steadi- cam in the movie is mine, and I’m thrilled that I got to be involved in such a cutting edge production. Shooting in what I called No-Mode. Th anks to Mauro, Jim and Jon for Sam Worthington’s height in the letting me participate in the huge wheelchair was that problematic Avatar place a Steadicam doesn’t want to success that is . go: too high for low-mode, too low for high-mode.

Another example of a Steadicam shot with Simulcam. Th e operator could see the hologram on his monitor and help the actors interact better with what they couldn’t see. digital actors. Spontaneity is fi ne, but not when your reaction of a dolly. I’m a fan of using the right tool for the job, whether time is handicapped. it’s a crane, dolly, handheld, Steadicam, or any other method If Jake’s avatar was going to stand up in the shot, I’d have of moving the camera around. However, I’m not a fan of what to start tilting up a quarter of a second before I saw him many people refer to as the “Steadicam look.” Th e Steadicam move. Th e picture on my screen wouldn’t show the change look is the result of mediocre Steadicam operating which has in what I was doing until six frames later. A quarter of a led to the widely held opinion that Steadicam always rolls second sounds like an insignifi cant amount of time, until around and looks fl oaty. When done well, Steadicam can you’re shooting with it. Glenn has a newer version of the look enough like a dolly shot that it won’t pull the viewer out system in the works and says the delay is down to two frames, of a scene or make them seasick. I tried to emulate a dolly for so hopefully none of you will run into the same problem. the majority of the shots I did in Avatar, and when I was told Once we’d fi gured out how to make all this stuff work, we by someone who knows what to look for that there wasn’t pretty much got on with shooting the movie. Th e live action much Steadicam in the movie, I knew I’d succeeded because only makes up somewhere around fi ft y percent of the fi lm there’s actually quite a bit.

20 CAMERA OPERATOR: STEADICAM 3D ON AVATAR Spring/Summer 2010 Spring/Summer 2010 CAMERA OPERATOR: STEADICAM 3D ON AVATAR 21 ore members of the SOC are making the leap from the geared head to Mthe director’s chair. As they do, they bring a special visual sense to their projects because of their experience behind the camera. Th eir “below the line” experience fosters a diff erent relationship with the overall crew and creates a wonderful shorthand with their fellow operators, DPs and camera crew. As our members make the move “above the line,” Camera Operator is there to chronicle their journey.

22 CAMERA OPERATOR: CROSSING THE LINE Spring/Summer 2010 Aiken Weiss and David Frederick on Truth Never Lies interviewed by Sawyer Gunn

Camera Operator Steve Fracol SOC lenses main characters Sarah Bastian and Adam Westerbrook with SONY EX-1 atop a rock formation at El Matador beach in Malibu CA for the feature fi lm Truth Never Lies. Photos courtesy of Aiken Weiss

24 CAMERA OPERATOR: TRUTH NEVER LIES Spring/Summer 2010 Spring/Summer 2010 CAMERA OPERATOR: TRUTH NEVER LIES 25 s a family mourns the death of a daughter, a young girl make me a better and more understanding operator as well. shows up at their door, injured, confused and without I could only win. A her memory. By taking care of the young girl, their My wife Elke has written a bunch of wonderful scripts in pain transforms, stirring up secrets fr om the past. the past, but I was hesitant for various reasons to consider any of those for my directorial debut. So we put our heads together Th e dramatic and emotional story of Truth Never Lies was what trying to fi gure out what kind of project we would like to Aiken Weiss SOC decided to take on as his fi rst directorial tackle. We agreed that it should be a drama and Elke wanted project. Lensed by former SOC President David Frederick to work with a topic that has been fascinating her for a while in 2008, this ultra-low budget fi lm won the Rising Star of —Memory. I loved the idea and within only four days, Elke Excellence in Filmmaking at the 2010 Canada International had magically produced the fi rst draft of Truth Never Lies. Film Festival. Th e following few weeks were stuff ed with casting, inter- Camera Operator caught up with Weiss and Frederick and views, locations scouting and paperwork; Elke kept polishing asked them about moving up from camera operating as well the story. Due to the money we had available, we needed to as their close collaboration on the project. be smart about the approach. Even though we initially planned on shooting even faster, we settled for a six day shoot How did this project come about? with two locations. Everything was exciting and stressful and Aiken: I had been looking for an opportunity to profes- I would lie if I said I never thought of letting go of the project sionally grow and expand for a while. Even though I love because it became on some levels a little bit overwhelming. operating, I wanted to explore another side of me. Learning Understanding the job of pretty much everybody on set, more about producing and directing would not only allow especially that of the camera department, helped me tremen- me to understand more about those parts of fi lmmaking, but dously in tightening up the workfl ow. Setting up scenes and covering it was so fast and easy, I really could get used to it.

Can you talk about hiring Dave Frederick as the DP? Why did you choose him? Aiken: Th ere a lots of factors when picking Day exterior scene at the “Richter house” location. Behind cameras, Dave Frederick SOC a DP to collaborate with you on a project. Not and AC Jorge Devotto, Steve Fracol SOC and AC Dan Taylor. Holding slate under boom nd necessarily in the order of importance: I needed microphone is 2 AC and SOC event administrator Karen Beck. to like my DP (every meeting should be inspiring and fun), he/she needed to be up for a challenge Steve Fracol SOC allowed me to do exactly that. Th ey gave staging and even the rehearsal process, it was obvious how (fast pace, no time, no stress), he/she needed to me the necessary time with my wonderful cast to get the the training as an operator helped us to streamline the embrace small cameras (to move fast and get into performances I wanted in almost always one or two takes. process of presenting the action to the camera. small spaces we chose to shoot with the EX1) Steve and I had been working together on two other tele- and he/she needed to like the script in order Being a fellow operator, how was it working with Aiken vision productions the entire year leading up to this shoot, to make it an enjoyable experience. as a director? so that we had a symbiotic relationship already in place. Dave has been a close friend of mine for many Dave: An exciting part of my being the DP on the fi lm is years and when I approached him, he was excited that Aiken is not just the director, but also a dear friend and You were shooting a movie in 72 hours. What was your to do it. I tried to be very clear about the challenges camera operator colleague of mine. We got to know each approach? we were about to face. Aft er all, the goal was to other over the past fi ve years through the SOC. During those Dave: I took a deep breath and thought that there was shoot a 96 minute feature in under a week—all activities, we became great friends. only one way to do it—keep it simple. without losing too much of anything, but being We are both Steadicam operators and have recommended Th is was our mantra: Talk out our dream scenario of how open and aware of compromises and choices that each other for many work opportunities. Th is friendship and we would like to shoot a scene and then simplify it so that needed to be made. I simply wanted to get the best product I could with the manpower, money, time and gear available. I felt that Dave would Understanding the job of pretty much everybody on set, be able to tackle the project and give me what especially that of the camera department, helped me I needed even with all the limitations at hand. tremendously in tightening up the workfl ow. How was it working as a director with fellow operators? shared knowledge of the craft was the basis of the perfect the important elements of story are met, the actors are Aiken: Th e main advantage to being an opera- supportive relationship between DP and Director that is moving in the frame to keep it interesting visually, and tor working with operators is that you understand needed on any fi lm—especially on this one since we set our we could take total advantage of ambient light. their craft , and communication can be reduced to production challenge level very high. It was agreed that we would try to do each set up in one a minimum (most of the time). Due to the work- We were able to work with great trust of each other. We take and then move the camera for the next angle with ing environment and time restrictions, I needed used a verbal shorthand that enabled us to quickly set up whatever improvements we needed to make. Th is was where to be sure to give my actors all the time they shots and get what was needed to tell the story well. Being we learned to be glad of happy accidents and compromises. needed and deserved. Dave and camera operator an operator, Aiken was aware of our concerns and in the Aiken: I was curious to see if it was possible to shoot a

26 CAMERA OPERATOR: TRUTH NEVER LIES Spring/Summer 2010 Spring/Summer 2010 CAMERA OPERATOR: TRUTH NEVER LIES 27 full-length feature in such a short time. With about 20 years Which leads me to the second reason. For me Truth Never as a camera operator under my belt, I have seen a lot of time Lies was something new. I have been operating for two and therefore money wasted. decades and feel so comfortable doing it that I wanted to be I am not saying everything should be done so fast and part of the camera crew somehow. Just a little. Play with the restricted. Technically you can shoot a 96-minute fi lm in boys if you will. Th at’s why I operated the Steadicam shots. 96 minutes if it is written, staged and executed right. Every Knowing very well that, if I had to, I could fall back to either minute, hour, day or week you add should be worth it and one of two very experienced fellow operators, Dave or Steve. used to its full potential. What can you do to still make it a Dave: TNL was an extremely low budget fi lm with only fi lm with a story that works and that sounds and looks great? limited token wages paid to crew. Without getting someone We did NOT want it to look like a fi lm that was shot in six days. to work for nothing, which we didn’t want to ask someone to What it comes down to is: script, location, preparation, do, it was necessary to operate when we fi lmed with two resourcefulness, fl exibility, communication and teamwork. cameras—which was the majority of the time. I pitched the project to everybody who came on board (cast One of the major considerations for Aiken’s choice to as well as crew) like a sports event. Prepare well, focus on the perform the Steadicam was monetary. All three of us, Aiken, execution and enjoy the ride. Steve and myself make our living operating Steadicam, all very good and capable. Aiken was concerned about not being On low budget movies, it is an unfortunate commonplace able to properly pay one of us to perform the task, as Steadi- for a DP to operate his/her own camera. But on TNL, cam work is rightfully rewarded with additional salary. By each of you operated cameras. Why? operating himself, Aiken was able to reallocate funds to Aiken: Th at is of course a question I have been asked needed areas of the fi lm. before and have been asking myself. One reason was money. It was a very minimal crew—during the Steadicam shots, I We really had to make sure we were careful with what we spent. was manipulating a handheld eye and fi ll light next to Aiken, I didn’t call any favors. I wanted everybody to get paid for while Steve was shooting tight coverage handheld. their work. I believe the crew shouldn’t carry the risks of producing a fi lm. Th at’s our job. So we went with the standard What was the downside to operating your own cameras? low-budget set-up of the DP operating one camera. I also Aiken: As an operator my main focus is the shot design used my own Steadicam gear and it felt natural that I would and the framing. When I direct my main focus is the perfor- operate it too. mance. No matter how good of a multi-tasker you are, there

Panoramic vista shot of El Matador Beach, Malibu CA fi lmed by Steve Fracol SOC.

28 CAMERA OPERATOR: TRUTH NEVER LIES Spring/Summer 2010 will always be one aspect you focus more on than the other. Especially on a dialog and performance driven fi lm like Truth Never Lies, I feel my main focus should have been with the actors. Dave: Th e downside of being an operating DP is that you simply cannot devote yourself to the entire photographic experience: dealing with the integrity of the image, completely serving the needs of the director’s vision and importantly, anticipating the unforeseen pitfalls or opportunities of enhanced storytelling. When you are distracted by the necessity of physically operating the camera, something gets Director Aiken Weiss and DP Dave Frederick collaborating on shot design during a pivotal scene. shortchanged.

Looking back, what would you have done differently? SOC associate member Karen Beck trained to handle the Aiken: If there is one thing I would do diff erently, it is data management of the EX1 cameras SxS capture cards. hiring an additional camera operator. I believe a second Since we were jumping from set up to set up Karen had to operator would have freed up Dave. Another operator would streamline her process of data dumping onto the hard drives have given him more time to give both cameras full and equal to keep up with the quick shooting pace. focus. Having an operator on every camera meant that there We did not have a DIT and in my hindsight this was the was no trained eye at the monitors overlooking the images in biggest sacrifi ce that we made. If we’d had a DIT, I would regards to matching, color, frame, bogies etc. A few things have been able to work just as fast but with a much higher needed fi xing in post (which was tough at times) and could degree of accuracy. have been prevented on set with an additional operator. And having Steve operate the Steadicam shots would have If there is one thing I would given me the advantage to give those scenes and my cast what they deserved—my full attention. do differently, it is hiring an Dave: Th e lesson learned is that even though the project additional camera operator. is low budget, it really pays off handsomely in the editing room and on the screen to have the tasks divided and the Th e biggest limitation with these small cameras is accurate burden shared to provide the best results. Hire an operator exposure and focus monitoring of the image. It is truly for each camera and reap the benefi ts! impossible to have a precise representation of what you are Working with Steve enabled me to make better and faster achieving through the on board viewfi nder or swing out decisions concerning effi cient and artistic photography. His screen. Th e matching issues, especially in the skin tones, was camaraderie, communication, care and attention to detail a problem that was taken care of in post, but it would have allowed me to work quickly, lighting and jumping ahead to been better if it was taken care of during the shoot. the next set so that we could keep up our breakneck speed Th is is why as a DP it is crucial to be at a monitor ensuring of fi lming. the quality of the image instead of operating the camera.

What camera equipment was used? What’s the reason How did you handle lighting? What choices did you for that choice? Were you happy with your choice make? (camera, lenses, etc.) Dave: Gaff er Lance Dickensen and I stayed with the Dave: Th e camera package we used: 2 SONY EX1 with mantra “keep it simple.” We were able to keep moving stock lenses from Birns & Sawyer. We had a wide angle between setups quickly by keeping to this plan. adapter and a tele extender for either camera. We were I employed a wide variety of lighting: LED Lite Panels, taken care of wonderfully by the staff at Birns and we Joker HMI, KinoFlo, small HMI par and tungsten Source 4 thank Bill Meurer for all of his support. units and chimera bags. Each scene had its own fl avor in the

Spring/Summer 2010 CAMERA OPERATOR: TRUTH NEVER LIES 31 house and we were able to leap frog from one Film And Digital Get Along! room to another. Th e 1´x 1´ LED Lite Panels were my “speed lights.” I was able to have those rigged quickly and with the grids, color correction and diff usion they served the picture’s quick pace shooting style extremely well. I also used a set of Joker HMI Lamps by K5600 for their quick set up and variety of uses. On day exteriors, we used 8 x 8 bounces and negative fi ll, as well as handheld poly boards. We would literally rehearse, block, set shots, light and shoot 3 and 4 page interior scenes with two or three characters with full cover- age in 90 minutes, every day, with each scene in a variety of locations in the house. We had to move the limited lighting package from Jib arm shot at cliff ’s edge of El Matador Beach in Malibu set up by st1 AC room to room as we shot. Jorge Devotto, DP Dave Frederick and Electrician/Grip Carlos Aranda. Th e name of the game was speed, to give the director and the actors the fl oor time and to be ready before they were. Because Aiken, Steve and myself go there on this fi lm. It was made quickly and we concentrated Andree Martin Michael Condon, SOC have extensive documentary shooting experience, we rose to and forgave the shortcomings of many aspects in order to VP Technical Services VP Digital Division meet the challenge with great success. I was always looking embrace the accomplishment. Th en we had to allow the fi lm for naturally existing artistic lighting opportunities based to have its own life as a result of the pace of our production. on the time of day. One of the great freeing aspects of this production was the When I look at this fi lm on the screen, I am satisfi ed with the willingness of everyone involved to look past our traditional results for our eff orts and the time in which we shot the fi lm. job expectations in support of the greater success of the I think that if we had twice, even three times the time, we would project’s goal—to tell a fi lmic story, but tell it really quickly. always look at a piece we did and have some consideration that we could have done it better or more eff ectively. I try not to

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www.clairmont.com Hollywood Vancouver Toronto Albuquerque Montreal 818-761-4440 604-984-4563 416-467-1700 505-227-2525 514-525-6556 Jack Messitt on Midnight Movie

interviewed by Hunter Clark

Midnight Movie’s signature killer strikes at his audience—literally!

34 CAMERA OPERATOR: MIDNIGHT MOVIE Spring/Summer 2010 Spring/Summer 2010 CAMERA OPERATOR: MIDNIGHT MOVIE 35 n the summer of 2007, SOC 1st Vice President Jack me away! And having grown up in Chicago, it was a real people in the fi lm as believable as that we needed to make the most out of Messitt was tapped to direct the horror fi lm Midnight honor to win the awards in my hometown. I’m still smiling possible. I wanted the audience to every minute. With an operator, I know IMovie. Since it debuted on DVD and Blu-Ray last year, about it! like them (or in Mario’s case, love that I got at least two more set-ups each day. it has received some real praise: to hate them). It is this connec- Without Greg, there is no way we would You’d have to be a horror movie fan to have written the tion that makes a moviegoer feel have gotten nearly as much footage to work screenplay for Midnight Movie. any of the thrills and chills you with in the editing room. And his creative “Top 10 Best Direct to DVD Horror I signed onto Midnight Movie with a script already written hope to set them up for. input made a huge diff erence on Midnight Movies Ever Made" —Th e Huffi ngton Post and fi nancing already in place. But the reason I was hired was Movie. because I wanted to make major changes to the project. Was Midnight Movie your fi rst I have been lucky enough to work with Greg “5 out of 5 stars! To say that this I wanted Midnight Movie to be the fun ride I remember writing experience? on several projects. He operated for me on film is absolutely kick ass would the ’80s slasher fi lms to be. I think that we tried to update No. I wrote the screenplay for Irreversi, a movie I shot in Hong Kong. And be the understatement of the year." that formula to work for today’s audiences, but you can’t help Trust, a thriller that debuted on I have operated for him when he was the —GoreZone Magazine but see both the original Friday the 13th and Nightmare on Lifetime earlier this year. And 2nd Unit DP on Bones. We have a great time Elm Street series in our fi lm. When it came to Th e Dark like most writers, I have a pile of working together and have really similar “Perfect Fear Fare"—DVD of the Month —Fangoria Magazine (March 2009) Beneath, the movie within our movie, we based it on several scripts gathering dust in my offi ce. sensibilities when it comes to framing. fi lms from the ’60s and early ’70s. Texas Chainsaw Massacre, I can’t wait to work with him again! “The #1 Horror Film of the Year" Th e Night of the Living Dead and Psycho were the main Talk about the transition to But working with Greg was just one of —Fatally-Yours.com infl uences. director from operator and the ways we spent our money wisely. We did And when I signed on, I did my research. In the past few DP—what are some of the Bridget (Rebekah Brandes) is trapped everything possible to make sure that every in Radford’s basement of horror.

“#70—Best Horror Movies of the years, I have seen countless numbers of horror fi lms. Some challenges? RUBEN RUSS penny showed up on the screen. Shooting Decade" —Skrin (Apresiasi Horror) good, some bad. In fact, I think you learn more about how Moving from behind the 35mm was another one of these choices and to make a horror movie from the ones that don’t work so camera into the director’s chair brings a whole new set I think that it shows. We just couldn’t have gotten the same well. You see what is missing and the pitfalls. And when you of responsibilities. Instead of looking to someone else for look with video—even HD. Not on our shooting schedule. Camera Operator magazine sat down with Jack to discuss his see a good one, you can see the formula that works. guidance, everyone is looking to you for the answers. Instead It just doesn’t hold up the same. transition from camera operating to his spot in the director’s But you can only have real scares and suspense if you care of enhancing someone else’s vision, you become the vision. And when it came to our eff ects budget, we made sure that chair. about the characters. So I worked really hard on making the Th e pressure is increased exponentially. it was high enough to deliver the kind of eff ects that our Working with the actors was a wonderful experience. As audience expects. Like it or not, we are competing with all What is Midnight Movie about? an operator we work with actors every day. But as a director, the studio fi lms out there. Th at is where the bar is set. People Midnight Movie is about a group of kids who go to a mid- it is diff erent. Instead of talking to them about marks and do not give us a break just because we had a low budget, so night screening of a long forgotten horror movie and the more technical aspects, I was discussing emotions and the we had to deliver. killer from the fi lm suddenly comes off the screen and starts arc of their characters. And I saw fi rsthand how much actors killing the people watching the movie. It’s a real roller coaster really need in order to make their process work. Th is is a Were there any particular scenes that were more fun or ride of a movie. lesson that I try to take with me as a camera operator. more challenging to shoot? Why? From a technical standpoint, my experience as a cameraman Th e challenging scenes are the one with the eff ects. On-set Why did you decide to make your directorial debut with really helped me during the pre-production and production eff ects always take a long time and Midnight Movie has a lot a horror movie? stages. With such a short shooting schedule, you have to pick of them. Th e biggest diff erence in having more money is Why not? Making a horror movie is awesome! You get to your battles. And my past experience was great play with all the fun parts of making movies—stunts, fun when it came to scheduling to make the most of make-up, fake blood… lots of blood! With 21 days of our limited time. On set, I knew what coverage shooting and 18 kills, I showed up every day, looked around we needed and what we could get away without at the cast and asked, “All right, which one of you is dying because I had been a cameraman. Not to today?” How much fun is that? mention, I had a great shorthand with our crew. But as a working cameraman, it was actually a diffi cult decision to direct the fi lm. While a great opportunity, it What was the budget of the movie? meant that I would have to sidetrack my camera career for at We had around a million-dollar budget. And least a year. But aft er thinking about it, I fi gured that the worst while that sounds like a lot of money when it’s that would happen would be that the movie was awful and, in your bank account, it isn’t much when you in the end, I could go back to shooting again—so why not? are making a movie. But I think that even if I took the chance and am glad that I did! I am really happy your budget is $100 million, as a fi lmmaker with the way the fi lm turned out and have been blown away you never have enough time or money to do by the reaction I have gotten from the horror fans. everything you want. But with only one million, this is especially true. Midnight Movie won Best Feature Film and Best Cinema- tography at the Chicago Horror Film Festival. With such a low budget, did you have a I was totally jazzed about the Chicago Horror Fest! It was camera operator? the fi rst real audience that the movie played for and it was Of course—and one of the best! I was lucky Bridget and Timmy (Justin Baric) try to escape great to see the response! As a cameraman the Cinematogra- enough to have Greg Collier SOC on A-camera. from Radford in the climax of Midnight Movie. phy award was really special and the Best Picture award blew With the short amount of time we had, I knew VILLARINO KRISTOFFER

36 CAMERA OPERATOR: MIDNIGHT MOVIE Spring/Summer 2010 Spring/Summer 2010 CAMERA OPERATOR: MIDNIGHT MOVIE 37 structure the kill sequences in the fi lm to mirror the history of horror movies. Being inspired by specifi c periods of the horror genre helped give each kill its own personality. Not only did this allow us to create some really memorable moments on our limited budget, it also gave the fi lm an increasing progression of kills—a nice arc. So don’t be fooled by the fi rst few sequences of the fi lm. Like with the horror genre itself, the movie becomes darker and much more graphic as time goes on… Radford (Lee Main) stalks his prey.

RUBEN RUSS How much is in-camera effects and how much is CGI? having the resources to shoot an eff ect more than once. Th e movie in the movie was also composited into the fi lm With our budget, if the eff ect didn’t work, we had to move later. Th is worked really well because we used the screen as a on anyway. No time to clean things up and try again. lighting element on the set which created an easy luminance But I planned out each and every one with storyboards key in post. in pre-production. Our eff ects house built the gags to the Outside of that, we tried to do everything we could on exact camera angles we needed—which saved a ton of time set. While there are a few scenes that were enhanced with and guaranteed (as much as you can) that we could get the computer eff ects, we limited them to the eff ects that just coverage we needed. weren’t physically possible on set. For example, we added Th ere is a marquee kill about halfway through the fi lm some CG electric bolts that fl y around the room when where two key characters get taken out in spectacular one of our characters is electrocuted. fashion. Not to give too much away, it involves someone Th en, there is a scene late in the fi lm where a character has trapped in a window. Well, we only had one day to shoot this a gaping wound in his face. We used green screen makeup and to make matters worse, we had one of the actors for only within an outer prosthetic. Although we could have used the fi rst six hours of the day. We had to shoot all the shots strictly a prosthetic, it would not have had any depth. While with him fi rst, then we went back and picked up all the we initially planned on creating a CG wound, a photorealis- others. It was tricky and thank god I had planned the scene tic wound proved prohibitively expensive—and had no real well. We left with all the pieces we needed to put together a guarantee of quality. So we switched gears and instead shot a really fun scene! practical wound in a plaster cast of our actor’s head. Th is was Overall, I am really happy with the way the eff ects turned out. I think they are amazing for our budget level! Having said that, there were a lot of sequences where I dreamed up some really amazing shots and eff ects that we just didn’t have the time or money to pull off . Maybe on my next feature, I’ll have more resources to work with… We’ll see.

So is the movie gory? Midnight Movie has an increasing level of gore. We kill off 18 characters by the time it’s all said and done. But the one thing I didn’t want to do was put our best kill up front. I didn’t want to peak too early and have Camera Operator Greg Collier captures all the gory details as Detective Barrons everything aft erward seem like a (Jon Briddell) meets his fate. letdown. So I decided to ALEX SZUCH

Spring/Summer 2010 CAMERA OPERATOR: MIDNIGHT MOVIE 39 later composited midnight screenings were a big hit. But since the DVD street of fun. Th e positions I’ve held are so diff erent and all have into the scene by date was set fi rst and coming up quickly, that was all we had their own unique challenges. Screenwriting is a world where Pixel Magic. In the time for. you can dream up wonderful characters. As a camera operator end, this worked and DP, you are able to take someone else’s vision and turn it out much better How are sales/rentals going for Midnight Movie DVDs? into a reality. And when I am directing, I am able to breathe than the CGI Is the fact that it was pirated a problem? life into the story. But the best part of making movies and wound ever would Th e movie is selling really well—especially considering TV shows are the wonderful people I have been able to work have. It was much that this is a time that even well known DVDs are not selling with along the way. more real and like they used to. Getting into the retailers is half the battle. tactile: a deep Luckily, we had a good distributer that got us into Blockbuster So will you be writing and directing from now on? actively dripping and Netfl ix for rentals and Walmart stores and online for We’ll see. Th e thing that I’ve found is that with every new wound that really sales. Most of our marketing has been on the web. Th e horror job I take on, I get better at the other ones. When I started makes the scene websites out there—and there are a lot of them—were great writing and directing, I became a much better cameraman. memorable! in helping spread the word. I had a much better idea of where directors wanted to go and It has also had a ton of showings on Showtime and Th e then what I could do to enhance the vision they were aft er. Why was Midnight Movie Channel throughout the past year. I have to say, it is I’ve done plenty of camera operating since I fi nished Movie released pretty cool to turn on the TV and see my movie playing. Midnight Movie—and I still think that it is the best job on straight to DVD, Piracy is certainly an issue and we probably would be the set! But in the past year, I’ve also directed some big 2nd rather than in a selling more DVDs if illegal copies weren’t available online. Unit sequences and even shadowed a director on Th e Mental- theater? But until we can get the general public to understand that ist. I’m ready for anything. Actually, we had a piracy is theft , this is not going to change. I like to think of myself as a guy with a lot of irons in the limited theatrical fi re. I’ll run with the ones that get hot. When I fi rst put my release in the Fall of You have tried your hand at just about every facet of director and screenwriter irons in the fi re, they actually got 2008. We played in fi lming. What has been your most rewarding part of the hot fairly quickly. If they stay hot, I’d love to explore where 10 cities and, for Director Jack Messitt and Camera Operator Greg Collier SOC work out a shot fi lm process? they’ll take me. of actor Michael Swan on the set of Midnight Movie. Photo by Alex Szuch obvious reasons, the RUBEN RUSS I love them all, really. Making movies and television is a lot

Camera Operator Greg Collier SOC on Midnight Movie: to suggestion and building something better. Th at’s why Have you ever worked on a horror fi lm before? How we were there. was it working with all the gore? What was your previous working relationship with the the shoulder. My other preference would have been a In 1989, I was the 1st Assistant Cameraman on the DP, the director and the producer? Panavision Gold; that camera has a great feel on the What was the cast like to work with? Concentration George Romero/Tom Savini remake of Night of the Living Jack and I have known and worked with each other for shoulder. level, skill level on camera tasks? Dead. As you might imagine those guys don’t hold back over ten years. We have both been operators for MM’s DP Th is was a great cast and they all had their diffi cult when it comes to gore. Recently, I have been A-camera Clyde Smith on diff erent projects together or separately. Did you get to rehearse much? How does that affect scenes. Aft er all, they have to die, one by one, a horrible operator on the FOX-TV forensic crime drama Bones, a Recently Jack and I have assisted each other; I have operated your work? graphic violent death. However, working with a young show that likes to make gore a leading character. It is true on projects he has directed and DP’d and he has operated Th at’s a great question. When operating handheld, it’s inexperienced cast does present some problems. Some- that you get desensitized to all that is disgusting around for me on shows I have DP’d. a balance between too much rehearsal and keeping the times my job would require having a one on one conver- you, but sometimes when you step back and really look at Th is was my second fi lm with Producer Kacy Andrews. shot organic, visceral, loose. In my opinion the point of sation with an actor about the importance of hitting it all you can’t believe how awful your surroundings can handheld is to create immediacy, tension. Otherwise your mark and why it’s there. be. I remember on MM looking down at my shoes and Describe your on-set relationship with the DP and the you’re a human tripod or poor man’s Steadicam. Th ere Jack employed a technique I’ve seen used on TV series seeing myself standing in 3 inches of movie blood. Yuck! director. should be a reason the shot is handheld. with a young ensemble cast. Th at is to bring in a seasoned One of the reasons Jack asked Clyde and me to work on veteran to show them the ropes. For us, that guy was Stan Please add any special story from the project to share MM was because of our relationship with each other. We What were the environmental conditions of the shoot? Ellsworth who played Harley. Stan was someone with set with our readers. not only like working together, we’re friends. Jack knew Did anything hold you back from doing shots the way savvy and he really helped keep focus and attention on set MM DP Clyde Smith had to leave the show early because we would support him faithfully and give him input when that you’d have liked to do them? just with his professional presence. of a schedule confl ict. DP Rubin Russ was brought in to he needed it. Th e shot list was very ambitious for the budget of the fi nish. Th e morning of his fi rst day, he confi ded to me that fi lm. We were all up to the challenge; we pooled the Describe a particular operating challenge on this working with an operator was new to him. He usually What was the overall visual approach to the project? resources of our collective experiences. At the end of the movie. operated his own camera. At the end of the day, he told What camera equipment was used? day, I really think we pulled off something amazing for Wow! I can’t think of one that wasn’t a challenge! me he never wanted to work without an operator again. For me as an operator the challenge was that the fi lm what we had to work with. Th at was special. was to be over 90% handheld. Th is was a visual decision What made this project stand out from your previous Jack had made early on in the planning. How involved were you in the blocking, shot conception projects? Tell us a little about your camera crew. I was very happy to know that the camera I would be and actor rehearsals? You can’t beat an opportunity to work with friends who We had a great camera department. I can’t speak enough handholding would be the Arricam, Arri LT. It’s the Jack keeps an open dialogue between himself, the DP value your ability and appreciate your input. Now we’re about the focus pulling talent of Heather Leroy. 2nd AC lightest production camera that still has a solid feel. More and the operator. Jack had been living with this project makin’ movies! Kelly Cummins and Loader Emily Goodwin important than weight is how a camera balances out on and knew exactly what he wanted, but he was always open rounded out an excellent team.

40 CAMERA OPERATOR: MIDNIGHT MOVIE Spring/Summer 2010 Spring/Summer 2010 CAMERA OPERATOR: MIDNIGHT MOVIE 41 with some loss in quality. When automating functions like Hi Def with Jeff intraocular separation and convergence are added to the package, the expense and sophistication of the systems multiplies. Maintaining alignment of the images also moves beyond the budget and abilities of most low-budget projects. Beam-Splitter rigs have become the common system as Meeting the they allow the use of higher-quality, full-size cameras. One camera looks through the split mirror and the other looks at the refl ected images allowing the smaller intraocular separa- Special Needs tion required for capturing close-ups. Additionally, depend- ing on the size of the mirror, the separation may be increased of 3D as required for those long shots. Th ese rigs can be very large depending on the cameras and lenses utilized for the produc- tion. Th e mirror size is also a key factor in the size of the rig. By Jeff rey Cree soc A larger mirror can increase the versatility of the system to produce a wider range of images while reducing the useful- Vice President/Technical Services ness due to the size of the rig. Many of these rigs have utilized Band Pro Film & Digital Inc. the “T” head cameras such as the HDC-F950 and HDC- 1500R from Sony. Th ese allow the optical block of the camera to separate from the processor, keeping the mounted portion of the system very small. New camera systems like the he success of James Cameron’s Avatar has ignited Sony HDC-P1 provide the performance of much larger interest in 3D camera systems and the parts to produce system while reducing the size and versatility of the rigs. Th e Tthese systems. Th e early adopters of 3D had to design smallest split mirror rig that I have seen for a performance and manufacture the rigs but in many cases repackage the camera was built by Element Technica for the Silicon cameras to get the desired results. I have had the pleasure of Imaging SI-2K. being around a large group of the early adopters of these systems Th ese types of rigs required a build-it-yourself approach in and have witnessed the issues of packaging existing products the past, but that is no longer the case. Currently more manu- into workable 3D systems. Th e process was oft en long and facturers than could fi t in this magazine issue are making 3D tedious and made it impossible for those without high levels rigs. Here are a few the key players: of engineering expertise to enter the market. During the Element Technica builds 3D rigs for all sizes of cameras, recent NAB exhibition, it was very evident that this has from the F35 down to the Iconix miniature cameras, and changed. New products from both the established all of their rigs are convertible from Beam-Splitter manufacturers and new boutique manufactures are to Side-by-Side and back. Th eir new Quasar is providing all the various elements to construct Quasar-Broadcast- very popular with Red One users, but the new functioning 3D systems without a machine shop. Sony-1500s Sony HDC-P1 fi ts very well on this system 3D Rigs too. Th is unit can use the wireless 3D Technica Hand Control for controlling the Since the integrated 3D cameras from functions of the rig. Th ose in the EX1/3 Panasonic and Sony are not available, market will fi nd that the Pulsar rig will fi t some type of rig is required to produce their needs at a lower price point. A simpler design those 3D images. Th ese units come in with fewer features than the Quasar, the Pulsar still many shapes and sizes to provides good performance for this part of the support the various camera market. Th e Neutron Rig is the smallest production systems, but all these rigs unit from Element Technica which works very well are divided into two basic categories, with the SI-2K cameras and other smaller cameras. Side-by-Side or Beam-Splitter type. P+S Technik has their popular Universal Mirror Rig, Side-by-Side rigs are the most cost eff ective and simplest designed to handle the largest of cameras from all manufac- way to produce 3D. Simply mounting two cameras on a bar turers. P+S provides the necessary pieces to customize the or platform parallel to each other will provide the basic rig to the camera selected for the project. System costs can stereoscope view needed to produce 3D. Th ese systems are be minimized by selecting the manual version of the rig, but generally used for wider shots or longer-range shots as the a full servo control version is available as well. intraocular separation is limited by the size of the cameras Th e Stereo Tango Rig is a space-age carbon fi ber construc- and lenses, making it almost impossible to perform close-ups tion, reducing the overall weight while maintaining the with these systems. Th is can be improved by using special rigidity of this full-size rig. Th e rig is designed to interface camera systems modifi ed for this purpose such as the Sony with the full line of Arri camera accessories including bridge “J” camera which was designed to allow for a 1¾˝ inch plates, bellows, and fi lter frames. Th e unit is available in both separation. Block cameras are also used for this purpose, but manual and full servo confi gurations. All of the major lens

42 CAMERA OPERATOR: HI DEF WITH JEFF Spring/Summer 2010 control systems—Arri, Cmotion, Scorpio and Preston— Th e Sony HDC-F950 and HDC-1500R444 are popular control the rig to simplify the interface. with the high-end 3D companies for their 4:4:4 capabilities and 3D Film Factory of San Diego has a line of both Side-by- their “T” Head confi guration. Th e optical block is separated Side and Beam-Splitter rigs. Th ey are best known for their from the camera processor and placed on a special 50-meter well-built economical units, but the 3D-BS Pro Rig is a full cable reducing the size and mass of the 3D rig while maintaining featured system that can handle the Red One, Sony HDW- the image quality and control of the high-end system camera. F900 and HDC cameras. Designed for the smaller EX1 type Industrial box type cameras are used for 3D systems when cameras, as well as the new DSLR systems, the 3D-BS Mini size is a key element of the rig. Th e performance of these systems Rig provides a low-cost entry system have never been up to the quality levels of the for the masses. Th e 3D Film system cameras and camcorders used by Factory’s Side-by-Side Pro and normal production companies so Sony Indie systems are of a simple rail designed a hybrid camera they call the design for the less-demanding, HDC-P1. Th e simple box design main- fi xed applications. tains the small size of the box type Cameras cameras while providing the performance of the HDC-1500R system camera. Th e camera system used on a 3D rig Th e camera includes Genlock in 4:2:2 is a very subjective choice. Many of the outputs and interfaces with the experienced 3D production compa- standard Sony remote control systems. nies prefer 2/3˝ cameras rather than On elite productions where size of some of the newer cameras with large the rig is not a limitation, you will fi nd format imagers because the increased Neutron with full size “Cine” cameras such as the depth of fi eld is oft en considered an Sony-P1s-1 Panavision Genesis and Sony’s enhancement of the 3D image. F23 and F35 attached to full However, by now nearly every camera size Beam-Splitter rigs. has been paired for 3D. Here is a rundown of the most Mounted to the correct rig common cameras used for 3D production. these cameras provide high performance with real-time Due to the low cost, compact size and high performance, viewing capabilities that has made them the choice of higher the Red One has become very popular with the independent budget projects. 3D production companies. It still requires a full size rig, but Lenses the compactness of the system reduces the overall mass of the 3D system. New introductions from Red promise to help Choosing the right lenses can the key to a successful project. reduce rig size even further. Finding a matching pair of lenses is no easy feat. Just taking Th e Silicon Imaging SI-2K Mini provides a 2K image in a two prime lenses of the same manufacture, model, and focal very small package. Th e camera lends itself to Side-by-Side length off the shelf will not guarantee a matching pair. Zoom rigs or very small Beam-Splitter rigs. Th e SI-2K outputs a lenses that are to be used in tandem for 3D productions must RAW image so recording is performed directly to a computer share the same focal length—and during shooting, they must or to the new Cinedeck recorder unit. To simplify the process also match zoom and focus position. Th e Fujinon 3D the SI-3D system uses two remote head SI-2K Mini con- Synchronous Control System uses 16 bit encoding to nected to a single processing system and custom soft ware via synchronize the left and right lenses so zoom and focus gigabit Ethernet, where they are synchronized and controlled accurately move in unison. Fujinon is producing four models through a touchscreen interface. providing coverage from 6.3 to 175 mm without using the extender. Th e creation of these tools for the 3D production has opened opportu- nities for the entire market, not just master machinists and mechanical designers. By taking these individual pieces and putting them together, it is possible for a crew with reasonable mechanical skills to assemble a 3D rig. However, not all 3D is good 3D, so you must take the time to learn process, procedures, and skills to produce quality 3D. Good Luck!

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“Mr. DeMille, I’m ready for my close-up.” Actress Melissa Steach endures the glamour of Hollywood gore make-up on Midnight Movie. ALEX SZUCH

46 CAMERA OPERATOR: AD INDEX Spring/Summer 2010 Spring/Summer 2010 CAMERA OPERATOR: LAST TAKE 47 Roster of the Society of CAMERA OPERATORS

CHARTER Michael Condon William Stephen Howell II Rafael Ortiz-Guzman Brian Keith Wilcox Blake B Jackson Shereen L Saiyed John G Nogle Parker Bartlett Tom Connole Gary Huddleston Georgia Tornai Packard Jeffrey Wilkins Leo Jaramillo Mehran Salamati Aaron Pazanti Paul Basta Dan Coplan Colin Hudson George Paddock Bill Williams Morgan Jenkins Germano Saracco, AIC Robert H Peebles Michael Benson Javier A Costa Jeffrey G Hunt Nick Paige Joe “Jody” Williams John Chancell Jennings Carl Martin Schumacher, Sr Arnold Rich Jerry G Callaway Richard J Cottrell Philip Hurn Charles Papert Chad Wilson Peter J Johnson Christian Sebaldt, ASC Sam Rosen Joe Epperson Andrei Cranach David Insley Andrew Parke Dana D Winseman Frank E Johnson, ASC Charles A Simons Frank Ruttencutter William Jay Gahret Jeff Cree Levie C Isaacks David L Parrish RL Wise Kurt Jones Jan Sluchak Richard Salvatore Peter Hapke Rod Crombie Dave Isern Patrick J Pask David Wolff Quenell Jones Robert F Smith Hal Shiffman Lee Nakahara Caleb Crosby White Christopher Ivins Philip Pastuhov Ian D Woolston-Smith Robert Joyce Brian Sowell Phil Stern Jay Nefcy Lyndel Crosley Eugene W Jackson III Christopher T Paul Noel Adrian Wyatt David Kane Don Spiro David Sutton Leigh Nicholson Richard A Cullis Jerry M Jacob William F Pecchi Jr Peter C Xiques Kevin N Kemp Owen Stephens Gene Talvin Dan Norris Michael L Culp Francis G James Karin Pelloni Warren Yeager Mark H Killian Tara Summers Pernell Tyus David B Nowell, ASC Grant Culwell Alec Jarnagin Terry Pfrang Elizabeth Ziegler Douglas Kirkland Andy Sydney Sven Walnum Wayne Orr Joseph C D’Alessandro Michael Jarocki Mike Pierce Carolina Zorrilla de San Martin Michael Klimchak John Tarver Ben Wolf Ernie Reed Markus Davids Simon Jayes Jens Piotrowski Craig Kohlhoff Joe Tawil Michael Scott Bruce E Davis Peter Jensen Joseph Piscitelli ASSOCIATE Michael Kowalczyk Christopher Taylor CORPORATE Michael St Hilaire Richard W Davis Michael A Johnson Robert Presley Jefferson K Loftfi eld Cindy Kurland Remi Tournois ARRI Ray Stella Ray de la Motte Steven Jones John Radzik Michael Skor Robert La Bonge John Twesten Bill Russell Joseph F Valentine Andrew A Dean Jacques Jouffret Kevin Riley John Addocks George La Fountaine, ASC Caitlin Tyler BARTECH ENGINEERING Ron Vidor Michael S Dean John H Joyce Mark A Ritchie David S Adelstein Thomas Lappin Sandra Valde Jim Bartell Kris Andrew Denton David Judy Timothy Roarke Lance Allen Lee David Laska-Abbott Craig W Walsh BEXEL CORPORATION ACTIVE Joel Deutsch David C Kanehann Brooks Robinson Jon L Anderson Greg Le Duc Brian Watkins John Keesee Jonathan S Abrams David E Diano Mark Karavite Randall Robinson Jacob Avignone Taggart A Lee Shaun Wheeler BIRNS & SAWYER, INC Bernie Abramson Troy Dick Michael Karp Rick Robinson Karen Beck Mark R Leins Gregory L White Bill Meuer Art Adams Jason Dittmer Wayne L Kelley David Robman Bruce Bender Alan J Levi Jennifer Woldrich CHAPMAN/LEONARD Steven A Adelson Ian Dodd Vernon Kifer Andy Romanoff Jaron Berman Mark Levin Rex Allan Worthy STUDIOS Michael R Alba Todd A Dos Reis Douglas H Knapp Peter Rosenfeld Stephen Blanor Adrian Licciardi Pol C Wright Leonard T Chapman Bret Allen Rick Drapkin Dan Kneece Michael S Roth Jeffrey D Bollman Ilya Jo Lie-Nielsen Tony Yarlett Christine J Huenergardt Derek M Allen Mitch Dubin Rory Robert Knepp Dave Rutherford Peter Bonilla Stephen Lighthill, ASC Vilmos Zsigmond, ASC CLAIRMONT CAMERA Lee Allison Jerry Dugan Kris Krosskove P Scott Sakamoto Jean-Paul Bonneau Stuart T Lillas Denny Clairmont Robert Reed Altman Simon Duggan, ACS Jules Labarthe Tom O Sanders David Boyd Jong Lin HONORARY DELUXE LABS, INC Colin Anderson Louis R Duskin Erwin Landau Michael Santy John Boyd Colleen Ann Lindl John Bailey, ASC Steve Van Anda Jack Anderson Lou Dustin George F Lang Martin Schaer Maja Broz Jessica Lopez Tilman BÅttner DIGIHOLLYWOOD Aldo Antonelli Barry P Dycus Per Larsson Ron Schlaeger Carmen Cabana Jasmine Lord James Burrows Chol Kim Miguelangel Aponte-Rios Allen D Easton Robin Lawless Mark Schlicher Anthony Q Caldwell Roland J Luna Alexander Calzatti DOGGICAM Francois Archambault David E Elkins John Lazear Gregory J Schmidt David S Campbell Tony Magaletta Trevor Coop Gary Thieltges Joseph Arena Jason Ellson Eric Leach Thomas J Schnaidt Bruce Cardozo Kominik Mainl Roger Corman EASTMAN KODAK Will Arnot David Emmerichs Sergio Leandro Silva Chuck Schuman Paolo Cascio Duane C Manwiller Dean Cundey, ASC COMPANY Ted Ashton Jr Kevin J Emmons Joshua Lesser Philip D Schwartz Richard T Cascio Jesus A Marcano Bruce Doering Judy Doherty Mark August Alex Esber Ken Libby Bob Scott Stephen Mark Ciappetta Emily Marchand William A Fraker, ASC FILMTOOLS Grayson Grant Austin James Etheridge Jimmy W Lindsey Brian D Scott Chad Courtney Jorge A Marcial Jack Green, ASC Stan McClain Paul Babin Brant S Fagan Hugh C Litfi n Alicia Craft Sehring Michelle Crenshaw Richard Marks Tom Hatten FOTOKEM Randall B Baer Tom Faigh Lynn Lockwood Benjamin Semanoff Richard P Crudo, ASC James Mathers Ron Howard Bill Brodersen Christopher Baffa Diane L Farrell George Loomis Khallid J Shabazz Nicholas Egor Davidoff Tisha Mathews Ron Kelley FUJI PHOTO FILM USA Lonn Bailey Dianne Teresa Farrington David Luckenbach Brad Shield James A Dennett Jim R Matlosz Kathleen Kennedy-Marshall Sandra Kurotobi James Baldanza Michael Ferris Allan Lum Li Geoffrey C Shotz Ronald Deveaux Dr Ellen Matsumoto Jerry Lewis FUJINON,INC Vincent Baldino Kenneth Ferro Greg Lundsgaard Osvaldo Silvera Jorge Devotto John Matysiak Larry McConkey Chuck Lee Jerry Banales Craig Fikse Kenji Luster Jamie Silverstein David Dibble Krystal A Maughan Rick Mitchell GEO FILM GROUP, INC Jeff Barklage Dick Fisher Vincent C Mack Guy Skinner George Spiro Dibie, ASC Joseph T McDonnell III A Linn Murphree MD George Nolan Ricardo Barredo Lance Fisher Heather MacKenzie John Sosenko Kevin Downey John McPherson, ASC Jay Roth HYDROFLEX, INC Tom Barron Aaron Fitzgerald Paul S Magee Andy Sparaco Paul A Duclos Charles Minsky, ASC Steven Spielberg Matt Brown Gary H Baum Eric Fletcher David Mahlmann Mike Spodnik Bert Dunk, ASC K Adriana Modlin Robert A Torres ISAIA & CO Timothy D Beavers Houman Forough James Mann Sandy Spooner Keith Dunkerley Larry Mole Parker George Toscas Roy Isaia Jaswinder S Bedi Steven G Fracol Kim Marks Edward B Springer Steven Duval Dana Morris Roy Wagner, ASC JL FISHER COMPANY Guy Norman Bee Nick Franco Jim McConkey Lisa L Stacilauskas Brian James Dzyak Matthew C Mosher Haskell Wexler, ASC Jimmy L Fisher Tim Bellen Candide Franklyn BJ McDonnell Robert Starling Jonathan Edwards Richard Mosier Frank Kay Richard Benda Thomas Fraser Michael P McGowan Scott Stelle Keith “Iceberg” Eisberg Shah Mundell RETIRED LEE FILTERS (A DIVISION Jeb Bergh David J Frederick Maurice K McGuire George B Stephenson Christopher Ekstein Joshua S Narins Gary Olyn Armstrong OF PANAVISION, INC) Marc Andre Berthiaume Michael Frediani Christopher TJ McGuire Daniel Stilling Shane English John Newby Eugene Ashbrook Sean Hise George M Bianchini Mike A Freeman Aaron Medick Sandra Stojanovic Robert C Fisher Natalie Newman Stewart Barbee OCONNOR ENGINEERING Lance Billitzer Buddy Fries Robert L Mehnert Michael R Stumpf Archie Fletcher Derek Nickell Lou Barlia LABORATORIES Howard H Bingham Jeff Fry Jack Messitt David L Svenson John C Flinn III, ASC Crescenzo GP Notarile, ASC Rupert Benson Jr Joel Johnson Bonnie S Blake Jack Garrett Marc Miller Brian E Sweeney Mark Forman John O’Shaughnessy Al Bettcher OTTO NEMENZ Jason Blount David Gasperik Andrew Mitchell James H Sweeney Peter F Frintrup Steven D Parker Joe Blaisdell INTERNATIONAL, INC Bob C Boccaccio Rusty Geller William Molina Bill Swinghamer Fred M Frintrup Florencia Perez Cardenal James Blanford Fritz Heinzl Richard Bolter Michael Genne David Monroe Paul Taylor Richard Garbutt Mark W Petersen Vee Bodrero Otto Nemenz Harry C Box Mark Gerasimenko Jeff Moore Taj Teffaha James P Garvey Matthew A Petrosky Donald R Burch PACE TECHNOLOGIES Katie Boyum Vito Giambalvo Robert “Bob” Moore David James Thompson Hank Gifford Jon Philion Philip Caplan Vincenzo M Pace Kevin D Braband Bill Gierhart Juan Matias Ramos Mora Richard Tiedemann Michael Goi, ASC Astrid Phillips Bruce Catlin PANAVISION Denise Brassard Laurie K Gilbert Denis Moran John Toll, ASC Wayne Goldwyn Robert G Pittman Jim Connell Phil Radon Michael Brennen Daniel Gold Joshh Morton David Tolsky Al Gonzalez W S Pivetta Ivan Craig PHOTO-SONICS, INC Gerard Brigante Allen Gonzales Manolo Rojas Moscopulos Tsuneyuki Tometaka Frederic Goodich, ASC Ted Polmanski Robert Feller Conrad Kiel Garrett Brown Robert Gorelick Don Muirhead John Trapman John M Goodner Serge T Poupis Gerald P Finnerman, ASC SCHNEIDER OPTICS/ Kenny Brown David Allen Grove Marty F Mullin Michael Tsimperopoulos Afton M Grant Boris Price Jerry Fuller CENTURY DIVISION Pete Brown Lee Grover Michael Mulvey Chris Tufty Dave Gregory Robert Primes, ASC Gil Haimson Bill Turner Scott Browner Robert Guernsey Scott T Mumford Dan Turrett Phil Gries Andrea Quaglio Wynn Hammer SONY ELECTRONICS, INC Robin Buerki John C Guntzelman Sean Murray Brian Tweedt Eric Gunner Mortensen Liz Radley Lutz Hapke Reginald Watson Gary Bush Chris C Haarhoff Jon Myers Joseph Urbanczyk Kevin M Haggerty Udo Ravenstein Terence A “Terry” Harkin TECHNICOLOR Stephen S Campanelli Anette Haellmigk Leo J Napolitano Matt Valentine Bob Hall Richard Rawlings Jr, ASC Gary Holt Adam Chuck Susan A Campbell Daniel Hagouel Julye Newlin Paul D Varrieur James Hammond Marcia Reed Robert C Horne Robert Dennis Capt Jose A Cardenas John Hankammer William R Nielsen, Jr Ron Veto James W Hart Bill Reiter Bob Keys VINTEN, INC Michael W Chambliss Anthony Hardwick Randy Nolen Stefan von Bjorn Robert Hayes Sandy Rentmeester Norm Langley Peter Harman Lou Chanatry Chris Hayes Tamas P Nyerges Bill Waldman Anthony P Hettinger Brian D Reynolds Steve Lydecker Peter Vinten Joe Chess Jr David Haylock William “Billy O” O’Drobinak Michael J Walker John Hill David Richert Owen Marsh WILLIAM F WHITE LTD / Julian Chojnacki Steven F Heuer Michael D Off Mark Warshaw Ken Hilmer Alicia Robbins Bob Marta COM WEB GROUP Joseph V Cicio Kevin Hewitt Russell Ofria Gretchen Warthen Scott Hoffman Ken Robings Stan McClain Paul Bronfman Jeff L Clark Ronald High Mark D O’Kane William Webb Melissa Holt Peter J Rooney Michael McClary William F White Jeffrey R Clark Charles M Hill, Jr James Olcovich Aiken Weiss Chris Hood David Rosner Ron McManus Anthony Cobbs Joachim Hoffmann Andrew William Oliver Thomas Weston Jim Hunter Douglas Roth Emmanuel Metaxas Steven Cohen Abe Holtz Lucio Olivieri Tom Weston Carrie Imai David Roy Tondeur Ed Morey Gregory Paul Collier Jerry Holway Mark Richard Olsen Mande Whitaker Toshiyuki Imai Marvin Rush, ASC Sol Negrin, ASC Andrew Glenn Conder Casey Hotchkiss John Orland Kit Whitmore, CSC Gregory Irwin Colin Sabala King Nicholson

Roster Current as of 5/12/10

48 CAMERA OPERATOR: SOC ROSTER Spring/Summer 2010