Tag Archives: cinematography

Behind the Camera: Television DPs

By Karen Moltenbrey

Directors of photography on television series have their work cut out for them. Most collaborate early on with the director on a signature “look.” Then they have to make sure that aesthetic is maintained with each episode and through each season, should they continue on the series past the pilot. Like film cinematographers, their job entails a wide range of responsibilities aside from the camera work. Once shooting is done, they are often found collaborating with the colorists to ensure that the chosen look is maintained throughout the post process.

Here we focus on two DPs working on two popular television series — one drama, one sitcom — both facing unique challenges inherent in their current projects as they detail their workflows and equipment choices.

Ben Kutchins: Ozark
Lighting is a vital aspect in the look of the Netflix family crime drama Ozark. Or perhaps more accurate, the lack of lighting.

Ben Kutchins (left) on set with actor/director Jason Bateman.

“I’m going for a really naturalistic feel,” says DP Ben Kutchins. “My hope is that it never feels like there’s a light or any kind of artificial lighting on the actors or lighting the space. Rather, it’s something that feels more organic, like sunlight or a lamp that’s on in the room, but still offers a level of being stylized and really leans into the darkness… mining the shadows for the terror that goes along with Ozark.”

Ozark, which just kicked off its second season, focuses on financial planner Marty Byrde, who relocates his family from the Chicago suburbs to a summer resort area in the Missouri Ozarks. After a money laundering scheme goes awry, he must pay off a debt to a Mexican drug lord by moving millions of the cartel’s money from this seemingly quiet place, or die. But, trouble is waiting for them in the Ozarks, as Marty is not the only criminal operating there, and he soon finds himself in much deeper than he ever imagined.

“It’s a story about a family up against impossible odds, who constantly fear for their safety. There is always this feeling of imminent threat. We’re trying to invoke a heightened sense of terror and fear in the audience, similar to what the characters might be feeling,” explains Kutchins. “That’s why a look that creates a vibe of fear and danger is so important. We want it to feel like there is danger lurking around every corner — in the shadows, in the trees behind the characters, in the dark corners of the room.”

In summary, the look of the show is dark — literally and figuratively.

“It is pretty extreme by typical television standards,” Kutchins concedes. “We’ve embraced an aesthetic and are having fun pushing its boundaries, and we’re thrilled that it stands out from a pretty crowded market.”

According to Kutchins, there are numerous examples where the actor disappears into the shadows and then reappears moments later in a pool of light, falling in and out of shadow. For instance, a character may turn off a light and plunge the room into complete darkness, and you do not see that character again until they reappear, until they’re lit by moonlight coming through a window or silhouetted against a window.

“We’re not spending a lot of time trying to fill in the shadows. In fact, we spend most of our time creating more shadows than exist naturally,” he points out.

Jason Bateman, who plays Marty, is also an executive producer and directed the first two and last two episodes of Season 1. Early on, he, along with Kutchins and Pepe Avila del Pino, who shot the pilot, hashed out the desired look for the show, leaning into a very cyan and dark color palette — and leaning in pretty strongly. “Most people think of [this area as] the South, where it’s warm and bright, sweaty and hot. We just wanted to lean into something more nuanced, like a storm was constantly brewing,” Kutchins explains. “Jason really pushed that aesthetic hard across every department.”

Alas, that was made even more difficult since the show was mainly shot outdoors in the Atlanta area, and a good deal of work went into reacting to Mother Nature and transforming the locations to reflect the show’s Ozark mountain setting. “I spent an immense amount of time and effort killing direct sunlight, using a lot of negative fill and huge overheads, and trying to get rid of that direct, harsh sun,” says Kutchins. “Also, there are so many windows inside the Byrde house that it’s essentially like shooting an exterior location; there’s not a lot of controlled light, so you again are reacting and adapting.”

Kutchins shoots the series on a Panasonic VariCam, which he typically underexposes by a stop or two, mining the darker part of the sensor, “the toe of the exposure curve.” And by doing so, he is able to bring out the dirtier, more naturalistic, grimy parts of the image, rather than something that looks clean and polished. “Something that has a little bit of texture to it, some grit and grain, something that’s evocative of a memory, rather than something that looks like an advertisement,” he says.

To further achieve the look, Kutchins uses an in-camera LUT that mimics old Fuji film stock. “Then we take that into post,” he says, giving kudos to his colorist, Company 3’s Tim Stipan, who he says has been invaluable in helping to develop the “vibe” of the show. “As we moved along through Season 1 and into Season 2, he’s been instrumental in enhancing the footage.”

A lot of Kutchins’ work occurs in post, as the raw images captured on set are so different from the finals. Insofar as the digital intermediate is concerned, significant time is spent darkening parts of the frame, brightening small sections of the frame and working to draw the viewer into the frame. “I want people to be leaning on the edge of their seat, kind of wanting to look inside of the screen and poke their head in for a look around,” Kutchins says. “So I do a lot of vignetting and darkening of the edges, and darkening specific things that I think are distracting.”

Nevertheless, there is a delicate balance he must maintain. “I talk about the darkness of Ozark, but I am trying to ride that fine line of how dark it can be but still be something that’s pleasant to watch. You know, where you’re not straining to see the actor’s face, where there’s just enough information there and the frame is just balanced enough so your eyes feel comfortable looking at it,” he explains. “I spend a lot of time creating a focal point in the frame for your eyes to settle on — highlighting certain areas and letting some areas go black, leaving room for mystery in every frame.”

When filming, Kutchins and his crew use Steadicams, cranes, dollies and handheld. He also uses Cooke Optics’ S4 lenses, which he tends to shoot wide open, “to let the flaws and character of the lenses shine through.”

Before selecting the Panasonic VariCam, Kutchins and his group tested other cameras. Because of Netflix’s requirement for 4K, that immediately ruled out the ARRI Alexa, which is Kutchins’ preferred camera. “But the Panasonic ended up shining,” he adds.

In Ozark, the urban family is pitted against nature, and thus, the natural elements around them need to feel dangerous, Kutchins points out. “There’s a line in the first season about how people drown in the lake all the time. The audience should always feel that; when we are at the water’s edge, that someone could just slip in and disappear forever,” he says. “So, the natural elements play a huge role in the inspiration for the lighting and the feel of the show.”

Jason Blount:The Goldbergs
A polar opposite to Ozark in almost every way, The Goldbergs is a single-camera comedy sitcom set in the ’80s about a caring but grumpy dad, an overbearing mother and three teens — the oldest, a popular girl; the middle one, who fancies himself a gifted athlete and strives to be popular; and the youngest, a geek who is obsessed with filmmaking, as he chronicles his life and that of his family on film. The series is created and executive-produced by Adam F. Goldberg and is based on his own life and childhood, which he indeed captured on film while growing up.

The series is filmed mostly on stage, with the action taking place within the family home or at the kids’ schools. For the most part, The Goldbergs is an up-lit, broad comedy. The colors are rich, with a definite nod to the vibrant palette of the ’80s. “Our colorist, Scott Ostrowsky [from Level 3], has been grading the show from day one. He knows the look of the show so well that by the time I sit with him, there are very few changes that have to be made,” says Blount.

The Goldbergs began airing in 2013 and is now entering its sixth season. And the series’ current cinematographer, Jason Blount, has been involved since the start, first serving as the A camera/Steadicam operator before assuming the role of DP for the Season 1 finale — for a total of 92 episodes now and counting.

As this was a Sony show for ABC, the plan was to shoot with a Sony PMW-F55 CineAlta 4K digital camera, but at the time, it did not record at a fast enough frame rate for some of the high-speed work the production wanted. So, they ended up using the ARRI Alexa for Season 1. Blount took over as DP full time from Season 2 onward, and the decision was made to switch to the F55 for Season 2, as the frame rate issue had been resolved.

“The look of the show had already been established, and I wanted to make sure that the transition between cameras was seamless,” says Blount. “Our show is all about faces and seeing the comedy. From the onset, I was very happy with the Sony F55. The way the camera renders skin tone, the lack of noise in the deep shadows and the overall user-friendly nature of the camera impressed me from the beginning.”

Blount points to one particular episode where the F55 really shined. “The main character was filming a black-and-white noir-style home movie. The F55 handled the contrast beautifully. The blacks were rich and the highlights held onto detail very well,” he says. “We had a lot of smoke, hard light directly into the lens, and really pushed the limits of the sensor. I couldn’t have been happier with the results.”

In fact, the camera has proved its mettle winter, spring, summer and fall. “We’ve used it in the dead of winter, at night in the rain and during day exterior [shots] at the height of summer when it’s been over 100 degrees. It’s never skipped a beat.”

Blount also commends Keslow Camera in Los Angeles, which services The Goldbergs’ cameras. In addition, the rental house has accessorized the F55 camera body with extra bracketry and integrated power ports for more ease of use.

Due to the fast pace at which the show is filmed — often covering 10-plus pages of script a day — Blount uses Angenieux Optimo zoom lenses. “The A camera has a full set of lightweight zooms covering 15mm to 120mm, and the B camera always has the [Optimo] 24-290,” he says. “The Optimo lenses and F55 are a great combination, making it easy to move fast and capture beautiful images.”

Blount points out that he also does all the Steadicam work on the show, and with the F55 being so lightweight, compact and versatile, it makes for a “very comfortable camera in Steadicam mode. It’s perfect to use in all shooting modes.”

The Goldbergs’ DP always shoots with two cameras, sometimes three depending on the scene or action. And, there is never an issue of the cameras not matching, according to Blount. “I’m not a big fan of the GoPro image in the narrative world, and I own a Sony a7S. It’s become my go-to camera for mounts or tight space work on the show, and works perfectly with the F55.”

And, there is something to say for consistency, too. “Having used the same camera and lens package for the past five seasons has made it easy to keep the look consistent for The Goldbergs,” says Blount. “At the beginning of this season, I looked at shooting with the new Sony Venice. It’s a fantastic-looking camera, and I love the options, like the variable ND filters, more color temperature options and the dual ISO, but the limit of 60fps at this stage was a deal-breaker for me; we do a fair amount of 72fps and 120fps.”

“If only the F55 had image stabilization to take out the camera shake when the camera operators are laughing so hard at the actors’ performances during some scenes. Then it would be the perfect camera!” he says with a laugh himself.


Karen Moltenbrey is a longtime writer and editor in the CG and post industries.

DP Rick Ray: Traveling the world capturing stock images

By Randi Altman

It takes a special kind of human to travel the world, putting himself in harm’s way to collect hard-to-find stock imagery, but Rick Ray thrives on this way of life. This Adobe Stock contributor has a long history as a documentary filmmaker and a resume that includes 10 Questions for the Dalai Lama (2006), Letters Home from the South China Seas: Adventures in Singapore & Borneo (1989) and Letters Home from Iceland (1990).

Let’s find out more about what makes Ray tick.

As a DP, are you just collecting footage to sell or are you working on films, docs and series as well?
I used to be a documentary filmmaker and have about 24 published titles in travel and biography, including the 10 Questions For The Dalai Lama and the TV series Raising The Bamboo Curtain With Martin Sheen. However, I found that unless you are Ken Burns or Michael Moore, making a living in the world of documentary films can be very difficult. It wasn’t until I came to realize that individual shots taken from my films and used in other productions were earning me more income than the whole film itself that I understood how potentially lucrative and valuable your footage can be when it is repurposed as stock.

That said, I still hire myself out as a DP on many Hollywood and independent films whenever possible. I also try to retain the stock rights for these assignments whenever possible.

A Bedouin man in Jordan.

How often are you on the road, and how do you pick your next place to shoot?
I travel for about three to four months each year now. Lately, I travel to places that interest me from a beauty or cultural perspective, whether or not they may be of maximal commercial potential. The stock footage world is inundated with great shots of Paris, London or Tokyo. It’s very hard for your footage to be noticed in such a crowded field of content. For that reason, lesser known locations of the world are attractive to me because there is less good footage of those places.

I also enjoy the challenges of traveling and filming in less comfortable places in the world, something I suppose I inherited from my days as a 25-year-old backpacking and hitchhiking around the world.

Are you typically given topics to capture — filling a need — or just shooting what interests you?
Mostly what interests me, but also I see a need for many topics of political relevance, and this also informs my shooting itinerary.

For example, immigration is in the news intensively these days, so I have recently driven the border wall from Tijuana to the New Mexico border capturing imagery of that. It’s not a place I’d normally go for a shoot, but it proved to be very interesting and it’s licensing all the time.

Rick Ray

Do you shoot alone?
Yes, normally. Sometimes I go with one other person, but that’s it. To be an efficient and effective stock shooter, you are not a “film crew” per se. You are not hauling huge amounts of gear around. There are no “grips,” and no “craft services.” In stock shooting around the world, as I define it, I am a low-key casual observer making beautiful images with low-key gear and minimal disruption to life in the countries I visit. If you are a crew of three or more, you become a group unto yourself, and it’s much more difficult to interact and experience the places you are visiting.

What do you typically capture with camera-wise? What format? Do you convert footage or let Adobe Stock do that?
I travel with two small (but excellent) Sony 4K handicams (FDR-AX100), two drones, a DJI Osmo handheld steady-grip, an Edelkrone slider kit and two lightweight tripods. Believe it or not, these can all fit into one standard large suitcase. I shoot in XDCAM 4K and then convert it to Apple ProRes in post. Adobe Stock does not convert my clips for me. I deliver them ready to be ordered.

You edit on Adobe Premiere. Why is that the right system for you, and do you edit your footage before submitting? How does that Adobe Stock process work?
I used to work in Final Cut Pro 7 and Final Cut Pro X, but I switched to Adobe Premiere Pro after struggling with FCPX. As for “editing,” it doesn’t really play a part in stock footage submission. There is no editing as we are almost always dealing with single clips. I do grade, color correct, stabilize and de-noise many clips before I export them. I believe in having the clips look great before they are submitted. They have to compete with thousands of other clips on the site, and mine need to jump out at you and make you want to use them. Adobe allows users to submit content directly from Premiere to Adobe Stock, but since I deal in large volumes of clips in submitting, I don’t generally use this approach. I send a drive in with a spreadsheet of data when a batch of clips are done.

A firefighter looks back as a building collapses during the Thomas Fire in Ventura, California.

What are the challenges of this type of shooting?
Well, you are 100% responsible for the success or failure of the mission. There is no one to blame but yourself. Since you are mostly traveling low-key and without a lot of protection, it’s very important to have a “fixer” or driver in difficult countries. You might get arrested or have all of your equipment stolen by corrupt customs authorities in a country like Macedonia, as happened to me. It happens! You have to roll with the good and the bad, ask forgiveness rather than permission and be happy for the amazing footage you do manage to get,

You left a pretty traditional job to travel the world. What spurred that decision, and do you ever see yourself back at a more 9-to-5  type of existence?
Never! I have figured out the perfect retirement plan for myself. Every day I can check my sales from anywhere in the world, and on most days the revenue more than justifies the cost of the travel! And it’s all a tax write-off. Who has benefits like that?

A word of warning, though — this is not for everyone. You have to be ok with the idea of spending money to build a portfolio before you see significant revenue in return. It can take time and you may not be as lucky as I have been. But for those who are self-motivated and have a knack for cinematography and travel, this is a perfect career.

Can you name some projects that feature your work?
Very often this takes me by surprise since I often don’t know exactly how my footage is used. More often than not, I’m watching CNN, a TV show or a movie and I see my footage. It’s always a surprise and makes me laugh. I’ve seen my work on the Daily Show, Colbert, CNN, in commercials for everything from pharmaceuticals to Viking Cruises, in political campaign ads for people I agree and disagree with, and in music videos for Neil Young, Bruce Springsteen, Coldplay and Roger Waters.

Fire burns along the road near a village in the Palestinian territories.

Shooting on the road must be interesting. Can you share a story with us?
There have been quite a few. I have had my gear stolen in Israel (twice). In Thailand my gear was confiscated by corrupt customs authorities in Macedonia, as I mentioned earlier. I have been jailed by Ethiopian police for not having a valid filming permit, which was not necessary. Once a proper bribe was arranged they changed clothes from police into costumed natives and performed as tour guides and cultural emissaries for me.

In India, I was on a train to the Kumba Mela, which was stopped by a riot and burned. I escaped with minor injuries. I was also accosted by communist revolutionaries in Bihar, India. Rather than be a victim, I got out of the car and filmed it, and the leader and his generals then reviewed the footage and decided to do it over. After five takes of them running down the road and past the camera, the leader finally approved the take and I was left unharmed.

I’ve been in Syria and Lebanon and felt truly threatened by violence. I’ve been chased by Somali bandits at night in a van in Northern Kenya. Buy me a beer sometime, I’ll tell you more.

Behind the Title: WIG director/DP Daniel Hall

NAME: Daniel Hall

COMPANY: LA-based Where It’s Greater (@whereitsgreater)

Dan on set for Flyknit Hyperdunk project.

CAN YOU DESCRIBE YOUR COMPANY?
Where It’s Greater is a nimble creative studio. We sit somewhere between the traditional production company and age-old advertising agency, meaning we are a small team of creatives who are able to work with brands and other agencies alike. It doesn’t matter where they are in the spectrum of their campaign; we help bring their projects to life from concept to camera to final delivery. We like getting our hands dirty. We have a physical studio space with various production capabilities and in-house equipment that affords us some unique opportunities from both and efficiency and creative standpoint.

WHAT’S YOUR JOB TITLE?
Along with being the founder, I am director and lead cinematographer.

WHAT DOES THAT ENTAIL?
That entails pretty much everything and then some. Where It’s Greater is my baby, so everything from physically lighting and capturing the photos on shoots to making sure we’re headed in the right direction as a company to securing new clients and jobs on a consistent basis. I take out the trash sometimes, too.

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
I think what may surprise people the most is that we work mostly client-direct. A lot of agencies or cinematographers have agents or reps that go out and get them work, but I’ve been fortunate enough to personally establish long-lasting, fruitful relationships with clients like Nike and Beats By Dre and MeUndies.

WHAT’S YOUR FAVORITE PART OF THE JOB?
By far, my favorite part is creating beautiful advertising work for great brands. It’s really special when you get to connect with clients who not only share the same values as you, but also align and speak the same language in terms of taste and preferences. Those projects always come out memorable.

WHAT’S YOUR LEAST FAVORITE?
All the other mundane tasks I take on during a day-to-day basis solely so that I can create some truly great work every now and then. But it’s apart of the process; you can’t have one without the other.

WHAT IS YOUR FAVORITE TIME OF THE DAY?
Anytime a client calls me with an exciting new opportunity (smiles).

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
I could see myself doing a few different things, but they are all in the creative/production field. So I would most likely be doing what I’m doing, but just not for myself.

HOW EARLY ON DID YOU KNOW THIS WOULD BE YOUR PATH?
I always remember having a creative eye from a young age. I get that naturally from my dad who was a camera operator, but it wasn’t until my cousin put a camera in my hand around 18 or 19 that I really fell in love with photography. But even then I didn’t exactly know what to do with it. I just followed the flow of life. I took advantage of the opportunities in front of me and worked my ass off to maximize them and, in turn, set myself for the next opportunity.

After 10 years, I have a 4,000-square-foot studio space in Los Angeles with a bunch of toys and equipment that I love to use on projects with some of the top brands in the world. I’m very grateful and fortunate in that way. I’m excited to look up again in the next 10 years.

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
We most recently worked with Beats By Dre on their global ‘Made Defiant’ campaign. We were commissioned to direct and produce a series of product films and still-life imagery to showcase their product line of headphones and earbuds in new colors that resemble their original headphone in order to pay homage and celebrate the brand’s 10-year anniversary. We took advantage of this opportunity to use our six-axis robotic arm, which we own and operate in-house. The arm gave us the ability to capture a series of beauty shots in motion that wouldn’t be possible with any other tech on the market. I think that is what made this job special.

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
I really loved what we did last summer for Nike Basketball and Dick’s Sporting Goods. We directed and produced a 30-second live-action spot centered around one of the most popular basketball shoes of the summer, the Flyknit Hyperdunk. Again, we were able to produce this completely in-house, building out a stylize basketball court in our studio space and harnessing our six-axis robot yet again to make a simple yet compelling advert for the sportswear giant.

NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
Chemex — I’m by no means a coffee snob, but I definitely have to have a cup to start my day. There is something therapeutic about it.

Color meter — I can live without my light meter. I rarely, if ever, shoot film for commercial jobs, at least at this phase in my career, but I love my Sekonic C-700R color meter. It allows me to balance all my images and films to taste.

Hyperice foam roller — In the last year I’ve been a lot more active and more into health and fitness. It’s really changed my life in a lot of ways for the better. This vibrating foam roller is a major key to keeping my muscles loose and stretched so I can recover a lot faster.

DO YOU LISTEN TO MUSIC WHILE YOU WORK?
Of course. I got my start growing up in Atlanta directing music videos for some pretty noteworthy artists, so there is frequently some form of southern hip-hop playing throughout the studio. From the iconic duo of Outkast to the newer generation of artists like Future and 2 Chainz, who I’ve had the pleasure of working with, I always have something playing in the background.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
I do some of the typical things on a regular basis: exercise, massage therapy, vacation time. Nothing special really as of yet, but if I crack the code and find a new technique I’ll be sure to share!

Sim and the ASC partner on educational events, more

During Cine Gear recently, Sim announced a 30-year sponsorship with the American Society of Cinematographers (ASC). Sim offers end-to-end solutions for creatives in film and television, and the ASC is a nonprofit focusing on the art of cinematography. As part of the relationship, the ASC Clubhouse courtyard will now be renamed Sim Plaza.

Sim and the ASC have worked together frequently on events that educate industry professionals on current technology and its application to their evolving craft. As part of this sponsorship, Sim will expand its involvement with the ASC Master Classes, SimLabs, and conferences and seminars in Hollywood and beyond.

During an official ceremony, a commemorative plaque was unveiled and embedded into the walkway of what is now Sim Plaza in Hollywood. Sim will also host a celebration of the ASC’s 100th anniversary in 2019 at Sim’s Hollywood location.

What else does this partnership entail?
• The two organizations will work together closely over the next 30 years on educational events for the cinematography community. Sim’s sponsorship will help fund society programs and events to educate industry professionals (both practicing and aspiring) on current technology and its application to the evolving craft.
• The ASC Master Class program, SimLabs and other conferences and seminars will continue on over these 30 years with Sim increasing its involvement. Sim is not telling the ASC what kind of initiatives they should be doing, but is rather lending a helping hand to drive visual storytelling forward. For example, they have already hosted ASC Master Class sessions in Toronto and Hollywood, sponsored the annual ASC BBQ for the last couple of years, and founder Rob Sim himself is an ASC associate member.

How will the partnership will increase programming and resources to support the film and television community for the long term?
• It has a large focus on three things: financial resources, programming assistance and facility support.
• It will provide access and training with world-class technology in film and television.
• It will offer training directly from industry leaders in Hollywood and beyond
• It will develop new programs for people who can’t attend ASC Master Class sessions, such as an online experience, which is something ASC and Sim are working on together.
• It will expand SimLabs beyond Hollywood —with the potential to bring it to Vancouver, Atlanta, New York and Toronto with the goal of creating new avenues for people who are associated with the ASC and who know they can call on Sim.
• It will bring volunteers. Sim has many volunteers on ASC committees, including the Motion Imaging Technology Council and its Lens committee.

Main Image: L-R: Sim President/CEO James Haggarty, Sim founder and ASC associate member Rob Sim,ASC events coordinator Patty Armacost and ASC president Kees van Oostrum.

Panavision Millennium DXL2’s ecosystem grows with color science, lenses, more

Panavision’s Millennium DXL2 8K camera was on display at Cine Gear last week featuring  a new post-centric firmware upgrade, along with four new large-format lens sets, a DXL-inspired accessories kit for Red DSMC2 cameras and a preview of custom advancements in filter technology.

DXL2 incorporates technology advancements based on input from cinematographers, camera assistants and post production groups. The camera offers 16 stops of dynamic range with improved shadow detail, a native ISO setting of 1600 and 12-bit ProRes XQ up to 120fps. New to the DXL2 is version 1.0 of a directly editable (D2E) workflow. D2E gives DITs wireless LUT and CDL look control and records all color metadata into camera-generated proxy files for instant and render-free dailies.

DXL2, which is available to rent worldwide, also incorporates an updated color profile: Light Iron Color 2 (LiColor2). This latest color science provides cinematographers and DITs with a film-inspired tonal look that makes the DXL2 feel more cinematic and less digital.

Panavision also showcased their large-format spherical and anamorphic lenses. Four new large-format lens sets were on display:
• Primo X is a cinema lens designed for use on drones and gimbals. It’s fully sealed, weatherproof and counterbalanced to be aerodynamic and it’s able to easily maintain a proper center of gravity. Primo X lenses come in two primes – 14mm (T3.1) and 24mm (T1.6) – and one 24-70mm zoom (T2.8) and will be available in 2019.

• H Series is a traditionally designed spherical lens set with a rounded, soft roll-off, giving what the company calls a “pleasing tonal quality to the skin.” Created with vintage glass and coating, these lenses offer slightly elevated blacks for softer contrast. High speeds separate subject and background with a smooth edge transition, allowing the subject to appear naturally placed within the depth of the image. These lenses are available now.
• Ultra Vista is a series of large-format anamorphic optics. Using a custom 1.6x squeeze, Ultra Vista covers the full height of the 8K sensor in the DXL and presents an ultra-widescreen 2.76:1 aspect ratio along with a classic elliptical bokeh and Panavision horizontal flare. Ultra Vista lenses will be available in 2019.
• PanaSpeed is a large-format update of the classic Primo look. At T1.4, PanaSpeed is a fast large-format lens. It will be available in Q3 of 2018.

Panavision also showed an adjustable liquid crystal neutral density (LCND) filter. LCND adjusts up to six individual stops with a single click or ramp — a departure from traditional approaches to front-of-lens filters, which require carrying a set and manually swapping individual NDs based on changing light. LCND starts at 0.3 and goes through 0.6, 0.9, 1.2, 1.5, to 1.8. It will be available in 2019.

Following up on the DXL1 and DXL2, Panavision launched the latest in its cinema line-up with the newly created DXL-M accessory kit. Designed to work with Red DSMC2 cameras, DXL-M marries the quality and performance of DXL with the smaller size and weight of the DSMC2. DXL-M brings popular features of DXL to Red Monstro, Gemini and Helium sensors, such as the DXL menu system (via an app for the iPhone), LiColor2, motorized lenses, wireless timecode (ACN) and the Primo HDR viewfinder. It will be available in Q4 of 2018.

ASC Award winners include Roger Deakins for Blade Runner 2049

At the 32nd Annual American Society of Cinematographers (ASC) Awards, where cinematographers honor fellow cinematographers, industry legend Roger Deakins, ASC, BSC, won the Theatrical Award for best cinematography in a motion picture for his work on Blade Runner 2049. This is Deakins’ fourth win and his 15th ASC nomination. He previously won for Skyfall (2013), The Man Who Wasn’t There (2002) and The Shawshank Redemption (1995). His other nominations include Unbroken (2015), Prisoners (2014), True Grit (2011), The Reader (2009), Revolutionary Road (2009), The Assassination of Jesse James by the Coward Robert Ford (2008), No Country for Old Men (2008), O Brother, Where Art Thou? (2001), Kundun (1998) and Fargo (1997).

In other categories, Mart Taniel, ESC, was given the Spotlight Award for November. In the TV categories, winners included Adriano Goldman, ASC, ABC, for The Crown; Boris Mojsovski, CSC, for 12 Monkeys; and Mathias Herndl, AAC, for Genius. The awards ceremony took place tonight in the Ray Dolby Ballroom at Hollywood and Highland.

Here is the complete list of winners and nominees:

Theatrical Release Category (presented by Emmanuel Lubezki, ASC, AMC and Matthew Libatique, ASC)

  • Roger Deakins, ASC, BSC for “Blade Runner 2049” – WINNER
  • Bruno Delbonnel, ASC, AFC for “Darkest Hour”
  • Hoyte van Hoytema, ASC, FSF, NSC for “Dunkirk”
  • Dan Laustsen, ASC, DFF for “The Shape of Water”
  • Rachel Morrison, ASC for “Mudbound”

 Spotlight Award Category (presented by John Bailey, ASC)

  • Máté Herbai, HSC for “On Body and Soul”
  • Mikhail Krichman, RGC for “Loveless”
  • Mart Taniel, ESC for “November” – WINNER

 Episode of a Series for Non-Commercial Television (presented by Teri Polo)

  • Gonzalo Amat for “The Man in the High Castle” (Land O’ Smiles) on Amazon
  • Adriano Goldman, ASC, ABC for “The Crown” (Smoke and Mirrors) on Netflix – WINNER
  • Robert McLachlan, ASC, CSC for “Game of Thrones” (The Spoils of War) on HBO
  • Gregory Middleton, ASC, CSC for “Game of Thrones” (Dragonstone) on HBO
  • Alasdair Walker for “Outlander” (The Battle Joined) on Starz

 Episode of a Series for Commercial Television (presented by Sean Astin)

  • Dana Gonzales, ASC for “Legion” (Chapter 1) on FX
  • David Greene, ASC, CSC for “12 Monkeys” (Mother) on Syfy
  • Kurt Jones for “The Originals” (Bag of Cobras) on The CW
  • Boris Mojsovski, CSC for “12 Monkeys” (Thief) on Syfy – WINNER
  • Crescenzo Notarile, ASC for “Gotham” (Mad City: The Executioner) on Fox

 Motion Picture, Miniseries, or Pilot Made for Television (presented by Kerri Kenney-Silver)

  • Pepe Avila del Pino for “The Deuce” pilot on HBO
  • Serge Desrosiers, CSC for “Sometimes the Good Kill” on Lifetime
  • Mathias Herndl, AAC for “Genius” (Einstein: Chapter 1) on National Geographic – WINNER
  • Shelly Johnson, ASC for “Training Day” pilot (Apocalypse Now) on CBS
  • Christopher Probst, ASC for “Mindhunter” pilot on Netflix

 Honorary awards also presented this evening included:

  • The ASC Board of Governors Award was presented to Angelina Jolie by Dean Semler, ASC, ACS (“Maleficent,” “In the Land of Blood and Honey,” “The Bone Collector”) for her significant and indelible contributions to cinema. It is the only ASC Award not given to a cinematographer and is reserved for filmmakers who have been champions for directors of photography and the visual art form.
  • The ASC Lifetime Achievement Award was given to Russell Carpenter, ASC (Oscar winner for “Titanic”) and presented by Dante Spinotti, ASC, AIC (Oscar nominee for “The Insider” and “LA Confidential”)
  • The ASC Career Achievement in Television Award was presented to Alan Caso, ASC (Emmy nominee for “Into the West,” “Six Feet Under,” “George Wallace”) by actor-producer Daniel Dae Kim.
  • Russell Boyd, ASC, ACS (Oscar winner “Master and Commander: The Far Side of the World”) received the ASC International Award from Mandy Walker, ASC, ACS (“Hidden Figures,” “Australia”).
  • Stephen Lighthill, ASC (“Berkeley in the ‘60s,” “Gimme Shelter,” CBS’ “60 Minutes”) was bestowed the ASC Presidents Award by American Film Institute (AFI) President and CEO Bob Gazzale. This award is given not only for the recipient’s body of work, but dedication to the organization and its mission of advancing the art of cinematography through education. Lighthill is currently Senior Filmmaker in Residence: Cinematography at the AFI Conservatory.
  • The ASC Bud Stone Award of Distinction was given to Frieder Hochheim, president and founder of Kino Flo Lighting Systems. This award is presented to an ASC Associate Member who has demonstrated extraordinary service to the society and/or has made a significant contribution to the motion picture industry.

ASC names Eric Rodli executive director

Eric Rodli has been named executive director of the American Society of Cinematographers (ASC). Rodli, an ASC associate member since 2001, has served six years as co-chair of the ASC Motion Imaging Technology Council’s Cinema Display Committee. He co-authored the committee’s 2016 white paper “Cinema Display Evaluation Plan and Test Protocol,” which explores the key image quality parameters of dynamic range, color space and overall luminance, as well as suggesting testing parameters.

He has also been a member of the Academy of Motion Picture Arts and Sciences Task Force on Content Preservation, and has participated in numerous industry panels ranging on topics from digital media distribution to projection.

Rodli served as president at Iwerks Entertainment, Bexel and Kodak’s motion picture film division, and most recently as CFO of BeBop Technologies. He has worked on many creative and technical initiatives across multiple industry sectors, dating back to pioneering the use of the first generation of HD cameras, as well as 3D projection, digital streaming technology and laser projection systems. His strategic and hands-on experience in the imaging chain has fueled his belief that technology should serve the artist.

Focused on education, the ASC hosts many programs, including the ASC Master Classes, Student Heritage Awards, Coffee and Conversation Q&As with cinematographers and panel discussions by the Education and Outreach Committee. The efforts of the ASC Motion Imaging Technology Council (MITC) since 2003 have shaped the standards and practices of cinematography for digital workflows, with the group and its committees working closely with the Academy’s Sci-Tech Council and SMPTE. The ASC Vision Committee also holds events to foster diversity and equality on camera crews.

Sight, Sound & Story: The Art of Cinematography 2017

By Amy Leland

After EditFest NY moved to London, Manhattan Edit Workshop picked up the reins with its Sight, Sound & Story (SS&S) conferences. The first post production event premiered in June of 2013. The format was similar — top-of-their-craft editors and post specialists participating in panels focusing on specific areas of the industry. Over the years there have been great panels on TV editing, sound effects and audio editing, VFX and virtual reality. I have attended these events since they began. They are a great chance to get inspired, learn more about my industry and meet great people.

In September of 2015, SS&S created a new event that focused on the part of the process before we post folks get involved: the shoot. I recently I attended the latest Sight, Sound & Story: The Art of Cinematography. Even though cinematography is not my department, I was as entertained and educated. Here is a recap of some of the best moments of the panels.

The Art of Cinematography in Documentary Filmmaking
As a first-time documentary filmmaker myself, this panel was of particular interest to me. Moderator Hugo Perez (Neither Memory Nor Magic, Lights Camera Uganda) spoke with panelists Joan Churchill, ASC,(Shut Up & Sing, Kurt & Courtney, Last Days in Vietnam) and Buddy Squires, ASC, (The Vietnam War, The Statue of Liberty, The Central Park Five) about their view of documentary filmmaking from behind the lens.

The most common theme throughout the panel was the emphasis both panelists put on listening. Cinematography is a visual art, but the panelists repeated the importance of listening carefully throughout the process in order to get the right shots. Squires included it as part of an overall sense of observation. He described his job as, “capturing the unexpected.” He said in order to do this, you have to carefully observe everything that is going on around you. When you sense something is going a particular way, you have to follow it. “It’s a calculated gamble that things will move a particular way.”

L-R: Joan Churchill, Buddy Squires and moderator Hugo Perez.

A particularly poignant moment was when he showed a clip from the documentary, The Last Dalai Lama? In it, he is filming a line of people getting a momentary audience with the Dalai Lama. Even though he didn’t understand what was being said in these moments, something compelled him to follow two particular people as they walked away from the Dalai Lama, clearly very moved by their experience. He ultimately found out that these two young women were homeless and with no resources to speak of. After hearing their story, the Dalai Lama instructed one of his helpers to make sure these young women were taken care of and given a place to live. All of that was clear once translations and subtitles were in place, but it was a moment of instinct that caused Squires to follow them and capture that magical moment. It was an incredible example of what he was describing.

Churchill also stated emphatically that, “Documentaries are nothing without good sound.” She talked about how you can cut around bad picture, but you can’t cut around bad sound. She makes sure she is constantly hearing, through her earpiece, whatever is being recorded by the sound person. This lets her know if sound isn’t being captured, but it also means that she may hear something, from her vantage point, she couldn’t see. That lets her know to move and capture what is happening.

Related to this, she talked about how sometimes you simply have to sacrifice picture to get the moment. Even if all you can get is a badly framed shot, or a shot with a low-quality camera; as long as you have the sound to go with it, you may have the moment you need. To illustrate this, Churchill showed a clip from the documentary Aileen: Life and Death of a Serial Killer. Their interviews with Aileen Wuornos took place in small visiting rooms at the prison where she was on death row. In one of those interviews, when Wuornos saw that the interview was over and equipment was being put away, she started speaking more frankly about her crimes, and whether she had committed them in self defense. As a cinematographer, Churchill could have taken her camera back out, and tried to frame a perfect shot of Wuornos talking. But by listening to what was happening, she knew that her camera would become a distraction to the emotional moment that was happening, and might even cause Wuornos to stop talking. Rather than finding that shot and stopping the moment, she stayed crouched by her camera bag, and got a side shot of Nick Broomfield, her co-director, talking to Wuornos. Wuornos isn’t even in the shot. She made a choice as a cinematographer to sacrifice image to make sure the moment was protected.

Of course as cinematographers, and especially with Squires being a long-time collaborator with Ken Burns, both are incredibly skilled at capturing beautiful images, but what most struck me about this panel was how much each was more focused on story and truth, rather than image, in order to serve the needs of their projects.

The New Age of TV: Bringing the Look of Cinema to the Small Screen
For this offering, moderator David Leitner spoke with panelists Martin Ahlgren (Daredevil, House of Cards, Blindspot) and Igor Martinović (House of Cards, The Night Of) about the changing art of cinematography in television. Much of the conversation focused on how their work was being affected by the increasingly film look or cinema style of television.

L-R: Martin Ahlgren and Igor Martinović.

One thing they addressed was the popular idea that film is a director’s medium and TV is a producer’s or writer’s medium. Martinović pointed out that with a lot of these new media shows, from companies like Netflix and Hulu, they had not just a head writer/showrunner, but also a director auteur driving the creative process. For example, they brought up David Fincher and his House of Cards and Mindhunter. Though he didn’t direct the entire series in either case, he did establish the visual world and rules for the shows. And there are certainly other examples, such as Reed Morano and The Handmaid’s Tale or Sam Esmail’s Mr. Robot, which airs on FX. Both panelists spoke about how there is a trend toward creating a specific look that they, as cinematographers, are working within.

They also both talked about how this cinematic aesthetic is changing what they are allowed to do as television cinematographers. For a long time, television was “radio with pictures.” TV shows were meant to be watched without needing to pay close visual attention. The focus was hearing dialogue, but now there is more freedom to tell visual stories. Martinović showed a series of clips from The Night Of and pointed out that there is almost no dialogue in the scenes he showed. He was able to tell story and advance character through specific visual images, a freedom television cinematographers didn’t always have.

Both also spoke about low light being a more acceptable look in television now than it used to be. Ahlgren showed a clip from House of Cards that he lit almost entirely with candlelight. He spoke of this difference in lighting aesthetic as being partly about changing standards in television, but also made possible by digital cinematography. While many cinematographers talk about the advantages of film, one thing most will say is that digital cameras can shoot more effectively at much lower light levels. They both talked about the expanded range of creative choices this gives them.

Martinović concluded by showing us some incredible images from a look book he put together for a new show he is going to be shooting. This is a technique used often for film, but not as often for television, which really speaks to the shift in how television is being created. For his look book, he compiled an incredible collection of images to show ideas of framing, tone, and even light and color. This book gave him a better “language” for showing the director what he thought they could do in telling their stories.

Listening to incredibly talented television cinematographers talk about their craft provided a lot of insight into why television seems so much more exciting these days. It was also a great reminder to all of us to pay better attention to the visual language of the shows we love, just as we do with films.

Behind the Lens: A Conversation With Cinematographer Julio Macat, ASC
The final panel of the evening was a special conversation with Julio Macat, ASC, the cinematographer of a wide range of great films, including Home Alone, So I Married an Axe Murderer, Crazy in Alabama and The Wedding Crashers. As often happens in conversations with people who have had such a big impact on their field, what struck me most was how unbelievably humble Macat was about the work he has done. He spoke about his rise to success as filled with luck, when the breadth and quality of his work make it obvious that there is clearly a lot of talent involved as well.

He discussed the numerous opportunities he has had to work with first-time directors. One common theme is that first-time directors come to him with extensive shot lists for every scene. His advice to them is to think about why the writer wrote the scene and what the point of the scene is. He asks the director, “If I have to place the camera in one spot to tell that entire scene, where would it go?” That guides them into knowing what is most important. It is especially vital when they find themselves running out of time, and they need to make sure they have what they need. He said that shot often becomes the master shot for the scene.

Julio Macat

In talking about Home Alone, one aspect of his work that I just loved was that he did a lot of his prep on his knees. He planned a lot of shots from this vantage point with a wide-angle lens to capture the viewpoint of a child. Compared to how an adult sees the world — everything is bigger to kids, and the lights are brighter. His approach, of making sure his camera saw the world the way the lead character would, was such an important aspect of the look of that film. It seems that ideas like this, the ability to see the world through different perspectives, is what separates the really talented cinematographers from all of the people who are just good with cameras. I loved seeing that insight into his approach.

Macat described his prep work for Home Alone, his first feature film, which he has carried forward to today. Rather than thinking of each scene on its own, he creates a summary version of the script. That summary —which may be as short as three pages — includes one-line descriptions of each scene and color coding to indicate things like location, interior/exterior, etc. Seeing the structure of the film laid out that way helps him to see how the work he is doing will eventually be edited together. He includes the editor in that prep work so they can truly collaborate on the vision of the final film. His description of this process made me wish it were far more common for cinematographers and editors to directly collaborate.

He also spoke about the importance of working musically. He started working on music videos and concerts, so he always thought of music and rhythm while operating cameras. He says now he can tell immediately if a camera operator is really good with a camera technically but doesn’t have that sense of musicality in the work. Every scene, every story has a rhythm. Finding that rhythm in the work before the scenes are edited together, and a score underneath, is one of the most important skills in his toolset.

Having shot so many comedies, he had an interesting insight into capturing those moments. First he said that working in comedy was how he learned to shoot multicamera, so that it looks natural. With so much overlapping dialogue and gags based entirely on timing, it is vital to capture every moment as it happens, rather than individual takes of each angle. He also encourages directors to do blocking rehearsals with the actors that he can film rather than off-camera rehearsals, after so many experiences of watching a rehearsal with great energy and timing that just wasn’t there anymore once the cameras were rolling.

My favorite element of his comedy technique was what he called “second-team theater.” When the lighting setups are being done, and the second team stand-ins are in place, he asks the director to have that second team do the lines. If the cast is watching, it’s a great moment that allows them to relax a bit before the scene. But he also said some great actors have come out of those “second-team theater” moments because the director gets a chance to see them act. I’m sure it also leads to a more relaxed and fun atmosphere on set for everyone.

Listening to him talk about the way he feels about actors was really moving. He spoke of the importance of building trust with actors. His job means putting cameras into their personal space as they do their work. He advocates for letting the actors know what he has in mind and what he is planning to do. “Actors are really smart people. They get it,” Macat said. By seeing the actors as his collaborators, rather than just the people on the other side of the camera, he is better able to achieve his vision.

One of the recurring themes of these Sight, Sound & Story events has been rare opportunities to sit in rooms with truly impressive artists at the top of their field, and being so touched by how kind and generous they are with their time and ideas.

Manhattan Edit Workshop streamed these panels, as they often do, via Facebook Live on their Sight Sound & Story page. If you would like a chance to see the panels for yourself, and hear all of the other amazing insights of these wonderful panelists, you can find it here.


Amy Leland is a film director and editor. Her short film, “Echoes”, is now available on Amazon Video. She also has a feature documentary in post, a feature screenplay in development, and a new doc in pre-production. She is an editor for CBS Sports Network and recently edited the feature “Sundown.” You can follow Amy on social media on Twitter at @amy-leland and Instagram at @la_directora.

Behind the Title: Harbor Picture Company’s DP Greg Wilson

NAME: Greg Wilson

COMPANY: Harbor Picture Company

CAN YOU DESCRIBE YOUR COMPANY?
Harbor Picture Company is a post production and production company based in New York City. We help content creators — studios, networks, directors, brands and agencies — execute high-caliber content efficiently and at scale. The company offers a range of services, including sound mixing, color, ADR, picture editorial and VFX, housed across five facilities, including the largest ADR soundstage and largest theatrical mix stage in New York.

I’m part of Harbor’s DP Collective, a group of elite directors of photography who specialize in bringing a cinematic style and quality to any screen.

WHAT’S YOUR JOB TITLE?
Director of Photography

WHAT DOES THAT ENTAIL?
My role is to create the look and feel of a film or commercial through lighting, camera direction, lensing and blocking to best fit the story the director is trying to tell. This revolves around communication with the department heads to build towards a unified goal and create the right tone for the story.

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
I think people would be surprised by the amount of time and perseverance some projects can take from concept to final product, but anything that’s worth doing is going to take a lot of energy and effort. For example, the project I did for National Geographic Magazine, Cheetahs on the Edge, took more than nine months to produce and put together.

With the folks over at DoggiCam I designed a 410-foot dolly to use on a shot of a sprinting cheetah. The goal was to mimic the perspective that Eadweard Muybridge achieved in the late 1800s when photographing a running horse. He invented motion picture with those images, and I wanted to take a similar approach by using the most modern technology available at the time.

I wanted to move a camera alongside the fastest land animal in the world, giving a unique perspective on how they move. I believed in this project very much but it was a challenge to get it off the ground, I worked with National Geographic Magazine to raise the money and obtain all the proper permissions to build this dolly system and secure the access to the cheetahs at the Cincinnati Zoo. Once we were green lit, we spent four months acclimating the cheetahs to the sounds of the high-speed camera system, which was very loud. I played a pre-recorded sound for them while they ate to build positive reinforcement, so they wouldn’t be frightened by the noise or speed of the system when we actually started shooting.

From there, we had to design an arpeggiation device to trigger the three DSLR cameras that were on a sled with the high-speed Phantom camera. This arpeggiation device created a seamless looping of the shutters on each Canon D1x, each running at 14fps, giving us 42fps at 20.2MP for still photographs to put in the magazine. This is just one example, but I work on many challenging technical jobs that require a lot of prep time to design new techniques, overcome hurdles and, ultimately, ensure that we’ll get the best images we can.

WHAT’S YOUR FAVORITE PART OF THE JOB?
Being around tenacious and engaged people working as a team to create something that didn’t exist beyond a script until you start to roll the cameras. Being able to work in so many different environments and in and out of unique stories constantly keeps things fresh and exciting.

WHAT’S YOUR LEAST FAVORITE?
The schedule can be a challenge. It can be tough being on the road so much, but there’s a give and take. For as much as I’m away, I try to have a balance of time off so I don’t get burnt out.

WHAT IS YOUR FAVORITE TIME OF THE DAY?
A cold, misty morning is my favorite, but it’s so fleeting. Magic hour is the best to shoot in.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
I’d still be working as a photojournalist and in the darkroom as a black and white printer.

HOW EARLY ON DID YOU KNOW THIS WOULD BE YOUR PATH?
This is my third career, believe it or not. I turned pro as a snowboarder when I was 15 years old and went to the Olympics at 22. After a very bad injury, that left me in the hospital for many months and unable to walk or do much of anything for nearly a year, I found my way into still photography and worked for six years as a photojournalist for National Geographic, Rolling Stone, Wired, Spin, Fader, NYT and other newspapers and magazines.

I also worked as a traditional black and white printer in New York after working as a platinum printer for more than two years in Massachusetts. I found cinematography after seeing some films that really rattled me and made me see the world in a way that I understood, one of which was the Brazilian film Pixote.

I wanted to understand how to create the same emotions and tone I was after in my still photography and apply it to motion. Music was a huge part of this interest as well. The fact that you could use sound to influence the picture was a major eye opener early on. Even though I didn’t get into motion pictures until I was 30, I think my past experience in other fields has greatly influenced my life behind the camera and given me a perspective on the subjects that I photograph.

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
I recently finished a documentary that I’m really excited about called Zion. It’s about a young black wrestler who was born without legs into the foster care system in Ohio. It’s a powerful story and really resonated with me. The director Floyd Russ and I have a few more sports films coming down the line soon.

I also finished up a Netflix Original feature, Amateur, with Director Ryan Koo about a young basketball player dealing with the trials and tribulations of NCAA rules and corruption inside the sport. Lately, I’ve been working on a mix of documentaries, feature projects and commercials — with a lot of them coincidentally surrounding the sports world.

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
I’m not sure what I’m most proud of. I don’t like to think about it like that. But one project that I was very happy to have been involved with was another recent collaboration with Floyd Russ and NFL Films for the Ad Council’s campaign, “Love Has No Labels.” The spot used the iconic Kiss Cam to showcase love. Period. It was a real pleasure to be a part of that project and see the overwhelming response to the spot. It was great to work on a commercial project with such a great message behind it.

NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
Wireless video, my light meter and, unfortunately, my cell phone.

WHAT SOCIAL MEDIA CHANNELS DO YOU FOLLOW?
I’m pretty active on Instagram, you can follow me at @greg_wilson_dp

DO YOU LISTEN TO MUSIC WHILE YOU WORK?
I am constantly listening to music. Lately, for writing, it’s been Stars of the Lid. Otherwise I’ve been listening to Billy Swan, Kendrick, The Bats and Mogwai.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
I like to spend time in the darkroom printing. I like fishing, being outdoors, riding my bike and woodworking. I like old processes, things where I use my hands and take a step back from technology.

Keslow Camera acquires Clairmont Camera — Denny Clairmont Retires

Signaling the end of an era, Denny Clairmont, one of the industry’s most respected talents in front of and behind the camera, is retiring. Keslow Camera is buying his company, Clairmont Camera, including its Vancouver and Toronto operations. The acquisition is expected to be complete on or before August 4.

Keslow Camera says it will retain the teams at Clairmont’s Vancouver and Toronto facilities, which have been offering professional digital and film cameras, lenses and accessories to the area since the 1980s. All operations within California are slated to eventually be consolidated into Keslow Camera’s headquarters in Culver City. The move will more than quadruple Keslow Camera’s anamorphic and vintage lens inventory and add a substantial range of custom camera equipment to the company’s portfolio.

Denny Clairmont, along with his brother, Terry, established the movie equipment and camera rental company that would become Clairmont Camera in 1976. In 2011, Clairmont received the John A. Bonner Medal of Commendation from the Academy of Motion Picture Arts and Sciences (AMPAS), awarded by the Academy Board of Governors upon the recommendation of the Scientific and Technical Awards Committee. Clairmont and Ken Robings won a Technical Achievement Award from the Society of Camera Operators (SOC) for the lens perspective system, and Clairmont has won two Emmys from the Academy of Television Arts and Sciences for his role in the development of special lens systems.

“Clairmont Camera is my life’s work, and I never stopped searching for innovative ways to serve our clients,” says Clairmont. “I have long respected Robert Keslow and the team at Keslow Camera for their integrity, quality of management, best-in-class customer service and successful performance. I am confident they are the right company to honor my heritage and founding vision going forward.”