We look forward to hosting our SOC Family at our new Texas location!
Camera/Steadicam
12
Battle-Ready Operating
A Conversation with Colin Anderson, SOC & Sergius Nafa By David Daut 16
Classical Framing, Modern Techniques
A Conversation with John "Buzz" Moyer, SOC By David Daut
20
Getting into Character
A Conversation with Scott Dropkin, SOC Hosted by David Daut 24
Prepared for Anything
A Conversation with Lukasz Bielan By David Daut
Strapping Cameras to a Rocket By Dan Ming
Letter from the President
Dear Members:
It is with great sadness that we mark the passing of a true legend in our business, Otto Nemenz. His storied shop on Sunset Blvd. in Hollywood was for decades a “who’s who” of camera notables. The quality of Otto’s equipment was matched only by the care with which he stewarded the company through strikes and slowdowns, through changing tastes and changing times.
Otto was a beloved partner to the SOC and while we will miss him dearly, we know his creation—Otto Nemenz International—will live on, making him proud every time the camera rolls.
Please take a moment to remember Otto as you flip through another outstanding issue of Camera Operator magazine.
Fraternally,
Matthew Moriarty
Matthew Moriarty SOC President
“A momentous technical achievement . ”
A film by Guillermo del Toro
Society of Camera Operators
Board of Governors
OFFICERS
President Matthew Moriarty
1st Vice President Dave Emmerichs
2nd Vice President Simon Jayes
Secretary Dan Gold
Treasurer John “Buzz” Moyer
Sergeant-at-Arms Gretchen Warthen
BOARD MEMBERS
Shanele Alvarez
George Billinger
Scott Dropkin
Mitch Dubin
David Emmerichs
Dan Gold
Geoffrey Haley
Simon Jayes
Rachael Levine
Sarah Levy
Jim McConkey
Matthew Moriarty
John “Buzz” Moyer
Lisa Sene
Gretchen Warthen
COMMITTEES
Education
Mitch Dubin (Co-chair), Geoff Haley (Co-chair), Jan Ruona (Co-chair), Colin Anderson, Francois Archambault, Craig Bauer, Lukasz Bielan, Deborah Brozina, Dave Chameides, Gilles Corbeil, Don Devine, Sam Ellison, Dave Emmerichs, Ian Fox, Mick Froelich, Chris Haarhoff, Daryl Hartwell, Simon Jayes, Sarah Levy, Megan Masur, Jim McConkey, Larry McConkey, Andrew Mitchell, Matt Moriarty, John "Buzz" Moyer, Jeff Muhlstock, Brian Osmond, Ari Robbins, Peter Rosenfeld, Scott Sakamoto, Paul Sanchez, Dave Thompson, Chris Wittenborn
Inclusion
Shanele Alvarez (Chair), Yves Arispe, Nikku Hearn-Sutton, Allen Ho, Megan Masur, Jack Messitt, Max Miles,Tania Romero, Angelia Sciulli, Jennifer Schnieder, Mahadi Shawon, Michael Sharpe, Lisa Stacilauskas, Paige Thomas, Mande Whitaker, Jen White, Brenda Zuniga
CAMERA OPERATOR MAGAZINE
Publishing & Executive Editor
Kristin Petrovich
Features Writer & Producer
David Daut
Art Director & Copy Editor
Cyndi Wood
Video Editors
Alex Hemingway
Andrew Michel
Studio Liaison & Clearances
Kim Fischer
Social Media Producer
Ashlie Sotelo, Your Voice Social
Editorial Assistant
Madison Matuszewski
Advertising
Kristin Petrovich & Jeff Victor
Finances
Angela Delgado
CONTRIBUTORS
Colin Anderson, SOC
Lukasz Bielan
David Daut
Scott Dropkin, SOC
Leonardo "Lenny" Gonzales
Katherine Kallergis, SOC
Dan Ming
John "Buzz" Moyer, SOC
Sergius Nafa
Ashlie Sotelo
PHOTOGRAPHY
Michael Bauman / Warner Bros. Pictures
Courtesy of Apple
Courtesy of ROADSIDE ATTRACTIONS
Courtesy of Universal Pictures
Courtesy Warner Bros. Pictures
Marilyn Dimayo
Courtesy of Scott Dropkin, SOC
Merrick Morton / Warner Bros. Pictures
Zach Solomon
ADVERTISING & SUBSCRIPTIONS
Advertising Membership@SOC.org
Digital Subscriptions SOC.org/co
Newsletters SOC.org
Camera Operator is a quarterly publication of the Society of Camera Operators
Registered trademark / All rights reserved
“ PRECISION-TOOLED. PURELY AS A FEAT OF ADRENALINE-PUMPING CINEMATOGRAPHY, the movie is a knockout. Cinematographer Barry Ackroyd is a master of nerve-shredding visual language.”
“ONE HELL OF A MOTION PICTURE
The Society offers different levels of membership for individuals and manufacturers in the production community – Active, Associate, Educator, Student and Corporate.
ITS: Insights,Tips & Stories
Video excerpts from SOC Active members sharing personal insights into camera operating, tips learned during their careers, and stories from the set.
Tips for ACs Preparing to Operate
Camera operator John Densmore, SOC, gives tips for camera assistants in both scripted and live/sports environments—offering insight on how each can prepare for camera operating.
From Dance to Camera Operating
Camera operator Lisa Stacilauskas, SOC, explores how her background as a dancer has supported her work behind the camera—bringing body awareness, rhythm, and practiced movement into her approach to operating.
Behind the Camera on MINORITY REPORT
Camera operator Mitch Dubin, SOC, recalls one of the most complex shots he’s executed for Steven Spielberg while working on 2002's Minority Report .
Teaching Women to Operate Cameras Around the World
Camera operator Gretchen Warthen, SOC, shares how teaching women to operate cameras around the world creates powerful breakthroughs—especially for those who never thought they could carry the camera.
Who has helped you most in your career?
KATHERINE KALLERGIS, SOC
I've been a Steadicam operator for 16 years.
What was one of your most challenging days in the industry?
Saturday Night Live Season 42, Episode 2. We spent a couple of hours rehearsing the Lin Manuel Miranda monologue on Thursday. On the day of shooting, everything we had rehearsed changed. We rehearsed once more and then we were live. No pressure,right?
What was your most memorable day?
At the Video Music Awards, there are many performances and only so much rehearsal time per performance. Tate McRae’s team wanted intricate Steadicam shots and had the insight to spend a few extra hours with me on their soundstage. Her team and the dancers were incredible to work with. I'm very proud of the work that was delivered for the live show.
What is the most important improvement you would like to see in our industry?
One union. There are too many different unions for the East Coast broadcast world; it's difficult to make enough hours in a single union to get health coverage.
I would say all of the trusted assistants I work every job with. Without them keeping me safe, I wouldn't be able to focus on my camerawork. They are essential and deserve the utmost respect and appreciation.
Credits: Tony Awards; MTV Video Music Awards; Saturday Night Live Homecoming Concert; Macy's Thanksgiving Day Parade; Dick Clark's New Year's Rockin' Eve
LEONARDO “LENNY” GONZALEZ
I have worked professionally for over 30 years as DP, camera operator, and owner-operator.
What was one of your most challenging days in the industry?
High-speed car-to-car action in Miami with stabilized arm and remote head—vehicles, safety crews, precision, and teamwork tested every skill.
Who has helped you most in your career?
My parents. My father, a photography enthusiast, inspired my passion, and my family’s belief gave me confidence to pursue this career.
What is the job you have yet to do but most want to do?
Lens a studio-backed feature filmed entirely in Miami, showcasing its culture, energy, and cinematic beauty on the highest level.
What is the most important improvement you would like to see in our industry?
More opportunities for new talent, stronger state arts incentives, and preserving cinema’s artistry—it takes a village; faster, cheaper work often lacks soul.
Credits: Camera operator and DP for the official exhibition video for Miami Movie Posters Exhibition (1941–2024), recreating some of the city’s most iconic cinematic locations and scenes, celebrating over seven decades of motion pictures filmed in and surrounding Miami.
Marilyn Dimayo
Zach Solomon
A DAM S OMNER
SARA MURPHY
PAUL T HOMAS ANDERSON
BEST PICTURE CAMERA OPERATOR OF THE YEAR
C OLIN A NDERSON , SOC
“Propulsive, hilarious, and overwhelmingly tender… a generational home run.”
– INDIEWIRE
One Battle After Another Battle-Ready
Operating
A Conversation with Colin Anderson, SOC & Sergius Nafa
By David Daut
As members of the radical revolutionary group, the French 75, Pat Calhoun and Perfidia Beverly Hills are no strangers to danger. Raiding immigrant detention centers, robbing banks, and planting bombs is all in a day’s work. But after Col. Steven J. Lockjaw develops a fetishistic fascination with Perfidia during a French 75 raid he begins relentlessly pursuing the group, ultimately capturing Perfidia and forcing Pat and his newborn daughter into hiding.
Camera/Steadicam Operator Colin Anderson, SOC, shooting ONE BATTLE AFTER ANOTHER
Michael Bauman / Courtesy Warner Bros. Pictures
WATCH THE TRAILER
Sixteen years later, Pat—now living under the alias Bob Ferguson— has put his revolutionary days behind him to focus on raising his daughter, Willa. Unfortunately the past catches up with him as Lockjaw returns, intent on capturing Willa with a full battalion of United States immigration officers at his disposal. One Battle After Another is written and directed by Paul Thomas Anderson and stars Leonardo DiCaprio, Sean Penn, Benicio del Toro, Regina Hall, Teyana Taylor, and Chase Infiniti.
One Battle After Another is Paul Thomas Anderson’s tenth feature film, and it also represents the largest canvas he’s yet worked on. With a reported budget over $130 million, Anderson has crafted an epic about what it takes to fight against oppression and the way that struggle becomes a relay race that spans generations. Yet even given its weighty subject matter, the film still manages to feel breezy and fun, never for a moment overstaying its welcome even with a 160-minute run time.
To find out what went into crafting this film—from its large-scale set pieces to the unusual film format—Camera Operator reached out to Paul Thomas Anderson’s longtime collaborator, camera and Steadicam operator Colin Anderson, SOC, as well as 1st AC Sergius Nafa.
Leonardo Di Caprio & Benicio Del Toro in ONE BATTLE AFTER ANOTHER
1st AC Sergius Nafa & Camera/Steadicam Operator Colin Anderson, SOC
Courtesy Warner Bros. Pictures Michael Bauman
Courtesy Warner
Camera/Steadicam Operator Colin Anderson, SOC
Teyana Taylor as Perfida & Sean Penn as Col. Steven J. Lockjaw in ONE BATTLE AFTER ANOTHER
Michael Bauman / Courtesy Warner Bros. Pictures
Kiss of the Spider Woman
Classical Framing, Modern Techniques
A Conversation with John "Buzz" Moyer, SOC
By David Daut
Based on the stage musical adapted from Manuel Puig’s 1976 novel by John Kander, Fred Ebb, and Terrence McNally, Kiss of the Spider Woman contrasts the bleak reality of its principal characters against the romantic, Technicolor fantasy and spectacle of a movie musical from the Golden Age of Hollywood.
Jennifer Lopez in KISS OF THE SPIDER WOMAN
Courtesy of ROADSIDE ATTRACTIONS
WATCH THE TRAILER
Bill Condon’s film adaptation draws a starker line between these two modes by having the film’s musical numbers almost entirely contained in the film-within-a-film of Molina’s fantasies. Camera Operator spoke with A camera operator John “Buzz” Moyer, SOC, about his work on the musical sequences for the film, what it was like evoking this classic style of filmmaking, and the challenges—both creatively and technically—that came with making a film in 2025 that feels like a lost relic of the 1940s.
Set against the backdrop of political revolution in Argentina, political prisoner Valentin Arregui is made to share a cell with Luis Molina, a queer window dresser arrested for public indecency. Unbeknownst to Arregui, Molina is being pressured by the prison warden to gather information about the revolutionary and his associates in exchange for a reduced sentence. As Molina weighs his loyalties, he escapes into a world of fantasy by recounting the story of his favorite movie musical, “Kiss of the Spider Woman.” Kiss of the Spider Woman is written and directed by Bill Condon and stars Diego Luna, Tonatiuh, and Jennifer Lopez.
Diego Luna & Jennifer Lopez in KISS OF THE SPIDER WOMAN
John "Buzz" Moyer, SOC, on the set of KISS OF THE SPIDER WOMAN
Courtesy
Tonatiuh & Diego Luna in KISS OF THE SPIDER WOMAN
John "Buzz" Moyer, SOC, on the set of KISS OF THE SPIDER WOMAN Courtesy
WATCH THE TRAILER
HIM Getting into Character
A Conversation with Scott Dropkin, SOC Hosted by David Daut
What does it cost to be the greatest? That’s the question at the heart of HIM , the twisty new sports-horror film that dives into the dark heart of ruthless ambition and the parallels between America’s fascination with sports and religious practices.
Scott Dropkin, SOC, on the set of HIM. Courtesy of Universal Pictures
Multimedia Feature
To get inside the psyche of Cam, the young pro-football hopeful at the center of this story, the film employs a striking and unique visual style filled with POV, tight close-ups, and moments of surrealistic nightmare imagery. Camera Operator got to speak with A camera and Steadicam operator Scott Dropkin, SOC, about what went into capturing this subjective style as well as some of the unconventional tricks they used to shoot it.
TECH ON SET
• ARRI ALEXA 35 Camera • Anamorphic 1.85x & 2x Lenses • Spherical Panavision H Series Lenses (for Flashback Scenes) • RED KOMONO Camera • 45mm Blazar
1.5x Anamorphic Lens • FLIR T1020 HD Thermal Camera
For as long as he can remember, Cam has wanted to be the G.O.A.T.— the greatest of all time—watching football players put their bodies on the line for a fleeting moment of glory. On the cusp of getting his shot at the big leagues an injury takes him out of commission, threatening to undo everything he’s worked for. Fortunately, an invitation comes from Isaiah White, Cam’s idol, to train under him at White’s remote compound. Once there, Cam finds himself confronting the true cost of greatness. HIM is directed by Justin Tipping from a screenplay by Tipping, Skip Bronkie, and Zack Akers and stars Marlon Wayans, Tyriq Withers, Julia Fox, and Tim Heidecker.
Julia Fox as Elsie in HIM
Tyriq Withers is Cam in HIM
Courtesy of Universal Pictures
Courtesy of Universal Pictures
Marlon Wayans is Isaiah in HIM
Scott Dropkin, SOC, shooting a scene for HIM
Courtesy of Universal Pictures
F1 Prepared for Anything
A Conversation with Lukasz Bielan
By David Daut
With "Strapping Cameras to a Rocket" by Dan Ming
Fresh off the historic success of Top Gun: Maverick, director Joseph Kosinski took the approach to shooting vehicles in motion at incredibly fast speeds that was pioneered for that film and adapted it to a new form. F1 launches like a rocket from its very first moments, putting audiences in the driver’s seat of cars that can travel more than 200 miles per hour.
Lukasz Bielan shooting a scene for F1
Courtesy of Apple
WATCH THE TRAILER
Immersing audiences in the high-speed world of Formula One racing was no easy feat—it meant developing new technologies and new techniques for filming these races at extraordinary speeds.
To learn more about what went into shooting this film, Camera Operator sat down with Lukasz Bielan to discuss the challenges, triumphs, and unexpected curveballs that made working on the movie so memorable. We also reached out to 1st AC Dan Ming to get a detailed look at what went into building the unique camera systems developed for this film.
Decades after a catastrophic crash knocked the young Formula One driver off his path to success, Sonny Hayes is left with an itch he can’t quite scratch. Sure, he still races in Daytona, but after coming so close to achieving a dream, living in the shadow of his own potential has become a burden. When he’s approached with an offer from friend and former teammate—now owner of the last-place APXGP racing team—Hayes joins only to find himself butting heads with the team’s young rookie, Joshua Pearce. F1 is directed by Joseph Kosinski from a screenplay by Ehren Kruger and stars Brad Pitt, Damson Idris, Kerry Condon, Tobias Menzies, and Javier Bardem.
Scene from F1
Lukasz Bielan shooting a scene for F1
Courtesy of Apple
Courtesy of Apple
Scene from F1
Lukasz Bielan on set with director Joseph Kosinski (left) & Javier Bardem
Courtesy of Apple
SOC AWARDS
LIVE STREAM • LOS ANGELES • NEW YORK • ATLANTA
The Society of Camera Operators (SOC) Awards will be held on Saturday, March 7, 2026, honoring Camera Operator of the Year in both Film and Television, as well as the Technical Achievement Award. Camera Operator of the Year submissions are now open at SOCAwards.com.
In recognition of the challenges faced by both our members and our sponsors due to the prolonged and devastating slowdown in US production, the 2026 SOC Awards will be held virtually. Our traditional black-tie event with lavish tributes to Lifetime Achievers in all categories will resume when the American industry has recovered to the extent that our sponsors can once again afford to support us, and our members can once again afford tickets. The in-person component of the 2026 SOC Awards will be found at Watch Parties in Los Angeles, New York, and Atlanta. Be on the lookout for details about your nearest Watch Party via email and at SOCAwards.com.
THE 2026 SOC AWARDS TIMELINE IS AS FOLLOWS:
November 2025
• Wednesday, November 5 - Technical Achievement Award submissions open December 2025
• Wednesday, December 31 (11:59pm PST) - Camera Operator of the Year submissions close
• Wednesday, December 31 (11:59pm PST) – Technical Achievement submissions close January 2026
• Thursday, January 8 - Camera Operator of the Year submissions Membership voting for Nominees open
• Sunday, January 11 – Demo Day, Los Angeles & Virtual
• Friday, January 16 - Camera Operator of the Year submissions Membership voting for Nominees closes (11:59pm PST)
• Tuesday, January 20 - Camera Operator of the Year Nominees and Technical Achievement Award (s) announced
February 2026
• Thursday, February 5 - Camera Operator of the Year Nominees voting opens to membership March 2026
• Sunday, March 1 (11:59pm PST) - Camera Operator of the Year voting closes
• Saturday, March 7 - SOC Awards Show broadcast live 4:30pm PST/ 7:30pm EST
Industry Memories
Framing the Vision: 15 Years of the Association of Camera Operators
by Zoe Goodwin ACO, Associate BSC, SOC, GBCT President of the ACO
The Association of Camera Operators was born 15 years ago from a simple yet powerful idea: that the role of the camera operator is unique and vital, deserving of recognition, advocacy, and a community of its own.
Our founding members, with foresight and passion, created a professional home for operators at a time when the importance of the craft was often overshadowed by other aspects of production. They understood that behind every frame is a human eye, creative instinct paired with technical knowledge. The Operator.
Pete Cavaciuti ACO, Associate BSC, GBCT, Founder Member and Ex-President recalls, “The impetus for starting the ACO had its genesis in the realisation that there was a declining appreciation for the role and value of the Camera Operator and indeed Operators were not regarded as essential crew in the USA after a renegotiation of the IATSE agreement with the Producers in 2006. We began to feel undervalued as Operators whilst at the same time understanding how
essential we are to the smooth running and visual quality of a film."
“An initial meeting was held in a pub in Harrow on the 20th October 2009,” Cavaciuti continues. “Myself, Paul Edwards, Rodrigo Gutierrez, Martin Hume, Chris Plevin, Peter Robertson and Peter Taylor attended the meeting, and the ACO came into existence, we decided on a plan of action and a role to assume. Rodrigo heroically scribed our rules and regulations becoming our first President; much help was had from Dee Edwards at the GBCT and sincere advice received from Francis Russell at the BSC.”
We have a proud and vibrant history, one built by dedicated operators who cared deeply about doing things the right way:
passionately, precisely, and creatively. Our 15th Anniversary celebration in September marked a truly significant milestone. The event was a wonderful occasion, well attended and a genuine celebration of our past, our present, and the bright future ahead. We have an amazing website populated with great articles, informative videos of our Q&A sessions and many interesting photographs of our members at work, and we have our quarterly magazine In the Frame, which celebrates our members incredible work and the support of our wonderful Patrons. We continue to work closely with the BSC and GBCT on the Operators Awards through our common Awards Committee. Over the years we have established a great working relationship with BAFTA and ScreenSkills, and we are firm partners with the SOC in LA. Our committees include Patron Liaison, Membership, Events, Editorial, Diversity, Merchandise, Website Content, Instagram and Facebook, and our indispensable and integral Training Committee.
To those founding members, I extend my heartfelt gratitude. Without their commitment, we would not have grown into the association that exists and thrives today. They fought for recognition, for standards, and for the celebration of our craft. Every member of the ACO who has walked onto a set owes something to their vision and dedication.
The ACO has always been about more than credits, the job you’re on, or the equipment you use. It’s about the operators. The ones who move with the story, frame each moment, capture emotion, and help create the magic that unfolds behind the lens. This is translatable across the world.
The art of camera operating has never stood still. Over the decades, technology has transformed the tools we use, from the earliest film cameras through the rise of digital, the explosion of high-end television, and the arrival of remote and virtual production. Today, we find ourselves in a landscape where operators might move seamlessly between large-scale feature films, immersive television dramas, commercials, online content—all while navigating new tools like drones, gimbals, stabilizers, and LED volumes.
Yet amid all this change, one truth has remained constant: the irreplaceable need for the human operator. Machines can capture images, but only operators can bring them to life. It is our intuition, our ability to interpret a director’s vision, to capture the cinematographer’s tone, to anticipate performance, and to feel the rhythm of a scene that gives meaning to the frame. Technology may evolve, but the operator’s role as storyteller, artist, and collaborator endures.
As the new President of this amazing Association, I will continue to advocate for recognition of this artistry both within and beyond the industry. Too often, the operator’s work is invisible to the wider audience, yet every audience member feels its impact. By sharing our stories, celebrating our members’ achievements, and mentoring the next generation, we ensure that the art of camera operating is never underestimated.
We all have a voice, and everyone has a chance to be heard. With so much uncertainty and struggle within our industry we can be stronger by working together and grow stronger as a community.
The ACO will always at our core keep championing the craft, in the same way the SOC does. We lift each other up, and pass down everything we know whether it be our industry-leading training courses or discussion groups and Q&As. After all, this isn’t just a job, it’s an art form—a creative one—that deserves to be celebrated and preserved.
Zoe Goodwin ACO, Associate BSC, SOC, GBCT; President of the ACO