{"id":7400,"date":"2017-11-09T11:23:53","date_gmt":"2017-11-09T19:23:53","guid":{"rendered":"http:\/\/www.icgmagazine.com\/web\/?p=7400"},"modified":"2021-05-30T19:52:15","modified_gmt":"2021-05-31T02:52:15","slug":"over-the-rainbow","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/over-the-rainbow\/","title":{"rendered":"Over The Rainbow"},"content":{"rendered":"

NBC\u2019s hit reality performance series is a dream come true for any young vocalist, and that excitement is just as palpable for the large Guild camera team behind the scenes.<\/span><\/p>\n

\"Photo
Photo by Trae Patton\/NBC<\/figcaption><\/figure>\n

Every singer has the desire to be heard; every budding star craves someone to support his or her dreams. And for those fortunate enough to be featured on NBC\u2019s Emmy-winning reality performance series The Voice<\/em>, they get something else as well \u2013 positive reinforcement from music industry titans like Adam Levine, Blake Shelton, Miley Cyrus and Jennifer Hudson, who are all about dream-building through encouragement.<\/strong><\/p>\n

Those qualities from the \u201ccoaching panel\u201d alone make The Voice<\/em> unique in a genre stacked with ego-shattering competition series. But it\u2019s also the flawless teamwork behind the scenes that has helped The Voice<\/em> croon with glee come Emmy night for 13 seasons.<\/p>\n

The show is a three-phased singing competition that shifts directors and crew for each phase. As director Alan Carter explains, \u201cThe Blinds [auditions shot like a reality show] comprise the first phase. And even though the music is at the core, it\u2019s about human emotions and is therefore shot with that in mind. Every angle possible is used to capture the looks, stares, thoughts and hopes \u2013 so moving cameras are not as prominent here.\u201d Phase Two, the Battles, (which include the Knock Out and Playoff Rounds), are shot in the same set, where, Carter says, \u201cthe music is far more important,\u201d and the camerawork reflects that fluidity and movement.<\/p>\n

The final phase, known as the Lives, is 100 percent focused on the singing and is described by Carter as basically \u201ca weekly Grammy Awards\u2013style show,\u201d meaning there are more moving cameras, extreme close-ups, dramatic lighting and staging to mirror the drama.<\/p>\n

Carter says selecting the camera team (and the camera each member operates) is one of the most important decisions he makes as a director. \u201cMusic is emotion,\u201d he states. \u201cThere\u2019s a beat, and the progression in a song is very important. So I need camera people who have that musical feeling inside them. You can\u2019t teach it. You either have it or you don\u2019t.\u201d<\/p>\n

The director goes on to note that most of the operators play instruments and have some degree of musical performance in their backgrounds. \u201cI can\u2019t tell every cameraperson what speed to zoom or how fast to swing the crane, because it\u2019s all happening too fast,\u201d he continues. \u201cThey just have to feel the music and have it come naturally.\u201d<\/p>\n

Carter creates an \u201copen dialogue\u201d on the headset that encourages operators to \u201csell\u201d him shots. \u201cThere is no way for me to be able to see everything all the time,\u201d he adds. \u201cSo, I let them be my eyes out there on the floor. \u2018If you see something good, shoot it and show me.\u2019 If I don\u2019t like it, I won\u2019t take it. But usually it\u2019s all great stuff.\u201d<\/p>\n

With such criteria, it\u2019s no surprise The Voice<\/em> is captured from every possible angle, with almost every kind of equipment. The show uses Sony 4300s (4K-capable) and a variety of lenses including Canon (86X, 95X) and Fujinon. There are Vinten Vector pan heads, Vinten Fulmar pedestals, a 50-foot Super Technocrane, a Techno-Jib, a wireless Jimmy Jib and two Steadicams.<\/p>\n

Carter builds each number in rehearsal around the Steadicam and cranes\/jibs, knowing that he\u2019ll typically get three close-ups from which to choose, and a default wide or head-to-toe shot from the pedestal operators to go to whenever he needs it.<\/p>\n

\"Live
Live Unit Steadicam Operator Manny Bonilla \/ photo by Tyler Golden<\/figcaption><\/figure>\n
\"Reality
Reality Unit Operator Steve Lopez \/ photo by Trae Patton<\/figcaption><\/figure>\n

The Voice\u2019s<\/em> elite group of camera teams<\/strong> (nominated six times and overdue for an Emmy) says it\u2019s unlike any other job in the industry. Or as Steadicam Operator Manny Bonilla describes, \u201cIf shooting in the round, on a huge multi-level black-on-black set, in one of the world\u2019s largest soundstages, for a live TV show, doesn\u2019t get your blood pumping, nothing will.<\/p>\n

\u201cShooting [The Voice<\/em>] is like one of those whack-a-mole games at the carnival \u2013 with an artistic touch,\u201d Bonilla adds.\u00a0\u00a0 \u201cKnowing exactly where and when to be on stage in direct correlation to another camera or the artist, and trying to avoid making an unannounced cameo on live TV, is a huge challenge. Of course, none of that would be doable without a great assistant.\u201d<\/p>\n

Bonilla draws a picture of the stage, makes a circle with an X to represent the artist and a square with an X to represent himself. \u201cI also note how many bars of music I have with which to execute my move, so it\u2019s all about logistics and how can I connect all my shots. A song might start behind the coaches on the live stage; I split the coaches\u2019 chairs and make it onto the stage-right ramp, cross in front of the artist and end on a camera-right close-up. Now I\u2019m standing on stage right next to the artist. Alan will usually go to one of several close-ups, buying me a few seconds to scurry off stage left to a set of escape stairs. Since I\u2019m wireless and have a full range of motion, I am constantly thinking how I can complement the shot.\u201d<\/p>\n

Being wireless has advantages for more than just Steadicam on The Voice. Operator Alex Hernandez uses a wireless Jimmy Jib (powered by four 12-volt car batteries) that allows him to move freely without being tethered to a cable.<\/p>\n

\u201cLast season there was a performance with a piano center stage,\u201d Hernandez recounts. \u201cI know what Alan likes and wanted to give him something cool, so I rolled out the shot from the top above the piano. Because I was wireless, I could get close \u2013 sometimes I\u2019m even 10 to 12 inches away from the performer \u2013 and then I have to get out quick.\u201d<\/p>\n

Such complex movements, with many operators crossing at once, could cause a train wreck if the team weren\u2019t completely in sync. That\u2019s why Hernandez is quick to credit his Utility, Tim Bower, who has, literally, saved the day.<\/p>\n

\u201cI remember once the 15-foot jib was center stage,\u201d Hernandez continues, \u201cand everyone could see me. One of the songs had been swapped out \u2013 and no one told us. \u2018Oh, my God, I\u2019m on the wrong side!\u2019 I realized. We literally had three seconds to get back \u2013 and Tim helped me get around with half a second to spare.\u201d<\/p>\n

\"Live
Live Unit Operator Scott Kaye \/ Photo by Tyler Golden<\/figcaption><\/figure>\n
\"Lighting
Lighting Director Craig Housenick \/ Photo by Tyler Golden<\/figcaption><\/figure>\n

The Voice<\/em> looks great for a lot of reasons,<\/strong> but there\u2019s little doubt that featuring shots from a 50-foot Super Technocrane is a cut above the rest. Or as Crane Operator Marc Hunter puts it, \u201cHow many times have you seen one used in live weekly TV these days outside of our show? Zero. Yes, it\u2019s a daunting prospect to think about fitting that arm into a show shot in 360 degrees. But my crew, Jim Lay and Chris Sweeney, are the best in the business. Not only can they do film-style A to B stuff, but they think and change on the fly.\u201d<\/p>\n

To accomplish this aerial dance, Hunter and Carter, along with three-time Emmy winning Lighting Designer Oscar Dominguez (see page 45), work closely with Production Desginer Anton Goss and Art Director\u00a0Zeya Maurer. Although, as Hunter observes, \u201cAny change you make is a domino that will affect many aspects, so you can\u2019t make a suggestion lightly. Fortunately set design and lighting start early. And I have some input as to getting the Techno in as close to the action as possible.\u201d<\/p>\n

Hunter admits that the show\u2019s glossy visuals present logistical challenges for a Technocrane. \u201cDraw yourself a circle and put eight points evenly spaced around the circle all pointing toward the center, and you can start to see the problems of shooting 360 degrees,\u201d he details. \u201cNow make one of those points a big long crane, now two points, now three. And the issues can pile up.\u201d<\/p>\n

Cranes, wireless jibs, and Steadicams are not the only moving parts on The Voice<\/em>. Jofre Rosero works handheld and with the Porta-Jib, mounted on a tripod mounted on wheels. Like the many live awards shows Rosero has shot, for The Voice he looks for the frame that \u201cmy grandmother is going to see at home watching; without her knowing, it is going to take her for a ride. Climbing, diving, or even something really embarrassing \u2013 I will do it,\u201d he insists, \u201cbecause [operating] is my passion and this show feeds it.\u201d<\/p>\n

It\u2019s a dance every operator understands \u2013 and respects. Rosero says with all of the controlled chaos on the stage, he\u2019s mindful about landing in someone else\u2019s shot. Handheld camera operator Guido Frenzel feels the same, and notes that Carter likes to use him for unusual perspectives from places the others can\u2019t reach. \u201cHandheld shots vary from low-angle wide shots showcasing Oscar\u2019s array of lights to ECU\u2019s of the performers and instruments,\u201d Frenzel describes. \u201cSometimes we even end up in the middle of the \u2018band.\u2019\u201d<\/p>\n

In fact, in 2016, during W\u00e9 McDonald\u2019s performance of the song \u201cDon\u2019t Rain on My Parade,\u201d Rosero and Frenzel were \u201chiding\u201d amongst the musicians on stage and had precious few choreographed seconds to come out to their exposed camera positions on the floor between the string players, all while trying to stay unseen by a circling Steadicam and Technocrane. \u201cIt\u2019s those kinds of situations that make you keenly aware that you are working on live TV,\u201d Frenzel states, \u201cas you are staring up from the floor at some pretty incredible musicians.\u201d<\/p>\n

\"Reality
Reality Unit AC Vessie Kazachka \/ Photo by Trae Patton<\/figcaption><\/figure>\n

Even the more traditional aspects of The Voice\u2019s<\/em> camera coverage,<\/strong> i.e., shots from pedestals, take on added complexity with Carter at the helm. \u201cAlan doesn\u2019t number the shots, even though he scripts them out, so I have a fair amount of freedom,\u201d relates Operator Scott Kaye, who typically shoots three-quarter close-ups from stage left, Carson Daly\u2019s introductions and \u201cfriends and family\u201d in the audience post-performance. \u201cHow close I zoom, for example. Alan often lets each of us make the shots that we find the most pleasing without micromanaging.\u201d<\/p>\n

Kaye recounts an episode where the performer was in front of an LED screen that started out black before a neon heart was slowly animated out. \u201cI was able to frame my shot much wider than I would normally, allowing for the heart that wasn\u2019t yet there to make my composition around,\u201d he explains. \u201cI offered it up to Alan \u2013 and he asked me to feed it during the show.\u201d<\/p>\n

Senior Pedestal Operator Diane Biederbeck also likes the freedom The Voice affords, noting that if she, or any one of the operators, sees something, even under a time crunch, Carter has been known to stop everything during a rehearsal to move a set piece, or a band member, or to try a different angle. And often what ends up on air changes yet again from the rehearsal.<\/p>\n

\u201cAn operator\u2019s function is not simply to give a pretty shot, but to interpret the mood and tell the story visually,\u201d Biederbeck shares. \u201cOf course, I believe that none of us can take credit without acknowledging the symbiotic relationship of the lighting designer, Oscar Dominguez, and his crew. Sometimes I can point the camera, and it\u2019s just there, like God showed up and made the shot beautiful.\u201d<\/p>\n

Another key partner in creating The Voice\u2019s<\/em> Emmy-winning look is Video Controller Terrance Ho, who works closely with Dominguez to make sure the talent is lit properly. Ho works with the screen techs and maintains consistency for all the cameras.<\/p>\n

\u201cVC\u2019s have to improvise at times,\u201d Ho relates, \u201cespecially during the live segments if plans change. One time we had an outdoor camping set piece where The Swon Brothers sang by the bonfire. During the rehearsal, it was decided that there would be no front lights and the only source of illumination for their faces would be from the fire. The problem was that the bonfire\u2019s flames varied and weren\u2019t all that strong, so the consistency wouldn\u2019t be there during the performance. Even though I was anticipating the potential mishap, it was still a scramble to get all 14 cameras to expose properly and to be able to see the faces and then reset all of them when the performance was done.\u201d<\/p>\n

\"Photo
Photo by Tyler Golden\/NBC<\/figcaption><\/figure>\n

The Voice\u2019s<\/em> Reality team, led by Alex Van Wagner (Segment Director\/DP) and Edgar Martin (2nd Unit DP\/Segment Director),<\/strong> experiences a different set of hurdles than the live team. The high-energy camera crew is tasked with telling the stories of the contestants: their backgrounds and personal challenges. The content, which makes up about 30 percent of each episode, is key in building a connection with the audience, especially during the Blinds.<\/p>\n

\u201cOur camera operators are DPs and help bring out the best of the beautiful sets that James Connelly and his team create,\u201d reflects Martin. \u201cOur gaffer and Reality [lighting director], James Barker, and Best Boy electric AJ Taylor always light beautifully, no matter how fast we move.\u201d<\/p>\n

In addition to handheld, the Reality team uses a Jib and Dolly for movement and energy. Martin says that, \u201cKey Grip Jeremy Spinney and Best Boy Grip Steve Redondo are always on point. If it\u2019s a simple dolly move or a sweeping jib shot on a dolly with 50 to 80 feet of track, they make it happen.\u201d Some of the most important in-the-studio shots are backstage. \u201cThis is where the artists prepare mentally for their performance,\u201d explains assistant Vessie Kazachka. \u201cThey are shot on ALEXA, mostly high speed, from 48 frames per second to 96 frames per second, mostly with Cooke S4 primes.\u201d The main cameras are Sony F55s.<\/p>\n

\u201cI love the collaboration and the freedom we get,\u201d Kazachka adds. \u201cThe operator and I receive our guidelines from Alex Van Wagner, then we have creative freedom in execution. Certain operators prefer I pull focus for them, in which case I have the freedom to be creative within the focus as we observe and try to capture the individuality of each artist. There is an open flow to the shooting as we place the artist in an area and ask him or her to be mentally in that space, ready to go onstage. Then, both the operator and I get to use our creativity to express what we see.\u201d<\/p>\n

The reality portion of The Voice<\/em> is a huge undertaking \u2013 and those who capture it are cognizant of their contributions to the series. What raises the bar for the reality team is the fact that they don\u2019t rehearse anything with the coaches or artists. (The same goes for when they are out on location visits.) Like a documentary crew, the team shoots on instinct and intuition, anticipating the key emotional moments that might well sum up a young singer\u2019s journey.<\/p>\n

\u201cThe artists have soft marks where we have lit for the scenes and space, but they basically roam around the set as needed and we need to be able to cover them,\u201d Martin explains. \u201cThis is where we have to be really quick on our feet. A big objective is to have the artists and coaches feel these real moments and experience everything first hand, without interruption on our end.\u201d<\/p>\n

Merging the reality and live portions of The Voice<\/em> has become an art for both of these talented Local 600 camera teams. And as Martin concludes: \u201cWe have a lot of trust and faith in one another, and communication is paramount. It\u2019s the only way to actually make this work. I don\u2019t know of any other show that has been able to merge both of these worlds together so successfully, especially for as long as we have.\u201d<\/p>\n

BY
\nPauline Rogers<\/p>\n

PHOTOS BY
\nTyler Golden & Trae Patton<\/p>\n

 <\/p>\n

CREW<\/strong><\/h3>\n

LIGHTING<\/em><\/p>\n

Lighting Designer<\/strong>
\nOscar Dominguez<\/p>\n

Lighting Director<\/strong>
\nSamuel Barker
\nDaniel Boland (IATSE Local 728)
\nCraig Housenick<\/p>\n

Chief Lighting Technician<\/strong>
\nRon Wirsgalla<\/p>\n

Programmer\/Media Server Operator<\/strong>
\nJohnny Bradley<\/p>\n

LIVE<\/em><\/p>\n

PED Operators<\/strong>
\nRob Burnette
\nDiane Biederbeck
\nMartin J. Brown, Jr.
\nSuzanne Ebner
\nLarry Heider
\nScott Hylton
\nKathrine Iacofano
\nScott Kaye
\nDave Levisohn
\nBart Ping
\nGeorge Prince
\nSteve Thiel<\/p>\n

Handheld <\/strong>Camera Operators<\/strong>
\nDanny Bonilla
\nGuido Frenzel
\nEd Horton
\nGarrett Hurt
\nNathanial Havholm
\nJofre Rosero<\/p>\n

Steadicam Operators<\/strong>
\nManny Bonilla
\nSteve Simmons<\/p>\n

Super Technocrane \/ Techno Jib<\/strong>
\nJimmy Jib Operators
\nAlex Hernandez
\nMarc Hunter
\nSteve Martyniuk
\nDanny Webb<\/p>\n

Super Technocrane \/ Techno Jib\/<\/strong>Jimmy Jib Hothead Techs<\/strong>
\nJim Lay
\nJames O\u2019Hara
\nEugene \u201cSketch\u201d Pasinski
\nChris Sweeney<\/p>\n

Video Controllers<\/strong>
\nTerrance Ho
\nMark Sanford
\nJohn O\u2019Brien<\/p>\n

Utilities<\/strong>
\nTim Bower
\nDelvin Careathers
\nDustin Ford
\nSteve Fournier
\nByron Harris
\nKirk Kamisato
\nJeff Knowlton
\nWally Lancaster
\nFrank Linder
\nChad Lovegren<\/p>\n

REALITY<\/em><\/p>\n

DP\/Directors<\/strong>
\nAlex Van Wagner
\nEdgar Martin<\/p>\n

Operators<\/strong>
\nMarkos Alvarado
\nSteve Lopez
\nTim Murphy
\nJohn Sandoval
\nNick Tramontano
\nJeff Wilkins<\/p>\n

AC<\/strong>
\nCraig Asato
\nDave Hawes
\nVessie Kazachka
\nJeremiah Thorne<\/p>\n

Utility<\/strong>
\nChris Antes<\/p>\n

Jib<\/strong>
\nScott Carrithers<\/p>\n

Still Photographers<\/strong>
\nTyler Golden
\nTrae Patton<\/p>\n","protected":false},"excerpt":{"rendered":"

NBC\u2019s hit reality performance series is a dream come true for any young vocalist, and that excitement is just as palpable for the large Guild camera team behind the scenes. Every singer has the desire to be heard; every budding star craves someone to support his or her dreams. And for those fortunate enough to be featured on NBC\u2019s Emmy-winning reality performance series The Voice, they get something else as well \u2013 positive reinforcement from music industry titans like Adam […]<\/p>\n","protected":false},"author":1,"featured_media":7403,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[2],"tags":[36,37,40,469,470,471],"class_list":["post-7400","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features","tag-icg","tag-icg-magazine","tag-local-600","tag-the-voice","tag-trae-patton-photography","tag-tyler-golden-photography"],"acf":[],"yoast_head":"\nOver The Rainbow - ICG Magazine<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.icgmagazine.com\/web\/over-the-rainbow\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Over The Rainbow - ICG Magazine\" \/>\n<meta property=\"og:description\" content=\"NBC\u2019s hit reality performance series is a dream come true for any young vocalist, and that excitement is just as palpable for the large Guild camera team behind the scenes. 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