{"id":8300,"date":"2018-12-13T14:58:56","date_gmt":"2018-12-13T22:58:56","guid":{"rendered":"http:\/\/www.icgmagazine.com\/web\/?p=8300"},"modified":"2021-05-30T18:21:54","modified_gmt":"2021-05-31T01:21:54","slug":"body-and-soul","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/body-and-soul\/","title":{"rendered":"Body and Soul"},"content":{"rendered":"
\"Operator
Operator Art Pena captures a sparring session \/ Photo-by Ray Mickshaw\/EPIX<\/figcaption><\/figure>\n

Guild reality members score a TKO\u00a0<\/strong>for teamwork and creativity \u2013 in and <\/strong>out of the ring.<\/strong><\/p>\n

 <\/p>\n

The Contender, <\/em>re-booted for its fifth season (on its fourth network, EPIX) is not your typical <\/strong>\u201c15 minutes of fame\u201d reality show. When Executive Producer Eric Van Wagenen hired Ramy Romany to direct Mark Burnett\u2019s 12-episode boxing competition series, from MGM and Paramount, his vision was to convert a reality competition show into a documentary film series.<\/p>\n

As Local 600 DP Jason Hafer explains: \u201cMark and Eric wanted to bring an elevated level of authenticity and heightened visual storytelling to the return of The Contender,<\/em>and they gave Ramy and me full visual control to make that happen. Boxing is life to each of these 16 competitors. They train hard, beat or get beat, often get hurt \u2013 and all while their wives and kids are watching. There\u2019s nothing fake about it.\u201d<\/p>\n

Shot on location at the L.A. Design Center in South Los Angeles, the sets (production design by Stuart Frossell) integrated the pre-existing wood and brick of the two formerly derelict warehouses, converted to showcase the work of the area\u2019s many furniture manufacturers. As Hafer describes, the fight ring, grandstands, master control room, pre-fight locker room and moody hallways where the fighters would walk from locker room to arena were on the first level, \u201cand the training room, coach\u2019s office, and fighter\u2019s bedrooms were upstairs,\u201d he states. \u201cWe constructed a brick wall with hooks and nameplates. Each time a fighter lost, his nameplate was put over one of the hooks, and he would walk over and hang his gloves as he left the building.\u201d<\/p>\n

To follow that cinematic approach, Ramy wanted The Contender\u00a0<\/em>shot in 2.39:1 aspect ratio, using eight ARRI AMIRAs, one ALEXA MINI (which lived on a Ronin 2), and seven C-300 Mark IIs, rather than the Sony F800s used on the original four seasons of The Contender\u00a0<\/em>(which first aired in 2005 on NBC). Cinema glass was chosen over ENG lenses.<\/p>\n

\"Trainer
Trainer Naazim Richardson \/ Photo by Ray Mickshaw\/EPIX<\/figcaption><\/figure>\n

\u201cOur operators used Sigma Cinema 18-35-millimeter and 50-100-millimeter zooms, Zeiss 70-200-millimeter zoom or the Tokina Cinema 11-16-millimeter zoom. We also carried a set of Canon CNE Primes,\u201d Hafer shares. \u201cWe wanted it to feel like a single-camera documentary feature. We encouraged our operators to cover scenes from the approach of finding the best light and compositions, even if that meant shooting a steep profile shot or a silhouette.\u201d<\/p>\n

The Contender <\/em>was captured in LOG-C 1920\u00d71080 12-bit 4444, using a custom 3D LUT designed by Romany, Hafer, and colorist Dean Perme at Revolution post. \u201cRamy wanted to give the show a period feel that felt like film,\u201d Hafer adds, \u201cso we created a LUT that was low saturation, high contrast, with warm mid tones and a hint of blue\/green. The blue\/green in the set and the blue\/green highlights fit nicely with the warm skin tones and gave the show a distinct look.\u201d The whole show, except for the fight, was framed and matted to a 2:40 ratio.<\/p>\n

Emmy-winning Lighting Designer and Local 600 member Oscar Dominguez created a look that was tweaked for each set and emotional moment by Lighting Director Brandon Davis.<\/p>\n

\u201cReality is often lit with a baseline, and then the ambient light is brought up to what is required,\u201d Dominguez reveals. \u201cBut The Contender\u00a0<\/em>was very different. When Brandon and I walked into the wonderful sets with Stuart [Frossell], Jason and Romany, we analyzed each space for ways to use the natural light like windows, without treating them too much. We always kept in mind what was happening in each room and addressing the limitations of our cameras.\u201d<\/p>\n

Dominguez says they used a wide range of lights, but the ones he came to call \u201cour Swiss Army knives\u201d were Hive\u2019s new 100C and 200C Wasps. \u201cThey\u2019re so small, we could put them anywhere, go for various color temperatures or full color, add reflectors or even lenses,\u201d Dominguez adds. \u201cThis way, Brandon could mold the light to fit the room \u2013 and the situation.\u201d<\/p>\n

\"3\"<\/p>\n

Shot in sequence over several days, shooting began\u00a0<\/strong>with training<\/strong>, breaks for interplay with the host, Olympic gold medalist and undefeated retired boxer Andre Ward, and went on to face-offs, interviews, and the lonely walk to the ring on Fight Night, with master interviews, the pre-fight intensity in the locker room and finally the fight itself.<\/p>\n

Operator Sherri Kauk recalls when she first met with Hafer and Romany, they described The Contender <\/em>as a world that would bring the original Rocky <\/em>(circa 1976) to life, \u201cbecause each of these men is on his own Rocky journey,\u201d Kauk offers. \u201cWe talked about establishing coverage on the shadow side, for each contender fights and dreams of being a champion in the limelight. Knowing this thematic intention, we visually framed fighters in contrast against the sun-drenched windows, in contrast to that limelight where their dreams and heroes exist.<\/p>\n

\u201cWhen they are on the speed bag,\u201d Kauk continues, \u201cin the ring or working the jump rope, they are facing their strengths, confronting their weaknesses; when they\u2019re eating breakfast with, sparring with, and laying back with their competitor-housemates, they are facing the guy who will support him through his journey while actively strategizing his demise.\u201d<\/p>\n

The intensity of each personal story needed to be carried through the different stages. For example, during training, when fighters would do cardio, strength, and skill drills with heavy bags and speed bags, the operators needed to capture each specialized drill with the coaches and sparring partners. \u201cRamy wanted to maintain a certain style,\u201d Hafer explains. \u201cSo we always wanted to keep the key upstage whenever possible using the windows that surrounded the training gym to be our upstage key\/edge light.\u201d<\/p>\n

\u201cWe wanted to keep the warehouse feel and not polish it up,\u201d adds Lighting Director Davis. \u201cWe used Triolet bases with 575-watt HPL bare bulbs as a general light base to keep the look industrial. We then added the Hive 100s into the practical boxing ring areas, gym equipment areas, and general reality areas for day and night.\u201d<\/p>\n

With so many cameras going, the AC\u2019s worked closely, sharing lenses and doing battery runs \u201cwhile sweating with the fighters in their training room,\u201d observes Danaya Wattanapan. \u201cWe had to assist our operators without being in the way of the other cameras in the room or distracting the challengers themselves.\u201d Camera settings changed constantly. \u201cWe would switch to different frame rates and shutter angles on the fly to capture the intensity of the fighters as they trained,\u201d the AC continues. \u201cOperators rotated during training sessions, handing off full camera packages, which meant breaking down and rebuilding your operators\u2019 camera multiple times a day.\u201d<\/p>\n

\"5\"<\/a><\/p>\n

Changing frame rates was a big deal.\u00a0<\/strong>As Kauk says, it was both the physical and emotional journeys that would pull the audience in. As operator Dan Kavanaugh, SOC, relates: \u201cSince boxing happens so fast, and the boxers are reacting through their training and instinct, muscle memory and what the other fighter is countering with, overlaying dialogue from a fighter\u2019s interview with footage of them in slow motion was the best vehicle tell the story. For example, during an interview, they might be talking about a specific moment in the middle of the fight or during a training session, and slow-motion would enable us to jump away from the reality of the fight in front of us and go into a more personal perspective of our boxer during that moment.\u201d<\/p>\n

The style allowed the operators to get a closer look at what it means to fight for a living \u2013 but it was also a challenge for the crew in the very limited space. \u201cThere is something to be said about being in a small confined room for hours with the best technicians in the business,\u201d Kavanaugh adds. \u201cWe needed to capture the rollercoaster ride of emotions, the boxers\u2019 interaction with legendary trainers Freddy Roach and Naazim Richardson, and their families and friends.\u201d<\/p>\n

Kavanaugh says the Guild camera team \u201ctried our best to be respectful\u201d of the process, \u201cshooting on the end of our lenses in cinematic tight-frame composition and playing it like a one-camera documentary style.\u201d In fact, both locker rooms had one sound person and two operators, often shooting from the bathroom stalls! Operators did their own battery and card changes so AC\u2019s or producers wouldn\u2019t have to interrupt the pre- and post-fight process.<\/p>\n

\u201cRamy and Jason gave Alex Wentworth, Gene Bradford and me a lot of creative freedom,\u201d Kavanaugh continues. \u201cWe threw out the standard reality coverage rules and brought in a true docu-style cinema v\u00e9rit\u00e9.\u201d With 16 fighters, all with different personalities, the operators tried to capture the quiet and introspective, as well as the amped-up and ready-to-rumble moods.<\/p>\n

\"6\"<\/a><\/p>\n

\u201cI would try tight close-ups of their faces, headphones, small gestures with their hands or bodies \u2013 even holding a few seconds longer than might be normal,\u201d Kavanaugh notes. \u201cWe\u2019d also try for connection shots from the trainers or even items in the room to the boxer, finding quick moments as the boxers mentally prepared to go and fight.\u201d<\/p>\n

Because\u00a0The Contende<\/em>r was truly live, there was no stopping between elements. So some of the biggest challenges were technical transitions \u2013 from the locker room to fight.<\/p>\n

\u201cMy always-two-steps-ahead-of-me AC, Danaya, and I had about a minute to switch over to the fight mode,\u201d Kavanaugh describes. \u201cWe had to take the camera, swap lenses, change the frame rate, change the viewfinder settings, format new cards, put fresh batteries on the camera and change the aspect ratio as we went from shooting 2.40 to 16 by 9 for the fights.\u201d<\/p>\n

\u201cWe were shooting so many frame rates in the arena simultaneously,\u201d Davis adds, \u201cthat using good old-fashioned PAR cans around the boxing ring seemed like a no-brainer. We hung them in closer and shallower than we normally would to get them behind the fighters in different handheld camera shots around the ring. Oscar wanted controlled top light as well above the boxing ring. He and Stuart came up with a clever way to disguise eight Sumo space lights, which worked perfectly for playing on camera as well.\u201d<\/p>\n

\"Photo
Photo by Michael Becker<\/figcaption><\/figure>\n

The fight itself was covered with 16 cameras. <\/strong>The Canon C300 Mark IIs shot real time, while the AMIRAs shot the slo-mo. The shutters on the AMIRA were at 210 degrees to capture all the detail of the blood and sweat flying off the fighters\u2019 bodies. The 210-degree shutter angle helped by adding a little motion blur to smooth out the slow motion even more, and when the footage was converted to real time, it gave the footage a sharper look.<\/p>\n

\u201cOur slow motion was shot at 95.904 frames per second, which is 23.976 times four,\u201d Hafer explains. \u201cThis allowed us to shoot the entire fight in slow motion and capture all the awesome details in camera, and if the editors wanted moments in real time, they would just speed it up times four. All cameras would shoot a timecode slate at the head of the fight for the editors to sync later. During the fight, we had two Amiras with Canon 17-120 ENG zooms outside the ropes on the apron in opposing corners, cross-shooting. An Alexa Mini, on the Ronin 2, shot low and wide through the ropes, from the side ring at ground level looking up at the fighters.\u201d<\/p>\n

With an AMIRA and a 50-100-millimeter lens next to the Ronin, the low\/wide-angle shooting into the lights allowed Hafer to capture those exciting moments \u2013 enhanced by the light flashes.<\/p>\n

The tighter spaces presented a healthy challenge for\u00a0gimbal operator,\u00a0John Lovell.\u00a0Romany\u00a0requested Lovell\u2019s set up \u2013 ALEXA MINI on the Ronin 2\u00a0with the camera constantly moving. \u201cFor the majority of The Contender, I lived on a\u00a0Tokina 11-16 millimeter lens,\u201d Lovell\u00a0states. \u201cUsing this wide of a lens made it a challenge to keep other operators, boom shadows, or anything else out of my frame. My field of view was always 100 degrees, even in the fight sequence. The ultra wide shot contrasted well with the other operators and their\u00a0tighter\u00a0shots.\u201d<\/p>\n

As for the other operators, they seemed to be everywhere. Two AMIRAs on Ronford standard legs with an Oconnor 2575D head and Fujinon Premier 75-400-mm zoom lenses \u2013 on platforms on the north and south sides of the ring \u2013 captured close-ups of the fighters; two more AMIRAs handheld on 50-100\u2019s covered the teams and families; and C300 Mark IIs framed up Ward. \u201cWe got two shots of the fighters with the ropes in the foreground from a dolly in the grandstands on a 50-100 lens, wide shots from a Technocrane on a Fujinon Cabrio 14-35-millimeter ENG zoom, and even an overhead tower cam, which telescoped up and down looking directly down on the ring on an 11-16-millimeter Tokina Cine Zoom,\u201d Hafer recounts.<\/p>\n

\"7\"<\/a><\/p>\n

The Contender<\/em>\u2019s large Guild crew put itself into the action. Literally.\u00a0\u201cThere was a moment when I was crouched down in the dark hallway, in front of the pre-fight locker rooms, getting the lens and accessories ready to quickly change the camera to fight mode,\u201d Wattanapan remembers. \u201cI noticed there was something on the lens, so I tried to dust it off with a dry lens chamois, but that didn\u2019t work. I pulled out my Pancro and flashlight to properly clean the lens and realized it wasn\u2019t dust. There was dried blood on the lens from the previous fight! This happened several times, and it helped me understand the gravity of what was on the line.\u201d<\/p>\n

\u201cI have so much appreciation and respect for everyone who worked on this season of\u00a0The Contender<\/em>,\u201d Hafer concludes. \u201cFrom the operators who fought through some long emotional scenes and never gave up on the story, to the AC\u2019s who stayed on top of the constant camera body and lens swaps, to our LD, Brandon Davis, and Bill Essling, our Key Grip, whose teams were rock-solid from start to finish. Each department supported each other completely \u2013 and it shows in the final product. This is one we\u2019re all very proud of.\u201d<\/p>\n

\"Photo
Photo by Michael Becker\/EPIX<\/figcaption><\/figure>\n

by Pauline Rogers \/\u00a0<\/strong>Framegrabs Courtesy of EPIX<\/strong><\/p>\n

LOCAL 600 CREW<\/p>\n

The Contender<\/em> – Season 5<\/p>\n

Director of Photography:<\/strong>\u00a0Jason Hafer<\/p>\n

Lighting Director:<\/strong>\u00a0Brandon Davis<\/p>\n

Operators<\/strong><\/p>\n

Vince Acosta<\/p>\n

MacGregor Barron<\/p>\n

Parker Bell<\/p>\n

Gene Bradford<\/p>\n

Rob Cammidge<\/p>\n

Andrei Cranach<\/p>\n

Michael Dean, SOC<\/p>\n

Malkuth Frahm<\/p>\n

Alex Garcia<\/p>\n

Brandon Haberman<\/p>\n

Daniel Hagouel<\/p>\n

Sherri Kauk<\/p>\n

Dan Kavanaugh, SOC<\/p>\n

Mitch Kim<\/p>\n

Tayler Knight<\/p>\n

Andrew Kwon<\/p>\n

Chris Lobreglio, SOC<\/p>\n

John Lovell<\/p>\n

Art Pe\u00f1a<\/p>\n

Dana Pustetta<\/p>\n

Dax Rhorer, SOC<\/p>\n

Sharra Romany, SOC<\/p>\n

Brett Smith<\/p>\n

Andy Waruszewski<\/p>\n

Alex Wentworth<\/p>\n

Lead AC<\/strong><\/p>\n

Josh Kade<\/p>\n

Assistants<\/strong><\/p>\n

Corey Bringas<\/p>\n

Josh Collinsworth<\/p>\n

Thor Fridleifsson<\/p>\n

Rickie Gustilo<\/p>\n

Matt Hackbarth<\/p>\n

Dave Hawes<\/p>\n

Ronnen Horovitz<\/p>\n

Will Im<\/p>\n

Orlin Ivanov<\/p>\n

Cameron Kahangi<\/p>\n

Ian Mosley<\/p>\n

Armando Mu\u00f1oz<\/p>\n

Chad Nagel<\/p>\n

Tony Perez<\/p>\n

Joe Prudente<\/p>\n

Bernie Smith<\/p>\n

Mike Warfel<\/p>\n

Danaya Wattanapan<\/p>\n

Utilities<\/strong><\/p>\n

Chris Savage<\/p>\n

Bear Johnson<\/p>\n

DIT:\u00a0<\/strong>Jack Damon<\/p>\n

Still Photographers<\/strong><\/p>\n

Michael Becker<\/p>\n

Ray Mickshaw<\/p>\n","protected":false},"excerpt":{"rendered":"

Guild reality members score a TKO\u00a0for teamwork and creativity \u2013 in and out of the ring.   The Contender, re-booted for its fifth season (on its fourth network, EPIX) is not your typical \u201c15 minutes of fame\u201d reality show. When Executive Producer Eric Van Wagenen hired Ramy Romany to direct Mark Burnett\u2019s 12-episode boxing competition series, from MGM and Paramount, his vision was to convert a reality competition show into a documentary film series. As Local 600 DP Jason Hafer […]<\/p>\n","protected":false},"author":2,"featured_media":8333,"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":[],"class_list":["post-8300","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features"],"acf":[],"yoast_head":"\nBody and Soul - 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\/body-and-soul\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Body and Soul - ICG Magazine\" \/>\n<meta property=\"og:description\" content=\"Guild reality members score a TKO\u00a0for teamwork and creativity \u2013 in and out of the ring.   The Contender, re-booted for its fifth season (on its fourth network, EPIX) is not your typical \u201c15 minutes of fame\u201d reality show. 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