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Shelly Johnson, ASC

Shelly Johnson, ASC

Experiences as a Cinematographer

  • About Shelly
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Representation

Narrative:

The Gersh Agency – David Gersh

(310) 276-7502

 

Commercials:

The Gersh Agency – Marie Perry

(310) 205-5896

 

https://vimeo.com/user23213898

 

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Challenges. As a cinematographer moves through their career, the projects get bigger and the challenges become more advanced. On a film such as Captain America; First Avenger, the challenges ranged from the sheer size of the project to the immense workload, combined with the dynamic where-in budget money was available to cope with almost any technical situation… but with that came the caveat that absolute excellence was expected daily. Here on the frozen sub-orbital bomber set, the need for a parallel shaft of light created by only 8 feet of stage space above the upper hatch… setting camera in a corner of the set that was nearly uninhabitable… and the desire to create a mood that was referenced in a concept image created by Joe Johnston and Rick Heinrichs were the primary goals of this day. Because we had 115 sets to light on this project, there was an extreme need for preparedness and the ability to prelight 4 or 5 sets in advance so that we could stay ahead of the schedule and free our minds of technical demands when working with camera so that we could immerse in defining the creative contribution of any given shot. In order to refine each set-up so it’s saying as much as it possibly can at any given time requires a clear head. Fatigue sets-in across the span of a long schedule and I find the only true way to access one’s “inner storyteller” is to focus solely on the image on the groundglass… and quietly find the focus it takes to make that image speak as loudly as possible. With film this was easy since set etiquette mandated that the DP not be disturbed while their eye was at the eyepiece. For me, I would just stay there until the answers came to me. A very funny and surprising place to privately get one’s creative thoughts in order! That said, its important to be thankful for every project and never stop endeavoring to learn more about the equipment, story… and mostly, yourself. #captainamerica #marvel #panavisionofficial #efilmhollywood #sheppertonstudios #setlife🎥 #cinematography #cinematographer #dp #dop #theasc #filmmaking #filmmaker #bts
ASC Master Class. Just completed our preliminary discussion and lighting for the most recent Master Class for The American Society of Cinematographers. A bright and advanced group… and quite enthusiastic and ready to be challenged. We talked about the importance of previsualization, communication, a concise visual plan and the ability to make an audience feel. If they walk away with anything, I hope it’s the idea that they need to challenge themselves to seek expression and approach each scene with a fearless nature. To me, cinematographers are the author of the image and that’s something that cannot be performed in a cavalier manner. They need to stay in a mindset that brings the narrative forward and endeavor to make each shot say as much as it possibly can. Of course, they had the experience of watching another DP (me) light several scenes… and that’s always a discovery for all, as every DP approaches a set up in their own unique way. There is no right or wrong. I did notice, however that when each of these set ups were starting to take shape and the levels and tones were beginning to materialize, that there was an energy that every DP on the stage started to feel. It was fun to see how light can begin to excite and energize a room full of people. Cinematographers are a funny bunch and its always hilarious when I see these types of similarities we all share. #theasc #panavisionofficial #shellyjohnsonasc #ascmasterclass #molerichardson #quasarscience #cinelease #cinematography #setlife🎥 #DP #efilmhollywood #filmmaking #panavisiondxl #70mm #americancinematographer
Greyhound Wrap! Just finished a unique project that follows a US WW2 Destroyer through three days during a difficult Atlantic crossing. Unusual... because most of the film takes place within the pilot house of the ship, following the decision process of the ship’s captain and crew. The film was anything but typical and would not conform to any sort of existing visual or production plan... which I found both challenging and freeing at the same time. We shot Greyhound largely handheld thanks to the masterful talents of two venerable camera operators; Don Devine and George Billinger. Our grip/electric crews lead by Bob Babin and Bob Bates were also up to their stellar standards and approached their jobs with creativity and an indomitable spirit that transformed our small set, to a living and ever changing environment. I was so fortunate and lucky to have these people as part of my collaborative crew and will forever be in their debt for their efforts. Director, Aaron Schneider had a keen desire to keep the historical attributes as accurate as possible... so he brought in Captain Dale Dye, who brings with him a certain expectation of excellence. Lastly, our amazing cast lead by the wonderful Tom Hanks and group of talented and dedicated actors who served as his Naval crew. Walking away from this, I’m seeing that beyond the 65mm format and cool LED lighting, the talent of the people is what brings life to a film project. The film was challenging and tiring and there was rarely a time to sit back and think... and the dedication of the entire cast and crew is what brought this film to life. Thank you to everybody in Baton Rouge! #setlife🎥 #cinematography #panavision #filmmaking #panavisiondxl #technicolor #cinesouthlighting
Doing a film in Baton Rouge that takes place on a World War II US Navy Destroyer. Lots of gimbals, rain, mist and great crew & cast!! An interesting endeavor as the Director is fellow ASC member Aaron Schneider… a cinematographer-turned-director when he won an Academy Award for a short subject he Directed a few years back. I’ve never made a film where the Director/DP shorthand was more efficient. It helps that we have similar taste and take on the story, but also his ideas are just straight-up good. He has high expectations for light’s participation in the film as well as camera’s involvement. We made the decision to shoot in 65 format using the Panavision DXL and wonderful Sphero-65 lenses that my partners @panavisionofficial were able to procure for us. The 65 format is being used here, not because of our desire to get detailed panoramic views, but because our story is told on the faces of the characters in the pilot house where the large format optics allow us to get close with the characters without the distortion a smaller format might bring. A clearly different way to use large-format 65 that will bring the audience into the story. For a Director to grasp this type of visual contribution, he would need to have an extensive knowledge of cinematography… and Aaron was (is) one of the best. Aaron has asked his key crewmembers to study the movements and strategy in which our ships engage, so that the audience will have an opportunity to experience the situational awareness that’s so essential to the construct of this story. Historical and procedural accuracy is also a major requirement. Therefore, we’ve all become “amateur experts” with sea-going navigation, sonar & radar targeting, ship building, bridge building and… let us not forget… cinematography. It’s amazing what this occupation asks of the lucky ones who are able to do this job… and a big reason why I will never tire of this art form. #panavision #panavisionsphero65 #technicolor #cinematography #setlife #filmphotography #filmmaking #panavisiondxl #dp #theasc

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