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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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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 Navel 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
B&W Challenge. No people, no description. Thanks @maxwelljenkins8
Training Day. I’ve been working intensely with prepping a film project in Baton Rouge… and sitting with coffee today and coming up for air for a weekend moment, I realized that I haven’t paid proper respects to my crew on Training Day. This project was nominated for an ASC Award in the Television Movie or Pilot category a few days ago. For me, this is recognition of a large and dedicated group of people that have been at my side for decades, as this project was made in Los Angeles, our home base. Operators Scott Browner and Mark Labonge. First AC’s Mike Martino and Dave Taylor. Gaffer Walter Blithell and Key Grip Bob Babin. Producer Jerry Bruckheimer and Director Danny Cannon. Lead Actor, Bill Paxton. Like many film projects, there’s an amalgamation of preferences, styles and work ethics that are brought forth with passion and professionalism that manifests into something truly unique onto itself. I was talking to a friend recently who commented that the film making process is so incredibly complicated that it borders on impossible. Quite frankly, that’s true. I think the only component keeping a film production from becoming a chaotic creative and financial train wreck is the passion of the people involved and their desire to see the project through in a meaningful way. This movie was no different and I have great appreciation and pride for the work of these fine people. Job well done folks, and many more to come. #cinematography #panavision #panavisionofficial #fotokem #kodakshootfilm #the_asc #ascawards #filmmaking #dp #setlife

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