IEC
#1: Photo by William Kallay
#2: [With viewfinder] - "Jurassic Park III"
SHELLY JOHNSON ASC
Born: 13 June 1959, Pasadena, Calif., USA, as Shelly W. Johnson.
Education: Blair International Baccalaureate School [formerly Blair High School], Pasadena; Pasadena Art Center College of Design [1977-80].
Career: "I grew up and went to school in Pasadena, California. My father started in the mailroom at ABC and eventually worked his way up to directing live news in Los Angeles. He eventually directed network special variety shows, including the Peggy Fleming shows and Perry Como Christmas shows. A lot of them were shot on location around the United States or in Europe. Sometimes I'd help him shoot some of the scenics. […] I grew up thinking that I wanted to be a cinematographer. I was excited by the idea of using light to tell stories. That's all I ever wanted to do was shoot movies. When I was about 13 or 14, Bill Fraker shot a film at the house across the street. I didn't know who he was, but I went over to watch the shoot. I remember being very impressed by his sense of humor, his professionalism and how he treated his crew and how they treated him. He was the first real Hollywood cinematographer I saw at work. When I got out of school, I gaffed a bit, assisted a little bit and was shooting industrial films, documentaries, commercials and other small jobs. I shot sales films for medical companies promoting new products and techniques, small dramatic religious films for a company, which distributed them to churches, and some variety shows. I got a lot of jobs through people I knew in film school. It's very important to make friends because they're the ones who are going to want to bring people they know along when they get a job. We had our own revolving group of guys who all did different jobs depending on who was shooting and who was gaffing. […] I met Allen Daviau when I was a student, and asked if he would be interested in seeing a student film that I shot. He agreed. To give it a period look, we used a color flashing method where we double-exposed the film. I think he was impressed with the idea of doing something different and encouraged me to stay in touch with him. Later, Allen had a friend who was doing a feature, and asked if I wanted to interview for it. The project was a film version of the Richard Wright novel 'Native Son'. I interviewed and didn't get it, but it was great taking the script and preparing an approach I could present to the director. When they had two weeks of shooting left, the work visa of the cinematographer they hired expired and he had to leave. They called me in a panic, asking if I could finish the film. The shoot was 10 miles from my house, so I jumped in the car and went over there. I got started doing some lower budget films as a result of 'Native Son' and got more narrative credits. […] I had stayed away from series television, but decided to go ahead with one for DreamWorks about supernatural events and people with certain psychic gifts. The show was called 'The Others'. We really took it to far extremes where we shot dream sequences underwater and other crazy things. It was a mid-season replacement, so we shot twelve episodes. About two weeks after we wrapped, I got a call from Larry Franco, the producer of 'Jurassic Park III'. Steven Spielberg had recommended that he talk to me about possibly doing the film. I went and talked to Larry and director Joe Johnston. It was a big break for me and a big chance on their part, but I guess after talking to me, they felt I was ready to do a movie like that." [From interview on the KODAK OnFilm website.]
Member of the ASC since 2000.
Married to author/playwright Karen Kasaba.
Awards: ASC TV Award nom [1989] for 'Everybody's Baby: The Rescue of Jessica McClure'; ASC TV Award nom [1997] for '[Louisa May Alcott's] The Inheritance'; ASC TV Award nom [2000] for 'The Others' [ep #5 '1112' dir by Bill Condon].
'Jurassic Park III' [2000]: 'Two weeks after finishing work on 'The Others', Shelly Johnson received a call from producer Larry Franco, asking whether he had any interest in meeting director Joe Johnston. "I read the script for the first time while I was sitting outside Joe's office," recalls Johnson. "As I finished reading, I just stared off into space. This would be working at a scale that I had never attempted. I'd done a lot of television and eight or nine features, including a fairly large second-unit on 'True Lies', but... then the film's UPM passed by and recognized my thousand yard stare and laughed 'Shelly, you look like you just read the script.' That kind of reassured me. I wasn't the only one who reacted in this way! There would be a lot of human moments within complex action sequences containing animatronics dinosaurs as well as complicated CG elements that seemed very overwhelming.
First off, Johnson got several pieces of advice. First he called upon Allen Daviau, who did extraordinary amounts of day exteriors in an on-stage jungle for 'Congo'. In watching the High-Def version of that picture, Daviau showed Johnson what he felt worked and what didn't. "We went over everything in detail and I saw how he handled the exteriors by his use of color, misters and other tools." Johnson learned from Daviau that a careful use of misters is key in creating depth. "By adding misters - highly filtered water through emitters to create a curtain of vapor - I could get a curtain that would effect only the background. This way, people could walk out of the 'depth' and create the illusion of a deeper jungle."
The next piece of advice Johnson sought was from 'The Lost World: Jurassic Park' cinematographer Janusz Kaminski. "He told me that 'The creatures will give you everything you want. You need to concentrate on giving them a world that they can live in. Find an interesting way to look at their world and it will work.' I realized that since a lot of the movie is character-based, we would lose the audience if the camera was focusing on the Hollywood shot and not on what the characters were seeing."
Taking their counsel to heart, Johnson struck off on his own. 'Jurassic Park III' was to be shot in the 1:85 format, which was easier for effects as well as keeping the feeling of dinosaurs and vegetation existing together. He utilized Panavision cameras - two Platinum's and a Panavised ARRI III - with two VistaVision cameras for effects shots. His lenses were all Primos, with a lot of time spent on the 4-to-1 zoom. "When Joe starts rolling, you have to keep rolling, and just make a few little adjustments without cutting. That's why there's the zoom. We would hide the fact that we were on the zoom in the moves."
The cinematographer capitalized on three Kodak stocks: EXR 5248 [100 ASA] for the Hawaii sequences; a mix of Vision 200T [5274] and Vision 500T [5279] in the massive jungle sets; and Vision 200T for the remaining footage. "I didn't want to shoot wide open with the big creatures, so I went for the faster stock here where I felt the need."
"The film feels as though it is set in a rotting environment. There is no new growth - that is to say there are no young green colors. The plants on the island are mature and in a state of decay. So colors were important. Ed Verreaux and I worked with greens supervisor Danny Ondrieko on keeping 'young green' out of the vegetation and out of the lighting. This is a decaying island." On the jungle set, Stan Winston and crew managed to fine-tune the dinosaurs' paint job accordingly.
The overall idea was to present a terrifying environment where - with movement, color, contrast and composition - the audience would feel as though the characters are constantly doomed.' [From article by Pauline Rogers on the ICG website.]
| FILMS | |
|---|---|
|
1986 |
Native Son [Jerrold Freedman] c; finished film, but cred as addph; ph: Thomas Burstyn |
|
1986 |
Nightflyers/Night Flyers [T.C. Blake (= Robert Collector)] c |
|
1986 |
Maid to Order [Amy Jones] c |
|
1987 |
Jack's Back [Rowdy Herrington] c |
|
1988 |
Judgement/Hitz [William Sachs] c |
|
1990 |
Teenage Mutant Ninja Turtles II: The Secret of the Ooze [Michael Pressman] c; 2uc: Jon Kranhouse |
|
1993 |
True Lies [James Cameron] s35/c; uncred snow unit ph; ph: Russell Carpenter; filmed 1993-94 |
|
1996 |
Amanda [Bobby Roth] p/c |
[Far left] with dir Joe Johnston [2nd from right] - "Jurassic Park III"
|
2000 |
Jurassic Park III [Joe Johnston] 35mm (+ D-Cinema)/c; vfx ph: Martin Rosenberg; uwph: Michael Ferris; see above |
|
2001 |
The Last Castle [Rod Lurie] p/c; 2uc: Jonathan Taylor |
|
2002 |
Manhood [Bobby Roth] c; addph; ph: Steve Burns |
|
2002 |
Hidalgo [Joe Johnston] p/c; 2uc: Kevin McKnight; aph: Hans Bjerno |
|
2004 |
Sky High [Mike Mitchell] s35/c; 2uc: Kevin McKnight |
|
2006 |
One Missed Call [Eric Valette] 35mm (+ D-Cinema)/c; reshoots ph (Los Angeles); ph: Glen MacPherson |
|
2007 |
The House Bunny/I Know What Boys Like [Fred Wolf] HD (Genesis)-to-35mm scope/c; 2uc: Kevin McKnight |
|
2008 |
Fired Up! [Will Gluck] scheduled as doph, but film was ph by Thomas E. Ackerman |
|
2008 |
The Wolfman [Joe Johnston] s35-to-35mm (+ D-Cinema)/c; 2uc: Fraser Taggert; splinter unit ph (+ miniature ph): Peter Talbot; vfx ph: James D. Kelly; based on scrpl by Curt Siodmak ('The Wolf Man', 1941, George Waggner; ph: Joseph Valentine) |
|
2008 |
Jurassic Park IV/Jurassic World [Joe Johnston] pre-production; in development since 2002; replaced ph Dean Cundey; prod ph by John Schwartzman and dir by Colin Trevorrow in 2014 |
|
2009 |
The Big Bang [Tony Krantz] 35mm scope-to-digital/c; aph: Steve Koster |
|
2010 |
Captain America: The First Avenger [Joe Johnston] HD (ARRI ALEXA + Genesis + Canon EOS 5D Mark II)+s35-to-35mm scope (+ D-Cinema [also 3-D version])/c; 2uc (+ 2ud): Jonathan Taylor; ph splinter unit: Peter Talbot; ph splinter unit Los Angeles: Dino Parks; aph: John Marzano |
|
2011 |
The Expendables 2 [Simon West] s35 (+ D-Cinema)/c; 2uc: Attila Szalay, Harvey Harrison & Anton Bakarski; aph: John Marzano; filmed 2011-12 |
|
2012 |
Percy Jackson: Sea of Monsters [Thor Freudenthal] s35 (+ D-Cinema [also 3-D version])/c; 2uc: Roger Vernon; aph: David Norris & Hans Bjerno |
|
2013 |
Wild Card/Heat [Simon West] HD (ARRI ALEXA Plus 4:3/p)-to-D-Cinema (scope)/c; 2uc: Alan Caudillo |
|
2014 |
Man Down [Dito Montiel] p-to-digital/c |
|
2015 |
The Blob [Simon West] pre-production; remake of film (1957, Irvin S. Yeaworth, Jr.; ph: Thomas Spalding) |
|
2015 |
A Family Man/The Headhunter's Calling [Mark Williams] HD (ARRI ALEXA/p)/c |
|
2016 |
The Hurricane Heist/Category 5 [Rob Cohen] HD (ARRI ALEXA XT Plus/Master Scope & Mini/Master Scope)-to-D-Cinema (scope)/c; Florida plate unit ph: Michael Stampler |
|
2016 |
Geostorm [Dean Devlin] RED Epic Dragon-to-D-Cinema (scope [also 3-D version])/c; addph (reshoots in December dir by Danny Cannon); ph (2014-15): Roberto Schaefer |
|
2018 |
Greyhound [Aaron Schneider] HD (Panavision DXL)-to-D-Cinema (scope)/c |
| TELEVISION | |
|---|---|
|
1985 |
The Grand Tour [Sterling Johnson] doc series |
|
1987 |
Red River [Richard Michaels] tvm |
|
1988 |
Unholy Matrimony/Deadly Vows [Jerrold Freedman] tvm |
|
1989 |
Love and Betrayal/Throw Away Wives [Richard Michaels] tvm |
|
1989 |
Everybody's Baby: The Rescue of Jessica McClure [Mel Damski] tvm |
|
1989 |
Grand Slam/Dead Trouble [Bill L. Norton] pilot/87m; also released on video |
|
1990 |
The Girl Who Came Between Them/Victim of Innocence [Mel Damski] tvm |
|
1990 |
Malcolm Takes a Shot [Mario Van Peebles] tvm/60m; a 'CBS Schoolbreak Special' |
|
1990 |
[HBO's] Tales from the Crypt [ep #19 'Korman's Kalamity' dir by Rowdy Herrington] 93-part series, 1989-1996; 2nd season, 1990 |
|
1990 |
Joshua's Heart [Michael Pressman] tvm |
|
1990 |
Angel of Death/Intimate Terror: Angel of Death [Bill L. Norton] tvm |
|
1991 |
Keeper of the City [Bobby Roth] tvm; aph: David B. Nowell |
|
1991 |
Something to Live for: The Alison Gertz Story/Fatal Love [Tom McLoughlin] tvm |
|
1991 |
Back to the Streets of San Francisco [Mel Damski] tvm; 2uc: Philip Lee |
|
1991 |
Grave Secrets: The Legacy of Hilltop Drive [John Patterson] tvm/b&w-c |
|
1992 |
Relentless: Mind of a Killer [John Patterson] pilot; for NBC-tv |
|
1992 |
The Fire Next Time [Tom McLoughlin] tvm; 2uc: Philip Lee |
|
1992 |
Judgment Day: The John List Story [Bobby Roth] tvm |
|
1993 |
The Yarn Princess/More Than a Miracle [Tom McLoughlin] tvm |
|
1993 |
Ride with the Wind [Bobby Roth] tvm; addph: Dan Kneece |
|
1993 |
Murder of Innocence [Tom McLoughlin] tvm |
|
1993 |
Nick's Game [Robert Singer] tvm |
|
1994 |
Nowhere to Hide [Bobby Roth] tvm |
|
1994 |
Frogmen [Robert Singer] pilot; 2uc: Don McCuaig; unaired (confiscated by the LAPD) |
|
1994 |
In the Line of Duty: Kidnapped [Bobby Roth] tvm |
|
1994 |
Trick of the Eye/Primal Secrets [Ed Kaplan] tvm |
|
1994 |
Naomi & Wynonna: Love Can Build a Bridge [Bobby Roth] 2-part tvm |
|
1995 |
Charlie Grace [pilot dir by Robert Singer] 9-part series; other ph: Richard M. Rawlings Jr. |
|
1995 |
Alien Nation: Body and Soul [Kenneth Johnson] tvm |
|
1995 |
Alien Nation: Millennium [Kenneth Johnson] tvm |
|
1996 |
Blue Rodeo [Peter Werner] tvm; 2uc: Philip Lee |
|
1996 |
Tell Me No Secrets [Bobby Roth] tvm |
|
1997 |
[Louisa May Alcott's] The Inheritance [Bobby Roth] tvm |
|
1997 |
Quicksilver Highway [Mick Garris] tvm; 2 seg ('Chattery Teeth' & 'The Body Politic') |
|
1997 |
[Stephen King's] The Shining [Mick Garris] 3-part miniseries/b&w-c; 2uc: Don Devine |
|
1997 |
The Devil's Child [Bobby Roth] tvm |
|
1997 |
Host/Virtual Obsession [Mick Garris] tvm; addph: Ian Fox |
|
1997 |
[Anne Tyler's] Saint Maybe [Michael Pressman] tvm; ep #303 'Hallmark Hall of Fame'-series |
|
1998 |
Durango/A Rose for Annie [Brent Shields] tvm; ep #306 'Hallmark Hall of Fame'-series |
|
1998 |
Turks [pilot dir by Robert Singer + 7 ep dir by various] 13-part series, 1999; other ph: Brian J. Reynolds & Frank Byers |
|
1999 |
A Season for Miracles [Michael Pressman] tvm; ep #308 'Hallmark Hall of Fame'-series |
|
1999 |
Come On, Get Happy: The Partridge Family Story [David Burton Morris] tvm; 2uc: Michael A. Price |
|
1999 |
The Others [pilot dir by Mick Garris + 12 ep dir by various] 13-part series, 2000; 2uc: Richard M. Rawlings Jr. |
|
2009 |
The Wronged Man [Tom McLoughlin] tvm |
|
2010 |
Gimme Shelter [Christopher Chulack] pilot/HD; for CBS-tv |
|
2011 |
Smash [pilot dir by Michael Mayer] 32-part series/HD (ARRI ALEXA), 2012-13; 1st season, 2012 (15 ep); other ph: David Mullen |
|
2012 |
Terminales [Steve Miner] pilot; 2uc: Scott Ressler; for ABC Family |
|
2013 |
HR [Darren Star] pilot; for Lifetime-tv |
|
2014 |
Sea of Fire [Allison Liddi-Brown] pilot; for ABC-tv |
|
2014 |
Stitchers [pilot 'A Stitch in Time' dir by Steve Miner] series/HD (ARRI ALEXA), 2015-present; 1st season, 2015 (10 ep); for ABC Family |
|
2014 |
Chasing Life [pilot dir by Steve Miner] 34-part series/HD (ARRI ALEXA), 2014-15; 1st season, 2014-15 (21 ep); for ABC Family |
|
2014 |
Cocked [Jordan Vogt-Roberts] pilot/HD; addph: Roger Tonry; for Amazon Studios |
|
2015 |
Lumen [Joe Johnston] pilot; for TNT-tv |
|
2015 |
Blood & Oil [pilot dir by Jonas Pate] 10-part series/HD (ARRI ALEXA/p), 2015; other ph: Michael Barrett (#2-5) & John B. Aronson (#6-10) |
|
2015 |
Falling Water [pilot 'Don't Tell Bill' dir by Juan Carlos Fresnadillo] series/HD (ARRI ALEXA), 2016-present; 1st season, 2016 (10 ep); other ph: Richard Rutkowski; for USA Network |
|
2016 |
Training Day [Danny Cannon (replaced Antoine Fuqua)] pilot; for CBS-tv |
