Top: Ozeas worked closely with production designer Evan Rohde to devise a plan for fitting nine sets into two stages. Bottom: Many sets included significant visual-effects extensions, such as this locker room set - where Underwood did multiple takes with different players from different teams so the sequence could be traded out week to week as the season progresses. 16 October 2016 American Cinematographer - it was kind of up for grabs - whereas this year we could have probably edited our dailies together on set and basically seen a first cut. I have to give a shout-out to our Steadicam operator, Andrew Mitchell. I don't know if I could have done it without him. He has impeccable musical timing, and was amazing during our long choreographed takes. Production designer Evan Rohde created an artistic rendering of the sets as well during preproduction, which helped with lighting and camerawork. We worked closely together to problem-solve and come up with creative solutions to enhance each shot. How did the use of preprogrammed motion-control cranes help you on this production? Ozeas: One of Tripp's edicts is that we don't want to make 'characters' out of the extras. Because it was motion control and the camera is always in exactly the same position during each pass, we were able to shoot Carrie first with her hero light - which was a Briese Focus 180 [mounted to