In this special 83-minute episode, 2022 Emmy nominees Adam Bricker; Michael Prickett; Marcell Rév, HCA; and Christian Sprenger detail their respective camerawork and production experiences during a group discussion moderated by David Perkal, ASC.
Adam Bricker is nominated this year for the Hacks episode “The Click” in the category Outstanding Cinematography for A Single-Camera Series (Half-Hour). He relied on Red V-Raptor cameras, shooting 8K Redcode Raw for a 2:1 aspect ratio, employing Panavision Primo 70 Series lenses customized for the show for a softer look.
This is Bricker’s third Emmy nomination, previously honored for the Chef's Table episode "Corrado Assenza" and the Hacks episode “Primm.” He was also nominated this year for an ASC Award for the Hacks episode “There Is No Line.”
Originally from Chicago, Bricker graduated from the USC School of Cinematic Arts, later gaining on-set experience by working up through the crew as a gaffer, camera assistant, and operator while also shooting short films, documentaries, and indie features. Based in Los Angeles, the cinematographer’s other series work includes American Vandal, Brockmire, Sorry for Your Lossand#BlackAF.
Michael Prickett is nominated this year for the 100 Foot Wave episode “Chapter IV – Dancing With God” in the category Outstanding Cinematography for A Nonfiction Program. He employed various camera systems — using up to 12 at once to cover the epic surf action — but mostly used the Red Monstro 8K VV. Canon C500 MKIIs were used for lightweight handheld rigs and a pre-production Z Cam body was supplied by Z Cam for integration into a small watertight remote-controlled gimbal on a jet ski. Phantom 4K Flex cameras were used for high-speed work.
Prickett primarily used zooms for action footage, including a Canon CN20x50 for a Shotover boat-mounted gimbal, compact Fujinon Cabrio lenses for small jet ski-mounted gimbals, and converted 150-600mm PL lenses for shore-based long-lens systems. Also in play was a mix of primes, including Zeiss Supremes, Canon CN-Es, and rehoused vintage Leica R lenses.
Hailing from the North Shore of Oahu, Hawaii, Prickett been a cinematographer for more than 35 years and is best known for his action cinematography in feature films, commercials and television. He’s shot on nearly every ocean and his camerawork can be seen in such feature films as Chasing Mavericks, Billabong Odyssey, X Men 2, Riding Giants, Step Into Liquid, Blue Horizon, The Ride, Day of Daysand Red Sky Morning. He has also worked with NBC, CBS, ABC, National Geographic, BBC, Learning Channel, Fox Sports and ESPN.
Marcell Rév, HCA is nominated this year for the Euphoria episode “The Theater and Its Double” in the category Outstanding Cinematography for A Single-Camera Series (One Hour). Shooting on film, Rév primarily employed Arricam LT and 435 cameras, paired with Cooke S4, Cooke Panchro, Zeiss Super Speed (B-Speed) lenses. Shooting Kodak Ektachrome 100D 5294 reversal and Vision3 500T 5219 negative stocks, the cinematographer softened the image with custom nets when necessary.
Rév earned an Emmy nomination in this category last year for the Euphoria episode “Trouble Don't Last Always.”
Born in Hungary, Rév studied cinematography at the Academy of Drama and Film in Budapest, as well as a master class led by Vilmos Zsigmond, ASC, HSC. He photographed a number of Hungarian features — including Land of Storms, White God, Most of the Souls That Live Here and Jupiter’s Moon — before shooting the American action-comedy Assassination Nation and HBO’s biographical drama Paterno. He then photographed the first four episodes of Euphoria’s first season, for which he won Best TV Pilot at Camerimage. His credits also include the feature Malcolm & Marie.
Christian Sprenger is nominated this year for the Station Eleven episode “Wheel of Fire” in the category Outstanding Cinematography for A Limited Or Anthology Series Or Movie. He shot his episode using Arri Alexa Mini LF cameras (3:2 open gate Arriraw), cropping the image for a 2:1 aspect ratio. He paired the LFs with MasterBuilt Classic lenses, employing low-con filters.
Sprenger is also Emmy-nominated this year in the category for Outstanding Cinematography for a Single-Camera Series (Half-Hour) for his work in the Atlanta episode “Three Slaps.” He previously won in that same category in 2018 for the Atlanta episode “Teddy Perkins.”
Sprenger taught himself the basics of filmmaking as a teen, shooting shorts on VHS-C and Super 8, learning the fundamentals of photography while shooting 35mm stills. Inspired by his high school’s media program, he sought a more formal education at Chicago’s Columbia College, graduating in 2007. After gaining more experience filming numerous shorts and music videos, he began shooting commercials, including, later, several Super Bowl spots. His other series credits include Kroll Show, Baskets, GLOW, The Last Man on Earth, the pilot for What We Do in the Shadows, and Reservation Dogs.
A member of the ASC since 2011, discussion moderator David Perkal is a Los Angeles native and earned his BS in Film and TV from San Diego State University and graduate degree in Cinematography from the American Film Institute. An avid surfer and scuba diver, he is also an underwater photographer and stills photographer.
In film, Perkal is known for his work on projects such as Do You Take This Man and Preacher’s Kid, the TV movies Teen Spirit, Christmas Cupid and Happy Campers, as well as such shorts as The Frank Anderson, The Keyand Lucky. Besides photographing Do You Take This Man, he also served as a producer. For his work on The Frank Anderson, which he directed and shot, Perkal won awards at the Berkeley Video and Film Festival, FilmOut San Diego, San Luis Obispo International Film Festival, Valley Film Festival and the Woods Hole Film Festival.
He also shoots in the commercial realm, lensing spots for LG, Google, Sprint, Jolly Time Popcorn and Vidant Health, while his most recent series credits include Castle, Zoo, Marvel’s Runaways, Cowboy Bebop, Rebel, and the pilot for Ramble On (which he photographed on 35mm film).