Deep Focus: Dawn Fleischman, SOC

As seen in the November 2024 issue of ICG Magazine
By Margot Lester
Photo courtesy of Kelli Falls

My first time on a set was in 1994 as an extra on Copycat in San Francisco. However I didn’t want to be in front of the camera and was fascinated by everything happening behind the camera. I started working as a PA and met a Steadicam Operator named Craig Peterschmidt. I was immediately drawn to the Steadicam and eventually was able to apprentice for Craig. In the summer of 1995, he invited me to a PRO workshop at Paramount, where I met Mark O’Kane, Guy Bee, David Emmerichs [SOC], and George Paddock. They put a Steadicam on me for the first time and I loved it! There were only two female Steadicam Operators at that time – Janice Arthur and Liz Ziegler – and they told me I could be the third. That day changed my life. I withdrew from college and moved to L.A. two weeks later, officially starting my career in camera.

I worked exclusively in film until 2002, when I got a job on Junkyard Wars, my first experience working with a video camera. I continued to work in both genres until the 2007/2008 WGA strike. My deep knowledge of scene work, lenses and camera angles significantly benefited me as an operator in reality TV. Although I initially thought I would return to scripted work full time, I discovered a community and a type of work that I truly enjoyed.

As a DP, I like the high-camera-count competition shows with 15-plus operators and sometimes 30 to 40 cameras, not including robos. I love the organization and detail needed to make a show of that size look seamless and visually consistent. I still occasionally work in scripted television, and my work in reality TV has in turn enhanced my scripted operating skills, making me more efficient, adaptable and able to see and design shots differently.

People are quick to criticize unscripted TV crews, judging and labeling them as not real filmmakers or storytellers. But the truth is that reality operators have instincts that are second to none. We simultaneously zoom, iris, pull focus, self-direct and listen to the evolving story all while monitoring other cameras and cast with our left eye, seamlessly composing a constantly moving, unrehearsed frame with our right eye. We’re masters at multitasking, prioritizing and adapting in the moment. We don’t get second or third takes; we must make it right and usable the first time.

The cameras we formerly used on unscripted shows were ENG-style. Ergonomic, balanced, lightweight – only about 15 to 20 pounds. We now use the same cameras as scripted shows, and these weigh up to 45 to 50 pounds. When operating on a reality show, I prefer the Sony FX9 with a 25-250 zoom, Letus35 shoulder pad, and hip shot. (I also can’t live without my Sensaphonics custom IFB single-ear headset for monitoring audio.) I love making unscripted shows look cinematic and beautiful, but there is a toll taken on the operator’s body. Holding a camera for 45 minutes to three hours is unsustainable. This isn’t a weakness; it’s the practical implication of advanced technology and our need to adapt. We need to change the culture around using exoskeletons so that it is normalized in unscripted environments.

Safety Bulletins 43-45 have significantly helped unscripted workers. We still have work to do in implementing enforcement of SB44, which addresses radiofrequency radiation (RFR) exposure effects. RFR disproportionately impacts unscripted operators because when handheld, the antenna can be an inch or less from soft tissue in continuous stretches of 45 minutes to three hours. No science says this is okay. Minimum MPE [maximum permissible exposure] is greater than two inches, unconditionally.

Mande Whitaker and I, along with [former ICG National Executive Director] Rebecca Rhine’s tenacity, pushed SB45, which addressed extended takes, over the finish line. It is one of my proudest accomplishments as a union filmmaker. SB43, centered on free-driving takes, was a game-changer and likely a lifesaver for unscripted crews. I’ve sat in the front seat shooting backward more times than I can count. I’ve been in car accidents, broken windshields, and gotten black eyes and bruises. I’m very lucky I was never seriously injured. Now I make sure the AD’s include all relevant safety bulletins on the call sheet and address concerns in preproduction.  

Since the 1990s, diversity has improved but we’re not there yet. Continued progress means using our positions to ensure others’ access to opportunities. Director of Photography Arturo Smith and Director Michael Shea did this for me. I met Arturo in 1996 when he was a DP/operator, and I was his focus puller. We worked on many features, commercials and music videos. Arturo was a staunch advocate, constantly challenging me, while also trusting me implicitly. While he was lighting a scene, I would jump on the dolly to line up shots for rehearsals. This arrangement allowed me to learn to operate without the pressure of rolling film. Eventually, I began operating additional cameras and on 2nd unit for him.

I met Michael Shea in 1998, on a film with Arturo. Michael transitioned into directing around the time I moved into operating full-time, and I became his go-to operator. Like Arturo, Michael gave me creative freedom, challenging shots, and his complete trust. In 2021, he offered me the opportunity to DP one of his larger shows, The One That Got Away, for Amazon. Since then, I’ve DP’d almost all of Michael’s shows, and we have written a new chapter in our 26-year working relationship. Without his trust and support, I wouldn’t be where I am today.

Despite the positive experiences, it’s clear to me that ingrained misogyny has deep roots in this industry. Three times I was told to my face I should be fired because they don’t work with women or trust them. My abilities have been questioned more times than I can count only because I am female. These mindsets are so ever-present, I experienced it just a week ago. Being in a protected category makes you a target. You’re under constant scrutiny, and any misstep can be used against you or anyone like you indefinitely. If we assert ourselves and express our opinions directly, we may be labeled as difficult or aggressive, while a cis-male in the same situation might be seen as decisive and confident.

I want to do my part to change this mindset. I embrace the control I have as a DP to hire the best people, no matter their race or gender identity. My crews know they are safe, trusted, respected and won’t be micromanaged. They’re given space to be experts and have a voice that is heard.

As an industry, we need to stop using terms like “cameraman” that reinforce gender stereotypes. These terms have significant psychological and societal implications and need to be recognized; they make it more challenging for non-cis males to break into and advance within the industry. By using gender-neutral language, the industry can foster greater inclusivity, respect, and equality, creating a more supportive and diverse work environment. Saying “Oh, you know what I meant” is not acceptable.

We’re all in this together. When we witness unfair treatment, we should act and support those affected. Every union member’s involvement can drive positive change and contribute to a more equitable and respectful environment. Be the change.