What They Do in the Shadows
As seen in the February/March 2025 issue of ICG Magazine
By Margot Lester
On every set and most locations, there’s a crew behind the crew capturing the action of making a TV series or feature for behind-the-scenes (BTS) or electronic press kit (EPK) content.
The terms are sometimes used interchangeably – and most ICG members shoot both – but the two content types are different. EPK assets are created specifically for distribution to the media to support coverage of the project (although they often appear as additional content for consumers, too). BTS footage can be used as featurettes, entire shows about the making of a project, or social media content.
“Having a trusted and skilled shooter on set is an invaluable partnership,” describes longtime ICG Unit Publicist Gregg Brilliant, who’s overseen BTS and EPK content for many projects, including many of the episodics in Disney/ILM’s Star Wars franchise. “[These] captures aren’t just about showcasing the process,” Brilliant adds. “They highlight the filmmakers, actors, and the many artists and artisans involved at every step, preserving history in the making. If every frame tells a story, documenting it authentically and seamlessly is the key to sharing that story with the world.”
By whatever name it’s called, and however it’s deployed, behind-the-scenes content is integral to getting eyeballs on screens, butts in seats and votes for accolades come awards season (exactly the season in which this Publicity-themed issue lands). Capturing/producing BTS content requires a ton of skill and talent – union publicity professionals must be resourceful, collaborative, creative and steeped in the cinematic arts. As Brilliant adds: “Achieving this without disrupting the filmmaking or distracting from the creative process requires finesse – a highly nuanced skill that sets the best in this field apart. It’s often said that the best storytellers are the ones who make the process invisible; and, in my experience, I believe the same applies to the art of BTS and EPK. When done right, it doesn’t just document – it inspires [and] elevates, leaving a lasting legacy long after the credits roll.”
ICG Magazine is thrilled to present our first-ever profile of ICG members devoted to this special craft. Let’s meet them and hear their stories.
Mannon Butt has been an ICG Western Region member for five years. He says he initially worked at Discovery as an assistant editor in Washington, D.C. before relocating to L.A. in 2015 to focus on camera work. “Unfortunately,” he says, “it was very difficult to find work the first year, and a friend, Max Berry, asked if I’d be interested in being a media manager at the marketing agency he was at. I let the company know that I’d work for them as long as they’d give me a chance to film. I was able to shoot a proof-of-concept show with an ex-NFL player for the agency. Later I moved to Warner Bros., filming the ADR sessions for the Lego movies, which led me to shoot a lot of EPK interviews with A-list celebrities and pre-production BTS for many films, including John Wick 3.” Butt’s go-to gear is a SONY FX3 camera body with SONY zoom lenses, SONY FX6 camera body with SONY Primes, GoPros with various clamps, Sennheiser G4 Transmitter and Receiver for sound, a Shotgun mic, a Ronin RS3 Gimbal, and an Amaran light.
Jason Chau. Photo courtesy of Tiffany Nolasco
Jason Chau has been an ICG Eastern Region member for eight years. Based in Brooklyn, he has a camera assistant background working on narrative projects, before moving up to 2nd Unit director of photography and also shooting his own projects. (Chau won an ECA for Sting, the cerebral crime drama he lensed, in 2022.) “I started doing BTS during the pandemic and then the strikes,” he shares. “My good friend, Director/Producer Ben Poster, recommended me to collaborate with the production company Fab Group. We’ve collaborated a lot since then, including on Lady in the Lake.” Chau’s setup of choice is an FX6 Sony Full Frame.
Jeremy S. Emerman has been a Central Region ICG member for six years, based in Atlanta, GA. He started working in BTS in high school. “My first movie was an independent feature as a production assistant,” he recalls. “During the prep, I asked the filmmakers if it would be okay for me to bring a small video camera onto the set and capture some footage to show my peers back at school. They were extremely supportive and transitioned my job to capturing the BTS for the film,” and Emerman has been a leader in capturing BTS/EPK ever since. His go-to gear includes a RED Raptor VV, Shape Wooden Handle ARRI Rosette, OConnor 1040 D fluid head, RED Komodo on a DJI R4 gimbal, a Laowa 12-mm Zero-D, Zeiss Milvus Primes and the Canon RF lenses, and an iPhone 15 Pro MAX.
Sovonto Green has been a Western Region ICG member for 29 years, based in View Park, CA. Green, who transitioned from news photography, cites one of his last news assignments as the infamous Rodney King trial. “News was becoming more entertainment and less news, and I was becoming burned out,” he remembers of that time. “A friend at Universal suggested I try BTS. My first job was Cop and a Half with Burt Reynolds in 1992, and I never returned to news. I stay for two reasons: I enjoy capturing and watching the magic of on-set moments and learning from talented craftspeople.” Green’s tech of choice includes RED Ranger Gemini with dual ISO, RED Komodo, Go Pros, DJI RS 4 Pro Gimbal, Hudson Spider Lights, Aputure LS 60× LED’s and MC 4 Light Travel kits, a Sachtler Video 18 tripod and a Traverse monopod.
Brian Hollars. Photo courtesy of Josh Vertucci.
Brian Hollars has been an ICG member for five years, starting in the Central Region and now based in Denver, CO as part of the Western Region. He began his career in the electric department before transitioning to camera, eventually joining as an operator. His true passion lies in cinematography. After relocating to Atlanta, he found his way into BTS work through his longtime friend, Pete Chiaramonte, a well-established name in the field. Hollars’ go-to gear includes the Sony Burano with G Master lenses, a DJI Pocket OSMO, an action camera, and either ARRI Signatures or Leica glass for EPK projects.
Emilie Jackson has been an Eastern Region ICG member for five years, based in Ridgewood, Queens, NY. She has a documentary background and in 2018 many of the companies she worked for shut down. “I was introduced to Gregg Temkin, who took a chance and hired me on A Beautiful Day In the Neighborhood,” Jackson recounts. “We had such a good time shooting the process of recreating Fred Rogers’ world. It went beyond your standard EPK – it was a real documentary about the intricate making of the film. Gregg has been instrumental in passing my name along to other producers, and I haven’t done anything but BTS since.” Jackson’s go-to gear includes a SONY FX9 and FX6, Sigma zoom and Cine primes, and a DJI RS3 gimbal with a Blackmagic Cinema Camera 6K.
Troye Jenkins. Photo by Nicola Goode, SMPSP
Troye Jenkins has been a Western Region ICG member for 20 years, based in Los Angeles. He came from a news and documentary background and started as a camera PA and then assistant, “so my knowledge of set dynamics and the ability to film documentaries landed me here,” he shares. “We are fortunate enough to see the process from the actors’ table read up until the final mix of the film. It’s amazing.” Jenkins’ toolkit includes RED Cinema Gemini with dual ISO, Afidus time-lapse cameras, a Lumix S1H hybrid camera, Tokina 18-35-mm and 50-135-mm lenses, a Ronin 4D system, and an assortment of action cameras from various manufacturers.
Daniel Marracino has been an Eastern Region ICG member for 20 years, based in New York City. He says he was working in independent film when his first BTS job came up on The Sopranos for HBO. “And BTS has been a part of my work diet ever since. Now I run The LSE Lab, a production company holding IATSE Commercial, Multi Camera, and Behind The Scenes agreements. (Recent BTS jobs include Amazon Studios’ Better Sister and AMC’s The Terror.) I like BTS because it’s honest documentary work that a lot of people enjoy.” Marracino’s gear set includes an ARRI AMIRA with a Canon 15-120-mm lens and an EasyRig.
Camrin Petramale has been a Central Region ICG member for 13 years, based in the Chicago suburbs. “I’ve worked as a director of photography for 15 years, shooting over 11 independent feature films,” he explains. “This has taught me how to adapt quickly on set while shooting BTS, finding creative angles with whatever tools are available while staying out of the crew’s way. I also understand the visual language created by the DP and showrunner, which helps me capture behind-the-scenes moments and interviews that feel dynamic and true to the production’s style. I love all things movies and film-related. Seeing how different crews utilize different technologies is always something I find interesting, and being on set is an energetic experience.” Petramale’s go-to gear includes a Sony FX3 (FX9 for interviews), a Core Nano gold-mount battery and a custom-knit battery warmer, a Tiffen gas lift monopod, Sony Grand Master 2.8 zooms, and a shotgun mike onboard with a Bluetooth headset adapter.
ICG: What are the biggest challenges or misconceptions you encounter?
Petramale: Staying out of the way and trying to capture real moments of filmmaking while being respectful to the cast and crew’s creative process. Each actor has a different way they want to be filmed, and it’s important to understand that on Day One. You need to show them that you are being respectful of their wishes. Eventually, some warm up and let their guards down, which translates into better BTS footage and more comfortable, intimate interviews.
Chau: The biggest challenge I encounter on nearly every set is time. Whether it’s managing the schedule with talent, coordinating with the production team, or dealing with unforeseen delays, there’s always pressure to stay on track. To overcome this, I focus on thorough preparation – and I always have backup plans in place. Ultimately, it’s about maintaining clear communication and prioritizing what needs to be accomplished without compromising the quality of the work.
Daniel Marracino. Photo by Spencer Pazer
Marracino: The most challenging part is the lack of crew. Often, I’ll have a Local 52 sound person with me and will be tasked with shooting both BTS on set and cast interviews right after. I end up managing a cart with battery-operated lights and grip equipment. There can be a lot of fast lighting setups with big names – and it better be good, or else. I am forever scanning environments for good backgrounds and natural light for when we need to jump into interview mode.
Hollars: People love to watch BTS but not everyone respects our job on set. There’s a common misconception that BTS cinematographers lack the skills or experience in lighting and cinematography associated with traditional roles. Yet the ones who shine through have years of lighting or camera experience, which got them to this position. It’s exciting to see how BTS shooters and producers are becoming more adventurous with their approach. There’s a growing trend of using vintage glass or unique lighting for interviews, which adds a fresh, creative edge to the work.
How does your work fit in with the other publicity elements – unit, studio, set photographers, et cetera?
Butt: Most of the time the studio will request for us to film certain concepts as well as footage throughout the production that covers every aspect of the filmmaking process for later use by the PR team. I try my best to think of my own concepts and to capture BTS for each department because, in the end, the PR team may want to make a marketing video highlighting any of the heads of departments. The unit publicists keep the set running smoothly. They keep the relations between the cast and crew cordial. They are a very integral part of our job, and we wouldn’t be able to get any marketing footage without them.
Jenkins: My footage is used for pre-release marketing and mini-documentaries for physical media, streaming and social media platforms. My main point of contact is the unit publicist. The unit stills photographer is a revered position. Their work is considered art to the actors, producers and studios, and oversized prints of their work grace the hallways across the production landscape. They have one spot, and in some cases one opportunity, to capture a still, so I defer to their priorities when it’s clear they need the space. All the photographers I’ve worked with have been accommodating to my needs as well.
Jeremy Emerman. Photo by Chris Reel.
Emerman: Additionally, there’s a corporate side to our job where we service the needs of the internal business relations teams as well as business-to-business opportunities. For example, for the branding teams we would capture their product on set with the actor and crew, maybe even get a stand-up with heads of department talking about the product. Another important aspect of our job is filming the assets for the “Shot in Georgia” campaign (for example) to meet tax incentives goals for titles in some areas.
How has the job changed during your tenure?
Green: The job has evolved significantly since I started. We shoot fewer days on set – a movie used to be shot over three months, but now it can be shot in 35 days or less. When I began, I had a sound mixer with me every day – now only for interviews and some of the time on set. I have two SONY 17-inch monitors and a wireless Lectrosonics audio system for when I can’t have a sound recordist. The most significant change I’ve experienced is the shift from shooting BTS for DVD’s to social media. This change has required me to adapt my skills and approach to meet the new demands.
Emerman: Since the transition to streaming, we have branched off into capturing two subcategories of content: social or documentary. My iPhone 15 Pro Max is a valuable tool. The smaller camera and form factor also allow me to work with talent in a less formal setting to capture fun content for social outlets. And since there isn’t a physical media release of some titles these days, the featurette space has turned into more polished feature-length documentaries about the making of the film.
Butt: The job has changed to include more vertical social pieces. Before we didn’t frame much for vertical, but now we are more aware that vertical pieces are more sought after, so we make sure to frame more for vertical, 9:16, and maintain a frame for normal 16:9. At the same time, I’ve noticed a more cinematic approach – we get more requests for slow-motion beauty footage. For example, on The Harder They Fall, I filmed Idris Elba’s character walking out of jail as a shootout is happening on a train behind him. I shot in 60 frames per second. Six months later I was told that my shot was being put in the trailer and the film. It was my first union-set BTS gig!
Jenkins: I began doing this work in 2002. Back then there wasn’t clarity between the union, the studios and their third-party vendors about the contractual status of EPK shooters. Many of those issues have since been addressed, and Local 600 seems to be actively working to achieve some uniformity and compliance. Another change: We have been increasingly asked to take a feature documentary approach to our shooting, which requires a little more pre-planning and a lot more specificity than the traditional vérité style.
What’s one of your more memorable assignments?
Chau: Any intense, high-stakes action scene! These are always difficult because of the limited number of takes to capture the action, cast reactions, and the aftermath. For a car explosion in an upcoming project, I set up two cameras to shoot the fluid motion and real-time reactions: one locked off on the car and another on a gimbal. Shooting a barn burning down for another soon-to-be-released film was challenging for the same reasons. The key is balancing safety with the urgency of capturing those critical moments. These types of sequences require careful planning, quick decision-making, and the ability to stay focused on the performance while managing the spectacle. It’s a fine balance, but one that makes the final product feel all the more rewarding.
Emilie Jackson. Photo courtesy of Sara Luckey.
Jackson: I was shooting BTS on The Trial of the Chicago 7 and got this amazing slow-motion shot of the police raid on the protesters. The studio saw my shot and liked it so much that they ended up putting it in the movie! It’s even in the trailer. I think that is just hilarious. When we were trying to do Phedon Papamichael’s interview on set in New Jersey, we lost our location at the last minute and our producer ended up paying a local business down the street – which happened to be the recruiting office for a pyramid scheme, complete with motivational posters and all. It was a mad-dash scramble to make it look good. To me that sums up the experience of shooting BTS.
Sovonto Green. Photo by Sean Rosenthal.
Green: I worked on a Tom Ford movie, Nocturnal Animals. On my first day, Tom introduced himself to me as if I didn’t know who he was, and he said he didn’t like having BTS on his sets and was not a fan. I told him, “Maybe this time will be different,” and he looked at me and said, “I doubt it.” On my last day on set, I asked him if he had a different opinion about BTS. He said, “Sir, you are welcome on my set any time. I never saw you and you seem invisible, as if you were not here but here.” It was a nice compliment from a talented director. Keeping eyes off you when you are working on a set is what you really want to achieve, and that can only happen if you try very hard to be invisible.
What’s the best thing about being in the Union?
Jackson: There is unlimited power in collective bargaining. The way that some employers take advantage of people is by dividing them and forcing them to compete with each other. If we enter into a collective and refuse to compete with each other, we have more power in our ability to create the world we want.
Petramale: The union is critical for cinematographers like me. It provides serious protection in an unpredictable film industry, securing fair wages, comprehensive health benefits, and professional standards. Beyond just a paycheck, it ensures I’m compensated correctly for overtime, have legal support, and maintain a network of professional standards. The union transforms what could be a completely unstable freelance career into a structured, respected profession. It lets me focus on what matters: capturing incredible stories both behind and in front of the camera.
Camrin Petramale. Photo courtesy of Ami Nicole / ACRONYM.
Emerman: The benefits and support from the union are monumental for this side of the industry. For many decades there has been a gray area, [questioning whether] BTS/EPK should even be a covered position inside of the agreement. But our current group of Local 600 leaders, led by National Executive Director Alex Tonisson, hears our issues and is determined to resolve them. Alex and his team have worked hard to legitimize the BTS craft as well as looking to its future as we transition into more social content. Additionally, the Local 600 community in Atlanta, led by longtime members including Unit Publicist Shelly Williams and Unit Still Photographer Daniel McFadden, have introduced informal events for the PR side of things. We meet up in groups of three to thirty and chat about the love of our crafts. This has been very helpful when arriving onto a new set, as we now have a person to rely on, someone we’ve met and personally know who can introduce us to cast and crew, helping to integrate the BTS craft into the production.
What advice do you have for someone thinking about this kind of work?
Hollars: Start by gaining experience in a few other departments to really understand how a set operates. This will give you a solid foundation for the workflow, set etiquette, and overall dynamics. Once you have that knowledge, start talking to the BTS shooters and see what insights they can offer. Learning from those who have been in the field for a while can give you valuable perspective.
Marracino: If you’re interested in BTS, you need to be willing to work as a mini-unit. You need to know how to light an interview quickly and have a positive attitude to avoid conflicts at all costs. It’s important to understand that you’re not making the movie – they are. Your job is to capture what you can and stay out of the way. This job takes a certain personality: someone who is both aggressive and risk-taking, yet adaptable to the needs of the situation.