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EMMYS www.postmagazine.com 15 POST SEPT/OCT 2026 THE PITT HBO's The Pitt won six Emmy Awards, including those for Original Music and Lyrics ("Need Someone"), Casting, Guest Actor (Ernest Harden Jr.) and Prosthetic Makeup. The show presents a realistic examination of the chal- lenges facing healthcare workers in today's America, as seen from the per- spective of the heroes working in a Pittsburgh hospital. The show stars Noah Wyle (Dr. Michael "Robby" Robinavitch), Patrick Ball (Dr. Langdon), Katherine LaNasa (Dana Evans), Supriya Ganesh (Dr. Mohan), Fiona Dourif (Dr. McKay), Taylor Dearden (Dr. King), Isa Briones (Dr. Santos), Gerran Howell (Whitaker), Shabana Azeez (Javadi) and Sepideh Moafi (Dr. Al-Hashimi). Johanna Coelho led a team of camera operators, working on both Season 1 and Season 2. Her team perfected the style of the show while also raising the bar by pulling off long one shots with elaborate choreography. In addition to operating two cameras with different lenses simultaneously, she also imple- mented an elaborate system with two A-camera operators, and coordinated a bootcamp for the new operator to make sure all shots were executed perfectly. "It was important to transmit the sense of urgency, visually, and find a way to make the audience experience the shift with the doctors and nurses," Coelho explains. "I wanted the camera to be immersive, in the middle of it all, so we could get that feeling. The camera is physically close to the actors, which makes it intimate and emphasizes the immersive feeling. We see what the characters see and when they see it. For each scene, we decide whose per- spective it is and create the shots around this decision. The camera follows and leads that character in a perfect choreography, which helps make it seamless, capturing as many story elements as possible. We then do pickup shots for some elements we couldn't integrate in the long takes." The show's look was elevated for Season 2 via several adjustments that helped on-set. "Tony D'Amore, our colorist, created a new LUT that made the skin tones even richer and more real, while keeping a perfect white balance and reinforc- ing a bit of the contrast," she reveals. "This new LUT and his final coloring really helped elevate the show." Lighting adjustments were also made to provide additional light and color control in some areas, including the small nurses' station. "Finally, we hired an additional operator to alternate scenes with our A-camera operator, which really helped both of them getting rest during our fast shooting pace. Because the look of the show is so precise and particular, we made sure to train our new operator to adapt to our curated style." Season 1 and Season 2 were shot using the Arri Alexa Mini LF, along with Angenieux Optimo Primes for the A camera, and the Angenieux Optimo Ultra Compact zoom (37-102mm) for the B camera. SPIDER-NOIR Prime Video's Spider-Noir saw much success at this year's Emmy Awards, taking top honors in Sound Editing, Stunt Coordination, Special Visual Effects and Cinematography. The show was also recognized with an Emmy for its Title Design, which was executed by Digital Kitchen (https://www.thisisdk.com). The sequence was created by the Seattle studio over a six-month period and employs an approach that uses fractured perception, distorted reflections, multiplied points-of-view and noir-inspired visuals. Rather than approach the Spider-Noir open as a traditional superhero title sequence, the Digital Kitchen team set out to answer a different question: How do you visualize a man gradually becoming a spider without relying on familiar comic-book imagery? The piece was inspired by classic noir cinema, surrealist photography and historic imagery of 1930s New York City. The title sequence was envisioned to play as an evolving psychological ex- perience — one that gradually shifts from recognizable reality into something increasingly alien and unstable. "We wanted the sequence to feel like a psychological unraveling," explains Mason Nicoll, executive creative director at Digital Kitchen. "The idea was never simply to introduce the show, but to place viewers directly inside a fractured point of view where reality begins to split apart, perception mutates and the city itself becomes unstable. Every visual decision was designed to support that descent." To craft the world of prohibition-era Manhattan, the team combined live-action elements, 2D animation and stylized 3D environments, built with historical photographic research from Berenice Abbott's federal art project, "Changing New York." Mirrors were physically broken and reshaped to create fractured reflections and distorted light behavior, with the splintered glass subtly echoing the geometry of spider webs throughout the sequence. Digital Kitchen then blended these tactile elements with evolving visual treatments and layered dimensionality to create a cinematic language steeped in noir atmosphere and fractured perception. The studio also designed the official Spider-Noir title card and logo that's featured across the series' broader branding and marketing campaign. The sequence was created using an extensive hybrid pipeline spanning prac- tical filmmaking, editorial, motion design and advanced 3D workflows, includ- ing Adobe After Effects, Maxon Cinema 4D, Autodesk Maya, SideFX Houdini, Redshift, DaVinci Resolve and practical photography captured on Red Raptor 8K VV cameras. Original music was composed by Kirby.