Camera operator

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A camera operator, or depending on the context cameraman or camerawoman, is a professional operator of a film camera or video camera as part of a film crew. The term "cameraman" does not necessarily imply that a male is performing the task. [1]

In filmmaking, the cinematographer or director of photography (DP or DoP) is responsible for bringing Director's vision to life on screen. The Cinematographer or Director of Photography handles all the technical aspects of visual storytelling and is the head of the camera crew and light crew on the set. The DP may operate the camera themselves, or enlist the aid of a camera operator or second cameraman to operate it or set the controls. The first assistant cameraman (1st AC), also known as a focus puller, is responsible for maintenance of the camera, such as clearing dirt from the film gate and adjusting the follow focus. A second assistant cameraman (2nd AC), also known as a clapper loader, might be employed to load film, slate scenes, or maintain the camera report (a log of scenes, takes, rolls, photographic filters used, and other production data). [1] [2] [3]

A camera operator in a video production may be known by titles like television camera operator, video camera operator, or videographer , depending on the context and technology involved, usually operating a professional video camera. As of 2016, there were approximately 59,300 television, video, and motion picture camera operators employed in the United States. [4]

Important camera operator skills include choreographing and framing shots, knowledge of and the ability to select appropriate camera lenses, and other equipment (dollies, camera cranes, etc.) to portray dramatic scenes. The principles of dramatic storytelling and film editing fundamentals are also important skills. The camera operator is required to communicate clearly and concisely on sets where time and film budget constraints are ever present. [3]

Related Research Articles

<span class="mw-page-title-main">Crane shot</span> Cinematic shot taken with a camera mounted on a moving crane

In filmmaking and video production, a crane shot is a shot taken by a camera on a moving crane or jib. Filmmaker D. W. Griffith created the first crane for his 1916 epic film Intolerance, with famed special effects pioneer Eiji Tsuburaya later constructing the first iron camera crane which is still adapted worldwide today. Most cranes accommodate both the camera and an operator, but some can be moved by remote control. Crane shots are often found in what are supposed to be emotional or suspenseful scenes. One example of this technique is the shots taken by remote cranes in the car-chase sequence of the 1985 film To Live and Die in L.A. Some filmmakers place the camera on a boom arm simply to make it easier to move around between ordinary set-ups.

A film crew is a group of people, hired by a production company, for the purpose of producing a film or motion picture. The crew is distinguished from the cast, as the cast are understood to be the actors who appear in front of the camera or provide voices for characters in the film. The crew is also separate from the producers, as the producers are the ones who own a portion of either the film studio or the film's intellectual property rights. A film crew is divided into different departments, each of which specializes in a specific aspect of the production. Film crew positions have evolved over the years, spurred by technological change, but many traditional jobs date from the early 20th century and are common across jurisdictions and filmmaking cultures.

<span class="mw-page-title-main">Cinematography</span> Art of motion picture photography

Cinematography is the art of motion picture photography.

<span class="mw-page-title-main">Steadicam</span> Motion picture camera stabilizer mounts

Steadicam is a brand of camera stabilizer mounts for motion picture cameras invented by Garrett Brown and introduced in 1975 by Cinema Products Corporation. The Steadicam brand was acquired by Tiffen in 2000. It was designed to isolate the camera from the camera operator's movement, keeping the camera motion separate and controllable by a skilled operator.

"Below-the-line" is a term derived from the top sheet of a film budget for motion pictures, television programs, industrial films, independent films, student films and documentaries as well as commercials. The "line" in "below-the-line" refers to the separation of production costs between script and story writers, producers, directors, actors, and casting and the rest of the crew, or production team.

<span class="mw-page-title-main">Focus puller</span> Occupation in filmmaking

A focus puller or first assistant camera is a member of a film crew's camera department whose primary responsibility is to maintain the camera lens's optical focus on whatever subject or action is being filmed.

<span class="mw-page-title-main">Clapper loader</span> Member of a motion picture filming crew

A clapper loader or second assistant camera is part of a film crew whose main functions are that of loading the raw film stock into camera magazines, operating the clapperboard (slate) at the beginning of each take, marking the actors as necessary, and maintaining all records and paperwork for the camera department. The name "clapper loader" tends to be used in the United Kingdom and Commonwealth, while "second assistant camera" tends to be favored in the United States, but the job is essentially the same whichever title is used. The specific responsibilities and division of labor within the department will almost always vary depending on the circumstances of the shoot.

<span class="mw-page-title-main">Gregg Toland</span> American cinematographer (1904–1948)

Gregg Wesley Toland, A.S.C. was an American cinematographer known for his innovative use of techniques such as deep focus, examples of which can be found in his work on Orson Welles' Citizen Kane (1941), William Wyler's The Best Years of Our Lives (1946), and John Ford's The Grapes of Wrath, and The Long Voyage Home. He is also known for his work as a director of photography for Wuthering Heights (1939), The Westerner (1940), Ball of Fire (1941), The Outlaw (1943), Song of the South (1946) and The Bishop's Wife (1947).

Filmmaking or film production is the process by which a motion picture is produced. Filmmaking involves a number of complex and discrete stages, beginning with an initial story, idea, or commission. Production then continues through screenwriting, casting, pre-production, shooting, sound recording, post-production, and screening the finished product before an audience, which may result in a film release and exhibition. The process is nonlinear, as the director typically shoots the script out of sequence, repeats shots as needed, and puts them together through editing later. Filmmaking occurs in a variety of economic, social, and political contexts around the world, and uses a variety of technologies and cinematic techniques to make theatrical films, episodic films for television and streaming platforms, music videos, and promotional and educational films.

<span class="mw-page-title-main">Principal photography</span> Phase of producing a film or television show in which the bulk of shooting takes place

Principal photography is the phase of producing a film or television show in which the bulk of shooting takes place, as distinct from the phases of pre-production and post-production.

Television crew positions are derived from those of film crew, but with several differences.

Frederick James Koenekamp, A.S.C. was an American cinematographer. He was the son of cinematographer Hans F. Koenekamp.

Walter C. Pfister is an American director and former cinematographer, who is best known for his work with filmmaker Christopher Nolan. Some of his collaborations with Nolan include Memento (2000), The Dark Knight Trilogy (2005–2012), and Inception (2010). For his work on Inception, Pfister won an Academy Award for Best Cinematography and received a BAFTA Award nomination.

David Russell Boyd, A.S.C. is an American cinematographer and director of television and film known for his role as director of photography for the Fox television series Firefly and the AMC series The Walking Dead. He also worked as cinematographer on the first three episodes of HBO's Deadwood. On the NBC television series Friday Night Lights he served as director of photography on 18 of 22 episodes in the first season and moved up to direct two more. He also directed the film Home Run, which was released in 2013.

John Newton GreenASC, is an American cinematographer and film director best known for his Oscar-nominated collaborations with actor/director Clint Eastwood, taking over from Eastwood's previous collaborator Bruce Surtees.

Maryse Alberti is a French cinematographer who mainly works in the United States on independent fiction films and vérité, observational documentaries. Alberti has won awards from the Sundance Film Festival and the Spirit Awards. She was the first contemporary female cinematographer featured on the cover of American Cinematographer for her work on the Todd Haynes-directed Velvet Goldmine (1998).

Willy Kurant was a Belgian cinematographer.

Craig Wrobleski is a Canadian cinematographer, best known for his work on the television series Fargo, Legion and The Umbrella Academy.

William Cronjager was an American cinematographer who worked primarily in the television medium. The son, nephew and grandson of famous cinematographers, he began his career as an assistant cameraman, assisting on the 1957 film Oh, Men! Oh, Women!. In the 1960s he moved to the small screen, where he did the bulk of his work over the next two decades, beginning as the director of photography (DP) for the final three seasons (1967-1969) of the television melodrama, Peyton Place. While working as the DP for the first two seasons of the hit television drama Hill Street Blues, he won an Emmy for the premiere episode, "Hill Street Station".

<span class="mw-page-title-main">Guild of British Camera Technicians</span> Non-profit organisation representing camera technicians

The GBCT is a non-profit organization that serves as a representative body for camera technicians who work in the film and high-end television production industry worldwide. With approximately 450 members, many of whom are also affiliated with other moving image craft organizations such as the British Society of Cinematographers and the Association of Camera Operators, the GBCT operates out of Panavision London offices.

References

  1. 1 2 Ascher, Steven; Pincus, Edward (2007). "The Shoot". The Filmmaker's Handbook: A Comprehensive Guide for the Digital Age (3rd ed.). Plume. pp.  315-316. ISBN   978-0-452-28678-8 . Retrieved 18 April 2019.
  2. "Before You Shoot: Camera report". kodak.com. Eastman Kodak Company. Archived from the original on 25 March 2020. Retrieved 18 April 2019.
  3. 1 2 Brown, Blain (2012). "Set Operations". Cinematography: Theory and Practice (2nd ed.). Focal Press. pp.  289-306. ISBN   978-0-240-81209-0. LCCN   2011010755.
  4. "Occupational Outlook Handbook: Film and Video Editors and Camera Operators". United States Department of Labor, Bureau of Labor Statistics. 2019. Archived from the original on April 18, 2019. Retrieved April 18, 2019.