The Camera Department

 

 

 

 

The camera department, like the art department, is one of the few departments whose entire work is seen on the screen. Camera people are extremely meticulous. Every little focal length and film roll must be tended to with care. This is one department where using only a few people because of the budget could cause you trouble. Furthermore, in this department more than the others, it is important that your crew have experience. With experience also comes a sense of urgency that is very valuable on set. A slow camera team can slow down your shoot like no other department.

Camera teams usually work together on a regular basis. I once worked on a film where the director of photography (DP) was fired. Not only did the camera team leave with him, but the electric and grip departments also quit. These crews have strong loyalty. This chapter outlines the protocol and job descriptions of the camera crew. The operations section covers the all-important decisions this crew must make to ensure that the director’s vision is brought to screen. See Figure 9.1 for the camera team hierarchy.

DIRECTOR OF PHOTOGRAPHY

The DP is responsible for three departments. These include the camera department as well as the electric and grip departments. The DP is responsible for the photographic look of the picture, whether you are working in film or the digital world. He works closely with the director to ensure that the photographic vision is in line with the director’s overall vision for the project. The DP will start work around the same time as the production designer. Following is a list of duties and responsibilities.

Pre-Production

 

  ■ Decides on stock.

  ■ Hires the gaffer, key grip, camera operator, and sometimes the first assistant cameraperson (1st AC).

  ■ Determines what the camera package will be.

 

 

  ■ Meets with the director and discusses each scene to see how the photography will match the vision of the film.

  ■ Runs the hair and makeup tests.

  ■ May sometimes do stock tests.

  ■ Meets with the gaffer to explain the look of each scene and how each scene will be lit.

  ■ Goes on location scouts. The DP will have significant input into the choice of locations.

  ■ Usually flies first class to the location (except on low-budget shoots).

Production

  ■ Supervises the lighting of the set and the work of the camera.

  ■ Checks the lighting for proper exposure.

  ■ Takes and gives the meter reading to the 1st AC after confirming it with the gaffer. A meter reading is the setting for what the exposure will be.

  ■ Constantly watches the photography to make sure the vision is being achieved.

  ■ Attends dailies.

Wrap

  ■ As with the production designer, in the past there was no reason for the DP to be involved with post-production, that is, until the prints of the film were being made. Now, with the advent of computer-generated images (CGI), DPs are often needed in post-production to ensure the CGI maintains the color scheme and proper photographic style of the film.

CAMERA OPERATOR

The camera operator is the person who runs the camera. She answers directly to the DP and is in charge of the assistant camerapersons. The operator also has special skill in moving the camera steadily and has an aesthetic sense for good framing of the image. The camera operator usually has no pre-production or wrap time. In low budget your DP will most likely double as the camera operator.

Production

  ■ Responsible for the care and condition of the camera.

  ■ Runs the camera.

  ■ Usually has a working knowledge of how to fix a camera.

  ■ May check the height and level on the tripod (sticks). The camera operator does this only if there is no 1st AC.

FIRST ASSISTANT CAMERAPERSON

The 1st AC on a shoot assists the camera operator in the operation of the camera. He is the main person in charge of the care and maintenance of the camera. In pre-production, anywhere from a few days to a week before principal, the 1st AC “builds” the camera. This means he gets the camera ready for the first day’s shooting. This includes, but is not limited to, cleaning the camera, attaching the lens, and testing that it is working properly. Following is a general list of responsibilities:

 

  ■ Checks the height and level on the tripod, also called the sticks.

  ■ Sets the exposure on the camera as given by the DP.

  ■ Possibly hires the second assistant cameraperson (2nd AC).

  ■ Measures and pulls focus. Measuring for focus is the process of taking a tape measure or electronic measuring device and calculating the distance from the camera lens to the subject. Pulling focus is the process of adjusting the focus knob on the camera so that the actor always stays in focus.

  ■ Assists the camera operator with any needs as necessary.

  ■ Checks the gate after a setup is finished (if using film). Checking the gate is the process of opening up the camera lens and checking a mechanical device inside the camera called the gate. The 1st AC checks to make sure no debris such as dirt or a hair has gotten on the gate. If debris is found, the shot is taken over, because these fragments could appear on the filmed image.

  ■ Cleans the camera lens.

  ■ May load the film magazines (mags) (if there is no 2nd AC).

SECOND ASSISTANT CAMERAPERSON

The 2nd AC assists the 1st AC. On low-budget shoots there may not be a 2nd AC purely for budgetary reasons. On smaller shoots, you may not need a 2nd AC merely because a video or digital camera can be less technically involved (no mags or stock to handle). Keep in mind that many of the newer digital-format cameras are extremely involved and would require hiring a 2nd AC. The 2nd AC begins on the show a few days before principal photography. Following is a list of general responsibilities:

 

  ■ Sometimes loads the mags (if shooting film). The mag is the housing device for the film stock. It attaches and detaches from the camera. Usually extra mags are loaded in advance to cut down on the time taken to replace the mag. Loading mags may also be done by the loader.

  ■ Operates the slate or clapper if there is no specific person hired to do so.

  ■ Writes the camera reports (see Figure 9.2). These camera reports show how much footage was shot for each take. It is important that a copy is made of these reports before the rolls go to the film lab.

  ■ Fills out the film stock summary report. At the end of the day this report (see Figure 9.3) is given to the 2nd AD, who will notate the information on the production report.

  ■ Sets up, runs, and maintains the monitor for the director.

  ■ Packages the film for shipping.

  ■ Gives the camera reports and film to the 2nd AD at the end of the day.

  ■ Cleans the lenses (if not done by the 1st AC).

  ■ Runs mags from the camera truck to the set and back. This can also be done by a loader or camera PA, if there is one.

  ■ Is responsible for moving the camera boxes around when the camera changes setup.

  ■ Gives the footage of each take to the script supervisor so he can record it on the daily log.

CLAPPER/LOADER

The positions of clapper and loader usually exist only on larger budget shoots. If there is no clapper or loader, then these duties are taken up by the 2nd AC. In some cases, the clapper and loader are combined into one position. The clapper operates the clapper, or slate. The loader loads the mags and runs them to and from set. He may also help move the camera boxes when the camera needs to be moved.

CAMERA PRODUCTION ASSISTANT

The camera PA is much like the other PAs on set. Her duties can vary from getting drinks for the camera team to moving camera boxes, to running mags to and from the truck. Sometimes the camera PA guards the camera during lunch. Film and many digital cameras are expensive items, and leaving them on either a hot truck or an unguarded set would not be acceptable. Thus, the PA either sits with the camera or takes the camera with him or her and guards it during lunch.

 

 

VIDEO ASSIST

Video assist on a set means having a person whose sole job is to provide a monitor for the director that will show what was just shot. The playback unit is hooked up to the main camera and records footage as the camera is recording film. The director may want to see what was just shot to see if it is acceptable. The playback operator’s job is to provide this footage at a moment’s notice. For convenience, some video assist companies can provide a database of all footage shot on the production and can record footage for up to four cameras at a time. The video assist operator will start on the first day of shooting. Following is a general list of the operator’s responsibilities:

 

  ■ At the beginning of the day sets up playback close to camera.

  ■ When the director moves, he moves the monitor into position so it is near the director.

  ■ Records everything the camera shoots.

  ■ Turns in all footage at the end of the day so the director has access to it at all times.

STEADICAM OPERATOR

The steadicam operator is a cameraperson who operates a special device called a steadicam. A steadicam is a device that mounts a camera on an operator’s body. It is used for moving shots, or to create movement in a static image. Steadicam operators are specially trained to operate this equipment and are usually hired as a package, the operator and the steadicam, for a daily or weekly fee. Some shows (lower budget) will only hire a steadicam operator for the particular days when steadicam is required. Some shows (medium to higher budget) will hire a steadicam operator for run of show so that the director can use the steadicam at any time.

There is also a device called a Glidecam that is much like a steadicam but not mounted to the operator’s body. It is a much simpler rig, and can be operated by most camera people without special training.

SPECIAL OPERATORS

Sometimes a shoot may require special operators. These operators know how to use specialized cameras and equipment. For instance, if your shoot requires that a scene be filmed under water, you will need an underwater camera and an operator who is experienced shooting under water. These kinds of operators are licensed divers as well as experienced in operating underwater cameras. I have seen in low budget that special boxes or bags can be rigged to go around a regular camera and used underwater. This is much less expensive than a specific underwater camera, but also more dangerous. A homemade device carries with it the risks that water might get into the camera, which can damage it and its contents.

Other specialized operators are used for aerial photography. For instance, there is a unit called a Wescam, which is mounted on the outside of an aircraft or ship. This machine allows the camera to tilt and pan by remote control. When you rent this device, you rent the entire rig and usually also have to pay a fuel fee for the helicopter. This fee is based on the distance the helicopter needs to fly. There is a similar item that is a small remote-control airplane with a camera mounted underneath. This camera is operated from the ground as the airplane flies over land that may need to remain undisturbed, such as snow or water, or that may not be passable on the ground, such as a volcano.

THE CAMERA PACKAGE

The camera package is made up of the camera(s), lenses, filters, tripods, and other items. The DP determines exactly what she needs in a film package and gets a rental cost from a camera rental house. Rental houses usually package their systems with different accessories but are open to customizing a package. Camera packages are rented on a three- or four-day basis. This means that, although you are renting the equipment for a full week, you are charged for either three or four days.

There are other types of cameras that you may need to rent, such as a remote camera system. These are used when it is not feasible for an AC to reach the camera to turn it on. This system is a unit that holds a camera and can be mounted almost anywhere.

OPERATIONS

The efficiency of the camera department is important to the smooth running of a shooting day. Like no other department, if you are waiting for the camera department to be ready, you cannot continue shooting. Following is a list of how a camera team conducts its day:

 

  ■ The night before, stock (if shooting film) for the next day is loaded into the mags.

  ■ Crew arrives at the location and unloads the camera and accessories off the camera truck.

  ■ Crew arrives on set and finds out where the first setup of the day is. This information is given to them by the 1st AD. The camera team may need to wait to set up until most of the lighting is finished so as to not get in the way of the lighting team.

  ■ The team stages all the camera boxes so they are close to camera.

  ■ The 1st AC or 2nd AC puts the mag on the camera.

  ■ Once lighting is almost set, the crew moves the camera into place.

  ■ Once stand-ins are in place, the 1st AC measures focus and adjusts the focus knob.

  ■ Once the DP determines the exposure, the 1st AC sets the exposure.

  ■ The camera team stands by for rehearsals and shooting.

  ■ Throughout the day, the team loads new mags onto the camera.

  ■ At the end of the day, the team wraps the camera and returns it to the camera truck.

 

There are a few special rules that apply to the camera department that are worth noting here. For instance, no one touches the camera except the camera personnel, or by permission of the camera operator. Frequently the director may want to look through the camera lens to check the shot. Or, the script supervisor may want to look through the lens to check the framing of the shot (so she knows what is in frame and what is not). Second, the camera should never be left alone. The camera could be knocked over, damaging expensive parts, or worse, stolen. I once worked a shoot where the camera was not operating well, so it was going to be returned to the rental house for repair. A PA and his girlfriend were assigned to drive the camera 1 hour back to Los Angeles to return it to the rental house. In the middle of the night we got a phone call from the pair claiming that the camera had been stolen out of their car. After a police investigation, it turned out that the PA and girlfriend made the whole story up, stealing the camera themselves and hoping to sell it for a good deal of money. Needless to say, you need to be careful whom you let take care of the camera.

STOCK

Film or video stocks are items that are ordered in pre-production. Be sure to order your stock in plenty of time to allow for shipping delays. Films can be shot on 16mm, usually for low budget or student applications, or 35mm or 70mm, for professional theater distribution. Projects have a variety of digital formats to choose from, and are changing every day, in addition to digital formats. If using film stock, there is a special way it is ordered for a shoot. You can tell the lab that you want all film stock from one bath, meaning all of the stock was created in one process. This ensures uniformity in the stock. The lab will then ship portions of the stock to you throughout the shoot. This way, you do not have to deal with storing many cans of film, which need to be refrigerated until used. The amount of stock received on this basis is recorded on the film stock summary report so that an accurate tally of the stock can be maintained. In low budget the stock is kept in a hotel room. In higher budget shoots it is kept in an air-conditioned camera truck throughout the day. If shooting digitally this may be the time to acquire the proper drives or computers needed for recording and archiving. In some cases stock is no longer needed, as when digital footage is recorded directly onto hard drives. Again, determine which workflow will be appropriate for your shoot in pre-production.

DAILIES

If you are shooting film, you will need to have your film processed. You need to set up an account with a film lab to do your processing. The lab then knows to keep your negative for you until it is needed for the negative cutters. Choosing a film lab is a matter of preference or location. Most low-budget shoots will try to use a film lab that is close to them so they can save on shipping costs. Medium to higher budget shoots will choose a lab that the DP is comfortable with and ship the footage to the lab each day. Following is the process for shipping this footage, called dailies. First you get special boxes from your lab special for shipping film. Then, you set up an account with an airline that ships cargo and a courier that transports film. Next, on a daily basis, the following should occur:

 

  ■ At the end of the day, the 2nd AC packs up the film, attaching camera reports to the cans. Keep in mind that the 2nd AC might break film during your shooting day. Breaking film is a process that involves taking all the film that has been shot so far that day and packing it up for shipping. This is done because labs have a certain time by which they must receive film in order to get the dailies back to the production the next day. This timing is determined in pre-production so the 2nd AC will know each day when to break film.

  ■ The 2nd AC turns the film over to the 2nd AD, who will make sure it is transported to the production office.

  ■ The POC or APOC packs the rolls into the special shipping boxes and arranges for someone to take the film to the airport. It is important that this person get the tracking number from the airline or courier in case the shipment should get lost.

  ■ The POC or APOC calls the film courier on the other end (in the city where the lab is) and informs them of the tracking number and flight arrival time.

  ■ The film courier picks up the film at the airport and transports it to the lab for processing.

  ■ The lab processes the film and, when finished, calls the film courier to pick up the dailies and transport them to the airport.

  ■ The film courier then calls the production office with the tracking number and flight arrival time.

  ■ The POC sends someone, either a PA or, if there is a transportation department, a driver, to the airport to pick up the film.

  ■ The dailies are then picked up and turned over to the editors to prepare them for viewing after the end of the shoot day.

 

Whether to project your dailies on film or digitally is determined by the producer and director. This decision needs to be made in pre-production, since it will affect the budget and some preparations. If you choose to watch your dailies on film, then you will need to pay for printing and processing. Labs charge a certain amount of money per foot for each process. This cost should be reflected in your budget. In addition, you will need to hire a projectionist to project the dailies.

If you choose to watch your dailies digitally, the lab will do a process called telecine or transfer. The lab will transfer your footage to video or a digital format and send back videotapes or files. You can have them transferred to a number of analog and digital video formats. In addition, many labs will send your footage to a designated Internet site for viewing as well.

BEHIND-THE-SCENES FOR DVD

With the advent of DVD release, all films now shoot behind-the-scenes footage to be used on the DVD. On low-budget shoots, where you probably do not have a unit publicist, the producer hires a cameraperson to go around shooting interviews and footage throughout the shooting period. The producer, the show’s editor, or the cameraperson, if qualified, may edit this footage. On higher budget shoots, the publicist hires a cameraperson and behind-the-scenes producer to guide the shooting. Because behind-the-scenes is so popular now, there are companies that specifically shoot behind-the-scenes for media projects. After principal photography is over, the footage is edited together to make featurettes that will appear on the DVD. These featurettes are also placed in the electronic press kit (EPK).

TESTS

Camera tests are performed in certain cases in which the director and DP want to see how a stock looks and/or how the actors look on film. Tests are usually done only in medium to higher budget shoots because of the costs they incur. However, a simple stock test is not that expensive and could be done for low-budget shoots. There are four kinds of tests: stock, makeup, hair, and wardrobe.

The stock test is done to see how certain stocks look in certain lighting situations. Stock houses are continually coming up with new stocks, and DPs need to test them out before using them, to ensure a quality image while shooting.

Makeup and hair tests are performed to see how a particular actor or actress looks with the new “look” defined by their character. They may also be done if special-effect makeup is required, for instance, on a science fiction project.

Wardrobe tests are shot to see how a particular actor or actress looks in wardrobe. This is usually done on period films and science fiction projects where the wardrobe may be designed from scratch or be very involved.

To complete any of these tests, do the following:

 

  ■ Hire the DP and rent a camera to shoot the test.

  ■ Secure a room or location to shoot the test.

  ■ If applicable, contact the actors and schedule them for the test.

  ■ Arrange for processing the footage, if shooting film.

  ■ Arrange for a viewing with the producer, director, DP, key makeup artist, key hair artist, and costume designer (where applicable).

 

Once the tests are complete, the people involved discuss any changes that need to be made.

SUMMARY

The head of the camera department is the DP, who also is responsible for other departments such as grip and electric. The DP works to achieve photographic excellence in line with the director’s vision. The camera crew can consist of an operator and one or two assistants or may include additional operators for complicated shots or shots that need to be covered from many angles, such as stunts or special effects. Camera operators can be highly specialized, such as the steadicam operator and aerial and underwater operators. As technology and formats progress, the camera department works hard to keep up with new processes and digital cameras. Finally, in addition to main unit camera operators, small camera crews also frequent the set, shooting featurettes and behind-the-scenes footage for DVD release.