Preface

What is the difference between a camera operator and a cameraman?

In 2006, I found myself working on a TV show for Intuitive Entertainment with cinematographer I-Li Chen. He was the first person I had ever encountered who could not only sum up the difference but also the importance of this difference. His explanation was as follows:

“Camera operators shoot what they’re told, when they’re told; they are more or less a tool with little or no creative input. Cameramen are a bit of a director as well. They are always watching and listening to everything that is happening. They are looking for moments, feeling the energy in a room, and identifying the story in what they are shooting. A cameraman will always capture the best moments.”

I-Li hit the nail on the head with this statement. I’ve always found that people like to keep one eye closed while shooting film and video. Now granted, there are circumstances in which this is best to do; however, I find that most of the time, you are better off leaving your “non-eyepiece” eye open. The reason is exactly what I-Li said. With your other eye open, you will be able to seek out and find not just other moments that are brewing around you, but you’ll also see what is happening just outside the edges of your frame.

In the summer of 2006, at what TransWorld SKATEboarding referred to as “The Best Skateboard Contest Ever” — The Vans Pro-Tec Pool Party in Orange, California — 200 of the best top pro and retired old-school ramp and pool riders showed up to compete in the enormous concrete Combi Bowl. What ensued was total utter chaos, and it was great. For any cameraman attending this event, thousands of insane tricks were pulled, hundreds of perfect moments happened, and dozens of multiskater collisions occurred. At an event like this, or even at a crowded local skate park, many things are happening at once. You’ll find it very helpful to keep both eyes open and see not only what is happening around your frame, but also what is about to happen in it.

Predicting and anticipating is perhaps the greatest talent a cameraman can acquire. Whether you’re brand new to shooting action sports or you’ve been doing it for years, if you remember nothing else from this book, remember this: be a cameraman, not a camera operator.

As noted above, and as you’ll see throughout this book, there are countless examples of camera tricks and techniques used at major and minor events around the world. Just remember that even if you’re only shooting something in your backyard or hometown, these techniques still apply. Video, film, and digital tools are just that: tools — it’s your eye, your style, and your creativity that will make what you shoot compelling.

This book will take you through all aspects of production focusing on action sports. From planning and preparation to editing and postproduction, you’ll get a solid understanding of the changing technology, camera techniques, and basic to more-advanced shooting principles that can be applied to almost every scenario you might encounter.