9

The Camera Department

The camera department, like the art department, is one of the few departments whose entire work is seen on 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 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 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 and works with the DIT to obtain optimal dynamic range in the image. 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 or digital format.
• 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 determine 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.
• Meets with the DIT to discuss format and camera settings.
• 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.

Post-Production

• Is brought in to work with the color timer to achieve the desired look of the film.

The Digital Imaging Technician (DIT)

The digital imaging technician or DIT is a person who works in the camera department directly under the director of photography. This is a relatively new position. In the past, when shooting film, the DIT was not needed. Now, with more films shooting digitally, the DIT is absolutely necessary. The DIT is a highly skilled position, as it deals with the digital workflow of the footage shot on set. This workflow includes backing up the footage onto drives, working with settings on the camera, dealing with signal integrity, and image manipulation when needed.

The main goal of the DIT is to achieve the highest-quality image possible from the shot footage. Sometimes the DIT will be able to show the DP and director what the footage would look like after manipulating the saturation or exposure. Instead of waiting to see this in post, as was done previously, the DP can make more confident choices on set in terms of camera settings.

Another goal of the DIT is to make sure the files are not corrupt and are output in a format that post-production needs. This step is also important to insure a smooth post-production. The DIT works on set, usually off in a room somewhere or at a base camp. When footage is brought to him, the footage is then transferred to a laptop and copied to drives for safety. The DIT will do a check sum that examines every second of the footage to see if there are any problems with the image or the files. This is a very important step. I was executive producer on a film where the DIT caught some image “ghosting” in the footage as we were shooting. He alerted me so I was able to put him in touch with the DP to discuss and figure out a solution. Because he caught the shots at the location where we were, we were able to reshoot the same day. Here are the DIT’s duties and responsibilities throughout the production.

Pre-Production

• Discusses camera settings with the DP to determine the recording format and outputs, or what kind of files are needed for the editors.
• Works with the DP to discuss the DP’s vision for the footage.
• Discusses any special effects shots that may be needed to insure a smooth workflow.
• Contacts the post-production team to coordinate file formats and a file naming system.

Production

• Makes sure the camera is set so that the footage achieves maximum dynamic range.
• Receives footage from the camera department.
• Downloads and copies footage to a computer and backup drives.
• Runs a check sum on all footage.
• Monitors picture exposure to make sure different shots and scenes are consistent when appropriate.

• Sets up color decision lists.
• Monitors color management, or sometimes does immediate color correction to the image. May adjust color saturation.
• Sometimes does “one lights” to balance the image, check contrast and color balance, and insure no clipping of the image.
• May set up LUTs, or look-up tables, for post-production.
• Prepares files for output.
• May need to stream dailies to certain people on set, such as to their iPads.
• Transcodes and organizes the files for post.
• Checks footage for any problems such as focus issues, bad shadows, unwanted reflections, lens flaring, or ghosting.
• Works with 2nd AC to make any changes to the camera settings if needed. This might include changing the exposure or color temperature.
• Keeps a log on paper or electronically that will note what files came from what magazines, how many clips are on the magazine, how long the clips are, and what scenes they are for.

As technology is constantly changing, I intentionally am not getting too technical in this book. However, here are some definitions to help you understand what the DIT does:

• The color decision list is a system developed by the American Society of Cinematographers that allows color-correction information to go between different software and equipment.
• Look-up tables (LUTs) are a way of looking at your footage in a natural way, rather than viewing the less colorful image that comes directly from the camera. This way of seeing the footage is later removed before final color correction. It basically imitates the way the film might look at the end of the post-production process.
• A one-light is the process of going through each shot and making sure the exposure is consistent from shot to shot within a scene.
• Ghosting is a replica of the transmitted image, offset in position that is super-imposed on top of the main image.
• Transcoding is the process of changing files from one format to another. The DIT may receive files in one format from the camera team and then changes those files to another format that the editors need for post-production.

DIT—The Typical Day

Surely there are no typical days on a film set. However, a day for the DIT might look like this:

• In the morning, sets up the DIT cart, which consists of computers, drives, and scopes. Often this setup is just off set, or inside a darkened area where the DIT can see monitors clearly.
• Once the first magazine comes off the camera it is given to the DIT, who takes it to the cart to check exposure, color, consistency with other shots, and so forth.
• Next they may apply LUTs to the files, and then send them to either iPad or monitors so the DP and sometimes the director can check the look they are getting.
• As this is happening they are also logging the files.
• Next they will transcode the files into the correct format in preparation for copying and outputting. Sometimes they might do this in multiple formats, depending on the post-production workflow.

Qualities of a Good DIT

• Needs to be a good communicator and have the ability to work with and understand a DP’s vision, and translate that into image manipulation.
• Needs to be flexible, able to work independently with a very hands-off DP or to work very collaboratively with a very hands-on DP.
• Needs to have up-to-date equipment and have the ability to keep up with new technological advances in image transfer and manipulation.

The Data Wrangler

Another position in the camera department due to the advent of digital cinema is the data wrangler, sometimes called the digital imaging assistant. This position is basically an assistant to the DIT. On any movie shoot there are tons of digital files to deal with, so the data wrangler is there to help manage and organize the footage.

• May manage and transfer the footage to the computer.
• Interacts with the 2nd AC to insure all the footage is accounted for.
• Works with the sound mixer to secure all the digital sound that is recorded on set.

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.

1st Assistant Cameraperson

The 1st AC 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. Often 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. Some digital cameras take less time to build, so are built at the beginning of the day. Following is a general list of responsibilities:

• Checks the height and level on the tripod.
• 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.
• If shooting digitally, “checking the gate” is equivalent to checking the sensor inside the camera for dust or particles.
• Cleans the camera lens.
• May load the film or digital magazines (mags) (if there is no 2nd AC).

2nd 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 film 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:

• Loads the mags. Loading mags may also be done by the loader (if shooting film).
• 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 or they go to the editors (digital).
• Fills out the film stock summary report (film). At the end of the day this report is given to the 2nd AD, who will transfer the information to 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 count of each take to the script supervisor so he can record it on the daily log.

Clapper and 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 and guards it during lunch.

Video Village

Video village on a set means setting up a place to have a monitor for the director that will show what is being shot. This exists on certain shoots based on the budget or the director’s preference. Some directors are fine with watching a small monitor attached to the camera. Others want a large monitor, set up in another room or outside under a tent. The unit is hooked up to the main camera and records the footage. The director may want to see what was just shot to see if it is acceptable. The ACs or sometimes a separate position called the assist operator will do this. Following is a general list of responsibilities:

• At the beginning of the day sets up playback as per the director’s preference.
• When the director moves, he moves the monitor into position so it is near the director.
• May need to set up a large monitor under a tent for others such as the producer or executive producer to watch filming (video village).

Steadicam Operator

The Steadicam operator 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 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. You will see more Glidecams on lower-budget shoots. Keep in mind: new rigs are invented all the time. Make sure your camera team is up to speed on the latest rigs.

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 a scene be filmed underwater, you will need an underwater camera and an operator who is experienced shooting underwater and is a licensed diver. 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 are helicopters with cameras mounted underneath for aerial filming. 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. Drones are used to fly 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. Drones are not easy to run, so require a skilled operator.

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 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 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 and the camera batteries are charged.
• 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 (film) or in (digital) 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. 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 one 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 stock is ordered in pre-production. Be sure to order your stock in plenty of time to allow for shipping delays. If shooting digitally, digital mags need to be purchased. Projects have a variety of formats to choose from, and are changing every day. The decision of which format to shoot with is determined by the DP, or producer, or director, and, most often, the budget. 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. 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.

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. 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 for shipping film. Then, you set up an account with an airline that ships cargo and a courier that transports film.
• 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 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.

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 a digital format and send back files. Labs will send your footage to a designated Internet site for viewing as well.

Behind-the-Scenes for DVD

With the advent of Blu-ray, all films now shoot behind-the-scenes footage to be used on the disc. 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 production. 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 where 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.

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 effects 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 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.

There’s an App for That!

There are a plethora of apps for camera. Some of these will take an image you shoot and show you where the sun will be at each hour of the day. This helps DP’s know when and where exterior shadows will happen. Other apps do logs that help keep track of your mags. Another app can help you put together your camera package on your phone or tablet and then send that to rental houses for quotes. Finally, ACs can find many apps that function as digital slates for use on set.

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 the DIT, the camera 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.