Camera Department on The Film Production

The number of members in the film camera department depends on the kind of film being shot. Big-budget feature films usually have a larger crew than a low-budget film, TV commercial, or music video. It also depends on whether the production is union or non-union. The typical camera department usually consists of the following crew members:

Director of Photography (D.P.)
Camera Operator (C.O.)
First Assistant Cameraman (1st A.C.) (Focus Puller)
Second Assistant Cameraman (2nd A.C.) (Clapper/Loader)
Loader (optional position on larger multicamera productions)

This list is based on a union, big-budget feature film and includes only the basic crew positions. All of the following lists of camera department personnel responsibilities are based on a union, big-budget feature film. Each job is different, so not all of these jobs will be done on every show.

Often when multiple cameras are being used there will be additional Camera Operators and assistants. The responsibilities of these additional crew members are exactly the same as the key members of the camera crew. These additional crew positions are hired on an asneeded basis. Additional crew members hired on a daily basis are often referred to as day players.

Smaller non-union productions most likely will not have the loader position, and often on non-union productions the D.P. also serves as the Camera Operator. Each member of the camera department has specific duties and responsibilities, and each position is related to all the others. While the following lists include the basic responsibilities, each production will be a bit different; therefore what each person does on the production may vary slightly. You must be able to make adjustments based on the type of production you are working on. The important thing to remember is to be flexible and willing to help out in any way, providing you don’t step on anybody’s toes or cross over into another department where your help may not be wanted or welcome. The D.P. is the head of the camera department, and he or she is directly responsible to the Director. This chapter lists the D.P. and the Camera Operator responsibilities. Since this book is primarily about the jobs of Assistant Camera Operators, Chapter 3 covers in detail the responsibilities of the 2nd A.C., and Chapter 4 the responsibilities of the 1st A.C.

Director of Photography

The D.P. is the head of all technical departments on a film crew and is responsible for establishing how the script is translated into visual images based on the director’s request. The D.P. decides which camera, lenses, and film stock will be used for the production. The D.P. hires or recommends the Camera Operator and often also hires or recommends the 1st A.C. In many cases, mostly on non-union productions, the D.P. acts as Camera Operator, so that position will not be a part of the film crew. In hiring the 1st A.C., the D.P. usually bases the decision on past work experience and chooses someone he or she is comfortable working with. If that person is not available, the D.P. may ask for a recommendation from his or her usual 1st A.C. or a recommendation from another D.P. The position of 1st A.C. is very important, and the D.P. wants to have someone who can be trusted and is good at the job.
Because the 1st A.C. works closest with the 2nd A.C., the 1st A.C. usually hires or recommends the 2nd A.C. Again, this is usually based on past working experiences, or on a recommendation of another trusted Camera Assistant.

During shooting, all members of the camera department must work closely together as a team to get the job done. The D.P. decides where the camera is placed for each shot and which lens is to be used. It is up to the Camera Assistants to get the camera set up each time and place all appropriate accessories on the camera for shooting. The D.P. decides how the lights are to be placed for each shot, and once the lights are set, he or she gives the 1st A.C. the correct exposure to be set on the lens for shooting. In addition to working closely with the Camera Assistants, the D.P. works closely with the Camera Operator to
decide the composition for the shot. The D.P. along with the Director, may also decide if there are to be any dolly moves for the shot and when they will take place.

Many D.P.s started their film careers as Camera Assistants, so they should know and understand the requirements of the job. They probably worked a few years each as 2nd A.C. and 1st A.C. Then they may have been a Camera Operator for a few years before finally becoming a D.P. The length of time that is spent at each position is based on each person’s individual circumstances.
There are also many D.P.s who arrived at the position without ever having been a camera assistant. They may have been a Lighting Technician or Gaffer before becoming a D.P. They also could have started their career as a documentary filmmaker or television news cameraperson. If the D.P. has never been a camera assistant, he or she may not be fully aware of all the duties of the job. In any case you must be able to work closely with the DP to get the job done.
Many D.P.s started out working on small, low-budget films, or even some student film projects. These small projects enabled them to gain valuable experience that later helped them get their first big break on a major, big-budget production. Some D.P.s started out as apprentices to well-known D.P.s. By working with these professionals, they learned many valuable skills that helped them when it came time to start out on their own.

The following are many of the responsibilities of the D.P. They are listed in no particular order.
Reads the script so that he/she understands the story and has an idea of what may be involved in the shooting of the film
Works with the director, production designer, and set construction supervisor to determine the “look” of the film and how the sets will be designed and constructed
Assists the Director in translating the screenplay into visual images
Attends production meetings to discuss the script and make any suggestions to help the production run smoothly
Goes on location scouts with the Director and any other production personnel to help determine their suitability for filming, both aesthetically and from a practical production standpoint
Chooses camera, lenses, filters, film stock, and any other camera equipment that may be needed
Consults with 1st A.C. on any camera equipment or accessories that may be needed
Recommends the camera rental house to use for renting equipment
Recommends the grip and lighting equipment rental companies to use for renting equipment
Recommends the laboratory that will process the film
Supervises any camera tests that may be necessary or arranges for them to be done
Supervises any film tests that may be necessary or arranges for them to be done
Supervises any lighting, costume, and makeup tests or arranges for them to be done
Hires or recommends the members of the camera crew, the gaffer, and the key grip
Works closely with the Production Manager or Production Coordinator to determine the size of the camera, grip, and lighting crews
Works with the grip and electric crews to determine the type and quantity of equipment needed for each department
Maintains the photographic quality and continuity of the production
Sets the camera position, camera angle, and any camera movement for each shot based on the Director’s request
Selects the lens and filter required for each shot
Determines the correct exposure (t-stop) for each shot
Works with the Director when lining up and matching action and screen direction from shot to shot
Works with the Camera Operator to set the composition for each shot based on the Director’s request
Determines if the shot will require a dolly or crane move
Plans and supervises the lighting of all scenes, working closely with the Gaffer and the electrical crew
Maintains the continuity of lighting from scene to scene
Supervises the crews for all cameras in use on the production
Supervises each technical crew while on stage or location
Specifies the laboratory instructions for developing and processing of exposed film
Views dailies with the Director and other production personnel
Supervises the color timing of the final print of the film
Supervises the transfer from film to videotape
Provides exposure meters and other necessary tools associated with performing the job

Camera Operator (C.O.)

The next person in line in the camera department is the Camera Operator. In the United States, the Camera Operator works closely with the D.P. to determine the composition for each shot as instructed by the director. In Britain, the Director and the Camera Operator work together to determine the placement of the camera and the composition of the shots. In Britain, the D.P., or Lighting Cameraman as he or she is sometimes called, deals primarily with the lighting of the set.
The primary job of the Camera Operator is to make smooth pan and tilt moves in order to maintain the composition of the subject. The Camera Operator keeps the action within the frame lines in order to tell the story. Sometimes the Camera Operator decides the placement of the camera and also chooses the lens for each shot. The 1st A.C. works most closely with the Camera Operator during rehearsals and actual shooting. There may be a complicated camera move that requires zoom lens moves and many focus changes during the shot. The Camera Operator rehearses these moves with the 1st A.C. before shooting them to be sure they are done at the correct time during the shot. If a problem arises with any of these moves during the shot, the Camera Operator is often the only one who can detect it and must let the 1st A.C. know where the problem occurred so that it can be corrected for the next shot.
The Camera Operator rehearses any dolly moves that may have been determined by the D.P. The Camera Operator will sometimes let the dolly grip know when it is the right time to move the dolly during the shot. The Camera Operator also works with the sound department and boom operator to set the placement of the boom microphone during
the shot. He or she may let the boom operator look through the camera to see the frame size, or may just tell the boom operator where the edge of frame is so that the microphone is placed where it is not in the shot. The Camera Operator should tell the 2nd A.C. if any actor’s marks are visible in the frame and if they should be made smaller for the shot. When actual shooting starts, the Camera Operator sometimes instructs the 2nd A.C. where to place the slate so that it is visible in the frame.

The following are many of the responsibilities of the Camera Operator, which are listed in no particular order:
Reads the script so that he/she understands the story and has an idea of what may be involved in the shooting of the film
Adjusts the viewfinder diopter for his or her vision
Adjusts the seat of the dolly for comfort and proper positioning prior to each shot
Maintains the composition as instructed by the Director or the D.P.
Watches to make sure the proper eye lines and screen directions are maintained
Makes smooth pan and tilt moves during each shot to maintain the proper composition
Approves or disapproves each take after it is shot: certifies that no microphones, lights, stands, or other unwanted items were in the frame
Works closely with the 1st A.C. to ensure proper focus, zoom moves, and t-stop settings for each shot
Works closely with the 2nd A.C. regarding the proper size and placement of actors’ marks; if the marks are seen in the shot, the Camera Operator informs the 2nd A.C. to make them smaller or to remove them
Notifies the 2nd A.C. when the camera has reached sync speed so that he or she may slate the shot
Works closely with the dolly grip during rehearsals and takes to ensure smooth dolly or crane moves
Works closely with the sound department to ensure proper placement of microphones during each take by telling them where the edges of the frame are located
May act as D.P. on any second unit shooting during the production
Views dailies with the Director and other production personnel

First Assistant Cameraman (1st A.C. or Focus Puller)

Knows and understands all professional motion picture camera equipment and accessories currently used in the industry
Reads the script so that he/she is aware of the story and recommends any special equipment that he/she feels may be needed to carry out specific shots
Works with the D.P. and/or Camera Operator to choose the camera equipment that will be used on the production
Recommends the 2nd A.C. and Loader/Trainee to the D.P. and/or Production Manager
Works with the 2nd A.C. to prepare a list of expendables, which is then given to the production office or Production Manager so that the items may be purchased
Preps the camera package alone or along with the 2nd A.C.; ensures that all equipment is in proper working order
Responsible for the overall care and maintenance of all camera equipment during production
Mounts the camera head onto the tripod, dolly, or other support piece and ensures that it is working properly
Unpacks, assembles, and warms up the camera and all of its components at the start of each shooting day
Does not leave the camera unattended
Loads and unloads proper film into the camera for the shots and setups
Resets the footage counter to zero after each reload
Resets the buckle switch in the camera if necessary
Keeps all parts of the camera clean and free from dirt and dust, including camera body, lenses, filters, magazines, and so on
Oils and lubes the camera as needed
Sets the viewfinder eyepiece for each key person looking through the camera
Before each shot, ensures that the camera is level and balanced
If the camera is mounted on a tripod, ensures that it is securely positioned and leveled
Checks to be sure that no lights are kicking into the lens, causing a flare, when the camera is in its proper position
Places proper lens, filter, and any other accessory on the camera as instructed by the D.P. or Camera Operator
Checks that lenses and filters are clean before filming
Sets the t-stop on the lens before each take as instructed by the D.P.
Measures the distances to subjects during rehearsals and marks the lens or focus marking disk
Checks the depth of field for each shot as needed
Follows focus and makes zoom lens moves during takes
Adjusts the shutter angle, t-stop, or camera speed during a take, as needed and as instructed by the D.P.
Checks that camera is running at correct speed during filming
Gives the 2nd A.C. footage readings from the camera after each take
After each printed take or when instructed by the D.P., checks the gate for hairs or emulsion buildup and requests another take if necessary
Supervises the transportation and moving of all camera equipment between filming locations
Works with the 2nd A.C. to move the camera to each new position
Works with the 2nd A.C. to be sure that all camera batteries are kept fully charged and ready for use
If there is no 2nd A.C. on the production, then also performs those duties
Orders additional or special camera equipment as needed
Checks call sheet daily to be sure any additional camera equipment and crew members are requested if needed
Arranges for the return of any camera equipment no longer needed
Arranges for the return and replacement of any damaged camera equipment
Oversees all aspects of the camera department
Disassembles the camera and its components at the completion of the shooting day and packs them away into the appropriate cases
At the completion of filming, wraps and cleans all camera equipment for returning to the rental house
Provides all the necessary tools and accessories associated with performing the job

Second Assistant Cameraman (2nd A.C. or Clapper/Loader)

Before production, obtains a supply of empty cans, black bags, camera reports, and cores from the lab or asks the Production Manager to arrange this
Prepares a list of expendables with the 1st A.C.
Preps the camera package along with the 1st A.C.
Cleans the camera truck and/or darkroom for use during the production, and ensures that each is loaded with the proper supplies and equipment
Loads and unloads film in the magazines, and places proper identification on each if there is no loader
Checks with loader (if there is one) to be sure that all film magazines are loaded and properly labeled
Checks darkroom to be sure that it is light proof on a daily basis if necessary
Communicates with the Script Supervisor in order to obtain the scene and take number for each shot, and also which takes are to be printed
Records all information on the slate
Records all information on the camera reports
Checks with Script Supervisor as to what takes are to be printed for each scene
Helps to set up the camera at the start of each shooting day
Marks the position of actors during the rehearsals
Slates each scene, whether sound (sync) or silent (MOS)
Assists in changing lenses, filters, magazines, and so on, and in moving the camera to each new position
Sets up and moves video monitor for each new camera setup and makes sure the cable is connected to the film camera
Prepares exposed film for delivery to the lab and delivers it to the production company representative at the end of each shooting day
Cans and labels any film recans or short ends
Serves as camera department contact with production office, film laboratory, and camera equipment rental house
Maintains a record of all film received, film shot, short ends created, and film on hand at the end of each shooting day during the production
Maintains an inventory of film stock and expendables on hand and requests additional supplies from the production office as needed
Maintains an inventory of camera equipment on hand, additional equipment ordered, and any equipment damaged or returned
Distributes copies of the camera reports and film inventory forms to the appropriate departments
Keeps a file of all paperwork relating to the camera department during the production: camera reports, daily film inventory forms, processing reports from the lab, equipment packing lists, expendable requests, etc.
Keeps a record of all hours worked by the camera department and prepares time cards at the end of each day
Performs the job of 1st A.C., if necessary, in the absence of the 1st A.C. or when additional cameras are used
Works with the 1st A.C. to move the camera to each new position
Works with the 1st A.C. to ensure that all camera batteries are kept fully charged and ready for use
At the end of each shooting day, helps the 1st A.C. pack away all camera equipment in a safe place
At the completion of filming, helps the 1st A.C. wrap and clean all camera equipment for returning to the rental house
At the completion of filming, cleans and wraps the camera truck
Provides all the necessary tools and accessories associated with performing the job

Loader

Maintains an inventory of all film stock initially received from the production company
Maintains a record of all film received, film shot, short ends created, and film on hand at the end of each shooting day during the production
Loads and unloads all film magazines during the course of filming
Properly labels all loaded film magazines, cans of exposed film and short ends, and recans of unexposed film
Prepares exposed film for delivery to the lab and delivers it to the production company representative at the end of each shooting day
Provides all the necessary tools and accessories associated with performing the job

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