Setiquette

A Guide to Working Effectively on the Set

for each Camera Classification

CONTENTS

• Rules of Professional Conduct by Bill Hines
• Directors of Photography compiled by Charles L. Barbee
• Camera Operators compiled by Bill Hines
• Still Photographers compiled by Kim Gottlieb-Walker
• Camera Assistants complied by Mitch Block
• Loaders compiled by Rudy Pahoyo
• Video Controllers compiled by John D. O’Brien
• Camera Assistant/Video Utilities by Michelle Nobles
• News Photojournalist compiled by Gary Brainard

Edited by Kim Gottlieb-Walker 1997

RULES OF PROFESSIONAL CONDUCT

by Bill Hines, S.O.C.

The following are well-established production practices and are presented as guidelines in order to aid members of the International Photographers Guild, Local 600, IATSE, function more efficiently, effectively, productively and safely performing their crafts, during the collaborative process of film and video cinematic production.

PRACTICES TO BE ENCOURAGED

• Knowing and properly practicing one’s craft responsibilities;
• Knowing to whom one is directly responsible and adhering to that relationship;
• Thoroughly knowing, understanding and performing one’s craft duties in a professional manner;
• Keeping current on the latest equipment, accessories, expendables and production techniques;
• Assisting one’s immediate superior to the greatest extent possible at all times;
• Helping one’s crew associates in their duties in any way possible, when called upon;
• Always presenting oneself in a professional and considerate manner to crew, cast and staff;
• Being at one’s assigned post, prepared to perform craft duties, at all times while at work, unless specifically excused;
• Dressing in attire appropriate to the type and location of the production;
• Maintaining a subdued talk/noise/behavior level on the set or shooting site Be aware and conform to the appropriate tone of the set and take extraneous conversations elsewhere;
• Having the camera equipment checked, assembled, adjusted and ready to roll at the earliest possible time for each set-up;
• Immediately advising one’s superior of any perceived technical omission or commission which may have occurred during production and which could have an adverse effect on the image-capture process;
• Immediately reporting any potential safety problem to one’s category crew chief;
• Immediately calling one’s category crew chief’s attention to a possible staffing shortage or irregularity;
• Making sure all memebers of the camera crew on the set including still photographers are members of local 600;
• Backing one’s subordinates to the full extent during the production process;
• Helping subordinates achieve greater understanding and competence in their work;
• Giving credit where, when and to whom credit is due for superior job performance or other invaluable job contribution(s);
• Recognizing professional competence and showing mutual respect for other professionals on the production;
• Reading and familiarizing yourself with the script, story-boards and production schedule.

PRACTICES TO BE AVOIDED

• Being habitually late in reporting for work;
• Appearing at work in an unkempt condition;
• Doing only enough to get by;
• Engaging in any activity while at work which might cause disruption of the production process;
• Utilizing company materiel for personal use, without permission;
• Leaving one’s assigned post, the set, or location site without specific permission from one’s immediate superior;
• Passing the buck ­ (allowing, or forcing, a subordinate to take the blame for a miscue which, in fact, was one’s own, or a shared, error);
• Going over or around one’s superior or superiors in matters relating to the responsibilities and duties of that, or those, superior(s);
• Being openly argumentative with, or hostile toward, one’s superior(s), subordinate(s) or co-workers;
• Using one’s position to verbally abuse, or to make unreasonable (beyond normal specified duties) demands upon, one’s subordinate(s);
• Ingesting any substance which might impair the performance of one’s responsibilities and duties or put one’s co-workers and self at risk of physical injury or job termination.

The Director Of Photography

Definitions, Duties and Divisions of Work

As stated in the Hollywood Basic Agreement

The Director of Photography is in active charge of photographing a motion picture or other film or video project, including supervision of the technical crew, process photography, underwater photography, aerial photography, process plates, inserts and special effects photography.

All Directors of Photography shall be prompt in appearing for work as required, shall be responsible for doing their work at all times to the utmost of their ability, artistry and efficiency, and strive to uphold, at all times, the best traditions of the photographic profession, always bearing in mind that upon their efforts rests the ultimate responsibility of reproducing in artistic and visible form the results of the great expenditures undertaken by the Producer. They shall at all times perform their work as efficiently, rapidly and excellently as possible, seeking to heighten the efficiency of the entire production unit in which they work.

Directors of Photography shall, whenever required by the Producer, hold themselves ready to help and advise the Producer, attend story conferences, give their advice and suggestions in connection with the design and selection of sets, costumes and locations and generally render assistance in simplifying production, heightening production values and effecting economies.

The Role, the Responsibilities and the Personal Qualities

of the Director of Photography

Directors of Photography stand at the natural confluence of the two main streams of activity in the production of a film – where imagination meets the reality of the film process. They work in an atmosphere that constantly poses new problems, yet often acts as a stimulant and a catalyst to their own artistic vision and technical resourcefulness. It is important that they be as well-informed and involved as possible at all stages and that they work hand-in-glove with the Director, to fulfill the Director’s intentions and those of the financial backers, who expect good value from the people they have entrusted with the film.

A primary requirement of Directors of Photography is that they must be able to reconcile the often conflicting forces of the artistic and the mechanical, yet maintain good working relationships with others whose ideas they must respect. But the ideas of the Director of Photography must also take root here and in this difficult environment they must strive to produce the best photographic record that can be made of the production. They plan the filming, light it and shoot it, so they must have a fully developed pictorial sense and a sound understanding of the technical basis on which a film is built. The Director of Photography is an ARTIST and a TECHNICIAN. But in this most collaborative of professions, it is not enough to simply execute the job to your own satisfaction…the work must be seamlessly interwoven with that of a host of other artists and craftspeople in order to produce the desired result.

Directors of Photography must have a thorough knowledge of staging technique. With this knowledge of film technique combined with the Director’s desires, the Cinematographer and Director can work as a team for the most effective and efficient staging of scenes. The Director’s and the Cinematographer’s responsibilities overlap, but it often falls to the Director Of Photography to maintain the speed and tempo of the set and to pick up the ball and run with it to help the Director keep the game progressing. Because of the overlap, there are bound to be differences in conception, but this does not mean that there need be disagreement. The Director of Photography must always serve the interests of the Director and the production and keep in mind that all are working together for the same goal – to get it on film in the best manner possible.

All of the above points up the fact that a lot of personality is involved. Directors of Photography must have amicable relationships not only with the Director, actors and Producers, but equally importantly with their camera crew (Camera Operators, Assistants, Still Photographers) for whom they serve as a “parent figure” on the set, and with the Gaffer, Key Grip, Grips, Electricians and a host of other skilled and talented crafts people. If they all respect each other’s talents and responsibilities, then the work is accomplished with a minimum of delay and a maximum of quality. The Director of Photography sets the tone and attitude for the entire crew and is directly responsible for the efficient functioning of those categories and classifications under his or her technical direction.

Safety

As head of the Camera Department, the Director of Photography is not only responsible for the photographic look of the production, but also for the health and safety of the crew and everyone associated with them. They, and sometimes they alone, are the sole bulwark or beacon of sanity between the pressures of production and the safety of their crew. In complex and dangerous production situations, this is a prime responsibility. Directors of Photography must never allow the safety of their crew to be sacrificed to the need for speed or economy or the need to make themselves look good; even at the expense of job or reputation. There are numbers posted on every set to call if safety is jeopardized…NO PRODUCTION IS WORTH DEATH OR INJURY!

Diplomacy

Aside from the obviously essential technical side of the job, Directors of Photography must be diplomats, able to exercise considerable tact and persuasion. They are often required to explain their point of view on the most subtle and elusive things in a scene concerning matters of artistry, safety or efficiency and to be confident that their contentions will prove right in the end. As with everything else in our industry, salesmanship plays an important part. Talent must be sold. Directors of Photography must constantly (but subtly) sell themselves and their ability to Producers, stars and Directors. But they must also have the talent and technical skills to back it up.

Specifics

Directors of Photography must be completely familiar with and able to execute and oversee the lighting of both studio and location settings, the positioning and movement of the camera, the composition of the picture and the use of any special optics or film materials. They must know how to create convincing, believable, artistic shots under any conditions, in all climates, at all altitudes, at sea, in the air, under water or on terra firma. They must be able to take exposure meter readings, select lenses and determine use of filters. They must be able to call attention to and solve any and all photographic problems pertaining to the production, including problems related to sets, set dressings, scenic art, costumes, hair, make-up, props, process components and photography, matching action and screen direction. They must know camera, optics, lighting, composition, editing, special effects, staging, chemistry, engineering and how to maintain a pleasant and positive disposition.

For equipment, the Directors of Photography may use anything from small hand-held cameras to large wide-screen system cameras mounted on motorized cranes the size of large trucks. They may provide illumination from the sky with small silver surfaced reflectors or from the power house or generators with vast batteries of powerful lights.

Coordinating the Whole Process

Since the Director of Photography’s job is a far reaching one requiring a thorough knowledge of not just lighting and camera, but the whole process of how a film is made, it is best if they are brought in at the very early stages of the film to help in planning the shooting. Their advice may have a considerable bearing on the economics as well as the practical possibilities of the production.

As shooting proceeds, Directors of Photography issue instructions to the camera crew, the lighting crew, the grip crew and more. The Director of Photography must act as the catalyst that keeps the show moving at all times by becoming the liaison connecting all the members of the production. They must interface their efforts and those of their crew with those of as many as 15 or 20 other crafts or departments and often as many as 50 to 100 people or more.

Then they must issue instructions to laboratories, including electronic labs, who process and print the film so that the moods or color values of the scenes are preserved or accentuated in the way that they and the Director have chosen. Only when they have seen the finalized versions of each scene can they know that the film is ready to pass completely out of their hands into those of the Editor.

A List of Technical Duties

• Maintaining optimum photographic quality of the production;
• Selecting the camera, its accessories and associated equipment to be used;
• Selecting the film stock(s) to be used;
• Determining and/or approving the type and quality of lighting and grip equipment to be used;
• Checking and/or film-testing sets, set dressings, costumes, actors, hair, make-up. Props, scenic art and process components for photographic purposes;
• Supervising the crews on each of the cameras in use on the production (first and second unit and stills);
• Making sure there is full staffing on your camera crew;
• Working with the director in the general lining-up and matching of both action and screen direction of the shots (the pictorial continuity of the script);
• Setting the camera positions, angles and moves with the director;
• Supervising all production lighting;
• Determining all exposures;
• Selecting the lens for each take;
• Setting the composition for the camera operator prior to each take;
• Viewing all dailies for quality control and supervising the timing of the work and answer prints;
• Supervising the transfer of the image from film to tape.

Summary

Cinematographers or Directors of Photography should possess three major qualities: they should be artists, they should be craftspeople and they should be generals, because when it is time to roll the cameras, it is their responsibility, working with the Director, to oversee and coordinate a virtual army of artists, craftspeople and technicians and effectively command the technical side of photographing a motion picture.

(with thanks to Freddie Young: “The Motion Picture Cameraman,” Charles G. Clarke: “Professional Cinematography” and Charles F. Wheeler: Quotes from an interview in the documentary film “The Making of Silent Running.”)

The Camera Operator

Responsibilities

The Camera Operator is the second in authority on the camera crew after the Director of Photography and is directly responsible to him or her for maintaining the composition, focus and camera movement desired by the Director of Photography.

Duties

• Lining up and insuring the proper functioning of the assigned camera, the fluid or geared head and related equipment;
• Adjusting the ocular to proper personal visual focus;
• Determining that the front element of the taking lens, including filters, is properly flagged against any encroaching light which might cause flare;
• Operating the camera at all times required;
• Being prepared to communicate, if consulted, if the shot was technically acceptable;
• Operating a camera hand-held or mounted on a Steadicam or stabilizing body mount, or a remotely-controlled camera head;
• Properly composing and framing the subject matter of each shot as indicated by the Director of Photography;
• Perfecting focus, zoom and any T-stop changes with the First Assistant during rehearsals;
• Perfecting dolly, crane or boom moves with the Dolly, Crane or Boom Grips during rehearsals;
• Giving the sound team safe limits on microphone and/or boom positioning in order to avoid encroachment in frame of this equipment or its shadow;
• Checking the shot carefully for reflections of crew members on shiny surfaces and giving them the perameters for doing their jobs without ending up reflected in the shot;
• Giving the Camera Assistant who is slating the sound take the cue to mark the take when the camera has reached proper sound speed;
• Providing the hand tools normally employed in this craft;
• Depending on how the show is organized, the operator may be called upon to act in that political zone between the actors and Director which is most often inhabited by the Director of Photography. This is a gray area at best that calls for some very sensitive interpersonal skills;
• Additionally, the Operator should be in good physical condition to handle the demands of long days with the intense concentration required to do the job well, not to mention having the strength and flexibility required for hand held work and moving all over the dolly during a shot;
• The most important duty of the Camera Operator is to get along with a lot of people: the Director of Photography, the Director, the actors (particularly), the camera crew, grip crew, electrical crew, set crew, etc. in order to work with ALL of them to line up the shots. At times the Camera Operator will be besieged with questions and requests and must be attentive and sensitive to everyone’s needs in a timely fashion. One must speak firmly. Concisely and with kind consideration to all. One must remain CALM, even in the midst of great confusion.

The Still Photographer

Duties

The Still Photographer’s primary job is to

• take production stills that the publicity department can use to promote the film or television show in press kits and various print media. This includes characteristic shots of each scene, shots which show the actors acting together, shots which give a feeling of the look and atmosphere of the show, good character shots of the actors, shots of the director directing, special effects being rigged, special make-up being created, anything which could be supplied to the regular or genre press to promote interest in a production.

But beyond that, because the Still Photographer is the only person on the set authorized to take photographs, he or she must serve the photographic needs of each crew member. This may include (but is not limited to):

• detailed documentation of the sets (in case they must be re-created at a later date);
• historical documentation of the production (including guests on the set and the crew at work);
• photos shot specifically for inclusion in the production as photographic props;
• merchandising reference shots (especially on science fiction or other genre productions where shots of props, costumes or sets may be turned into toys);
• and possibly Polaroid continuity shots to help wardrobe, make-up and script supervision when requested.

(Note: it has become a common practice for wardrobe, hair, makeup and props to take their own Polaroids for continuity, particularly in pre-production, but on the set, this is the Still Photographer’s job. It is permissible to allow them to take their own as long as there is a full time Photographer on the production.)

Diplomatically, if there is any shot requested by a crew member, it is a good idea to have an extra camera handy to accommodate such requests. The Guild is always happy to receive pictures of the camera crew at work for the monthly newsletter and International Photographer Magazine. The Guild publications are an excellent way to have your work seen by other members both of Local 600 and by Producers and other production personnel.

DIFFICULTIES:

In shooting production stills, the Still Photographer always needs a place to shoot from which gives a “clean shot” without light stands and flags or lounging crew members in the background. Sometimes only very specific angles will work to produce a usable picture, and it is very important that the rest of the crew understand this and attempt to accommodate those needs. A Still Photographer might only be able to shoot a usable still from one place, while a Script Supervisor might be able to see the scene well enough from a number of places. Sometimes having a Camera Assistant move a few inches one way or another or having a light stand or flag adjusted slightly can make the difference between getting the job done and not getting anything at all.

Sometimes the Director or AD will allow a few moments when a scene has been completed for the Photographer to take key shots from the video or movie camera’s point of view – this requires asking for extra cooperation and patience from the actors to perform key moments once again, and is very difficult to do if crew members obliviously walk through the frame or begin to strike lights or sets.

On multiple camera shows (sitcoms, for instance) the Still Photographer must be especially careful not to be in the way of the Dolly Grips who will be constantly moving and repositioning cameras throughout a scene and who must find their marks on the floor, where you might be standing. Be very aware of which marks are for which scenes so you do not block them from the Dolly Grips’ view.

When a set-up shot is required by the publicity department, a member of that department should be present to help inform the actors and direct the set-up, but as this can not always be guaranteed, letting everyone know about the situation as early as possible is important so it can be included in the schedule.

Still Photographer: PROTOCOL

When arriving on a set for the first time, it is very important that the Still Photographer introduce himself or herself to the key personnel. It is absolutely essential to have the cooperation of the Director, the Assistant Directors the Director of Photography, the camera crew, Gaffer, Key Grip and the actors. They need to know who you are, why you’re there and what specifically you may need during the course of the shoot. As part of the camera crew, you fill out a time card in order to get proper credit for your hours for Motion Picture Health and Welfare. If necessary, enlist the aid of your Director of Photography to get your timecard.

If the 1^st AD knows in advance that a particular setup is crucial to the publicity department, they can plan ahead for an appropriate time to do it and warn the actors and crew to be prepared for it. If the actors and crew know in advance that you usually run in after a take to grab shots, they will continue to act, stay out of the background and keep lights lit for a few minutes after hearing “cut.”

The Key Grip can be a great ally when you need an emergency ladder or apple box. It is very important to be present for blocking and rehearsals to know where likely shooting spots will be and to coordinate your moves with those of the Dolly Grips (or camera peds) and it’s always a good idea, particularly on a multi-camera show, to work out a warning system with the Dolly Grips, so that if you are about to be blind sided by a fast camera move, they can give you some warning rather than risk both injury and ruining a shot.

It can also be very helpful to be briefed before hand by the publicity department or the Producers as to any idiosyncrasies the Director or actors might have and thereby avoid any embarrassing show-downs on the set. The Publicist should work closely with you to assure that everyone knows exactly what is needed and to help set up shots with the actors when a special set-up is called for. Likewise, you can be of tremendous help to the Publicist by using your expertise in recognizing and recommending the shots which will reproduce best when the Publicist must pick out the best possible production stills for the press kit or publicity release.

EQUIPMENT

To work effectively on a set, the still photographer should have at least two 35mm cameras housed in custom blimps, in order to shoot both color and black and white as silently as possible during takes. It is wise to have an extra camera body fitting in the same system in case of jams or break-downs. A full complement of lenses would include 28mm, 35mm, 50mm, 85mm,105mm and 135mm. Sometimes a 200mm might be useful, but it generally does not open up far enough to accommodate the low light levels on many sets. A monopod can come in very handy when using a long lens, especially in low light situations. It is a good idea to keep an extra 35mm camera handy with a strobe attachment for dealing with things occurring off the set, out of the lights, and to deal with diplomatic photos requested by producers, actors, crew members, etc. This camera can also be used for set documentation. It is also a good idea to have a loaded Polaroid handy for any spur-of-the-moment continuity requests (the Spectra system seems to work fairly well). It is wise to have both incident and reflective light meters, a jacket with lots of pockets for lenses, and a good supply of sharpies and envelopes (for marking film cans and to package exposed film for the lab with whatever labeling is needed). A wardrobe of dark clothes comes in very handy on dark sets to lessen any distraction to the actors. (A Still Photographer can be a very easy target for a distracted actor looking for a scapegoat.)

It is also important to find a safe place for your equipment which also provides easy access. This might be the camera truck, camera room or some other place which the Director of Photography and/or Assistant Directors may be able to help provide.

RENTAL

It is the Producer’s responsibility to pay for rental of your equipment, and the base rate generally used by the photographers of Local 600 to cover the rental cost of two 35mm camera bodies, an appropriate set of lenses, 2 blimps and a light meter and a Polaroid, is around $75.00 a day (from a rental house this figure would be closer to $250./day), although it might be more depending upon the extent of the equipment you provide. Extra cameras, strobes, cameras with other ratio formats, tripods, backdrops, etc., all would justify higher rental charges to the production company. Providing them with a price list from any local rental house will assure them that they are receiving a bargain by paying your daily equipment rate.

GENERAL NOTES

When getting a job call, always call the union office in your region to let them know about the job. Keep track of the expenses you incur, including number of rolls of film shot, as well as your equipment rental which you bill back to the production company…this may be of help to the Guild later if it becomes necessary to double check the costs involved with a show to determine if it qualifies for the low-budget agreements or not. You may not accept less than the union minimum for the type of production you work on, and you should fill out a time card to make sure you receive credit for the hours you work toward your health care and pension. If you have any problems on the set with the production company ignoring safety rules, or trying to undercut the union contract in any way, do not hesitate to call the union office to let our business managers handle the problem for you. They are THERE to protect your interests and make sure you are not abused.

If you have a problem, do not hesitate to call your Guild representatives.

The Camera Assistant

The classification of Camera Assistant encompasses both the First and Second Assistant. The responsibilities of the Camera Assistant on any film set are numerous and seemingly never ending. Though separate titles, the First and Second Assistant work together as a team, along with the Camera Operator and the Director of Photography to keep the cameras running at peak performance, without jeopardizing any of the production schedule.

The Second Assistant’s job could be divided into a number of categories, the set, the darkroom, and the paperwork (including time cards for the entire camera crew).

The work done on the set should be the top priority of the Second Assistant. This includes making sure that all the right equipment is on the set, keeping the batteries charged, being present to mark the actor’s positions during the rehearsals, along with marking the slate at the beginning of every take. This alone would seem like a full time job, but sometime in between all this, the Second must find time to go to the darkroom and take care of loading magazines, when there isn’t a Loader on the crew.

The Second Assistant’s responsibilities in the darkroom are to maintain, and load the film magazines with the correct emulsions, download, can, and label the film once it’s been shot so it can be sent to the lab for processing. Given all the different emulsions being used these days, and a limited number of magazines on any given production, it is quite a juggling act keeping the right number of mags filled with the correct emulsions.

Along with all the duties the Second Assistant must fulfill in the darkroom and on the set, he or she must also take on the task of filling out all the paperwork that is needed on a daily basis. This paper work includes the camera reports, time card records, camera equipment inventory lists, and daily film inventory sheets.

Overseeing all these duties, along with a long list of his or her own, is the First Camera Assistant. These duties start even before the camera equipment is prepped. Prior to doing this, the First Assistant should discuss with the Director of Photography what the basic requirements will be for the project, and coordinate with the rental house to have them ready to go. Once the equipment is prepped, inventoried and shipped, the responsibilities shift to the set.

The First Assistant will usually service, clean and build the camera, then take a look at the call sheet and see what the day has in store. When the camera and the Assistant reach the set, it should be loaded and ready to go. You might say that the rest of the day the First Assistant and the camera become one. Leaving the camera is not done very often during the rest of the day.

The focusing of the camera is just the beginning of a long list of continuing responsibilities that belong to a First Camera Assistant. This task takes a sharp eye and quick reflexes by itself, add a zoom lens to this and it becomes a very considerable feat. Adding to that list, the First Assistant must take care of what filters are on the camera, set the T stop, frame rate, and shutter angles for each and every shot, change lenses, load the camera with film, convert to hand-held mode when required, and know every piece of the camera and related equipment like the back of his or her hands. Adding to that, when not on a dolly the First Assistant must lift and carry the camera and equipment to whatever position is needed for the shot.

Both the First and Second Assistant should keep a low profile on the set. They should always conduct themselves with respect and professionalism at all times. Knowing this can make or break a career. Needless to say it takes a very dedicated person to fill the shoes of a Camera Assistant.

Additional Duties:

• Checking that each fresh load of film has been properly threaded in the camera;
• Checking that the buckle switch is reset and the footage counter is zeroed with each fresh film load;
• Checking that the shutter position, T-stop and camera speed are correctly set prior to each take;
• Have on hand:compressed air can, a/c ext. cables, power strips, cube taps, label maker, various nuts and bolts, 3/8 inch camera bolts, wrenches, US & Metric Allen wrenches, jeweler and regular screwdrivers.

Film Loader

The film Loader is at the bottom in the “Chain of Command” of the camera crew, however the position is one of the most important. The film Loader is more than just responsible for the loading and down loading of film. The Loader is expected to know the basics of production and to be an asset to the crew.

Some of the very basic tasks are:

• Down-load and reload film successfully using different types of magazines. Making sure the correct prints are marked on the camera reports via the Script Supervisor;
• Maintain and fill out the purchase orders for the lab. Doing this correctly and accurately adding various notes depending on the days events;
• Maintaining stocks and keeping an accurate inventory;

The position of Loader must be held for one year before moving up to 2nd Assistant. Good Loaders are very hard to come by and usually move up to 2nd Assistant when their year is up. Depending on the Loader as an individual, moving up to Second may or may not be a wise choice.

The Loader must be neat, organized and be able to anticipate conditions and or equipment to come. Most of all, having common sense is something that can be used all the time, not just on the production set. The Loader must also work in the confines of a small dark room, changing bag or camera truck and still be organized. The film loader is the secretary and yeoman for the camera crew.

• Keeping notes organized;
• Making phone calls to various vendors;
• Keeping the dark room and camera truck clean;
• Ensuring the crew has the correct start paper work.
• Also always thinking of the well being of the camera crew;
• Be a “Team Player.”

The film Loader makes the 2nd Assistant’s job easier. If there’s any approach to the job, then that is one of the most important. Having the proper attitude and decorum will ensure future employment. There are so many nice and pleasant camera personnel out there to work with. Why would anyone one want to work with a person who is abrasive and abusive and has a bad attitude on top of that? Film-making can be fun and enjoyable but still be serious enough to achieve the goals of the Director and other artists.

The camera crew must work together for long periods of time in various climates and conditions. If you can still have a good attitude after 18 hours of labor, more than likely you will be called back again and again. Your physical strength is a factor as well, to stay healthy physically to carry large cases and move equipment on various filming platforms is a must. Your mental health is a factor to be dealt with as well. Thinking about domestic problems while you are downloading or reloading film is not a good formula for success and a long career.

Having the right gear when you show up on set will help set the tone of your day. Asking questions of the production office when getting the call is the key. Day or night exterior, cold or hot environment, loud noises or gunfire – these are all conditions that must be addressed when preparing for your next day call. The tools of the Loader are basic and numerous (some of the items below are “expendables” which may be supplied or reimbursed by the production company). However, through experience and questions your kit will grow constantly.

• Cans, cores, reports, daily film inventory, canned air, calculators;
• Pens, pencils, markers, chalk, (which would include lumber crayons, slate markers, china markers, grease pencils), batteries, light meter batteries;
• Large and small slate, changing bag, various paper and cloth tape, lens fluid, lens tissue, Ziploc bags, large garbage bags, tarps, space blankets.

Video Controller

A Video Controller is an essential part of the production team on a videotape shoot whether it be a single camera shoot or a multi-camera shoot. The Video Controller is responsible for aligning and color-balancing the video cameras, and maintaining the video quality and appearance of the pictures during a production. The Video Controller works very closely with the Director of Photography or Lighting Designer on a shoot in maintaining the proper exposure, sharpness and color temperature balance, and thus is a vital element in helping to determine the “look” of a show. The quality of the image on the screen depends on thorough preparation before and meticulous attention to detail during on-air presentations.

Preproduction

The Video Controller’s duties include substantial pre-production involvement, and careful attention to the condition of all video related equipment involved. After conferring with the Technical Director concerning equipment needed (e.g. special lenses, filters, any additional cameras, handhelds, etc.) the studio is cabled up and the cameras are patched to the appropriate control units.

Once the cameras have been situated by the setup crew on pedestals, cranes, tripods, dollies, sidewinders, Jib arms, Steadicams, etc., they are fired up and checked out for continuity. On-air Tally lights, Operator video returns, and communication lines (PLs) to the Operator headsets are also made operational at this time. Monitors for cranes and dollies are checked out, as well as floor monitors and special video feeds that may be requested. Focus tracking will be checked, especially if lenses are changed on the camera heads. If automatic setup is used, a warm-up time may be necessary, after which the cameras are run through the setup procedure in which known files are called up.

The encoders of each camera are checked by looking at color bars for proper video and chroma levels. Encoders are checked for white balance, black balance, and for carrier balance (no subcarrier, as shown on the waveform monitor). A vectorscope and waveform monitor is used to set chroma phase and horizontal timing of each camera through the switcher. After all color bar levels are completely checked, the Video Controller is now ready to look at live pictures.

The cameras are opened on a series of test charts. If the cameras are tube-type, then a registration (grid) chart is used to align the red and blue tubes to the green channel. All cameras are placed on the gray-scale chart and balanced for high-lights, midrange (gammas), and low-lights. The gamma crossover will vary with different Video Operators (being somewhat subjective), but usually sits around 50 to 55%. Back focus on each camera is checked out and adjusted, if necessary. After all cameras are chipped out, preparations are complete.

Monitors are an important part of the video control procedure. The control booth monitors are high resolution in order to set the standard by which we match all of our pictures. The set-up is most important. The monitors must be set for the best black-and-white picture we can get as far as tracking in the high-lights and low-lights. With a black signal, a white pulse, a black and white stairstep, and a color bar signal through the video switcher, we can make video adjustments to the monitors for calibration. Color will be taken out of the low-lights and high-lights. Brightness and contrast will be set for optimum settings using color bars. With the color turned on, color phasing and chroma levels are set. A great deal of time is spent on monitors as it is here that the picture quality is judged for accuracy.

Production

Duties on show day begin with a quick check of the equipment once it is “powered up.” After checking all levels and system timing, the video signal is sent to the videotape machines (where cameras are isolated), transmission, and the master control areas.

Matching of cameras is a continuing process throughout the show. That means all the high-lights are of the same color temperature and properly balanced and matched between all cameras. Watching the facial tones is quick way to check your balance of color, detail level and exposure. The paint controls for whites and blacks on the camera control units as well as the iris and pedestal controls on the camera control units allow for quick adjustment and proper maintenance of the picture quality. Most of the time, in matching, we will take the main camera and match the others to it. For example, camera 2 is a head-on shot and has the best lighting angle, therefore those cameras working off to the sides and upstage will be adjusted accordingly to match the main camera. The idea being, when a show is cut, no drastic changes in color, exposure or sharpness will occur. For all intents and purposes, the changes to the cameras are made when cameras are off-the-air.

Care must be taken when adjusting a “live” camera, or cameras that are isolated to tape machines (which are all considered “live”). Consistency and subtlety are the names of the game in the world of the Video Controller.

The PL (private line communication) is the means with which we communicate to others on the production staff during a show. We are able to hear all the directions coming from the Director, Technical Director, and the Director of Photography. If a camera is moving to a new shot, we keep a sharp eye on it and are ready to make changes to it instantly. We are always alert to any and all lighting changes, and are consistently monitoring and matching the picture during a production. There is the utmost cooperation with the Director of Photography who will set the “look” of a show.

Camera Assistant / Video Utilities

A Camera Assistant working in video is often called Video Utility. Since the job responsibility overlaps into other departments, it is important to know all departments on a video truck or facility/control room and know their job responsibilities – i.e. Video Controller (VC), Technical Director (TD), Audio, Tape Operator, Maintenance and the production booth. Whether you are working a sitcom, ENG, sports, specials or award shows, your job responsibilities are usually the same.

Coax and triax (sometimes XLR) cables are run from the truck/facility to the shooting site. The number of cables will depend on how many cameras and monitors will be used. It is also important that a spare camera cable be run.

After cabling is completed, one should build cameras, clean lenses and equip each camera with a headset. Monitors are set in place including a production feed and quad-split. Depending on the project, the number and location of each video monitor varies. Hardline PLs and RFs for Stage Managers and lighting personnel are set in place. It is important that lighting be able to communicate with the Director of Photography and the Video Controller.

Once all equipment is set up you are ready for ESU (electronic setup). This includes a chip chart/gray scale/registration chart etc. to be set-up and all cameras focused on the chart, At this point you are on headset talking with the Video Controller. Some of the responsibilities you will be doing with the Video Controller will include checking the back focus, reading iris settings and adjusting gammas/flare level etc.

After the Video Controller is happy with his/her set-up and adjustments, you will then work with the Technical Director on headset and check each camera’s PL, tally light and return. You will also check each monitor to make sure you are patched properly and receiving the correct feed. The TD is located with the Director and Assistant Director. The TD will check their equipment and audio levels. The TD is usually responsible for you and the equipment,

Now that all equipment is set-up, working properly and has been checked with the appropriate departments, the cameras are ready for each Camera Operator. You will work very closely with the Operators and accommodate them. Some of their needs will include cutting marks, and always keeping cables away from their feet and the dolly or peds.

During shooting it is important that at least one utility person wear a headset

to monitor how everything is functioning. You will always be servicing the Camera Operator at this time. They rely on you and your judgment. It is also important to wear comfortable shoes at all times, because you will be on your feet for most of the day and night.

When shooting is completed and the crew has been released, the equipment is wrapped and a double check is a good idea to make sure you didn’t forget anything. (Sometimes referred to as a dummy check.)

News Photojournalist

Definition of the News Photojournalist

The News Photojournalist’s job includes work in connection with the operation of portable electronic equipment commonly referred to as electronic news gathering (ENG), satellite news gathering (SNG) and electronic field production ( EFP). This includes, but is not limited to, ENG, EFP cameras, recorders and all related or associated equipment necessary for the duties as a News Photojournalist.

• News Photojournalists may also be assigned to a mobile vehicle for the direct transmission of material for news, program or sports purposes from a remote location. This involves the use of either a live truck, satellite uplink truck or portable electronic transmission equipment. The News Photojournalist may also be responsible driving the related vehicles. The News Photojournalist is responsible for camera operation and microwave transmission from helicopters. In many situations, the News Photojournalist will also be responsible for lighting at remote locations well as audio hookup as necessary.

The duties of the News Photojournalist

Beginning of the day:

• Do an quick inventory to confirm you have all the gear assigned to you;
• Confirm that all rechargeable batteries are charged up;
• Clean camera lens and check for proper operation;
• Check that camera and tape deck are clean and operating correctly (Running a quick tape test is the best method);
• Check all microphones for proper operation;
• Check that you have plenty of spare bulbs, expendable batteries, gaffer tape, tape labels and markers;
• Make sure you have enough raw tape stock.

During the shoot:

• Check white and black balance each time the camera is turned on;
• Confirm clean audio in the camera with an earphone;
• Set or zero timecode as needed;
• When doing live shots, confirm video and audio with live truck;
• Always do a final check for gear before leaving a location.

End of the day:

• All equipment returned to proper storage;
• Compare to equipment starting inventory;
• Equipment problems reported to maintenance;
• Batteries on charge;
• Vehicle refueled and maintenance problems reported;
• Fill out time sheets to reflect hours worked. Always keep a record and ask your crew chief for assistance if needed.

Safety Issues:

By the very nature of what the News Photojournalist does, it is very important to maintain a safe work environment. The News Photojournalist is often assigned to cover fires, police activity, civil disturbances and disasters. It is important to be aware of what is around you, and in the case of brush fires, always keep an escape route in mind. For any questions about safety issues, contact your Crew Chief or the Camera Guild.

When working a live truck, always check overhead for any wires before raising the mast. NEVER raise a mast under wires. NEVER move the truck while the mast is raised any amount.

When working a helicopter assignment, always approach the helicopter from the front, maintaining eye contact with the Pilot and following his direction. Always stay away from the tail area while the blades are turning. Once inside the helicopter, check that your body harness is properly connected to the helicopter and your body.

Summary

Professionalism, safety, common courtesy, respect of others, attention to technical detail and continuing education of the craft are traits that make a good News Photojournalist.

International Photographers Guild

IATSE Local 600

It is difficult to speak about a photographic career in the entertainment industry without mentioning the International Photographers Guild local 600 of the I.A.T.S.E. It is the place to find the most dedicated and experienced people anywhere in the industry. Be proud of your membership and do not compromise the terms of the contracts under which we work.

Remember to call in every job you take.

The International Photographers Guild has been organizing the worlds finest camera people for many years and you can expect them to continue the tradition into the 21st century.

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The contributors

• Charles L. Barbee — Director of Photography
• Bill Hines,S.O.C. — Camera Operator and Author of “Operating Cinematography”
• Kim Gottlieb-Walker — Still Photographer
• Mitch Block — First Camera Assistant
• Rudy Pahoyo — Camera Department, Paramount Pictures
• John D. O’Brien — Video Controller
• Michelle Nobles — First Camera Assistant
• Gary Brainard — Chief Cameraman KCOP TV / UPN News

Latest News Update: Sep 8, 2008

Check out the latest news update, and
hear the story of Kim's career in her own words!

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