Job Roles in the Camera Department: How to Become a Cinematographer!
For my avid reader, it will definitely not come as a surprise if I tell them that I aim to become a cinematographer. After all, most of my blogs centre around the job role of cinematographer, either directly by documenting paperwork and completed tasks or indirectly, by documenting secondary research.
And this blog entry will be no exception to that.
My Intention
Since I want to become a cinematographer (and because I am almost half-way through my course already) I will need to start thinking about HOW I can possibly achieve my goal, especially in regard to the low numbers of women working as cinematographers (or DPs – Director of Photography) in the UK industry (and world-wide, for that matter). Thus, I will also soon need to prepare my first steps into the professional world, learning about the common paths into that job role. A bit of additional knowledge cannot hurt anyone after all.
Previous Research
I’ve already blogged about the role of a cinematographer – together with the accompanied tasks and required skills – in one of my first blog entries back in November 2017: ‘In the Spotlight: The Cinematographer.’
The Cinematographer
To give a very quick recap, a cinematographer is the responsible person for making the creative vision of the director come alive visually. This not only entails discussions on the visual style, tone, mood and ‘speed’ of the story, but also requires the cinematographer to know a whole lot about camera and lighting techniques, as well as camera and lighting technology. The rule of thirds and the laws of exposure are just the beginning, trust me.
The cinematographer is furthermore the head of the camera and the lighting department as well as the grips, being in close contact not only with the camera operators on set, but also with the gaffer. Finally, they also stand in close contact with the art and make up department to make sure that both the set as well as the makeup do fit the overall style of the film and do not create any issues or inconsistencies.
During pre-production, the cinematographer creates a visual reference library, discusses and possibly co-authors the storyboard with the director, conducts location recces, and tests and orders the relevant camera and lighting equipment that is to be used during production. During production, the cinematographer – depending on the size of the production – either organises all the elements of the mise-en-scène or and films OR just or just organises the elements and lets a camera operator operate. They furthermore watch the dailies together with the director. Lastly, in post-production, cinematographers do give their advice and opinion on the colour grade and – sometimes – even on the edit of the film.
Coming back to my blog entry from more than a year ago, I furthermore blogged the following regarding the required skills:
‘As summarised by Creative Skillset, this would mean that the following characteristics would need to apply for a person interested in entering this career path:
- having a knack for technical knowledge pertaining to cameras and lighting,
- possessing artistic vision and colour vision,
- being flexible in adapting ideas and a quick decision maker,
- being versatile in visual culture (e.g. painting and films),
- having the ability to give and accept direction and
- having a sense of composition and lighting techniques.
Much like a director, a cinematographer will also need great social skills to be able to communicate effectively in order to make their vision come alive on screen.’
Back then my main resource was Creative Skillset – which is now called Screen Skills. It used to give a wealth of information on various job roles and was not only helpful for (prospective) students wanting to start a career in film, but it was also grand for graduates and for research purposes in general. It offered in-depth and detailed information on a lot of jobs on set, even if they seemed rather rare and outlandish at first glance.
Sadly, ever since the revamp, Screen Skills has massively dumbed down their content, deleting all of their very detailed and informative websites on job roles, leaving only bite-sized pieces of information that any given Wikipedia article looks pristine in comparison.
Sorry to see you go.
However, because of that, I again ventured into the depth of the Internet and conducted some more research on the job role of a cinematographer – and the general career path until one can finally call themselves cinematographers. Since this particular job role comes with a lot of responsibility and since many skills are required, it seems only logical that a lot of emphasis would be put on the actual career path of a cinematographer. And because of this, there is not very much variety in becoming a cinematographer.
Updated Research
Broadly speaking, there are more or less five ways of becoming a cinematographer within the industry. These five ways are:
The ‘Traditional Route’ (according to MyFirstJobinFilm, 2016)
The ‘Camera Rental Route’ (according to MyFirstJobinFilm, 2016)
The ‘University Route’ (according to MyJobSearch, n.d.)
The ‘Camera Assistant Route’ (according to MyFirstJobinFilm, 2016)
The ‘Lighting Department Route’ (according to MyJobSearch, n.d., and Rose, n.d.)
The ‘Traditional Route’
This route entails starting out as a camera trainee or runner for the camera department before working your way up through the camera department from 2ndAC, 1stAC, to camera operator and/or cinematographer.
The ‘Camera Rental Route’
This rather sneaky route entails working within camera rental companies, and networking with camera teams as well as cinematographers in the kit room before eventually progressing through the camera department’s ranks as described above.
The ‘University Route’
With this route, you would start out by obtaining a BA Hons degree (or a Master degree in Germany) in a relevant film course before applying for work as a camera trainee or runner within the camera department.
The ‘Camera Assistant Route’
This option – which I found to be quite ambiguous and a rather broad term in its description – requires working in a less defined job role, which occasionally entails helping out in the lighting department as e.g. a lighting grip. Camera assistants are usually not called to pull focus, but might have to manage the rushes.
The ‘Lighting Department Route’
This rather ‘rare’ route (in regard to the number of recommendations) entails starting out as a runner for the lighting department or lighting trainee, progressing through the ranks of a spark, best boy and gaffer before becoming a cinematographer. However, this job route additionally requires you to obtain a certificate as an electrician to be able to officially work as a gaffer first.
Another additional route that I would argue could become more important in the years to come would be via Youtube. Whilst that route would exert less of control on a cinematographer’s education and acquisition of knowledge, the amount of work done for one’s own Youtube channel in regard to cinematography might eventually water down the definition of when people would be able to call themselves cinematographers.
I’ve seen many Youtubers over the years – such as e.g. Lavendaire, who – by managing and creating their own visual content all on their own over the past few years – have built their own ‘showreel’, learning about cinematography and expanding their skills constantly. Whilst these Youtube cinematographers might not be able to work on a film or TV set with all its specific hierarchies and rules, they will nonetheless be able to visually create online content, which I see to become a bigger market as time progresses.
Spotlight on Job Roles in the Camera Department
Above, I already delineated the job role of a cinematographer. But what about the job roles and the stages until then? Let’s just have a quick look:
Camera Trainee
Camera trainees and/or runners are rather low positions in the camera department. But although they are low, they are still extremely helpful to have around on a bigger set. So initially, you would want to apply with your CV as a camera trainee or runner, trying to get your foot into the door first.
As a camera trainee, you will be required to have basic camera knowledge and you will be expected to take care of the running jobs on set while simultaneously learning. This job will furthermore require you to carry out any of the tasks assigned to you, to listen and to stay focused at all times.
It can take up to two years to have acquired the skills and knowledge to progress further and then apply for a job as a 2ndAC (or clapper/loader).
2nd AC (Clapper/Loader)
As a 2ndAC, and if working on film stock, you will be required to load and unload the film stock. Furthermore, you will be required to work the clapperboard with each take, logging the takes made in a production log (thereby working closely together with script supervisor to have the correct information), marking the actors down for each shot, and carrying the camera equipment as well as the AC bag whenever required. This requires the 2ndAC to keep the overview of the camera equipment at all times if no trainee is around.
They will also assist the focus puller with the exchange of lenses, which means handing the lenses without lens caps, announcing each time you have a firm grip on the lens and are ready to take it off them.
After having worked and earned enough credentials as a 2ndAC, you might then progress to the rank of a 1stAC.
1st AC (Focus Puller)
1st AC’s carry a lot of responsibility since their job is literally to pull focus on every shot required. This not only requires a lot of experience, but depending on the equipment, also a lot of practice. Shooting on film, the responsibility increases even more as every soft shot directly translated into an increase of budget.
Camera Operator
As the name entails, camera ops operate the camera. On smaller productions, this job is usually done by the cinematographers themselves, on bigger shoots however, this warrants for an entirely new job role. Camera ops are required to be able to move the camera according to the demands of the cinematographer and to pitch in about possible solutions and ideas.
However, they furthermore carry responsibility for applying the right lenses and ND-filters required. This, in turn, requires rigorous knowledge on camera equipment, some laws of optics, and a whole lot of practice to master these moving shots. They furthermore work closely with the grip, who helps set up the required camera equipment such as e.g. track and dolly and sliders.
My Own Path
I was already lucky to have gathered experience as a 2ndAC on a short film production, which meant that I – against initial feelings of inadequacy – jumped the ranks. Whilst I would rather have loved to start out with the job as a camera trainee (thus having the possibility to learn and adapt in smaller increments), having been thrown in at the deep end of 2ndAC really boosted my learning.
However, as my path hitherto already led me to studying film production at university, my path then will most likely be as no. 3 delineated above. Up until now, I attempted to follow the first path, but failed in my home country, as you would only get into the industry there by either having good contacts or by obtaining a degree before even being considered a runner.
Although I would be open to any other path listed above if it gets my feet through the door, my preferred route now would be starting out as a camera trainee, either on TV or film.
The route through the lighting department for me personally would be my second option. Whilst I would not be able to gather much information on camera equipment, I would still be able to learn a lot about lighting (which is crucial as we all know) and even cultivate networks on set.
Whilst I would also love to take the route through the camera rental companies (since I would then be able to acquire a lot of skills on the camera equipment in the meantime), I rather regard it as a last option, as I fear that I would then solely be restricted to getting into the industry solely by being liked, but not necessarily by my display of abilities.
Practical Tips and Tricks
In addition to the research into the routes, I also gathered some helpful information on the titling of the CV
From personal experience in my job as a 2ndAC in the beginning of this year, I can only confirm the claim that the camera department can be the most pressurised department to work in and that the camera teams run on what could be called military discipline. Every move has to be right and no time may be wasted in the setup of a shot. During my research, I found this quote, which was quite befitting of the situation there:
’Instructions are always repeated back; lenses are handed to the focus puller in a specific way (front element facing towards the 1st AC, focus ring set to infinity) and the camera is never left on its own or left on the cameraman’s shoulder after a take (leave that to the grips). For anyone wishing to work as a trainee, they will observe on day one camera teams working quickly and meticulously. Trainees will need to be diligent and proactive from the get-go to make a good impression and fit into already established teams.’ (My First Job in Film, 2016)
Finally, there is another very important tip that cannot be stressed enough:
"The most important skill that you need to be successful in the film business is to be able to play well with others."
Whilst the path into this part of the industry seems to be pretty easy to grasp and follow, this linear structure is nonetheless demanding. Especially the aspect of military discipline and the high amount of stress can be really frustrating and even deterrent in the beginning. However, if your passion of visual filmmaking is strong enough, you will definitely find a way to cope with it and adapt as you rise through the ranks.
None of the cinematographers that are great today started out as the big, faultless players that they are now. All of them started small and had to learn the ropes. However, those who persevered where also the ones to each master their craft in their own right. It might take getting used to, but it will be worth it in the end.
And I cannot wait until then.
References:
ASC Staff (2017) August Digital Edition of American Cinematographer Ready for Subscribers [online] Image taken from: https://ascmag.com/articles/august-digital-edition-of-american-cinematographer-ready-for-subscribers [Accessed on 13 February 2019]
CinematicJ (2016) How to Use a Clapper Board [online] https://www.youtube.com/watch?v=sw6mlyCm_v8 [Accessed on 13 February 2019]
Dannenfeldt, D. (2019) How Cinematographers Work [online] https://entertainment.howstuffworks.com/cinematographer2.htm[Accessed on 13 February 2019]
GripUp (2018) Filmmaking tip: How to clapperboard [online] https://www.youtube.com/watch?v=P6TSYXU_q6Q [Accessed on 13 February 2019]
Hartle, S. (2017) In the Spotlight: The Cinematographer [online] https://sveahartle.wixsite.com/sveaexmachina/single-post/2017/11/04/In-the-Spotlight-The-Cinematographer [Accessed on 13 February 2019]
Kyle Lawrence (2017) HOW TO Slate PROPERLY - Film Making for Newbs [online] https://www.youtube.com/watch?v=UVB_jQ1rsBU [Accessed on 13 February 2019]
Lavendaire (2019) Lavendaire Youtube Channel [online] https://www.youtube.com/user/Lavendaire [Accessed on 13 February 2019]
Mark W. Gray (2016) How to Slate Properly [online] https://www.youtube.com/watch?v=yFuqI7DJsEk [Accessed on 13 February 2019]
My First Job in Film (2016) Camera Trainee [online] https://www.myfirstjobinfilm.co.uk/resources/careers-guide/detail?page_id=5[Accessed on 13 February 2019]
My Job Search (n.d.) Cinematographer Job [online] https://myjobsearch.com/careers/cinematographer.html[Accessed on 13 February 2019]
nosedigger (2013) CLAPPER/LOADER [online] https://www.youtube.com/watch?v=KZJUNxnIXjw&t=24s [Accessed on 13 February 2019]
Renée, V. (2016) Tips and Tricks That'll Help Make You the Best 2nd AC Ever [online] Image taken from: https://nofilmschool.com/2016/09/tips-and-tricks-thatll-help-make-you-best-2nd-ac-ever [Accessed on 13 February 2019]
RocketJump Film School (2015) Pro Tip: HOW TO SLATE [online] https://www.youtube.com/watch?v=bd7BPX8oEeE [Accessed on 13 February 2019]
Rose, R. (n.d.) Roles and Responsibilities (DoP) [online] https://rebeccarose1998.wordpress.com/boa/boa-tvfilm/unit-22-single-camera-techniques/roles-and-responsibilities-dop/[Accessed on 13 February 2019]
Stamberg, S. (2014) Keen Eyes, Uncanny Instincts Keep Films In Sharp Focus [online] Image taken from: https://www.npr.org/2014/02/28/283461599/keen-eyes-uncanny-instincts-keep-films-in-sharp-focus?t=1553880035704 [Accessed on 13 February 2019]
Vasiliauskas, M. (2017) A COMPLETE GUIDE TO CAMERA OPERATOR JOBS: KEEP YOUR EYE ON THE PRIZE [online] Image taken from: https://www.productionbeast.com/blog/guide-camera-operator-jobs/ [Accessed on 13 February 2019]
Williamson, K. (2017) Shoot from the Hip: Female Cinematographers in the UK [online] http://www.underwirefestival.com/shoot-from-the-hip-female-cinematographers-in-the-uk/[Accessed on 13 February 2019]