The lighting camera – man- woman

The essential role of the camera person is still fundamentally what it has
always been, to provide a production with what has been planned for and to satisfy
the clients requirements,  ensuring that the picture content fulfils the brief.

On smaller (single handed jobs) the camera person may well be expected to cover a
number of roles, director, sound recordist and production assistant. Or they might
be in a much larger production team were they are also responsible for running
the camera department. Ensuring the well being and safety of the team while also
managing the working environment, whilst still stamping their creativity on the piece.

When deciding upon and planning the overall camera package (camera, light, grip
and crew levels) careful consideration must be taken as to what the camera person has
been asked or expected to deliver. A good place to start is, what is the end use for
the piece. A well-funded feature film will be considerably different to a low budget
viral Internet ad. One previewing on a cinema screen the other potentially on a mobile
phone. You must remember that you will also probably not be the only person making
the decisions. The director and the producer will have there own ideas as to what
this package should contain. However it is the job of the camera person at this point
to council his or her colleagues as to the best compromise to satisfy everybody’ s
requirements.

Production is essentially a team effort were each member of the team has to play to
their strengths. From the camera persons perspective the working relationship between
them and the director is probably the most important. This relationship is always
different as each director has there own approach. Some will have a very precise
idea as to what each shot should be, down to the lighting composition and camera
movement. Some will keep to a prearranged shot lists or storyboards. Others will
concentrate solely on attaining the dramatic performance they want from their actors,
allowing the camera person free range over picture content.

Once the boundaries and responsibilities of this relationship have been established
the business of planning the shoot can begin. In most cases there will be a shot list
or storyboard, which will record in detail what each shot should contain. From this,
a list of equipment and personnel can be drawn up. The storyboard may well not be
followed to the letter, shots may be changed or substituted, but it is essentially what
needs to be shot. This is normally were the constraints of budget begin to become
apparent. There is no point in planning shots and equipment that a production simply
cannot afford. Vice versa money is no real replacement for creativity and imagination.
Each shot within a scene or a sequence is there to move the story on, inform viewers
or elicit a sense of time, place and emotion. In short every shot has meaning and
should be treated equally where possible.

The camera person must also be able to communicate his or her ideas clearly and
concisely. They must be able to compromise on occasion and hold their corner when
necessary. They must always remember that they are part of a team. Be considerate to
the needs of others within the production, who like themselves are trying to do their
best. The life of the camera person can be varied, fulfilling and exciting. It does however require determination and total commitment. There are constant developments in technology and delivery formats that must be understood, and incorporated into your working practices.

It is a continual learning curve that requires an appetite and love of the subject.

Written By John Ragget – Professional Cinematographer

Tutor at  London Academy of Media Film TV

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