By Pluginin
Camera operators use television, video, or motion picture cameras to shoot a wide range of material, including television series, studio programs, news and sporting events, music videos, motion pictures, documentaries, and training sessions. This material is constructed from many different shots by film and video editors. With the increase in digital technology, the editing work is now done on a computer. Many camera operators and editors are employed by independent television stations; local affiliate stations of television networks; large cable and television networks; or smaller, independent production companies.
Making commercial-quality movies and video programs requires technical expertise and creativity. Producing successful images requires choosing and presenting interesting material, selecting appropriate equipment, and applying a steady hand to ensure smooth, natural movement of the camera.
Videographers film or videotape private ceremonies and special events, such as weddings. Some record and post short videos on Web sites for businesses. Studio camera operators work in a broadcast studio and usually videotape their subjects from a fixed position. News camera operators, also called electronic news-gathering (ENG) operators, work as part of a reporting team, following newsworthy events as they unfold. To capture live events, they must anticipate the action and act quickly. ENG operators sometimes edit raw footage on the spot for relay to a television affiliate for broadcast.
Camera operators employed in the entertainment field use motion picture cameras to film movies, television programs, and commercials. Those who film motion pictures also are known as cinematographers. Some specialize in filming cartoons or special effects. Cinematographers may be an integral part of the action, using cameras in any of several different mounts. For example, the camera can be stationary and shoot whatever passes in front of the lens, or it can be mounted on a track, with the camera operator responsible for shooting the scene from different angles or directions. Wider use of digital cameras has enhanced the number of angles and the clarity that a camera operator can provide. Other camera operators sit on cranes and follow the action while crane operators move them into position. Steadicam operators mount a harness and carry the camera on their shoulders to provide a clear picture while they move about the action. Camera operators who work in the entertainment field often meet with a director of photography to discuss ways of filming, editing, and improving scenes.
ENG operators and those who cover major events, such as conventions or sporting events, frequently travel locally and stay overnight or travel to distant places for longer periods. Camera operators filming television programs or motion pictures may travel to film on location.
Some camera operators—especially ENG operators covering accidents, natural disasters, civil unrest, or military conflicts—work in uncomfortable or even dangerous surroundings; however the occupation as a whole does not tend to suffer more work related injuries than other occupations. Many camera operators must wait long hours in all kinds of weather for an event to take place and must stand or walk for long periods while carrying heavy equipment. ENG operators often work under strict deadlines.
Hours of work and working schedules for camera operators and editors vary considerably. Those employed by television and cable networks or advertising agencies may work long hours to meet production schedules. ENG operators often work long, irregular hours and must be available to work on short notice. Camera operators and editors working in motion picture production also may work long, irregular hours.
Television, video, and motion picture camera operators and editors usually acquire their skills through formal postsecondary training at film schools, colleges, universities, or photographic institutes. A bachelor’s degree is required for most positions. Employers usually seek applicants with a good eye, imagination, and creativity, as well as a good technical understanding of how the camera operates.
Education and training. Many universities, community and junior colleges, and private trade and technical schools offer courses in camera operation and videography. Basic courses cover equipment, processes, and techniques. It is very important for camera operators to have a good understanding of computer technology and knowledge of digital cameras. Bachelor’s degree programs, especially those including business courses, provide a well-rounded education. Film schools also may provide training on the artistic aspects of filmmaking.
Individuals interested in camera operations should subscribe to videographic newsletters and magazines, join audio-video clubs, and seek summer or part-time employment in cable and television networks, motion picture studios, or camera and video stores.
To enter the occupation, many camera operators first become production assistants, to learn how film and video production works. In entry-level jobs they learn to set up lights, cameras, and other equipment. They also may receive routine assignments requiring adjustments to their cameras or decisions on what subject matter to capture. Camera operators in the film and television industries usually are hired for a project on the basis of recommendations from individuals such as producers, directors of photography, and camera assistants from previous projects or through interviews with the producer. A good professional reputation is important in finding employment. ENG and studio camera operators who work for television affiliates usually start in small markets to gain experience.
Other qualifications. Camera operators need good eyesight, artistic ability, and hand-eye coordination. They should be patient, accurate, and detail oriented. Camera operators also should have good communication skills and, if needed, the ability to hold a camera by hand for extended periods.
Camera operators who run their own businesses or do freelance work need business skills as well as talent. These individuals must know how to submit bids, write contracts, get permission to shoot on locations that normally are not open to the public, obtain legal permission to use film or tape of people, price their services, secure copyright protection for their work, and keep financial records.
Advancement. With experience, operators may advance to more demanding assignments or to positions with larger or network television stations. Advancement for ENG operators may mean moving to larger media markets. Other camera operators and editors may become directors of photography for movie studios, advertising agencies, or television programs. Some teach at technical schools, film schools, or universities.
Television, video, and motion picture camera operators and editors held about 51,900 jobs in 2008. About 26,300 were camera operators, and film and video editors held about 25,500 jobs.
Many are employed by independent television stations, local affiliate stations of television networks or broadcast groups, large cable and television networks, or smaller, independent production companies. There also are a large number of self employed camera operators and film editors. Some self-employed camera operators contract with television networks, documentary or independent filmmakers, advertising agencies, or trade show or convention sponsors to work on individual projects for a set fee, often at a daily rate.
Most of the salaried camera operators and editors were employed by television broadcasting stations or motion picture studios. 37 percent of the salaried camera operators and editors worked for motion picture and video industry while 18 percent worked in television broadcasting. Most camera operators and editors worked in large metropolitan areas.
Keen competition for jobs is expected due to the large number of people who wish to enter the broadcasting and motion picture industries, in which many camera operators and editors are employed. Those with the most experience and the most advanced computer skills will have the best job opportunities. Employment is expected to grow about as fast as the average for all occupations.
Employment change. Employment of camera operators and editors is expected to grow 11 percent over the 2008–18 decade, which is as fast as the average for all occupations through 2018. As the motion picture industry expands, demand for camera operators and editors will expand also. Camera operators will be needed to film made-for-Internet broadcasts, such as music videos, digital movies, sports features, and general entertainment programming. As the market for professional Internet video grows, camera operators may see increases in employment. Growth will be tempered, however, by the increased offshore production of motion pictures. Job growth for studio camera operators in television broadcasting will be slowed by the use of automated cameras under the control of a single person working either on the studio floor or in a director’s booth. For ENG camera operators and editors, growth may be tempered by the combination of roles and other cost-cutting measures at broadcast stations. For videographers, computer and Internet services will provide new outlets for interactive productions.
Job prospects. Television, video, and motion picture camera operators and editors can expect keen competition for job openings because of the large number of people who wish to enter the broadcasting and motion picture industries, in which many of these workers are employed. The number of individuals interested in positions as videographers and movie camera operators usually is much greater than the number of openings. Those who succeed in landing a salaried job or attracting enough work to earn a living by freelancing are likely to be the most creative and highly motivated people, able to adapt to rapidly changing technologies and adept at operating a business. The change to digital cameras has increased the importance of strong computer skills. Those with the most experience and the most advanced computer skills will have the best job opportunities.
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Filmmaking Expert Magda Olchawska
Rehearsal is an important and integral part of any film production. I, personally, like to give myself as much time to work with the actors as possible so once in a production I can concentrate on shooting the film.
Before you begin to improvise, you have to decide what the scene is about. You can still change your choice before the shooting of your scene. When you find the right choice, it will create the right behaviour and physical action of the character.
Ask QUESTIONS about the script and the character. It is also very important to know what the actor is thinking about the script. If he/she doesn’t like it, there is no point working with them.
If you get the feeling that the scene is not really working, choose the OPPOSITE/S to what the scene is about.
The character always NEEDS something from the other character or NEEDS to accomplish something within the scene or the whole film. Find what your character NEEDS and stick to it throughout the whole film.
SPINE is who a character is. Look for the real meaning of the character/person.
Usually each scene has a particular OBJECTIVE, which should be very simple and specific. Find playable objectives that will have both physical and emotional element.
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By Pluginin
Film Composer
A film composer scores music to accompany a motion picture for film or television. This could include dramatic underscore as well as popular songwriting. The traditional role of a film composer is to provide the orchestral dramatic underscore, and only more recently has the popular soundtrack begun to stand on its own.
Music Editor
A music editor is responsible for mixing and synchronizing the music with the film and mixing the music with the film soundtrack. The music editor must be versatile and possess a great musical sensitivity, a keen ear for balance, and an awareness of how music can make or break a dramatic scene; all combined with knowledge of the special technology used in synchronizing music tracks to film or tape.
Programmer (Sequencing)
The programmer utilizes music sequencing software and sometimes notation software to produce MIDI keyboard/synthesizer tracks for inclusion in the film score. Other times, a programmer will sequence a piece of music or a composition by this means, which will allow the composer and music editor an opportunity to hear the composition before it reaches the scoring stage. This is considerably cheaper than hiring a full orchestra and enables the composer to identify errors in the score before it gets to the scoring stage.
Orchestrator
The film music orchestrator is responsible for writing scores for an orchestra, band, choral group, individual instrumentalist(s), or vocalist(s). Also, an orchestrator transposes music from one instrument or voice to another in order to accommodate a particular music instrument, musician, or group. Often, the orchestrator will also be the conductor during the film scoring sessions.
Music Supervisor (Theme Specialist: Film/TV)
The film producer hires the music supervisor. He/she may act as an A&R scout to find and license popular songs for inclusion as theme or background music within the film (called source music) and/or selecting songs for the soundtrack. Sometimes the music supervisor may be in charge of only the songs for the soundtrack, and other times he/she may be in charge of all the music involved with a film, including hiring and supervising the film composer for dramatic scoring.
Contractor
A film/TV music contractor is responsible for hiring the musicians and tending to all the necessary contract obligations through AFM (American Federation of Musicians). It is in the contractor’s best interest to procure the best talent possible while working within his/her budget guidelines.
Film Arranger (Adaptor)
The film arranger provides musical arrangements of a musical composition or song for film and/or TV usage. The arranger determines the voice, instrument, harmonic structure, rhythm, tempo, and other aspects of a song or composition, based on the conductor or film producer’s specifications. Training in music theory, orchestration, composition, and harmony is required. An arranger should have experience as a copyist, writing music, and playing one or more instruments.
Film Conductor
A film conductor’s main duty is preparing an orchestra or ensemble for the finest performance possible in a film scoring session. This includes preparing the musicians for the sessions via rehearsals, and all other business affairs related to leading an orchestra. A conductor should have a strong ability on an instrument, in-depth musical knowledge, the ability to sight read, and great interpersonal and leadership skills to interact with film composers, studio orchestra players, music editors, orchestrators, and copyists. During a scoring session, the conductor is able to hear the comments of the producer in the studio control room and direct the musicians/orchestra accordingly.
Often, the film composer or orchestrator will occupy the role of conductor, as well.
Copyist (Music Preparation)
In the film music industry, a copyist’s job is also called music preparation. The copyist transfers musical parts from a score onto individual parts. This person must have strong notation and transposition skills, training in music theory, attention to detail, and neat and accurate copy work.
Assistant to the Composer
An assistant to the composer acts as a liaison between the composer and various other entities in the film, television, and music industry. The main responsibility for the assistant to the composer is to allow the film composer time to do what he does best, which is composing. This is usually an entry-level position and provides a unique perspective on the filmmaking process.
Sound Designer (Synthesis Specialist)
A sound designer designs synthesized music and sound effects to complement and aid the music score.
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By Pluginin
Career Rundown
Film and video editors make movies and TV a joy to watch. Each scene in a film is typically shot multiple times and on several cameras from different angles. An editor selects the most dramatic or entertaining takes and splices them together. Sometimes editors also insert sound effects or music. The best cinematic editors go beyond merely assembling footage and become artists who guide the telling and pace of the story. The hours can be long when you’re working on deadline. But at the end of your project, you’ll be able to sit back and enjoy your work with some popcorn and see your name in the credits.
Career Outlook
Expect fierce competition for jobs. Although the number of film editor positions in the United States, which was at 25,500 in 2008, is expected to grow by 3,000 by 2018, the number of individuals hoping for a job in the motion picture and TV industries far outpaces the number of openings. Only the most skilled, persistent, and adept at using technology will land salaried position or attract enough work to freelance full time.
Career Salary
In 2009, film and video editors earned a median of $50,790 annually, with the top 10 percent earning six-figure salaries. Those who work for the motion picture and video industries are the most highly paid, earning a median of about $69,000 each year. Freelancers may see their earnings fluctuate considerably from year to year. As with many creative fields, pay can be low until you reach a certain plateau and outlast the competition—which can take years.
Career Mobility
Top jobs include work on major motion pictures or network TV programs, but there are also a lot of jobs at advertising agencies, local TV stations, and film and technical schools. Corporations increasingly need video editors for promotional spots or Web videos. To keep moving ahead, it helps if you’re in New York City or L.A. and know a few insiders—or have the kind of personality that helps you network your way into jobs.
Career Preparations
A bachelor’s degree is required for most film and video editing jobs, including coursework in videography and computer technology. Employers usually seek applicants with a good eye for filmmaking, imagination, and creativity, as well as a thorough technical understanding of editing software and cinematography. The real test is your work, however—the next job is likely to come from somebody who was impressed with your last one.
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