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As many of you are already aware, the role of the camera operator as a mandatory and integral part of every film crew has been challenged in recent years to a degree previously unheard of. The determination of producers to eliminate their longstanding obligation to employ a camera operator under our collective bargaining agreements culminated recently in the loss of that provision in our basic agreement.
Nevertheless, by far the majority of major feature films shot in the United States and Western Europe continue to use camera operators on every camera. Of course the International Cinematographers Guild’s interest is multi-layered on this issue. The first and foremost concern is the work opportunity and security of our members. If more producers ask cinematographers to operate their own cameras, fewer of our members will have work.
That reason itself would be enough for us to do all we can do to educate those who will decide these staffing questions in the future; producers, directors, and ultimately, the film crews of the future themselves—the film students of today.
But there are other reasons as well. The fact is that the camera operator is truly an integral part of the creative team of the director, cinematographer and operator. The men and women who have chosen that particular craft have done so because they have a particular skill at formulating the shot in such a way that it tells the story that the director has envisioned. They are an essential layer of creative input, all focused on capturing a compelling image that can move audiences beyond just the performance of the actor or the words of the writer.
There is also the matter of production efficiency. It is harder to confer with the director, think ahead to the next set-up, or review a lighting design with your gaffer if your eye is stuck to the eyepiece and you’re practicing your pan and tilt for the next shot.
We also consider cinematography to be an art. The fact that you’re reading this magazine suggests that you do as well. Another unfortunate by-product of the combination of the role of operator and cinematographer is the natural diminution of the role of cinematographer. With rare exception, the cinematographer who keeps his eye to the eyepiece has less of a relationship with the director and therefore less opportunity to create artistic images.
All that being said, the question remains, what do we do about it?
Well, we’re doing a lot. But for this edition of ICG, I would like to talk about our attempt to reach out to upcoming filmmakers where they learn the lessons and habits that will carry them through their careers…or not. During the month of August, we will travel to the University Film and Video Association convention to address professors from film schools across the country.
One of the things we have learned is that many of the major film schools now shoot their student films with students functioning as camera operators. This has at least two main benefits. The first is that it affords the student director and cinematographer an exact replication of the relationship they will have outside the University setting, and the second is that it provides hands on training in the creative, collaborative craft of camera operating to another future filmmaker.
After all, those students who go on to create major feature films will still do so with camera operators capturing the image. We hope they will understand the importance of that role.
We need to catch the filmmakers of tomorrow, today. We want to help them to learn everything they need to know about filmmaking in film school.
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In Solidarity,
Steven Poster, ASC
National President
International Cinematographers Guild
Local 600 |
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