To view this page ensure that Adobe Flash Player version 11.1.0 or greater is installed.
If the viewer feels the performance of the camera, it follows that the Camera information, setting them up for anticipation, real or false. Operator must be completely in tune with the feelings imparted by his own performance. If not he is not communicating fully with the viewer. It’s akin to driving a car with your eyes shut. You have no idea where you are taking your passengers, (neither do they) and will most certainly be giving them a bumpy ride! It’s no excuse saying I wanted it to be ‘different’ or ‘exciting’ or ‘arty’, unless it helps the viewer share the experience. This requires teamwork, between the whole crew, from scriptwriter through director, cameraman to editor. A good camera operator must be able to interpret the script, and then interpret the actors’ interpretation of the script, producing editable rushes for the editor. So, a good operator has learnt to feel his shots, he or she does this by being a viewer whilst operating rather than just an operator. As with editing, a cut or transition should be made when the viewer needs (wants) it; a camera should show what the viewer needs in order to understand what is going on. Well that’s all good textbook stuff, but with ﬁlm making and TV drama, what the screenwriter or director wants the viewer to see or feel, may not be what the viewer would naturally go for. Here the ﬁlm makers are either denying the viewer of information thus making them feel uncomfortable or setting them up for a surprise, or giving them more information or false The process of script interpretation should be the deciding factor in making major decisions, like whether to go handheld, tripod or dolly etc. Framing (how much looking room? how much headroom?) On a tracking shot, how fast, when to start and when to stop, on a crabbing shot, not just how fast but where to pivot and where & when to transfer the pivot. With drama and music, you need to feel the shot, not just see it. All of this applies to Documentaries and News coverage as well, even though there may be less acting and singing in these genres, there are still performances and action taking place in front of the camera, the Camera Operator should always put him or herself in the position of a ﬁrst time viewer, and feel the performances in front and behind the camera. Searching? broadcast cameraman Search With full details of hundreds of GTC accredited Camera Operators, Lighting Cameramen, DoPs and specialist cameramen, why go anywhere else? www.gtc.org.uk KITPLUS - THE TV-BAY MAGAZINE: ISSUE 112 APRIL 2016 | 49