Protecting the Role of the Camera Operator
A Commentary
by Michael Negrin, ASC

From the Spring/Summer 1996 issue of the Operating Cameraman

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There are quite a few DPs from the independent feature, commercial and music video worlds who have probably always operated their own shots. They can't imagine allowing some 'third party' looking through their viewfinder during the production. Surely they think, that's an intrusion into their domain and an interference of their artistic prerogative.

Well, when the opportunity finally arises for one of these hypothetical cinematographers to work on a union shoot within a union jurisdiction, it is required that he/she hire an operator, first assistant & second assistant cameraman. But because it is a rule that the operator is hired, some DPs tell the operator "Thanks but no thanks, I will handle the camera operating." Just because the camera operator is on payroll seems enough incentive for the DP to operate the camera with a 'clear conscience.'

Sooner or later the producer may surmise, "Who needs this operator on staff?" When contract negotiation time comes around they feel justified in proposing to the unions that the camera operator's position be considered optional or eliminated altogether!

Guys like John Toll, ASC (a longtime SOC member) who this year won another Academy Award, this time for "Braveheart," and spent quite a few years operating for and learning from the best DPs around, would no doubt have been awfully unhappy to find that the camera operator's position was to be eliminated and with it the chance to develop leadership and shooting skills that come from observing the lighting process and the collaboration with various directors. And what about the great DPs who possess fabulous lighting talents and compositional creativity but aren't particularly good operators? Do they get shunted because there is no longer any room in the budget for an operator?

Even if you can't find any sympathy in your heart for a cameraman who doesn't operate well, think of yourself. Injury or arthritis could end your operating days very quickly. Do you want a producer to pass you over as a DP just because you cannot operate the camera? Bob Surtees, ASC shot "The Turning Point" when he was well into his 70's. There really is something quite wonderful about a profession that lets you work right up 'til the end if it makes you happy. All that is necessary is that you can read a light meter and communicate your ideas.

As a DP, working with a good operator is like having a second set of eyes. Let him or her worry about whether a grip flag or microphone is encroaching into the shot, while you focus your attention on the blocking and the lighting of the set. You no longer have to be bound to the dolly or strapped onto the crane when you'd really rather have greater access to the director or talent. And with the proliferation of video assist units on the set (Operating Cameraman Magazine Fall/Winter 1995/96) there needn't be any doubt about final compositions. Additionally, if you're not chained to the camera you might well be able to give some thought to other set ups, thereby helping with the ever-tightening schedules facing us these days.

Every once in a while though as a DP, a shot will crop up where you can only see the lighting or some effect if your eye is in the viewfinder. Perhaps time is about to run out during magic hour for example and you have spent a great deal of time blocking and rehearsing the intricacies of the shot. It seems unfair to have the operator risk not getting the shot on his/her one and only attempt as the sun sinks in the West. The union and your crew will understand these moments and will give you (the producer) that flexibility. We simply do not want anyone to forget what a crucial part the camera operator plays behind the camera.