From Across the Pacific...
The Japanese Cameraman System
by Seigo Sakamoto, SOC
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When I had returned to my country of Japan
after ten years of working on various productions in Los Angeles,
I could not help but notice that the Japanese motion picture
industry and its system had remained somewhat the same in its
aspect of filmmaking as when I'd left. The overall production,
crew structure and technical applications all reflected the past
secluded in its own style. If Japan is generally known to the
rest of the world as difficult to understand culturally, then
I think that its filmmaking system may also be regarded in a
like manner.
Although I believe that each country has its
own ways with their relative structure and beauties, I feel strongly
with all due respect to the Japanese motion picture industry,
that they lack the desire to globally communicate and exchange
information. Thus I have taken this opportunity to write about
some of the system differences which I have witnessed between
Japanese and American cultures of filmmaking.
DIRECTOR OF PHOTOGRAPHY
In Japan, "Director of Photography" is not
a common word; "Cameraman" is most often used. Generally speaking,
the lighting of the set is not considered the cameraman's role,
regardless of one's desire or capabilities. Hence you will often
find that the cameraman does not carry an exposure meter to the
set.
In the Japanese system, the cameraman's main
role is to operate the camera and he is considered the "master
of frame adjustment." Consequently the title of camera operator
as such is virtually non-existent in this country.
CHIEF ASSISTANT CAMERAMAN
Closely working with the cameraman, his responsibility
is to read the light meter and decide on the iris stop. Hence
you will find the chief assistant cameraman to be walking around
with various exposure meters around his waist. There have been
many occasions in the past when a US crew working in Japan would
presume that he is the "DP" on the set.
2ND ASSISTANT CAMERAMAN
Equivalent to the 1st assistant cameraman in
the US system, he is the focus puller. But to add to his job
tasks, he has to load the film, switch the camera on and off,
operate the video assist device and push the doorway dolly if
one is being used on set. Generally in TV commercials, the camera
department consists of the chief and the 2nd assistant cameraman.
Incidentally when the 2nd assistant is needed to push the dolly
and pull focus simultaneously, the chief assistant cameraman
would exercise his/her prerogative whether or not to push the
dolly or pull focus during a particular shot. This is one example
of the ambiguity or 'flexibility' of role-assignments which are
quite commonly accepted in the Japanese filming industry.
Since Japanese TV commercials have a strong
traditional preference regarding the look of the spot, minimal
camera moves are employed compared to the western spots. If and
when camera dolly moves are incorporated, as a strong element
to assist in the concept of the spot or as a part of the look,
then the production company will decide whether or not to hire
a 'special effects dolly operator' which would then alleviate
the work load of the 2nd assistant cameraman.
In feature films, the 3rd assistant cameraman
is normally hired so that the work load can be alleviated between
the chief assistant cameraman and 3rd assistant cameraman. By
and large, the 2nd assistant cameraman is indeed the busiest
person on set.
In the Japanese system, "slating" is not the
camera department's responsibility but falls under the auspices
of the assistant director.
3RD ASSISTANT CAMERAMAN
Increasing numbers of 3rd assistants are appearing
on sets as film loaders to assist the 2nd assistant cameraman
especially in the feature film market.
4TH ASSISTANT CAMERAMAN
Since many productions cannot afford a 4th
assistant it is often an intern position. The intern would then
assist the 3rd assistant cameraman, taking care of the video
assist and simple grip jobs; hence more interchangeability.
LIGHTING DIRECTOR
Once the frame is set by the cameraman, the
lighting director takes over and functions as the creator of
the overall lighting structure; its look, its design and the
equipment to be used. With minimal consultation, he would then
take the initiative to create the lighting with his electrical
team; a major difference from the usual Western style. I recall
a situation when I worked in Hollywood as a focus puller: We
had constructed a Japanese alley on a sound stage for a Japanese
commercial. The camera was placed on a hi-hat located in the
middle of the narrow alley and it was mounted with a 9.8mm lens.
Obviously the mandated frame revealed almost everything on the
set, including the rooftops. I can still remember the look on
the lighting director's face when the cameraman had set his composition
and said "This is the frame," and then walked away from the camera.
Well it took a great deal of thought and time for the lighting
director to figure out where to position his lights, but finally
he was able to solve the problem. Without consideration or due
to a lack of experience on the part of the cameraman situations
such as this may occur.
1ST ASSISTANT LIGHTING
Same as the best boy in the US filming system.
2ND ASSISTANT LIGHTING
Electricians: Generally 2-4 on a set.
HIERARCHY
In the Japanese filming system, this method
of scene blocking and set lighting in relation to the US system
is divided into the collaborative work of the cameraman, the
chief assistant cameraman and the lighting director. When all
three are in sync there may be an advantage in that it may save
a lot of pre-lighting and set-up time from a producer's perspective;
however I am sure that many American DPs might have strong feelings
to the contrary.
WHO THEN IS THE DIRECTOR OF THE CAMERA?
In general the cameraman has his/her say over
the lighting director, however there are cases when the producer
hires the lighting director first and consequently the lighting
director chooses the cameraman. Hence the overall look and the
responsibility of photography becomes slightly ambiguous, very
much affected by the hierarchy of the crew structure as mandated
by the individual producer. Under the Japanese filming system
very few cameramen are provided the comfortable environment to
perform the American-style role of cinematography. Although a
few individuals have recently attempted to perform this style,
they must battle through the lighting department and its traditional
system. I count myself as one of those who feels the desire to
bring the western style of cinematography to Japan. The communication
with the lighting department is the most difficult task to overcome.
Since lighting has been kept under the control of the lighting
director for so many years there is an obvious conflict of roles
between the cameraman and the lighting director and even a feeling
of resentment concerning change. It must be stated that very
few have been afforded the opportunity to experience other styles
in order to make comparisons and integrate the best of both worlds.
SETS AND LOCATIONS
Unlike Hollywood's style of filmmaking where
major sets are constructed on stages, the Japanese filmmakers
focus on exterior shoots and existing interior locations in deference
to a cultural point of view. With the restriction of shooting
space and with the poor quality of lighting equipment, the beauty
of the frame takes precedence over the lighting considerations.
Space is not a luxury which our country can afford. Therefore
the technical crew must take into consideration keeping the equipment
rather small and compact yet versatile. Although Fisher, Chapman
and Panther dollies are available to rent, they come at a price;
approximately triple the cost compared to the US. Dollies are
considered 'special effects' equipment, a luxury item more than
a common production item. The gear head is not a popular piece
of equipment used by a Japanese cameraman. A Sachtler head is
most often found under the camera due to its ease of use compared
to a gear head.
CONCLUSIONS
I sincerely hope that this article has provided
an insight into the motion picture industry of Japan and answered
many questions although it may have raised even more. Lastly,
I feel that some changes are for the better and that we all should
keep an open mind in developing new ideas and technologies so
long as it all leads to a broader understanding of the universal
language we know as filmmaking.
Seigo Sakamoto is an award-winning operator
and cinematographer and one of the SOC's newest members; he
learned about the SOC through our Internet Web Page. Seigo
has designed his own Web Page and can be reached through the
Internet at: http://www.seigo.com.
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