From the January/June 1999 issue of the Operating Cameraman

Shot-making is the basic procedure used in recording each and every segment, or shot, which comprises a link in the chain of shots from beginning to end of the production, whether on film or video tape.

In general, shot-making involves, for each shot setup:

1. Analyzing the subject matter and the action to be composed and photographed, as well as the terrain and time of day, if applicable.
2. Determination of a camera position viewpoint.
3. Lighting the subject matter and area to be photographed.
4. Selection of the camera and camera support equipment, including the mounting platform or device--tripod, dolly, crane, plane, boat or body support.
5. Specifying the taking lens, optical filters, shutter angle, frame rate and exposure setting.
6. Planning the direction and velocity of movement of the camera in relation to the action to be covered.
7. Adjusting the direction and velocity of movement of the camera and subject matter, as necessary.
8. Coordinating the movement of camera and zoom lens sizing with movement and positioning of the subject matter.

ANALYZING THE SUBJECT MATTER

It is important that the director, production designer, director of photography and camera operator analyze the subject matter and its movement in the context of its setting in order to help determine the most efficient and effective plan of ways and means to present the subject matter to the camera.

The camera position is usually determined by the director in collaboration with the director of photography in order to cover the essential subject matter and action; although the production designer, through the design of the production settings, can have a marked influence on camera placement.

Lighting and subject matter and its environment is the responsibility of the director of photography. Working through and supervising electrical lighting and grip personnel, the appropriate quantity and size of units (coverage), intensity/key (exposure), quality (soft or hard) and balance/contrast ratio (mood) are determined, acquired (within budgetary constraints) and set in place for each shot setup.

Accessories and support equipment considered necessary and appropriate for the production (within budgetary constraints)--is selected by, and put in place under the supervision of, the director of photography.

Optical selection and settings are the province of the director of photography in order to provide and maintain the coverage and consistency of the overall visual effect desired by the director.

CAMERA MOVEMENT

Blocking of the actors and the camera is the prerogative of the director, often in collaboration with the director of photography, and frequently with requested input from the camera operator.

ADJUSTING AND COORDINATING CAMERA MOVEMENT

Once camera movement has been plotted and the mobile platform tracks are put in place, the camera operator has the responsibility of making minor adjustments during blocking and rehearsals as to direction, timing, velocity and placement of the mobile platform, thereby coordinating the work of the first assistant (for zoom sizing and focus) and the dolly/crane grip(s) (for camera platform movement), in order to perfectly blend with the action being presented to the camera.

Specifically, shot-making involves great care in selecting and composing elements through the camera viewfinder within the moving proscenium--the cinematic frame.

The frame is the basic cinematic element of first concern to the camera operator. It is the frame which provides the parameters within which the elements to be photographed must appear and be arranged. During rehearsals, at every point during progression of the action--whether static or dynamic, whether the camera is stationary or moving--composition (and focus) is carefully checked and adjustments made in order to maintain optimum composition and visual effect throughout the duration of the shot.

Each shot, a sequential progression of still pictures, or frames, must be framed to clearly communicate the purpose and content of the shot in order to help accommodate a seamless juxtaposition in it placement between and/or among other shots.

The take is the total run length of film or tape--from turn-on and head or tail slate to the final frame when the camera is cut.

The transition points--the head and tail point at which the shot will be cut and joined to (or visually combined with or superimposed over) another shot--of each shot are generally at or near the beginning and the end of the take.

Subject matter, camera angle (perspective) and placement (high, normal or low), image size, direction of look and direction, duration and velocity of movement are among the elements to carefully consider and control at the point during the shot for which the transition is being planned. Some of the options to consider are:

• Mtching object sizes and/or action, type, velocity and duration.
• contrasting an object in movement with one at rest or a large object with a small one.

 According to Webster's Dictionary, a transition is a change or passage from one place, state, stage of development, type, period, time of day, to another. Transitions are visually communicated by various mechanical linear techniques, such as, the cut, the dissolve, the wipe and the fade.

Making the shot means more than putting it on film or tape. Making the shot means making a take during which all the elements--performance of the actors, the movement of subject matter and camera, setting adjustments on the camera, sound recording, stunt and/or special effects execution--have, individually and collectively, been executed in a consistent, orchestrated and directionally acceptable manner.

Although shot-making is what we do and take pride in, it is how well we do our job that makes the shot fit seamlessly into the overall product. The better and more collaboratively we each do our individual job the better the final product is likely to be. And, ironically, the less obvious our specific contribution to the production effort is sure to be.

About the author:
The late Bill Hines, SOC was a film and video camera operator and the corporate liaison for the Society of CameraOperators. Both of his books, OPERATING CINEMATOGRAPHY FOR FILM & VIDEO and the updated and expanded Fifth Edition of JOB DESCRIPTIONS FOR FILM, VIDEO & CGI: RESPONSIBILITIES AND DUTIES FOR THE CINEMATIC CRAFT CATEGORIES AND CLASSIFICATIONS, are available through the SOC online bookstore.