The Answers
We pose a question to a group of veteran camera Ops, representing over 400 years of experience between them, about all aspects of the business. Answers are posted anonymously, because, in the end, there are rarely any absolute solutions to anything on set, but rather different ways that Ops deal with things. The idea is to see different opinions and then decide what would work best for you.
See their answers below, and, if you have a question of your own, email us, and we will add it to the queue.
What do you expect from the B Cam Op on your show?
I work primarily as a B camera operator. Most of the DPs I work with like to (at the very least) rough in shots for both A and B – I don’t work with people who want me to go rogue and do my own thing very often, if ever.
Are there shows or directors/DPs who have mandates on framing, movement, etc? Can you share any of them and what do you do if that goes against the aesthetic that you are used to?
I did a pilot years ago where the director had this vision that we should play all headroom so tight as to chop their hair - even in wide shots. It was ridiculous and the DP and I fought him to no avail. It was what he wanted and ….wait for it…it was horrible and didn’t work.
Do established operators still doubt themselves? If so, how do you deal with it?
I think operators need to have the same mindset as an athlete, be it a field goal kicker that just missed a critical kick or a quarterback that just threw an interception. You need to be in the moment - there isn’t time to dwell on past performance – establish what went wrong, figure out how to fix it, then move on so the mistake doesn’t mentally tank your next take/shot. It is important to have short-term memory when it comes to mistakes – the faster you put them in the rear-view mirror, the sooner you can move on to the next challenge.