Professional Cameraman's Handbook, The

Sylvia E Carlson, Verne Carlson

• Publisher: Routledge
• Year: 1993
• Print ISBN:
  9780240800806
• eBook ISBN:
  9781136044250
• Edition: 4
• Topic: Media & Performing Arts
• Subtopic: Film & Video

This new edition of an all-time best-seller is completely revised and updated and details the components and step-by-step use of over forty of the most widely used film cameras. Significant new topics include time code and time code slates, video assist, and the Steadicam film stabilizing system. Among a few of the new camera systems are the Aaton 16mm; Arriflex 535, 35-3, 35-BL3 and -BL4, and 16BL; Fries 35R3; and the all new Panavision Panaflex 35mm and 16mm. The book teaches basic film camera procedures and troubleshooting techniques. It also looks at all the components, accessories (including lenses), and support systems.

chapter 1

The Camera Professional’s Duties and Responsibilities

In the major film studios, the duties and responsibilities of each member of the camera crew are strictly defined.

The following contains the essentials of the “Division of Work and Duties” section of the agreement between Hollywood Film Producers and the International Photographers of the Motion Picture Industries, Local 659 (Cameramen), of the International Alliance of Theatrical Stage Employes and Moving Picture Machine Operators of the United States and Canada. The material has been modified somewhat and expanded to include job requirements based on experience in the field:

At all times, Camera Professionals … shall be responsible for doing their work to the utmost of their ability, artistry, and efficiency, and strive to uphold the best traditions of the photographic profession. Bearing in mind that upon their efforts rests the ultimate responsibility of reproducing in artistic and visible form the results of the great expenditures undertaken by the Producer, they shall also strive to perform their work as efficiently, rapidly, and excellently as is possible, seeking to heighten their efficiency and that of the Production unit with which they work.

The Director of Photography (First Cameraman) must be completely familiar with and able to light studio and location settings; compose scenes; take meter readings; select lenses; determine the use of filters, gauzes, mattes, and diffusion discs; call attention to and solve any photographic problems pertaining to the production that may arise.

Whenever requested by the Producer, he or she shall help and advise the Producer, attend story conferences, give advice and suggestions in connection with the design and selection of sets, costumes, and locations as they relate to photography, and generally render assistance in simplifying production, in heightening production values, and effecting economies.

The Camera Operator (Second Cameraman) must be completely familiar with and able to execute smooth and efficient camera movements; maintain the composition(s) prescribed by the Director of Photography; certify each “take” as it relates to the camera operation; set the groundglass focus; ascertain the parallax; regulate all shutter changes; note footage count; ensure the security of the mounted camera.

The Camera Assistant must be completely familiar with and able to check out camera equipment and accessories to determine they are in working order and that no items are missing; inventory and record all assigned raw stock; load magazines; assemble and prepare the camera at the photographic site; make hand tests; run the tape; set marks; check parallax; handle the slate; make camera reports; set lens aperture; regulate all focus changes; record meter readings; execute use of filters, gauzes, mattes, and diffusion discs; change lenses, check gate, change magazines; thread camera; disassemble and store camera equipment and accessories; charge camera batteries; unload and reload magazines; label, pack, and ship exposed stock to the laboratory; reinventory film supply; present duplicate camera, raw stock, and exposed stock reports to the Production Manager; any further necessary and incidental work that may be required.

Small production houses, in-plant industrial film units, and news and documentary film units may not always adhere closely to these definitions. Nevertheless, before a person can be considered a well-rounded Camera Professional, he or she must know and be able to perform the duties of each classification. This knowledge separates the professional from the amateur.

chapter 2

Camera-Film Identification

The physical properties and chemical composition of film stock are well covered in other books. In addition, detailed data sheets comprehensive...

Table of contents

• Cover Page
• Half Title Page
• Title Page
• Copyright Page
• Contents
• Foreword to the Fourth Edition
• Foreword to the Third Edition
• Preface
• Acknowledgements
• Manufacturers and United States Agents of Cameras and Related Equipment
• How to Use This Book
• 1 The Camera Professional's Duties and Responsibilities
• 2 Camera-Film Identification
• 3 Loading-Room Procedures
• 4 Slates
• 5 Camera Reports
• 6 On-the-job Procedures
• 7 Introduction to Equipment
• 8 Tripods
• 9 Tripod Heads and Accessories
• 10 Aaton 16mm Cameras
• 11 Arriflex Cameras, Magazines, Blimps, and Accessories
• 12 Cinema Products, Cameras, Magazines, and Accessories
• 13 Eclair Cameras, Magazines, and Blimp
• 14 Mitchell Cameras, Magazines, Blimps, and Accessories
• 15 MOVIECAM COMPACT Camera, Magazines, and Accessories
• 16 Panavision Panaflex 35mm Cameras and Magazines
• 17 ULTRACAM Camera, Magazines, and Accessories
• 18 Cinema Products Steadicam Film/Video Camera Stabilizing System Model 3A
• 19 Lenses
• Glossary