Cinematography : Camera Operating... by Daniel McPake

I love operating and do on almost every production but there are projects where one has to take a step back. Occasionally on commercial work I'll bring in an operator when my time is best spent near the director or client.

I'm not a DP. Do you feel an operator operating a second or third camera detracts something from the DP?

I do. Distraction, sure on larger projects. Detraction? If my skills are limited to pushing buttons on the camera, I'm not a DP.

Personally I love to operate if it's a single-camera show. I watch at the lens, make adjustments from the lens and since I've had much more time to get to know what the director want and, when I've had the opportunity to visit table readings of the script, I know what the actor will do better than an operator. Still if it's a multi-camera show that gets more dicey since I can't watch what the other camera is shooting. Like everything in life, it's on a case-by-case basis. If you don't know the crew, it becomes a problem to operate and if you're working with people you trust, operating and being the cinematographer is easy.

I operate on a very, very small level (just graduated recently), but so far I like operating the camera. Without sounding egotistical, I trust my ability to get the shots I want to see, and I feel like the less I have to explain myself on a single camera shoot, the more efficient things are. Like E. said though, if you're talking a multi-camera set up, I can only imagine how tricky things become. In a small, well controlled environment , I don't see any problem with the cinematographer running camera, assuming they're capable and willing. I'd personally love to do both on a larger scale one day.

A good DP can communicate what he wants to see in every shot very simply and a good operator can see the lighting set up and pick up on the great images provided making it a seamless image. I have done DP/Operator work on a lot of small indie stuff, but I would rather work under a great DP and just operate the camera and collaborate on shots with the DP and Director. Just my thoughts.

I have to admit I would love to work with a talented operator, I think it would give (depending on the project obviously) a great angle having a fresh pair of eyes slightly more disconnected to the project than the director.

I do both. There are times when you just have to operate yourself. A lot of indie low budget stuff, would not hire a competent op. On bigger stuff, you get better talent, and can focus on the over atheistic without focusing on the move itself. Having an op does allow for seeing the bigger picture better.

I have done photography for nearly 30 yrs now and enjoy operating the camera. However, I DP a lot of multi-camera shoots and there I have to rely on good photographers to operate those cameras. It is more important to me as DP that the operator is a good photographer more so than someone who knows the specific camera being used,