![]() During shooting, they control the digital media inventory, slate the cameras and fill out the report sheets. If there is no Video Assist person on the project, then the task of setting up the monitors falls to the Second AC. The Second AC assists the Director and DP during the blocking of shots by placing marks for Actors and/or helping with the viewfinder. They take primary responsibility for moving and organizing the camera equipment throughout the day, including protecting it from external variables such as dirt and weather. The Second Assistant Cameraperson (Second AC) works closely with the First Assistant Cameraperson and helps to build the cameras. They make sure all other Assistant Camerapersons and Trainees are working effectively and efficiently. The First AC is responsible for the maintenance of the camera and lenses and ensuring that the production has all the camera equipment and personnel required for each day. With a tape measure, a keen eye, a monitor and very good reflexes, they must keep every frame in focus by relying on distance judgment, anticipation and a lot of confidence. The First Assistant Cameraperson’s (First AC or Focus Puller) primary responsibility is to keep the picture in sharp focus, while never actually looking through the camera. Steadicam is used for scene-specific requirements so this position may be hired on an as-needed basis First Assistant Cameraperson The rig allows the Steadicam Operator to run along with the camera mounted on and it remains steady instead of moving with the operator’s stride. The Steadicam is rigged via a vest strapped onto the Steadicam Operator that allows them to move with the action especially in tight spots such as an actor running through a forest or up the stairs, etc. The Steadicam Operator, like the Camera Operator, maneuvers the camera to establish the continuity of composition, but uses a special rig that enables special fluid moving camera shots for specific scenes. They also work closely with the 1st Assistant Cameraperson and the Dolly Grip. The Camera Operator works closely with the Director and the Director of Photography from setting up the shot to the final take. ![]() Looking through the eyepiece of the camera, they maneuver the camera to establish the continuity of composition. ![]() The Camera Operator physically operates the camera during a take. During production/photography, the Director of Photography leads the technical crew, and the camera, lighting and grip teams in particular. They work very closely with the Director in establishing a mood and feel of what people will see on-screen to help tell the story. The Director of Photography (DP or DOP) is responsible for the overall look of the production. Director of Photography or Cinematographer The job descriptions are provided by IATSE Local 667. Industry Group: Canadian Society of Cinematographers (CSC). ![]() The Union representing Camera and Digital Departments positions is IATSE Local 667. A passion for the still and moving image and its relationship to storytelling as well as camera handling and formal technical training are important facets for this type of career. They handle camera equipment, and in key roles have great creative input starting in pre-production and throughout production. The Camera and Digital Departments personnel handle everything related to capturing what appears on screen. ![]()
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