#camera operator

[angelofalls]

[OC] Kellie

An old unused OC that I decided to repurpose for P.A.W. (Pro Anthro Wrestling) She's part of the camera crew! :>

[djkerr]

The Pitt camera family BTS

📷🎥 @aymaedp IG

[anaratto]

Filmmaker Lois Weber and her camera, 1916.

[filmcourage]

Why I Quit Camera Work To Start A Business - Illya Friedman

Watch the video interview on Youtube here.

[heartlandians]

View this post on Instagram

A post shared by craig wrobleski asc csc (@cwrobleski)

Damon Moreau was the A camera operator on Heartland for many episodes. He’s a fantastic collaborator and his eye and style helped refine how the show was photographed.

I was thrilled to learn this year he took over the reins as DP. It appears over the years he observed my “working style” and the various quirks that are part of it and sent me this clip of his take on the “Wrobleski Flip”. It’s a complex gesture that is part of the fraught process of watching the ever-changing Alberta skies to see if the clouds will be your friend or foe on the next take. To be done properly, the Flip must embody hope, frustration, inspiration, resignation, decisiveness and a bit of “well, let’s see how this goes…”.

It’s a lot to ask of one gesture but Damon nailed it (and is, by all accounts, also nailing the photography on the show). Bravo, sir!

[shootinhockey]

When you are about to beat the #1 in the conference and they start playing Michael Jackson.

(I immediately thought @greymichaela needed to see this)

[sabrinalovesyou]

[pablolf]

I would add, from my point of view, that’s the difference between a camera operator and a cinematographer. Janusz, during his prep, will come up with a lighting scheme, a color palette, filter choices, and all sorts of decisions he can make in advance to create a certain look to the film. What was the term you used, a heightened reality? That’s the job of a cinematographer to come up with these looks, but as a camera operator, you cannot have any preconceived notions about anything. You must be open, accessible, and responsive to the moment of creation when it happens inside your frame. If I start thinking about, “I need to frame that more to the right because that will make it look more like heightened reality,” I would be dead in the water on day one. You just can’t think that way. So, all that stuff about look and heightened reality, that might be done in pre-production, but when you’re actually shooting, you have to be able to execute the shots gracefully and cinematically, but it has to be without thought sometimes. It’s like this gut, instinctual, intuitive response.

West Side Story: An interview with Mitch Dubin, and John “Buzz” Moyer (Society of Camera Operators)