A cameraman has a lot of work to do on set. Directing the Gaffer as to where to put the lights and creating that perfect lighting is just one task and being able to think up new angles and camera movements freely is the most fun part of the job. Getting to see your final work on the big screen can be a whole new magical experience, totally separate from those on set.
To see your audience has been affected the way you wanted them is a treat as a cameraman. When the audience feels how you want them to after watching your movie, a sense of accomplishment arises within. The blood, sweat and tears that are poured into creating a movie are well worth it when the movie is said and done.
To be a cameraman means that you have to creatively design a picture in the frame-which is incredibly difficult if you think about all the aspects in the shot that have to become unified-lights, props, the whole ambiance of the shot, have to be captured appropriately. To be able to unify all these elements takes a well-trained eye and good, creative vision.
Movement is also very important because without camera movement, the shots become boring and it's more apparent that you're watching a movie. Jerky or unstable movements ruin your shot and kill the moment, hence why a cameraman must also be in shape-to be able to hold shots for long takes if it's hand-held or on a Steadicam system.
Depending on what type of camera you're shooting with, some camera preps take up to a week to test out all the parts and make sure they work properly. A cameraman must be in good shape and be able to lift heavy equipment, as industry-standard tripods and high-end cameras tend to be on the heavier side and you have to be able to move it all around quickly and proficiently.
Getting into the industry as a cameraman is very difficult and takes a lot of time, patience and work. Knowing everything about most cameras and staying on top of the new ones that come out is important so that you can have a wider base of "camera intelligence" and pick up more jobs. The more creative you are, the more people will want to work with you.
Freelance camerawork, like I do, is the most difficult, as I believe, because it is never a promise. You think you'll be working a gig two weeks from now, and then in one week, the person or production company hiring you will call you to let you know the project had been cancelled.
In my opinion, freelance camerawork is the most difficult kind of camerawork because it's like living on the edge. As with any freelance job, you live from job to job, acquiring a sum of money that you'll have to budget for some time. However, no job is a promise and sometimes you can lose one merely days before you were supposed to start. Getting jobs in the film industry has most to do with meeting other camera people and networking. Making friends is key!
To see your audience has been affected the way you wanted them is a treat as a cameraman. When the audience feels how you want them to after watching your movie, a sense of accomplishment arises within. The blood, sweat and tears that are poured into creating a movie are well worth it when the movie is said and done.
To be a cameraman means that you have to creatively design a picture in the frame-which is incredibly difficult if you think about all the aspects in the shot that have to become unified-lights, props, the whole ambiance of the shot, have to be captured appropriately. To be able to unify all these elements takes a well-trained eye and good, creative vision.
Movement is also very important because without camera movement, the shots become boring and it's more apparent that you're watching a movie. Jerky or unstable movements ruin your shot and kill the moment, hence why a cameraman must also be in shape-to be able to hold shots for long takes if it's hand-held or on a Steadicam system.
Depending on what type of camera you're shooting with, some camera preps take up to a week to test out all the parts and make sure they work properly. A cameraman must be in good shape and be able to lift heavy equipment, as industry-standard tripods and high-end cameras tend to be on the heavier side and you have to be able to move it all around quickly and proficiently.
Getting into the industry as a cameraman is very difficult and takes a lot of time, patience and work. Knowing everything about most cameras and staying on top of the new ones that come out is important so that you can have a wider base of "camera intelligence" and pick up more jobs. The more creative you are, the more people will want to work with you.
Freelance camerawork, like I do, is the most difficult, as I believe, because it is never a promise. You think you'll be working a gig two weeks from now, and then in one week, the person or production company hiring you will call you to let you know the project had been cancelled.
In my opinion, freelance camerawork is the most difficult kind of camerawork because it's like living on the edge. As with any freelance job, you live from job to job, acquiring a sum of money that you'll have to budget for some time. However, no job is a promise and sometimes you can lose one merely days before you were supposed to start. Getting jobs in the film industry has most to do with meeting other camera people and networking. Making friends is key!
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