Film & Television Workshops

Image design as a creative professional   by Seoexpert001

To participate in these times of global expansion of the audiovisual media and all those involved in the attempt, due to the increasing use of their work, this profession was created, which will prove especially true in the shares of the cameramen in the creation of cinematographic works.

As a prosecution of copyright claims in individual cases is not feasible and, increasingly lump sum settlements by collecting societies themselves to this profession relate preference to those activities and design features in the framework of the joint design of a cinematographic work in the creative team on a regular basis and to a significant extent in the responsibility of the cameramen lie can be viewed as a professional and to the extent typical. Because this profession has both changed over the history of cinema as well as strong regional differences, subject to the current situation in Germany is used as a basis, it will also indicates differences with other countries.
Second definition

The term cinematographer includes various professions whose activities can be differentiated as follows:

a) Current reporting, sports coverage, etc. in the journalistic field (similar to photo-journalist)

b) Art and image making in the area staged film, television and video productions, ie generally in feature films, television dramas and series, as well as advertising, etc., but also staged documentaries and industrial films (comparable to the photographic artist).

Only with the second area is addressed in this profession.

But even with this restriction, the term includes German cameraman is still widely divergent activities and responsibilities:

Is a “cameraman” any man (or woman) on the camera? He is at one of many cameras, an action sequence or a TV recording, it’s just the swivel, which moves a camera on the instructions or is it the “chief camera man” who is solely responsible for the image design of a cinematographic work, which is accordingly named in the title and under his supervision are other camera people and teams work?

The German occupation title offers no clue. In the international sphere, however, this responsibility is already clear language:

The senior and responsible for shaping the image of photography as there is

- Director of Photography (DoP in England, DP in USA) – Directeur de la Photographie (France) – Direttore della Fotografia or Autore della Fotografia (Italy)

designates what is to be translated roughly as “cinematographer”, “author image” or “image makers”.

Thus, in the parlance of the nations of the world’s most important film of the camera man according to its actual importance, and recognize him as a “co-director.”

Separately from this, other cameramen and other members of camera crews, with instructions bound under the direction of the (chief) cameraman’s work, whose main focus strongly on technical-manual, lower-level range, as a cameraman, operating cameraman, operateur, cadreur, operator and assistant cameraman known. In German, according to Assistant and Camera Operator, the latter is often misunderstood and also cameraman named (significantly, is also frequently used in reviews or awards, the “camera work” praised, though here the picture composition and not the snifter was meant). Accordingly, there is no linguistic distinction between the (chief), cinematographer and the camera man an occasional additional teams. The German language clearly has problems with this profession.

As part of a camera team selects and supervises the director of photography, the technical and design parameters of the recordings, especially lighting, composition and camera work (the latter is partly by himself and partly by one or more camera-operators or wavers or run additional units).

Only by the (chief) of photography in this sense will therefore be discussed in what follows.
3rd Outlines of duties

3.1. Remit

The role of the cameraman covers the artistic and technical collaboration in filmmaking. (It does not crucial whether these “films” are recorded on film, magnetic tape, optical disks or other storage media. As a result referred to is generally of “film”.)

The task of the DoP’s own creative and responsible film visualization works in collaboration with the director.

3.2. Creativity versus technology

The design of a film image is unmistakable result of creative imagination, the camera man exercises a determining influence. Nevertheless, this profession is often, and mistakenly viewed as primarily technical. In the early days of film that was certainly true of the “Man with a Camera” = cinematographer was usually a one-man operation, the equipment was unreliable and unruly, they often came from his own workshop. Today, technology is just the starting point, it was reliable and its operation and monitoring with camera and lighting assistant (camera and lighting technician) present in every team available.

Certainly the technical basics of camera work are more extensive than the example of the director, but the DoP is in no way “between art and technology”, but even with today’s technology has almost unlimited variety of possibilities for artistic expression.

3.3. The camera man in the creative team

Generalizations about the creative portion of the camera’s in the creative team (director, cinematography, production design, editing) must be based on the specific characteristics of each. Thus, there are significant areas where influence, responsibility and determination by the camera man are given in most cases. However, since the areas of influence in artistic teamwork are never delineated exactly, are also overlapping in fringe areas the rule.

With film, this overlap is both in terms of equipment and in particularly with the director:

The fundamental responsibility of the director lies in the scenic design (production), which the cameraman in a film’s visual design. The transition is smooth, the camera man influences the production as director of the visualization. The degree of this mutual influence on the personalities concerned, he is drawn from experience, trust, working methods, and the “ego” of the partner. However, both labor is not freely determined, it is subject to a “transfer” of responsibility towards the material or the screenplay. Only with respect to such third-party determination that a unified work, and perhaps also an inspired creation. Of course, the screenplay interpretation requires the director and the rest of the creative staff must be mandatory to arrive at a unified view of all participants. As part of this framework, the cameraman will then act autonomously.

3.4. Expert authority and competence

The cinematographer is the last creative and technical authority before taking its decisions, even based on intuition and visionary conceptual preparation, recording only form. At the same time, he is responsible during the recording, the first critical control of the finished product in which the creative and technical efforts of the entire team of often over 100 people, as through a needle’s eye, come together under his responsibility. In his responsibility but are also the audience’s emotions, their empathy, attention, ldentification, fear and suspense. Success or failure of a film can thus be significantly influenced by the decisions of the cameraman.

3.5. Credits In

According to its importance to the camera man is also a regular in the “credits”, the titles mentioned in the opening or closing credits. The name will appear in a creative block (director, screenplay, cinematography, production design, editing, music, etc. in order of precedence is usually right after the director. Apart from the misleading term “camera” is used here mainly for the term image design used in the Anglo-Saxon regularly Director of Photography.

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