The proper name for a cameraman (or camerawoman, as the case may be) is camera operator. As their name suggests, they are the physical shooters of a movie, responsible for utilizing a camera and its corresponding equipment to record and capture all aspects of a scene.

On lower budget films, the line between a cameraman and what’s called a cinematographer can blur, with one person wearing two hats. From a professional standpoint, a cinematographer is more of an artist who collaborates with the director to create a mood and aesthetic for the film that best suits the director’s overall creative vision.

The camera operator on the other hand, technically executes the camera, lighting, lens, filters and other equipment in order to achieve the look and feel the director and cinematographer have worked out for the film.

So let’s break this down into the steps required for proper camera operation…

The most essential component of the cameraman’s job is (obviously) the camera. There’s no movie without it. A cameraman needs to fully understand all aspects of the motion picture camera, its components, its functions, its lenses, and its limitations in order to properly master the craft.  The knowledge needs to exist not only on a textbook level, but through genuine and extensive experience with the equipment to truly understand all its functions and capabilities.

The lens focuses light so as to provide a clear image for the cameraman. The lens is crucial not only for forging the desired image, but also in crafting an audience’s understanding and reaction to a shot or scene. A telephoto lens, for instance, is made for zooms to grab images with deep detail. Conversely, a wide-angle lens provides more to see, covering an expansive area of the locale. For a better understanding of the types of camera lenses and how they work, click here.

Filters go hand-in-hand with camera lenses. Filters are devices used on lenses that modify the component wavelengths of mixed light before it reaches the film. In short, they affect the resolution of the image by altering how much the naked eye will see. Filters can be gelatin, plastic or colored glass. Click this to learn more about filters.

Key to creating just the right image is lighting. Lighting can determine mood, build atmosphere and even help clarify narrative. A lot of time is spent lighting sets because it’s such a crucial aspect of the filmmaking process. Lighting determines exactly not only how much of a scene is visible to an audience, but often how the audience should perceive a scene. To get a sense of how strongly lighting can affect a movie’s overall feel and execution, check out this article.

While it’s not necessarily a camera operator’s charge to determine how a shot should be framed and how an angle should be composed, it is their responsibility to execute the exact composition as requested by the director (or cinematographer). Ideally, there should be an exactness to shot-framing, as audiences will react to what they do (and don’t) see in a movie. This requires an artistic skill to create something that both conveys information to an audience and is visually engaging.

Focusing involves calibrating the lens to find an image’s level of maximum sharpness and detail. There are two types of methods for camera focus – automatic and manual. Automatic relies on a motor in the camera (or lens) to bring a subject into focus. Manual is when the lens is brought into focus by hand.

Sometimes a focus puller, a member of the camera department, is charged with adjusting the focus of a shot in progress (while the camera operator handles the actual camerawork). This means keeping a subject in focus for the duration of a shot or racking the focus as either the subject or camera moves through the scene.

Whether it be on a dolly, track, crane or other movable contraption, a camera operator needs to move the camera appropriately in order to properly capture the scene. Cameras can also pan (move side to side) and tilt (move up and down) as necessary so it’s vital that the operator be accustomed to and practiced at these motions and have a thorough understanding of how to execute them during production.

Camera movements can be key factors in determining both the emotional resonance and narrative clarity of a scene. And let’s face it, visually, a moving camera tends to give a scene more vibrancy than those comprised solely of static moments.

While the work to actually become a camera operator may involve many hours and a lot of effort, the nuts-and-bolts steps to attain the position are relatively simple:

• Earn a degree
• Intern on sets
• Network, Network, Network
• Apply for positions

Let’s explore these components so that we can understand them in a practical sense…

Do you absolutely need a degree to operate a camera as you would need a license to practice medicine or law? The answer is No. However, a degree does serve as extremely valuable in both learning the technical ins and outs of a camera, lenses, lighting and filters. Additionally, having a degree in the field reflects a lot better during a job interview than not having one.

Whether through school, independent studies, personal projects, or working on set, developing certain skills can make it much easier to become a cameraperson. These include:

• Technical knowledge of cameras and its corresponding equipment (lenses, lighting, filters, cranes, etc.)
• Proven experience operating a camera and said corresponding equipment
• An ability to understand and work within the parameters of a shooting script
• The wherewithal to think and act on your feet (sets can get unpredictable)
• Great communication skills
• A can-do attitude and ability to work with and among many different personalities
• The capabilities of working under pressure

While the pay typically isn’t great (and sometimes nonexistent) with an internship, the experience it offers is priceless. Interning for a camera department brings you right into the heart of the filmmaking process, where you can really observe and learn not just the method and process, but how to act and behave on a film set. The latter happens to be just as important as the former, as people tend to work repeatedly with crew they like (and not with folks they don’t). Learning to navigate personalities on a high-pressure film set is an art and learned skill unto itself. Which brings us too…

This is, after all, the entertainment industry, and finding a gig in this niche of the field is just as reliant on networking as any other. It’s all about being friendly and open with people.

Demonstrate you’re someone who not only understands the craft and technicalities of the camera, but also that you’re easy to work with. Film sets often run long hours. You want to make sure you’re surrounded by people you get along with or those hours are going to feel a lot longer.

After you’ve got enough experience under your belt and have sufficiently networked, you’re ready to start offering up your camera operating services in a professional capacity. This means looking for jobs everywhere, especially at the beginning. The pay will often be low when you’re starting out, but more important than the income side of the job at this stage, is earning experience.

The more film sets you work on, the better you’ll understand the job, from technical, craftsmanship and business angles. Your chances at more work increase exponentially from this.

Equal parts craftsman and technician, a camera operator is a job that requires both physical skill and mechanical knowhow. They bridge the director’s (and cinematographer’s) vision to create a film’s desired visual aesthetic. Understanding the technical aspects of the equipment play a key role in the position.

Ultimately, no movie is possible without a camera operator. And moreover, a skilled camera operator is absolutely essential in creating a film that resonates emotionally and narratively because of its visual palette.