MOTION PICTURE PHOTOGRAPHERS (Theatrical) California Occupational Guide Number 519 Interest Area 1 1995
THE JOB
The job of MOTION PICTURE PHOTOGRAPHER (Theatrical) encompasses many different tasks, all of which are combined during the principal photography phase of a motion picture. The occupations usually included within this category are the Director of Photography, Camera Operator, First Assistant Photographer, Second Assistant Photographer, and Film Loader. In some large studios, Film Loader is a separate category, although when the unit is on location, the jobs of the Second Assistant Photographer and Film Loader are combined. All of these associated occupations work at operating or moving a motion picture camera. There is also a photographer who takes still shots. Under a union-negotiated contract, the minimum photographic staff employed on a theatrical motion picture must be comprised of a Director of Photography, a Camera Operator, a First Assistant Photographer, a Second Assistant Photographer, and a still photographer.
Directors of Photography are in active charge of photographing a motion picture. This includes supervising the entire technical crew, all photography, including underwater, aerial, or special effects photography, process plates, and inserts. They also work with the director, establishing lens size and camera angles. Directors of Photography maintain photographic quality of the production and direct the technical personnel to achieve the appropriate photographic lighting effect. They also determine the camera, film, and lighting equipment to be used. Directors of Photography must be ready to help and advise the producer and attend script conferences whenever requested by the producer. They also give their advice in connection with the design and selection of sets, costumes, and locations, and generally assist in simplifying production, heightening production values, and trying to stay within the budget.
Camera Operators pan and tilt the camera during shooting and compose and frame each shot as determined by the Director of Photography.
First Assistant Photographers unpack, assemble, and adjust the camera, ensuring that it is mechanically fit for photography, and clean lenses and other camera parts. They are responsible for making sure that the equipment is in perfect working order. They also move the camera and tripod to a new set up and assure that the camera is level. They thread the camera and measure the distances, set the lens focus, and follow the focus during photography. They also operate the zoom lens, making changes as rehearsed.
Second Assistant Photographers receive and keep inventory on raw film stock and prepare the slate that describes the scene on which they are working. They download exposed film for shipment to the lab, then reload all magazines with fresh raw film stock.
When the motion picture is being shot in a studio, Film Loaders may be used. They keep reports of film checked out of the loading room, up and download all film magazines, and help in storing all camera equipment in the camera department or in the loading room.
WORKING CONDITIONS
Work in the motion picture industry is generally conducted in a pleasant and enjoyable atmosphere. However, the work can frequently be repetitive. For example, the same shot may have to be lined up over and over again. Therefore, one quality essential to Motion Picture Photographers is patience. Also, location work can be strenuous; workers may be required to work in extreme cold, heat, or dampness. As work schedules in the industry are of an irregular nature, many photographers work an average of only two days a week. However, since they may work very long hours during these few days, or work during weekends, camera people have to be very flexible in their work availability. When on location, the minimum hours worked in a day are usually 12, and the minimum workweek is six days.
Motion Picture Photographers at the major studios are members of the International Photographers Guild of Motion Picture and Television Industries, usually known as International Photographers Local 659, of the International Alliance of Theatrical and Stage Employees.
Many Directors of Photography belong to the American Society of Cinematographers, a professional association, and many Camera Operators belong to the Society of Operating Cameramen.
EMPLOYMENT OUTLOOK
The following information is from the California Projections of Employment published by the Labor Market Information Division.
Estimated number of workers in 1990 1,230 Estimated number of workers in 2005 1,330 Projected Growth 1990-2005 8% Estimated openings due to separations by 2005 440
(These figures do not include self-employment nor openings due to turnover.)
Turnover in all positions is very low, and traditionally workers remain in the Director of Photography positions for most of their working careers. Many Camera Operators only work part time. Consequently, the few job openings that arise will result from the need to replace those who retire. An increasing growth in employment, however, is expected during the next few years with the increased demand for movies produced for network and cable television, and as independent productions sign the basic union agreement. The job market situation is very competitive, with a surplus of qualified, experienced Motion Picture Photographers.
WAGES, HOURS, AND FRINGE BENEFITS
The union minimum scale for a Director of Photography is $63.57 an hour. A Camera Operator makes $38.92 per hour, a First Assistant Photographer earns $28.16 hourly, and a Second Assistant Photographer is paid $25.88 an hour. These scales are for an eight hour day in the studio and a nine and one-half hour day on location. Overtime is paid for work beyond these hours. The number of days worked in each week will vary, as will the number of hours worked in each day. Union members enjoy typical fringe benefits such as vacation and holiday pay, health and life insurance, and retirement plans.
ENTRANCE REQUIREMENTS AND TRAINING
Applicants for jobs of Photographer or Camera Operator require no particular education or experience. Much of the training occurs on the job. However, they do need a technical aptitude in understanding the capabilities of a motion picture camera and its associated equipment. Working in a camera rental business is a good place to learn about equipment as well as to meet people in the industry. Courses in cinematography are available in colleges, universities, and private schools. This type of work also requires the ability to concentrate intensely. Moreover, because the filming of a motion picture is a cooperative effort requiring the blending of many skills, a photographer must be able to work well with other professionals.
ADVANCEMENT
Film Loader is the entry level, and beginners can rise through the various photographer's jobs up to Director of Photography; although generally they would only be expected to advance to Camera Operator. The advancement process is usually slow, however, and may take many years.
FINDING THE JOB
The few vacancies that arise in this profession are filled by word-of-mouth contact. Photographer positions are rarely advertised in newspapers or listed with employment agencies. Union members are frequently unemployed or are only partly employed, and these members are given preference ahead of new applicants.
ADDITIONAL SOURCES OF INFORMATION
International Photographer's Guild Local 659 7715 Sunset Blvd., Suite 300 Hollywood, CA 90046 (213) 876-0160
RELATED OCCUPATIONAL GUIDES
Photographers No. 51 Film Editors No. 323 Broadcast Technicians No. 359
OCCUPATIONAL CODE REFERENCES
DOT (Dictionary of Occupational Titles, 4th ed., Rev. 1) Photographer, Motion Picture 143.062-022
OES (Occupational Employment Statistics) System Camera Operators--TV & Motion Pictures 340260
Source: State of California, Employment Development Department,
Labor Market Information Division, Information Services Group,
(916) 262-2162.
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