Comments on: So you think you’re a shooter

By: Samara

Samara — Wed, 14 Jul 2010 15:50:09 +0000

Hi Mande,
I believe I worked with you recently on A10.
I just stumbled on this website today doing the job search and it was a great way to kill a morning...and not send out any resumes. Anyways, you give great insight to the industry. It is also awesome to see a fellow woman holding her own as a shooter.
I hope to see you on A11.

By: Steve Ezell

Steve Ezell — Mon, 12 Apr 2010 13:11:08 +0000

Nicely done Mande. Well put, and thorough.

By: Mike L. Taylor

Mike L. Taylor — Sun, 11 Apr 2010 16:27:04 +0000

Great article!

As a former Jr. Shooter who became a Camera Op and is now a DP/Director I have thought a lot about the Jr. Shooter position.
It's hard because a lot of Jr. Shooters think that because they can frame a pretty shot and expose it correctly that they are ready to be full operators.
There is so much more to it than that. I remember as an AC watching a monitor of a very well respected operator single camera covering a scene. An EP was standing near by and the conversation went like this:
EP: Man, he's so good.
ME: Really, he's kinda shaky and his compositions are off (I was an arrogant AC who was eager to shoot)
EP: Yeah but that doesn't matter cause he gets every shot that I need to tell the story in the edit. I always feel safe when he's covering a scene.
That one moment was a real eye opener. A good camera operator has a little director inside of their head getting all of the coverage that the editor will need. You are making a lot of quick decisions that effect how the scene you are shooting can be told in the edit. As an Op you are really getting posts back.
Another big issue is what happens when a Jr. Shooter does make the jump to a full op. I hate to say it but someone who was at the top of my Jr. Shooter list may now be at the bottom of my Camera Operator list cause they are competing against Ops with up to 10 or more years of experience for the same rate!
I jumped from AC to Camera Op in about 2 years through reality TV and I remember a lot of OPs telling me that was too fast. Now I see people trying to do it in 6 months! I honestly don't think they are doing themselves any favors.
Better to be able to do the job and not get the title than to get the title and not be able to do the job, I've seen that last scenario kill peoples careers in one show.
Thanks for posting this Mande, it is something we all obviously think a lot about!

By: xCHRISx

xCHRISx — Fri, 26 Feb 2010 00:21:40 +0000

i stumbled across this site from looking at a friend's facebook page. I'm not a shooter, but an editor, and really found this article insiteful on many levels. Well written, and represents more job titles than just 'shooter.'

By: Craig

Craig — Wed, 24 Feb 2010 06:59:32 +0000

I can say as a new shooter the "jr. operator" title has always been an unofficial title, meaning that it was what I was called on set but never in the credits. At the same time I was making more money, not an operator rate but more than an AC. The most important thing is to ask questions and negotiate before the show starts, definitely before any paper work has been signed. Most Line Producers are open to discussion or at very least a renegotiation if/and when you do spend most of your day shooting (which means handheld reality, not holding a wide in a multi-cam set up). Let them know your experience and ask if they (the production) has a jr. operator policy/rate, or if they would be willing to meet you half way if/when you do start spending the majority of your time shooting. It's also good to have these discussions with the director so he/she can support you when you do ask for more benefits. Past that just remind yourself that we're all lucky to work in such a supportive, and nurturing field and a good work ethic and optimistic attitude will always be rewarded.