The camera crew is headed by the director of photography, who works closely with the director. Together they
select the camera(s) and film stock and plan the camera
angles and movements. The director of photography also
takes responsibility for selecting camera lenses and
designing the lighting.
The director of photography may also operate the
camera, but normally this task is delegated to a camera
operator. For multicamera shooting, several operators are
needed, and these may be credited with such titles as ‘‘B
camera’’ or ‘‘additional camera.’’ The camera operator
may be supported by an assistant cameraman, who is
responsible for the care of the equipment, as well as
preparing the camera report, or dope sheet. The clapper
loader has various duties, including loading the camera
with film and operating the clapperboard at the start of
each take. This board displays the film title, scene number, and take number. The clapper loader stands before
the camera and reads these details out loud before closing
the hinged clapsticks. This device allows the sound and
image tracks to be accurately synchronized during postproduction while identifying the contents of a filmstrip
or sound recording. Although the traditional board is still
in use, more sophisticated electronic versions are now
available. The focus puller ensures that the image remains in focus, making adjustments when either the camera or
the actors move. To allow instant evaluation of takes,
video footage may be recorded and played back by the
video assist operator.
If a camera is required to move during the take,
additional crew members are needed. The dolly grip
takes responsibility for the camera dolly, a wheeled support that allows the camera to be moved along tracks. A
1973 invention now allows a Steadicam operator to move
the camera in a special device attached to his or her body,
which minimizes the shakiness of the operator’s movements. A crane operator may be employed when a camera (and sometimes its operator) needs to be elevated for
very high angled shots.
The electrical department is headed by the gaffer,
who is responsible for delivering the lighting effects
required by the director of photography. The gaffer’s first
assistant is the best boy electric (a title used irrespective of
actual gender), and the department also employs electricians, or ‘‘sparks.’’ A generator operator may be needed
when extra power is required, especially common when
shooting on location.
Since the demands of lighting placement are often
complex, the gaffer relies heavily on the grips, physical
laborers who handle and maintain a range of equipment
used on the set, and who are particularly associated with
the lighting and camera departments. The key grip works
closely with the director of photography, the camera
operator, and the gaffer in order to plan ways to meet
the physical requirements of lighting and camera movement. The key grip’s first assistant is known as the best
boy grip. Construction grips, or riggers, erect any scaffolding required for the camera or lighting and help to
disassemble and reassemble sets.
Some sound is normally recorded during filming,
although much of the soundtrack is created during postproduction. On set, the production sound mixer is responsible for selecting microphones and supervising their
placement. Several different types may be used. These
include microphones concealed around the set—behind
furniture, for instance—and radio microphones worn
under the performers’ clothing. A boom, or long rod, is
often used to suspend a microphone above the action
and out of the camera’s range. This is handled by the
boom operator. The cable puller handles the masses of
wiring that the microphones require. The sound recordist
operates the tape recording equipment on the set.