About Local 600

The International Cinematographers Guild represents the most talented camera professionals in the world. The technicians and artisans in our union are the creators of the visual images on the big screen, the television screen and - as we move into the 21st century - our computer screen.

That’s why we’re so excited about offering this site to our members, everyone in our industry and to people everywhere who want to know more about what we do.

International Cinematographers Guild members - Directors of Photography, Camera Operators and Assistants, Computer Graphics Specialists, Visual Effects Supervisors, Still Photographers and more - are part of the International Alliance of Theatrical Stage Employees. The IATSE is comprised of highly skilled technicians working in film, television, live entertainment, animation, special effects and new media.

We hope you find this website informative and useful. Take your time and browse. If you’re a member, go to our Members Only page for detailed information. If you work in our industry, we want you to get a picture of the extraordinary range of our members’ skills and accomplishments. And if you’re considering a career in cinematography, take a look at the amazing opportunities available to union cinematographers, operators and assistants.

Thanks for dropping in. We hope to see you again soon.

PRESIDENT’S LETTER - AUGUST 2010

Cost and Caution …

First-hand experience with any new technology is the only way to get an understanding of how it impacts the workplace. And in the case of hybrid technology (like the Canon DSLR cameras, which are a combination of two or more different photographic applications), it becomes an even more complex (and costly) production scenario. The lesson I’ve learned is that you never skimp on quality and you get what you pay for.

Having said that, let me emphasize that I am a fan of DSLR’s and have used a series of Canon 7D’s on a film I am just completing, Flypaper, starring Patrick Dempsey and Ashley Judd. So, yes, I do have that all-important, first-hand experience noted above.

But let’s be clear about what these cameras can and cannot do, particularly in context of those reliable, high-quality production tools we cinematographers are so accustomed to. The Canon cameras (the most popular of the new hybrid rigs) were designed as still photography units with motion video capability; and as still photography tools go, they are as robust as anything on the market. Their ultra-high megapixel counts, low cost and solid engineering have made them de rigueur for many of our unit stills members.

But cinematography has a very different set of demands, and our traditional protocols (and then some) will be needed to translate hybrid technology into reliable cine-style methodologies. For example, the still lenses on DSLR’s are not engineered for the continuous and precise accuracy of movie lenses. And since we certainly can’t use their auto focus functions for moving images, an experienced 1st AC, along with a veteran operator, will be necessary to maintain critical focus. [In fact, the DSLR’s small footprint and weight often demands a remote focus device so that the assistant doesn’t put any pressure on the camera while the operator is trying to hold the camera steady.]

Focus is not the only issue. Narrative filmmaking of any length (unlike, say, webisodes) demands cine-style lenses, and that means the DSLR body must be modified to accept PL or Panavision mounts. Most productions I know carry a full complement of fixed focal length lenses as well as one or two zooms; that means a 2nd AC will be needed for care and transport of those tools in the hybrid world. That crewmember will also have an important role in maintenance of the cameras and the inventories of the many accessories. I guarantee that he or she will say the hybrid technology is not made to take the rough-housing we put our motion picture cameras through, whether digital or film.

Which brings me to another inherent concern with DSLR’s; if they’re used for more than an hour or two the image-gathering chip heats up and the image response changes. These changes often come in the form of increased sensitivity (unevenly across the field of the chip) and can increase digital noise. When this happens, the cameras must be changed so that they can cool down. I know one cinematographer who believes that the cameras should be changed every half hour to be safe. We’re carrying four bodies on Flypaper, and some shows have reported carrying up to seven.

One of the ways to monitor the DSLR chip, as well as guarantee the consistent look of the image is with a digital imaging technician (DIT), and tools like a wave form monitor and on-set color management system. Another essential crewmember in this new hybrid workflow is the Digital Downloader, who ensures the safe and efficient downloading, inspection and transcoding for editorial, as well as the insurance of averting catastrophic data loss and proper transferring of metadata. Local 600 has not only designed correct downloading protocols in the digital arena, but we have trained over 300 members how to follow them.
One obvious advantage of hybrid technology is the ability to adapt to the shooting circumstances at hand. DSLR’s can be mounted for tripod or dolly use, rigged to a jib arm or camera crane, handheld or mounted on a Steadicam, car or motorcycle – pretty much any position you can imagine the camera in can be accomplished with the correct mechanical and electronic add-ons. And accessories are being developed and manufactured at a weekly, if not daily, rate!

So, let me reiterate that I am a hybrid user. From what I have seen so far, I’m excited about these new camera systems that have captivated our industry. But I am also very realistic about the quality of the files these cameras produce and the limitations of the equipment as well as the image quality and inherent characteristics of their imaging chips. [Once I get these images to the DI room I will report back on the quality they delivered and how difficult it was to get them there.]  And we all need to be realistic about the amount of equipment, add-ons and accessories needed to keep these units running; qualified Union assistants, operators and DITs will always be a part of these types of crews. You get what you pay for. So cost must be balanced with caution as we move forward.

Fraternally,

Steven Poster, ASC
National President
International Cinematographers Guild
IATSE Local 600