Jobs Camera Operating

Job One

DOMU – BRANDS – Camera Operator – Successful eCommerce Company – Domu Brands Manchester, NW

Highlights:

Location – Stratford, Manchester, NW

Job type/Contract – Full time, permanent

Posted – 15 Days ago

Industries – Retail

Are you a Camera Operator with a passion for creating content that resonates on an emotional level? Want to learn, grow and progress your career with an innovative business? If so, read on. 

About The Company: 

With a global network spanning Europe, the US and China, Domu Brands is an eCommerce company.

Part of the business focuses on creating the designs, photography, videos and marketing strategy for all our brands and products. We work with a broad range of brands, so no two days are ever the same. 

As part of Domu Brands’ growth and vision for the future, we’re opening a production studio at a new site in Stretford and are looking for a Camera Operator to join our team. 

The Benefits: 

– Salary of £18,000 – £22,000 

– Great support to help you achieve your ambitions 

– Regular company social events 

– Full in-house training to bring you up to speed 

As a multi award-winning business, we understand the importance of keeping our employees happy and engaged. We foster a welcoming and sociable culture where new ideas are actively encouraged, collaboration is the norm and all employees are supported to fulfil their potential. 

The Role: 

As a Camera Operator, you will help to create engaging video content for a broad range of brands. 

Joining a vibrant and fast-paced environment, you will: 

– Bring great ideas into production with creativity and flair 

– Effectively light a scene and operate your camera in the best way to deliver the Director’s creative vision 

– Collaborate with colleagues to resolve any issues 

About You: 

To be considered, you’ll need: 

– Experience with large sensor, interchangeable lens cameras and other filming equipment 

– Previous experience with lighting and sound recording 

– Knowledge of camera operation, exposure and operating grip equipment 

– The ability to prepare and operate a Sony FS7 camera and all its equipment, reading and interpreting scripts into engaging videos 

– Excellent communication skills and a great eye for detail 

Ideally, you’ll have experience and/or a degree level qualification in video production, but this is not essential, as full training will be provided. 

Other companies may call this role Camera Operator, Junior Videographer, Cameraman, Camerawoman, Media Production Assistant, Video Producer, Digital Photographer, Video Editor, Film Maker or Media Assistant. 

Domu Brands is an equal opportunities employer, is 100% committed to creating jobs within the UK, and really values a diverse workforce. 

So, if you’re seeking your next challenge as a Camera Operator, please apply via the button shown. This vacancy is being advertised by Webrecruit. The services advertised by Webrecruit are those of an Employment Agency.

Job Three

Freelance Camera Operator

GetFilm – Glasgow

£7.50 – £15.00 an hour – Contract

Join the Get Film family

Get Film is expanding rapidly across a number of locations in the UK. We are looking for bright, creative and talented filmmakers and editors to join our growing company.

Work with big brands

Our clients include Lloyds Bank, Accenture, EDF Energy, Hilton Hotels & Virgin Money. You will get the opportunity to work with these companies each month and build up your CV credentials.

The local area, no commute & flexible working.

We strive for ultimate flexibility, so you’ll only service your local area. No surprise trips and no long distance commitments! You control the hours you work and the jobs you want to take!

Training

We strive to improve the quality of our filmmakers and every three months offer training so that you are constantly up to date with new techniques and industry standards.

Additional Info

• You must have access to your own film making equipment.
• Please include a show-reel with your application.

Job Type: Part-time

Salary: £7.50 to £15.00 /hour

Job Type: Contract

Job Two

Freelance Camera Operator

Andrei Weddings – London W11

£100 – £350 a day – Commission

Job Summary

We are looking for young and talented camera operators with their own equipment based in and around London. Experience is operating the camera is essential. Knowledge of FCPX and sound equipment are desirable however not a must. Working for Andrei Weddings is ideal for a full time film student as they can get hands on experience while earning money. Wedding videography and event filming are very intense jobs that help you be more straightforward in your creative process.

We regularly have corporate projects and music videos.

Job Type / Category

The event filming and corporate filming industries are quite different from a professional movie set however you have more creative responsibility and are yourself the one who delivers the end product.

Required Education, Skills and Qualifications

You need to have at least 2 years of experience as a freelance camera operator.

Ideally you must have studied Film Production or a similar course although this is not mandatory.

Benefits

The benefits include but are not restricted to:

getting hands on experience with our equipment including drones, steady cams, cranes etc.

being selected to shoot our corporate projects

Job Type: Commission

Salary: £100.00 to £350.00 /day

Experience:

• Camera Operator: 2 years (Required)

Education:

• Bachelor’s (Preferred)

Get gov website about what you have to do if you work freelance such as becoming a sole trader.

Industry – Broadcasting – Costs

Research around ownership, funding, ownership structure. – who owns what, broadcast you need case studies.

for broadcast get two case studies imdb budget, background – find out how they are funded and who owns it. –  case studies are going to be by Chanel BBC – licence fee payer, ITV, channel four, – funds drama for upcoming drama piece makers – public service, Netflix

Interviewers – how do you think the industry is funded.

broad question – discuss the future of British funding in the broadcast.

Look at drama pieces – discuss – research is an online/book – look at the structure look at the funding.

How does the industry work? – how to get into broadcast – as a camera operator – commision editors.

Where do I get money? 

Question what costs need to be considered to be a camera operator in broadcasting? – this could involve travel costs, equipment costs, funding costs.

Broadcasting History – Power without responsibility book

Reith and the denial of politics

There are only two accounts of the origins of the BBC. The first is that the corporation was the personal achievement of John Reith. The second is that its emergence was accidental.

Book Research – Book One

The media studies reader – edited by laurie ouellette

Book Research – Book Two

Seventh Editition power without responsibility, press broadcasting and the internet in britan.

Shorter Personal Statement

I am a creative, focus driven person, who’s always had a passion for films and tv. I strive to keep learning and adapting because if I don’t my work will stay the same and never evolve.  Some directors who inspire me are Maniac Cary Fukunaga – / Steven Spiel-berg/ Stanley Kubrick for their experimental cinematography and filming techniques. I am looking forward to being on this course as it will be an amazing experience giving me an even more in-depth view into the world of the television, films and Advertisement/client Work and the processes required in the Professional industry. Before the foundation course, my knowledge of techniques and their uses were barely substantial compared to what they are now. It’s given me an outlook on the media industry and how to use the techniques used in them in different ways as well as when it is Contextually correct. – Technical Ability (aka sound, camera, lighting, editing)-, Communication, Time Management. teamwork. – The skills I have further developed on the Media Foundation Degree Course gained me greater, more valuable knowledge into the media industry. These skills (Transferable as well as practical) will further assist me on the Ba(honours) course. I have learnt not to just watch films/ series/ adverts mindlessly, but to analyse them in great depth, looking at the various concepts in a film, the pieces others would not put together. The smaller details, from the camera shots to even the types of cuts used in editing are just as vital as the acting in the film. I also built upon these skills whilst analysing two thriller films on narrative theory. I used this knowledge to help produce two projects, Drama Piece/horror in these projects I worked in a crew and with actors I planned shots ahead and used communication and technical ability to film and edit the pieces using different techniques and equipment. I created some motion graphics for a beginning shot in after effects. I used range-of different shots, angles, and equipment to create an atmosphere, therefore, showing my skills in camera operator.  For a sound recreation piece, I used planning and sound recording skills to recreate and record sound correctly. edited different layers of sound together. – blended/mixed soundtracks and audio. I used audio to form an urgency-ridden atmosphere to draw in the audience. I used various recorders and recording techniques to record the Foley sound.  I Worked with various clients both in a crew and individually, I developed my skills of communication, teamwork as well as technical ability. Client work (Halle Orchestra, Music in the gardens, Salvation Army), I worked in a crew with the head of the Halle Orchestra production team. I used communication skills to correctly frame, expose shots live. I communicated with DHE and worked mostly independently once the concert started. I used editing and technical ability skills to control two motorised cameras, as well as editing live, an aesthetically framed Performance of the singers and dancers. I was also required to turn up on time and was flexible, late nights and communicate effectively in order to set up and figure out what I needed to do. I am currently working with a client (salvation army) to create a promotional video. I built upon my communication skills further by presenting some information about a two-film narrative analysis and then used further skills of research and evaluative techniques to write a contextual essay. These skills that I have further developed through the foundation degree course will help me to be a valuable student on the ba honours course because, At the end of the BA honours course, I see myself in A production role in the media industry as a Camera Operator in broadcasting or making client videos.

Appendix

Do an appendix with numbers and letters

Books

Bk1 – Bk =  Book – 1 = Cinematography theory and practise image making for cinematographer and directors – second edition – Author = Blain Brown – the year of publication = 27 July 2011. – Example

Bk2 – Bk =  Book – 2 = Shooting Digital video – DVCAM, Mini DV and DVCPRO – Jon Fauer, Asc.

Interviews

1 Q – A = Question 1 – Person = A – Carl Thompson – Example

1Q – B = Question 1 – Person = B – Jack Park – Example

1Q – C = Question 1 – Person = C – Lee Marsh – Example

BK1.1 – “So what are they? What are the conceptual tools of visual story-telling that we employ in all forms in all forms of visual storytelling? There are many, but we can roughly classify them into some general categories.”

Q1 – How did you get your first break/ where did you start off? Was there a specific root you took starting off as a camera assistant for example?

• A – I started shooting weddings and corporate videos straight out of film school. I networked with as many people as possible and worked hard. I skipped the camera assistant route and after about 4 years working in the industry, I started marketing myself as a lighting camera operator/ dop. I’ve now worked with some of the biggest brands in the world including New Balance, Dreamworks, Manchester Utd, BBC, ITV etc.
• B – I was a production assistant on the film Dark River. I used this experience to get a training day with Leeds United TV, as a broadcast camera operator. Afterwards, I got hired, along with 6 university students who applied through their uni.
• C – I started as a trainee camera operator at Televideo Outside broadcast which is a company based in Sheffield.

Q2 – Do you have any qualifications in media studies/film and did it assist you in getting into being a camera operator?

• A – I have a BSc in Film Production Technology from Staffordshire University. My university experience gave me time to grow up and figure out what I wanted to do in life. The fact that I only did one exam in 4 years and made films every week was a bonus. The experience I gained at university put me on the right track but it was the work after university that got me to where I am now.
• B – I have a Level 3 Extended Diploma in Film and TV production (Distinction Distinction Merrit) from Leeds City College, but I got both jobs mentioned above in the summer in between the two years, so the qualification didn’t help with those. But with my fulltime employment, it was very important.
• C – I have a degree in Film and Media Production, I believe a degree shows an ability to learn to a high level, but I know plenty of camera operators who have started through other means and hard work has set them apart from more qualified candidates.

Q3 – In your opinion what are the most essential skills required as a camera operator?

• A – Being any form of a film-maker is essentially professional problem-solving. The ability to remain calm, think clearly and work hard at all times is what will help you become successful. The technical skills are important but can realistically be learned online or picked up by shadowing people and asking questions.
• B – In live broadcasting, time management is the most important skill to have. In a day you have a lot of tasks, and it’s very easy to make mistakes. It’s not really a skill, but stamina is also important.
• C – Operating a camera is actually only a small part of being a camera operator. A strong work ethic with the initiative is key to becoming a valuable member of any film or TV crew, this shows you can be trusted with responsibilities as well as being someone who doesn’t constantly need to be told what to do. On the operating side, it is always good to listen to what the director requires from the shot/shots in order to put together a visually proficient broadcast. An eye for good composition helps but each director has a different style which means adaptability in a short period of time is always handy.

Q4 – Are there any interesting opportunities in the role and or industry, Can a camera operator lead to any other job roles?

• A – I absolutely love what I do. I get to hang out with cool people, filming in crazy locations and travel all over the world. Camera operating can open doors to meet people and ultimately lead to producing/ directing your own projects. There are tons of directors out there that started in the camera department. Typically they’re the ‘prettiest’ films.
• B – Camera operating leads to videographer jobs and a knowledge of editing makes a camera op even more desirable. Basically, any business person who wants a video or videos done can employ you. Charity events want videographers to make promotional videos, but they’re unpaid, of course. Those are the developments I’ve seen.
• C – As I currently work as a staff camera operator as opposed to freelancing it means I have access to colleagues who work across all aspects of outside broadcasting, this gives me an overall greater appreciation for the effort and skills required for each department and thus could allow me to train in other areas of I so wished. Generally, a camera operator will find themselves moving into other areas of camera work e.g crane, Steadicam, drones.

Q5 – What kind of hours do you expect to work on average?

• • A – I typically charge for a 10 hour day but that can extend to 12-14 hours sometimes. That’s not sustainable every day as you’d burn out so I ensure I take time off to catch up on paperwork etc. I can work up to 80 hours a week but I’d typically say it’s 40-50hrs. Certainly more than your average 9-5pm. You have to remember that doing your accounts, social media, emailing is all considered work for a camera operator but doesn’t pay the bills in the short term. It still has to be done right though.
  • B – My full-time Videographer and Editor position is a 9-5 Job, with long nights to finish important projects. At Leeds, the hours are sporadic, sometimes I work 14 hour days, sometimes I work 3 hours cause they only need me for something specific.
  • C – Notoriously the TV industry, specifically live television broadcasts has a certain expectation to work very long days, this will include travelling to and from a job as well as the job itself. The idea is to make the outside broadcast work as soon as possible to make sure any errors or faults can be found and corrected sooner rather than later. As a freelancer, you have slightly more control over the hours that you undertake but it should still be accepted that these will come under the title of ‘unsociable hours’. It is hard to put a specific number on the hours you can expect to do, but it is definitely not a 9-5 and that shouldn’t be underestimated.

• • Q6 – How much would you expect to earn an hour as a camera operator? / Are there any extra costs that need to be considered in this role?

• • A – I charge a day rate plus equipment. It typically starts at around £500 per day and goes up from there. TV commercials and live events are high pressure and therefore you can charge more. I turn up with >£30,000 worth of equipment which I use every day and people find value in that. You have to factor in insurances, car, petrol, food expenses, laptops, physios (for the bad back you’ll inevitably get if you don’t train). New technology is being developed constantly so you have to keep up to date with your kit too.

• • B – As far as senior operators go, that’s on the internet. LUTV or similar live streamers or broadcasters pay day to day. The amount is very dependent on who you’re with. Additional costs wise, being a football camera op means travelling to away games at different stadiums around the country, and that could get expensive if they ask you to drive yourself, which they don’t usually.

• • C – Again this is a double-edged question. As a staff operator, it can vary depending on experience and length of service. Generally speaking, a staff operator will earn less than a freelance operator who will invoice a price for his skills which is set against union set prices, although each operator may negotiate with companies directly depending on the circumstances. BECTU has set out the prices that TV staff should charge depending on the job and length of day, this usually starts at £300 per day and will increase accordingly. As a staff operator, the daily earning will be considerably less but a guaranteed wage, training, employee perks and travel expenses are all covered. Working as a freelancer you would expect to cover hotel costs as well as travel expenses and food expenses. Also depending on the area of camera operating a client might require you to provide your own kit which will obviously come at a price.

• • Q7 – Is there any specific specialist equipment needed / to have an intensive Knowlege of?

• • A – Know your kit inside out. Anything after that can be learned on the job or online.

• • B – A great understanding of DSLRs is very important, especially if you’re with a smaller company who pick their equipment sparingly. Have a basic knowledge of sound recording as well, because that’s something an amateur employer might forget. You don’t need a great knowledge of broadcasting rules, technicals and regulations unless you’re wanting to be a video journalist or a broadcast director.

• • C – Speaking from my own experience I can say I had little knowledge of TV cameras. I happened to learn a lot from operators I worked with and then gradually from the experience I gained. I would say from some who works in live sports broadcast that a basic knowledge of sports coverage was more useful to me than the knowledge of the equipment because within the right environment you can gain the knowledge of the equipment over time. As I have mentioned if you are hardworking and willing then people will invest the time in your development.

• • Q8 – How do you continue to get work, How beneficial is networking / getting a reputation?

• • A – Networking is essential. The majority of my work is now through referrals or previous contacts so I don’t have to hunt for new work much. Having a good social media presence and an up to date website are all crucial.

• • B –  Apply to any job which matches your skill set. Be happy and willing to move for work. Networking is good, but don’t expect people to hand you work just because they like you. Showcase your videos and experience to employers, and proving you’re the most dependable camera op keeps you employed. Don’t only aim for larger media companies. Smaller companies focused on other industries need media specialists, and there where you’ll have the opportunity to make creative decisions and recommend equipment and video styles.

• C – I work as staff which means I don’t have to go looking for work. But from a staff perspective, it is imperative to conduct yourself as if you were looking for work, as the people you are working with could well be people who are recommending you in the future. So over the 4 years, I have been staff I have worked with multiple camera operators and broadcast crew and it is crucial that they see you as a punctual, organised, hard-working operator who they can rely on. Camera skill can be learnt but a bad attitude leaves a longer lasting impression on potential clients or employers.
• Q9 – Is it more likely that work is going to be freelance than permanent contract and would you say being a camera operator is competitive?
• A – Depending on the scale of the job you’re going for. Bigger projects such as TV commercials, live events and dramas all use freelancers. Smaller ad agencies may employ a ‘videographer’ which is essentially someone with a DSLR and will be on a permanent contract. Being a camera operator is competitive but I would suggest networking with like-minded people in your field. I get more work from other camera operators referring to me than anything else. Obviously, it works both ways and I send work back to others when I can.
• B – From my experience, contract work keeps you working in the industry more consistently so you can practice your profession for longer. Freelance web ads and event coverage keeps it interesting but is too spotty to support yourself when you’re just leaving education or starting out by other means. It’s very competitive, so grab at every opportunity to build your portfolio, even within the business you’re employed by.
• C – Being a camera operator is incredibly competitive, no doubt. From my experience, I would always recommend starting as a staff operator, to begin with, because there is an environment to learn and progress in a more protected environment. You also have access to a wider aspect of film/television production which ultimately will make you a more conscientious Camera operator overall. The general path seems to be that freelancing is the ultimate goal as this gives a greater earning potential as well as more control over your own workflow. However, the experience I have gained whilst working for a company would not have happened if I had started freelance.
• Q10 – Are there any significant changes in the media industry or you suspect there will be such as processing technology that has/will lead to less or more work? How do you think it has affected the role?
• A – Technology is constantly evolving and it’s key to not get left behind. I don’t think it’ll affect the amount of work out there. The amount of video/ film that is being produced and consumed is incredible so there’s plenty for everyone. Always remember, technology can’t be creativity.
• B – There’s an over saturation of media content, and everyone knows it. This leads to more and more industries outside of media jumping to media to promote them all over daytime TV and social media. I (try and) stay separate from social media trends and video styles, primarily because a lot of it is too dense to penetrate and it’s a shot in the dark to attempt it. Equipment wise, I do stay up to date with it and support the idea of making video, film and TV equipment more efficient. In the short term, modern media times is leading to more work, with more equipment development creating more roles to fill at companies, big or small. In the long term, like everything, media has an over-saturation point where smaller company’s social media presences won’t be able to break through the wall, and they may try to promote themselves by other means. It’ll be interesting to see what they come up with.
• C – I think the television industry is not too dissimilar any other industry where companies will try to push technology with an eye on keeping costs down. This has seen development over remote-controlled camera operation that maybe requires fewer operators on site or operators who can work multiple jobs in one day working from a master control room. However there is no substitute for the creative eye of a good operator and the reactions required for live television, so whilst jobs may become easier and more convenient I believe that the role of the operator is secure for the foreseeable future.

Ask David about thing do I need to do any more research towards the development of media technology? – Ideally, you need to add books/internet anything in the report that supports the progression of media.

Qu1 – 2 = Question 1 – Person = 2 – Jack Park

Qu1 – 3 = Question 1 – Person = 3 – Lee Marsh

Job Three

https://www.google.com/search?client=safari&rls=en&ei=uRrDW7HlMIeEgAaCvI6wDw&q=camera+operator+jobs&oq=camera+operator+&gs_l=psy-ab.3.1.0i67k1l3j0l3j0i67k1j0l3.11096.11096.0.12805.1.1.0.0.0.0.80.80.1.1.0….0…1c.1.64.psy-ab..0.1.80….0._IY90TRKPLE&ibp=htl;jobs&sa=X&ved=2ahUKEwjsz4X73IXeAhVGVsAKHb9dDXEQiYsCKAF6BAgFECU#fpstate=tldetail&htidocid=fnf1v9C01jDEpAFuAAAAAA%3D%3D&htivrt=jobs

Our people are at the heart of everything we do at ITN. It’s vital that our workforce reflects the diversity of both our audience and the wider society in the UK, so we’re proud to be an equal opportunities employer and we actively seek candidates from diverse backgrounds and communities.

We also recognise the importance of a good work-life balance, so we do everything we can to accommodate flexible working, including part-time and job shares for all our roles.

Please just let us know in your application or at any stage throughout the process if this is something you want to explore.

The primary role of the Junior Camera Operator is to shoot the highest quality pictures and sequences for ITV News across the UK and around the world as assigned by ITV Newsdesk and ITV News management.

• To operate a camera and associated equipment, including sound and lighting equipment, often under pressure, always to a high standard

• Undertake live transmissions by a variety of means

• Work with correspondents and producers to edit and transmit stories once appropriate training has been provided

• Maintain equipment and ensure equipment is in correct working order at all times

• Take responsibility for health and safety in the field  

• Be prepared to travel in the UK and around the world at short notice on behalf of ITN

• Show editorial understanding of major stories at home and abroad

• Contribute fully to our digital platforms and provide video, stills and content for them These are the main requirements of the role and is not an exhaustive list of duties. It is intended to reflect the nature, range, and context of the work, which will change over time.

• Practical experience as a working camera operator

• Evidence of creative camerawork and filming under time pressure • Aptitude to learn non-linear editing to a high standard

• Ability to remain calm under pressure / professional attitude

• A good degree of technical knowledge

• Good communication and interpersonal skills

Questions for camera operator

Hi, I’m dale and currently study on a media degree and am hoping at the end of it to become a camera operator. I’m doing a report on what it takes to be a camera operator and how to become one in broadcasting would you mind if I asked you some questions to get your view as a camera operator?

Issues/Obstacles?

How did you get your first break? Was there a specific root you took starting off as a camera assistant for example?

Do you have any qualifications in media studies/film and did it assist you in getting into being a camera operator?

What are the most essential skills required as a camera operator?

Interesting opportunities in the role and or industry?

What kind of hours do you expect to work on average?

how much would you expect to earn an hour as a camera operator? Does it increase as you get more of a reputation/ from networking?

How do you continue to get work?

Is it more likely that work is going to be freelance than permanent contract?

Is it a competitive industry?

Is there any specific specialist equipment needed / to have an intensive Knowlege of?

Are there any extra costs that need to be considered in this role?

Are there any significant changes in the media industry such as processing technology that has lead to less or more work? How do you think it has affected the role?

Do you think that there will be any specific changes in the future that could raise or lower the number of camera operators required?

Can a camera operator lead to any other job roles?

Personal Statement – Draft

Sheffcol

The passion that you have for the subject and why you want to study it at a Further Degree Level? – Why do I want to do this course? What’s my passion for film?

I am a creative and focus driven person, who’s always had a passion for films. I strive to keep learning and adapting because if I don’t then my work will stay the same and never evolve. I have always had a passion for films before I was introduced to the media course which I am currently on, I essentially watched films like the normal people but not understanding it on a level other than surface and the vast amount of various techniques used. It’s given me a deeper outlook on the film industry and how to use the techniques used in them in different ways as well as when it is Contextually correct Than before having a basic understanding of the techniques used.

Maniac Cary Fukunaga – Experimental – director/Cinematographer/Film-Maker you esteem to be as good as one day to perhaps even create something on their level of expertise.

I am looking forward to being on this course as I believe it will not only be an amazing experience but give me an even more in-depth view into the world of the television, films and Advertisement/client Work and the steps and processes required in the Professional industry. 

The skills which I have further developed on the Media Foundation Degree Course gained me greater, more valuable knowledge into the media industry. These skills(Transferable as well as practical) will further assist me on the Ba(honours) course. I have been Trained to not just watch films/ series/ adverts mindlessly, but to analyse them in great depth, looking at the various concepts in a film, the pieces others would not put together. The smaller details, from the camera shots to even the types of cuts used in editing are just as vital as the acting in the film.

Talk about the projects linking to these skills as evidence that I have the skills?

What evidence can I provide for the personal qualities that I have said I have?

How will these help me to be a valuable good student on the course I am applying for?

How did I develop these skills/knowledge?

Be sure to include the skills you’ve gained, such as:

• Dedicated
• Creative Contribution / Ideas Generation
• Flexible
• Hardworking
• Communication
• Team Work
• Time Management
• Technical ability

Your strengths and any work experience/ project Work – – – – – By Doing the following projects/Work that I am proud of:

• Team Work
• Communication
• Creative Contribution / Ideas Generation
• Technical ability

Horror Con(Gone): In the process of this short horror film I worked in a group to create a 5 minute short filmed in 2 – 1/2 days.

Ordered and synced clips for editing.

created a motion graphics animation for the beginning clip.

– In the process of creating, editing and producing I gave ideas communicated, filmed the short horror film.

Camera/ Ronan stabiliser operator/editor/motion graphics, Horror con, Whitby/Sheffield, — 2018

• I worked in a crew and with actors to create a short horror film for horror con as an introductory piece to the event called Gone. I worked primarily as the camera and Ronan stabiliser operator. Although I assisted with clip organisation and some motion graphics for the first shot as well. Throughout this project, I operated the Ronan stabiliser with a 60d as well as-the fs100 with a shoulder rig. I also used both after effects and final cut pro in this project.                                                                         https://dalesaltersmedia.wordpress.com/2018/08/02/horror-con/

• I used range-of different shots, angles and equipment to create suspense, therefore, showing my skills in camera operator. 
• Dedicated
• Ideas Generation
• Communication
• Technical ability
• Time Management

Drama Piece(One day): I worked with two actors from the drama department as well as with a crew to create an aesthetically Pleasing sequence to portray the emotions in the scene and the Conversations progression. as well as show the actor’s ability to act in order to be assessed upon.

• Dedicated
• Communication
• Technical ability
• Time Management
• Flexible
• Hardworking

DHE Music in the gardens, Sheffield, western park, June, 29th – June 30th, 2018

• Live camera/ATEM operator,

• I worked with DHE to create a live view of the performances on a big screen. In this role, I was both atem and camera operator, Which required me to control two motorised cameras, as well as editing live, an aesthetically framed Performance of the singers and dancers.                                                               https://dalesaltersmedia.wordpress.com/2018/07/01/music-in-the-gardens-dhe/

• Communication
• Technical ability
• Time Management
• Flexible
• Hardworking
• Team Work

Live multi-camera operator, Halle Orchestra, – Manchester, March 5th – 7th, – Sheffield, May 3rd, 2018

• I worked in a crew with the head of the Halle Orchestra production team to create live visuals for the 2018 youth to be shown on a screen above the performance. I followed the instructions of the director to get different shots of the band sections such as the brass and woodwinds, etc. I used JVC in conjunction with 3 others as a multi-camera for the live performance.  As the camera operator, it was also my job to take the initiative to correctly expose and frame the shots.                                     https://dalesaltersmedia.wordpress.com/2018/06/21/halle-ocastra-2018-youth/

• Creative Contribution / Ideas Generation
• Flexible
• Communication
• Team Work
• Technical ability

Something you’ve done with motion graphics/vfx.

Editor/Motion graphics artist, SUFC, Sheffield, Sept 2015 – Jan 14th, 2016

• I worked in a team to communicate with the manager of SUFC. In this role different versions of the product were created and once everything was to the clients liking the product needed to be exported in 360p because the screen it would be shown on required that resolution. I created one of the motion graphics football walkthroughs for one of the players using After effects and premise pro.                                       https://dalesaltersmedia.wordpress.com/category/sufc/

Star Trek Sound Replacement – what did I learn from it.

• I also used a large variety of sound effects and mixed several soundtracks and blended them together to form the audio for the scene. I used audio ability’s to create and form an urgency-ridden atmosphere to draw in the audience. I used various different recorders and recording techniques to record the foley sound.

Where do you see yourself at the end of the course, as in what kind of job you would like to be doing?

At the end of the BA honours course, I see my self in A production role in the media industry as a Camera Operator for an organisation like _ insert. give a few examples. – I see myself preferably in the advertisement sector, or media organisations who make documentaries, because

Essay – Dale Salter – Semiotics

How is meaning inferred to the audience through the use of semiotics in experimental / Avante Garde films?

For the essay, I am going to analyse how meaning is inferred through the use of semiotics in the two following films and some of the issues that come with reading into meaning in semiotic theory: MAN IN PHONE – Short Film(2016), Angst Short Film(2013). I have chosen these two films to analyse because of the visuals, sound used to express meaning to the audience. They do this in different ways with different perspectives. I will do this using the semiotic theorists: Strauss, Saussure, Barthes and Hall who all helped towards the development of semiotics and how their theories are used to infer meaning in Experimental / Avante Garde films.

The origin of semiotics originally came from the study of meanings of words. The study of linguistics and social sciences. “Swiss linguist Ferdinand de Saussure (1857-1913) attempted to establish and develop the discipline of structural linguistics” – Dominic Strinati (2004) Structural linguistics and the ideas of Saussure. What is a sign? According to Wollen (1997) “A sign is anything which produces meaning.” In a man in phone – Take the sequence of the character trapped in the phone, there is a character shrouded in darkness, this infers that he is trapped in the phone the signifier(Physical form). The impression of the man who is progressively getting more uncomfortable and is sweating evokes a mood in the audience the signifier. The significance of this man uncomfortable and sweating lets the audience know time is running out and the character is going from agitated to losing hope informing the audience of the situation even without the low battery motion graphics the signified. The signifier of darkness may connote a feeling of a force crushing in on the character an impending doom as well as going beyond the denotation of black as just a colour and the connotation that comes with it. Power, fear, mystery, strength, authority, elegance, formality, death, evil, and aggression, authority, rebellion, and sophistication. These traits are inferred to the audience and infer meaning the signified.

While semiology, like structuralism, is presented in principle (at least in Barthes’s earlier work) as a rigorous scientific method, this is not carried over in practice. What validity does Barthes’ interpretation of a particular cultural item possess? He does not attempt to indicate why his interpretation is to be preferred to others. For example, he suggests that roses signify passion. But how can he validate this conclusion and say they should be understood in this way, and not as a way of signifying a joke, a farewell or a platonic thank you? Meaning can be expanded from one signified to another, in angst visuals of urban architecture with converging lines may have been used by the encoder to connote a feeling of dread and or anxiety. “What evidence could a semiologist call upon to back up Barthes’s interpretation? Semiologists are fond of referring to the codes which lie behind or are embodied in, a particular sigh or myth, but rarely if ever produce evidence of this code of the sign or myth under consideration.” – Thwaites, T – (2002). This use of converging lines may be a signifier of how the structures converging lines are cursing in on the audience, the signified of this being the feeling generated by this meaning. These converging lines may also be expressing the meaning of structure and symmetry a sense of order the opposite of anxiety the signified and go into the territories of oppositional reading“(when the audience rejects the preferred reading and creates their own meaning for the text.” – Revision world (2019). This line of reading into media text was developed by Stuart Hall – “The producer encodes messages and values into their media which are then decoded by the audience. However, different audience members will decode the media in different ways and possibly not in the way the producer originally intended.” – revision world(2019) This causes an opposition of meanings and brings up an issue in semiotics of how meaning can be interpreted differently and can cause stereotypes to form, which is partially how meaning started an idea turned into what it can mean and what them meanings can mean expanded any and all possible meaning beyond comprehension and agreement of peers. Hall talks about a type of meaning combining preferred“(how the producer wants the audience to view the media text. Audience members will take this position if the messages are clear and if the audience member is the same age and culture.)” – Revision world(2019) and oppositional meaning called negotiated reading which is a compromise between the two. In the two films, meanings can be expanded to express other meanings and like a tree, one branch of meaning can have various other offshoots of meanings, through preferred and oppositional and so a compromise has to be made otherwise it is not clear what the meaning is meant to be and because of cultural differences and stereotypes meanings of things change through time and difference in culture.

Juxtaposition(“Combining two or more shots to invoke an idea or state of mind. A montage can be a juxtaposition of two shots, but commonly refers to the juxtaposition of multiple shots to depict an event often in a stretched or condensed time.” (Hollywood lexicon) Juxtaposition is used in the two films by the encoder(creator) to express meaning to the (decoder)audience. In man in phone shots of the character from medium to distorted close-ups are  jump cut(“A sudden often jarring cut from one shot or scene to another without intervening devices (such as fade-outs)” – Merriam Webster these shots are juxtapositioned with shots of the outside of the phone, therefore, a binary opposition. “All relationships are reduced to a single scale set up between two opposing terms when they are related through a quality which is present in one term and absent in the other. Thus light and dark form a binary opposition based on the presence or absence of light; good and evil form a binary opposition if evil is the absence of good.” – Tony Thwaites(2002) in man in phone the action of the outside world affects the person inside the phone. This binary opposition signifies further meaning throughout light vs dark, it’s dark on the inside of the phone and yet bright on the outside. These oppositions contrast each other and may have been used by the encoder(Creator) to express further meaning to the encoders(audience) as well as to show that each actor affects the other, the phone is moved the man is moved, the phone is dropped at the end destroyed this cause and effect chain of oppositions causes the man to die, or so it has been inferred through meaning to the audience that this has happened. According to Levi-Strauss “All relationships are reduced to a single scale set up between two opposing terms when they are related through a quality which is present in one term and absent in the other. Thus light and dark form a binary opposition based on the presence or absence of light; good and evil form a binary opposition if evil is the absence of good.” – Thwaites, T.(2002) In angst, binary oppositions of shots juxtapositioned together have been used in less obvious ways, such as the juxtaposition of white converging lines of a building cut to a more black colour driven shot and cutting to the back of the woman from the front. The signifier of this being the whole light vs dark opposing forces, this may create a meaning of the anxiety the audience is supposed to feel as these two forces push and pull against each other. The use of the front cut to the back of the woman through juxtaposition may connotate(an idea or feeling which a word invokes for a person in addition to its literal or primary meaning) turning away from the anxiety and trying to run from it. However, as talked about earlier its all speculation as it could have been what the encoder was wanting to express through meaning or it could just be oppositional reading.

The link between signifier and signified is arbitrary

“The signifer has no natural link with the signified. That is, there is no inherent and necessary reason that the sound-image or graphic image ‘cat’ should automatically invoke the general concept of ‘catness’, or vice versa. The signified ‘catness’ can have other signifiers: the Latin word felis, for example, or pictorial representation. The signifier ‘cat’, too, may in its turn have others signifieds than ‘domestic feline’. Like a loop.” – Thwaites, T.(2002) In the two films a link between sound and visuals are used to create meaning in both films and are used by the encoder to produce further meaning in the audience. In man in phone, a shot of a train set is used juxtapositioned after a shot of the face of the person in the phone. From these visuals alone there is a difference in light vs dark an oppositional force. The man is trapped and the phone is near the train tracks the signifier of danger, the signification of this is may have been intended to connotate the person will feel pain or even die if this train runs over him. The sound of the train although subdued in a soundtrack has a distinct bell noise, this could be inferring to the audience its just a normal train rining a bell the signifier/denotation(the literal or primary meaning of a word) or it could be inferred to the audience through the signified, the bell is a precursor to the death of the man, due to the idea that the sound of a bell is universally accepted as a way of communicating with the spirits, or as a herald for the arrival of a supernatural, holy power. The analogy of the bell occurs in language too, used to symbolize something of sacred origin. In this case, the intended dominant reading of this is that the person may already be dead or he will be soon, however, through oppositional reading the encoder could read into this being something sacred. As this piece is experimental and open to interpretation it can have several meanings inferred however due to one of the issues with semiotics is a straight answer as to what is inferred and accepted and what isn’t, however due to the fact that meaning can be changed quickly and due to the amount of knowledge/ culture the encoder/ decoder has. Rather than using mainly dialogue and diegetic/ non-diegetic(not heard by the character) sound as in man in phone, angst uses mostly non-diegetic sound with a little diegetic(heard by the characters). This may have been done as the film is meant to express just the emotion of angst along and not follow a narrative. Throughout the film various sound have been used to infer the feeling of anxiety and meaning to the audience, one that stood out however was the person’s voice on the radio, the signifier of this perhaps just an echo of a voice, however delving further into the sound it could be connotated that the persons view on the world and the angst they are feeling may not be unlike that of an alien. The voice on the radio could be inferring the signified that is the voice on the radio is the last sting to humanity before this person becomes disconnected fully from reality. Even though this could be the meaning its possible that all the encoder was intending to infer to the audience is the use of a radio which has sound waves and may create tension, not unlike angst. It’s possible the meaning inferred of the voice on the radio is a ‘last string’ is in fact not a dominant reading but one of oppositional reading.

 To conclude, meaning is conveyed through the use of theorists theories in semeiology to the audience in different ways such as preferred and oppositional readings which can mean different things depending on cultural upbringing, and the development of stereotypes creating or limiting the amount of meaning that can be understood. Both films use a combination of visuals(shot, colour/lighting, juxtaposition) and sound to infer meaning to an audience in the experimental genre. They both convey meaning differently to an audience through the use of different techniques such as man in phone uses more obvious oppositions in the actions, while Angst uses more visual/lighting to show oppositions to the audience. One uses a narrative and character to infer meaning more heavily whereas the other uses mostly visuals of senary and urban architecture to create meaning. Through the analysis of the two films, I have touched upon in the two films on myth and how it meanings come from a ‘socially agreed symbolic’ meaning and how it can mean different things to other people and how it can change meanings dependent on everyone understanding and having the correct culture and knowledge to understand it. From the meanings used to convey meaning through semiotic theories, I find that some of the theories that will be most helpful in the development of my fictional residential trip will be Levi- Strauss binary oppositions and the use of Stuart Halls reception theory to craft an idea to be interpreted with various meanings to be read through a dominant, oppositional or a negotiated meaning. I intend to use other theories in my fictional although the ones that will be most helpful are the ones I just talked about.

Bibliography

Websites

Hollywoodlexicon.com. (2019). Juxtaposition and Montage in Film Editing – Hollywood Lexicon. [online] Available at: http://www.hollywoodlexicon.com/montage.html [Accessed 13 May 2019].

Merriam-webster.com. (2019). Definition of JUMP CUT. [online] Available at: https://www.merriam-webster.com/dictionary/jump%20cut [Accessed 13 May 2019].

Revisionworld.com. (2019). Reception Theory – Media Studies – Revision World. [online] Available at: https://revisionworld.com/a2-level-level-revision/media-studies-level-revision/reception-theory [Accessed 13 May 2019].

Books

Thwaites, T., Davis, L., Mules, W. and Thwaites, T. (2002). Introducing cultural and media studies: a semiotic approach.

Strinati, D. (2004). An Introduction to Theories of Popular Culture.

Wollen, P. (1997). Signs and Meaning in the Cinema

Turner, G. (1996), British Cultural Studies – An Introduction – Second Edition – – Make sure you actually use this – Talked about Stuart Hall.

Notes

Report – 800-850 words on camera operator role. 

Format – research-based factual research not what you know about the role, use subtitles, remove it from first-person “I, we, ect.” – don’t use.

What does being a camera operator require – find a report example?

Title with introduction

camera operator in broadcasting e.g.

subtle what aspect of broadcasting e.g.

• Title
• Introduction / subtitle
• technical skills
• personal skills – things like communicating with clients, time management, 
• contracts and conditions – the difference between pay as you earn normal, vs freelance. – contracts – short contracts, part-time – 
• Roots into the industry – Advertisement / Broadcast.
• Interview questions roots into the industry, starting hourly rate/ contract times, sole trader how did they get the money to get started, what skills are needed to get into the industry.
• get one or two primary resource interviews
• a few could be off of youtube interviews though
• Bibliography
• conclusion – a brief statement about what you’ve found.

Appendix needs to be big and informative to get a distinction. lots of sources, 

leftover research – detailed appendix – back of the book. – doesn’t count towards the word count.

Keep evidence and put it into the bibliography.

If you don’t have primary and secondary books and online, you won’t get higher than a merit.

Cover letter​

Dale Salter

Website: https://dalesaltersmedia.wordpress.com/

Phone: 07749714285

Email: dalesaltersmedia251@gmail.com

Junior Camera Operator, ITV News – (ITN London)

To whom it concerns, I am contacting you about the Junior Camera Operator at ITV News – (ITN London). I am a creative and focus driven person, who’s has a passion for visual creation. I strive to keep learning and adapting because if I don’t then my work will stay the same and never evolve. I am well versed in different demographics and audiences as well as the guileless to be followed to be diverse and equal. 

• The primary role of the Junior Camera Operator is to shoot the highest quality pictures and sequences for ITV News across the UK and around the world as assigned by ITV Newsdesk and ITV News management.

Talk about the skills you have used in a paragraph evidencing using past experiences/projects.

Formulate a response correct to the job role.

• It’s vital that our workforce reflects the diversity of the audience and the wider society in the UK.
• we’re proud to be an equal opportunities employer and we actively seek candidates from diverse backgrounds and communities.
• We also recognise the importance of a good work-life balance, so we do everything we can to accommodate flexible working, including part-time and job shares for all our roles.
• Please just let us know in your application or at any stage throughout the process if this is something you want to explore.
• The primary role of the Junior Camera Operator is to shoot the highest quality pictures and sequences for ITV News across the UK and around the world as assigned by ITV Newsdesk and ITV News management.

Skills

• I work well both independently and in a crew with actors.
• Can create videos both following strict compositional rules and experimenting with them.
• I have a theoretical, practical and technical knowledge of cameras and the equipment that can be used to enhance them.
• I have the ability to frame and compose shots as well as perform camera moves accurately, creatively and experimentally.
• to be able to work under pressure, to a high standard, Ability to remain calm under pressure / professional attitude.
• Undertake live transmissions by a variety of means
• Work with correspondents and producers to edit and transmit stories once appropriate training has been provided
• Maintain equipment and ensure equipment is in correct working order at all times
• Take responsibility for health and safety in the field  
• Be prepared to travel in the UK and around the world at short notice on behalf of ITN
• Show editorial understanding of major stories at home and abroad
• Contribute fully to our digital platforms and provide video, stills and content for them These are the main requirements of the role and is not an exhaustive list of duties. It is intended to reflect the nature, range, and context of the work, which will change over time.
• Practical experience as a working camera operator
• Evidence of creative camerawork and filming under time pressure • Aptitude to learn non-linear editing to a high standard
• Good communication and interpersonal skills