What Happens When a Movie Has No Camera Operator?

On this episode of "Reverse Film School," a camera operator breaks down a movie scene to show what would happen without a camera operator on set.

The scenes featured in this video were shot before COVID-19 became a pandemic.

[dramatic music][file scratching]- You know,my ma always told me to file my nails.Otherwise, I might justend up scratching somebody.[dramatic music]But me ma ain't around no more, ain't she?- Pause.This is what a film might look likeif cameras were setup, someone hit record,and then just walked away.There's no thought behindthe framing or perspective,and it lacks any stylistic choices.It's what might happen ifsomeone like me isn't on set.My name is Oliver, andI'm a camera operator.Let's go in and see all the different waysa camera operator might film a scene.Rewind.[tape squeaking]Before we do anything else,let's get a camera operator in here.That's more like it.Now, let's get to it.Before, the camera wascompletely stationary.By utilizing pans, which areleft and right movements,and tilts, which areup and down movements,we can let our actorsnaturally move in the scenewithout running into weird cropped frames.Let's see this scene againwith those in action.- You know, my ma alwaystold me to file my nails.Otherwise I might just endup scratching somebody.- [Oliver] In addition to panning,you can also physically move the camerato reveal scenes, charactersor objects in dramatic ways.By putting the camera on awheeled platform called a dolly,you can connect two shots into onewith a single swift movement.Let's see what that looks like in action.- But me ma ain't aroundno more, ain't she?- [Oliver] Each methodprovides its own stylized wayof revealing differentaspects of the scene.- You mind telling her to get over here?- Have you no respect?She's sleeping with the moles!- Sorry, no disrespectto your ma, or Meemaw,or Mamma Mia, whatever,but I'm not really thegetting kidnapped type.- [Oliver] Notice the camera angles here.Filming up at someone can makethem seem more intimidating,while filming down on someonecan make them seem weaker.Since the hit man hasthe upper hand right now,we should probably swap these angles.There, that's better.This really helps put the hitman in a position of power.- Sorry, no disrespect to your ma,or Meemaw, or Mamma Mia or whatever,but I'm not really thegetting kidnapped type.- Shut the hell up andtell me what you knowabout JoAnn's Fabrics.- Listen, I don't wantnothing to do with this.- [Oliver] Close-upshots on a single person,like the ones we just saw, can be goodwhen trying to emphasize a momentor get a character's reaction.However, let's switch toan over-the shoulder shot.When two people are talking,these kinds of shots placethem in a scene together,highlighting their relationship.Sometimes we call itdirtying up the frame.- Look, I don't evenwant Beatrice's money.Just take it!Take me out of this.- I said do yourself a favorand shut up when I'm talking to you.- Sorry, but when there's no ACI got a little bit mucked up.- [Oliver] So far, wehave been using a tripodto film this scene.Tripods provide a moregrounded, static feeling.Watch how smooth and stableeverything is in the next shot.- You know, Ma used to say,"Don't speak until you'refinished chewing your Cheerios.If you keep your mouth shut,you stay out of trouble."Well, maybe I didn't listenenough to that last one.- [Oliver] However, filming handheldcan add a dramatic realism.It feels more spontaneousand can follow the actors'movement at any moment.Let's see that line again shot handheld.- [Oliver] While cameramoves on the tripodkeep the film alive,adding handheld moves cankeep the viewer engaged.Sometimes the uneasiness of the cameracan add tension to the scene.- Listen.I'm trying to help you beforea guy a lot less nicer than mefits you with a pair of cement shoes.I'm talking a huge, nasty,tiny little big boy.- So is he big or is he tiny?- What did Meemaw sayabout-- [phone ringing]- [Oliver] Hold up.That cut to the phone rightthere wasn't very dynamic.When there's a dramatic action,you can stir up the sceneand inject a sudden burstof energy with a whip pan.A whip pan is a panthat happens so quicklythat motion becomes blurred, like this.Whip pans can also be used as a transitionbetween two separateshots, creating an effectboth jarring and surprising.Let's try adding one in as a transitionto the ringing phone.- [Oliver] See how muchmore exciting that feltwith a whip pan?It really added someurgency to the moment.- Ah, [speaking foreign language].Forgive me, kind sir,but I gotta get this.[phone ringing]How you doing?Wonderful.Yeah.Yeah I'm looking at his big,beautiful head right now.His kind eyes are staring right at me.He's like a sweetheart.I almost feel bad about all this.- [Oliver] So far, thecamera has been focusedon the hit man for the whole phone call.Because of this, we miss something vital.Let's rewind.- Yeah, I'm looking at hisbig, beautiful head right now.- [Oliver] By doing whatwe call a rack focus,we can draw the viewer'sattention to new things,forming a connectionbetween two items on screenthat have a physical space between them.Watch how this techniquecan shift the focusfrom the hit man to the lawyer.- His kind eyes are staring right at me.He looks like a sweetheart.Almost feel bad about all this.- [Oliver] Before, this shotof the nail file seemed arbitrary.Now, the rack focus makes it clearthat it's an item that hascaught the lawyer's attention.- Nah, he can't hear a word I'm saying.Can't say you made settlingthis easy on us, Mrs. F.- [Oliver] This is an important shot,but if we want it toseem even more important,there are different wayswe can zoom or dolly into emphasize objects or emotions.You could do a very quick snap zoom.This immediately shoveswhatever it's focusing oninto the audience's faces,but it has more of a documentary feel.It might not be the bestthing to do in this instance.Instead, let's try doing a slow zoom.By doing a slow zoom,the background aroundthe nail file fades away,and we focus more intenselyon the object itself.This adds importance to it ina way a stationary shot can't.Additionally, you canachieve a different feelingby dollying in on a subject.Watch this.Dollying in brings the viewerphysically closer to the subject,moving three-dimensionallythrough the space.It can add a very personal feelingand is great for a tense moment like this.- [Hit man] Yeah.We're still working it out.- [Oliver] There are tonsof different lens typesfor your camera which eachaffect a shot in their own ways.Normally, it's the directoror cinematographer's jobto choose the lens, but a camera operatorneeds to know how every lens functions.Right now, we're using a wide lensthat is fairly close to the lawyer.This allows us to see a lotin the background of the shot,and makes the hit man seem far away.However, switching to a longerlens that is further backshrinks the space between themand brings them closer to one another.This can make things feelmore compressed and tense.- Frank's gonna take the fall.Destroy that tape and it's in the bag.Bada bag, bada bing!Slap my face and callme Charlie, gotta go.We got a naughty boy on our hands.- Now let me get this straight.So Greg, or Sammy, orwhatever the hell his name is,was just a patsy.Mrs. Frittata wanted her ex-hubby fried,since his rottweilerscrambled up her workplace.- [Oliver] Pause.This whole section,the lawyer transitionedfrom a weaker characterinto a more powerful one.However, the camera didn't reflect this.By altering the cameraangle during a scene,we can change how the audiencesubconsciously views someone.Let's try that again,but move the perspectivefrom a high angle to a low one.So Greg, or Sammy, whateverthe hell his name is,- Listen, Donatello!- No you listen!She was having troublebringing home the bacon,so now she's over hard with the Mob.So you guys turned JoAnn'sFabrics into burnt toast,and she goes and collects the insurance.- [Oliver] There.That shift really highlightshow his status has changed in this moment.- You should've kept your rat trap shutand chewed your Cheerios!What did Meemaw say about--[bat clanking]- Say hi to your ma for me.- Now that the scene is coming to a close,a nice way to exit ascene is with a jib move.A jib is a piece of equipmentwith a camera on one endand counterweights on the otherand allows for a sweeping arc motion.It's a great way to establisha scene's beginning or ending.How a camera is utilizedhas an incredible impacton the way a story is told,and can greatly influencethe types of emotionsthe audience will feel.When paired with thoughtfulacting and direction,a skilled camera operatorcan turn an average sceneinto something truly memorable.