Responsible for operating a special high-speed digital camera, capable of shooting at incredibly high frames per second. As the specific camera used is quite complex, these technicians require extensive knowledge and experience to operate it, working with the Director and DOP to configure it optimally from the initial setup to shooting, onset playback and then transferring the footage

The duties of the Underwater Camera Housing Technician are to prep and assemble the camera for use in underwater housing, including camera placement, lens mounting, manual gearing or remote focus and iris motor mounting, and sealing the housing for submersion.

Traditional aerial work, using cameras hard mounted to helicopters and requiring extensive experience and knowledge to operate. This requires a unique skill set that is completely different from Drone work, having an acute sense of spatial awareness and working closely with the pilot.

The duties of the underwater camera assistant are split between two sub categories: Underwater Camera Housing Technician and Underwater Camera Assistant.

Underwater Camera Housing Technician:

The duties of the Underwater Camera Housing Technician are to prep and assemble the camera for use in underwater housing, including camera placement, lens mounting, manual gearing or remote focus and iris motor mounting, and sealing the housing for submersion.

Underwater Camera Assistant:

The above duties differ from the Underwater Camera Assistant, which can be described for film cameras as the Underwater Focus Puller or for digital, the Underwater Assistant.

Both duties require knowledge of underwater lens focus nomenclature and housing port selection. In some cases, on certain productions, the Main Unit Focus Puller can supersede the Underwater Camera Assistant with regards to camera focus, but the Underwater Assistant is still responsible for the care and attention of the camera in the housing, including battery and film or media changes.

There are some cases where both the Underwater Camera Housing Technician and Underwater Assistant are blended into one job, so the technician tends to the housing and pulls focus (for digital this is surface focus pulling via a handset tethered via cable to the housing, but for film, this does not apply, as the underwater focus puller is required to pull focus in the water beside the camera).

An Underwater Camera Operator ultimately has somewhat less of the responsibilities outlined for the Underwater Director of Photography, with lighting and grip concerns typically performed by the surface crew, under the helm of the topside Director of Photography.

The role involves not merely operating the camera and composing the frame but skilled control over buoyancy and the ability to maneuver the camera through environmental elements present in diving, which can include current and tidal swells. Communication with the surface is usually achieved via an underwater loudspeaker and hand signals in front of the lens port of the housing, which has a hardwired underwater cable to a surface monitor for the topside Director and crew to view.

As with the Underwater Director of Photography and any diver on film sets in the province, the same requirements of a commercial diving license, diver medical, Occupational First Aid and dive curriculum courses and logbooks are required.

An Underwater Director of Photography must take several different skill sets, pooled from camera operating, lighting and grip knowledge and funnel those skills into one cohesive discipline, all the while possessing superior diving skills which allow them to move the camera through the water with efficiency. The role requires not only a knowledge of composition, exposure and lighting but also the physical demands of swimming and in some cases apnea. Additionally required are a specialized commercial diving license and an adherence to Occupational First Aid and Dive Accident Management curriculum in addition to upkeep of dive logs in order to maintain that license, and an annual medical exam with cardiovascular stress tests, indicating the high level of fitness required.

The Drone Camera Operator, also referred to as a CamOp, is responsible for the camera payload on the drone. They work directly with the Director of Photography and Director to maintain the frame during a take as well as manage any camera settings and configurations as per the DOP or DIT.

The CamOp communicates directly with the Pilot during a flight in order to ensure the aircraft’s position, timing and speed successfully translate the desired look for the scene. The CamOp is a conduit between the Pilot and the Director during a shot for any “on the fly” adjustments. Their influence can also help to create compelling images by making suggestions to the Director and DOP.

The Drone Operator, also known as the Pilot in Command, is the person responsible for operating the aircraft in a professional and safe manner. They oversee the flight operation and have the final decision on what shot can be achieved based on weather and physical limitations. A film and television production drone pilot exercises precision flying in order to repeat camera moves for multiple takes. They work in direct communication with the Drone Camera Operator and Drone Assistant/Visual Observer to safely complete a mission. It is required that any ICG 669 Drone Pilot must hold a valid RPAS Pilot certificate issued by Transport Canada.

Remote Head Technicians are responsible for the rigging and performance of remotely operated camera heads. One or more cameras may be mounted to these heads, and they may have anywhere from two to five-or more-axis. The heads can be stabilized or non-stabilized and may be controlled by wheels, joysticks or the actual physical movement of the controller through space. These heads may be rigged on stationary mounts, RC carts, dollies, descender rigs, cable runs, swings, cranes, cranes-on-cranes, vehicles of all descriptions, jib arms and various track-mounted carts.

Safety is the primary concern of the technicians. They work closely with the camera, grip and sometimes stunt departments. As always, the ability to communicate clearly and listen well is key. An ability to quickly find creative solutions to ever-changing challenges and problems is a great asset.

The responsibilities of a unit Still Photographer are primarily marketing, advertising, archiving, and asset creation in support of the art department.

Marketing and advertising means capturing on-camera action and performances, behind-the-scenes moments, and interesting vignettes, all of which typically give the public their first look at a forthcoming motion picture or television property. On occasion, a Still Photographer may also be tasked with shooting gallery images for the promotion of a project. The creation of this imagery also serves to document the project for the network and/or studio’s historical archives. Meanwhile, photography for the art department can itself be multifold: from prop stills to backdrops, to anything in between that may appear on-camera. A Still Photographer must be prepared to quickly shift between these various responsibilities as needed and have the necessary equipment and expertise to do so.

At its heart, being a unit Still Photographer necessitates that one be a good generalist photographer with a strong understanding of photojournalism, portrait photography and the cinematic style. Crucially, it also requires that one can stealthily navigate a hectic, chaotic environment; capturing requisite imagery while remaining mindful of the space and energy of actors, artisans, and technicians on set.

A Utility takes on the role of coordinating location moves, ordering daily crew and gear, and helping the rest of the camera team in building, dismantling and moving gear. This position also allows for immediate contact, response, action between the camera department, the office, payroll, transport, rental houses, and production staff.

The DoP leads the lighting and camera teams, making artistic and technical decisions. They coordinate production needs and ensure each shot serves the overall vision.

The Drone Camera Assistant, also known as a Visual Observer or Safety Spotter, is much more than a second set of eyes on the aircraft. They serve similarly to a Second Assistant Camera does to a production. They organize and manage all the equipment for the drone operation. A drone assist handles slating, cabling, communicates with the camera department and other departments to help coordinate a successful drone flight. A good Drone Assist knows what both the Pilot and Camera Operator need to complete their job and can anticipate when they may require something.

Their duties are both quiet and powerful in the sense that they keep the wheel moving forward on the ground while everyone is looking up to the sky.

A teleprompter is a device used in video, film and TV that prompts actors or other on-camera talents for lines that may be forgotten or missed. The Teleprompter Operator transcribes scripts or recordings into readable banners or special screens that are used to prompt people to remember what they are to say.

Teleprompter Operators must have a good working knowledge of the language being used in the production and must be able to work with various individuals on the production that have different speech patterns. Since the Teleprompter Operator must match the information on the screen with what is occurring in the scene it is very important that they have the ability to work in highly distracting settings.

In the BCCFU Master Agreement, EPK/BTS Members are listed under the Electronic Camera Category of Electronic Director of Photography (DOP) and Electronic Camera Operator (originating from the Film vs. Video camera era).

Shooting “Behind-the-Scenes” is a specialized craft requiring particular skills. While B-roll material can be captured by the EPK Operator category or EPK DOP if lighting is required an EPK DOP is utilized.

Work performed by ICG 669 EPK/BTS includes promotional interviews, “Making Of” content on location, behind-the-scenes documenting, and recording for promotional, press and social media or gallery events.

Once digital media is removed from the camera by the camera assistants, the Loader is responsible for the safe handling of the live media, its storage and for making verified copies of the camera data until its reception at the post-production facilities and editorial.

It is a highly responsible position as there is only one thing produced on set during production, that is the digital media and the data it contains. If this process fails, the entire days’ work may be lost.

The DIT is an essential member of the camera crew, managing digital image manipulations and ensuring secure data workflow.

A Steadicam Operator is a Camera Operator on a TV or film set who physically handles a Steadicam – a special type of camera stabilizer often used in filmmaking because it maximizes freedom of movement while minimizing camera shakiness.

Similar to Camera Operators, a Steadicam collaborates with the Director, Director of Photography, and Actors to set up and film the scenes for a production. The Steadicam system and Operator together provide the fluidity of a handheld camera with the stability of a dolly shot, allowing to track the movements of Actors and objects more easily. The apparatus is mounted to the Operator, requiring great physical strength and endurance, as well as delicate and precise movements.

Camera Operators capture the action in line with the project's visual style, working with the Director of Photography. They can shoot live events and operate various cameras.

A Second Unit is a discrete team of filmmakers tasked with filming shots or sequences of a production, separate from the Main or “First” Unit. The Second Unit will often shoot simultaneously with the other unit or units, allowing the filming stage of production to be completed faster.

The Second Unit camera crew is headed by the 2nd Unit DOP. This team is responsible for shooting supplementary footage; including establishing shots, stunts, inserts, and cutaways. This crew is separate from the Main or “First” Unit., which is the team that films scenes with the Leading Cast. The 2nd Unit DOP’s task is to adhere to the Vision and Concepts developed by the Director and the Main Unit DOP. They must replicate the look and feel of the Main Unit work. This work is directly supervised by the Main Unit DOP to ensure a seamless and consistent look and feel.

Camera Trainees assist the camera crew, preparing equipment, overseeing monitoring, and managing paperwork.

The 2nd Assistant Camera manages camera accessories, operates the clapboard, and tracks camera data for each shot.

The 1st AC, also known as the Focus Puller, ensures the camera is well-maintained, manages the focus, and organizes the camera equipment on set.