American Cinematographer - February 2002 - 91

business, and the

more you're
people know what is
required in a shot, the more you're
able to contribute to the storytelling
process."
Dubin concurs, adding, "The
operator is in a funny position,
because lots of times I end up work¬
ing as much for the director as I do
for the cinematographer. Sometimes

able

to

let

the director

even

hires

me.

It's

a

touchy position, and that's why the
art of communicating is so
impor¬
tant. You're working with the cine¬
matographer, the director, the actors
and the assistants. When you're on
that camera, it's like being right in the
eye of the hurricane."

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somebody. It's
intuitive and
instinctive job.

an

im my

Made in the
USA

-Mitch Dubin

In addition to

discerning the

Made Of Super Rigid,
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filmmakers' needs, the operator can
also act as a "second set of eyes" for

them

on a

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cinematographer feels comfortable
with the operator - after working
with him or her several times
they
-

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Bigger, Beefier Head
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Breaks Down To a 3ft 8in Package
Handles 50 lb. (22.6 kg) at 30ft reach
Operates Video And Film Lenses

the director of

photography. "You
have to watch out for potential prob¬
lems that the cinematographer may
not be seeing on the monitor," asserts
Bee. "Some operators get offended
when a cinematographer wants to
look through the lens a lot before he
starts shooting. I always thought that
was the best
thing, because if I
noticed any problems they could
look through the camera and see it
the same way I did. Things often look
a lot different when
you're seeing

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or

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Operation
Remote Joystick
Control plus
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'

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Zoom and
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Can be
mounted

directly to jib

Breaks down
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a

small 3ft

package

pan/tilt
ratios

87
American Cinematographer - February 2002

Table of Contents for the Digital Edition of American Cinematographer - February 2002
