Camera operators apply the skills and knowledge described in this unit. Their prime responsibility is to capture screen images using a range of video equipment. Operators in this context generally work under direction but perform all camera, sound and lighting functions. Occasionally they will be assisted by a camera assistant or sound recordist. On occasion, they may be required to assist other camera operators with the movement and handling of cameras and cables. Mainstream activities include shooting for news and current affairs, short documentaries, and corporate and training videos. More specialised duties may include the capture of materials for animations and stop-motion animated productions. Typically camera operators are employed by television stations, production houses or corporate video units. In addition, there is a growing body of camera operators who work on a freelance basis. More complex skills associated with shooting television material on location, often as a one-person camera crew, are covered in: CUFCAM401A Shoot a wide range of television content. |
ELEMENT | PERFORMANCE CRITERIA |
Prepare for shoots | 1. Participate in pre-production briefings as required to confirm production and post-production requirements 2. Arrange equipment and accessories for shoots as directed, ensuring that everything is clean and operational 3. Safely charge batteries according to manufacturer specifications and ensure sufficient supply of charged batteries to meet the needs of production schedules 4. Select required capture media and ensure sufficient supply for the intended production 5. Prepare and pack lighting equipment, including gels and cables as required 6. Undertake minor repairs on faulty equipment or report significant faults to relevant production personnel 7. Confirm location, shooting schedules and timelines with relevant production personnel 8. Complete appropriate documentation prior to shoots |
Set up on location | 9. Determine camera positions to ensure that composition of shots provides correct visual interpretation of production requirements 10. Liaise and collaborate with crew and talent and contribute ideas to initial concepts 11. Set up equipment and accessories to ensure the safety of personnel on location 12. Consider requirements for repositioning equipment and accessories during shoots taking into account production schedules 13. Ensure cameras and other equipment are safely secured 14. Label and load capture media and check camera functions 15. Position microphones as required and conduct audio check |
Set up lighting | 16. Assess the quality and quantity of available light and determine the amount of correction required if necessary 17. Mount and position lighting equipment following safety guidelines 18. Run lighting cables and connect safely to power sources 19. Install colour frames and gels in accordance according to requirements for the specific shoot 20. Select lenses and filters appropriate to the prevailing conditions |
Position and operate camera to capture shots | 21. Consider camera shots and angles, where feasible, to ensure cuts between shots produce the desired result 22. Take account of editing or other post-production requirements while shooting 23. Ensure camera set-up meets criteria for shoot 24. Check camera movements to implement planned or rehearsed shots according to direction from relevant production personnel 25. Shoot and record sequences as directed, maintaining focus throughout |
Manipulate cables and camera positioning | 26. Participate in pre-production meetings and rehearsal, if required, and ensure that final camera and cable movements are understood 27. Communicate with relevant production personnel during shoots and position and move camera cabling according to instructions and cues received 28. React consistently to cues received from relevant production personnel and ensure consistency of timing without undue lapses 29. Move cameras and cabling without impeding the operation of camera operators and work in cooperation with other personnel to achieve the desired camera movements 30. Ensure that camera operators do not collide with other elements 31. Complete cabling handling operations without damage to equipment or injury to personnel |
Wrap up the shoot | 32. Check and pack equipment and accessories using safe lifting techniques 33. Ensure recorded material is labelled properly, together with relevant documentation 34. Report equipment faults and complete required documentation 35. Leave locations in original condition to ensure no adverse effect on the site 36. Review and reflect on performance and note areas for improvement |
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Required skills |
communication, teamwork and literacy skills sufficient to: work collaboratively as a member of a production team understand and carry out instructions and creative directions as required interpret and complete production documentation technical skills sufficient to operate a range of professional camera, lighting and audio equipment problem solving skills in the context of anticipating and addressing equipment set-up problems self-management skills sufficient to: prioritise work tasks meet deadlines seek expert assistance when problems arise |
Required knowledge |
industry knowledge, including: roles and responsibilities of production and post-production personnel broadcast language and terminology issues and challenges that arise in the context of shooting material for screen productions different image capture formats and their uses basic framing techniques and methods of composition camera-to-subject practice, i.e. lens to eye line, crossing the line, matching shots characteristics of commonly used microphones and audio equipment the effect of different light sources, diffusion materials, filters and reflectors on the lighting environment, which includes both talent and set types of artificial/introduced light sources available to camera operators basic principles of lighting, e.g. key, fill and back light basic concepts and techniques of cable handling and compatibility with other equipment OHS procedures, particularly as they relate to shooting on location |
The Evidence Guide provides advice on assessment and must be read in conjunction with the performance criteria, required skills and knowledge, range statement and the Assessment Guidelines for the Training Package. | |
Overview of assessment | |
Critical aspects for assessment and evidence required to demonstrate competency in this unit | Evidence of the following is essential: ability to work within production deadlines ability to work effectively as a team member and under direction ability to provide ideas to assist with capturing the desired style of moving image ability to operate a range of professional video camera equipment and accessories ability to set up lighting as directed. |
Context of and specific resources for assessment | Assessment must ensure: access to a functional set of equipment based on items listed in the range statement. Equipment must be sufficient to enable the compilation of a portfolio of screen material shot in different locations, including exterior daytime, interior, night shoots, stormy weather that the candidate demonstrates competency in shooting material for screen productions within a production environment over a period of time access to appropriate learning and assessment support when required use of culturally appropriate processes, and techniques appropriate to the language and literacy capacity of learners and the work being performed. |
Method of assessment | A range of assessment methods should be used to assess practical skills and knowledge. The following examples are appropriate for this unit: direct questioning combined with review of portfolios of evidence and third-party workplace reports of on-the-job performance evaluation of a range of screen content shot by the candidate to determine whether production requirements have been met observation of the candidate setting up and operating camera and lighting equipment on location written or verbal questioning to test knowledge as listed in the required skills and knowledge section of this unit. |
Guidance information for assessment | Holistic assessment with other units relevant to the industry sector, workplace and job role is recommended, for example: CUFLGT101A Apply a general knowledge of lighting to work activities CUSSOU201A Assist with sound recordings. |
The range statement relates to the unit of competency as a whole. It allows for different work environments and situations that may affect performance. Bold italicised wording, if used in the performance criteria, is detailed below. Essential operating conditions that may be present with training and assessment (depending on the work situation, needs of the candidate, accessibility of the item, and local industry and regional contexts) may also be included. | |
Production and post-production requirements may relate to: | night shoots post-production process props sets specialised equipment venues. |
Equipment and accessories may include: | autocue monitor Betacam SP cables cue card holders digital Betacam digital DVC Pro digital SLR, e.g.: stop-motion and software iStop Motion (Mac) Stop Motion Pro (PC) DV Cam HDDV headphones lighting bulbs lighting kit lights microphones, e.g.: fixed pole lapel mini DV mobile phones motion capture facility for animation mounts recording device (e.g. audiotape recorder) talkback facility tripod two-way intercom video split monitor video stock. |
Shoots may include: | animations, e.g. stop-motion combined video and audio function fixed/supported hand-held operation separate video and audio record functions single-camera. |
Batteries may include: | lead/acid lithium ION Ni-Cad. |
Capture media may include: | CD DVD flashcards P2 solid-state drive small hard drive videotape. |
Production may include: | animations, e.g.: modelling flat plane corporate videos EFP (electronic field production) ENG (electronic news gathering) events or performances news and current affairs short documentaries training videos. |
Lighting may include: | back light bounced light effect light, e.g. on backgrounds fill light flood light HMI (hydrargyrum medium arc-length iodide) interior lights key light light meters luminaires spot light tungsten. |
Personnel may include: | animation director camera assistant director/producer floor manager general public safety officer sound recordist supervisor technical staff talent, e.g.: presenters actors reporter/journalist interviewee. |
Locations may include: | day exterior interior night studio. |
Documentation may include: | animation, e.g.: scoring sheets style sheets character sheets storyboards computer generated fault reports film and battery labels manually written production schedule running sheets script shot lists stock order forms. |
Shots may include: | close-up cutaway shot establishing or master shot extreme close-up eye-level shot hand-held high-angle long shot low-angle mid shot pan point-of-view shot static tilt track wide shot zoom in zoom out. |
Power sources may include: | batteries generators mains power. |
Lenses may include: | fixed lens filters lens hood macro micro wide-angle wide-angle adaptor zoom. |
Filters may include: | chromatic colour colour correction correction filters enhancers graduated: hard-edge, soft-edge, attenuated, coloured, neutral density non-specific colour polarising ultraviolet. |
Camera movements may include: | hand-held pan tilt track zoom in zoom out. |
Unit sector |
Media and entertainment production - Camera/cinematography |
This unit contains employability skills. |
Not applicable.