Why don't more directors operate the camera themselves?

[HunterF]

Is it because old film cameras are so hard to operate that directors can't manage it? It seems like with the rise of digital, more directors are operating the cameras themselves. I couldn't imagine hiring someone to operate the camera for me, that's one of the most important parts of executing your vision. Granted, I would totally understand hiring a cinematographer to consult with and to help insure the look of the film is exactly right, but I wouldn't want them to actually hold the camera.

Also another sort of related question, are the cinematographer and DP sometimes the same person? Thanks

 

[moonshieldmedia]

I think the best thing you can do as a director is surround yourself with a cast and crew that can do their jobs better than you can. Hire a great camera operator who takes direction well and you'll have no problem getting the shots you want for your vision. Not unlike the way the actors take your direction to get the performances you want.

 

[Gonzo_Entertainment]

My DP has been operating everything from Panavision film cameras to DVX100s to 5Ds for about 25 years. There is NO way, me (or you) could pan, tilt, follow, do smooth handheld, etc... as well as he can.

 

[2001 Productions]

My DP has been operating everything from Panavision film cameras to DVX100s to 5Ds for about 25 years. There is NO way, me (or you) could pan, tilt, follow, do smooth handheld, etc... as well as he can.

Well, I've been shooting film and video for 35 years myself, so I can probably hold my own in that regard (no pun intended).

 

[Gonzo_Entertainment]

Well, I've been shooting film and video for 35 years myself, so I can probably hold my own in that regard (no pun intended).

Very possible. However, the average director cannot.

 

[Modern Day Myth Prod. LLC]

I may have more complex shoots than the average filmmaker here with 15 to 20 actors and camera equipment, lighting equipment, sound equipment, greenscreen equipment,props, and stunt equipment such as crash matts, stunt dummies, and issues with shooting in public parks, but even with a DP, prop master, sound guy, special forces advisor, and director, we all agreed we needed a bigger crew. We had a short term.stunt coordinator too.

In last year's shoot, I added in two PAs who were BIG helps. But, still, I need to add at least one AD to the crew.


Sad to say, I am hearing too many horror stories about ADs who just don't care and screw productions.

But, I will look to get a good one.

The camera operator /DP I had last year is much more of a team player than the know nothing I had the year before.

The new DP asked my approval for everything and made sure I could see everything he was framing. He also worked a lot faster than the other one.

When you find a good DP who is a team player, they give you peace of mind to spend more time with the actors, which is what the director should be doing.