What do you expect from the B Cam Op on your show?
What do you expect from the B cam op and what is their responsibility? If you are a B camera op, what do you feel your responsibilities are on set?
I work primarily as a B camera operator. Most of the DPs I work with like to (at the very least) rough in shots for both A and B – I don’t work with people who want me to go rogue and do my own thing very often, if ever. I watch the rehearsal from as early a stage as I’m allowed (why are we not always allowed on the set anymore?), and pay attention to what the actors are doing, as well as where the DP is standing and what he or she is looking at.
My biggest feeling about being a B camera operator, is I need to be quiet, and observe. The A camera op is driving the set – there doesn’t need to be two voices. I go about my business efficiently, but without drama. That isn’t to say I can’t joke around, but there is a time and a place, and it isn’t my job to be the loud one on set.
It is my job to notice problems early in the game - be it a light in the shot, a stinger on the ground, a bad reflection, whatever. If these are noticed quickly, a solution can be easily had without fuss - it is only when they are noticed late - during a 1st team rehearsal or (God forbid) the first take that it becomes an issue - you don't want the company waiting for B camera.
As a B camera operator, I listen to the DP give the A camera operator their notes – that way I have an understanding of what the A shot is – this can be beneficial to know. Once I have my assignment, and I know what the parameters are, I pass the info along to my AC and dolly grip. I involve both as early as I can to make sure all three of us know what we are doing, and see if there is an easier way to achieve the shot, or if someone has an idea to make the shot better. My team is very important, and it is vital to me to make them feel important in the process – they will have my back and go to war for me if I include them and make them feel part of the process – they will also save me from myself at times, which is just as important, if not more so.
The DP will often ask for the track to go from A to B, and the dolly grip will put down markers, but if it looks like the actors may overshoot their marks, we will lengthen the track to make sure we don’t get boned and have to ask the actors to accommodate us after the first take – that isn’t a good thing on B camera.
When the DP uses a viewfinder (not that common anymore), I always peer directly over their shoulder to see what they see. I get low if they’re low, or wherever they are - it is vital not to just hear what the lens is, but to see it from the DPs perspective - you'll understand what they are going for if you look just over the finder, even if you don't get an opportunity to look through it yourself. I ask questions as they are framing it up to confirm that I know the top line and the side to side.
It is important that we don’t compromise the A shot, which is why listening to the DP describe the A camera shot is important to the way I do things. I know what the A camera be seeing, and that helps keep me and my track out of their shot, while also making sure that I don’t get aced out by them. Sometimes there is only one place for both cameras to be at a certain point, and it is important to discuss this with the A camera operator as early as possible – often, there is a way of compromising slightly, so that both shots get what they need. The trick is to not ask for favors very often – only when absolutely necessary - especially if there is another way of achieving the same thing, and to always defer to the A operator. I’ve made a career out of this, and if you let the other operator know what the DP needs you to achieve, they will usually figure out a way of accommodating you – with certain A list types, it is sometimes important for them to feel like it is their idea.
The B camera should let the A camera set first – that isn’t to say the B should go to crafty until A camera is done, but the B track shouldn’t be run before the A track is being put in place.
As the B operator, I don’t ever call “set” – only the A operator should call it – there is no reason for two voices to be heard unless there is a stunt. It drives me crazy when a third camera is brought in, and they feel like they need to call “set” – keep the set quiet. The only time I want to call “set” is if the shot is broken up into two parts, and the A camera doesn’t pick up the action until halfway through the shot, and the operator can’t see the beginning – for that, I’d like to call “set” when I’m ready to start.
Because the A and B cameras are usually on different angles – it is important to check with the other camera before moving props, adjusting the angle of windows/mirrors/TVs etc – you obviously need to protect your camera from reflections or being blocked, but you can’t do this at the cost of the A camera. Never assume the small change you made won’t hurt the other camera.
I look at the B camera as an extension of the A camera. We are both there to get great footage, and it doesn’t do either of us well to have one of the two shots look bad. Nobody who watches the show will know which camera executed a bad shot, so it is in the A camera’s best interest to have my shots look good – that being said, it is my job to make sure I get what I need to make a successful shot, and that I am matching the A camera’s look.
First and foremost, I expect them to be a teammate rather than a competitor. If I'm the center, they're my wingman. If I'm the QB, they're my tight end. Whatever analogy you choose, we're working together towards a common goal. And by working together, I mean that we both ensure that each of us gets the best shot possible.
Unfortunately, I've come across A operators who adopt the attitude of "I'm the A camera, my shot is the only one that matters, just stay out of my way." I've never understood or supported this way of thinking. In the end, when the film or TV episode is exhibited, it makes little difference which operator did which shot. While there may be some long and complex hero shots that are clearly attributed to the A operator, the majority of the work will be a synthesis of the A operator, the B operator, and all the other operators on the team. It's a team effort, so regardless of the camera I'm on—whether it's A, B, or F camera—I strive to capture the best shot I can while also ensuring that the other operators are able to do the same.
Now, let's get back to the initial question: what do I, as an A cam operator, expect from my B operator? Typically, my shot is given priority as the "main" shot, although there are exceptions. As the A operator, I'm usually quite busy not only setting up my slightly more complex shot but also running the set, managing rehearsals, and coordinating with the ADs, set dressers, stand-ins, and various on-set crew members to ensure everything runs smoothly. Needless to say, my hands are usually fuller than the other secondary operators. Therefore, I expect the B operator to make an effort to be aware of what I'm doing and work around me to capture their shot.
Awareness is a key point here. Countless times, I've been setting up a shot only to glance over at the B camera shot and find it almost identical to what I'm doing. This is precisely what I mean by "awareness." I expect the B operator to keep an eye on what I'm setting up and avoid duplicating or closely replicating my shot. It serves no purpose for the editor to have two nearly identical shots. As the A operator, I'm already occupied with numerous responsibilities, so ensuring that the B operator doesn't shoot the same shot shouldn't fall solely on my shoulders. Therefore, B operators should pay attention to what the A camera is setting up and strive to capture something different that complements the A shot and provides valuable angles for the editors to use, contributing to the storytelling.
On the subject of "awareness," B operators should also be mindful of their camera, dolly track, or any other equipment that may be obstructing the A shot, appearing in window reflections, or compromising the A shot in any way. It's also beneficial to pay attention and think ahead for efficiency’s sake. For instance, if the A operator and their dolly grip are laying down a dance floor, and the B operator knows they'll need a smaller dance floor nearby, it's a good idea to propose joining the two floors into one larger area. This creates a more versatile and efficient shooting platform, and the grips will greatly appreciate it. There's nothing worse than laying down a large dance floor only to have to redo it because the B operator later comes up with a cool shot idea. Conversely, if the B operator knows their camera will be stuffed inside a small closet or positioned at the top of a staircase, make sure you let that be known before we lay our dance floor blocking shut that closet door, or we set up a platform that blocks access to the aforementioned staircase. Pay attention and plan ahead.
Speaking of planning ahead, typically, we have discussions with the DP and/or director to hash out a game plan for the angles each operator aims to capture. However, the B operator is often given the freedom to find their own unique angle. That being said, it remains crucial to keep an eye on what the A operator is up to, ensuring that your shot stands out while respecting their space. If the B operator comes up with a remarkable shot that calls for sharing space or some adjustments from the A operator, it's perfectly fine to have a conversation and see if accommodations can be made. From my perspective as an A operator, I always strive to find a solution that allows both shots to work harmoniously, if possible. Nevertheless, it's important not to fall into the trap of constantly fighting for a shot that requires the A operator to consistently adjust and cater to the B op. That kind of situation can create unnecessary tension on set. It's wise to pick your battles and steer clear of frequent conflicts. Keep a small footprint and maintain a quiet, stealthy presence as best you can. Be a ninja.
Now, in the event that both the A and B operators have equally valuable shots but they somehow clash or can't be done simultaneously, prioritization becomes necessary. As the A operator, I might decide which shot is more important in the larger scheme of things. Alternatively, I may involve the DP in the decision-making process. I would inform the DP that we have two great shots but can't find a way to capture them simultaneously. The DP can then weigh in on which shot they consider more essential and discuss potential compromises.
Whether I'm working as the A operator or the B operator, my philosophy remains the same: work as a team to support each other, avoid getting in each other's way, and be mindful of duplicating shots. As the A operator, I check in with the B operator to see if I can assist them in capturing their shot. Sometimes, I may even suggest a good B angle if the DP has given me creative license to do so, which happens quite often.
If I'm the B operator, my primary focus is to be aware of what the A operator is shooting and avoid duplicating it. I give their shot priority and do my best to stay out of their way. However, if I need assistance from them, I'll tactfully ask. Before moving any set dressing or objects like furniture, picture frames, or flower pots, I'll check with the A operator to ensure it doesn't affect their shot. Similarly, as the A operator, I'll strive to extend the same courtesy to the B operator.
It's worth mentioning that the expectations of a DP from their B operator are a whole different set of answers. But here's something to keep in mind: some DPs actually see the A cam and B cam as equals, on the same level of “rank”. They consider them interchangeable, with neither one taking the lead. In cases like these, all the strategies I mentioned earlier still apply and make it easier to have a productive, collaborative mindset, no matter which camera you end up working on.
In conclusion, as an A operator, my expectations for a B operator revolve around teamwork, mutual respect, and effective communication. We are part of a collaborative effort to capture the best shots and bring a project to life. So, whether I find myself in the role of an A operator or a B operator, my philosophy remains the same: work together, stay adaptable, and strive for excellence as a unified team.
I expect an open dialogue with the Dir, DP, myself, and the B operator. I believe every project is different and the B operator should feel out the dynamics of the show by observing and listening and paying attention. It’s important to be patient. The B operator's involvement will be addressed by the end of the first week, and should stay consistent for the rest of the show.
I am a big fan of setting one camera at a time. If a B camera is needed, make that work with a limited amount of fanfare, stealth like. There is nothing worse than making it all about B camera and compromising the A camera shot. We can work together, and hopefully accomplish the Director and DP’s vision.
Don’t just think of a shot. Notice how the DP is lighting the scene. Read the script. Read the sides and know the reason for that scene. Recognize the beats that will help tell the story. Unless you have worked with the DP before, don’t feel you have to get a shot. It should’t ever be about quantity. (Even though it sometimes is).
I can’t emphasize how different each show is and how important it is to be professional and present. You want your choice for a shot to help tell the story.
Ted Churchill would probably have answered this question with something along the lines of, "The B camera operator should have compiled a list of all the best restaurants on location, and ideally have reservations made at the most exclusive ones."
But I'm too literal so I'm just going to answer the question.
I worked for several years as a B Camera operator, and learned from some of the top A operators in the industry. The most important thing I learned is to always pay attention. There is a lot going on during the blocking and shooting of a scene, and it's easy to get lost when you're starting out. Learn why everyone, (and I mean everyone from wardrobe to special effects, to the DP, set dresser, sound mixer, prop master, producers, director, etc.) does what they do so you'll know how to approach them when you have questions or suggestions. Stay on set. Even if you don't have a shot to do, stay and see what's going on. You may be asked to jump in to grab something at the last moment, and if you're off at crafty or messing around on your phone, you're not going to know what's going on.
There's another very important skill you need, not just to be a B Camera operator, but to be successful in any position on set. You must learn to be a good communicator. Working with Michael Bay taught me to be very quick and concise with my questions or suggestions because his attention span is measured in nanoseconds. You want to be able to get your points across clearly and concisely. The same goes for any questions you might have. Conversely, learning when NOT to ask questions or make suggestions is just as important as learning how to make them well.
Don't hover around hoping to make a suggestion just for attention. Pay attention to what is going on and make sure your suggestion makes sense given all the various parameters in play. As the A Operator I'm happy to be a sounding board for these questions or suggestions. I'll be able to help the B Operator understand whether or not their idea will work well with the lighting and cutting schemes. DPs hate it when you make a suggestion to the director that doesn't align with the lighting plan. Directors will lose confidence in you quickly if you make suggestions for shots that obviously don't fit the style of the shoot, or otherwise compromise what's going on with the A camera setup. If the B Operator has a good relationship with the DP and or director, I'm happy for them to work that out together. I don't need to be a part of that process because I've probably got plenty going on already, but I'm always willing to help.
The B operator, like everyone else involved in making the shot work, needs to know the script, and needs to know how the story is being told. It takes a few days to settle into the groove of a movie, because they're all different, and you need to find what makes each one tick.
This is all assuming that you're working for a director and DP who are interested in your input. That's not always the case. There are plenty of times where the B Operator will be told where to put the camera and exactly what to do. In these cases it becomes all about execution: doing your job technically to the best of your ability. This goes for A Camera as well. Shoots where the director or DP aren't looking for your input are not as creatively rewarding, but use those opportunities to perfect the technical aspects of your craft. I'm happy to offer suggestions on equipment configurations for achieving shots. I also suggest that the B operator should rely heavily on their dolly grip if they're fortunate enough to have one with lots of experience. I learned so much from dolly grips about how to configure the dolly and track. I was perfectly happy to admit that I didn't know much about that aspect of the job when I was starting out, and I was lucky to have amazing dolly grips who were happy to pass on what they had learned. Good dolly grips are storytellers who do their storytelling by moving the camera. That makes them an amazing resource for a budding B Camera operator.
As for the B operator's responsibilities: once you have a shot, it's your responsibility to make certain everything within your frame is as it should be. Walk the set and look at what you're shooting. This is the same drill the A operator goes through, and they will probably have cleared most of what the B operator will be seeing, but that's not always the case. This is all part of paying attention. Look for flags, flares, lights, cables, things that don't belong in the shot. Rehearse your shot when A camera rehearses so you'll know if there are any conflicts. Does the A cam mattebox pop into your frame at the end of their push in? Does a crane shadow pass through your shot at an inopportune moment? Bring these issues up with the A operator first because maybe the solution is simple, and you don't need to add more to the DP's list of problems until it's absolutely necessary. But definitely bring these issues up as soon as you see them. No one wants to hear about stuff like that after take one. Once you're rolling it's the B operator's responsibility to execute. If something isn't working, try to fix it. Come up with a solution for the next take if you can't fix it during the take. Don't just sit there rolling on a frame you know won't work. A lot of camera crews use headsets these days, and you may have the DP talking to you throughout the shot, telling you what to do. Personally I hate this as I came up in the era before headset use was a thing. I learned to make decisions based on what I saw in the viewfinder, and what I knew about the story being told. That's an important skill to develop, so don't rely on someone higher up the foodchain always being there to tell you what to do.
After the take, go to the monitors and watch playback. Watch the A camera to see how your shot fits in. You should be aware how your shot will be used so you can make educated suggestions about lens sizes, movement, timing, and composition that relate to the probable edit. It's possible that they won't even look at the B camera during playback unless you have a specific question about something and ask them to take a look. I used to keep simple notes about every take on a mini slate on the back of the camera using a simple grading system I came up with. That way, if they called out the prints for both cameras based solely on the A Camera results, I could let the director, DP, and script supervisor know which takes I thought worked better for B Camera and why.
I feel like I could go on and on, but that's probably too much already, so I'll stop.
Part of me cringes at the whole A/B division. I have been so grateful working with Cinematographers like John Lindley who often say they prefer the B camera over the A. Why? Because under some circumstances the B camera is allowed the freedom to explore a less traditional frame or piece of coverage.
What I don’t like is when there is an attitude of the A camera being more important or more valued than the B. It is often translated into a diminutive vibe on set and I have little patience for that kind of film making, as prevalent as it is.
So, what do I expect? Just kindness, thoughtfulness, inventiveness if possible. It’s really up to the director and DP to figure out what they want or expect from me if I am doing B camera, which btw, I actually prefer because once in awhile I get to take a break!
I love a B-cam operator who gets it. We work together. We go with the flow. Sometimes certain shots get priority. Sometimes, we leap frog, B-cam sets up for the next shot while we build on the crane, etc. I love someone who can find a great shot, set up quickly and quietly, not cause a fuss. Someone who collaborates and asks if they are in the way or if they can move something involved in the other shot. I love someone who has my back. I love someone who is funny when needed and serious when needed. I love someone who can navigate the appropriate departments to get stuff done. I love someone who doesn’t get bummed when their idea gets shot down. I love someone who can cover me on a day off. I love someone who I can work with all day and still enjoy sitting with at lunch. I love someone who understands that if you help us all succeed that you’ll be asked back.
There are two main A/B camera scenarios:
In the first one, the DP tells the operators what the shots are. That’s fairly straight forward. Two assignments are given, both A and B operators work toward getting both set ups with out stepping on each others toes. The A camera operator can lead this task, and may have to make a call on where each camera’s track goes or whether to connect dance floor. But each operator has an independence to enrich their assignment as expected. Occasionally, one camera may have to compromise for the other, usually B-camera. A discussion with the DP over compromising one shot for the other is appropriate. Often on my set, the call goes out over radio who has priority, meaning one camera may block for a moment to get a certain shot. Then the next take, priority switches. If the two operators play nice, this is a great way to shoot. If there is ego involved then good luck getting all the necessary footage. I’ve seen A-operators purposely but unnecessarily block the B-cam shot take after take based on ego.
In the second scenario, the DP gives out the A-camera assignment only. The B-camera operator must find something useful to shoot. This is an amazing opportunity for a B-cam operator to create. In this scenario, the vibe can feel like the A-camera shot is the only important one. That is a good question to ask the DP. Sometimes, they don’t want to light for two cameras or they don’t want any footage to cut away to. Other times, the B- camera captures some amazing footage and everyone is happy. So, for advice, feel the room. If you’re always too eager, getting in the way of A- camera’s work, will that operator recommend you on the next show? If you keep finding shots that the director loves but the DP isn’t lit for, who will be hiring you on your next job? If you just sit on the truck all day, will the UPM ask to get rid of the B-camera crew?
Be a chameleon and adapt to your surroundings.
