Operator position in trouble

[JamieSilverstein]

I have to agree, it is a dark day, but there is silver lining, and that is that the Local FINALLY banded together to vote down the contract. That in and of itself sends a very important message to the International. It says loudly and clearly that the members of Local 600 have all agreed that the operator's position is essential to the everyday working of a normal feature film and episodic tv set.

In conjunction with the vote, Local 600 is discussing other measures designed to publicize the issue continuing to show an overwhelming support for the operators. This too will help to shore up the idea that WE, Local 600, actually support our cause and that the International should do the same.

Is it a little to little too late? Maybe, but I blame the Local's current administration for the lack of effort before the fact, noting that they were well aware of the oncoming problem for a while and chose not to coordinate an effort to get the word out until the vote was near........ We as operators are suffering from lack of enforcement of rules pertaining to DP's operating on films and tv in the past, and lack of motivated insightful action in the present. With a little luck, we will be able to hold on to our jobs (save those on films where the DP insists on operating), and maybe even gain some added support from the International in the future.

Lets keep our fingers crossed.

Jamie

[Alec Jarnagin SOC]

Just reading through some SOC archives and came across this article from 1996. Guess the writing was on the wall, but we let it happen anyway....

 

http://www.soc.org/opcam/08_sps96/mg08_negrin.html

[Mike McGowan SOC]

It does seem that the 'New Cameramen' are the ones that have a hard time with operators or rather not operating the camera themselves.

 

In November, I did a low budget feature and I practically had to push the DP (first feature) off the camera even though he, the director and me knew full it was generally a better idea for him to light and me to operate, he just didnt get it.

 

VS

 

I just finished working with Mike Benson (see IMDB) who was the second unit Dp. That dude is one of the most awesom operators alive and he had to be forced to operate the 'C' camera when we used it. Several times he said things like, "I dont want to touch that thing".

 

The business in general is changing a lot but the bottom line (and most decent camera men and most smart producers) realize that a good operator is worth their weight in gold.

 

mm.

[Brad Grimmett]

Just saw No Country For Old Men and noticed that Roger Deakins got the only operator credit. There were "B" camera assistants, but no operator credited. It just reminded me of this topic.

[JamieSilverstein]

A sad, sad state of affairs indeed. That loss of credit only reinforces the Producers goal of winnowing away each job category, one by one. If we don't help ourselves (have operators, operate and DPs do their thing) we are just feeding ourselves to the wolves........ The worrisome part is that today it's the operators, several years ago it was the still photographers, and next.......... who knows.