Japanese Cameraman System

JAPANESE FLAG

I have listed the vast differences of the
Japanese and American filming system from
the Camera Department/DP's point of view.


DIR OF PHOTO

  • In Japan, "Director of photography" is not a common word but "Cameraman" is often used.
  • As in general, LIGHTING THE SET IS NOT CONSIDERED HIS/HER ROLE (regardless of whether he knows or wants to light the show).
  • Obvisouly, this means that he does not carry any exposure meter.....
  • THEN WHAT DOES HE DO? He mainly operates the camera and is the "MASTER OF FRAME ADJUSTMENT".
  • Hence the camera operator's postion is close to non-existent in this country.

    1ST ASSISTANT CAMERA

  • READS THE LIGHT & DECIDES THE IRIS STOP.
  • Hence you will find him to be walking around with all kinds of exposure meters around his waist constantly clicking his meter to check the light readings.

    2ND ASSISTANT CAMERA

  • THE FOCUS PULLER, equivalent to the American first assistant cameraman.
  • BUT ALSO NEEDS TO load the film, PLUS turn the camera on and off, PLUS the video assist, AND EVEN OCCASSIONALLY being asked to push the DOLLY.

    Generally in TV commercials, the camera department consists of the chief and the 2nd Assistant Camera. Incidentally when the 2nd Assistant would be required to push the dolly and pull focus simultaneously, the Chief Assistant Camera would take on his or her preference of one's choice of whether to push the dolly or pull the focus.
    This is one example of the ambiguity or flexibility of role assignment which is quite commonly accepted in the Japanese filming industry.

    Since the Japanese TV Commercial have a strong graphical preference to the look of the spot, the film itself has less and minimal camera moves compared to the western spots. When and only if camera dolly moves are incorporated, as a strong element to assist on the concept of the spot or as a part of the look, the production will gear it's attention to hiring a special effects dolly operator which will then alleviate the work load of the 2nd Assistant Camera.

    In feature film, since the 3rd Assistant Camera is normally hired, the clash of work load is alleviated between the Chief Assistant Camera and 3rd Assistant Camera.

  • HE/SHE IS INDEED A VERY BUSY MAN/WOMAN!

    *The camera department is not in charge of the slate
    but the Assistant Director slates each scenes.

    3RD ASSISTANT CAMERA

  • Increasing number of 3rd Assistants are appearing on set as film loaders to assist the 2nd Assistant Camera especially in the feature film market.

    4TH ASSISTANT CAMERA

  • Since many productions can not afford a 4th Assistant it is often an intern position. If then he would assist the 3rd Assistant Camera, taking care of the video assist and simple grip jobs.

    LIGHTING DIRECTOR

  • Once the frame is set by the Cameraman, HE IS THE CREATOR of the overall lighting structure, it's look, design and the equipment to use. With minimal consultation, he would then take the initiative to create the lighting with his electrical team.

    1ST ASSISTANT LIGHTING

  • Same as the best boy in the US. filming system.

    2ND ASSISTANT LIGHTING

  • Electricians (generally 2-4 on set).

    As simply seen, the role of one American DP is divided into
    a collaborative work of the Japanese Cameraman,
    the Chief Assistant Camera & the Lighting Director here in Japan.
    When all 3 are in sync it saves a lot of pre-light and restaging time
    however I am sure that any American DP will have
    the pros and cons to our system.
    WHO IS THEN THE "DIRECTOR OF CAMERA AND PHOTOGRAPHY"?
    Unfortunately very few Japanese Cameraman are capable of
    and are provided the environment to perform the American DP style.
    I guess I'm one of the very few, obstinately trying to performing
    the American style in hope to provide a new breeze to the
    "forever traditional Japanese Motion Picture Industry".
    But also sometimes to notice that
    I may be jeoparadizing many Lighting Director's job.
    In Japan there is no union similar to the American Local xxx.

    But my wishes are that any and every changes are for the "better"
    and we all should have an open mind to develop new ideas,
    take in new systems and technologies whereever we may decide
    to be active in the "UNIVERSAL LANGUAGE OF MOTION PICTURES".



    You can read more about Japanese Cameraman System, please go to SOC Web Site HERE!

    Seigo's autograph

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