Over the last 12 years I’ve had the opportunity to work with cameras in news, live sports, events, commercials and short films. While I have a lot stories I could share, I’ll try to keep this post focused on the stylistic differences I’ve experienced operating in these arenas.

I first began to work with professional cameras in TV news where I operated handheld and on pedestals. We shot a very creative, reactionary style with guest talking segments and performances. After the show I often shot man on the street content with our talent both handheld and on sticks (tripod). Shooting news taught me framing, composition, reaction and anticipation while responding to a Directors cues. I also developed the courage and creativity to capture action while “selling” shot ideas. In the studio environment each camera is responsible for specific talent to create cross coverage for the show. Zoom and focus controls are on the handles for easy access and quick reaction. If you are not plugged into a CCU (central control unit) you are also responsible for the iris to get proper exposure as well as other camera functions. Handheld shooting offers the opportunity to be mobile and react quickly while you zoom from the rocker, and focus and iris from the lens. To this day I prefer an anticipation and reactionary style of shooting, which is great for documentaries and reality tv.

After I left news, I started shooting live broadcast sports…a lot of handheld and long lens setups. While this type of camera operation is similar to news in the sense that you take cues from the Director, the setup and building of long lens cameras is an additional consideration. Running cables hundreds of feet to the shooting position, I’ve found myself operating from scaffolding, up 50ft on a cherrypicker and in all types of weather conditions. Stylistically, live sports is fast paced action. Quickly tilting, panning, zooming and focusing to get the shot at your camera position is a required skill. Whether you are responsible for a tight follow of the hero, coach, bench, fan reaction or to maintain a safe wide shot keeping the action in frame, every operator plays a part in capturing the game for people watching at home. The other side of live sports broadcast is the studio responsibility where I’ve operated cameras handheld, on pedestals, on jibs and using a steadicam. This is very similar to news.

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Somewhat of a contrast to shooting news and sports is operating on commercial and narrative productions. I regularly take on commercial work and the occasional short film. Considerations for this type of shooting include larger sensor cameras with zoom & prime lenses to cover those sensors. As handheld in broadcast is used more for mobility, handheld in the commercial/narrative world is more of a stylistic and storytelling choice. Zooming is also used less frequently. The use of sliders, dollies, jibs and stabilizers are storytelling tools allowing the operator to capture a more dynamic, picturesque image. The style of camera operating is usually communicated from the Producer and/or Director through the Director of Photography and should reflect the messaging.

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I try to shoot as many different types of content as possible. Some stylistic choices I’ve used include; “shaky” handheld, “smooth” stabilized, static-picturesque and reactive. Ultimately my operating style comes down to the subject, content, story and desired messaging. What are some shooting styles that you have used and why did you choose them?