Tell me about it
Television and film camera operators use different types of camera to record action on film, videotape or digital media. They might work on large- or small-scale productions in a studio, as part of an outside broadcast team covering sports fixtures or public ceremonies, or with special lightweight equipment in a small newsgathering team.

In the studio, operators usually follow a camera script cued by the director during recording. On location, there may be more opportunity for creativity in suggesting shots to the director.

The work can include supervising the setting up of the camera and other equipment - such as lenses, filters and sometimes the lighting, practising shots and angles, taking instructions from directors, working as a team with other members of the film crew, and keeping up to date with filming methods and equipment.

Entry level
There are no set entry requirements, apart from demonstrating the drive and ambition needed to work in this field. Some employers ask for GCSE/S grades (A-C/1-3), often including English, maths and physics, although most camera operators have in practice studied for higher level technical qualifications and possess a portfolio of work. Some have specific photographic qualifications, but this job is really about gaining experience and knowledge and making contacts.

Generally, entry to the film world tends to be for young people who start as a trainee, possibly as a runner (doing fairly minor jobs), and who are then prepared to work up the ladder as they gain skills and a reputation. You find a way in as a full-time camera operator's assistant, following a training course.

You should try to gain some relevant work experience, for example working at a camera equipment hire company, or helping crews who are testing out equipment.

Possible qualifications include NVQ/SVQ, City and Guilds, and university degrees and postgraduate courses in subjects such as photography, film and television.

Making the grade
Getting started is far from straightforward: experience is what counts but TV companies like the BBC no longer run in-house training schemes. Film and TV Freelance Training (ft2) provide apprentice-style technical courses for freelance entrants but you have to be over 18 and based in London to meet their entry criteria. Furthermore, competition for the few places they offer is fierce.

There may be limited training opportunities with Scottish Screen and CYFLE in Scotland and Wales respectively (some for Welsh speakers only). Beyond that are various college courses up to degree and postgraduate level but none of these formal qualifications is a guarantee of work. It is important to get practical experience in any way you can, even if it means initially working for nothing.

Skillset, the Sector Skills Council for the audio-visual industries, offers referrals to professional short courses throughout the UK. For example, NVQ qualifications are offered as follows: Camera Assistant Level 2, Camera Operations Level 3, and Camera Direction Level 4. (Note that the NVQ qualifications are currently under review and may be replaced with new professional qualifications.)

Career progression is normally a steady process of moving from second assistant camera (or clapper loader) to first assistant camera (focus puller), to camera operator, to director of photography.

Personal qualities
As a camera operator, you would need to be passionately interested in TV/film photography and prepared to put up with short-term contracts, uncertainty of employment, lots of pressure and long working hours. You must be a team player, with a good eye for colour and composition. The work can be creative but also requires a high standard of technical awareness. Good eyesight and normal colour vision are essential, together with good hand/eye co-ordination. Some camera positions call for a head for heights!

Looking ahead
There is intense competition for every post, and work tends to be in areas where there are major studios, such as London, Birmingham, Glasgow, Leeds and Manchester. The UK's main film studios are all on the outskirts of London.

The largest employers include the BBC and ITV, in London and in the regions, Channels Four and Five, cable and satellite companies, and the large and expanding independent TV and film industry.

Some camera operators are employed full-time, but many work on a freelance basis and the job ends when filming is complete.

Alternative suggestions
Other possibilities might include broadcast engineer, photographer or - with sufficient experience - TV/film director.

Take-home pay
The starting salary for operators with limited experience (for example using fixed studio cameras) is around £11,500. You could find yourself sometimes working for next to nothing, gaining experience and hoping that you will receive a retrospective payout if the film turns out to be a commercial success. At other times, you might be on a daily or weekly rate, depending on the project, earning perhaps £550 to £600 per week. An experienced person working in television may expect to earn £20,000 to £25,000 a year, rising to around £30,000 to £40,000, and more for large film contracts.

Effects
Camera operators often work unsocial hours, including evenings and weekends. A standard shooting day normally lasts about ten hours, but you could be filming at any time during the day or night.

Sources of information
British Broadcasting Corporation: www.bbc.co.uk and www.bbctraining.co.uk
ITV: www.itv.com and www.itvjobs.com
Channel 4 Television: www.channel4.com
Five TV: www.five.tv
BSkyB: www.sky.com
Skillset: www.skillset.org
FT2 - Film & Television Freelance Training: www.ft2.org.uk
Guild of British Camera Technicians: www.gbct.org
Guild of Television Cameramen: www.gtc.org.uk
Scottish Screen: www.scottishscreen.com
CYFLE: www.cyfle.co.uk

CRCI: PA