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NOTES FROM THE FIELD TV camera operator, Minneapolis, Minnesota Q: How did you get your job?

A: It’s all about networking , knowing people who know people andmaking sure the people who hire crews knowwho you are. Volunteering for cable access or some- thing like a large megaplex church that does a lot of video is a good way to meet people who may have connections that will get you an entry-level position on a crew somewhere. Internships don’t really get you working on a TV crew, in my experience, since they’re mostly geared toward four-year-degree-in-journalism types who want to produce or appear on camera. Q: What do you like best about your job? A: The challenge, the creativity, and the feeling you get when you’re working on a live production that flows absolutely smoothly because you’re working with a great team of professionals. If you’re a musician, it’s a feeling akin to taking part in a great improvised jam session, only much more expensive. Q: What’s the most challenging part of your job? A: It’s a 10-hour day, minimum. On your feet, lots of lifting and carrying. The pres- sure, too—it’s live television, so there are no do-overs. Either you get it right the first time or people know you screwed up. People at home may not know it’s you personally, but the person who hired you sure will. That’s why you have to spend a lot of time working your way up, because when a million people are watching you, there can’t be any possibility of a mistake. Q: What are the keys to success as a TV or film camera operator? A: Common sense, people skills, networking, creativity, intimate familiarity with the sport or other subject matter you’re shooting. Actual technical proficiency at running the equipment pretty much takes care of itself through the practice you get in the process of working your way up. You won’t get hired for bigger gigs until you demonstrate your proficiency on smaller ones.

• Computers, Communications & the Arts

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