Creation always comes from the world of imagination even if it
aims at stating reality. Why don't we all meet in this magical world and create something together? Let's turn our imagined futures into a collective reality.
What we aim for

This interactive website aims to change the way that documentary films are made and distributed by capitalizing on the rise user-generated video (UGV). Our goal is to serve as an incubator for non-professional documentary ideas, allowing amateurs to collaborate with one another to turn their ideas into reality. We will then help our amateur film-makers sell their documentaries to interested broadcasting networks and distributors.

How it works
play video
Latest Comments
Latest Topics

To Be a Professional Cameraman

Posted by Admin in Tutorial on 20 AUG 2010
  • The road to professionalism is not so long; however, you will still need some practice. Before you begin, you will need to learn the basic rules that govern professional film photography. Directors do not overestimate the profession's importance when they assign (and pay generous salaries to) the most talented and creative cameramen to head their film crews; bad camerawork can destroy a director’s vision or turn an otherwise average film into a masterpiece.

  • In order that you do not go home depressed after a tough day's shooting – if you find that most of your shots are not even fit for editing – you will need to follow the guidelines below:

  • A cameraman’s main job is to move the camera smoothly and to keep it still if necessary. Ideally, the camera should simulate the eyes of the viewer – which never move randomly and stay still if attracted to some notable scene. The ability of a non-professional cameraman to control the movement of the camera is naturally limited, not only because of his lack of experience but also because of the light weight of modern cameras. Modern cameras are also not usually held by tripods, which means that amateurs have to try to hold the camera as still as possible or move it as smoothly as possible to fit the demands of the given scene. There is no doubt that random shaking does negatively affect the quality of a scene; while some modern film schools embrace this ‘amateur realism’, as a general rule it is best to try to keep all shaking to an absolute minimum.


    • LA, by Mohamed Said Mahfouz (2007)
  • One of the most attractive characteristics of modern digital cameras is the zoom feature; that said, the zoom should always be used for a clear purpose. In cases where the zoom is appropriate, try to find a happy medium between disorienting speed and melodramatic slow-motion.

  • You need always to bear in mind exactly what the purpose of your shot is. Always ask yourself: “what do I want from shooting this scene?” The priority must be to the content, and the mobility features of the camera should serve this content.

  • If you are a perfectionist with a love for thorough preparation, you will undoubtedly make a very successful cameraman. Good documentaries tell powerful stories with an economy of images; hours of dull, irrelevant footage are worth less than one arresting shot, so you need to have a clear idea of what you want to capture before you begin shooting. Naturally, you will also need to expect the unexpected, and be ready to shift your focus if the action compels you to. But good preparation will help you with this too.

  • Furthermore, to guarantee good lighting for the scene, remember to make sure the light source is in front of the targeted subject and not behind it; this will ensure that the target (whether a place or a person) is well lit, and will also avoid any unwanted reflection (commonly referred to as ‘burning’ by professional cameramen).

  • Given these lighting constraints, however, you should not be afraid to try unusual or experimental angles. You could, for example, decide to take a shot of two people playing chess from above the chess board (as we see, for example, in Mohamed Said Mahfouz's 2007 film LA), or take a shot of a football player from a very low angle close to the ball under his feet. The most important thing is always to have a purpose that justifies the angle of the shot, taking into account the message of the film in general and the message of the shot in particular.

  • Also, do not forget to check the quality and clarity of the sound during the shooting process. To do this, it is recommended to have an extra microphone attached to the camera, and to listen to the sound through during shooting itself, in order to make sure that you do not waste any otherwise usable material.

  • Finally, remember to make sure that the camera battery is fully charged before you begin shooting, and keep the charger with you at all times. You don’t want to miss a moment that cannot be regained.