Lighting, Camera & Technical Arts
Requirements for membership in the Lighting, Camera & Technical Arts Peer Group
Please note that any requirements for credits, number of programs, number of hours or days, or percentages of time spent (as outlined below) are requirements which must have been met within the four years preceding one's application for membership; also, such requirements apply in each instance to the production or distribution of audio visual works for national exhibition.
Employment in one or more of the following positions on at least twenty-five hours of national television programs within the last four years.
A camera operator composes images needed in a variety of production formats, set in either multi-camera or single camera style. A camera operator's skill set may include (but is not limited to) pedestal, dolly, hand-held, steadicam, jib, crane, techno-crane, insert car, remote control, hot head, robotic, overhead cable-cam, 3D, underwater, and aerial camera.
Engineering is inclusive of several job categories and functions including, but not limited to design, systems integration, signal distribution, transmission, maintenance, and management of production and technical facilities that are actively engaged in the production of content.
Designs a lighting plot that creates the overall look of a show, while working closely with other creative departments of a production. Supervises the lighting team to control programming, focusing of instruments, and writing cues.
Works with the Lighting Designer to manage all aspects of lighting for a production and to support and install the lighting design. This may include focusing lights, creating and programming lighting cues and running a show for the duration of a series.
LIGHTING DIRECTION TEAM
A production may have a Lighting Direction Team consisting of one or more individuals credited as above, plus individuals who assist in creation and execution of the lighting design by working in the following job classifications.
An accredited Lighting Designer who adapts for television the existing lighting from another medium.
MOVING LIGHT PROGRAMMER
Contributes creatively on the lighting plot and the look of a show. Programs lighting instruments. May work unsupervised, with the work subject to approval by the head of the lighting team.
MEDIA SERVER PROGRAMMER
Contributes creatively on the lighting plot and the look of a show. Programs or makes custom media for the show through visual displays. May work unsupervised, with the work subject to approval by the head of the lighting team.
CHIEF LIGHTING TECHNICIAN
Takes the lighting plot and executes the lighting concept. Will focus and measure the show lighting, and if needed light ancillary areas. May work unsupervised, with the work subject to approval by the head of the lighting team.
MEDIA CAPTURE, TRANSFER AND PLAYBACK
Videotape Operator/ Digital Media Operator/Digital Loader Performs playback, edits, transfers, and duplicates media for shows currently in production. This does not include operation for streaming or delivery platforms.
The technical director operates a video switcher and performs the transitions on a live or recorded show. The Screens Technical Director is responsible for switching video sources in the screens seen on and off camera and may work unsupervised.
OTHER TECHNICAL CRAFTS
The Technical Manager is a supervisor who acts as the liaison between production and the engineering department on a television production.
The Camera Utility is the link from the control room or production truck to the sound stage or location venue. The camera utility handles the cable runs to the cameras, monitors, video screens and displays and provides the connectivity. During the production, the utility will handle the cable, and wrangle the wire in the case of moving cameras. jib, steadicam, techno-crane and RF camera technicians are included in camera utility.
DIGITAL IMAGING TECHNICIAN (DIT)
The digital imaging technician sets-up, interfaces, and maintains HD terminal equipment, monitoring and cameras. The DIT performs tasks applicable to look-management of cameras and monitoring in collaboration with the Lighting Designer or Lighting Director. The DIT may also handle the on-site data backup and transcoding of images recorded within the camera.
1st ASSISTANT CAMERA
The 1st Assistant Camera ensures the correct components and support gear are in place for the proper operation and configuration of the camera. The assistant will operate focus, zoom control and manual adjustment of the iris. Eligible for program ballot only.
The prompter operator mounts the teleprompter hardware onto the cameras and inputs the script electronically into the teleprompter software. Edits and modifies the script as changes occur, scrolls the script at the correct pacing for the on-camera talent.
The video controller controls the video quality, color matching and shading of the cameras. Sets the exposure of cameras and aesthetic look of all visual images in collaboration with the Lighting Designer or Lighting Director and maintains that look throughout a show.
Assembles taped segments of shows to conform to the script in an artistic and technically correct form. Edits programs whose original recording medium is electronic.
ONLINE VIDEO EDITOR
The online video editor creatively assembles a show or recorded segments within a program whose original recording platform is primarily multi-camera.
PLEASE NOTE: Applicant must indicate one or more of the above positions on the application. Associate Status: Employment on less than 25 hours of programming for national exhibition in one or more of the above named positions.