Camera Reports: The Right Way

**Notice: All articles I have written are now available for free download at my website. These .pdf documents contain the text and the accompanying photographs and diagrams. Because I cannot copy and paste text and photographs into blogger... blogger will only have the text of the articles. I highly suggest downloading the .pdf documents over the text below. Either way, enjoy.**

Download at this link below!
http://www.RyanPatrickOHara.com/Download/CameraReport.pdf


Camera Reports: The Right Way
Proper Camera Report Protocol
written by Ryan Patrick O'Hara

Learning how to fill out and maintain a proper camera report is an important skill set if one intends to serve on a professional camera crew. The following article is a work in progress to identify, design, and execute the workings of a good camera report.

What is a camera report?
A camera report is a three or four layer 'carbonless copy' paper document, which accompanies a roll of film from the moment it is loaded into a magazine all the way to the lab. The report is not only a way to communicate with the lab, which will develop the film, but in most cases can assist the telecine colorist during transfer. In addition, camera reports can help identify the source of an equipment malfunction by allowing the ability to easily trace the problem back to the specific camera, lens, or magazine.

The camera report journey
When a camera magazine is being loaded, a camera report will also need to be prepped for that particular roll. After the film is loaded into the magazine the camera report will usually be taped to the dumb side of the magazine. Later on set, when the magazine is called for, the camera report will detach from the magazine and come into the possession of the second AC, who will be responsible for maintaining the report as shooting progresses. Eventually the roll of film will be used to its extent and will be downloaded, in which the first layer of the camera report will be taped to the top of the can, ready to go to processing. The second layer, will be sent to the editor, and the third will be kept for production records, in the production office. If there is a fourth copy, the camera dept will keep it for reference.

What makes up a camera report?
Camera reports will vary with many different sizes and formats, yet despite differences in design, they will usually have the necessary elements that make for an acceptable camera report. The following images are various examples:

From Bucks New University, Buckinghamshire UK.

From Vanguard University of South California School of Cinema/Digital Media:

From the Independent Filmmakers Co-Operative of Ottawa:

From the USC School of Cinema Television, Angelo Pacifici:

From Bono Film & Video, Inc. Arlington, VA:

Unknown author, but is an example of a bad camera report:

From The Camera Assistant's Manual, David Elkins SOC:

The previous examples demonstrate how camera reports may change in size, shape, and organization but the key concepts are still present. For consistency, all fields that pertain to film students, such as 'course number' or 'mentor/instructor', will be omitted.

The Big Four:
I have classified four main categories of information in a camera report: Production Information, Film & Camera Information, Exposure Information, and Lab Information. These categories are grouping the fields together by subject... NOT necessarily by location on the camera report. The following will dissect fields from each area of the four categories:
NOTE: The following will touch upon common and not-so-common fields, which may be found within camera reports. One will not likely find all of these fields on one report.

1. Production Information/Identification
It is common for camera reports to start with simple production identification. This includes the basics like production title, company, director and etc. This information will very rarely change during production. All fields should be properly filled out during the prepping or loading stage; before the camera report is taped to the magazine and goes to set.
1. Project Title/Picture Title (Pict. Title)
o These interchangeable terms are simply the name of the film.

2. Production Company (Prod. Co.)

3. Bill To:
o If the listed production company is not the one picking up the tab.

4. Director (Dir.)

5. Director of Photography/ Camera person
o Whether the camera report says 'camera', 'camera person', or 'DP'... it's the DP.

6. Assistant (Asst.)
o Not found to often on camera reports, this is the camera assistant. Camera report may say assistant instead of loader.

7. Loader
o The person who loaded the roll into the magazine

8. Date Loaded
o The date the film was loaded into the magazine. Not the date exposed.

2. Film & Camera Information
The second category is for recording information about the camera equipment, film emulsion, and date. This includes camera, magazine, roll, and emulsion numbers. This information should be written during magazine prep and load, although some sections should be written down on set, when the corresponding magazine is being threaded.

1. Negative Type/ Emulsion (Neg. Type/ Emul. #)
o It is very important to clearly describe the film you are using. Although professionals will know a film stock by emulsion number only, writing the brand, negative type, and emulsion number will eliminate any guesswork and will reduce the probability of mistake. This information has to be marked during the prepping/loading stage.

• Negative Type (Neg. Type)
• The negative type of a roll of film is the film stock being used. I.E. 'Kodak 5217 Color Reversal'

• Emulsion Number (Emul. #)
• The emulsion number is the numbers on the can preceding the film stock number. This is like a batch number.

2. Black & White or Color
o Found on some camera reports, there will be some boxes or circles to be checked-off depending on what type of film you are using. This really should be established in the negative type/emulsion description. I.E. 'Kodak 5217 200T Color Reversal'. If the camera report has another area to check 'Color' or 'B&W' by all means do not ignore the selection. You can never be too thorough. This should be marked during the prepping/loading stage.

3. 16mm, S16mm, 35mm
o Perhaps obvious, a camera report may have a list of film formats from which to check-off the appropriate choice. This should be marked during the prepping/loading stage.

4. Camera #
o The reference number of the camera that the magazine will be attached and threaded. If the production has set camera numbers, those are acceptable, but nothing is as accurate as a serial number. This is important should problems with the footage arise. Should the issues have been caused by the mechanics of the camera, knowing which camera is malfunctioning without the need to test all cameras is invaluable. The camera number should be written down when the magazine is called to set. There is no way of knowing ahead of time on a multi camera shoot.


5. Magazine # (Mag. #)
o It is important to write down the magazine serial number. Not only for the same reasons as the camera number but, in addition, if the camera report (which is supposed to ride with the loaded magazine) becomes separated from the magazine it may be easily and accurately returned. This has to be marked during the prepping/loading stage.

6. Roll #
o This should be marked when the magazine has been called to set and being threaded. Assuming or predetermining roll numbers can be a dangerous gamble.


7. Footage
o The amount of footage (in feet) on the roll. This should be marked during the prepping/loading stage.

8. Sheet #
o Sometimes listed as 'Sheet ___ of ___'. An excellent method of keeping track of multiple camera report pages, should the camera report need to continue to multiple pages. The 'Sheet ___ of ____' is a much more accurate approach. This should be marked as necessary.

• IE: One 1,000' roll of film happens to roll out on the fourth camera report. Writing 1, 2, 3, and 4 on each report is fine until the loader loses the 4th report. Now the lab may not realize the 4th sheet is missing and may assume the roll was removed on the 3rd camera report. Having the reports say 'Sheet 3 of 4' and etc. will let us know there are a total of four sheets.

9. Date Exposed
o This should be filled out when the magazine is called to set and is threaded. This is not the date the film was loaded.

3. Exposure Information
Otherwise, the ‘body’ of the camera report; to be filled out on a per take basis, until the roll is finished.
1. Scene
o This is the scene number often to be followed by a shot letter (read below).

2. Shot
o The shot can be its own column, yet is most often found combined with the scene column (as a letter behind the scene).
• IE: If shooting scene 5, one could have two columns; one for scene 5 and the other for shot 1, 2, 3, etc. Instead, one could use just the scene column; using letters for shots, such as 5, 5a, 5b, 5c, etc. Space has been saved for other columns while remaining just as understandable.

3. Take (TK)
o Takes are written in the form of numbers. Each time a take happens the take gets a new line on the camera report. If the camera is going to roll through multiple takes without stopping, write 'SER' (series) in the take column. Be sure to listen carefully for the call to 'print'. If someone calls 'print!' at the end of a take, the second AC will circle the take number. Remember more than one take per shot can be designated to print!

4. Dial
o The amount of film that has been shot. Read the footage counter (will tell you how much is left) and subtract that from the total amount of film which is in the magazine. You now know how much footage you have shot.

5. Footage (FTG or Feet)
o The amount of footage the take was. Simply subtract the old dial number from the new dial number.
6. Day/Night (Day/Nght or Nite)
o There may be a column on the camera report regarding Day or Night. Choose one.

7. Interior/ Exterior (Int/ Ext)
o There may be a column on the camera report regarding if the scene is inside or out. Choose one.

8. Filters (Fltrs)
o This column is to write down any filtration you might have, either inside the camera or in the mattebox. Common examples would be an ND filter, Color correction filter, or polarizer. May not always have its own column. Record in separate notebook or in the remarks column.

9. Snd
o Information on whether sound is being recorded. Usually a simple 'Y' or 'N' will suffice. Some use check marks to indicate sound, and the absence of check marks to indicate no sound. Another method would to use a 'S' for Sync sound and a 'M' for MOS.

10. Remarks/Description
o A very valuable area of the camera report. It is a larger open area to write comments or remarks regarding any important information about the scene. Any problems or extra descriptions may be recorded in this column.

11. Lens
o Write down the lens used. If there is a problem with a lens in dailies, it can be easily tracked to which lens needs to be pulled. ‘Lens’ may not always have its own column; in which case, record in a separate notebook or in the ‘remarks’ column.

12. F-Stop
o Write down the F-Stop or T-stop the lens is set at. ‘F-Stop’ may not have its own column; in which case, record in a separate notebook or in the ‘remarks’ column.

13. Focal Distance
o Write down focus information. It is not very common, unless doing heavy visual effects work. ‘Focal distance’ may not have its own column. Record in separate notebook or in the ‘remarks’ column.

14. Shutter Angle
o Rare to see as it's own column. If not enough room on the report, write it down in a separate notebook or in the ‘remarks’ column. Make definite note when it changes.

15. Gray Card Y/N
o Extremely rare to see a column that asks if a gray card was used. Gray card and color chart should ALWAYS lead or, at minimum, tail the roll. Make appropriate notes on the camera report about the gray card just as you would a scene/take. This is a useless column to have on a camera report.

16. Process Normal/Special
o On the topic of useless, this column is taken care of in another area of the camera report. If falls into my designated "Lab Information" category. If an individual or group of shots require special attention at the lab make notes in the remarks category, and personally contact the lab and let them know.

17. Scene Description
o Scene description is helpful but not required… so,simply because this can be written in the ‘remarks’ section. Taking scene description notes in a separate notebook, may be a solution if in depth scene description is needed.

18. Specific Timing Instructions
o These instructions are usually stated in another part of the camera report (fits into my "Lab Information" category). As mentioned earlier in 'Process Normal/Special', if you have special instructions for an individual or group of shots, please write the instructions in the remarks column and contact the lab personally to inform them of the special circumstances. Specific timing instruction and process normal/special columns are unnecessary in a camera report ‘body’, unless the shoot calls for very special circumstances. Otherwise there are sections elsewhere on a camera report which will allow for these notes to be taken.

4. Lab Information
Information specifically meant for the lab regarding processing, work print, and video prep for transfer.

Develop: How you would like your film developed. The choices are:

1. 'Process Normal
o 'The footage is processed with no special treatment

2. Push __#stops'
o If this option is selected, the lab will push the film by the determined number of stops.

3. 'Pull __#stops'
o If this option is selected, the lab will pull the film by the determined number of stops.

4. Special Instructions
o There should also be a section for special written instructions, which do not have a selection.


Film Workprint: Pick the option to either:

1. 'Print All'
o The lab will print all of the takes

2. 'Print Circled Takes Only'.
o The lab will only print the takes you designated during production. This can save money and reduce unneeded footage from being included in the print or transfer.


Video Prep & Transfer: If and how the film should be prepped for transfer:

1. Prep for Transfer
o Check this option to have lab prep your developed film for transfer

2. Transfer All
o Select this option to transfer all of your footage (assuming you printed all takes)

3. Transfer Circled Takes Only
o Select this if you would only like to have the printed takes transferred. This option is a must if you chose to only print the circled takes.

4. Transfer At ____fps
o Write in the number of frames per second you would like your transfer. Most likely it will be 24fps as a default.

5. One Light Print
o A print made from your film negative that will use just one set of settings for the whole film. Individual shots will not receive any individual treatment.

6. Time to Gray Scale
o The film will be timed based on the gray scale exposed on production and located at the head and/or tail of the footage.

7. Edge # Punch
o Unknown at this time

G, NG, W, T: Writing footage numbers at the end of shooting:

1. Good (G)
a. Write the amount of footage which is usable

2. No Good (NG)
a. Write the amount of footage which is not usable

3. Waste (W)
a. Write the amount of footage which was wasted

4. Total (T)
a. Write the total amount of footage on the roll going to the lab.

Note on Visual Effects heavy work
When shooting a production that may require heavy visual effect work, special camera reports may be used. These camera reports should include the previously mentioned technical data such as f-stop/t-stop, lens focal length, subject to camera distance, shutter angle, etc. Along with this information, some new stats will help the visual effects department match up the footage. Examples of these new fields include the height of the camera and the angle it is pointed (in relation to the ground and horizon). Also read point number six below.

Tips, Tricks, and Misc Camera Report Info
1. The camera report can be taped to the backside of the camera slate, providing a great writing platform for the second AC.

2. When writing shot letters (after the scene number), skip the letters O and I, because they could resemble numbers.

3. When you exceed shot letter Z, start with AA, BB, CC, etc. Or AA, AB, AC, AD, etc. So long as a system is established and followed, many labeling systems could work.

4. As a 2nd AC, it is important to listen for the shout-out "print". This is a call to circle that take on the slate. Sometimes, after a take will be called to print, more takes might be decided to be taken and called to print. If instructed to cancel the previous circled take in favor of the new, simply add dashed perpendicular lines around the canceled take's circle.

5. At the end of a roll make a slashed line below the last takes information, then proceed to write "Out at ____", filling the blank with the amount of feet. Also, if there is room in the unused parts of the camera report body, below "Out at ___" it is a good idea to rewrite basic developing instructions, such as 'Print Normal', 'Print One Light' or 'Push 1 stop'.

6. Using a separate notebook to keep track of more detailed information is greatly encouraged. For instance, writing the focal length, focus distance, f-stop, shutter angle, filters used, and other camera information is very helpful. But not all camera reports have these categories or enough room in the remarks field. Many of this information is not particularly necessary for the labs use either. Therefore having a spare notebook to take such notes is a great idea. At the end of the day attach your notes to the productions copy of the camera report.

7. If you are using multiple cameras, the roll numbers should precede the camera number. In this case, it would be a good idea NOT to reference the cameras by their serial numbers, but assign production letters to each camera (read point 8).

8. If you choose to assign production letters (during camera prep) to cameras (and even production numbers to magazines) versus using serial numbers, be sure to have written down (in a safe and easily accessible place) the key to which is which. Therefore, if the magazine labeling is removed or illegible, there is correct record to reference.

My Custom Designed Camera Report:
The following is my attempt at creating my ideal camera report:

• Along with the Director and D.P., I included fields for the 2nd AC and the Loader. The 2nd AC can sometimes be the loader, but if they were two different people, it is best to specify.

• I grouped like information together, in smaller groups, for faster location and identification on the camera report.


• I have both 'date loaded' and 'date exposed' fields, because I feel that both dates are important to know, and this also eliminates the confusion often created when a camera report just says 'date'.

• The body of the camera report follows a pretty standard layout. Many camera reports adhere to this exact layout. I opted to not clutter the report with more fields, and decided it was more important to have the remarks section larger so I may write anything I feel is necessary. I highly suggest an auxiliary notebook to write down all technical data which can be helpful in the future but may not be necessary on the camera report. Read Point #6 under 'Tips, Tricks, and Misc. Camera Report Info'.

• I decided to only mention 'Time to Gray Scale' and 'Print One Light' as specific suggestions. I didn't want to clutter the camera report with many options, but instead wrote 'Other' and left a 'special instructions' area at the bottom to cover any specific requests for timing or printing lights.

This concludes my exploration of camera reports. Any and all suggestions and/or corrections are welcome. The article will be revisited in the future to hopefully refine, add, and edit this report to keep it relevant, accurate, and beneficial.

-Ryan P. O’Hara
Cinematographer



Los Angeles, CA
Ryan@RyanPatrickOHara.com