The cameramen of films, series and series are the backbone in setting up film institutions. Among the many directors of photography and cameramen from all over the world today, there are many valuable and even world-famous names. This industry produces a large number of successful photography directors.
The cameramen are signing some of the most watched American and world series and movies. Many have been nominated for Emmy Awards, or winners of the prestigious American Cameramen’s Association Award for Outstanding Achievement in Cinematography.
The directors of photography and cinematographers are on the list of co-authors of the film, along with the main director, screenwriter and music composer (specially composed for use in the film / series). Other participants in the filming, who feel they have contributed their authorship, need to prove it. The cameramen were most often students at the Academy of Dramatic Arts (Department of Photography or Film Directing). They are members of the Audiovisual Council and societies of film directors, associations of film directors, and other film / cinema communities and societies. Each cinematography from one of the countries of the world produces several excellent creatives (cameramen) or directors of photography every year. Cameramen usually sign the opening and closing credits of movies.
The directors of photography still appear today at the announcement of the biggest and most successful world productions. Many cameramen, within the film community in their countries, have the status of co-author of a film work or chief cameraman-director of photography of an audiovisual work.
Future generations of cameramen will have to lovingly invest months and years of their lives into movies / series.
The co-author participation of the cameraman in the creation of the audiovisual work means that the cameraman has the task of visually shaping the film world. In doing so, he uses personal artistic handwriting. With its own technical excellence, it creates a unique film image language. Each cameraman personally invests in the cinematography of a country through his work.
Sometimes aware of the insufficient financial framework (on the basis of which film works are realized in countries), directors of photography often do not insist on the professional protocols inherent in cinematography. Cinematographies are based on purely market relations, i.e. the commercially oriented film industry. This resilient approach of the cameraman is fueled by an awareness of the given production frameworks. It is manifested in the cameraman’s consideration of the amount of compensation for the work performed. It is further manifested in the selection of the necessary technical tools for the purpose of the realization of the audiovisual work, where it usually moves through the selection of what can be financed from the budget. The personal skill and creativity of the director of photography seeks to overcome the inability to choose what is needed.
Also, the cameramen were encouraged to neglect the basic professional principles related to the production processes of the realization of audiovisual content (working hours, rest hours, overtime hours, etc.). Everything is for the purpose of creating a whole that will, at least on a visual level, proudly show the high artistic achievements of cinematography. The cameramen do all this because they have a passion and a desire for the joint work to be as good as possible. And because they are considered equal co-authors in the creation of audiovisual content, and not just technical staff who work on the basis of precise instructions from the main author – the director.
On the basis of the Law on Copyright Protection of each state, certain aspects of the right of authors to protect their property rights are regulated. Thus, the principal recorder of an audiovisual work has the right to exercise those property copyrights which, as inalienable, have been established for co-authors and which should be exercised in the system of collective protection. It is the legal tradition and practice of every country valid for over 60 years as the main cameramen are defined as co-authors of audiovisual works in many countries of the world.
Many authors publicly admit that they would not be authors without the authorial contribution of the cameraman. Numerous films would not look like that or win awards and popularity if there were no cameramen with entire teams and actors, if there was no camera talent, knowledge and experience and above all an exceptional contribution that is in many segments more important than the author’s / director’s. They would have been some different films, certainly worse and less successful had they not been for the director of photography behind the camera. It is an incoherent question – whether the cameramen, ie the directors of photography, are the authors of the film work – and should not be asked in general. It is completely self-evident that cameramen, ie directors of photography, are co-authors of a film work. It should remain so in the future.