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MillimeterICG Priorities: Diversity, Education
Dec 1, 2002 12:00 PM, By George Spiro Dibie, ASC
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For an essay on SMPTE by John L. Mason, click here.
 George Spiro Dibie, ASC |
Samuel Clemens, better known as Mark Twain, wrote that “the difference between the almost right word and the right word is really a large matter — it's the difference between the lightning bug and the lightning.” He was obviously talking about people who expressed ideas and emotions with words, but it applies equally to filmmakers today.
The International Cinematographers Guild (ICG) traces its roots to the late 1920s, when collective bargaining was needed to protect the rights and dignity of cameramen and crews. (Cameramen was the right word back then, because there were virtually no women cinematographers or crewmembers).
Today, there are some 6,000 members in the Guild, ranging from still photographers to camera crewmembers and cinematographers. Last year, the industry's publicists became part of our Guild. Our members work on films for cinema and television, commercials, variety shows, documentaries, and even news. They record still and moving pictures that tell compelling stories.
The ICG has been a leader in encouraging diversity and enabling talented and skilled women and ethnic and racial minorities to succeed in our industry. We believe that diversity is important because filmmaking is such a vital component of American culture and the economy.
Our original mission remains our main responsibility. Collective bargaining remains the key to fair wages and benefits and safe working conditions. The other major issues for our members today are jobs and continuing education.
The good news is that our industry is booming, in large part because many new cable channels are creating a demand for more and better content. The bad news is that so-called runaway production is draining jobs out of our country. Many American films are being produced in other countries, where the cost of doing business is lower, and because foreign governments provide seductive tax and other financial incentives.
Generally, runaway production hasn't hurt the top cinematographers, directors, and actors. However, the next generation, including camera crews, supporting cast, etc., are systematically being denied work permits and are often excluded from working on American films in foreign countries. American labs, post facilities, and many other specialties that support the production community are also suffering.
We have played a leadership role in organizing a coalition with other Guilds — a coalition that is lobbying local, state, and federal governments to be more competitive. We are also rallying our members to personally apply pressure on our politicians.
So far, four states have responded by passing legislation designed to encourage local film production. We are also lobbying our colleagues in the industry who can influence these decisions. Many stars and top directors appreciate the importance of telling American stories at appropriate locations in this country. Many of them also appreciate the talent, skill, and dedication of American crews.
One of our successful initiatives is our annual Short Film Showcase. This competition enables our members to advance their careers by showcasing their talent. Our Guild also plays an important role in the continuing education of our members. We conduct many workshops with topics ranging from “the art of lighting” to teaching new skills. Literally hundreds of our members have participated in training seminars involving the use of 24p HD and other new digital video cameras.
We have also been educating members to keep pace with the convergence of film and digital technologies in postproduction. Increasing numbers of films are now being timed and mastered in digital suites as an extension of the role of the cinematographer on the set. More cinematographers will now spend their time putting the finishing touches on images in digital suites.
Undoubtedly, you are going to read and hear a lot of hype about the power of this evolving postproduction technology, but remember it's just another tool. Artistry comes from the heart, soul, and experience of a cinematographer who has organized a talented crew. Like Samuel Clemens said, “It's the difference between a lightning bug and lightning.”
To find out more about ICG, visit www.cameraguild.com.
George Spiro Dibie, ASC, serves as National President of the International Cinematographers Guild.
Continue the discussion on “Crosstalk” the Millimeter Forum.