During the last edition of the Film Festival Camerimage in Poland, it took place an assembly of cinematographers that lasted all day long. The session was divided in 2 main topics to be discussed. The first, in the morning dedicated to the issue of Working Conditions in the Film Production. The second part would be dedicated to Authorship Rights for Cinematographers.

Under the topic “Working Conditions” were stated some examples of bad practicing by productions not only in concern to long days of work but as well the lack of respect for the cinematographers in general. Those examples like reducing the number of professionals in the camera team, giving less and less conditions to the cinematographer to perform his work are common in many countries.

The conclusion was that nothing is equal from country to country or Continent to Continent. During the session only the French represented by Robert Alazraki AFC stated that the situation in France despite some loss of rights is still fairly good. In comparison to other countries France is still a paradise. In Germany for surprise for many of those present, was described as the down fall of working conditions in the last 5 years. Kay Gauditz bvk stated that Germany produces a great number of Television Films in comparison to feature films and productions are pressing tremendously with directors of photography to « hire a trainee as a loader, instead of a professional. In certain cases there are serious damages on shoots» even though the loss on badly manage loading is not enough to persuade producers in Germany to have a complete team on camera.

The result of long days and schedule changing by the minute is consuming the quality of life of film professionals; a woman operator Sybille Grunze from Germany made an intervention by mentioning the «degradation of social life. We find many lonely people in this business as we never see in other professions, why? »


In the United States ASC has a diplomatic approach to the situation, Kees Van Oostrum ASC stated that after the death of the camera assistant Brent Herschman in a fatal car accident after falling a sleep on the wheel «things got better but not enough». The ASC finds that the issue should be discussed by Unions «because they have the power to implement further steps». In the point of view of Kees maybe «legal suits can change the situation» describing after his own example when he fell from the top of the stage studio and pressed legal charges against the Studio. «After that there were signs all over signaling danger».

The IMAGO representative Tony Costa has described the situation to be very difficult to over come. The problem is common at a global level and no country can bring solutions alone. Otherwise those who implement working rules will be out of business. There is only one way to stop this nonsense by «Solidarity. It seems that the cinematographers and film people in general have lost the sense of professional group and act solely on their own. This can be changed if cinematographers and professionals find a common solidarity as a group». Tony Costa has as well explain why is IMAGO involved in this issue a matter that seems to be Union’s concern, « because Unions have exactly failed because solidarity was not present» . The fear of loosing jobs, the fear of loosing an opportunity, has condemned professionals to work under no regulations. «The only way to fight the fear is to get together» stated. The IMAGO representative has as well mentioned that at present times politicians do not have social rights as a priority, «now the agendas are centered on terrorism and globalization» to conclude «we are makers of dreams and we can dream too. We can make a boycott or a strike for one day starting in Australia finishing in America. It would be the first ever global strike in history. We could make at last one head line on the newspapers that day».


In concern to Authorship Rights the afternoon session was opened by Yost Vacano bvk ASC who has since 15 years discussed in Germany and abroad the right of recognition for cinematographers to be co-author’s of a film. He has explained the all procedure taken in Germany up to date. Today in Germany cinematographers are aloud to receive a percentage from blank tape levy and recording artifacts. On the other hand the situation has not improved for a real recognition by the law.

In France there are many doubts about the authorship recognition. In fact AFC has published the Image Charter which is a step forward to define the work and responsibilities of the cinematographer. Amongst the French cinematographers are divisions. Some are willing to defend the right of authorship and some others are against. To even worsen things in France, directors are not willing to support the whish of cinematographers. All these together bring many barriers for the French law to be ever changed in favor to cinematographers.

In contrary in Bulgaria where cinematographers are considered authors by law this problem doesn’t occur. In fact for many Eastern countries the problem of authorship rights are not an issue to be discussed but a matter of implementing it more strongly in order to support within the European Union other cinematographers.

Michael Neubauer manager of bvk has opened and concluded the session. At the beginning he has presented a strategy to overcome and face difficult problems. The discussion should end with a declaration on working conditions. After a vivid and profitable debate it was concluded the following text.

Declaration

On November 30th 2005 the International Assembly of Cinematographers at the Camerimage Film Festival at Lodz/Poland stated the following declaration to be communicated to National Government Departments, Labour/Social Security Authorities, Production Companies and to all relevant groups and professional organizations internationally.

* The working conditions on many Film and TV Productions around the World have deteriorated to such a critical degree that immediate action is imperative.

* We condemn the unnecessarily long working days and unsafe working environments to which film and television professionals are exposed, frequently violating existing laws.

* We urge the international film and television industry and governments to support cinematographers in resolving these issues.

* We expect representative film organizations to encourage relevant authorities to cease these exploitative practices and restore acceptable working conditions.


Tony Costa IMAGO – aip – Portugal, Vilmos Zsigmond – ASC – United States, Kees Van Oostrum – ASC – United States, Billy Williams – BSC – United Kingdom, Peter Dubovitz – HSC - Hungary, Jost Vacano – bvk/ASC – Germany, Robert Alazraki – AFC – France, Robert Fraisse – France, Louis Philippe Capelle – SBC – Belgium, Andrzej Jaroszewicz – PSC - Poland, Marek Poray – PSC – Poland/USA, Lance Gewer - SASC – South Africa, Gerry Fisher – BSC – United Kingdom, Nigel Walters – BSC – United Kingdom, Witold Stok – BSC – United Kingdom, François Lartigue – France Sibylle Grunze – Germany, Krzysztof Ptak – PSC – Poland, Mike Southon – BSC – United Kingdom, Kay Gauditz – bvk – Germany, Affonso Beato – ABC – Brazil, Laszlo Kovacs – ASC - United States, Phedon Papamichael ASC – United States