ABSTRACT
A DP and an operator have dozens of instantaneous decisions to make to keep the composition of a shot working throughout a take. Even in a shot where the camera doesn't move and things appear as simple as possible, an actor can move, and the subtle alignment of the shot will change. It may be a simple two-shot (any shot in which only two actors appear) in which the characters move closer together; the operator must make invisible pans to keep the shot balanced. It may be a large master (a shot that shows the entire action or setting of a scene); characters move forward and back and to the sides, and the operator wants to maintain a balanced frame, so it's time to work with his dolly grip not to lose actors or, worse, cut them off with the frame line.
