Explanation & Usage

The Standard Camera Report is a critical document for tracking all material recorded by the camera department throughout each shooting day.

It provides Post-Production, the DIT, the Script Supervisor, and the Editor with a clear, structured overview of what was shot, on which roll, using which settings, and with what creative or technical notes.

This report is filled out primarily by the 2nd AC, and in some workflows completed or cross-checked by the DIT.

Accurate Camera Reports ensure smooth editing, proper backup organisation, and a clear match between picture, sound, and metadata.

Below is a detailed explanation of each field as it appears in the Panavision Camera Roll Sheet.

1. TITLE

The official project title.

Should match all slates, sound reports, call sheets, and production documents.

2. DIRECTOR

The name of the Director.

Used for post-production reference and archiving.

3. CAMERAMAN (DP / Operator)

The name of the Director of Photography or Camera Operator, depending on production preference.

This identifies who was responsible for the visual material recorded on this roll.

4. DATA MEDIA / ID / MEDIA TYPE / CARD / DRIVE / SSD TYPE

This section documents the exact recording media used.

Typical examples:

• A001 – CFexpress Type B – Card

• B003 – RED Mini-Mag – SSD

• C002 – ARRI CFast 2.0 – Card

This information is essential for:

• DIT backup workflow

• Tracking which roll belongs to which camera

• Ensuring nothing is overwritten or mislabeled

5. SCENE

The script scene number for each clip on this roll.

Matches the slate exactly — for example: 27, 27A, 27B, 35C, 12PU

(Always use the American system with letters for setup.)

6. TK (TAKE)

The take number for that specific setup.

Pickups, series, or MOS takes must be labeled exactly as on the slate.

Examples:

• Take 3 → “3”

• Pickup Take 4 → “4 PU”

• Plate Take 1 → “1 PL”

• Series Take 2 → “2 SER”

7. CLIP

The clip number generated by the camera.

Example:

• A001_C0030

• B002_0007.R3D

• C003_0123.MXF

This is required so the editor can match recorded media to specific takes.

8. DUR (DURATION)

The duration of the clip as displayed on the camera or DIT monitor.

If unavailable, approximate length is acceptable.

Important for:

• Managing storage

• Reconstructing timeline in dailies

• Understanding retakes or errors

9. LENS

Record the full lens information for each shot:

• Focal length: “50mm”

• Lens series: “Arles Prime”, “Blazar Remus 1.5x”, “Sigma HS”

• Anamorphic or spherical indication

For multi-lens shots or swaps within a take, add a note in the Notes column.

10. STOP (T-Stop / Exposure)

Document the primary exposure setting:

• T-Stop or F-Stop (T1.4, T2.8, T4 etc.)

• ND filters influencing exposure (may also be entered under “Filters”)

This helps post-production and VFX understand the exposure baseline.

11. FILTERS

List all filtration used in front of the lens:

• ND (.3, .6, .9, 1.2…)

• Diffusion (Black Pro Mist, Glimmerglass, Hollywood Black Magic…)

• Specialty filters (Streak, Diopter, Split, etc.)

Essential for replicating looks and ensuring continuity between shooting days.

12. NOTES

Free-form space for any additional technical or creative information the DP or AC wants to record.

Typical use cases:

• “Soft sticks” or MOS confirmations

• Camera issues: ‘Mag dropped frames’, ‘Fan ramp at 04:12’

• Framing notes: ‘Handheld low mode’, ‘Steadicam’, ‘Crane arm 20ft’

• Lighting issues or warnings

• DIT warnings or color metadata

• VFX notes: ‘Clean plate after Take 4’, ‘Tracking markers applied’

• Lens swaps mid-take

• Timecode jam sync times

This is one of the most important fields for post-production.

Purpose of the Camera Report in the F2X Workflow

The Camera Report supports:

1. Post-Production Efficiency

Editors know exactly:

• Which takes are good

• What equipment was used

• Which roll contains which scene

2. DIT & Backup Integrity

Ensures that:

• No roll is duplicated

• No media is overwritten

• Backups match scene/take order

3. Communication Between Departments

Creates a unified reference point for:

• Script Supervision

• Sound Department

• VFX Team

• Producers

• Color & Dailies Teams

4. Continuity & Technical Consistency

Allows the DP and 1st AC to replicate:

• Lens choices

• Exposure values

• Filtration

• Setup decisions

  even days later.

Who Fills It Out? (F2X Standard)

Primary:

2nd AC — updating the report in real time or between takes.

Secondary / Cross-Check:

DIT — validating media IDs, file integrity, and clip numbers.

Final Recipient:

Post-Production / Editor / Production Office