Alright – so today we’ve got the honor of introducing you to Camila Gomes. We think you’ll enjoy our conversation, we’ve shared it below.

Alright, Camila thanks for taking the time to share your stories and insights with us today. Can you talk to us about a project that’s meant a lot to you?

“Vikings” wasn’t just a series; it was a monumental project that played a crucial role in putting Ireland on the global cinematic map, pushing us the crew to our physical limits by climbing and descending mountains, navigating through beaches, and managing scenes on boats filled with many extras alongside numerous actors. Our days were dictated by the demands of filming with up to four cameras simultaneously, a task as daunting as it was exhilarating.

The intensity and complexity of working on “Vikings” served as a crucible, forging skills and resilience among us. Unlike many who found the rigorous demands of the set overwhelming, lasting only about a week, that was precisely where I thrived. The extended hours and occasional overtime became not just a test of endurance but a badge of honor for me. This initial exposure to the industry provided me with a richer, more hands-on learning experience than many of my peers who embarked on their careers elsewhere. The dynamic nature of the work required quick learning and adaptability, qualities that the “Vikings Boys” team, within which I was the sole female member, embraced and nurtured in me. Their respect and willingness to share knowledge laid the foundation for my skills in organization, discipline, delegation, and reporting — critical competencies in managing camera work, handling, and safeguarding equipment.

Camila, love having you share your insights with us. Before we ask you more questions, maybe you can take a moment to introduce yourself to our readers who might have missed our earlier conversations?

My passion for cinema led me to pursue an opportunity to immerse myself in the industry while I was a student at BIFE College, Bray Institute of Further Education. I reached out to my professor, Michael McCudden, who facilitated a day for me to shadow Ivan McCullough, a director of photography, on a commercial set. This experience provided me with a firsthand look at the operation of the camera department, sparking my determination to become part of it.

Realizing I needed to start as a camera trainee assistant, I began a campaign of sending emails to the tv show contacts. Among my attempts, I reached out to Vikings Extras, who, although they did not hire directly for production roles, kindly forwarded my email to the production company. To my fortune, the Vikings production team offered me a week-long internship. Despite not having a driver’s license at the time, my husband supported me by driving me to and from Ashford every day.

This unpaid internship week proved pivotal. On the final day, Alan Butler, my supervisor, presented me with a contract. Registration with the company followed, marking the start of my journey. My proactive attitude, willingness to learn, and readiness to tackle any task—regardless of my initial lack of knowledge—led to increasingly frequent calls from the company. Within less than two months, I had transitioned to almost full-time status with them, illustrating the power of determination, initiative, and the invaluable support of those around me in achieving one’s aspirations in the film industry.

I believe that what really sets me apart from other assistants is my ability to coordinate a team. I manage to organize a team in a way that prevents anyone from feeling overwhelmed, by distributing tasks effectively, obtaining feedback, and ensuring that the first assistant can focus on their own responsibilities without worrying about the assistants below them. Additionally, I’ve learned to focus and possess skills with equipment like the Ronin. This often makes first assistants prefer to hire me because, if they have the chance to operate the camera, I can focus for them. Many camera assistants also do not know how to use the Ronin, but I do, which is something that distinguishes me.

Regarding team organization and management, one thing worth mentioning is that, from the trainees and second assistants under my supervision, I can discern how they prefer or learn best. For example, there are individuals who won’t do what I want if I tell them directly. So, I need to approach them differently. I strive to find the best way for each person to learn what I’m teaching without making them feel uncomfortable. By analyzing each person’s personality, I aim to apply the most effective method possible to ensure quality development. Depending on the individual, I prefer to be the type of person who gives others opportunities. I teach my trainees how to work and let them work because they’re there to learn to be a second assistant, right? Some second assistants think the trainee is there just to fetch food, but I believe we’re not signing a contract to be a waiter. We’re there to work and also to perform these types of services.

Talking about my journey reminds me of all the ones that helped me build it. So a tremendous thank you to the remarkable assistants who have guided me, shared their knowledge, and demonstrated the profound impact of mentorship. Alan Butler the 1st Ac, David Doherty, Conor Crowley, Eoin O’Keefe, Luke Murphy, Donal Murphy, Cris Ayoub and many others, have each played a very important role in my development. Their patience, expertise, and willingness to teach have been instrumental in my progression from a trainee to a trained professional.

Are there any resources you wish you knew about earlier in your creative journey?

I believe that my journey into the world of film would have been significantly smoother if there had been a specialized course available on becoming a camera trainee when I first started. Learning primarily through trial and error meant that my progress was shaped more by my own mistakes than guided instruction. As a result, my path to proficiency was not as lengthy as it might have been, but it was steeped in self-taught lessons. A dedicated course could have potentially shortened this learning curve. Unfortunately, such specific training does not exist. While there are numerous film school courses focused on cinematography, they predominantly concentrate on film theory rather than practical, technical skills needed on set. I have yet to find a course that thoroughly addresses the technical aspects of working on set in a manner that prepares you for the real-world environment. The initial foray into on-set work can be daunting; without proper etiquette and know-how, opportunities can easily slip through your fingers. Fortunately, my background in photography and client relations in Brazil endowed me with a set of transferable skills. These skills enabled me to navigate and eventually secure my place in the industry, learning incrementally over time.

Is there a particular goal or mission driving your creative journey?

My current aspiration is to become a director of photography. While pursuing this goal, I’ve found a genuine enjoyment in the role of a camera assistant. Progressing through the ranks of the camera department serves as a fundamental pathway to achieving the position of director of photography, encompassing roles from camera trainee to second assistant, first assistant, camera operator, and finally, the director of photography. Initially, when I envisioned myself as a director of photography, I had little understanding of the camera department’s intricacies. It wasn’t until I worked on a major commercial project that I became fully aware of the specialized roles within the department and the collaborative nature of our work, revealing the complexity and division of labor that ensures the magic happens on screen.

Contact Info:

• Website: https://www.imdb.com/name/nm10011848/
• Instagram: https://www.instagram.com/camilabertogomes/
• Linkedin: https://www.linkedin.com/in/camila-gomes-571831bb/