Direct from Fort Mead Maryland . This
is Infos .
Hello and welcome to this , our third
anniversary episode of D Infos Live .
I'm major David J Murphy , an
instructor and your host for today's
program . And as I said , this episode
represents the beginning of our third
year on the air presenting important
topics related to the public affairs
career field . On this month's episode ,
we'll be talking all about Dinho visual
documentation course and the importance
of combat camera as an information
force . Joining us to help understand
these topics are two Dinho instructors .
It's our first class , Charles props .
Welcome program . Please have a seat
and Mr Drew Prachi , welcome .
All right , gentlemen . Thank you so
much for joining us today . Now ,
before we get on with the questions , I
of course , have to remind our audience
that if they'd like to ask a question
of our guests , so please leave that in
the chat or the comments down below and
we might just read them on the air . We
should also take a moment to
acknowledge that we're all wearing
denim today in honor of denim day a day
in which we take time out to support
the survivors of sexual assault and to
educate ourselves and others about all
forms of sexual violence . Find out
more about Denim Day by visiting Denim
day.org . All right , let's get on with
the questions . Shall we first ? Can
you please tell us about yourselves and
your career ? Uh So , yeah , my name is
uh sergeant , first class Charles
Probst . Uh I'm a combat cameraman or
when I enlisted , it was a visual
documentation production specialist .
Uh I've been in almost 18 years , I've
been doing this my entire military
career . Uh I deployed to Iraq in 2008 .
Uh So I did a lot of combat missions uh
during that deployment . Um And I've
done everything from operations to
training uh out at the National
Training Center in California and um
shot photo and video my entire career .
So I'm Drew PKI . I recently
retired from the Marine Corps back in
2022 as a martial art . I uh started
out my career as combat photographer uh
back in 2002 and uh
then three tours in Iraq , 2004 , 2005
to 2006 and 2007 to 2008 . I did one
deployment with 26 MU and then finished
up my career at the Pentagon . Um So
I've been COM CMV I my entire career 20
plus years . That's great . Well , why
we start first by establishing
understanding of what combat camera is
all about and why do we differentiate
it from typical standard public affairs .
Yeah . So combat camera has been around ,
you know , since cameras were , you
know , invented , it's been in all the
wars . Uh And I think that's one of the
main missions of combat camera is the
historical documentation . So we use uh
V I in a sense that we want someone on
the ground to be there documenting
what's going on and what's happening .
And that could be for a lot of
different reasons , whether it be to be
pushed out to the public or for the
commanders there on the ground or
historical documentation , some of the
photos and videos that we take , you
know , end up going all the way to the
um chief of staff to the president . Um
that type of thing . So the importance
of our photography is , is crucial .
Absolutely . Uh combat camera ,
individuals are the eyes and ears of
their commander . Uh So whatever , you
know , command the their commander
supporting whatever mission , uh they
need to be able to get imagery that
supports the commander's intent . Uh
And uh to do that , you gotta have
somebody that is trained in it . You
can't just be given a camera to anyone
and expecting them to come back with
imagery that hits the mark . Um So we
have a whole career field for it as
well . We should because you don't need
to be given a camera to somebody whose
main job is a to put rounds down range
or to operate something else . Uh that ,
that's where we come in . So let's go
into a little more detail in terms of
the specific objectives of a combat
camera operator versus more of a , a
conventional public affairs
professionals . What's one of the
specific objectives of those two career
fields ? So there is a little bit of
overlap , right ? So we , we do have
very similar um objectives , but there
is a clear um difference in combat
cameras mission and , and what we're
out there and required to do . So I I
believe combat cameramen focus more on
the visual side of it and obtaining
that imagery and as public affairs ,
you know , their main mission is more
on the route of telling stories , um
writing stories and art . Uh So that's
where we focus and the people , you
know , seven years ago depos moved to a
mass communications foundation course .
So all the I comes into depos and takes
the same basic course to get , you know ,
all the the elements . But we have a
follow on course vis doc where we um
focus more on the , the training aspect
of getting them out there and being in
an uncontrolled environment and taking
photo and video . Absolutely . And also
to uh combat camera's primary focus is
for that commander . So internal
communication uh with a by product
being uh things can be released to the
public . Whereas public affairs primary ,
it's getting information out there to
the public uh in a timely manner with a
secondary effect of . Ok . Now that
imagery can also be used as lateral ,
you know , communication between
commanders and stuff like that .
Absolutely . Can you elaborate on the
specific training and requirements for
our combat C robberies ? What , what do
they specifically need to be able to do ?
So specific training , um you know ,
can go both on the side of equipment
and , and things of that nature . Um in
vis do we focus on training them on how
to get document like uh in a true
uncontrolled sense ? So to an extent ,
we put them in scenarios that they're
not familiar with and , and we have um ,
they have no control and they are put
under the gun under the pressure to ,
to try and document and produce imagery
and , and be under that constraint .
Absolutely . Um When we uh put them
through these exercises , we have uh
operations order that we read them and
we try and indu introduce that to them ,
uh you know , in our course . So that
way as they get out to the fleet and
field , they're a little bit more
familiar with . Ok , I'm attending this ,
you know , operations order or patrol
brief or whatever it may be . Uh and
they can kind of pay attention to it
and figure out , ok , here's the parts
I need to pick out that pertain to me
and my mission . Uh And maybe at that
point it's you're not brought up and
they have to raise their hand and say ,
hey , excuse me , what about this , or
I'm here for this . Um , so , yeah ,
that's , that's what we hit on . Yeah ,
I know when I was a , uh , first combat
camera , we were focused on not only
training the camera side of the career
field . Right . Ma making sure that our
members were extremely proficient with
how to shoot imagery , but also on the
military side . So proficiency with
their weapon on a regular basis , uh
skills with close quarters combat or
things like that . So it's a different
set of skills that are trained on a
regular basis for sure . Absolutely .
So specifically how do combat camera
operators specifically maintain their
professionalism and especially their
accuracy when they're shooting things
like that are of a sensitive nature or
perhaps are classified ? Yeah . So ,
you know , we have doctrine and
regulation that helps govern um things
like classification and um clearances
and things of that nature . So , you
know , our role as visual information
um is to capture everything . So we're
focused on getting that imagery and
then later on will come , you know ,
someone who authorizes it to be
released to the public or if it's for a
certain commander . Um So being able to ,
to know your job and be able to pitch
that to who , you know , someone that
may be like , hey , don't take pictures
of this . Well , it's my job to be out
here taking pictures . Um I it's hard
to , to avoid but you know , elevator
pitch . Yeah , the elevator pitch .
Absolutely . Uh They also one of the
things we teach in our class , uh we
hit on a little bit more is that dod I
50 40.02 because that governs all V I
operations within the dod . So it's
literally the backbone of , of what we
all do . Um And we , we introduce that
to him , uh good knowledge for them
to , to know when going out there . Um
You know , what , why are you out here ?
OK . What says you need to be out here ?
Well , if you go back to this document ,
this is our mission and this is what we
do and I'm here as a part of that
mission . Uh And then each of the
services have their own uh orders as
well that govern public affairs ,
combat camera uh or just V I stuff .
And I can tell you specifically from ,
you know , like the first combat camera
side and of course , I'm sure it
applies to all the services is that ,
you know , if our operators are
photographing something as of a
classified nature , that memory card
specifically gets locked away in a
secure area . And that's now the
classified memory card , right ? So ,
yeah , we're getting a little to the
nitty details , but I think it's
important that those who rely on us for
imagery , those operators out there ,
understand that we take the security of
the image very seriously . Absolutely .
So , since we're talking a little bit
about cameras , let's get into
technology , right . What are some of
the technological advancements that
have really helped our combat camera
operators able to do their job and do
it very efficiently ? So , you know ,
technology is always getting better .
Um We see that and , and once it hits
the army hits the marines , um it's
good to get your hands on new equipment
that's gonna help us do our job better .
Um So , you know , when you go back and
look at things that have came out and ,
and made our job better , you think of
like go Pros when go Pros came out ,
like that was amazing to be able to
throw a camera on something and get
that perspective . Um And now I think ,
you know , making that transition from
DS LR to mirrorless cameras , um just
giving us higher quality imagery and
video and the ability to do our jobs in
a way that , you know , is producing ,
you know , industry standard um video
and photo . Absolutely . And I think
the uh the biggest technological event
I was going digital was it was getting
rid of the film . Yep . From film to
digital . Uh That was just a pain in
the butt . We used to have to burn C DS
to transfer imagery or send it back to
the fob . I know I had to do that burn
a CD in my video and put it in a inside
out MRE container and write my
sergeant's name on it and send it back
hoping it gets to him . Uh Thankfully
it did . I checked on it . Uh , but
that along with , uh , like the
internet email , um , now we have
systems like the began palm system that
you can , you know , they can , that
are man portable and our service
members can take them out there with
them . They can accom , you know ,
gather the imagery that they need and
then turn right around and send it back
to their supervisor , send it back to
that commander or their staff or
wherever it needs to go . So we have ,
I think as close to real time as we can
get right now feasibly and fiscally , I
think that's as close as we can get .
Absolutely . I mean , the capability
and ability to transmit imagery from
the field almost instantaneously back
to a uh you know , point of contact or
a center or somewhere where it's trying
to get is remarkable . It's light years
ahead of where I remember being in ,
you know , you're inside your hooch on
your cot trying to , you know ,
download and transmit imagery and it's
just , you know , it can be achingly .
So and I think technology is also a
good piece to highlight the fact that ,
you know , cameras right are
continually advancing and increasing in
their megapixel range , but it's not so
much the amount of megapixels is the
amount of ability to transmit those
megapixels quickly , right ? Because
that time is of the essence , right ?
Talk to me about some of the ethical
considerations that govern the the use
of visual documentation products . So
same thing , you know , we have , you
know , regulations and things that um
we focus on in the class and , and also ,
you know , all the services , we're all
in the military , right ? So we live by
core values , um integrity , um that
type of stuff . So we just tell our
students that there's certain things
that , you know , you're not supposed
to do , not take photos of . Um and ,
and we um relate to them that , you
know , at least in combat camera ,
we're not in the , the means of like
changing an image or doctoring
something to , to make a story a
certain way , right ? We're , we're
more focused on taking a photo taking
video in camera the way it is and how
it happened and , and being able to let
your imagery speak for itself in , in
that fashion . Absolutely . And then
the uh the dod I 5040 that has a whole
part in there with uh talking about
ethics and uh unauthorized
manipulations of imagery or say , hey ,
if you do have to manipulate the image
such as uh and I'm sure we've all done
it , accidentally found ourselves in an
area where they did not sanitize it
even though they told us they did and
now we gotta go back like badges or
something like that and we gotta go
back , we gotta put , you know , blur
it or do something to it . Uh But even ,
you know , back to the Dod I and then
the Dod style guide , you know , it
says in there , hey , if you do any
sort of manipulation , you have to
disclose what you did because you have
to be completely honest about that
image . Here's the image , here's it ,
it's as truthful as you can get and
here's what I had to do to it because
of opsec or whatever it may be . So
they're following the same basic rules
and regs that guideline and dictate
every public affairs professional ,
what they do and can , cannot do in the
the field with regard to imagery . So
when we're talking about combat camera ,
it's not always just one person , right ?
Sometimes they send people out in teams
to support an effort . So you can talk
to me about what makes up a combat
camera team , how we send those out to
different areas and and what do they do
when they get to those joint operations ?
How are they interacting with , with
agencies that might want to utilize
their services ? Yeah . So it , it's
gonna vary by service . Um uh I think
it is very possible for you to either
be alone by yourself or , or in a small
team , you know , photo video or or ,
or couple . Um but the the big thing is
is being able to attach to a joint
environment , right ? So as a combat
camera team , you could be supporting
any kind of service , navy , army
marines um and any type of unit . Um
I've been attached to artillery units
and infantry units , striker brigades .
Um being able to go into that
environment and we talked about the
elevator pitch right ? Being able to
convey to them what your capabilities
as a combat cameramen are and show them
like , hey , this is what I can provide
your commander . These are the type of
images that I can give you and being
able to do that confidently enough and
back it up and do your job . So
certainly and then I think you , you
alluded to it at the beginning of your
answer . Uh the the makeup of the teams ,
you know , you could have , we try to
as much as possible photo video , it's
just easier to get imagery when you
have to focus on one or the other .
However , we train and we do , we have
hybrid students in our course that do
both and they do it very , very well .
Uh You know , there may be times when
one single person has to do both but we ,
we try as much as possible . I know at
least in my career , I tried to send
out teams , but it also depends on the
mission , mission dictates . I know
back in 2011 when you had the Fukushima
incident , uh we were told at first
like , hey , we need a , you know , a
photo video team to go in the next 24
hours and then 30 minutes later , now
we need two more people . Now we need
four more people . And before I knew it
within 24 hours , it was me about 10 or
12 other marines on mainland Japan
supporting that . Um But that was a
much larger scale operation .
Absolutely . You know , of course , you
mentioned different operations and of
course , no job is without its
obstacles , right ? So how do combat
camera operators commonly overcome
these obstacles that they might face
both , you know , in the field and
during operations ? I think the the
biggest challenge for them is getting
to a unit and having to repair any
relationship that might have been
damaged from somebody not doing their
job appropriately . Um But really ,
it's just uh I think the ne the next
one after that would be the elevator
pitch , getting them to realize , hey ,
here's who I am . This is what I can do
for you . This is how I'm gonna do it
and being able to say that
intelligently to that commander because
they might have to , you know , talk to
a commander of their staff or senior
enlisted and letting them know ,
educating them on . Uh This is what I
can do and then going out there and
doing it and doing it well . Um , and
basically not just doing it well for
themselves , but they're also helping
out whoever follows them in their
footsteps . Six months down the road ,
a week down the road that attaches to
them and they could say , oh , you know ,
oh , you're , you're with combat camera .
Hey , I knew some first class pro . He
was awesome . Um , yeah , I think
that's the biggest challenge . I , I
think for me , you know , and we , and
we tell our students this all the time .
Um It's really important to be ready ,
right ? We talk about deployment
readiness and all that , but really
mentally and physically being ready to
support the mission because even when
you're in a deployed environment or an
operation , you gotta be able to grab
your camera and go and be focused on
what you gotta do to , to do that . Um
And it's really juggling a lot of stuff ,
right ? So we have a lot of missions
that overlap . So , you know , we have
to focus on what the commander wants .
We have to focus on capturing , you
know , this amazing imagery that we
wanna push out . We may be working on a
project , but you're collecting all of
that imagery at the same time . So
being able to focus and , and control
all that at the same time and being
able to do your job at a high level .
Absolutely . So we talked a little
about , you know , what the combat
camera operator does when they get back
to their hooch or get back to their
office and , and deal with their
imagery . So talk to me about
specifically the post production
considerations and editing requirements
that are specific to our combat camera
and visual documentation uh specialists .
So we , we focus a lot in vis doc um on
the limiting the amount of post
production that we do . So we , we
teach them to get stuff in camera . So ,
you know , like zoom in with your feet
and , and less photo and video editing
because our job in a sense is more
important to push out imagery in a , in
a fast and quick manner . So we don't
want you to come back from a mission
and spend , you know , two days editing
a photo or two days editing a video
piece together . It's more about
producing um short cuts or a stringer
and a short amount of photos and being
able to push that out to your commander
or to Davids and get it out to the
public as quickly as possible . And ,
and the benefit is that timeliness .
Yes , the timeliness is , is absolutely
key with that . And we do , we focus on
a , you guys need to get it in camera
as much as possible that's gonna reduce
your editing time . Uh And it just
makes things easier because , you know ,
when you get back from a mission ,
depending on how long it is , you know ,
you're tired , you're hungry . You
wanna shower . Uh , imagery comes first .
That's , that's the first thing you
gotta do . You get back , hey ,
everybody else , you know , all the
grunts you were with , they just , you
know , they got released and they're
all going to chow , guess what ? You
need to finish your imagery . Uh , and
they're by teaching them to get it in
camera . I think , uh , we're helping
them out for those things where they
don't have to spend as much time . Uh
Because who knows when the next mission
is gonna come up too , you could sit
there and think , oh , I got the rest
of the evening for this psych , you
know , hey , three hours , we need you
to go here pretty much . Yeah , I know ,
like in first combat camera , we
trained to an hour standard when it
came to you , you know , you get back
at the home unit as soon as you're able
to download out process , get your
select , get your B roll stringer
together in that hour timeline because
it is so crucial to get imagery to
leaders and , and timeliness is very
important right time is of the essence
at all times . So that was , you know ,
typically what we train towards , talk
to me about some of the the specialized
techniques and equipment that combat
camera operators typically use .
So we focus a lot on the training ,
right ? We say training and that's both
like the types of training we do and
equipment that we use . Um , we have to
take this combat cameraman and put them
on a level that they can attach to a
special operations or a ranger
battalion or , you know , so somebody
who's at a higher level , um We want
that combat cameraman to be able to
seamlessly attach to them and be using
quality or similar equipment that goes
with like rifles and weapons uh systems
training . Um And even specialized
training . Like we in the army , we
send them to airborne air assault
combative is another one that we wanna
have our combat cameramen at that level .
So that when they attach to that unit ,
there's no um dation between that
soldier and to go along with that , uh
the , the equipment that they use as
well . The dod loves to do operations
at night . So night vision that ,
that's one that we hit on uh night
vision , low light operations . That's ,
that's a big thing that the , the
military does . Um , but it could
depend on where you're located . You
could have a unit that does more
production stuff . So , ok , now we
have a slider for our video cameras .
Um , you know , we got boom mics or ,
or whatever it may be uh on the mew
because we did amphibious operations .
I got us all dia packs . It was just an
all weather pack that was good up until
about , I think 10 or 15 ft underwater ,
which was more than enough for what we
do . And we really just needed to keep
the water off our cameras . Uh , but we
have to train with that though . You
can't just necessarily give it to him
and say , hey , here you go , do four ,
go forth and do great things . We gotta
give them some of that training . So we ,
we try , at least with the night vision
and the camera DS LR camera systems
here at Dim Os , we try and train that
stuff , the rest of it though , that's
gonna be when they get to their unit .
Absolutely . And you know , going to
that same point that fir first combat
camera , we focus not only on the
visual proficiency training , you know ,
of course , being an expert with their
cameras , but also combat training . So
being able to be proficient with their
weapon being and able to do close
quarters combat and , or things like
that again , so they can maintain that
operational effectiveness and
ultimately keep up with the unit
they're attached to , you know , and of
course , I mentioned that only to say
that obviously there's no job that's
without risk , right ? And there's
obviously inherent risk within any job ,
but combat camera specifically ,
they're putting themselves out there
and , you know , pretty dangerous
situation . So can you talk to me about
the , the balance from the need to
capturing compelling imagery with
obviously doing their job and uh
keeping in mind operational security as
well as any sort of risk that may come
from combat situations . Yeah . So it's
a line , right ? And , and it's hard to
determine specifically for each person
where that line is . Um We , we teach a
lot about , you know , not getting lost
behind the lens , so not focusing so
much into the camera , um that you
forget where you're at , like you're in
a combat situation . So you , you wanna
capture compelling imagery , you wanna
be , you know , in front of the unit
and , and taking that imagery that
people wanna see , but you gotta also
realize that you're a soldier , you're
a marine first and you may be putting
yourself in harm's way . So we do , we
focus a lot on safety and , and what
kind of things that you should be aware
of when you're documenting ? Definitely
that that's even one of our first
classes in the course is a class all
about safety because uh to echo what
both of you had said is being active
duty is inherently dangerous , right ?
It just is , it doesn't matter what
your job is . And then when you find
yourself behind the camera trying to
get imagery uh of whatever is going on ,
it's even more dangerous . So we try to
impress upon them the importance of ,
hey , you need to make sure like extra
sure that you are being safe in what
you're doing . Uh And then that , that
line , that star first class prose was
talking about uh when you know , when
do you pick up your weapon or , you
know , put it down , I always go back
to what , uh , my MS Sharon said years
ago , which was , you know , I , I
can't tell you when that's gonna be ,
um , but all we can do as , as leaders
and in this case , instructors is we
can just give them the best possible
training that we can . Uh , and then
it'll just , when that time comes , if
it ever comes , it'll be their
experience , their knowledge . Uh and
they'll hopefully be able to make , you
know the right decision for them at
that time . I'm glad that you emphasize
safety . So inherently within your
course , because I think that's
important , not only in the operational
environment but also in the training
environment , right ? Because it's very
easy to get , you know , lost in the
sauce , so to speak , with regard to
how you document and not be focusing on
all the different things that are going
around you . So it's very important to
uh focus on safety 100% . They get hit
with a paintball in our in our Oh OK .
There you go . I'm paying attention .
Can you talk to me about some specific
examples ? In which case , you know ,
the the work from combat camera
operators has actually significantly
contributed to the mission or a
specific objective . So for me , in my
experience , um you know , it was eye
opening to me to see how you know ,
combat cameramen work in a , in a
theater and operational environment .
So we talk about information operations .
So at the top , you know , we're
pushing down to individual combat
camera teams like , hey , we want
photos , we want video of this um so
that we can use it for certain things .
So me as a combat camera team in Iraq ,
um I remember like taking photos and
videos specifically of like Iraqi
forces helping out the military or
Iraqi forces being in the front and
leading patrols . And um uh on a more
specific note , rebuilding Iraq . So
like photos of us helping them rebuild
their communities , rebuild their
schools and their um pools and stuff
like that . So that , that , to me was
highlighting that for me personally ,
it was uh 2005 in Iraq . It was the
first Iraqi election . Um And uh all
V I assets in the area were basically
told like , hey , you're , you're gonna
be getting imagery of the polling sites .
Uh I happen to be with Second Marine
Aircraft Wing . So we are up in the air
taking , we had a photo video teams
going on helicopters and they were
getting aerial imagery of the polling
sites and we had uh whatever team we
had up , the other team was back ,
getting slates and stuff right us back
when we used to do slates uh getting
the slates and the captions ready for
that first team . And I remember coming
back from my first , uh , flight and on
there on the TV was the imagery that we
had just shot . Um , not my team
specifically , but the one before us
that we had helped get out and just
seeing that on there was probably the
coolest thing in the world because it's
on CNN Fox news , it's all over the
place and it's like , wow , we just did
that and now the entire world is
looking at what we just did . Um That
was probably the the coolest feeling .
Yeah , absolutely . I've seen instances
where the imagery from , you know ,
troops who worked for me actually was
making its way , being espoused by the
president , right ? And being shown as ,
as an example of again , what's going
up there and helping them make
decisions at the very highest levels .
Talk to me about what the visual
documentation course is all about ,
right ? We've kind of touched around it
and walked around it . But what is the
visual documentation course ? How long
is it , how do students get into it ?
And you know , again , what does it
provide students ? And I believe we
actually have some footage from uh some
of the operators in the course , some
of the students . Yeah . So um vis do
is a is a course at Dios that's um
usually taken after completion of the
MC F course . Um So there is some
legacy people that can still still get
into it , but we get a lot of um army
and marines that come from the MC F
course that have um requirement to
have a follow on of visual
documentation . Um We do give um some
navy who use it in that sense , it's
not a requirement but they , they go ,
come back to dempo for more combat
camera training um in the vis do course
and then the Air Force does their
training um separately , but we'd love
to see Air Force , you know , in the
combat camera in VIS doc . And really ,
it's a , it's a 22 day course and we
focus , it's the only course in Dios
that still utilizes and goes out to the
FTX site and we go out there and , and
put him through real world scenarios
and where we're teaching them stuff
like patrols and medical scenarios and ,
and sse or a sensitive site
exploitation stuff that they're gonna
see when they get to their units and
we're running them through that
multiple times to get them , you know ,
experience in a , in a true
uncontrolled action environment . Yes .
All of what s probes just said in
addition to I know for the Marine Corps ,
it's an M OS producing course . So if
you wanna be a videographer ,
photographer , you have to go through
this course and graduate , become a
4541 or 4571 . Uh So they actually they
need it to uh get their M OS . But as
they're going through it uh we take all
these scenarios that we put them
through . We're , we're taken from real
life experiences of the instructors ,
historical stuff , uh just from our
experiences , things we've had to do
numerous times throughout our careers .
And uh all of it builds off it . So we
start out at the baseline just kind of
getting them re familiarized with their
camera systems because for some of them ,
they had to wait . That's the other
thing , we have a pretty decent wait
time for , for getting students into
our course and we're almost always full
max amount of students , which is great .
Um But we're trying to re uh make sure
that they're at that baseline if they
can manipulate the camera confidently .
And then we start going through
different scenarios and each scenario
builds off the next and off the next
with the final culminating exercise
being the , the FTX uh where we use
paintball guns . And now they actually
have to deal with the threat of getting
shot at and getting hurt . Potentially ,
it just stinks . So is that that kind
of the , the real world and sort of
scenarios that you put them through ?
And is that kind of leading to that
Capstone you mentioned ? Yes ,
absolutely . 100% . And are , are those
informed by the career field or those
informed by your own personal
experiences ? So they're informed by
the instructors ? But we , we use um
you know , career field experiences to
determine our curriculum and help build
upon those things . Like we pull
straight from the dod I and regulations
to , uh , to produce the , the
scenarios . And I can tell you from the ,
putting the course together the design
of it . Um , having been in on the ,
those meetings , I was the , the US MC
rep . Um , it's , it's based off of ,
here are the , here are the things we
want them to know . Uh , and then they
basically let it , let it leave it up
to infos of how , how you get there is
on you , but we just need to make sure
that these individuals know XY and Z .
So , you know , the vis a course is
kind of like that basic training for
the combat camera operator . But what
kind of educational opportunities exist
for follow on education . So if a
combat camera person wants to , you
know , further their skills or
education , where can they go , what
can they do ? What resources are
available to them ? Yeah . So a good
place to start is always , you know ,
de info's right . DeVos offers a lot of
follow on courses that um people can
come back and attend , you know , I PC
um intermediate motion media course ,
uh that type of thing . And , and
that's a good place to start . Um aside
from that , you know , furthering your
education on your own , like premier
classes , that type of thing . And I
think um you can talk a little bit
about Syracuse . That's a good program .
Yes , Syracuse is a great program uh
for individuals to go to .
Unfortunately not all services are
participating in it at this time .
However , having gone through it , it
was a phenomenal course . I know you ,
you went through it as well , sir . Um
It's a great course . Lots of great
information and that is the top level
schooling for uh for V I com cm in in
slash P A . And the dod uh highly
encourage that , but obviously not
everyone can go . I agree with uh some
first class probes . The the
intermediate courses at Deos IP CD MC ,
IM MC are all phenomenal courses . Uh I
pass another great course . Uh Then you
got youtube University , um even Yu
and uh even , you know , college
classes take college classes on your
own time . Uh I've had numerous
individuals that I've known throughout
my career that were furthering their
education on the civilian side , you
know , going through college
universities and uh and just great
information that they're getting
workshops , dod dod workshop , just D
CDC . Shoot off just happened . Um 55th
has the special specialist Hilda
Clayton Best com cam . That's a great
opportunity to go out there and
showcase , you know , your combat
camera skills and compete against , you
know , different countries and
different branches in in one
competition . The first come c just
hosted the Scorpion Lens recently ,
which was all about the V I stuff that
was phenomenal from what I heard of ,
one of our other instructors , ST Leger
was down there . He said it was a
phenomenal training experience . Um
Yeah , all of that are available re
really anything extra you can do is
only going to help you . Indeed .
Awesome . That's good to hear . How do
you instill a sense of both
responsibility and commitment within
these students in the , in the 22
training days that you have them . So
for us and , and we're fortunate enough
to have a , a pretty good team , right ?
So , um how we pick people to be on the
vis doc team ? Um Luckily we ended up
with , with great knowledgeable
instructors and , and we kind of put um
our experiences out there for the
students and kind of relay the
importance of what we've done and the
importance that they're gonna have when
they're out there documenting . So , uh
we just use our , our own experiences
to , to help drive that . Yes , we do .
Uh And it , it is valuable that each
one of us has slightly different
experiences . I think it's , that's
probably one of the most valuable
things because we can sit there and
talk to them about things all day long .
But if we can't break it down in a way
that they can relate to , uh is , you
know , through one of our experiences
or something , being able to or
sometimes show them videos , I know uh
summer and first class probes has got
this great video that he uses , talking
about sense of exploitation that he did
when he was in Iraq . So it , it
definitely helps the students I think ,
realize that , hey , our instructors
know what the heck they're talking
about . Um So we'll listen . But
uh we also impress upon them that , you
know , this is an extremely important
job . It is high demand , low density
across the entire dod . Um And so
to do this job , you have to be able to
do it . Well , uh , we're a small
community . Everyone knows each other
pretty much , you know , so we try to
press upon them that you , you are
going out there , not just as the eyes
and ears of that commander , but you
also have your reputation with , you
know , com CM V I your service . Uh ,
you know , are you , are you living up
to those standards as well ? Are you
leaving it better for , you know , the
next individuals that follow behind you ?
Yeah , absolutely . It's very important .
Well , it's been an honor having you
both here . It's been great to just
kind of talk shop for a bit as always .
Uh , before we say goodbye to you all ,
is there anything else you'd like to
add ? Uh , I just wanna say , you know ,
I love what I do . Um , do what you
love in your career , right ? So
there's no other way to put how we can
do 18 years doing the same job . Other
than , you know , we're very passionate
about the career field . And um being a
dios instructor to me is great because
I get to pass that along to new combat
cameramen uh coming into the service .
So I get to share my experience and ,
and push that on and we love seeing ,
you know , students come back and like
what they're doing out in the field in
the fleet that , that makes our job
that much more . Um , you know ,
rewarding is to see what they're doing .
Absolutely . Uh , 100% love seeing our ,
our graduates go out there and do great
things . But I think , uh my biggest
thing I want to add is I , I think this
is just the best occupational field in
the military you get to see and do
everything , uh , at any different time ,
you know , you could be flying in an
aircraft , you could be on , you know ,
in a AV or a Bradley or something or
foot patrol . Yeah , underwater next
day you're back at the office working
on your imagery . Uh , you just get to
see and do everything and I think
that's just such a phenomenal
opportunity . Uh I know I personally
would not have stayed until retirement
if I was not doing this job . Um That's
the sole reason I stayed this long . I
loved it . I still love it to this day .
Hence why I'm an instructor here at
Dems . Um , but it's great . Enjoy it .
Yeah , we like to say you get to
vacation in every other career field
but you , you know , you live in your .
Exactly . Exactly . Absolutely . Well ,
that's our show for this month . I want .
Of course . Thank our guests for
stopping by and sharing their knowledge
and expertise . Thank you , guests .
I'd also like to thank you all for
taking time to watch our program .
Remember if you prefer to listen to our
show rather than watch it . D Infos
Live is also a podcast and you can find
it on your pod Catcher of Choice . Just
search for Din Fs Live . Don't forget
to join us next month on May 29th at 2
p.m. Eastern when we'll be talking all
about the 60th anniversary of DS . Now ,
before we say goodbye , I just want to
take a moment on this , our third
anniversary uh to recognize the amazing
contributions of everyone who works
behind the scenes to make this show a
success . So I'd like to welcome all of
our crew and everybody who , who works
on the show to come on out . So come on
out , everybody , come on out . So
again , I wanna thank you all for doing
everything you can to make this show
happen and ultimately make this show a
reality . You know , we definitely
couldn't have done it without your help .
So for everyone at D , for everyone at
Dins and the defense media activity ,
I'm major David J Murphy and we'll see
you all next month . All right ,
everybody here have a cupcake cupcake
time .