Clapper loading

[Guest stoop]

In an attempt to get out of "corporate' video and low quality crappy productions and into film, drama and general high quality broadcast, I decided to set out as a 1st and 2nd AC.

 

I recently completed a short 4-day 16mm film as a clapper loader....and it sucked. The pressures of loading mags all day, the heart stopping moments when you think you might have screwed up. Having to log every shot, fill out neg report sheets, man it's boring!! The worst thing is having to watch someone else operate a lovely SR while u have you hands in a changing bag all day.

 

I don't mind focus pulling as much, it's more hands on and at least you get to sit next to a camera and be on the action. I don't regret doing it, and I learnt loads. But never again!!

 

It's just as well that I?m having more success going straight to camera operator and DOP. I have a few 16mm projects coming up and have completed a few really good projects. I'm still doing the corporate stuff for the good money and will continue to focus pull so I can learn more from some top Dp's but my clapper board is going on ebay LOL!!!

 

I spoke to some guy who has been loading for like 7 years - I have no idea how he does it!!

 

Cheers

[Alex Haspel]

well, first and second ac are very important jobs connected with enormous amounts of responsibility and zero prestige.

[Guest stoop]

well, first and second ac are very important jobs connected with enormous amounts of responsibility and zero prestige.

 

 

I'm not saying there not, just that clapper loading for me was just the worst most boring job ever!!

[Andy_Alderslade]

I'm not saying there not, just that clapper loading for me was just the worst most boring job ever!!

 

You obviously haven't done that many boring jobs, try: waiting, cleaning, stock takes, data entry, audits, night security, car valeting and so many more...

 

I've done each and every one of them and i'd gladly Clapper/load any day.

[Francesco Bonomo]

I'm not saying there not, just that clapper loading for me was just the worst most boring job ever!!

 

well, maybe it's because you're a DP, a camera operator AND a Camera assistant. Usually loading magazines is the first paid job available in the camera department, and although some are happy with it and stick to it, most of them move on and become 1st ACs.

 

It depends on what you want to do: I know loaders who have been doing it for years and don't want to change, and others who just want to become 1st ACs as soon as possible. I guess it's the same for 1st ACs becoming Camera Operators and eventually DPs.

[Rory Hanrahan]

As an AC, I can appreciate what you are saying about it being stressful and not "in the heat of the action" (on set, in the scene), but just so you can appreciate where we AC's are coming from:

 

1. It's necessary. Try shooting a film without a clapper/loader and you will see exactly what I mean.

2. If I told my DP that I thought loading was a poop job, I'd be fired. Conversely, if I was a DP and my loader told me that, I would have my 1st going thru his/her rolodex to find our next loader.

3. I tend to have more respect for the DP's who have gone thru loading/clapping/lugging gear/pulling focus, than those who are only in the game to DP. Those that have done it seem to have an appreciation for the jobs that need to be done more than those who have not.

 

If you feel that you are above loading, bully for you sir, and I suggest going for the gusto. As someone who is trying to work his way up thru the ranks, I suggest not dropping negative commentary about an established and required position on a forum dedicated to those working what you consider a boring job.

Edited November 6, 2006 by Rory Hanrahan

[Phil Rhodes]

Hi,

 

The problem I have with this sort of thing is not so much the "tons of responsibility for no recognition" aspect; a lot of jobs, even most jobs, are like that. This sort of thing only becomes a problem when you have lots of responsibility and no authority to fix problems, and if that sort of situation is allowed to develop it can become very stressful - and not just unpleasant stressful, really quite psychologically damaging stressful.

 

Phil

[Jon Kukla]

Perhaps you should have read up on the topic first... :)

[Bill Totolo]

Clapper/Loader=The lowest guy on the totem pole responsible for loading film for that million dollar scene. First guy on set loading mags and taking inventory, last guy home after dropping exposed neg. off to the lab.

[Allen Achterberg]

Clapper/Loader=The lowest guy on the totem pole responsible for loading film for that million dollar scene. First guy on set loading mags and taking inventory, last guy home after dropping exposed neg. off to the lab.

 

yeah, or that intern will drop off film. Either way, being an assistant be it a 1st, or the intern is a job full of responsibility, very important jobs. It's a lot of work either way you slice it.

 

All the Best,

Allen Achterberg

[Adam White]

Ive worked for some right $%&£'s as a loader and I have sometimes wished to be anywhere but on a film set, then again Ive also worked with some inspiring people for whom passing on knowlege is a responsibility they take seriously. In fairness, all "starting" positions in film are gonna suck compared to HoD but pretty much everyone goes through it.

 

If you think Clapper/Loading comes with pressure, what about the daily concerns of the focus puller? or the DoP? I think that too many loaders have to price themselves short just to get jobs these days but there are many people who are passionate about doing it.

[Dan Salzmann]

Clapper loader is a very important role. A general (DP) is nobody without their infantry.

Frankly I was not the best 2nd AC (or 1st AC I might add!) out there but it was a valuable experience and instilled in me the importance of every cog in the machine.

Be thankful that you are able to work in what can be a really amazing profession.

Try to find ways of being more efficient and all will go much smoother with experience.

[Phil Rhodes]

Hi,

 

> pretty much everyone goes through it

 

Actually in the UK you're much more likely to keep doing it until the end of eternity, irrespective of whether you want to or not.

 

Phil

[Bill Totolo]

Frankly I was not the best 2nd AC (or 1st AC I might add!) out there but it was a valuable experience and instilled in me the importance of every cog in the machine.

 

I was the exact same way. For whatever reason I am much more employable and confident as a shooter.

I guess it's because I genuinely enjoy it.

 

[Laurent Andrieux]

I've been loading mags before I "grow" as a focus puller.

 

Sure it's stressfull, just as focus pulling or operating or lighting, as somebody mentionned.

 

But I never foud it boring.

 

I wonder if english and american clapper loaders don't feel worse about the job just because they have to clap and write the reports...

 

I can understand that that would really bother me if I had to be a 2nd AC again.

 

When you work as a 1st AC you sometimes have to load mags yourself, that ain't such a pain in the back. But clapping and reporting at the same time ?... The hell !

 

You feel like you are the cinema lumpen proletaria !

 

In France, the grip does the clapping board and the continuity girl (script girl) does the reporting sheet. :)

[Phil Rhodes]

Oh, I most certainly am lumpen and proletariat.

 

Phil

[Annie Wengenroth]

Well, if you think clapper loading sucks, you'll have a hell of a time getting work on anything decent in this industry because it's the only way you start...you don't start out operating or being a DP. Maybe in some special cases, people have been able to go that route, but it's very rare.

[Chris Keth]

In France, the grip does the clapping board and the continuity girl (script girl) does the reporting sheet. :)

 

What luxury! :lol:

[Guest stoop]

Let me first say that I do not under-estimate the importance of the clapper loader and never have. It's incredibly critical the clapper doesn?t screw up. All I was saying is that I hated the job, I hate paper work and writing - always have. I found the whole experience miserable. So I respect anyone who either puts up with it or loves it. It was indeed valuable experience though.

 

However I do love the stressful-ness of lighting and operating. It's what I'm best at - not filling in numerous report sheets.

 

 

Well, if you think clapper loading sucks, you'll have a hell of a time getting work on anything decent in this industry because it's the only way you start...you don't start out operating or being a DP. Maybe in some special cases, people have been able to go that route, but it's very rare.

 

 

I have already had more success being a DOP then clapper loading. I have another 16mm project coming up. I guess a few years of video work have really helped.

 

Anyway, Interesting comments everyone

 

Cheers

[Annie Wengenroth]

I do agree with you about the paperwork! It's amazing how so many of those film inventory forms could totally screw you over with the way they're designed.

[Phil Rhodes]

Annie, how on earth did you get into the union so fast?

 

I was under the impression it took years and cost a fortune.

 

Phil

[Jon Kukla]

I've heard that the NYC requirements are less strict than LA's, IIRC...No roster to deal with, I think.

[Annie Wengenroth]

I took the test in October for $325, passed, and then paid a pretty decent sum of money which I don't really want to talk about on this board because it makes me a little depressed! and here I am. It sounds simple but the test is considerably challenging. It involves a written component and a practical exam as well.

 

The written test is made up of 100 questions and took me almost 4 hours because I suck at tests. It covers everything from multiple choice about photography theory and formulas, to specific questions about certain cameras (i.e. "You're on a job with an Arricam ST and want to use a LT mag. How would you go about doing this and what are the advantages and disadvantages of this setup?"), an inventory section at the end that you have to fill out, and a few short answer questions about different on-set scenarios.

 

The practical exam involves 3 cameras: Panavision, Aaton, and Arri. You have to pretend that you're the 2nd AC on a job, the camera has just been sent to you as a replacement with no checkout, and nobody else is around so you have to get it ready for the crew. It was actually sort of fun but it was still pretty nerve-wracking, as in Drinking Afterwards At Some Seedy Bar in Chelsea On A Saturday Afternoon nerve-wracking. The cameras were a Panaflex Platinum, an Aaton XTR-Prod, and some people got a Panavised 435 but I got, much to my amusement, a Panavised 35-III. They have two camera assistants proctoring each camera on the test. They will watch you build the camera and ask you questions as you go along. They might try to foul you up too...on the Panaflex, they threw an Arri power cable into the AKS case and there was no eyepiece leveler...they also left the camera on so when I plugged in the battery, it started running!

 

Depending on who you talk to, some people would say it was easy, but like I said, I tend to be a little shy in person and used to suffer from debilitating test-taking anxiety (ask me how hard I cried after the union test!), so it was a challenge for me. I really wonder about the people who seem to think that taking the test to get into the union is an easy way in. I don't think anything about it is easy. It's a hell of a commitment and it takes time, money, and effort no matter which way you choose to go. What's really cool is that the union here in NYC did everything they could to get everybody ready for the test. They had workshops and review seminars, which was great. They have a payment plan so that you don't have to pay the entire initiation fee at once (it will take me until November '08 to pay off!). They have special events and screenings and the health benefits are supposed to be really good, though they haven't kicked in for me yet because I am new. It was a leap of faith but I'm glad I did it. I know everyone's feelings on this board are mixed regarding the benefits of working union versus independent, but I figured it would be worth sharing my experience to maybe dispel some of the myth!

[Aideen McCarthy]

Although I am currently pursuing a career as a director I still work as a professional clapper loader. And I don't just do it for the money. Over the past 5 years I have gained invaluable experience on film sets working as a clapper loader. For me, being a clapper loader means being a member of one of the most important, hard-working and influential departments on a set. You get to be on set close to the action more than most other departments. You see the machine behind the magic and you get to be part of it. I can't say being a clapper loader is an easy (or glamourous) job because it isn't. You do have a lot of responsibility and pressure. But I prefer responsibility and pressure to no responsibility, no pressure. It keeps me interested and focused. While you may not be recognised by the director for your stunning performance on the job, usually praise from the 1st A.C. or the D.P. is more than enough for me.

 

Many of you have talked about the note-taking and sums etc. What I say is if you don't understand the inventory sheet layout, design your own. All that matters is that they can see where the stock is going. With regards to note-taking: for any of you budding clapper loaders out there, do not focus on note-taking. While it is essential, it does not help to shoot the movie. I write in my notes after each take. I keep up to date and therefore there's no panic when rushes break. I spend the other 95% of my time doing my job, which is not that of a secretary but that of a camera assistant. A good clapper loader spends his/her time assisting the focus puller/1st A.C., anticipating THEIR needs - e.g. dropping marks for actors during rehearsal, getting the necessary equipment together to change camera into hand-held mode when you hear the DP talking about it with him, putting a grayscale on the top of each roll, going out with the measuring tape to various parts of the set, the list goes on. You need to have your hands free at all times to be ready to lend a helping hand. It may look as if you're doing nothing sometimes but you're actually standing by, listening and watching out for what needs to be done next. Like a surgeon's assistant in an operating theatre.

 

Another useful analogy for a clapper loader is to look on the camera as your baby: you have to feed it (with film and battery power), you have to keep it warm(eyepiece heater, plug it in, put lenses/filters under lamp), you have to keep it dry(always have a raincover/umbrella standing by when outdoors)and most of all you have to keep it safe (keep a hand on the camera if the 1st A.C. is temporarily off set, keep an eye on the camera always). A good clapper loader is seen and not heard (except when calling out the slate!). They anticipate and thereby stay ahead of the game. It is never boring. If you are bored you're not doing your job. Others can afford to sit by the monitor and gossip over cups of coffee you cannot. The only voice you should listen out for on set is that of the 1st A.C. and when he says jump you better jump (or even better have jumped already!). :)

[Rory Hanrahan]

I still work as a professional clapper loader. And I don't just do it for the money.

 

Yeah, that'd be barking up the wrong tree! :D

 

look on the camera as your baby

 

So does that mean unloading a mag is the eqivalent of changing a dirty diaper?