1st AC- Tips?

Annie Wengenroth · January 21, 2005

I suppose this is job-related enough... In April I have my first big job as a 1st AC (as opposed to the smaller jobs, not that they don't count) and was wondering what would be the most important things you'd want your 1st AC to do? I will of course be checking the gate, cleaning and mounting lenses, pulling focus, and generally keeping track of the camera and all related items, including the camera operator haha, but if there's anything else anyone can think of that I don't already know, it would be good to hear. This is a really serious job with a waaay bigger budget than I'm used to and I want to do the best job possible.

Sorry if this is vague but I can't really think of any specific questions just now. With the 1st AC work I've done before, the camera operator has pulled focus and the sets have been more laid-back, so this is a little different for me. Thank you in advance! By the way, we're shooting Super 16 on an SR-II. We will also be using a Western dolly on some shots, in which case I would be operating camera and the camera operator would handle the dolly. So again, I'm not totally clueless but I would like some additional info or even some stories.

Kevin Zanit · January 21, 2005

Well the number one thing I like in my 1st's is there ability to keep things in focus. There tends to be two types of 1st ACs:

Ones who are very gear oriented. In other words, they could rebuild the entire camera if something goes wrong.

And ones who are focus oriented. Meaning their number one priority is focus.

If I have to choose one over the other, I choose the focus oriented ones.

That said, the 1sts I work with are very good. They are completely, 110% on top of all the gear, and the camera department as a whole, as well as being just as on top of focus.

You need to be a very focused (no pun intended) person to do this job well. Just watch a good 1st prep a package. There is a military like precision.

I do my part for the 1st by lighting to a realistic stop. I won?t give the 1st a shot on a 150mm lens, wide open, dolling to a close-up and then expect tack sharp focus every take. If my 1st asks for another, I get him one.

That said, I don?t tolerate soft shots. I am reasonable about it. Like I said, I know the shot, and if it was very hard on the 1st, I am a little easier going, but for simple shots, I simply won?t have it. There is no good reason. I also expect my camera operator to work with the 1st. If he sees a soft shot, he sure as hell better tell the 1st it was a little soft.

My point is, it is important to me that the camera department works as a team, and also works well.

Some of the guys I work with are amazing. I can be talking in another room about a possible lens, and by the time I am out the lens is ready before I even ask for it. To be a good 1st you need to be listening more than talking.

It is also important that you know the gear. On an Arri camera there is no reason why the show should be waiting on your threading of the camera. You will need to learn how to think ahead, so that you have the accessories you will need near by so that we can move quickly.

You need to remember that you are the head of the camera department, thus your crew should come to you with any problems, not to the DP. Try to foster an environment that follows chain of command, thus streamlining the process. Because your crew will come to you with questions, you best be able to answer most of them.

I am not implying that you are or are not any of the above, and if you already know this, I apologize.

The arrangement you speak of is certainly unconventional, so it at least seems like a more laidback show than some. You are shooting 16 which will be a little more forgiving focus wise. But less forgiving if there is a dirty gate/ scratching.

If it sounds like I am hard on the camera department, it is because their job is so critical to the final product that I have to be. I am actually quite easy while working, I just don?t like to have problems that should never have occurred.

Kevin Zanit

Adam Frisch FSF · January 21, 2005

I'm inpatient and have an AC background myself, so I'm the worst!

No, not really. But I still do swing away the mattebox and lift the cog from the follow focus wheel whenever we're about to change lens - it's automatic. Can't help myself. Some AC's resent that, but most understand that it's just a habit I haven't shaken yet.

I'm generally quite hands-on with the camera - whatever it takes to make the camera ready faster I'll do. I'm not to worried about who's responsibility it is. I will also pull focus myself on occasions when it's just quicker for me to do it - like in a quick handheld shot or following some action on a telephoto lens. This is something a couple of AC's have a problem with, and rightly so since they're the one who gets blamed if it's soft. So I always make it very clear that I'm taking responsibility for the focus on that shot and will face the music if it's not sharp, not them.

Two things come to mind as annoying:

1. Excessive fear for flares manifesting itself by the mattebox being overhung and overwrought with eyebrows, french flags, flaps and hard mattes. I hate all that junk up fron making the camera big as stable and casting camera shadows. Only if there's a visible flare will I bring out the heavy artillery, otherwise keep it clean.

2. Excessive gate checking.

I do think I'm a very easy guy to work for. In fact, many AC's have come up and said so after a shoot and that's nice to hear. I try to be the DP I preferred to work when I was an AC - a guy who wasn't trying to catch you with a miss all the time. Some DP's were like that - just waiting for you to make the tiniest little mistake so they could get you cornered.

If you have the time, Annie, do ask your DP how he likes it. Make a list of his preferences, that way you can always start on the right foot.

Brad Grimmett · January 21, 2005

To be a good 1st you need to be listening more than talking.

Kevin Zanit

<{POST_SNAPBACK}>

All of the suggestions previously stated are very good, but for me listening is the key. Being prepared without having to have the DP or operator repeat himself/herself is very important. Although it's a cliche, time really is money, and producers, directors, and AD's don't look highly on camera crews that they are constantly waiting for.

One pet peeve I have is constant questions. This happens with all types of crew. Oftentimes the 2nd A.C., or even a P.A. that wants to move into camera will ask a lot of questions about equipment or other things that don't pertain to that particular shot. That's not a problem if you do it at the right time. But some of them think that if they don't have a specific job at the moment then it must be a good time to lay a barrage of questions on a DP or operator. This has happened to me before with the 2nd constantly hovering over me and asking me questions and it's really distracting and annoying. Overall, this is really about being aware of what other people are doing and not distracting them from their job.

Be prepared: If you need a flashlight to check the gate then you better have one. If you are putting on the 200mm prime and need different rods, then make sure when you get the lens (or your 2nd gets it) that the rods come with it. If it's handheld make sure you have the short eyepiece with you. Anyway, you get the idea.

Be happy and relaxed and you'll make the DP and operator feel more relaxed, as well as your 2nd and loader.

GWilliamPatrickB · January 22, 2005

I suppose this is job-related enough... In April I have my first big job as a 1st AC (as opposed to the smaller jobs, not that they don't count) and was wondering what would be the most important things you'd want your 1st AC to do? I will of course be checking the gate, cleaning and mounting lenses, pulling focus, and generally keeping track of the camera and all related items, including the camera operator haha, but if there's anything else anyone can think of that I don't already know, it would be good to hear. This is a really serious job with a waaay bigger budget than I'm used to and I want to do the best job possible.

Sorry if this is vague but I can't really think of any specific questions just now. With the 1st AC work I've done before, the camera operator has pulled focus and the sets have been more laid-back, so this is a little different for me. Thank you in advance! By the way, we're shooting Super 16 on an SR-II. We will also be using a Western dolly on some shots, in which case I would be operating camera and the camera operator would handle the dolly. So again, I'm not totally clueless but I would like some additional info or even some stories.

<{POST_SNAPBACK}>

I dont want to rain on your parade but, if the job is as big as you seem to believe, it may be the better stratagy to bow out. Why? Well, going into a high stress job with a pro crew and not being sure of yourself could be a recipe for disaster. If you slip up, are slower than the DP or Production wants or cant answer a 2nd or loaders queery you could let yourself in for big trouble. Certainly with whatever company / producer or DP who hired you will never ask you to work again. With them your reputation would be sealed and written in stone as the one who could not handle it. Make sure you know the camera inside and out can load with competence and show no nerves to anyone. Like lions at a hunt, crew members always seem to be able to tell if someone is nervous. And like another poster said, if you are going to be involved with tricky focus pulls and have not done them before, it would be best if some other situation came up that precluded you from working that particular shoot (until you KNOW you can deal with it) That said GOOD LUCK. The first first when it comes off, is a moment you will never forget and will point to as a milestone in your personal development in this very frustrating and very rewarding career.

All the best with a very hard decision.

GWPB

J. Lamar King IMPOSTOR · January 22, 2005

I'll add a few more thoughts from the perspective of the DP. I agree with the other posts about listening, it's probably the most important thing you can do along with anticipating what the DP/Operator needs. Be quick and accurate about moving the camera when the DP tells you where to position it. I can't stand when I make it obvious where I want the camera, walk off set for a moment, return and find it a few feet from where I specified. The good AC will throw something, like a roll of tape, down on the spot while I'm still standing there.

Also, try to look at things from the perspective of other crew members. If the DP or Operator are doing a lot of handheld with a heavy camera ask if they would like you to hold the camera between takes. The same goes if they have to operate from a strange position such as lying on their back. You should take the initiative and offer to hand them the camera in the proper position and take it away when the shot is done. Anyway just be there to take the burden off when asked.

As mentioned before stay calm and relaxed. If you're focused on the job you won't have time to be tense anyway. If you're nervous or scared that does tend to spread through the crew. That's one of the first things I learned as DP of a good size crew, is your emotion seems to be THE emotion to everybody.

Finally, my big personal pet peeve is don't make any remarks about the lighting. It can very easily seem like you are being negative about the DP's work even if you aren't. Something as simple as "I wonder if he/she'll add diffusion to that light?" could be seen as second guessing the DP. Don't do it.

Adam Frisch FSF · January 23, 2005

I remember seeing one AC who marked the lens height on his sweater with a (washable, I hope) crayon as the DP set up the next shot. Smart trick.

Annie Wengenroth · January 23, 2005

Thanks for the advice everyone. Just to clarify, this is a student shoot; it's just that it is bigger than most because we're going to be building some of our sets and we have a bigger crew. I plan to get together with the camera operator and the DP to talk about specific shots as it gets closer to April; we were going to do some camera tests anyway.