Leon Sanginiti, Jr.

"Also, while the 1st AC is your boss, so is the script supervisor. " I have to strongly disagree with this remark. The Script Supervisor is NOT in any way, the boss of the 2nd AC. I know many supervisors who like to THINK they are, but the 2nd AC only has his immediate department superiors to answer to. That means, above anyone else, the 1st AC and the DP, then the operator. Other than those people, NO ONE can boss around an AC. Not the AD, UPM, Scripty, etc, etc. They may be unhappy with them, and yell, and threaten...but only the immediate bosses can fire a 2nd AC. Even if a UPM or Production Supervisor is unhappy with the way a 2nd is performing, he has to defer to the 1st AC to make the decision of letting the 2nd go. Ultimately they can persuade the 1st to make the decision, but it is the 1st that will let the 2nd go. Same goes with a 1st AC, the DP will usually make the decision By the way...definitely but David Elkins' book, I am very happy to say that I assisted David with putting together the chapter on the 2nd AC! Leon Sanginiti, Jr. Camera Assistant IATSE Local 600

The majority of the time I have only called out "marker", which is great because it's only one thing to say, and your out of there, but I have come across some mixers who request you repeat the scene over what they previously recorded. It's an odd situation, but it's best to be a team player.

There is no set "official" list, but there are some common names. Here are the most common: A-Apple; B-Baker; C-Charlie; D-David, Delta, or Denver; E-Echo, Edward; F-Frank; G-George, H-Harry, Hotel; There is no "I", it looks like a number 1, and script supers never use it; J-Jackson; K-Kelly, Kansas; L-Larry; M-Mary; N-Nancy; There is no "O", it looks like zero; P-Paul, Peter, Paris; Sometimes script supervisers refuse to use "Q" because, again, it looks like a zero when glanced at quickly, but I have used it with some, so Q-Quick, Quilt; R-Richard; S-Sam, Steve; T-Tom, Texas; U-Umbrella; V-Victory, Victor; W-Wagon; X-X-ray (try not to use the odd words with "soft" letters that start the word, for example, don't use "xylophone" for "X", it can be confused for "Z", or don't use "Photo" for "P", it can be confused for "F"; Y-Yarn, Yo-Yo; and Z-Zebra, again a lot of script supers don't use "Z" either because it could look like the number 2. Other things to keep in mind is try to keep the words short, one or two syllables, if you use a longish word, you are wasting time, or trying to sound "cute". Remember, the second assistant has to slate and get out, the actors are waiting. Also...use common sense...I'm all for having a good time on set, and coming up with "catchy" words that impress when the moment is right and lighthearted...but if the scene is serious, and the actors are "in the moment", stick to "traditional" words that are simple, and not attention breaking. I hope this helps. Leon Sanginiti

Hey Doug, I do deeply apologize for not mentioning your book in my post. Your book has been part of my library for years now. I must have been in an "alternate state of mind" not to remember to mention it. LOL! In all honesty, it's still one of the best books written about our job. I think that whenever someone asks questions on the forum from now on that are related to advice for newcomers, we experienced folks should answer to the best of our ability, and then finally add a link to Amazon.com so they can order the book directly from the forum. Any of the answers that you see here not only come from our own experiences, but also come from the books themselves! Hope to see you soon, Doug! Leon

Hey, I'm thinking about purchasing a Cartoni Lambda head. I've used the head dozens of time, and think it's much better than the Weaver Steadman when it comes to ease of use and set up. I've been told by others that I should also consider, instead, to purchase the Ronford Baker Ronford 7 underslung fluid head because it's cheaper and much lighter. I've used that head several times, but not much in recent years. Anyone have an opinion when comparing the Ronford to the Lambda? I know the Lambda is much beefier, but is there a distinct advantage to the Lambda that anyone may know about? Can the Ronford handle larger cameras such as Panavision and Arricam? I remember that you have to change the plates in order to get a larger base for the camera. Any thoughts on this is appreciated. Leon

A good rule of thumb to remember when slating for 35mm is to hold the slate about one foot away from the camera for every ten millimeters that the focal length fo the lens is...for example if using a 50mm lens, then hold the slate about 5 feet away, if using a 25mm, then hold it about 2 1/2 feet away. This maintains the size of the slate in shot, and makes it easy for the editor to see the it clearly. When shooting in 16mm, hold the slate one foot away for every 5 millimeters. If using two slates, and both cameras are relatively close in focal length and distance from the slate, then it is safe to assume that a "common slate" can be used...but before slating, the second AC on each camera should prepare for a common mark. First, each second AC should pre-slate, or "ID" his camera with it's own slate. Just a quick MOS, insert of the slate so the editor can clearly see the information, most importantly, which camera he is viewing, so make sure the AC has his/her camera letter clearly marked on the slate. Then the "common slate" should be marked with BOTH cameras' roll numbers on it, for example, both rolls A243, and B112 should be marked in the roll number area on the slate. This again helps the editor know that it is a common slate. Remember, we in the film industry LOVE redundency, it helps us make sure that there are fewer mistakes. Then when marking a common slate shot, the second AC calls out "A and B common marker", again proclaiming the common-ness... Another important thing a good second AC should remember is to help the editor out whenever possible (remember, they are slaving away in a nice air conditioned comfy edit suite with their Starbucks and whatnot, so be kind to them) by being aware of slate placement when shooting with two cameras. If the two cameras are vastly different in distance or focal length, and the camera with the wider lens can see the other camera's slate in the same shot, then the crafty second AC should be prepared to take action. In a situation like this, a common slate is probably impossible, because the wider camera may reduce the tighter camera's slate and make it appear too small in the frame. A good thing to do is have the second AC of the wider camera "cover" the lens of his camera with his slate while the other camera slates, either before or after he does. This split second shielding can help keep the editor from being confused by seeing two slates in the same shot slating at different times. I hope this helps. A very good book that covers the jobs of both the 1st and 2nd AC, and how slating works is "The Camera Assistant's Manual", by David Elkins. Leon Sanginiti, Jr. Camera Assistant

You can go to my website, www.phillyac.com, to see if I'm what you are looking for. I have to check my schedule, but I may be available for your shoot. Let me know what you need by emailing me at leon@phillyac.com. Thanks Leon

Hello, I have been reading this thread for some time now, and I just wanted to respond. First of all, congratulations to David on the completion of "Shadowboxer", it was no easy task, that is for sure, I should know, because I was the second AC on the job. First, let me tell you...for those of you who don't personally know David, and those who only know him through his postings, I have to let you know that it was a pleasure knowing and working with him. His knowledge on certain aspects of cinematography is definitely mind blowing. The man can pull out dates on when certain film stocks were introduced kinda like David Copperfield can pull cards out of thin air. He is a quiet, extremely focused individual, who has a lighting style that can rival any DP who has many more years on him. Now with that said, let me tell you how this guy, along with the rest of the camera department, was challenged to the max every single day on a shoot that was chock full of events that would have sent any other DP storming off the set, pulling his hair out in disgust. Read his diary, and then read it again, CLOSELY. If he was able to put every single challenge down, I'm sure that cinematography.com would need an extra server or two to support all of the info. We were up against an above the line group that was, to put it in a single word, UNPREPARED. OK, so maybe a single word doesn't do it justice...how about inexperienced...or uncoordinated...or just plain unaware of the mechanics of film making. Every single day we were up against something that was out of our hands. Now, most of us here have been in similar situations, and with enough years of experience, I am sure one can say he has "seen it all"...but I am talking about situations that even us so called "vets" were shaking our heads. There was no prep. At least no prep where prep was needed, and I mean that the camera department had two days to get an anamorphic show off the ground, including making sure that all of our lenses were up to speed (no pun intended). I've done shows with little or no prep before, but this was, as we have coined a phrase on the show, "Crazy Talk". David had a much longer prep time...but as he mentioned before...no matter what decisions were made during prep...no matter how he labored on storyboards and tests, and logistics, it all went straight out the window when it came time to shoot. When we started to set up a shot...the question that he was always confronted with was "How many minutes?" Poor David..."how many minutes David? How many minutes?" His answer almost always had to be "ten minutes...or fifteen"...God forbid he said "twenty"...he would be looked at as if he had two heads. One night we were shooting a rain exterior...complete with lights on condors, a huge rain tower, and lots of other equipment scattered about. When it came time to do the reverse, and everything had to be moved to the other side, David was literally followed around by someone hanging on his shoulder asking how long and if it can be done faster. That was the only time I saw this quiet guy flinch, and luckily our gaffer came to the rescue and scolded the guy by saying "hey it takes longer for coffee to perk over at craft service! Give us a break!" It was like that for many days. However....the show was completed. And I must say, from what little bit of the dailies that I saw, it looks fantastic. This due to a guy who was pressured, pushed and challenged, and still was able to pull it off. His artistry shone through, and that's what mattered. David, it was a pleasure working with you. From all of us here...your camera department in Philadelphia, I must say thank you. Leon Sanginiti Camera Assistant