1st Assistant Camera


When characters in films run out of a burning building or simply walk across a room to open the door, they are usually moving closer or further away from the camera. This means that the focal length - the distance of the camera lens from the subject - is constantly changing. Adapting or "pulling" focus to accommodate these changes is the main responsibility of the 1st Assistant Camera (AC). 1st ACs are usually requested by the Director of Photography or the Camera Operator and work on a freelance basis. Hours are long and the work can be physically demanding.
What is the job?
The role of the 1st AC (until recently known as Focus Puller) is one of the most skilled jobs on a film crew. 1st ACs are responsible for focusing and refocusing the camera lens as actors move within the frame of each shot, but they do not look though the lens to do this; they pull focus according to a set of complex marks (which are placed on the set, on the floor, on props, etc., during the Director's on-set rehearsal time with the cast), and by using their instincts and experience of judging focal lengths. As it is impossible to see whether the focus is sharp until the rushes are screened, 1st ACs rely on experience and instinct for each focal adjustment. Because re-shooting scenes is expensive, and actors may be unable to re-create their best take, 1st ACs must be extremely reliable and good at their work, and should be able to cope effectively in stressful situations.
1st ACs are also responsible for camera equipment such as lenses, filters and matt boxes, and for assembling the camera and its accessories for different shots. 1st ACs arrive on set or in the studio before the Director, Director of Photography and Camera Operator, and ensure that the camera and all required lenses are prepared for the day's shoot. If the Director or DoP wants to try out a specific lens, the 1st AC assembles the camera so that they can look through the eyepiece to assess the shot. At the end of each shooting day, 1st ACs clean the equipment and pack it up in preparation for the next day. If there is a problem with the rushes (such as a scratch on the film), Focus Pullers liaise with the Film Lab to rectify any faults with the camera or stock.
Typical career routes
Since becoming a 1st AC is about acquiring hands-on experience, it is essential to serve an apprenticeship, starting out as a Camera Trainee and progressing to become a 2nd then 1st AC. Some 1st ACs may start out by working at a junior level in a film lab or camera equipment facilities house. However, since the essence of the job is learning how to gauge focal length to such a degree that it becomes second nature, being around working cameras and learning how to use them is a crucial part of any apprenticeship. Some of the best 1st ACs see this role as an end in itself and make a good living; others go on to become Directors of Photography.
Essential knowledge and skills
1st ACs must develop their ability to pull focus to such a degree that it becomes instinctive. This requires excellent knowledge of cameras, lenses and all related equipment. They must also keep up to date with new techniques and equipment. They need expert knowledge of photo-chemical and Digital film processing.
Key Skills include:
• good eyesight and the ability to accurately judge distances;
• agility and speed;
• precise attention to detail;
• ability to collaborate and to work as part of a team;
• diplomacy and sensitivity when working with artists and crew;
• physical stamina and strength;
• knowledge of the requirements of the relevant Health and Safety legislation and procedures.

Training and qualifications
Although hands-on experience provides the most important training for 1st ACs, there are numerous short courses available in the UK providing the basic skills for 16mm and 35mm Camera Assistants. Training in stills photography provides a good all round understanding of composition and light.





2nd Assistant Camera
2nd Assistant Cameras (ACs) are key members of the camera crew, and are responsible for the smooth running of the entire camera department. Audiences watching a finished film are not conscious of the camera - a complex piece of machinery, powered by batteries which must be charged and reloaded. Nor are they thinking of the difficult job of anticipating when a magazine (the sealed container that feeds the unexposed film into the camera) is about to run out, and what a pressurised job it is to reload quickly so that the flow of filming is not disrupted. These are some of the responsibilities of the 2nd Assistant Camera (until recently known as the Clapper Loader in the UK). Most 2nd AC's are requested by a Camera Operator or 1st AC, and work on a freelance basis. They often work on a combination of commercials, promos and features.
What is the job?
2nd ACs assist the Camera Operator in positioning and moving the camera, and are responsible for loading and unloading film magazines, changing and charging camera batteries, changing lenses, operating the clapper board, filling out and filing all camera sheets, liaising with film labs, and ordering the correct amount and type of film stock. 2nd ACs work closely with 1st ACs (Focus Pullers), and supervise any Camera Trainees.
Depending on the size of the feature film, 2nd ACs start work two or three weeks before the first day of principal photography, assisting the Director of Photography (DoP) and Camera Operator with any tests required on film stock or/and with artists. During the shoot, 2nd ACs begin work early in the mornings, unloading, organising and preparing all the camera equipment for each day's work. During rehearsals, they mark-up the actors' positions, enabling the 1st AC to calculate any changes in focus. When the camera starts to roll, 2nd ACs mark each take with a clapperboard (which identifies the take and enables the Assistant Editor to synchronise the sound and picture in preparation for editing). 2nd ACs position themselves next to the camera, where they can anticipate all camera movements, and monitor how much film stock is being used. They must know when a new film magazine should be prepared. At the end of each shooting day, 2nd ACs pack away all the equipment, label up film cans, and dispatch them to the labs with detailed camera sheets.
Typical career routes
The majority of 2nd AC's serve an apprenticeship as a Camera Trainee before progressing through the ranks of the camera department. Because the job involves an in-depth knowledge of, and feel for the camera, actual experience of handling camera equipment and stock is vital. Working in a camera rental facilities house such as ARRI or Panavision can also provide a good route to an apprenticeship.
Essential knowledge and skills
2nd ACs must have an exhaustive knowledge of all camera equipment, film stocks and processing techniques. They also need a thorough understanding of how to manage and maintain all camera department paperwork and administration.
Key Skills include:
• excellent organisational skills;
• agility and speed;
• effective communication skills;
• precise attention to detail;
• ability to collaborate and to work as part of a team;
• diplomacy and sensitivity when working with artists and crew;
• physical stamina and strength;
• knowledge of the requirements of the relevant Health and safety legislation and procedures;
Training and qualifications
Although the most important training for 2nd ACs is hands-on experience, there are numerous short courses available in the UK providing the basic skills for 16mm and 35mm Camera Assistants. Training in stills photography provides a good all round understanding of composition and light.





Video Assist Operator
Video playback provides a point of reference for, and a method of monitoring, everything that is shot by the Camera Crew and recorded by the Production Sound Mixer. Video Assist is used by Directors (and other relevant crew members such as Script Supervisors), who watch the video monitor during each take. If playback facilities are available, Video playback is used to review shots. This is captured by special video tape recorders which are fitted to film cameras next to the eye piece and record exactly what the camera operators see. Ensuring that all the required images are captured, and that the equipment is in full working order, are the responsibilities of the Video Assist Operator (VAO). VAOs are usually employed by Camera Facilities Houses or specialist Video Playback Companies and are requested by 1st Assistant Directors, Directors or Script Supervisors. On larger films, VAOs work with Assistants.

What is the job?
Before filming begins, VAOs check the compatibility of their equipment (which includes a playback system, recording unit, trolley, batteries and external monitors) with the film camera(s). On the first day of principal photography, VAOs arrive on set at the same time as the Camera crew and test their equipment in preparation for the first set-up. VAOs must be able to concentrate for long periods, and be extremely alert, in order to monitor all the action, and to maintain the equipment throughout the shoot. On big films involving many complicated set-ups, the Director, Director of Photography, Camera Operator and other Heads of Department frequently use playback facilities.
If visual effects are employed, VAOs may edit sequences together on set so that Directors can see how they will eventually play on screen. At the end of each filming day, Directors usually check shoot video footage immediately. VAOs must ensure that all footage is carefully stored on hard disc, and that their equipment is packed and ready for use the next day. VAOs finish work when the film wraps (is completed). Typical career routes There is no typical career route for this job. Most Camera Equipment Hire companies have Video Assist Departments which employ experienced VAOs. Many start their careers working as Runners or Drivers for Video Playback or Camera Hire companies and progress to become Video Assist Trainees, which involves helping VAOs with video cables on set, changing batteries, and providing general support.
Junior positions in these companies are often advertised on their websites. Essential knowledge and skills VAOs must have expert knowledge of video, video playback equipment, and video and audio cables. They should also have a basic understanding of film cameras, lighting and film stock. They must be computer literate, and able to drive.
Key Skills include:
• ability to concentrate visually and aurally for long periods;
• ability to stay alert on set;
• good communication and interpersonal skills;
• initiative, and the ability to work as part of a team;
• excellent knowledge of the requirements of the relevant Health and Safety legislation and procedures.
Training and qualifications
No qualifications are required for this role. VAOs usually enter the industry at junior or trainee levels working for Video Playback or Camera Hire companies, and train for several years in order to gain sufficient knowledge and experience to progress to Video Assist Operator.

Individual course accreditation in certain subject areas is currently being piloted. As part of Skillset's and the UK Film Council's Film Skills Strategy, A Bigger Future, a network of Screen Academies and a Film Business Academy have been approved as centres of excellence in education and training for film.