A couple of things to add: 1. When shooting handheld / movi, the AC often holds the camera between takes so that the operator doesn't get too tired. 2. When passing the lens over, you ask them 'got it?' and don't let go until they say 'got it.'. Good habit to get into so expensive lenses aren't dropped.
Yup, as a working 1stAC/2ndAC, we definitely do the "got it?" double confirmation. Usually, the 2ndAC gets the lens from the case while the 1st AC handles the lens unmount and mounting, but the same applies between DP/camera op and the 1stAC on smaller productions. On bigger sets, 2ndAC also usually handles video village and cable wrangling, too. Now focus pulling is the real big important part of 1stAC because it's absolutely the one job that will definitely shows up on tape.
DSLRguide During takes the grips take over the camera not the 1st AC. If the 1st AC has to change the lens he can not hold the camera and change the lens at the same time.
Some other great beginning AC tips: 1. Don't be afraid to ask questions, especially if you don't know the lingo for a certain piece of gear. I made this mistake on my first "professional" AC gig and I ended up wasting time and bringing back the wrong things! Besides, you'll maybe even learn more about other departments as well! 2. Bring some sort of medium-sized tool bag to set with you. Most AC's have large tool kit with various things (myself included) and we'll leave them on the camera cart. I also have a smaller tool bag that I keep the top essentials in and I will leave it as close to the camera as safe as possible at ALL times. Also, wearing an AC pouch is a good idea because it just allows you to free up your hands more. You can carry cards in them, lens cleaning products, etc. 3. If you find out that the DP likes certain snacks from crafty, be sure to carry some in your tool bag by the camera. Surprises during hour #12 are sure to be highly appreciated when people can't easily make it to crafty (the food). 4. DON'T RUSH! Being quick is great, be quick all you want...but don't rush. Many people (including myself) have dropped expensive lenses this way (it didn't break thankfully :P) but don't rush. You'll also burn out quickly with the long days. 5. Don't be afraid to make mistakes! You are no the first and you certainly won't be the last. As long as they are not catastrophically ridiculous. 6. HAVE FUN!!! Being an AC is addicting. I've always (and still do) wanted to be a DP, but the more AC work that I do, the more I want to stay an AC! CRAZY! Some other notes: -When marking multiple cameras, and making roll tabs for multiple cameras, use different colored tape (paper tape works best) for each. It just helps to identify it even more. -ALWAYS say "got it!" in response to switching a lens. I've even heard people say "thank you" or "good, you". It's standard (at least everywhere I've worked). If you are a 2nd, just don't smash your fingers in the slate. :)
one time we sent a grip to get us a few f-stops from the equipment room. 15 minutes later he came back and embarrassingly asked, "what does a f-stop look like?" Yeah, ask questions first
in a professional set, the 2 persons involved in a lens change are the 1st and the 2nd ac. The dop just tells to the 1st ac which lens he has to put on, and the 2nd ac brings the new lens to the 1st ac without front and back caps. Maybe there are some exceptions, but 99% of the cases it works like that.
I thought the same thing, also I’ve been taught to do the taking off and putting on of the lens myself. So my 2nd will pass me the lens as I give them the other one. I know some DPs like to do it themselves if it’s there own kit and sometimes if we are working in dusty environments I’ll have the 2nd put the new lens on to minimize time the sensor is exposed. Same goes with keeping back and front cap on.
And the 1st AC almost always trades lenses with the 2nd AC and then the 1st mounts the lens! SUPER SUPER backwards! These are super INDY tips. Not anything big!
A few things that aren't quite correct with this video : 1: The DP should never do a lens change. The Focus Puller takes the lens off the camera hands it to the 2nd AC at which point the 2ndAC hands the FP the new lens and the FP mounts the new lens onto the camera. The 2ndAC will now hand the appropriate focus ring and matte-box matte (if being used) to the FP. 2: The script supervisor does take a few basic camera notes but it is the 2ndAC's job to take thorough camera notes and do neat camera report sheets to hand to production at the end of the day. 3: A lot of the responsibilities that are said in this video to be the 1st ACs are actually the 2nACs responsibilities ie; labelling cards with roll numbers, report sheets, overseeing trainees who's responsibility is to make sure picture is up in video village (unless there is a video assist) The FP on a proper shoot can't physically do all this and no experienced FP would accept this work-load without a 2ndAC. 4: 1stAC's are not dying out! Maybe this DP is referring to low budget corporates or something.. I dunno! Anyway, trust me it's not dying out. 5: An FP, if pulling focus straight off the camera, should ideally be on the opposite side to the operator BUT if the Camera is positioned for example, against a wall and you cant get to that side, it's totally acceptable to pull focus on the same side as the operator. 6: It's totally fine to have a metal tape measure as well as a soft tape measure, just don't be retarded and poke an actor's eye out. Get one that's THICK like a stanley fat max so that it can roll out further without snapping and save you the embarrassment. 7: You should wrap the label with the roll number around the CASE of the camera card not the camera card itself as over time, the sticky stuff from the tape can corrode the card and sometimes make it unreadable! There's soooo many "tips" and "tricks" as they say to being a good 1st AC, but there are soooo many books out there about camera assisting that I aint' gonna bother doing anymore points. Rant over.
Real experts having worked on real filmsets before wouldn't disagree. Everything he mentions in his comment is correct. I've done some movies in France and Belgium and in these countries the 2nd AC doesn't do the camera reports but thats as they work in France. In any other country I've worked so far, I would write the camera reports. So please explain to us what he got wrong???
DO NOT wrap an SD card like that in tape. Once I did that in Camera Tape and when I took it off to do the footage download it DISARMED completely! Parts of it sticked to the tape and the card itself kept unsafe. SD cards are really vulnerable storage supports. Put the tape in a cristal case with the SD card in, do not carry the card around like that because you can EASILY loose the footage!
For the most part you are describing the responsibilities of the 2nd AC. However if you only have one AC then that makes sense. Usually a Cam Op would never change a lens. 2nds run cards and and lenses, manage monitors, label things. 1sts manage camera settings and lens changes and of course focus.
I'm in film school right now and someone just asked me to be AC on set this Saturday. I had no idea what that entailed and this video was so helpful! Thank you!
My tip is, learn to be quick and anticipate the needs of the DoP. Sometimes, if the DoP needs to ask you for sth you've already lost time. So for me one of the most important things is to be in sync with the DoP and to learn how to predict some stuff. Like if you see the DP talking to the director and you hear sth about a lens change, be ready for it, maybe predict the focal lenght from context and be ready when he looks at you to signal the lens change. One more is dont ask questions that will confuse or take the DP's mind out of what he is currently doing. If you want to ask sth about a next setup, wait until the right moment when he is a bit free, you dont want the DP talking to the gaffer about sth and then you go in to interrupt and ask a question that is not crucial at the moment. Lastly, be always present but dont get in the way. If the DP needs the camera at a certain place, be quick and efficient on the change. If the DP isnt near the camera but the director needs to see sth through the camera or at a certain height/ place/ angle/ framing, be there to do it quickly. An AC's job is all about being quick, efficient and saving time, not wasting it. If you have to: ask questions, go to the bathroom, drink water or anything else that could slow down the shoot, do it at your own time or at the right time.
Some shoots have one camera assistant who marks the shots and also helps with loading and unloading, lens changes etc. be flexible and versatile enough cover various roles even if your main goal is to pull focus or operate cameras. Another vital thing you can do if you're able, learn how to operate a camera on geared head, aka 'wheels'. It's a surefire way to make yourself more useful.
I shoot with SXS cards which have a large case. On the removable label, I've printed green 'available' on one side and red 'DO NOT ERASE' on the other. When the card comes out of the camera, the write protect goes on an into the case. It works for me!
@@jamesburton1050 Its about expeidiency: If you have to go up 3+ stages, you then can't reach the top. But that's very rare. The operator is lifting the camera to height: ( perhaps on a plinth )you then drop the legs fast, to meet the ground. Usually you need the bottom stage first. also, the Operator can 'bubble' the head, and say "Ok', and you lock the legs off, and the Head is level. It takes training and communication, but results if faster turnaround and beter/faster deployment.
Dear JP Morgan, I would love to watch a tutorial on how to pull focus and use measuring tapes, marks, hack focus, blocking actors... Like as it is in the film industry. I always got confused about it.Thanks!
Question regarding the first tip which i love the idea of, wrapping tape on front of SD card. What type of tape do you suggest and can't that damage/dirty up the pins of the card?
Great tips indeed! Quick question, does the script supervisor usually asks for the camera settings from the DP or from the 1st AC? What's more common? Thanks!
i have zero experience in the film industry and i’m currently in college for a completely fight degree but i want to be an AC or something similar to the position. any recommendations as to what i should do to get started ?
Go to the film department at your school and volunteer to work on student projects. Its the best way to get started. On the channel there is a great video on being a good AC. Check it out. ua-cam.com/video/xoHs1eUrTjI/v-deo.html
@@makaryasantilladiaz248 *Before you even carry it back to the case. The 1st AC may even do it before handing it to you. The point is that it helps protect the elements inside if you drop it on your way back. Zeroing it right before you put it in the case defeats the purpose.
Sorry to bust your bubble, but please change the title of this video. Pretty much nothing or actually very little of what is said in this video pertains to the job of the first AC. Most tips in this video are for 2nd AC, third, or Trainee. On top of that most of what's said in this video is extremely imprecise and at times, even wrong. You could tell in the first few seconds of this video that is going to be bad, when the guy "teaching" says he has never being a 1st AC. Honestly speaking, it's disrespectful to Focus Pullers that someone who has never being A PROFESSIONAL AC makes a video about how to be an AC. The level of dishonesty and entitlement is unbelievable.
Think about the fact that not all productions are with large crews and 1st AC work on small productions with just a few crew members for commercials, company profile videos, etc. Focus pullers and and the additional levels don't exist in that world.
No no no- You say got it with the lenses. You don't have the person bringing the lenses on install them- and you put one hand over each end if you are going to use two hands. Please don't act like an authority if you don't know the basics.
2:00 Wow, really!? I hope that first-time 1st AC is pulling $1k/ day for their work. 5:00 Personally specific lens changing technique... does anything need to be said? The *most* important thing is protecting the sensor and rear element, neither of which this technique achieves. I had to stop... this won't effectively teach any youth, anything about being on a set -the most important points mentioned are spurious, and the points mentioned at length are less than that. *massive edit deleted, this is a horrible example of video work for anyone working, or trying to work. This is how the industry has taken advantage of the skilled small people, and made the big guys looks like morons.
Hmm, it sounds like you haven't really worked on these types of sets. I work as 1stAC/2ndAC in small and large productions, and both the tape on card and handing off lenses are normal standard, although all the sets I've worked on, we do the "got it?" confirmations just like DSLRGuide says. This is especially critical when you're working with very expensive cinema lenses like the Cookes and ARRIs. An amazing place to get in-depth knowledge is The Black and Blue, which is a great blog by 1stAC Evan Luzi: www.theblackandblue.com
He's kinda right and kinda wrong. Actually on most sets the DP nor the Camera Op touches the lenses. They decide the lens, tell the 1st who tells the second (who should be ready and waiting with it as they were listening to the DP), If the lens is normal sized and not a huge zoom or 14MM or something they should do the move like this: 2nd AC will remove both caps from the lens at the case and check it quickly to see if it needs to be cleaned, and make note of it. 2nd AC moves the new lens in both hands, one below and one above, both protecting the lens but cupped to prevent touching the glass. If the move is more than a few steps, they should call out that they are moving a lens to alert people nearby. The 1st AC turns the camera sensor away from any strong wind or sun or strong lights, then pulls the old lens, gripping it by the ring with their right hand, thumb facing towards the sensor (which allows you to hold out the lens with the large side down, so you don't have to flip it in your hand), once pulled they put their other hand over the sensor. The 2nd AC takes the new lens, gripping it by the ring in their right hand. Then cups their left hand to receive the old lens as the 1st sets it onto their hand. Confirms with a "Got it" when they have it safely. The 2nd AC takes the new lens and similarly places it in the cupped hand of the 1st AC, who will also say "Got it" once they have it. The 1st AC will use both hands to put the new lens on the camera, then confirm with the DP that the lens is up. The 2nd AC will again use both hands cupped over the old lens to move it back to the case, check to see if it needs to be cleaned, and do so if they have time now. If not they put the caps back on and close and safely store the lens case away, then clean later when they have time. Once the DP and Director have agreed that the new lens will work, and it was in need of cleaning, do so now (or alert the 1st so that they can). You do not hold up the DP from being able to see if the framing with the new lens will work in order to clean the lens. Do so after it is been confirmed, as you waste the production's time and they might even decide to use a different lens instead afterwards anyway. Lens change complete, make sure to alert your Scripty (some Boom Ops appreciate it as well), and make the needed notes in your camera report and logs. The process is roughly the same for doing Filter or ND changes, though usually you can only do them one at a time as there is no sensor to protect. Bigger lenses you usually want to use with just the port cap and the lens, one at a time, as they cannot be safely held around the ring with one hand. Keep in mind, if you're 1st'ing and having to choose between taking your hand off the sensor for a second, or potentially dropping a lens, always choose taking your hand off. Most sensors can be uncovered for a short period, and honestly your hand doesn't really protect it that much anyway (Should always do lens changes facing away from the sun or other lights, your hand doesn't do much to stop dirt or dust particles really.) Also, depending on the camera and lenses you are using, the lens may be almost if not more expensive than the sensor.
Not using metal tape by talent? Seriously? I mean, if you don't have stand-ins to get your focus marks, which you should (even if just other crew members), then they just have to deal with it at that budget level. So many actors think they can act like A listers when no one even knows their names, sorry, at that level you're easier to replace than a good PA, if you're a hassle to work with, don't plan on working much.
So you'll risk losing your talent in the middle of the shoot over a fucking TAPE MEASURE? Go ahead, Slick, and tell me how easy it is to reshoot everything with your new actor.
@@maxsdad538 If your “talent” is the type that gets upset by a tape measure, you’ll usually know REALLY early on and there will be a million other warning signs. Either they are a big name actor known for being a diva and everyone knows that going in, or some complete no-name who likes to pretend and act like a diva because they think that’s somehow how actors are supposed to behave. That level of unknown actors who like to behave like they percieve A-listers act (which most absolutely don’t act that way, especially these days), are absolutely easy to replace, so unless they are the kid of the executive funding the whole thing, they better learn to make things easier on production. The vast majority of actors, especially successful ones, will have zero problems with it, or won’t be on set for focus prep because it will be their stand-in instead. If the actor is unimportant enough to be on a set without a stand-in to be there for focus measurements, then they definitely aren’t important enough to not be able to replace at the drop of a hat. In short, no worthwhile actor would have an issue with this, any that did you usually know as early on as auditions that they are a diva, in which case if you hire them it’s your own fault, or they are related to a producer. At lower budgets actors are literally easier to find and more replaceable than a 1/2 way decent PA, so if you let in a low budget unknown drama queen that blows up your production, but somehow hides their diva nature till 1/2 way through that’s your own fault, and a tape measure is going to be far from the first or biggest sign.
how are you going to do a video about teaching people how to be a good ac when you dont even have the knowledge your self? fake it until you make it I guess but people should learn from someone who actually knows not a guess. Just saying if you dont have the right knowledge and it just your best practices you are spreading false info and guesses to how you would do something not the proper way. Also you gave your self away in the beginning saying you aren't an AC so what good info could you possibly give if you dont know the position!
@@TheSlantedLens Thanks, I definitely didn't miss the point and I cant tell you how many times I have been on set and heard a producer, director or DOP say how they dont really have experience which to me only means the production is going to be a shit show. I get they may have experience as a director or dp but a 1st ac will know more technical aspects of camera department in comparison. In this case maybe change the title to say "Tips to be a good ac from a DOP perspective" Anyways I hope your career goes great as well my friend
1st ACs are dying up??????? Where???? In what planet??? Any movie for theatrical release, any TV series or even Netflix or other streaming platforms have more than one first AC bc they shoot with more than one camera. On top, they have more than one 2nd AC training to be a first AC in the future. If anything, as gear get more and more complex on set, competent 1st ACs are indispensable. For instance,if the guy "teaching" in this video was put to operate a camera in a real movie o real TV series without a 1st AC, he would be fired before even the start of the movie. He would show up to the prep week with no the slightest idea of what to do. He wouldn't even know where to start. It would take no longer than 3 to 4 hours on prep week for everyone to realize he has no idea of anything that goes on with professional filmmaking equipment. He's disconnect with the real world of filmmaking is astonishing. No real DoP would go anywhere without a seasoned, experienced and knowledgeable 1st AC.
also I work in the professional industry as a full time DIT/Dailies colorist, and in the industry what he said is the responsibility of 3 or 4 or 5 crew members depending on the size of production, not just the 1st AC. :)
A couple of things to add:
1. When shooting handheld / movi, the AC often holds the camera between takes so that the operator doesn't get too tired.
2. When passing the lens over, you ask them 'got it?' and don't let go until they say 'got it.'. Good habit to get into so expensive lenses aren't dropped.
DSLRguide good tip number two. I just posted the same idea in a Facebook group. Better safe, than sorry.
Yup, as a working 1stAC/2ndAC, we definitely do the "got it?" double confirmation. Usually, the 2ndAC gets the lens from the case while the 1st AC handles the lens unmount and mounting, but the same applies between DP/camera op and the 1stAC on smaller productions.
On bigger sets, 2ndAC also usually handles video village and cable wrangling, too.
Now focus pulling is the real big important part of 1stAC because it's absolutely the one job that will definitely shows up on tape.
DSLRguide During takes the grips take over the camera not the 1st AC. If the 1st AC has to change the lens he can not hold the camera and change the lens at the same time.
+Philippe Manderscheid Good point.
Simon Cade?! Good to see you here
Some other great beginning AC tips:
1. Don't be afraid to ask questions, especially if you don't know the lingo for a certain piece of gear. I made this mistake on my first "professional" AC gig and I ended up wasting time and bringing back the wrong things! Besides, you'll maybe even learn more about other departments as well!
2. Bring some sort of medium-sized tool bag to set with you. Most AC's have large tool kit with various things (myself included) and we'll leave them on the camera cart. I also have a smaller tool bag that I keep the top essentials in and I will leave it as close to the camera as safe as possible at ALL times. Also, wearing an AC pouch is a good idea because it just allows you to free up your hands more. You can carry cards in them, lens cleaning products, etc.
3. If you find out that the DP likes certain snacks from crafty, be sure to carry some in your tool bag by the camera. Surprises during hour #12 are sure to be highly appreciated when people can't easily make it to crafty (the food).
4. DON'T RUSH! Being quick is great, be quick all you want...but don't rush. Many people (including myself) have dropped expensive lenses this way (it didn't break thankfully :P) but don't rush. You'll also burn out quickly with the long days.
5. Don't be afraid to make mistakes! You are no the first and you certainly won't be the last. As long as they are not catastrophically ridiculous.
6. HAVE FUN!!! Being an AC is addicting. I've always (and still do) wanted to be a DP, but the more AC work that I do, the more I want to stay an AC! CRAZY!
Some other notes:
-When marking multiple cameras, and making roll tabs for multiple cameras, use different colored tape (paper tape works best) for each. It just helps to identify it even more.
-ALWAYS say "got it!" in response to switching a lens. I've even heard people say "thank you" or "good, you". It's standard (at least everywhere I've worked).
If you are a 2nd, just don't smash your fingers in the slate. :)
Kelly McAdams Great tips Kelly, thank you for sharing with everyone.
one time we sent a grip to get us a few f-stops from the equipment room. 15 minutes later he came back and embarrassingly asked, "what does a f-stop look like?" Yeah, ask questions first
You saved my ass after three years of posting this comment i read it before my first gig and i did great, thanks pal.
Thank you! I got my first AC gig tomorrow and I'm really nervous.😭
"I've never been an AC, but as a DP".
I literally stopped watching as soon as I heard that lol
in a professional set, the 2 persons involved in a lens change are the 1st and the 2nd ac. The dop just tells to the 1st ac which lens he has to put on, and the 2nd ac brings the new lens to the 1st ac without front and back caps. Maybe there are some exceptions, but 99% of the cases it works like that.
I thought the same thing, also I’ve been taught to do the taking off and putting on of the lens myself. So my 2nd will pass me the lens as I give them the other one. I know some DPs like to do it themselves if it’s there own kit and sometimes if we are working in dusty environments I’ll have the 2nd put the new lens on to minimize time the sensor is exposed. Same goes with keeping back and front cap on.
And the 1st AC almost always trades lenses with the 2nd AC and then the 1st mounts the lens! SUPER SUPER backwards! These are super INDY tips. Not anything big!
A few things that aren't quite correct with this video :
1: The DP should never do a lens change. The Focus Puller takes the lens off the camera hands it to the 2nd AC at which point the 2ndAC hands the FP the new lens and the FP mounts the new lens onto the camera. The 2ndAC will now hand the appropriate focus ring and matte-box matte (if being used) to the FP.
2: The script supervisor does take a few basic camera notes but it is the 2ndAC's job to take thorough camera notes and do neat camera report sheets to hand to production at the end of the day.
3: A lot of the responsibilities that are said in this video to be the 1st ACs are actually the 2nACs responsibilities ie; labelling cards with roll numbers, report sheets, overseeing trainees who's responsibility is to make sure picture is up in video village (unless there is a video assist) The FP on a proper shoot can't physically do all this and no experienced FP would accept this work-load without a 2ndAC.
4: 1stAC's are not dying out! Maybe this DP is referring to low budget corporates or something.. I dunno! Anyway, trust me it's not dying out.
5: An FP, if pulling focus straight off the camera, should ideally be on the opposite side to the operator BUT if the Camera is positioned for example, against a wall and you cant get to that side, it's totally acceptable to pull focus on the same side as the operator.
6: It's totally fine to have a metal tape measure as well as a soft tape measure, just don't be retarded and poke an actor's eye out. Get one that's THICK like a stanley fat max so that it can roll out further without snapping and save you the embarrassment.
7: You should wrap the label with the roll number around the CASE of the camera card not the camera card itself as over time, the sticky stuff from the tape can corrode the card and sometimes make it unreadable!
There's soooo many "tips" and "tricks" as they say to being a good 1st AC, but there are soooo many books out there about camera assisting that I aint' gonna bother doing anymore points. Rant over.
+Brisdad53 how so?
Real experts having worked on real filmsets before wouldn't disagree. Everything he mentions in his comment is correct. I've done some movies in France and Belgium and in these countries the 2nd AC doesn't do the camera reports but thats as they work in France. In any other country I've worked so far, I would write the camera reports. So please explain to us what he got wrong???
He really didn't, I've 2nd' and 1st'd on many features, and he said nothing that was actually wrong. Not sure where the other guy is coming from.
would you recommend any particular book ?
@@MarlonB44 "the Grip Book" has some great painfully honest set etiquette advice
DO NOT WRAP TAPE OVER THE CONNECTORS ON ANY MEDIA!!! Tape can leave residue and gum up media AND the card readers.
i was thinking the same thing. like what if glue gets in the metal slots
Fold the end over so the non adhesive side is over contacts.
Use camera tape. No residue.
Always Confirm you have a good handle on the lens before exchanging hands, that also goes for the camera.
+C Morton Good tip. Thanks for watching.
DO NOT wrap an SD card like that in tape. Once I did that in Camera Tape and when I took it off to do the footage download it DISARMED completely! Parts of it sticked to the tape and the card itself kept unsafe. SD cards are really vulnerable storage supports. Put the tape in a cristal case with the SD card in, do not carry the card around like that because you can EASILY loose the footage!
For the most part you are describing the responsibilities of the 2nd AC. However if you only have one AC then that makes sense. Usually a Cam Op would never change a lens. 2nds run cards and and lenses, manage monitors, label things. 1sts manage camera settings and lens changes and of course focus.
Great points. We usually work with a small crew!
I'm in film school right now and someone just asked me to be AC on set this Saturday. I had no idea what that entailed and this video was so helpful! Thank you!
That's awesome! So glad that you found our channel. We have lots of practical teaching lessons on our channel so stay subscribed!
I feel like putting tape over the contacts of the card is pretty detrimental to the card. Maybe put it over the side so they can't put it in.
My tip is, learn to be quick and anticipate the needs of the DoP. Sometimes, if the DoP needs to ask you for sth you've already lost time. So for me one of the most important things is to be in sync with the DoP and to learn how to predict some stuff. Like if you see the DP talking to the director and you hear sth about a lens change, be ready for it, maybe predict the focal lenght from context and be ready when he looks at you to signal the lens change.
One more is dont ask questions that will confuse or take the DP's mind out of what he is currently doing. If you want to ask sth about a next setup, wait until the right moment when he is a bit free, you dont want the DP talking to the gaffer about sth and then you go in to interrupt and ask a question that is not crucial at the moment.
Lastly, be always present but dont get in the way. If the DP needs the camera at a certain place, be quick and efficient on the change. If the DP isnt near the camera but the director needs to see sth through the camera or at a certain height/ place/ angle/ framing, be there to do it quickly.
An AC's job is all about being quick, efficient and saving time, not wasting it. If you have to: ask questions, go to the bathroom, drink water or anything else that could slow down the shoot, do it at your own time or at the right time.
Great tips. Thanks for sharing!
Number 1 is good attitude. Well said.
And just keep hustling.
Good points. Thanks for your comment!
This is helpful. For a beginner in film production. I will rewatch and to understand better
Some shoots have one camera assistant who marks the shots and also helps with loading and unloading, lens changes etc.
be flexible and versatile enough cover various roles even if your main goal is to pull focus or operate cameras.
Another vital thing you can do if you're able, learn how to operate a camera on geared head, aka 'wheels'. It's a surefire way to make yourself more useful.
the ac should always make sure he's not in a light shadow position.
I shoot with SXS cards which have a large case. On the removable label, I've printed green 'available' on one side and red 'DO NOT ERASE' on the other. When the card comes out of the camera, the write protect goes on an into the case. It works for me!
I watched this 3 years ago before my first time on set. I joined local 600 a couple of weeks ago!
Congratulations! Keep up the good work!
This Sunday marks my first AC job, just brushing up on a few tips. Wish me luck lol
Wishing you great success. Enjoy your job!
Once you giving a lens or taking a lens you need to say "have it " to confirm the lens is secure in the persons hand
Watching your older videos :D Good tip about putting the tape on the top of the card so you know it's hot and not been transformed.
Thanks Farzad!
1st AC tip:
When using 3-stage legs, if the Director asks, " can you go up on the sticks? ", always extend the bottom stages first.
Why bottom stages first? Seems like those would be slightly less stable than the upper stages.
@@jamesburton1050 Its about expeidiency: If you have to go up 3+ stages, you then can't reach the top. But that's very rare.
The operator is lifting the camera to height:
( perhaps on a plinth )you then drop the legs fast, to meet the ground.
Usually you need the bottom stage first.
also, the Operator can 'bubble' the head, and say "Ok', and you lock the legs off, and the Head is level.
It takes training and communication, but results if faster turnaround and beter/faster deployment.
Great tips! Thanks for sharing! Filmmaking tips are really appreciated
Dear JP Morgan, I would love to watch a tutorial on how to pull focus and use measuring tapes, marks, hack focus, blocking actors... Like as it is in the film industry. I always got confused about it.Thanks!
You're welcome! We are glad to help you learn the tips and tricks of the trade.
Helpful info. Thanks so much!
Glad you found it helpful!
thanks
Great, helpfull video for those just starting out. What (model) of Mattebox is that please - I can see it's a Movcam?
good stuff. thank you.
How to get good at focusing
Just keep focusing. Gets easier to hit marks over time. Start using a follow focus, it's a good practice to get into.
Really interesting.Cheers!
Glad you found it helpful!
You can tell that I don't make a living shooting film... My 1st AC is something I use to keep my bedroom cool in the summer. LOL :)
Question regarding the first tip which i love the idea of, wrapping tape on front of SD card. What type of tape do you suggest and can't that damage/dirty up the pins of the card?
Zeroskillet Gaff tape
gaffe
this was awesome
NOTE that these tips are for more of the INDY market and not really great tips for 1st AC work. Lots of stuff that isn't true of the big sets!
Yes, this is aimed more at smaller crews.
Great tips indeed! Quick question, does the script supervisor usually asks for the camera settings from the DP or from the 1st AC? What's more common? Thanks!
***** Almost always the 1st AC or 2nd.
Very interesting, thanks for the infos =)
My pleasure! Thank you for watching!
2nd AC video?
i have zero experience in the film industry and i’m currently in college for a completely fight degree but i want to be an AC or something similar to the position. any recommendations as to what i should do to get started ?
Go to the film department at your school and volunteer to work on student projects. Its the best way to get started. On the channel there is a great video on being a good AC. Check it out. ua-cam.com/video/xoHs1eUrTjI/v-deo.html
I appreciate the guy on the left and his inclusive language, dude on the right needs to take some notes on all the "he and him" stuff
Hope you learned some good tips!
@@TheSlantedLens 🤨 weird response
First video watched - subscribed.
Thanks!
Would the 1st or 2nd AC mark the camera log?
The 2nd, typically - When they're not clapping/loading or doing anything else.
I was told that during a lens change the lens is zeroed out, is that incorrect?
Andrew Cavett yup right before we put a lens back in the case we set the stop to wide open and focus to infinity.
@@makaryasantilladiaz248 *Before you even carry it back to the case. The 1st AC may even do it before handing it to you.
The point is that it helps protect the elements inside if you drop it on your way back. Zeroing it right before you put it in the case defeats the purpose.
You should hire some sound engineer so he can check if your sound is not clipping.
very true. thanks for the input
Man this shit gives me anxiety
most of it is bullshit so chill. Pulling focus is easy if you use rehearsal time to methodically take marks.
Hahahaha the mattebox is bigger than the camera
LOL. Yes it is. Thanks for watching!
Video village is up to 2nd AC
Video Village is to be set up by the Video Assist or Video Operator.
Sorry to bust your bubble, but please change the title of this video. Pretty much nothing or actually very little of what is said in this video pertains to the job of the first AC. Most tips in this video are for 2nd AC, third, or Trainee. On top of that most of what's said in this video is extremely imprecise and at times, even wrong. You could tell in the first few seconds of this video that is going to be bad, when the guy "teaching" says he has never being a 1st AC. Honestly speaking, it's disrespectful to Focus Pullers that someone who has never being A PROFESSIONAL AC makes a video about how to be an AC. The level of dishonesty and entitlement is unbelievable.
Think about the fact that not all productions are with large crews and 1st AC work on small productions with just a few crew members for commercials, company profile videos, etc. Focus pullers and and the additional levels don't exist in that world.
What rig is that?
It looks like a Kamerar swing-away matte box
No no no- You say got it with the lenses. You don't have the person bringing the lenses on install them- and you put one hand over each end if you are going to use two hands. Please don't act like an authority if you don't know the basics.
Thanks for sharing your thoughts
HAHAHAH dudes scared of metal tape measurers!
Sometimes they can whip back and sting a little!
2:00 Wow, really!? I hope that first-time 1st AC is pulling $1k/ day for their work.
5:00 Personally specific lens changing technique... does anything need to be said? The *most* important thing is protecting the sensor and rear element, neither of which this technique achieves.
I had to stop... this won't effectively teach any youth, anything about being on a set -the most important points mentioned are spurious, and the points mentioned at length are less than that.
*massive edit deleted, this is a horrible example of video work for anyone working, or trying to work. This is how the industry has taken advantage of the skilled small people, and made the big guys looks like morons.
Hmm, it sounds like you haven't really worked on these types of sets.
I work as 1stAC/2ndAC in small and large productions, and both the tape on card and handing off lenses are normal standard, although all the sets I've worked on, we do the "got it?" confirmations just like DSLRGuide says. This is especially critical when you're working with very expensive cinema lenses like the Cookes and ARRIs.
An amazing place to get in-depth knowledge is The Black and Blue, which is a great blog by 1stAC Evan Luzi:
www.theblackandblue.com
He's kinda right and kinda wrong.
Actually on most sets the DP nor the Camera Op touches the lenses. They decide the lens, tell the 1st who tells the second (who should be ready and waiting with it as they were listening to the DP), If the lens is normal sized and not a huge zoom or 14MM or something they should do the move like this:
2nd AC will remove both caps from the lens at the case and check it quickly to see if it needs to be cleaned, and make note of it.
2nd AC moves the new lens in both hands, one below and one above, both protecting the lens but cupped to prevent touching the glass. If the move is more than a few steps, they should call out that they are moving a lens to alert people nearby.
The 1st AC turns the camera sensor away from any strong wind or sun or strong lights, then pulls the old lens, gripping it by the ring with their right hand, thumb facing towards the sensor (which allows you to hold out the lens with the large side down, so you don't have to flip it in your hand), once pulled they put their other hand over the sensor.
The 2nd AC takes the new lens, gripping it by the ring in their right hand. Then cups their left hand to receive the old lens as the 1st sets it onto their hand. Confirms with a "Got it" when they have it safely.
The 2nd AC takes the new lens and similarly places it in the cupped hand of the 1st AC, who will also say "Got it" once they have it.
The 1st AC will use both hands to put the new lens on the camera, then confirm with the DP that the lens is up.
The 2nd AC will again use both hands cupped over the old lens to move it back to the case, check to see if it needs to be cleaned, and do so if they have time now. If not they put the caps back on and close and safely store the lens case away, then clean later when they have time.
Once the DP and Director have agreed that the new lens will work, and it was in need of cleaning, do so now (or alert the 1st so that they can). You do not hold up the DP from being able to see if the framing with the new lens will work in order to clean the lens. Do so after it is been confirmed, as you waste the production's time and they might even decide to use a different lens instead afterwards anyway.
Lens change complete, make sure to alert your Scripty (some Boom Ops appreciate it as well), and make the needed notes in your camera report and logs.
The process is roughly the same for doing Filter or ND changes, though usually you can only do them one at a time as there is no sensor to protect. Bigger lenses you usually want to use with just the port cap and the lens, one at a time, as they cannot be safely held around the ring with one hand.
Keep in mind, if you're 1st'ing and having to choose between taking your hand off the sensor for a second, or potentially dropping a lens, always choose taking your hand off. Most sensors can be uncovered for a short period, and honestly your hand doesn't really protect it that much anyway (Should always do lens changes facing away from the sun or other lights, your hand doesn't do much to stop dirt or dust particles really.) Also, depending on the camera and lenses you are using, the lens may be almost if not more expensive than the sensor.
@@KahlevN This one comment is better than the entire video. And thanks for mentioning boom ops, yes, we appreciate it. :)
Not using metal tape by talent? Seriously? I mean, if you don't have stand-ins to get your focus marks, which you should (even if just other crew members), then they just have to deal with it at that budget level. So many actors think they can act like A listers when no one even knows their names, sorry, at that level you're easier to replace than a good PA, if you're a hassle to work with, don't plan on working much.
So you'll risk losing your talent in the middle of the shoot over a fucking TAPE MEASURE? Go ahead, Slick, and tell me how easy it is to reshoot everything with your new actor.
@@maxsdad538 If your “talent” is the type that gets upset by a tape measure, you’ll usually know REALLY early on and there will be a million other warning signs. Either they are a big name actor known for being a diva and everyone knows that going in, or some complete no-name who likes to pretend and act like a diva because they think that’s somehow how actors are supposed to behave. That level of unknown actors who like to behave like they percieve A-listers act (which most absolutely don’t act that way, especially these days), are absolutely easy to replace, so unless they are the kid of the executive funding the whole thing, they better learn to make things easier on production. The vast majority of actors, especially successful ones, will have zero problems with it, or won’t be on set for focus prep because it will be their stand-in instead.
If the actor is unimportant enough to be on a set without a stand-in to be there for focus measurements, then they definitely aren’t important enough to not be able to replace at the drop of a hat.
In short, no worthwhile actor would have an issue with this, any that did you usually know as early on as auditions that they are a diva, in which case if you hire them it’s your own fault, or they are related to a producer. At lower budgets actors are literally easier to find and more replaceable than a 1/2 way decent PA, so if you let in a low budget unknown drama queen that blows up your production, but somehow hides their diva nature till 1/2 way through that’s your own fault, and a tape measure is going to be far from the first or biggest sign.
how are you going to do a video about teaching people how to be a good ac when you dont even have the knowledge your self? fake it until you make it I guess but people should learn from someone who actually knows not a guess. Just saying if you dont have the right knowledge and it just your best practices you are spreading false info and guesses to how you would do something not the proper way. Also you gave your self away in the beginning saying you aren't an AC so what good info could you possibly give if you dont know the position!
You missed the point. Jay P and Lars are both Directors and DP's. They were talking about what they like to see in an AC. Hope your career goes great.
@@TheSlantedLens Thanks, I definitely didn't miss the point and I cant tell you how many times I have been on set and heard a producer, director or DOP say how they dont really have experience which to me only means the production is going to be a shit show. I get they may have experience as a director or dp but a 1st ac will know more technical aspects of camera department in comparison. In this case maybe change the title to say "Tips to be a good ac from a DOP perspective" Anyways I hope your career goes great as well my friend
1st ACs are dying up??????? Where???? In what planet??? Any movie for theatrical release, any TV series or even Netflix or other streaming platforms have more than one first AC bc they shoot with more than one camera. On top, they have more than one 2nd AC training to be a first AC in the future. If anything, as gear get more and more complex on set, competent 1st ACs are indispensable. For instance,if the guy "teaching" in this video was put to operate a camera in a real movie o real TV series without a 1st AC, he would be fired before even the start of the movie. He would show up to the prep week with no the slightest idea of what to do. He wouldn't even know where to start. It would take no longer than 3 to 4 hours on prep week for everyone to realize he has no idea of anything that goes on with professional filmmaking equipment. He's disconnect with the real world of filmmaking is astonishing. No real DoP would go anywhere without a seasoned, experienced and knowledgeable 1st AC.
Not every film project is for feature films. And 1st AC work on small productions as well.
“I’ve never been an AC”, I stopped watching right there.
This video is awesome, you know why? The comments.
the guest knows what he is talking about, the host obviously does not know shit.
also I work in the professional industry as a full time DIT/Dailies colorist, and in the industry what he said is the responsibility of 3 or 4 or 5 crew members depending on the size of production, not just the 1st AC. :)