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CLASS 1/C7
Camera – Focus Puller
Prep
• Know show specifics enough to ensure all necessary gear ordered
• Check ALL gear for
o Existence in package
o Received in decent condition – report or replace if not
o Fitting together properly
o Working perfectly
•
Shoot
• Camera configured as per specs of shot (per DP)
• Focus marks attained properly
• Camera levelled, balanced, safe
• Operator comfortable (eyepiece set, tension to their pref’s,…)
Wrap
•
Camera – 2nd AC
Prep
• Gear familiarisation & organisation
• Ensure safe transport to set
Shoot
• Gear organization & flow
• Records – on screen and off
• DP creature comforts
• Calling marks (and/or other techniques)
Wrap
• Ensure safe transport from set
• Gear inventory, cleaning & proper stowage for orderly return
Lighting
Prep
• Gear familiarisation & organisation
• Ensure safe transport to set
Shoot
• Bring power to units (coil at unit – usually)
• Operate lamp
• Put up gel or diff
• Continual staging
• Mind power loads
Wrap
• Ensure safe transport from set
• Gear inventory, cleaning & proper stowage for orderly return

All the things assistants do.

Camera
2nd
Help w/ camera prep – get to know the gear
Organise the gear
Help w/ camera setup – aid the 1st

Marking Actors - HANDOUT

Slating
Camera logs / Camera Reports
Stock inventory
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Assistant THINKING –
[set PA – Altman’s cigarette]
CALL BACK
Who to talk to (and NOT to talk to) about what

Go through my stuff

Reading personalities
EXERCISE:
Role playing – talking to DP’s of different temperament.
Create situations where assistants must be tactful with DP.
Coach DP’s to have various personality-types
Nervous
His Highness
One of the guys
Perfectionist

Situations
I overexposed the last shot
This location didn’t pay its bill and the power has been cut off
We see ourselves in the reflection
DP tell Asst how you like your tea.
(then asst. forgets) (DP asks for tea) (asst must ask AGAIN how likes tea)

Handle stress stresslessly

EXERCISE:
Role playing – students play 1st & 2nd AC in separate conversations with dp, pm, rental house and each
other…Create situations which may cause inner conflict.
- DP, on phone, at end of prep day, changes entire package
- PM gives a ridiculously low budget amount allocated for camera and tells AC not to exceed
- Rental house was faxed your list last night,
it’s 5pm and you still only have ¼ of what you need,
the DP keeps calling and adding stuff
your PM is calling repeatedly wondering when you’re going to be finished
so they can send the PA with the truck.

Hints:
NEVER ALIENATE ANYBODY
ALWAYS MEK THE DP LOOK GOOD…it’s your job
Don’t tell PM it’s rental house’s fault, it will get back to them and you need to keep go relations with
the rental house
If you give production flack, it will get back to your dp that you’re “uncooperative”

It’s about finding that sweet spot between getting along and getting what you need to do the job – of
course, you try initially to get the best of both, but are happy with wherever it ends up settling.

EXERCISE:
Practice marking actors during blocking rehearsals
When asked to
When no one (Dir, AD, Actor) cares
Need: marking tape
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Callback
EXERCISE:
Challenge – to hear DP’s voice across a noisy room and accurately repeat the call
Someone deemed “it”
Give list of “You’re It”

HANDOUTS:

2 separate packages –

#1 - Doug
Hart
xxiv xxv
xxviii xxx
what is a camera
1 5 5 assistant?
17 22 6 working w/ other dept's
cartoon: Mountain of
46 1 Cases
238 239 2 calling marks
morning setup / bringing equipment to
260 264 5 the set
267 269 3 chain of command, etc.
277 283 7 marking actors
315 1 efficiency on the set
tools & didn't copy this (2 Sept.
367 381 15 supplies 08)

45

#2 - Fritz
Hershey
261 270 Internal requirements