The inevitable question anybody starting out in film wants to know is how to get a job — their first job. Becoming the Reel Deal: How to Launch Your Film Career in the Camera Department is a 200-page eBook designed to help you get that crucial first gig within the camera department. And it’s available for you to download for free today.
How to Get Better at Pulling Focus, Slating, and Being a Badass AC
Most Recent Articles in "Camera Assisting"
I’ve managed to dip back into the reserves to find 100 more resources for your insatiable consumption. You might want to bookmark this one so you can keep it as a reference.
Even though the slate is an iconic piece of gear and one that plays a big role on a film set, it isn’t your third arm. Think about putting it down every once in awhile.
As digital cinema cameras continue to evolve, will pulling focus become an obsolete skill? At what point do the cameras start doing it for you? And if that’s the case, what are you — as a camera assistant — left to do?
If you want to survive in the digital cinematography future as a camera assistant, there are a few things you’re going to need change. These adaptations may be easy for you, others may not, but all of them will play a crucial role in your career path.
“Should I shoot with a big zoom lens to save time/minimize setups?” Like most questions that start with “Should I…” there are pros and cons to each answer.
On more than few occasions, I’ve called for a fresh battery from a 2nd assistant camera (AC) only to have them run to the charger, grab a charged battery, place it in my hands, then I give them the dead battery, they bring it back to the charger, and finally come back to set. Seems a little redudant, no?
With expensive cinema cameras, there really is no other way to make sure gear is ready to get slogged through an intense production than a camera prep. Not all shoots you work on will give you a prep day, but plenty will — and you have to maximize it.
Beginning camera assistants (ACs) have a tendency to do two things wrong when slating: they speak too slow and they announce everything on the slate. I know this because I was guilty of it and, as I trained others, noticed how they would fall into the same trap.
Are there times on set where you wish you were faster? I bet there are. Maybe it’s the way you slate, or the way you mark, or you struggle to carry the camera. Whatever it is, you’re tired of it: you’re ready to boost your speed and maximize your efficiency.