The Black and Blue

Filmmaking Tips for Camera Assistants

  • Blog
  • Camera Guides
  • Menu
  • 
  • Blog
  • Videos
  • Free Ebook
  • Pocket Guides
  • Topics
    • Behind the Lens
    • Camera Assisting
    • Cameras
    • Getting Work
    • Industry News
    • Miscellaneous Tips
    • Production Stories
    • Toolkit
    • Website
  • Subscribe
  • Contact
  • About The Black and Blue
  • Sponsorship
  • Comment Policy
  • Privacy Policy
  • Disclosure
  • 
  • U
  • 
  • R
  • @
  • Q
  • ˆ
  • ‰
×
Pulling Focus on the Set of Red Herring

Three Tips to Help You When Shooting Handheld

Shooting with a handheld camera is harder physically and mentally. Mentally, your job is intensified because the camera is now as dynamic as the subject which makes pulling focus more difficult. Physically, you have to be lifting the camera quite frequently as well as guiding your and the operators' body through a scene.

by Evan LuziCamera Assisting

  • 17

Films are rarely without camera movement. To create a moving frame, the camera gets thrown on dolly tracks, on cranes, and even on shoulders for handheld operation.

That means popping the camera off the sturdy base of a tripod and into the hands of an operator. For the camera assistant, this creates a few issues that you need to be able to keep up with.

After working many films shot exclusively handheld, I came up with three tips to help you for those times where the camera operator turns and says, “Load me up!”

How to Make Shooting Handheld Easier

These tips are focused on practical issues that have arisen for me over the course of many shoots.

1. Minimize the Time the Camera is Up

Some camera systems are obnoxiously heavy (RED One, I’m looking at you!) while others are fairly light. But even the lighter rigs still wear on an operator’s shoulder after hours of handheld work.

As a camera assistant, minimize the time the camera has to be on an operator’s shoulder by putting it on at the last possible moment and taking it off immediately after a take has been cut.

This is especially crucial if you are shooting long takes or action-heavy tracking shots.

There’s a story of a top-tier director of photography (DP) who operated his own camera handheld and whenever the take was cut he would let go of the camera. He expected the camera assistant to make sure it didn’t fall to the ground. That’s a bit extreme — and irresponsible — but it proves a larger point: it’s the camera assistants job to have the camera between takes.

2. Be Mindful of Cables Connected to the Camera

Not every production can afford wireless systems for their cameras. Especially on digital productions, you’ll be dealing with an array of cables going to, from and through the camera.

Be careful of these during handheld scenes that you nor the camera operator trip over them.

If you are a 2nd AC, you should slate the scene and then wrangle the cable. This takes away one less worry from the 1st AC.

If you are the 1st AC, try and find a PA who is willing to wrangle the cable. It’s not a tough job — you just need a pair of hands to hold the cable off the ground so nobody trips on it.

If you can’t find anybody to wrangle the cable, throw the cables over your shoulder or hold them in the hand you aren’t pulling focus with making sure that they don’t fall on the ground near the operator’s feet.

3. Keep a Light Touch on the Follow Focus

A major problem on low budget productions shooting handheld or Steadicam is they don’t often shell out the bucks to afford a remote follow focus. While it’s not as bad in handheld situations as Steadicam, it still complicates pulling focus.

One issue in particular is affecting the camera operators “flow” while pulling on the follow focus. Especially if the follow focus is sticky or cheap, you may have to put a lot of effort into turning the disc and accidentally affect camera movement in doing so.

To combat this, try your best to have a light touch on the follow focus. On longer lenses, even the slightest bump from your hand onto the rig can cause a major shift in the frame.

A Graceful Struggle

Shooting handheld is difficult for camera assistants, operators, and even talent. You will, at times, find yourself in odd positions or rushing to catch up with the camera.

Be mindful of your surroundings and always make sure there is enough clearance in the space you’re shooting for you, the camera, and the operator. And, most importantly, always have a firm grip on the camera before and after takes — they don’t get along very well with gravity.

P.S.

None of these tips help with pulling focus because it’s a subject I want to tackle in the future. In the meantime I will say that pulling focus while handheld is a rewarding, if not stressful, experience. The best thing you can do to help is become a master at guessing distances between two moving subjects.

If you wish to be updated when the article focusing on, well, focusing is published, become a fan of The Black and Blue on Facebook or follow me on Twitter.

Evan Luzi

  • U
  • 
  • z

Creator of The Black and Blue. Freelance camera assistant and camera operator. Available for work: Contact Evan here. Learn more about Evan here.

An Essential Resource for Digital Cinema Filmmakers

Get the Complete Library of 30 Digital Cinema Pocket Guides

  • Canon C500 Digital Cinema Pocket Guide
  • Blackmagic Cinema Camera Digital Cinema Pocket Guide
  • Nikon D800 Digital Cinema Pocket Guide
  • Canon 5D Mark II Digital Cinema Pocket Guide
  • Sony FS700 Digital Cinema Pocket Guide
  • Sony F65 Digital Cinema Pocket Guide
  • Phantom Miro 320s Digital Cinema Pocket Guide
  • RED Epic Digital Cinema Pocket Guide
Click Here to Learn More

Read Next

Deciphering the Film Slate Mural

Deciphering the Film Slate (Part 3): Twelve Examples of a Completed Slate

I find looking at other slates to be extremely helpful. When I was first starting out as a 2nd AC, it was useful to see how others applied the principles I had learned about slating. So let's take a look at twelve completed clapperboards.

  • Fight Club as a Film and Novel: A Copy of A Copy of A Copy
  • Why Your 2nd Job is More Important than Your First
  • Shooting with RED Epic #4: Use the LED Status Indicators to Save Time
  • The A to Z Guide to Film Set Etiquette

Happy Labor Day: The Film Industry Should Treat Crew Better

Today is Labor Day in the United States and, as we recognize this national holiday dedicated to the achievements of the American workforce, it's important to acknowledge that the crew in the film industry – the labor – hold more skill, talent, and power than is being recognized and rewarded.

  • 'The Gift of Room Tone' featuring Martin Scorsese, Roger Deakins, Cristopher Walken, and More
  • Focus Puller Chris Silano on Using the Preston Light Ranger
  • Tom Cruise Isn't Messing Around with COVID Safety
  • 20 Holiday Gifts for Camera Assistants (That Your Family Can Actually Afford)
  • Most Popular
  • Most Recent
Becoming the Reel Deal eBook Cover on iPad

It Only Takes One Gig.

Becoming the Reel Deal is a free downloadable eBook written to help you get your first job on set in the camera department so you can launch your film career.

Sign up now to get your free copy and exclusive tips from The Black and Blue.

Get Your Free Copy
  • Disclosure
  • Privacy Policy
  • Credits
  • Contact

Copyright © 2025 The Black and Blue, LLC