As a camera assistant, you’ve probably had to explain what you do to a friend or family member, but have you ever had to explain it to somebody in production? Sometimes there’s a disconnect between what production asks of an AC and what you’re trained to do.
Do you know the difference between flying a Steadicam in high mode or low mode? What about Don Juan and missionary? In this post, we put the dirty bedroom jokes aside and look at basic Steadicam positions and the terms used to describe them from a beginner’s perspective.
Netting a lens is a great and simple way to add style to a scene using cloth material mounted on the rear element of a lens. While netting lenses won’t happen on every job, it’s a technique camera assistants are expected to be familiar with – and can learn how to do in this video.
Without resourcefulness, I wouldn’t be able to solve camera problems effectively. I wouldn’t be able to handle the pressure of pulling focus handheld on wide open SuperSpeeds. I wouldn’t be able to ruthlessly cut inefficiencies on set. It’s worked wonders for me and it can help you, too.
Have you ever wanted to sit down for coffee with an industry pro just to ask them a few questions about their experience and their life as a crew member? That’s exactly what a Reddit AMA (ask me anything) is like – a virtual version of a coffee meet-up. And though it won’t get you that latte you’re craving, this AMA with a union camera assistant may help you answer a few questions.
Have you ever been pulling focus and found yourself off the mark during that split-second in which you glanced between the actor in a scene and your marks on the follow focus? It only takes a split second for the focus to go soft. By that time, the camera operator mutters, “Buzzy” and you know you’re going to need another take.
When rigging a camera to a jib, a crane, or even a Steadicam, you don’t want to leave anything to chance by making false assumptions. So, to stay safe and keep your job, avoid making these 7 stupid assumptions that could lead to your demise, the camera’s demise, or put the crew in danger.
What came forth were laws and commandments written by the Lord himself for all camera assistants and clapper-loaders to learn and to follow. With their slates in hand, they waited patiently as, one-by-one, the rules of slating were laid upon them.
It’s true there are some things that are primed for post-production and are better done in front of a computer rather than in front of a camera. But there’s a difference between planning a shot to be enhanced in post and relegating a shot to be fixed in post. As camera assistants, we may have a small role to play, but if we play it effectively, we can help avoid some major “fix it in post” headaches.
At less than two minutes long, the video above, from Jared Abrams at Wide Open Camera, covers the most popular types of marks you need to know. And I have a few extra tips of my own to share with you.