Traditionally, the camera department goes like this. Camera Trainee at the bottom, 2nd AC is 4th Place (ironically), 1st AC is 3rd Place, Camera Operator is 2nd and the DP stands on top of the pyramid. Logical...isn't it? Except depending on your background and confidence in knowing a certain role means you can belong anywhere in this hierarchy. As I discovered though if you take that approach its to be prepared and anticipate the roles and responsibilities you have to carry out. While we will all have a first time to do something, meaning the nerves will more or less always be there, don't assume you know what you're doing because you've watched YouTube videos or did a university course. In that sense my time as a 2nd AC, without being a camera trainee prior, felt like a real baptism of fire. So in the hope that no one else feels as overwhelmed as I did when making that jump (and hopefully you're a bit more sensible in making that jump than I was) here's my view on what I had to do in the job, how I prepared, what I used most and how I think I did overall.
What do you Do?: Role and Responsibility
In preparation, I corresponded with the DP on creating a Camera Report to log camera settings and positions in case they needed to be referred to by the camera department or the editor. In the end the report we created was specific and streamlined; for instance research into this (from sources like Studio Binder and 2nd AC YouTuber Flick) showed reports normally record ISO, KELVIN (colour temperature), FPS and Iris, although in this case we left ISO and KELVIN data to be recorded in camera metadata. The most important data to remember though is L.I.F.F (Lens, Iris, Focus, Filters) because they are the main factors of any shot the DP creates, and are key for the editor to know about in important decisions for the editing suite. While every responsibility is important though camera reports nowadays can be backed up, and in some ways neutralised, by modern capabilities of camera metadata. Depending on whether the lenses have metadata points, they can record the Iris stop, focus and zoom (depending on lens type), but a camera internally can remember what ISO its shooting at, what internal filters are applied, what FPS is being used, Shutter speed etc. Meaning you can rely on two points of data to check against, or prioritise using one data point over the other.
On production though is where most of your work is done, as you might've guessed from the name. Going in priority order therefore, the first and most important responsibility is to Slate and Clapperboard on shots. This facet of your role you are in charge of calling slate on set, writing down the information on the slate on set and keeping a line of communication with the editor (if on set) and the sound recordist. In this case as well we called Slate instead of Scene because it was an indication we changed setup, and what take we were on with that setup, which worked better because due to the kind of shoot we were organised for continuity rather than story order as it was more important. Another thing to know about this aspect is to know what Slate to call. Practical calls, that I wished I picked up on earlier, was Silent Sticks; which is when you place the slate in front of an actor, next to their ear or when the Sound Recordist calls for it for other reasons. A simple reason behind this, to make sure you don't deafen either party or have their ears ringing so badly they book a hearing test ASAP. As far as I know this didn't happen to me which was great, but just be aware of those situations. The other situation being Second Sticks which is called when, for whatever reason, the first stick or slate hasn't been marked by camera or sound. Technical calls require more communication. A good one to know to start with is MOS, which is signalled by putting your hand on the slate as you see below, to show no sound is being recorded; commonly used for cutaways that are slated. This is when communication is important though as you will 1. Have to make sure with the recordist and 2. Communicate it to the editor if they're on set and taking notes.
Priority number 2 is to help with Lens Changes. Again as it sounds you have to...change the lens. Specifically you listen for a lens change being called, get that called lens for the 1st AC to put on the camera, and then take the lens that was taken off back in the case. But again nuance, organisation and communication can save your back and earn you extra brownie points. The process of this isn't hard at all, but to make it easier for yourself and for others keep the rear/front lens cap together and in the case (making sure that whichever cap signifies the focal length is clearly visible) so they do not gather dust or fluff, make sure you remember what hole in the case is meant for what lens (they might not always be built the same) and finally remember to shut the lens case once the change is done to protect them further.
Your final priority to know about is Camera Maintenance and Camera Rigging. Whenever a camera has to change grip (go from a tripod to handheld/ to dolly/ to gimbal for example), whenever a camera's cards have to be formatted after coming back from DIT or whenever settings have to be changed; this should be your knowledge to have handy. But like the Camera Report example earlier, most of this work can be done beforehand. Through communication with the DP, start by getting an idea of what cameras are being used on set. From here, find their manuals, YouTube videos or whatever works for you and make notes on how to get to different settings. The best things for you to know are how to change basic settings, project settings, monitoring settings (in case focus peaking, false colour or Zebra have to be used) and how to format media. Cameras like the Sony FX9 and FX6, which we used on this set mainly, have marked out buttons already for you to use, but its good research to have in your pocket if you need to navigate the menus. In reality though for this shoot, the main thing I needed to know was how to format cards, although having that knowledge in hand was useful for confidence rather than anything else.
What People Tell you "What you Need"
Source 1 Link: https://www.nfi.edu/2nd-ac/
Source 3 Link: https://youtu.be/m-XL7kBime0
Source 1: Roughly 2016. An Article from the Nashville Film Institue. Holding information on the lifestyle, how you work with others on set and what you typically need. | Source 2: February 2023. A list article from Lens Notes. A detailed list of what you typically need only various recommendations are made for each area for different situations. | Source 3: 2017 YouTube video by Film Riot. Less of a list but a brief 10-minute run through of three things to know as a 2nd AC, and how you might use the things listed. More about the job basics than what you'll use in your toolkit. |
Multipurpose tool | Bag | T-brakcets |
Utility knife | Markers and Pens | Clapperboard |
Scissors | Allen and Torx Keys | Insert slate |
Multicolored tape | Precision Screwdrivers | Chalk |
Screwdriver | T-Handle Slot Screwdriver | Sandbucket tees |
Allen Keys and wrenches | Adjustable Spanner Wrench | golf tees |
Pens and pencils | Knife and Scissors | |
Notepads | Pliers/Multitool | |
Flashlight | Flashlight/Headlamp | |
Lens cloth | Camera Tape | |
| Chalk | |
| Canned Air and Blower | |
| Lens Wipes and Cleaning Fluid | |
| Viewfinder Covers | |
Given the amount of discourse online about WHAT you need to be a 2nd AC, it was difficult to cut through all the information to decide what kit I actually needed to have with me. And as I was assembling my kit on a short notice, and actually had some of the things handy, I borrowed what I could from my parents, and didn't want to break the bank myself to get that I thought I needed. I was reliant on three sources of information to help my preparation, below is a table of what they recommend to have ready for on set action. As the table shows above, Two of the three sources I went to had predominantly the same items on their equipment lists. As such I ended up using a combination of the lists from sources 1 and 2 (but would thoroughly recommend investigating them all in your preparation) and some rational thought in my gathering process. For instance I knew that the shoot was inside, on a set and was carpeted; I didn't see the need for having chalk, as that would be used for making marks on concrete. Also I wasn't sure where to find a clapperboard from so asked the DP if he had one, which he did, which had my main priority covered; as such I didn't find an insert slate either and used the clapperboard as an insert slate as well.
Due to my background and own possession though, I did already have things such as multitools that had different sized Allen Keys, different sized torx keys and a flathead screwdriver; but had to borrow a multitool which had pliers and a knife for example. And while I could scramble a set of Allen Keys together from the family shed too, it was easier and better to have my multitool on me at all times.
What I used most as a 2nd AC?
What I already had | What I borrowed | What I brought |
Multitool (with Allen Keys and Flathead included) | Multitool (with Knife and wrenches included) | AC Pouch |
Flashlight torch | Allen Key set | Tape Measure |
Sharpies | Eraser | Whiteboard Markers and Pens |
Lens Cloth | Clapperboard | Gorilla Tape |
Highlighters | | Insulation Tape (misbought) |
Multicoloured pens and pencils | | Multicoloured ProGaff Tape |
Strangely enough the thing I used the most was the clapperboard. You could've guessed it from how I explained the priorities of the job that the one thing you can never lose, always need to have ready and communicate about the most is the clapperboard. As aforementioned the clapperboard is your responsibility and yours alone, so keep it with you, near you at all times or consistently place it in a position where you know you'll remember it (just try your best to not place it on the soundie's chair though like I did).
The most valuable tool I used the most was actually my flashlight torch. Due to the nature of shooting on a stage (where most of the time the only lights in the room are the ones lighting the set), everywhere but the stage is dark and hard to see. So a torch was useful for giving me extra light for finding things, such as plug points for battery chargers, different cables around the set and for making sure I didn't trip over anything that could cause injury; like the steps up to the stage. When you're constantly in near darkness it helps you focus, but you surprisingly lose your orientation of the space when its dark so I recommend it for safety above anything else; and if needed there will always be the torch on your smartphone. The other valuable thing in my pouch was my multitool, specifically the flathead attachment on my multitool. As the rigging on the camera changed rarely, no Allen Keys were needed to adjust screws; it was either using hands or flathead screwdrivers to change bottom plates or plates for gimbal work. So rigging wise nothing was really needed apart from that, but of course you cannot tell what you need so it's better to be prepared to help your confidence and overall helpfulness as well.
Finally I wouldn't underestimate, and certainly make sure you buy, having Multicoloured cloth tape on set. In a very intense part of the production on the second day, cloth tape became vital for coordinating cables with cameras for a complicated and delicate multi-camera setup; which took nearly an hour to complete before we were ready to shoot. Other uses for this tape is to label anything thats yours and to make marks for actors to help with blocking a shot; these things you can learn more about in the sources referenced earlier. On that remark as well that was also something I had to quickly learn about and was grateful for.
Cost Breakdown of being a 2nd AC
As said already, I was lucky enough to have already had some of the things I needed by coincidence. While that did help, it didn't make me wholly prepared to step on set. While money wasn't necessarily a concern for me, I didn't want to spend crazy amounts on a job I wasn't sure about doing. Prioritisation was therefore key to me deciding what to invest in for this job; and no doubt I'll probably need to do the same for the next job. In this case good investments were made, and the cost of that investment can be seen below.
What I bought | Cost |
Setwear AC Pouch from Panastore UK | £38.08 (including shipping cost) |
8m Tape Measure | £13.99 |
Whiteboard markers | £2.49 |
Gorilla Tape (24mm wide) | £3.99 |
Insulation Tape (misbought) | £1.99 |
Multicoloured rolls of ProGaff tape (Blue, Pink, Green; 24mm wide) | £37.47 |
| Total spent=£98.01 |
What I borrowed | Cost |
Multitool (with Knife and wrenches included) | Average £50 (price varies depending on quality, retailer and attachments) |
Allen Key set | Average £18.99 |
Eraser | £4.18 for pack of 10 (42p for one) |
Clapperboard | Average £40 (price varies depending on quality and retailer) |
| Total= £109.41 |
What I already had | Cost |
Multitool (with Allen Keys and Flathead included) | £28 |
Flashlight Torch | £20.99 |
Sharpie marker | £14.99 |
Lens Cloth | £22.80 |
Highlighters | £3.24 |
Multicoloured Pens and pencils | £19.50 |
| Total= £109.52 |
| Overall Total= £316.94 |
Depending on your viewpoint, to start with spending that sort of money is either investing for the future or just stupid. Although when braking down the whole cost of what I assembled, including what I borrowed and what I already had, I feel like I escaped lightly. In retrospect I was incredibly happy that I didn't have to assemble from scratch, as it would've made taking this position illogical as it wasn't paid (just expenses covered), so expenses were being covered by my payments for part-time working in a rental house. With that said, over time I would like to grow and expand to be independent with my tools for the job, so I feel I can learn with the same gear and thus develop that relationship and trust with it as well.
In complete contradiction to this whole point is about though, its more important to be prepared if you want to do this job seriously and if you need to scramble to be ready then do what needs must. All of this is an investment, and as you're meant to be the key handy person on set for the camera department all of this kit is a worthy investment to make, even if you feel you're only using 10% of it most of the time.
How did I think I did?
I cannot proclaim to be an expert on these things, and I'm sure a seasoned 2nd AC will give you more insightful advice than what I've given you here. What I can only talk about is my experience, preparation and whether that preparation paid off. In reality nothing you can read about will prepare you for the environment you have to be prepared to work in; in that case too University can try their best by assigning to create your own projects to a brief, but consistency is key in keeping your on set experience fresh. In that context, I haven't actually been apart of a shoot like this since 2020 when I was working on two Masters shoots for friends (I was apart of the Empire of Light production in Margate, but not in any camera capacity so thats why I state it like this). In that mantra, I want to be honest.
Over the two day shoot, I struggled to juggle those responsibilities I've pointed out. On the first day for example, because I deliberated and pondered how to format the camera reports a lot, I spent too much time worrying about camera reports to the extent where I didn't dedicate as much concentration towards slate and clapperboard; meaning I didn't communicate too well on the first day. It didn't especially help when the pace of shooting in the first hour was quick and fast, meaning I felt slower in my communication, response and general awareness in what was going on. However as it evened out I got more comfortable, and it was especially helpful that everyone around me was patient, experienced and wanted to teach me about what to do with things like Slating and Marking.
Due to my feelings from the first day, my priorities swung the other way the second day. I absolutely made sure that I was available to do Slate and Clapperboard, that I was communicating with the right people and generally being more attentive to other people; although due to this change I didn't attend to Camera Reports. I did warn the Editor that I was finding it hard to cope, but I generally felt better and more aware about my work on the second day compared to the first. While it took time to calibrate my operational responsibilities, when it came to things such as Camera Maintenance, Camera Rigging and lens Changes I was very capable of helping with whatever was needed.
In that sense I felt very happy that my preparation had paid off, and that my rental house experience came in handy. And while I admit my shortcomings were shown up, having never done camera reports before and not being confident with Slate and Clapperboarding or Marking, I didn't feel berated or singled out for being inexperienced. While many admitted it wasn't a set to learn on, where we had time to ask questions, it was an eye-opening experience to the pace of set life that I've learned a lot of technical things from as well. If I could've been on this as a trainee or a runner I maybe could've spent that time to ask questions, and not be under a fair amount of self induced pressure to know everything, but this baptism by fire has given me a lot of lessons and served as a good yardstick on where to improve. Experience is valuable, and it shows why it's important to practice and it shows why be prepared for a certain role.
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