Role of an Assistant director

Role of an Assistant director

The role of an assistant director on a film includes tracking daily progress against the filming production schedule, arranging logistics, preparing daily call sheets, checking cast and crew, and maintaining order on the set. They also have to take care of the health and safety of the crew. The role of an assistant to the director is often confused with assistant director but the responsibilities are entirely different. The assistant to the director manages all of the directors in development, pre-production, while on set, through post-production and is often involved in both personal management as well as creative aspects of the production process.

Historically, assistant directing was a stepping stone to directing work; Alfred Hitchcock was an AD, as well as Akira Kurosawa. This was when the role was more general and encompassed all aspects of filmmaking such as set design and script editing. This transition into film directing is no longer common in feature films, as the role has focused into a more logistical and managerial position. It is more common now for an assistant director to transition to a theatre production management or producer role than to directing, with contemporary exceptions such as James McTeigue.

Sub-roles

Often, the role of assistant director is broken down into the following sub-roles:

The first assistant director (first or 1st AD) has overall AD responsibilities and supervises the second AD (2AD). The "first" is directly responsible to the director and "runs" the floor or set. The first AD and the unit production manager are two of the highest "below the line" technical roles in filmmaking (as opposed to creative or "above the line" roles) and so, in this strict sense, the role of first AD is non-creative.[2] Their responsibility is to keep the production on schedule throughout the day, communicate to the entire crew, and to maintain the safety and security of the staff and shot itself. An assistant director must be very good at estimating how long a scene will take. (Sometimes a scene running a few pages long on the screenplay can be shot relatively quickly, while a half page emotional key moment may take all day).[3][4]

The second assistant director (second or 2nd AD) creates the daily call sheets from the production schedule,[5] in cooperation with the production coordinator. The "second" also serves as the "backstage manager", liaising with actors, putting cast through make-up and wardrobe, which relieves the "first" of these duties. Supervision of the second second assistant director, third assistant director, assistant director trainees, and the setting of background (extras) are parts of the "second's" duties.[6]

The second second assistant director (second second or 2nd 2nd AD) deals with the increased workload of a large or complicated production. For example, a production with many cast may require the division of the aspects of backstage manager and the call sheet production work to two separate people.

The third assistant director (third or 3rd AD) works on set with the "First" and may liaise with the "Second" to move actors from base camp (the area containing the production, cast, and hair and makeup trailers), organize crowd scenes, and supervise one or more production assistants (PA). There is sometimes no clear distinction between a 2AD and a 3AD. Although some industry bodies such as the Directors Guild of America have defined the roles in an objective way, others believe it to be a subjective distinction.[7] In general the 3rd AD is a term used outside the United States and is sometimes synonymous with the role of a 2nd 2nd AD inside the USA.

The additional assistant director (AAD or Additional) or fourth assistant director (4AD or "fourth") or "key production assistant" (key PA) may have a number of duties. Most commonly, the AAD has two broad job functions. One is the contraction of the duties of an AD where the AD acts as both second AD and third AD simultaneously. For example, a production with many cast may pass the 2AD call sheet production work to that of the AAD, especially when the 2AD is already performing the additional work of a third AD. The other main use of an AAD is as an adjunct to the 3AD and 1AD for logistically large scenes where more ADs are needed to control large numbers of extras. The "Additional" may also serve where the complexity of the scene or specialized elements within it (stunts, period work) require or are best served by a dedicated AD in most respects equal to a first AD - directing and controlling a number of other ADs to direct action to the satisfaction of the 1AD and the director.

A production assistant is one of the lowest crew in a film's hierarchy in terms of salary[8] and authority. They perform various duties required of them by ADs.

The sub-roles of assistant directors differ among nations. For example, the distinction between second second AD and third AD is more common in North America. British and Australian productions, rather than having a second second AD, will hire a "second" 2AD experienced in the same duties, and trained to the same level, to allow a division of the duties. 3ADs in Britain and Australia have different duties from a second second AD, and the terms are not synonymous.[9]

Calling the roll[edit]

One of the first AD's most important responsibilities is to "call the roll" — that is, call out a series of specific cues for each take to ensure that all cast and crew on set are aware of exactly what is going on so they can perform their particular role at the appropriate moment. Over the years, special procedures have been developed for this task to achieve maximum efficiency during shooting, which are usually some variant of the following:

"Waiting on..." Though not technically part of calling the roll, first ADs may keep the set focused by frequently calling out which department is responsible for a delay in rolling a take. If the lights need to be adjusted, the first AD calls out, "waiting on lighting". If the actors are still in their trailer, the first AD calls out "Waiting on talent", etc. However, such calls can be regarded as applying excessive pressure to the department in question.

"Final checks, please" (or "last looks"). Once everyone is in place, and rehearsals and blocking have finished, the first AD calls out, "final checks" or "checks". This is the signal for any last minute adjustments, especially to hair, makeup, wardrobe and props.

Traditionally, the first AD calls "quiet on the set". However, it is more common in current productions to hear first "Picture is up!" (or "Rehearsal's up" accordingly) followed by "Quiet please!" to alert everyone that the take is ready and imminent. "Lock it down" or more commonly "Lock it Up" is also a signal (particularly on location) to ensure nothing interrupts the take. This call is crucial for third assistant directors, as this is their primary responsibility during a take.

"Turnover". While most AD's say both "roll sound" and "roll camera", "turnover" signals both the camera and sound departments to start rolling. The sound department will roll first. After a second or two, the sound recordist will confirm that the recording equipment is running at the correct speed by calling "Speed" or "Sound Speed". Hearing this, the clapper loader immediately calls out the "Scene" and "Take" numbers so that these details are on the recording. Simultaneously (or within a very few seconds) the Camera Operator or focus puller will roll the camera, and immediately the camera is confirmed as running at the correct speed, will call for the clapper-loader to "mark it" (or "smack it", "bang it", "tag it", etc.). This is done by showing the slate ("clapperboard") on camera, and bringing the clapper down to make a synchronisation point for audio (the sound of the clapper) and picture (the two parts of the clapper being seen to come together). With the slate quickly taken out of shot, and the camera refocused or repointed as necessary for the opening framing, the camera operator calls "set" or "frame" to indicate that all is ready to capture the action.

The responsibility to call "action" is shared by either the first assistant director or the director, depending on the director's preference. "Action" may be preceded by "background action" if extras must be in motion in the shot, which is called by one of the lower AD's or sometimes the first. According to SAG-AFTRA regulations, the director must never address background actors directly on set[citation needed], so the AD's carry information from the director to background actors.

Usually the director says "cut", but camera operators may also "cut" to save film if they know the take is unusable. The operator may also call "cut" if the camera has "rolled out", i.e. run out of film. The Operator will not cut if there are other cameras still rolling or an interruption would ruin the actor's focus.

After the director has called "cut", the first AD will check whether the director is happy with the take, and conclude the roll with a direction such as "going again" or "that's a take two" if another take is required. If the director does not want another take, the AD will call "check the gate" (a signal for the Focus puller or camera assistant to confirm that the camera has not malfunctioned during a take, and that there is no hair or fluff in the aperture ("gate") where the film is exposed). When the camera has been checked, the call from the focus puller or camera assistant will be "clear gate!". Then, if that set up is complete, the AD may call "moving on" or "next set up". These announcements cue all departments and the ADs on set as to the next steps they must take. For example, "reset", "going again" and/or "back to one" may require a reset of elements in the frame extras, cars - anything that moved back to where they started, which the third AD will oversee.

The above roll sequence can be varied by, for example, eliminating the sound calls and the clapping of the slate if the shot is mute or "MOS" ("MOS" is an abbreviation of unknown origin for shooting without sound). At other times, for expediency (e.g. if the shot begins with a closeup of a closed door which then opens), the slate may be shown at the end of the take rather than the beginning. In this case, once the sound is rolling, there is an audible announcement of "End board" (also "end slate", "tails", "tail slate", or "tail sticks") so that the editing department knows to look for the sync marks at the end of the action. At the conclusion of the action, the director will still call "cut", but the first AD (and possibly others) will immediately call "end board!" or so that the camera and sound recorder are not turned off before the clapper is clapped. Also, as a visual cue to the editors, the clapper-board will be shown inverted on camera.

RESPONSIBILITIES OF FIRST ASSISTANT DIRECTOR

The responsibilities of the First Assistant Director are primarily relative to providing full support to the Director for all production activities.  Tasks include ongoing scheduling and management of timing to ensure all deliverables are provided in a timely manner and that film production progresses in a manner conducive to the project being completed on time.

First’s also prepare the initial storyboard for sharing with cast members and crew, consult with the director to fully understand and fulfill his creative vision, and oversee the hiring of essential filming locations, crew members, props providers, and equipment operators. For outdoor filming, the First Assistant Director is responsible for monitoring weather reports to ensure filming can remain on schedule.

CORE RESPONSIBILITIES

Core responsibilities of First AD’s revolve around scheduling but this role also assumes the responsibility of ensuring that everyone on set is on standby in preparation of the Directory’s cue for action.

Set discipline and supervision of cast and crew is another responsibility that the First Assistant Director assumes. Under the supervision of Firsts, members are also to report any health or safety issues on set or on location. Firsts are required to immediately remove or repair situations that pose hazardous threats to those take part in the project.

First’s document everyday logistics of filming and include that data on a daily “call sheet” that is later shared with all cast and crew to ensure members all operate on the same page. Timely communication and attention to detail are highly desired of First Assistant Directors.

FIRST ASSISTANT DIRECTOR SKILLS

First Assistant Directors are team players that utilize organization and essential-time management skills to plan and oversee film production under the overall direction of the Director. First ADs act as motivators towards cast and crew. The attitude of a First must be a balance between approachable and stern. Team members must feel comfortable approaching firsts with any concerns or needs while also remaining respectful of them as they are next in line to oversee the project.

Task management, planning ahead, and trouble-shooting to put out fires before production stalls remain top of the to-do list for Firsts. Those considering this type of role must be prepared for long working hours and must be able to work under constant pressure with changing demands. The ability to multi-task and potentially change project direction on the fly is an absolute MUST for First Assistant Directors.

Due to the demanding schedule, many firsts find that they lack a social life outside of work. Stress, a fast-paced work schedule, and constant changes are routine situations for First Assistant Directors. Those who succeed in this type of role are deeply committed to their job and ready to tactfully approach and handle unique situations as they arise.

How to Become an Assistant Director

In the film industry the 1st Assistant Director or “1st AD” is the driving force behind making sure a film is completed, safe and organized. Becoming an Assistant Director can be a tricky thing and becoming a member of the DGA (Directors Guild of America) even more difficult.

How do you know if being an Assistant Director is right for you?

Being an AD is tough work and sometimes one of the hardest jobs on set. It’s definitely not a job for everyone and you should evaluate whether or not it’s really a fit for you.

Here are a few factors before you consider the profession:

Are you an organization freak?

Are you a stickler for punctuality and timeliness?

Do you generally love schedules, calendars and deadlines?

Do your friends think of you as practical and level-headed?

Are you comfortable speaking in front of 300 people and giving direction to large crowds?

How do you feel about standing on your feet for 14 hours a day?

Do you love solving problems and coming up with solutions in a calm assertive manner?

Do you handle well under pressure?

Do you love challenges?

If the questions above don’t scare you then continue reading….

What are the paths to becoming an Assistant Director?

Path #1

Start working as a 1st AD or 2nd AD on student projects, short films, music videos for free or cheap. You will gain lots of experience, be forced to solve lots of problems and have the ability to start building a resume with actual credits that will help you to land your first feature film as a 1st AD or 2nd AD.

Path #2

Work as a Production Assistant or “PA” for short.  Now getting a job as a PA is competitive so building a good resume and maintaining key contacts is essential. You might end up working free or low-paying jobs at first.

Path #3

Apply to be a DGA Trainee. Essentially if you are one of the few chosen each year you will be enrolled in a training program that will actually secure work as a trainee and eventually membership into the guild. Trainees meet lots of great contacts and in general get the best training available.

https://www.trainingplan.org/ to apply

Path #4

Produce your own projects and then hire yourself as the 1st AD.  While this may sound unconventional it is a path that some take.

Is it important to attend film school to be an Assistant Director?

Yes and No.

I know ADs who attended film school and those who skipped it all together. I personally went the film school route and believe it certainly helped me in some areas. I do think that a majority of what I have learned as an AD has been in the trenches doing the job and learning from other ADs and Producers. If you want to eventually director or produce, then film school definitely has its advantages and value that can be difficult to learn on set.

Where should I live if I want to break into the industry and work as an AD or PA?

Pick a state that has good tax incentives or consider a large market such as Los Angeles or Atlanta, or New York.

If you want to be a big fish in a small pond consider a state such as Kentucky or Louisiana.

Check out this interactive map that will show you what the current incentives are available across the US.

https://www.epfinancialsolutions.com/home/production-incentives/united-states-incentives/

By living in a state with high tax incentives you are increasing your chances of finding work even though this is not always the case. Some producers may choose to film in a state with no incentives just because they have access to certain locations or crew in that state.

What tools should I have if I want to be an AD?

Having the right tools and equipment will help you to be successful on set. Yes it can be expensive when you first start out, but not having the right tools can cost you a lot more in the long run.  

Laptop (Apple MacBook) (preferred laptop of choice among ADs)

Movie Magic Scheduling (used to create film schedules)

Final Draft (used when updating or creating a schedule…may need to adjust scene numbers or headings to match your schedule)

Dropbox Pro Subscription (use to share docs between production)

Gold Fold (carry your call sheet and sides)

iPad Mini (hold your script, schedule and doods)

Water Bottle Holder (keep on your belt to stay hydrated)

Sun Hat (use when working in the heat or outdoors…specifically the desert)

What skills should I learn to be an Assistant Director?

Learn how to schedule a film. You must buy/own Movie Magic Scheduling. You can watch these useful tutorial videos on Youtube (See video below), take an EP training class or find an AD who can show you the ropes with MMS.

Understand scene blocking, the line and general directing basics. Consider taking the Master Class with Ron Howard or a workshop on Directing basics.

Know how to update a script and show a first-time Director how to update a script using Final Draft. A good knowledge of script colors, revisions mode and how to update scene numbers is essential.

Know the ins and outs of creating a great call sheet.

Understand how to run a production mtg / page turn and a tech scout.

Know how to creatively set and run background action so that it looks realistic.

As an Assistant Director, you are essentially a leader on set. Read as many leadership books as you can and even consider attending leadership or business seminars from time to time.

13 Things You Can Do To Become A Better 1st AD

Assistant Directors are one of the most valuable crew members on a production. Your AD is responsible for on-set communication, department coordination, maintaining the shooting schedule, conflict resolution and safety. Want to become a better AD on set? Follow these 13 principles to fast-track yourself.

READ MORE: Watch: A Top Production Designer on How to Get the Most Bang for Your Budget

1. Ask your director for a shot list.

Having a shot list on hand is important when creating a shooting schedule for the day. But what happens when you’re working with a director who doesn’t like making shot lists or storyboards? Just ask your director questions like “are you thinking of doing a wide and then two overs?” or “do you have a couple specialty shots that you want to do?” This will give you an idea on how much time to allocate per scene. On the flip side, if their response is “I don’t know what I’m going to do yet,” get the director of photography involved. Let the DP know that the director might need some focus and support to plan out the shots.

2. Create a realistic shooting schedule.

Look at a scene and identify all the elements needed. Consider the prep time required for anything from a steadicam set-up to wardrobe fitting for talent. Shooting schedules don’t contain a great amount of detail, so it’s good to have your own place to add personal notes.

When creating call sheets, services like [disclaimer: the company I co-founded] StudioBinder allow you to create robust call sheets with integrated shooting schedules for the day. This can be very useful in rallying everyone behind the goal. 

3. Start the shoot day with a five-minute standup.

Get your core team (usually the producer, director, DP and other key departments) on the same page by going over the schedule, as identified on the call sheet. This is your best shot to let everyone know what’s expected of them. Don’t spend more than five minutes in this meeting.
If your meeting takes longer, it’s a sign that you have to reassess and/or restructure your day. It’s better to take the time to figure out a new game plan with department heads at the top of the day than to be blindsided by it later.

4. Walk through the scenes to prep for changes.

Your schedule may need to shift for many reasons, including lighting needs, new shots or changes to gear or script. Once the set is dressed, it’s time to walk through it with your director, DP, gaffer, sound department and production designer and make sure everything is as expected.
If something isn’t right, you’ll have enough time to fix it before losing time or deviating from the schedule. While nearing the completion of the current scene, be prepared to walk through the next scene’s set-up, and continue to stay ahead of what’s up next in your schedule.

5. Touch base with departments between setups.

What can ultimately ruin a production are the “unknown unknowns.” You can’t address issues that you don’t know exist yet. As the hub of information, an AD’s job is to proactively collect the latest intel from various departments as quickly as possible, and take preemptive action if required. Listen, look, ask, eavesdrop and do whatever is necessary to get the information you need so you can better reassess your plan.

The single most effective strategy you can take is the MBWA (Management By Walking Around) method. The downtime between takes and setups (really any time you’re not rolling) is an opportunity to check-in with departments one-on-one. This has the added benefit of building rapport with your crew since they might communicate concerns in private that they normally wouldn’t in front of others.

6. Communicate effectively.

The best AD’s are not only great communicators, but also strategic thinkers. They know what to say, when to say it, and how to say it. Here are some tips keep information flowing on set:

 – There’s a difference between yelling and projecting. There’s a reputation in the film world that AD’s are constantly yelling. However true this may be, it’s not an effective way of garnering respect and importance amongst crew.

– Keep the information relevant. Anyone that gets too eager about shouting minutiae will get tuned out fairly quickly. Consider when it’s best to speak one-on-one.

– Follow up with departments. Establish timelines with each department for what’s next, then follow up to see how they are progressing. 

– Provide a 5-10 minute heads up for the next scene or set-up.

7. Embrace being a problem solver. It’s your job.

Never complain about problems. Your job is solve problems. Embrace it! As we suggested in our 3 Ways To Work With Difficult Talent post, AD’s must be capable to problem solve. Whether it’s a conflict amongst the crew or a safety hazard, it’s your responsibility to resolve it swiftly, and to do so with a positive attitude.

Things you should do: 

– Be a good listener. If you notice frustration brewing in a crew member, pull them aside and let them vent. It will only take a few minutes, but it’s critical in getting the person (or department!) back on track. If you can build trust with your crew, they’ll feel like they have a friend on set watching out for their well-being.

– Take ownership of a mistake, even if you didn’t make it. Let your entire team know that you’re working on a solution as we speak. This will help build confidence and respect from your team.

– Involve only those required. If an issue pops up that is holding up the shoot, and it doesn’t directly involve bystanding crew, adjourn them. Tell everyone to take a quick 5-minute coffee break while you try to resolve the issue. This becomes especially important if things get heated. No need to drag the energy of the crew down.

Things not to do: 

– Never point fingers. This should never be an option. Yet, it is common amongst many ADs to blame others. The buck stops with the AD. Not only does finger-pointing undermine trust with those people, but it’ll make others fearful to approach you in the future.

– Don’t take sides. If there’s a conflict between crew, you need to speak with them separately to understand every perspective and find a mutual solution. Oftentimes, all they need to do is vent to someone ti alleviate the tension.

– Don’t lecture. Nobody likes feeling like they’re being talked down to, so briefly make your point and move on.

– Don’t let tension escalate. Word-of-mouth travels fast on a set, so anything negative that happens has a chance to infect the energy of the cast and crew.

8. Four ways to stay on schedule

The average day of shooting can be upwards of 12+ hours so you’ll need to be extremely efficient with your use of time. We know there’s never any extra time, but what can you do to stay ahead of schedule?

– Add padding. Your estimates can potentially get thrown out the window if an issue arises on-set, so even adding a 15 minutes contingency to every scene can pay off. This is especially important when working with a new crew since you don’t know how well they’ll work together early on.

– Get a head start with prep. Never hold off on getting a start on time consuming efforts like prosthetic makeup, production design, or setting up a complicated shot. 

– Look for quick wins. If something is stalled (i.e. the actors are still in make-up), find something that can be completed in the meantime. Maybe it’s a perfect time to grab that quick insert or establishing shot.

9. Learn people’s names.

Building a foundation of trust and respect starts with learning people’s name. Nobody likes being referred to as ‘hey’ or by their crew position. You’re not expected to know everyone’s name on day one. This is one of the reasons that call sheets exist. Start by reading the call sheet and memorizing all key cast and crew members names. Modern call sheet applications like [disclaimer: the company I co-founded] StudioBinder helps make this process simple by including profile photos next to the cast and crew members’ names, so you can immediately recognize them on set. 

10. Saying “thank you” goes a long way.

Sounds easy, right? Thanking people only takes a second and will motivate them to work harder. Treat everyone on set equally because all jobs matter, from the P.A. to the director, recognize that every job has its own challenges and thus deserves empathy and respect. The best way to say thank you is to mean it.

Make it a goal to thank everyone on set at one point or another. You’re setting the tone for the production, and people vibe off your energy, so lead by example.

11. Keep the energy high with better food.

Momentum is a key to have a successful shoot. Food and drink selections play a big role in maintaining energy throughout the day. Although feeding crew is not directly an AD’s job, you can definitely weigh in. 

To keep your cast and crew energized, keep craft service simple and healthy: veggies, fruit, cheese, meat and nuts. The glycemic load in tart fruits (i.e. berries or green apples) and vegetables are low, which means you won’ crash with a “food hangover.” For lunch, stick with high-protein meals with plenty of fresh or cooked vegetables. Downplay carb-loaded meals like pasta and noodles if possible. If people are still dragging, a good “pick me up” could be a simple cup of coffee.

12. Keep your talent engaged.

Some talent can be sensitive. Fostering trust and respect with your actors is crucial in keeping them upbeat and preventing a scenario where they may walk off. Being an AD means you have tons of interaction with talent so it’s paramount that you establish a good relationship early on.
A way to gain trust is to involve actors in decisions that affect them directly. For example, “I have an idea that I want to run by the director but I wanted to know what you think first” or “what do you think about this?”

13. Stay focused on what matters.

As the AD, you’ll be inundated with details all day. It’s easy to get myopic and fall offtrack. Always be asking yourself the following questions:

Where are you in the day?
What should be started now?
What should be prepped next?
What should be broken down?
What should be finished now?
Above all else, follow your instincts.

And that’s it! What are some other ways you’ve been able to grow as an AD? Did we miss anything?  Share your ideas in the comments below.