First time 1st AD question

durbaq

durbaq

Hi, I'm due to be the first assistant director on a friend's short student film in January 2014. I have limited experience of being on a film set and am used to being a one-man crew. However, this is the first time I've been approached to work on a slightly more professional level and I'm curious as to what exactly it's like for a first AD. I was hoping that there could be someone to lend advice/experience/tips into what makes a good first AD.

The film is ten minutes long and focuses on a heist, inspired mostly by the opening bank robbery scene in in The Dark Knight. There will be a fair bit of action, coverage, and practical effects to deal with over the four day shoot.

Thanks again!
 
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I'm curious as to what exactly it's like for a first AD.
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The experience you have as a First AD changes almost every project.

I was hoping that there could be someone to lend advice/experience/tips into what makes a good first AD.
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Know the people you have. Know their strengths and weaknesses. That way, you can anticipate better what needs to be covered, what needs to be followed up upon etc.
Anticipate.
Coordinate.
Communicate.
Be organized.
Get everything that can be done in advance, done in advance.
Problem solve.
Think fast.
Make lots and lots of decisions. Make some mistakes and fix them fast.
Concentrate on what is, not how it should be.

Know the answer to every "when" question. When will we be doing this, when are we starting, what time are we shooting, what time is lunch and so on.
 
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I've never been a 1st AD, and I've never studied the role, but observing 1st ADs of sets that I have been on it is one of the roles to keep the set glued together and running smoothly.

Keeping the schedule seems to be a pretty important one, for an action scene this would be even more important to make sure things don't go overtime.

But this needs to happen in a firm but nice manner. This role I think is most important to be remain level headed. Don't be afraid to assert your authority and say we need to move on when you're behind schedule (one set I was on they ended up missing so many shots because the 1st AD didn't ever exercise her authority, granted it was a student set and she probably wasn't made for the role).

The best 1st AD (I've worked with) was one who would almost remind you in a joking manner, but still firm manner, it reminded you of the importance of time, without getting overly stressed over it. REGULAR communication with the Director/Producer is essential.

1st AD is one of the easiest roles for crew members to hate, adding stress where it needn't be. Often as you are the communication channel between crew members and the Director you need to keep up a good relationship with everybody.

From the sets I've been on these seem to be the key to helping the set run smoothly from what I observed.
 
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Be prepared to be hated! Seriously though, everyone on set has a love-hate relationship with the AD. They hate that they're being rushed, but love when they get out of their on time.

The most important thing for a 1st AD to do is run the day smoothly, get everything done, and get everyone out of there on time.

Constant communication is the key here, communication with all department heads. You need to be asking them how long something is going to take, but without bugging them. I.e. for a new setup, you might ask the DP how long something's going to take. If he tells you 15 minutes, come back in 10-12 and see how far away they are.

The best 1st ADs are people who have understandings of every department, and the worst ones are those who don't.
You need to understand that things do take time, but sometimes things take longer than they really need to, in which case you need to 'crack the whip' and sometimes things go wrong. The 1st AD needs to be able to re-schedule, and with the Director, help troubleshoot the day so that we get out of there on time.

The best 1st ADs I've worked with are ones who communicate with the HODs, allow for the appropriate amount of time to get something done. i.e. if you're spending 15 minutes trying to peg a gel to something, then the whip needs to be cracked, but if a dolly/jib rig is taking a bit longer than the 45 minutes you've scheduled for, you need to keep the crew mindful of time, but realise that we can't shoot until it's done and these things take time. You then need to consult with the Director, and perhaps DP and/or Producer and figure out if there's shots that can be cut, or move the schedule around so that we can still make the day.
 
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In addition to the fine comments/suggestions above, here are some more based on my 12 productions as AD:
1. Develop your final schedule in advance, and in the company of the Director, D.P., and Art Director. Have the entire shoot schedule with you at all times, with copies of that day for Department Head (HODs) requests.
2. Request a shot list from the Director. A good shot list helps immensely: developing the shoot schedule, working on-the-fly when on the set, and communicating to crew as needed.
3. Aim for *only* 3-3.5 pages a day. Yup. While of course you can get more pages, be aware production value may suffer. Every film we violated this, we didn't get parts of the script in the can.
4. Find out who the "personalities" will be on the set (jaded professionals; crew members not liking getting paid; producers who like to meddle, etc.), develop a working relationship with them early and fast. They can bring the crew down with complaining. On issues, pull them aside to have a private conversation and listen, but be firm in your decision.
5. Be cool, be professional, and discuss everything in terms of the shot or schedule, NOT personality or your inner personal issues.
6. Be aware of HOD and actor behavior changes when finally on the set.
7. Motivate and coach— don't complain or whine in communication, especially when running behind.
8. Know (having already talked to Craft Services) when lunch is scheduled.
9. Have water and snacks on hand, especially water for actors under hot conditions or lights.
10. Anticipate! Be observant and have a PA to call on for errands, etc.
11. Give a "safety speech" at the beginning of the shoot, remind everyone to have fun and respect one another.

Also remember to take care of yourself and have fun. Running a set is pretty cool, mate....

kj
 
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Also, don't try and micro-manage, or at least try and judge the experience of those working on the set before you do.
The amount of ADs I've had try and micro-manage (usually only on very short productions I've had this happen) my department... It's all I can do to keep from head butting them ;)
 
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It takes a certain type of personality to really shine as an AD, I reckon. It sure as heck ain't my thing. I have one profesional AD credit to my name, and I swore it off for good. Barely made it through the shoot. Hated every second of it. I'm just too nice. :lol:

limited experience of being on a film set and am used to being a one-man crew. However, this is the first time I've been approached to work on a slightly more professional level
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That's gonna be quite a challenging leap, going from being the entire crew to learning how to delegate to one. How'd you end up making the jump like that? :)

.
 
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Zensteve said:
It takes a certain type of personality to really shine as an AD, I reckon. It sure as heck ain't my thing. I have one profesional AD credit to my name, and I swore it off for good. Barely made it through the shoot. Hated every second of it. I'm just too nice. :lol:



That's gonna be quite a challenging leap, going from being the entire crew to learning how to delegate to one. How'd you end up making the jump like that? :)

.
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Well tbh it's only a final year University project so I'll be a First AD in name only. The only thing on the line here is their grades, no one will be losing money as such.

I had the task a few years back of being the Location Manager for another short film which involved some decision-making / managing.
 
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kjones said:
Uh, sarcasm, or have you worked with some AD's with the wrong idea about the job?....
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Not even a little bit of sarcasm. While I can see why others won't get my perspective on the subject but a lot of people have problems with delegation. This is death for a First AD. They have to be comfortable in getting others to do the work while they schedule, coordinate, delegate and somewhat supervise. If they're not comfortable in the delegation and move in to help do the work, they'll end up neglecting their own duties.

Of course when you're talking about sets with minimal amounts of crew it doesn't always turn out like that.

And yes, I've worked with some AD's that did have some wrong ideas about the job, but it has nothing to do with the comment.
 
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Sweetie said:
Not even a little bit of sarcasm. While I can see why others won't get my perspective on the subject but a lot of people have problems with delegation. This is death for a First AD. They have to be comfortable in getting others to do the work while they schedule, coordinate, delegate and somewhat supervise. If they're not comfortable in the delegation and move in to help do the work, they'll end up neglecting their own duties.

Of course when you're talking about sets with minimal amounts of crew it doesn't always turn out like that.

And yes, I've worked with some AD's that did have some wrong ideas about the job, but it has nothing to do with the comment.
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Okay, I understand your comment better. And do agree with what you're saying about delegation.
 
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