First Assistant Camera

arri blende blocking budget camera operator depth of field depth director of photography

The 1st Assistant Camera (Focus Puller) is responsible for maintaining focus during filming and providing technical support to the camera.

Definition

The First Assistant Camera (1st AC, German: 1. Kameraassistent or Schärfeassistent) is responsible for focus pulling during the shot. They are also the technical "guardian" of the camera, handling setup, maintenance, and lens changes.

Main Responsibilities

1. Focus Pulling

Precisely maintaining focus during the take
Focus transitions between subjects
Marking focus positions
Anticipating movement

2. Camera Management

Camera assembly and disassembly
Lens changes
Filter handling
Technical checks (sensor, viewfinder)

3. Coordination

Communication with Operator/DoP
Coordination with 2nd AC
Collaboration with actors (marks)

Focus Pulling in Practice

The Typical Workflow

Blocking: Understanding actor's movements
Setting Marks: Marking critical points on the floor
Measuring: Distance from camera to subject with tape measure
Marks on Lens: Marking the focus ring
Rehearsal: Running through with actors
Take: Pulling focus, maintaining timing

Tools

Wireless Follow Focus: Wireless Follow Focus (Preston, Arri)
Tape Measure: For measuring distance
Focus Marks: Stickers for the lens
Monitor: For observation (often with peaking/zoom)
Cine Tape: Ultrasonic distance measurer

The Challenge

Why is it so difficult?

Shallow depth of field at wide apertures
Moving subjects
No autofocus used in cinema
Often multiple focus planes in one take

Example Difficulty

Scene: Dialogue between two people
Camera: 50mm at T1.4, Full Frame
Depth of Field: approx. 3-5 cm

→ Every millimeter on the focus ring counts!

Camera Department Hierarchy

Director of Photography
 │
 Camera Operator
 │
 FIRST AC ← You are here
 │
 Second AC
 │
 Loader/DIT

Training and Career Path

Typical Path

Internship/Runner
Camera Trainee
2nd AC (Clapper/Loader)
1st AC (Focus Puller)
Camera Operator
DoP

Essential Skills

Technical understanding (optics, camera)
Hand-eye coordination
Anticipation skills
Calmness under pressure
Communication

1st AC vs. 2nd AC

1st AC	2nd AC
Focus Pulling	Clapping the slate
Camera Setup	Media Management
Technical Responsibility	Paperwork, Reports
On the gear during take	Off-camera

Rate Orientation (Germany)

Low-Budget: €250-350/day
TV Production: €350-450/day
Feature Film: €400-550/day

Perspectives

Cinematographer

1. Kameraassistent ist Teil meiner visuellen Sprache. Ich setze es bewusst ein, um Emotionen zu transportieren und die Geschichte zu unterstützen. Die technische Beherrschung ist Voraussetzung für kreative Freiheit.

Director

Bei 1. Kameraassistent arbeite ich eng mit meinem DoP zusammen. Es beeinflusst, wie der Zuschauer die Szene emotional erlebt. Die Entscheidung treffen wir gemeinsam in der Vorproduktion.

Editor

1. Kameraassistent beeinflusst meine Schnittmöglichkeiten direkt. Ich brauche Material, das im Rhythmus funktioniert und mir Spielraum für die finale Erzählung lässt.

Producer

1. Kameraassistent hat Zeit- und Budgetimplikationen. Ich plane die Ressourcen so, dass das kreative Team seine Vision umsetzen kann, ohne den Rahmen zu sprengen.

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