First Assistant Director who coordinates daily shooting schedule, synchronizes 12–15 department heads, and plans 12–16 setups per day for crews of 30–150 people.
The First AD works with precise time specifications: on average, they plan 12-16 setups per shooting day, estimate 45-90 minutes for complex shots, and coordinate teams of 30-150 people depending on the production's scope. Their documentation includes 8-12 daily progress reports, continuity reports, and planning for the upcoming 3-5 shooting days. Modern First ADs use specialized software like Movie Magic Scheduling or StudioBinder for scheduling up to 200 individual appointments per shooting day.
The position originated in 1915 with D.W. Griffith's "The Birth of a Nation," when a dedicated organizer was first employed for the 18-month production. In 1928, the Academy of Motion Picture Arts and Sciences established official guidelines for the role. The German term "Aufnahmeleiter" became established in the 1930s, while "First Assistant Director" gained international traction. Since the 1970s, the position has been standard on feature film productions with budgets exceeding 2 million dollars.
On Christopher Nolan's "Dunkirk" (2017), First AD Nilo Otero coordinated three parallel shooting units over 106 shooting days, synchronized 1,500 extras, and managed 847 costumes daily. Typical workflows begin at 5:00 AM with a review of weather data, followed by coordination with 12-15 department heads until 6:30 AM. The First AD gives instructions via radio on average every 8-12 minutes and documents delays of 15 minutes or more from the shooting schedule with minute-by-minute precision.
The First AD differs from the Second AD by acting as a direct representative of the director rather than solely handling logistics, and from the Script Supervisor by focusing on future planning rather than continuity documentation. On low-budget productions under 500,000 Euros, a Line Producer often assumes these responsibilities. Documentaries utilize Production Managers instead, who can react more flexibly to unpredictable situations. Streaming productions are increasingly developing "Digital ADs" who coordinate multiple units remotely.
Ich verlasse mich darauf, dass der First AD mir 20 Minuten Vorlaufzeit für Lichtumbau gibt und koordiniert, wann meine Gaffers die 12K-HMIs umsetzen können. Seine präzise Zeitplanung entscheidet, ob ich für komplexe Steadicam-Sequenzen die nötigen 45 Minuten Setup-Zeit bekomme oder improvisieren muss.
Der First AD übersetzt meine kreativen Visionen in machbare 8-Stunden-Drehtage und schirmt mich von 90% der technischen Koordination ab. Wenn ich spontan eine zusätzliche Coverage brauche, kalkuliert er sofort die Auswirkungen auf die verbleibenden 6 Szenen des Tages und schlägt realistische Alternativen vor.
Ein erfahrener First AD spart mir täglich 2-3 Überstunden durch effiziente Planung, was bei einer 50-köpfigen Crew 4.000-6.000 Euro ausmacht. Seine präzise Dokumentation von Verzögerungsursachen ist entscheidend für Versicherungsansprüche und die Budgetplanung kommender Projekte.
1. Was beschreibt „Erster Regieassistent" am besten?
2. Zu welchem Department gehört „Erster Regieassistent"?
3. Wie viele verschiedene Fachperspektiven bietet dieser Eintrag?
The Lexikon is part of the Filmfarm ecosystem — alongside budgeting (FilmBalance), an industry magazine (FilmCircus) and crew networking (FilmCall, CrewMesh). One shared vocabulary for the whole production.