Scribd
Upload
62 views6 pages

Assistant Camera Handbook

The document provides guidance for camera assistants on equipment, preparation, and safety. It lists the technical skills and physical requirements needed for the job. Assistants must ensure all requested equipment is present and functioning for each shoot. Proper preparation includes cleaning and testing cameras, lenses, batteries, and other gear. Safety is important when using equipment like jibs, and assistants must familiarize themselves with proper balancing and setup.

Uploaded by

shaker.grits-0e
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
62 views6 pages

Assistant Camera Handbook

The document provides guidance for camera assistants on equipment, preparation, and safety. It lists the technical skills and physical requirements needed for the job. Assistants must ensure all requested equipment is present and functioning for each shoot. Proper preparation includes cleaning and testing cameras, lenses, batteries, and other gear. Safety is important when using equipment like jibs, and assistants must familiarize themselves with proper balancing and setup.

Uploaded by

shaker.grits-0e
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
You are on page 1/ 6

ASSISTANT CAMERA’S HANDBOOK

rev 0.1
THE CAMERA ASSISTANT

The position of camera assistant requires a wide range of skills. The


assistant must have a technical knowledge of the camera, lenses, and a
myriad of support equipment. He or she must be physically fit, capable
of total concentration, and be able to retain a sense of humor under
stressful conditions.

It is the responsibility of the camera assistant to make absolutely


sure that all equipment and supplies needed and/or requested by the DP
(director of photography) are present and in working order at the start
of each production day.

Inventory of all the camera department’s gear should be taken before


production begins, as well as at the start of each production day.

Basic equipment, from the ground up

spreader
hi-hat
tripod legs (sticks)
tripod head
camera body
batteries
necessary cables
magazines
lenses & housings (blimps)
matte box
filters and filter trays
changing bag

Additional equipment

adapter plates
speed control
french flag
shoulder pad/brace
’assistant’ light

Items to be supplied by the production company

raw stock
camera reports
film cores
empty film cans
black labpack bags
labels
camera tape
lens tissue
lens cleaning solvent
cleaning swabs
orangewood sticks
slate
rags
Items to be supplied by the production company (continued)

canned air
felt markers
grease pencils
pens and pencils
eyecup chamois

The camera assistant’s daily preparation for shooting should consist


of the following:

Clean the aperture

With the lens removed, blowair though the lens port with a blower
bulb. Remove hairs and dust from the gate with an oragewood
stick.

Warm up the camera

Run the camera for several minutes without film. In very cold
situations, run the camera the amount it would take to shoot and
entire magazine and 24fps - about 11 minutes for 400’ of 16mm.

Load proper film stock in magazines

Make sure to properly label magazines with camera tape, noting


film stock, roll number, emulsion number, date, magazine number,
and loader’s initials.

Prepare slate(s) and camera reports

Date, director, camera, and production title should be written on


white camera tape to prevent smudging.
EQUIPMENT TESTING

The following list suggests standards by which to judge equipment. If


the equipment is rented, notify the rental house; if the equipment is
EMRL property, notify staff and the offending unit will be repaired or
replaced.

Tripods

1. Each leg extends smoothly and locks securely.


2. Top casting accommodates the base of the tripod head.
3. Hinge bolts that attach each leg are adjusted to proper
tension – legs swing easily away from top casting yet
remains in place.
4. Wooden hace no splits or breaks.

Tripod Head

1. Base fits and locks into tripod top casting.


2. Ball base adjusts smoothly and locks in any position.
3. Pan and tilt movement is smooth.
4. Drag knobs easily adjust the tension of movement.

Camera Body

1. Locks securely to the tripod head.


2. Interior is clean – no emulsion buildup or film chips.
3. Oil/grease applied to lubrication points as recommended by
the manufacturer. Any excess should be cleaned.
4. Movement of shutter, pull-down claw, and registration pins
is synchronized.

Batteries and Cables

1. All batteries are compatible – male pairs with female, the


number of pins in connectors match.
2. Batteries hold full charges and cables all conduct properly
and reliably.
3. Camera runs steady at desired speed.

Viewfinder

1. Ground glass is properly seated, and within manufacturer’s


specifications.
2. The image is clear and clean.
3. Eyepiece focuses easily, and locks securely.
Lenses

1. Each lens and housing is compatible with camera body and


seats securely.
2. Front and rear elements are clear and clean, free of
scratches, fingerprints, and dirt. Blow off loose material
with a blower bulb, clean off grease with lint-free tissue
and proper lens cleaning fluid.
3. Iris leaves are flat and move properly throughout the T
stops.
4. Lens focus markings are accurate.

Zoom Lens

1. Mechanism is aligned and tracks smoothly.


2. The cross hairs in the ground glass remain centered
throughout the xzoom.
3. Lens focus marking are accurate.

Filters

1. Both surfaces of the filters and clear, clean, and free of


major flaws.

Matte Box

1. Mounts securely to the camera and extends smoothly along


the support rod(s).
2. No light passes between the matte box and the lens.

Magazine

1. Fits snugly on the camera body.


2. Doors close and lock securely.
3. Throat, film channels, and interior are clean, clear of
dust and film chips.
4. Timing is working properly – film runs smoothly and quietly
through the magazine.
THE JIB

Setting up and using the Jib Arm requires utmost care – as misuse can
result in serious camera damage.

Make sure to become familiar with


all the jib’s pieces and
accessories. There are a myriad
wing nuts, threaded rods, etc. that
are required to make full use of the
jib’s potential.

The picture at left demonstrates the


jib in it’s standard configuration,
with MILLER fluid head/hihat combo
mounted atop the jib’s head.

This configuration is quite forward-


heavy, and requires about 115lbs to
be balanced with the ARRI 16BL.

This is the jib set up for vertical


shots. An L-mount attaches to the
top or bottom of the jib head. Make
sure to have an assistant help you
mount the camera, as it can be quite
tricky with this setup.

Note that wider lenses require the L


bracket mounted further out from the
jib head.

This configuration requires about


85lbs to be balanced with the ARRI
16BL.

Here’s the low-mount configuration.


This is used mainly for shots that
require starting the jib motion as
low to the ground as possible.

Make sure to design jib location and


accessory placement so that the
eyepiece is away from the jib head.

This configuration requires about


85lbs to be balanced with the ARRI
16BL.

You might also like