What are the A camera operator's responsibilities to the 1st AC, 2nd, and Script Supervisor?
Communicate. That’s really the answer. Any time there is a change - marks, change in shot, change in actors physical performance, change in timing, change in dolly move - that effects the job that they have to do, let them know.
Breaking it down, let the 1st know what the shot is, let them know what the story and objective is, let them know what the plan is so they can be ahead of it. Now most of this is info they should be gathering on their own, but a simple “you good?” after a rehearsal and explanation of what gear they need to put together is usually sufficient to allow them to ask what they need. And keep things quick “We’ll be on the peewee dolly in low mode, 35mm lens, long eyepiece”. Most crew members want quick info so they can move forward quickly.
As the shot progresses, let the 1st know anytime something significant changes that may effect their focus choices. Or let them know when you have decided you’d like focus to play somewhere else for one take. A good AC is listening so most know but I always mention the info anyway.
These days your 2nd may be involved with you more than the 1st. I generally just try and keep them in the loop and of course let them know if I’ve adjusted a mark etc so if someone asks why a mark was moved or who did it they can answer correctly. I’ll also let the 2nd know of any upcoming shots that may require their carts to move so they can stay ahead of the game.
The bottom line with the Acs is simply dont allow there to be surprises.
Script Supervisors are really mostly about covering your ass. I often ask them to make a note about some issue in the shot that the director or DP has signed off on so that there is a record of why we didn’t go again. This is simply making sure things dont get lost 3 months down the line in editing and people dont ask why something wasn’t corrected. “Can you note that I saw off the set coming around the corner but the director said they won’t be in the shot at that point so no need to go again?” Beyond that, they are always there for questions about the line, questions about continuity and i’ll often ask them, occasionally, for their input on something in the frame - “Does this big you?”. But there is not as much back and forth as there used to be simply because they are watching these big beautiful monitors and see everything.
I work primarily as a B camera operator, so my answers might be different than that of an A camera operator.
I don’t interact much with the script supervisor unless I have a question on continuity, screen direction, or something else. I also interact with them on the occasion that something goes wrong during a take. I’ll have them make a note when there is an issue with my camera (focus/poor framing/camera bump/something bad in shot/shadow on actor, etc) and the director wants to move on instead of doing another take, after I’ve alerted them of the problem. Having the mistake noted by the script supervisor shows that it was a known issue, and the fact that it was recognized on the day and written down could save me later on if someone tried to make an issue of it.
As for my 1st and 2nd, communication is always key. I try and bounce everything off my 1st so they know as much about the shot as I do, and we’ve talked about focus choices if there is one to be made. This gives them a chance to give their viewpoint, which is often valuable and something I hadn’t considered, while making them feel empowered and a necessary part of the team. I don’t usually involve the 2nd in this unless a certain piece of equipment is required, but that usually gets filtered through the 1st. It is my responsibility to alert the 2nd if there is a chance I’ll see the T marks on the ground for the actors, and let them know which ones need to be pulled before we roll. As a B camera operator, my shot is usually tighter than that of the A camera, so my need to have specific marks pulled for my camera isn’t as much of an issue as for the other camera, but it is still important to mention, even if it is redundant.
As a general rule, the more you involve your team (1st, 2nd, dolly grip), the more included and invested they’ll feel, and the harder they’ll work to make you look good – just like at home with a significant other, the happier they are, the happier you’ll be.
Communicate. No surprises. Keep them in the loop.
Thus endeth the lesson.
The job is a team effort. So the more info you share, the better off you will be. Now that 1st’s are away from set and at a monitor it’s important to let them know when the shot changes last minute. Also, a good A 2nd is the heart of the department. Make sure they don’t have to do extra work digging for information from you.
Script supervisors are always my favorite people. They’ve saved my butt 1000 times with things such as continuity or eye line. Help them help you by keeping an open dialogue about what’s coming up or what might be missing.
1st AC/2nd AC- Let them know as soon as possible what equipment and how a shot will be done. Coordinate cues. Let them be artistic. Give a heads up on future shots and what gear will be needed. Wrap gear early if it’s not going to be used. Remember, they are loading the truck while you are driving home. If they have bad behavior, tell them. Have their back even at your own expense. Loyalty pays back in triple.
Scripty- This person isn’t always told what shots are taking place. Have a conversation. Talk eyelines and when you jump them on purpose. Make a friend. They will help you and you them. Respect them and their opinion. It’s way better to have friends than people who want to throw you under the bus. Being “right” at the expense of someone else’s embarrassment is never a win.
