Duties of an AD

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A friend of mine is making a music video and needs an AD so I was thinking of doing it instead of being the 1st AC. What exactly should I expect as an assistant director? I'm not exactly sure what roll they play.
 
I work as a First and second Assistant Director quite frequently.

I can tell you this: it is easily the most difficult job on set. And a poor AD can drive a production into the ground. Like JR's link said. You are the go-to guy on the show. Any issues that come up go to you.

You need to be well versed in union protocol. When to break for lunch, the idea of grace. You need to be able to schedule the show well. And have a stripboard available to see for everyone.

Schedules are made based on how long the setup is predicted to take and how long the current setup will take. It's really based on an educated guess. My schedules are typically spot-on based on the script and setup. However - the working rate of the production factors into the schedule as well. Things can change after the first day.

You need to have a radio to communicate with other production staffers. Making sure people are where they need to be and the setups are happening on time and as they should. Any issues go directly to you. So be ready to hear what issues sound is having and what issues craft services are having. These issues have to be delegated out to PA's or runners.

You also deal with all the calls before action comes around. And know when to call 'set'.

You also deal with producing Day Out of Day sheets. DOODs are basically the setup of who is traveling, who is on set and when for how long. The strip board is set up to know what is shooting when and what needs to be on set. The breakdown is what is in the scene and a full description. Everything on the board is tagged with an ID so we (the show) knows that x prop needs to be in this scene.

You have a lot of work. The production really focuses on you. Make sure you are on set all the time. If you need to get talent - have a runner do it. And be sure to get shots off on time. Because the director and DoP might think they have all day to get this dolly shot off. But in reality they are on their sixth set up out of twenty that day and we are running an hour and a half late as is.

Remember, have breakfast, lunch 6 hours in, and wrap after 12 hours.

Any other info you need - feel free to ask. I tried to cover the basics. Let me know!

-Matt
 
The 1st A.D. is a really important job on any shoot with more than about 8 people, anyway. I love having a good 1st A.D., it makes all of the difference.

Maybe some other directors have a poor sense of time, but I'm always watching the time so that's one thing I don't need my 1st A.D. to remind me of much, but I like him to be forceful in reminding others, like, "Ok guys let's get this moving we need to wrap this shot up!" That's great, because the DP hears it, the crew hears it, everyone knows we gotta hurry up. But I know where we stand in terms of time, better than the A.D. actually because he doesn't know all of what I have in mind or extra shots I might want to try, time permitting, etc. So I'm clock-watching more than he is.
 
That skillset site is awesome and full of information. When I spoke with the director of the music video, he basically wanted someone to keep him on schedule since everyone is working for free, but he's paying to rent a GandE truck. Thanks for the information.
 
The scheduling for a 1st A.D. is more important in my opinion on really professional and longer-than-one day shoots, where you have the luxury of bringing in the 1st A.D. earlier in the process and really involving them in what's going on, how it's all going to be done, etc. On smaller shoots, or one day shoots that come together sort of fast, I see the 1st A.D.'s primary responsibility as keeping order on the set and helping it run smoothly. For me at least, that has been the huge advantage of working with good 1st A.D.s. I'm able to keep in contact with them about questions I have, like is the makeup just about done, how is craft services coming along, how far are we from being ready to shoot, etc. They can then run all questions going my way, too, so my line of communication is with them and they can convey information to other people doing other things. That's a very convenient thing that saves you a lot of headaches. Rather than having to track everyone down or talk to everyone in a period of 5 minutes, you can run things by the 1st A.D. that you need to communicate and then spend the rest of the time talking with the DP or actors, actresses, etc.
 
Keep the train on time - period.

You do that, and you will be worth your weight in gold.

Speaking as a DP, I'd give up both of my AC's in exchange for a good AD.
 
Eeek, both of them?!

Anyways, a good AD is quite important, as a shoot can easily turn into chaos without one, but I think the key thing to it is that the crew realizes that you're the one running the set. Otherwise I think your effectiveness is really diminished and any work you've done could and probably will go to waste.

I shot a music video a while ago with a less than stellar AD and it was really difficult to get really anything done. As a DP I had to not only pay attention to getting the shot, but I had to make sure the actors where they were supposed to be, when they were supposed to be there, run the rehersals, keep the band under control. Too many things basically. So I think as an AD you not only make sure the shoot gets done, but you keep people sane in a way as well.
 
MAIN FUNCTION: TO ASSIST the DIRECTOR.

Here it is broken down:

A 1st AD controls the set, and acts as "the heavy" for the director- this way cast and crew don't end up resenting the director for having to say "quiet on the set", "places" etc.

It's also a balancing act- a 1st AD should back up the director so he gets the shots he needs, but also remind the director of the clock so she know's when that last shot of the day- the hard break, is coming.

The trick to being a first AD is also not to pressure the director every 10 mins about why setups are taking so long, or "we gotta go", or "can we do without the crane shot" but to know enough about all the on set roles to see what's wrong, and go and fix it- to pressure the right department head to move things along, or grab a runner or PA to fix it.

To be a great 1st AD, you gotta know when to yell, and know when to defer or yield. You can't be a pushover, but you can't be a bully either. You can't be a buddy to everyone on set, nor can you be an ass to people- you have to have a cool detached, professional manner. And you gotta be able to speak loudly and calmly, in a forceful way. You are trying to run a set full of crazy artists- not make friends with them.

TIP: Director's will love you if you do this: When you see people crowding the director and back seat driving in Video Village, if you walk over and say "NO talking in Video Village People" or "Please, let's clear this area"... your stock will instantly rise. Cause otherwise the director has to do it- and suddenly he's the meanie, and some PA, or associate producer, actor, or other personnel is suddenly sulking and spreading poison behind the scenes.

Same goes for when looky-loos arrive on set (friends or family of WHOEVER) that try to be instant set design people, instant director's, instant whatever- clear them OUTTA there, PRONTO. Or the whole production is in trouble.

When some supposedly well meaning person shows up to help, who no one knows- You get them outta there. Or the first piece of gear stolen is on you.

When someone shows up with booze for the whole crew for an early wrap party (when there are still many days of shooting left), kindly thank them, but get that damn alcohol off the set... If the actor needs it "for their process" fine- (with director approval) but they can keep it in their trailer or car or wherever. Or you will end up with a set that is either demoralized cause some folks are drinking and others are being pros, or you'll have a whole bunch of drunks running expensive camera gear and sound equipment. Party after you cut for the night.

Keep the crew from mingling with (bothering) the actor's while they are on set and sitting alone thinking- they are trying to stay in character- the director will appreciate this too, otherwise they have to do it.

It's basically a thankless job- you have to put away your own ego and artistic vision to serve someone else's... not ideal for any artist who wants to be a director. But many directors have started this way, as you get to learn it all and have a direct insight into the director's head- you gotta believe in their vision though... or you'll just slow em' down questioning every shot and eventually get replaced any way.

What's that? You already know it all? Then forget being an AD- go produce and direct your own stuff. Cause if you already know it all and act that way- every director will openly or secretly despise you, and your days on set are numbered. But if you are a good first AD and can achieve that Zen balance of power and patience, then you will be highly sought by director's and producers looking to create the ultimate package for their sets.

Douglas Pritchard
Director & Producer
 
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