Clapper loader / 2nd AC question
- Thread starter rc444
- Start date
Yes. There are no hard and fast rules. The progressive system of moving from camera intern to 2nd, 1st AC and then operator is still the predominant one in mainstream feature production. This is a valuable remnant of the studio system, crafts guilds and old world-style apprenticeships.
Your career is as you design it - it might well be possible that you possess enough talent and an inherent technical knowledge of the craft. As one path, you might parlay that into operating and lighting small, successful projects which lead you forward.
Even with the equalized equipment that is a growing part of today's production landscape, it is a rare scenario that you would move into feature films without working through the ranks on at least one film in each given discipline.
Several of the new "old guard" at the ASC came up in foreign news bureaus, into European or American apprentice programs and forward to DP their first studio pictures in the early 1970s. They were known for their unique vision in the way they framed the American experience - and this perception opened many doors for men like Vilmos Zsigmond.
There are more than a few directors working now who light, frame and / or operate their own shows. Rodriguez and Peter Andrews come immediately to mind. They, as far as I know, did not come up through the [camera] guild-style system.
Make your own opportunities!
e
Your career is as you design it - it might well be possible that you possess enough talent and an inherent technical knowledge of the craft. As one path, you might parlay that into operating and lighting small, successful projects which lead you forward.
Even with the equalized equipment that is a growing part of today's production landscape, it is a rare scenario that you would move into feature films without working through the ranks on at least one film in each given discipline.
Several of the new "old guard" at the ASC came up in foreign news bureaus, into European or American apprentice programs and forward to DP their first studio pictures in the early 1970s. They were known for their unique vision in the way they framed the American experience - and this perception opened many doors for men like Vilmos Zsigmond.
There are more than a few directors working now who light, frame and / or operate their own shows. Rodriguez and Peter Andrews come immediately to mind. They, as far as I know, did not come up through the [camera] guild-style system.
Make your own opportunities!
e
Charles Lowthian
Well-known member
It is a free way of getting experience handling film stocks, and hands on with various cameras 
Andrew Brinkhaus
Veteran
More importantly, what matters when starting in the camera department is that you are able to surround yourself with incredible cinematographers, and learn from them. Imagine that kind of education for years before you took on DP'ing full time. In my mind it would be more than helpful.
And just because you AC primarily doesn't mean you can't still shoot as much as you want on the side. This is the path I will be taking.
And just because you AC primarily doesn't mean you can't still shoot as much as you want on the side. This is the path I will be taking.
j
Veteran
I'd say experience as a gaffer to know how to light is more valuable.
1st AC to know how to be intimate with the camera and lenses is next.
Followed by script supervisor or editor to understand how a story is put together.
All 3 are important parts of being a DP.
2nd AC is good to get experience on the set and to know the camera crew, but really you will just be slating and filling out camera reports all day long.
1st AC to know how to be intimate with the camera and lenses is next.
Followed by script supervisor or editor to understand how a story is put together.
All 3 are important parts of being a DP.
2nd AC is good to get experience on the set and to know the camera crew, but really you will just be slating and filling out camera reports all day long.