{"id":1340,"date":"2021-06-01T09:17:46","date_gmt":"2021-06-01T16:17:46","guid":{"rendered":"https:\/\/sftvproductionhandbook.lmu.build\/?p=1340"},"modified":"2026-07-08T15:59:43","modified_gmt":"2026-07-08T22:59:43","slug":"the-role-of-the-first-assistant-director","status":"publish","type":"post","link":"https:\/\/sftvproductionhandbook.lmu.build\/index.php\/2021\/06\/01\/the-role-of-the-first-assistant-director\/","title":{"rendered":"The Assistant Director"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\"><mark style=\"background-color:rgba(0, 0, 0, 0);color:#ab0c2f\" class=\"has-inline-color\"><strong>THE ROLE OF THE A.D.<\/strong><\/mark><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The AD is responsible for all on-set logistics&nbsp;and&nbsp;for keeping the production on schedule.&nbsp;&nbsp;The AD makes it possible for the Director \u2013 and everyone else on set \u2013 to do their job. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">A good AD creates an atmosphere that enables creativity and collaboration. The AD must have good communication and leadership skills. Make sure the crew know what phase of work is in progress and what, if anything, the crew is waiting on when pauses in work occur. <strong>A good AD always has a backup plan, <\/strong>which should be vetted by the director.&nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The&nbsp;Director\u2019s&nbsp;Guild&nbsp;of&nbsp;America&nbsp;(DGA)&nbsp;defines the 1<sup>st<\/sup>&nbsp;Assistant Director as follows:&nbsp;<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Organizes pre-production, including breaking down the script, preparing the strip board and a shooting schedule. During production, the AD assists the&nbsp;Director with respect to on-set production details, coordinates and supervises crew and cast activities and facilitates an organized flow of production&nbsp;activity.&nbsp;<\/li>\n\n\n\n<li>Checks weather&nbsp;reports.&nbsp;<\/li>\n\n\n\n<li>Prepares day-out-of-day schedules for talent employment and determine cast&nbsp;and crew&nbsp;calls.&nbsp;<\/li>\n\n\n\n<li>Supervises the preparation of the call sheet for cast and&nbsp;crew.&nbsp;Direct background action and supervise crowd&nbsp;control.&nbsp;<\/li>\n\n\n\n<li>May be required to secure minor contracts, extra releases and on occasion&nbsp;to obtain execution of contracts by&nbsp;talent.&nbsp;<\/li>\n\n\n\n<li>Supervises the function of the shooting set and&nbsp;crew.<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\"><strong><span style=\"color:#ab0c2f\" class=\"has-inline-color\">SAFETY<\/span><\/strong>&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The AD is in charge of safety management and must do everything they can to avoid injuries and accidents to the crew, cast and the public. They are responsible for conducting a safety meeting* every day at call time.&nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Here at LMU, the AD <strong>must be a dedicated staff position and may not be shared <\/strong>with another crew position. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">A DIRECTOR MAY NEVER BE THEIR OWN AD.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">All AD\u2019s (students and non-students) are required to earn the Assistant Director Certification Badge before being allowed to work in this capacity. For more information about badges see <a href=\"https:\/\/sftvproductionhandbook.lmu.build\/index.php\/2021\/06\/16\/safety-badges\/\" target=\"_blank\" rel=\"noreferrer noopener\">Safety Badges.<\/a><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><mark style=\"background-color:rgba(0, 0, 0, 0);color:#ab0c2f\" class=\"has-inline-color\"><strong>WORKING WITH THE DIRECTOR<\/strong>&nbsp;<\/mark><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As the AD develops the schedule to find the most efficient way to shoot the film,&nbsp;they&nbsp;check with the Director to make sure their assessment of the script is in sync with the Director\u2019s. The AD tries to balance the Director\u2019s artistic vision with the available money and time.&nbsp;They will also keep the Producer updated on any money or schedule issues.&nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><mark style=\"background-color:rgba(0, 0, 0, 0);color:#ab0c2f\" class=\"has-inline-color\"><strong>ITS ALL IN THE PREP<\/strong>&nbsp;<\/mark><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The 1<sup>st<\/sup>&nbsp;AD is responsible for the prep schedule. The importance of prepping&nbsp;<strong>cannot be understated.<\/strong>&nbsp;The more time you have to prep, the easier the shoot will be. The AD will schedule location scouting, tech scouting<sup>1<\/sup>&nbsp;and then the Production Meeting.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><mark style=\"background-color:rgba(0, 0, 0, 0);color:#ab0c2f\" class=\"has-inline-color\"><strong>THE&nbsp;PRODUCTION MEETING<\/strong>&nbsp;<\/mark><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This is the final step before production begins. It is where the director, AD and all the departments meet with the final shooting script to review all the production aspects. It\u2019s usually the last opportunity to ask questions before shooting. The AD runs the meeting as they go in script order (sometimes shooting order). You should allow at least a one&nbsp;(1)&nbsp;day buffer between the production meeting and the first day of shooting. This will allow any crew to deal with last minute changes that come up.&nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><mark style=\"background-color:rgba(0, 0, 0, 0);color:#ab0c2f\" class=\"has-inline-color\"><strong>THE SAFETY MEETING<\/strong>&nbsp;<\/mark><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The First Assistant Director will hold a safety meeting&nbsp;each day at call time.&nbsp;The meeting may be brief and informal, but the following should be discussed:&nbsp;&nbsp;<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Emphasize the importance of safety on the set and everyone\u2019s responsibility for maintaining a safe workplace.&nbsp;<\/li>\n\n\n\n<li>Set goals for making the day.<\/li>\n\n\n\n<li>Remind crew&nbsp;of the length of the work day. Unless you are shooting outside of the SFTV 30 Mile Radius&nbsp;crew&nbsp;are allowed to work a maximum of 12 hours (not including meal breaks).&nbsp;<\/li>\n\n\n\n<li>Remind crew the SFTV Safety Hotline phone &amp; email are located at the top of the call sheet to report any safety concerns.&nbsp;<\/li>\n\n\n\n<li>Inform cast and crew about the locations of fire extinguishers, emergency exits, and first aid kits.&nbsp;<\/li>\n\n\n\n<li>Inform the crew of the location of the nearest hospital.&nbsp;<\/li>\n\n\n\n<li>Review any special issues pertaining to the day\u2019s filming- in particular, any stunts or special effects and refer to any applicable Safety bulletins.&nbsp;<\/li>\n\n\n\n<li>If filming on location, make the crew aware of indigenous critters and plants that may be hazardous.&nbsp;<\/li>\n\n\n\n<li>Check that all crew members are wearing appropriate clothing (open toed sandals, high heels, etc. are NEVER appropriate for any crew member- including the Director and Producer)&nbsp;for the weather and climate.&nbsp;<\/li>\n\n\n\n<li>Solicit safety concerns from crew members. If there are any, the First Assistant Director will address them to the satisfaction of the crew member before any work begins.&nbsp;<\/li>\n\n\n\n<li>Add a brief synopsis of the day\u2019s schedule (time-line of scenes, lunch and wrap estimates).&nbsp;<\/li>\n\n\n\n<li>Keep it light and fun!<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\"><strong><span style=\"color:#ab0c2f\" class=\"tadv-color\">PROP WEAPONS ON SET<\/span><\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">During the daily safety meeting, the 1st AD will inform cast and crew if a PROP weapon will be used on-set on that day, for which scenes, and who is responsible for its use. The AD will ensure all cast\/crew are aware that the prop weapon is not real and, if possible, show it at the safety meeting. It is not to be used at any time other than for the scene or rehearsal of a scene.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><mark style=\"background-color:rgba(0, 0, 0, 0);color:#ab0c2f\" class=\"has-inline-color\"><strong>SFTV\u00a0METHOD OF SHOOTING\u00a0<\/strong>\u00a0<\/mark><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Creating an efficient shooting plan is extremely important. The director, D.P. and A.D. should decide during prep as to the method used&nbsp;to organize&nbsp;your&nbsp;shooting day.&nbsp;Standard practice&nbsp;on SFTV&nbsp;sets is a five-step process: B.L.R.T.S. (Block. Light. Rehearse. Tweak. Shoot.)&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Step 1)&nbsp;Block<\/strong>&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Invite all necessary crew to observe and mark (with tape or other materials) the blocking (where the actors stand and move). The D.P. and director will&nbsp;fine&nbsp;tune as the Gaffer, Key Grip and other department heads take notes. If you can afford stand-ins (<strong>second team<\/strong>) they need to watch the&nbsp;rehearsal.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong><span style=\"color:#ab0c2f\" class=\"has-inline-color\">It&nbsp;is counter-productive to light&nbsp;the&nbsp;set before you block!<\/span><\/strong> Pre-rigging a location or set is common, but that is&nbsp;for&nbsp;general not&nbsp;specific&nbsp;lighting<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Step 2)&nbsp;<\/strong> <strong>Light<\/strong>&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The D.P. and the crew light&nbsp;the&nbsp;set and set up the camera. On larger sets, stand-ins (usually wearing similar colors to the actors) are used instead of the actors.&nbsp;A&nbsp;\u201csecond team&nbsp;rehearsal\u201d is very common to work out any camera moves. During this time, it is very common for the actors to go back \u201c<strong>in the works<\/strong>\u201d to hair and makeup and\/or the costumer for adjustments.  It&nbsp;is also the time for the&nbsp;A.D, director and D.P. to confirm&nbsp;the&nbsp;shot&nbsp;list.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Step 3)&nbsp;<\/strong> <strong>Rehearse<\/strong>&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Once&nbsp;the&nbsp;set is lit and&nbsp;the&nbsp;actors are&nbsp;ready, you want to do another&nbsp;rehearsal to confirm&nbsp;all&nbsp;the elements are correct. In some cases, (stunts, animals and minors) you want to shoot the rehearsal.&nbsp;Suggest to your director that they watch this rehearsal with their eyes on the actors, not through the camera or monitor. This will make the cast feel safe and seen.&nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Step 4)&nbsp; Tweak&nbsp;<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">After rehearsal, it\u2019s common to make minor changes to blocking, lighting, hair\/makeup or any other element of the shot. Clear the set and allow department heads to make the proper adjustments. Keep things moving quickly and safely. Once the essential changes have been made, call the actors to their places and rehearse the shot again if it feels necessary. Your director should watch this rehearsal from behind camera or on the monitor.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Step 5)&nbsp;<\/strong> <strong>Shoot<\/strong>&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">If you\u2019ve made a good plan and communicated&nbsp;it&nbsp;to the crew, your efficiency&nbsp;will increase&nbsp;and&nbsp;will&nbsp;allow you to make changes when&nbsp;the director&nbsp;suddenly gets&nbsp;a great idea.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">It is the AD\u2019s responsibility to make sure the shot goes off on time. Don\u2019t rush your director but gently suggest \u201cAre we ready for a take?\u201d once you get the feeling that the shot is ready to roll.&nbsp;<strong>NEVER CALL OUT OR DISRESPECT YOUR DIRECTOR.<\/strong>&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><mark style=\"background-color:rgba(0, 0, 0, 0);color:#ab0c2f\" class=\"has-inline-color\"><strong>WORKING WITH THE&nbsp;CAST &amp;&nbsp;CREW<\/strong>&nbsp;<\/mark><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Here are a few tips for working with the&nbsp;crew:&nbsp;<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li><strong>Be prepared.<\/strong> If you are ready and communicate well, the crew will respond. They love leadership.&nbsp;<\/li>\n\n\n\n<li><strong>Stay&nbsp;calm,&nbsp;what can go wrong \u2013 will.<\/strong> How you handle adversity \u2013 how you solve the countless problems that arise each day on the set is the true test of an AD. Don\u2019t yell or use sarcasm. That\u2019s a quick way to have a crew turn against you.&nbsp;&nbsp;<\/li>\n\n\n\n<li><strong>Communicate clearly.<\/strong> Announce what is happening loudly and clearly . (&#8220;Blocking rehearsal for camera is up,&#8221; or &#8220;Holding for battery change,&#8221; etc.)&nbsp;<\/li>\n\n\n\n<li><strong>Keep your sense of&nbsp;humor<\/strong>.<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\"><mark style=\"background-color:rgba(0, 0, 0, 0);color:#ab0c2f\" class=\"has-inline-color\"><strong>WORKING WITH ACTORS<\/strong>&nbsp;<\/mark><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Actors are the most vulnerable people on the set. It\u2019s important for the entire crew to&nbsp;do everything they can to put the actor at ease,&nbsp;so they are able to focus on performing and to give their best&nbsp;work.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><mark style=\"background-color:rgba(0, 0, 0, 0);color:#ab0c2f\" class=\"has-inline-color\"><strong>WORKING WITH&nbsp;EXTRAS&nbsp;(aka&nbsp;Atmosphere,&nbsp;Background or&nbsp;B.G.\u2019s)<\/strong>&nbsp;<\/mark><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Extras in a film are those background performers, who don\u2019t have dialogue, but whose&nbsp;presence lend \u201ctexture\u201d and an air of reality to the scene.&nbsp;The best way to retain your extras and prevent them from leaving early is to have a good game plan&nbsp;and treat them with respect.&nbsp;Don\u2019t bring them in too early and keep them waiting around for hours to work. Make sure they have access to the same food and drink as the crew.&nbsp;On almost all student films \u2013 you will find yourself working with \u201cnon-professional\u201d atmosphere.&nbsp;If you treat them with care and respect you will get better performances and decrease the odds that they will abandon your set.&nbsp;You\u2019ll&nbsp;need to provide a place for the extras to wait between scenes \u2013 a \u201cholding\u201d area. This area needs to be sheltered from the elements, whether it\u2019s rain, sun or cold.&nbsp;You&nbsp;need to provide water and restrooms.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><mark style=\"background-color:rgba(0, 0, 0, 0);color:#ab0c2f\" class=\"has-inline-color\"><strong>SETTING&nbsp;BACKGROUND<\/strong>&nbsp;<\/mark><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As the AD reads the script they have to imagine where extras may be needed \u2013 a restaurant, for example, would have diners, waiters, bus boys and so on.&nbsp;The amount, ethnicity, age and gender of the extras should be decided on during prep. If you\u2019re shooting a period film, your costumes, props and hair and make-up will be affected.&nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Setting background is one of&nbsp;the&nbsp;AD\u2019s chances to use creativity.&nbsp;Giving the extras a \u201cstory\u201d or motivation will inspire them to use their acting skills.&nbsp;Make sure that the atmosphere never distracts from the main action.&nbsp;Watch&nbsp;for distracting movements, gestures&nbsp;and&nbsp;wardrobe and make sure continuity is maintained.&nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><mark style=\"background-color:rgba(0, 0, 0, 0);color:#ab0c2f\" class=\"has-inline-color\"><strong>KNOW YOUR FRAME LINES<\/strong>&nbsp;<\/mark><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">You&nbsp;have to know the frame you\u2019re trying to fill.&nbsp;Either look through the lens or at the monitors provided. If there\u2019s a camera move in the shot \u2013 have the camera operator show it to you.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><mark style=\"background-color:rgba(0, 0, 0, 0);color:#ab0c2f\" class=\"has-inline-color\"><strong>REHEARSE, SHOOT &amp; REPEAT<\/strong>&nbsp;<\/mark><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Pay attention during the blocking and rehearsal. Know where the cast is going to be.&nbsp;As&nbsp;you&nbsp;set&nbsp;the&nbsp;background&nbsp;watch&nbsp;out&nbsp;for shadows cast by the extras and any blocking of actor\u2019s movement and\/or&nbsp;lines.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Try&nbsp;to get a rehearsal with extras before you shoot whenever possible.&nbsp;You&nbsp;don\u2019t want to ruin a take because your extras were bumping into each other \u2013 or the&nbsp;actors.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Because the need for continuity is important,&nbsp;duplicating movements from take to take is extremely important.&nbsp;You&nbsp;can choreograph the action by having the extras move on specific lines of&nbsp;dialogue or a bit of action. Have the extras take their own&nbsp;cues.&nbsp;This means they have to pay attention to what\u2019s going on in the scene \u2013 and that\u2019s not a bad&nbsp;thing.&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>THE ROLE OF THE A.D. The AD is responsible for all on-set logistics&nbsp;and&nbsp;for keeping the production on schedule.&nbsp;&nbsp;The AD makes it possible for the Director \u2013 and everyone else on set \u2013 to do their job. A good AD creates<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_price":"","_stock":"","_tribe_ticket_header":"","_tribe_default_ticket_provider":"","_tribe_ticket_capacity":"0","_ticket_start_date":"","_ticket_end_date":"","_tribe_ticket_show_description":"","_tribe_ticket_show_not_going":false,"_tribe_ticket_use_global_stock":"","_tribe_ticket_global_stock_level":"","_global_stock_mode":"","_global_stock_cap":"","_tribe_rsvp_for_event":"","_tribe_ticket_going_count":"","_tribe_ticket_not_going_count":"","_tribe_tickets_list":"[]","_tribe_ticket_has_attendee_info_fields":false,"_EventAllDay":false,"_EventTimezone":"","_EventStartDate":"","_EventEndDate":"","_EventStartDateUTC":"","_EventEndDateUTC":"","_EventShowMap":false,"_EventShowMapLink":false,"_EventURL":"","_EventCost":"","_EventCostDescription":"","_EventCurrencySymbol":"","_EventCurrencyCode":"","_EventCurrencyPosition":"","_EventDateTimeSeparator":"","_EventTimeRangeSeparator":"","_EventOrganizerID":[],"_EventVenueID":[],"_OrganizerEmail":"","_OrganizerPhone":"","_OrganizerWebsite":"","_VenueAddress":"","_VenueCity":"","_VenueCountry":"","_VenueProvince":"","_VenueState":"","_VenueZip":"","_VenuePhone":"","_VenueURL":"","_VenueStateProvince":"","_VenueLat":"","_VenueLng":"","_VenueShowMap":false,"_VenueShowMapLink":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[1],"tags":[299,298,303,300,301,43,302,67,77],"class_list":["post-1340","post","type-post","status-publish","format-standard","hentry","category-sftv","tag-ad","tag-assistant-director","tag-call-sheets","tag-dga","tag-prep","tag-production","tag-production-meeting","tag-safety","tag-safety-meeting"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>The Assistant Director - SFTV Student Production Handbook<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/sftvproductionhandbook.lmu.build\/index.php\/2021\/06\/01\/the-role-of-the-first-assistant-director\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Assistant Director - SFTV Student Production Handbook\" \/>\n<meta property=\"og:description\" content=\"THE ROLE OF THE A.D. The AD is responsible for all on-set logistics&nbsp;and&nbsp;for keeping the production on schedule.&nbsp;&nbsp;The AD makes it possible for the Director \u2013 and everyone else on set \u2013 to do their job. 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