While the Director focuses on every detail in front of the camera, the First Assistant Director runs the set.

They build and monitor the schedule, working to make sure everything is progressing to safely capture all footage in time, while encouraging a positive energy on production. They collaborate with each department to keep everyone ready for the next shot so that, throughout the whole production, the Director can stay focused on capturing the quality of footage they hope for as efficiently as possible.

This means a lot of communication and preparation starting in pre-production. The First AD starts by breaking down the script. Aiming to make sure all moments of production are thoroughly prepared for, they try to flag anything that may be a big time or safety concern on set because small, undecided moments in the script can add up to a lot of lost time on production. This early time period is also a unique opportunity to boost the Director’s confidence, especially by helping them thoroughly prepare for the grueling pressure of production ahead.

The First Assistant Director builds the production schedule around many variables; from gear rentals and location access to camera set-ups and character emotion. They aim to make the most efficient, practical schedule that maximizes time for recording takes. Then, through collaborative software and various forms of communication, the needed schedule details are shared with the relevant departments.

When production arrives, the emotional dynamic on set is thrilling. People are often nervous and unsure, and the First AD is uniquely positioned to bring comfort and direction to the whole team. They may start the day with a meeting, taking the rare moment to unite the group and share important highlights for the day ahead. After a few words from the Director and some practical direction, Kelsie likes to close in prayer.

First ADs are communicating to all departments all day long throughout production. They work to keep each department clear and moving forward to be ready for the next shot, kindly keeping everyone aware of the times and information they need to know.

While methods vary, Kelsie’s found it creates less pressure to operate more quietly on set. For example, First’s can remind leaders one-on-one of how many minutes they have till the next shot, confirm what the next shot is, and take inventory of how much time that department actually needs in quiet direct conversations. Then, they can be more accurate and credible when they call out increments of time throughout the day to countdown to the next milestone. They’re trying to keep a cheerful vibe though they have to nudge people to move faster, and then help bring the set into quiet focus as they “call roll” for the shot.

From tracking which shots still have to be recorded, to continuously recalculating minutes left in the day, all of the roles of the First AD take pressure and responsibility off of the Director, who in turn, can then focus on how they want the image and cast to tell the story.

Filmmaking is supposed to be a team effort. Let a First AD handle running your production, so your Director can focus on what the rest of the world sees: the story captured on camera.

The First Assistant Director’s scope of work may include:

• Running the Set

• Creating and stewarding the production schedule(s)

• Supporting the Director and leading the crew communication

• Communicating production times, locations, and order of events with all departments

• Collaborating with the Producer and Heads-of-Departments to help all departments be prepared for filming

• Flagging dangerous, difficult, or unplanned sections of the script in pre-production

• Collaborating with the DP/Cinematographer to ensure realistic filming/shooting times

• Helping the crew capture all needed shots within the allowed timeframes throughout the duration of production

• Working to provide a safe and healthy work environment

• Balancing the Director’s need for “one more take” with other’s committed time and money