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Focus puller

A focus puller, also known as the first assistant camera (1st AC), is a vital member of the film and television camera department responsible for maintaining sharp optical focus on subjects during shots by manually adjusting the lens, ensuring visual clarity amid movement or depth-of-field changes.^[1] This role demands precise collaboration with the cinematographer and camera operator to execute intended visual effects, such as racking focus or sustaining deep focus, while handling equipment setup, testing, and troubleshooting.^[2]^[3] In pre-production and on-set operations, focus pullers select and prepare lenses, assemble cameras, conduct tests like back focus calibration, and mark focus distances on the lens barrel using measurements in feet/inches or metric to anticipate actor or camera movements.^[1]^[2] During filming, they monitor shots in real-time, adjust focus dynamically—often under pressure for complex sequences like Steadicam work—and ensure equipment cleanliness and safety compliance, while liaising with grips, electricians, and other crew.^[3]^[4] Post-shoot, they de-rig, pack, and maintain gear for transport, contributing to the overall efficiency of productions ranging from low-budget indies to high-end dramas.^[2] Essential skills for a focus puller include a deep understanding of camera mechanics, depth of field principles, and lens behavior; exceptional hand-eye coordination; and the ability to problem-solve quickly in dynamic environments.^[1]^[4] They must also possess strong communication, teamwork, and resilience to thrive under tight schedules and physical demands, often starting through hands-on experience rather than formal degrees.^[2]^[3] The position's importance lies in its direct impact on image quality and storytelling—poor focus can ruin takes—making it indispensable for realizing the director of photography's artistic vision and guiding audience attention within the frame.^[1]^[4]

Role and Responsibilities

Definition

A focus puller, also known as the first assistant camera (1st AC), is a key member of the film crew's camera department responsible for maintaining sharp focus on subjects or actions by adjusting the camera lens during filming. This role involves precise manipulation of the lens to ensure that the intended elements remain in clear view throughout each shot, particularly in dynamic scenes involving movement. The focus puller's expertise is essential for achieving the visual clarity demanded by the director of photography (DP).^[5] Within the film crew hierarchy, the focus puller reports directly to the DP, who oversees the overall cinematographic vision, while supervising the second assistant camera (2nd AC) and working in close coordination with the camera operator. This positioning places the 1st AC at the operational core of the camera team, where they ensure equipment readiness and focus accuracy to support seamless production. The role demands a blend of technical proficiency and quick decision-making to align with the DP's creative directives.^[6] The focus puller is distinct from related roles in the camera department: unlike the DP, who conceptualizes and directs the film's visual style, the 1st AC focuses on executing the technical aspects of lens control and image sharpness. In contrast to the 2nd AC, who manages tasks such as loading film magazines and operating the clapperboard for synchronization, while assisting with measuring distances and other support duties, the focus puller concentrates on real-time focus adjustments to prevent visual inconsistencies. This specialization underscores the collaborative yet delineated structure of the camera crew.^[6]^[7] The importance of the focus puller's role cannot be overstated, as "soft" focus errors—resulting in blurry or out-of-focus imagery—cannot be reliably corrected in post-production without significant quality loss or artifacts. Such mistakes compromise the film's aesthetic integrity and may require costly reshoots, making the 1st AC's precision vital to the project's efficiency and final output. By averting these irrecoverable issues, the focus puller upholds the high standards of professional cinematography.^[8]

Key Duties

The focus puller, also known as the first assistant camera (1st AC), bears primary responsibility for ensuring precise focus control during film and television production, adapting in real-time to maintain sharpness on subjects as they or the camera move. This involves pulling focus dynamically, such as shifting from 8 meters to 3 meters on an approaching actor to keep them in sharp detail without disrupting the shot's continuity.^[1]^[2] A core duty is performing rack focusing, where the focus puller smoothly transitions the plane of focus between multiple subjects within a single take, for instance, from a foreground object to a background character to guide viewer attention as directed by the cinematographer. This technique demands precise timing and coordination to avoid visible jumps in sharpness. In addition to operational focus tasks, the focus puller manages camera setup and maintenance, including assembling and disassembling gear rigs, cleaning lenses to prevent smudges or dust that could compromise image quality, and troubleshooting basic mechanical or electrical issues like jammed mechanisms or loose mounts before escalating to specialists.^[1]^[2]^[9] Pre-shot preparation forms another essential responsibility, involving close collaboration with the director of photography (DP) to review shot lists and actor blocking, thereby mapping out focus transitions and marking key distances on follow focus wheels in advance. On set, the focus puller maintains vigilant communication, receiving verbal or visual cues from the camera operator or director to execute pulls at exact moments, ensuring alignment with the overall visual narrative while coordinating with the broader camera team for seamless workflow.^[1]^[2]^[9]

Historical Development

Origins in Early Cinema

The role of the focus puller began to take shape in the late 19th and early 20th centuries, coinciding with the advent of handheld cameras and the shift toward narrative filmmaking in the 1890s and 1910s. During the initial commercial phase of motion pictures around the early 1890s, cinematographers typically operated alone, handling both cranking and basic lens adjustments on rudimentary equipment.^[10] As productions became more ambitious, requiring greater mobility and precision, early cinematographers enlisted assistants to manage lens focusing and other technical tasks, marking the nascent development of the focus puller as a specialized helper.^[10] In the silent film era, these assistants—frequently termed "camera assistants" or "camera boys"—assumed duties including manual camera cranking and adjustments on bellows-style lenses, which allowed for variable focus through physical extension.^[11] The role began to specialize around 1914 when D.W. Griffith hired the first such assistant. A prominent example of early focus techniques appears in Griffith's 1912 short The Musketeers of Pig Alley, widely recognized as featuring cinema's first follow-focus on a moving close-up, shifting attention from a foreground figure to a background character, achieved by cinematographer Billy Bitzer.^[12] Such practices highlighted the emerging importance of precise focusing amid the era's hand-cranked, wooden-bodied cameras like the Pathé Professional. Early focus pulling faced significant challenges due to the absence of standardized equipment and aids, relying heavily on the operator's or assistant's visual estimation to judge distances and adjust lenses in real time. This imprecision often resulted in inconsistent sharpness, particularly in action sequences, prompting rudimentary innovations such as cloth or fabric tape measures to mark subject distances from the camera lens plane, enabling more reliable pulls during rehearsals with stand-ins.^[13] These methods underscored the trial-and-error nature of the role, where physical intuition and quick manual tweaks compensated for the lack of mechanical precision. By the transition to the sound era in the 1920s and 1930s, the focus puller role became more formalized as film crews expanded to handle the bulkier studio cameras required for synchronized audio recording. The introduction of the Mitchell Standard camera in 1920, with its metal construction, quiet operation, and integrated focusing eyepiece, further professionalized the position, assigning dedicated assistants to control focus on these heavier machines while operators concentrated on framing and movement.^[14] This evolution reflected the growing complexity of Hollywood productions, where precise focus was essential to support narrative depth in sound-compatible workflows.

Evolution with Technology

Following World War II, the introduction of zoom lenses in the 1940s and 1950s marked a significant shift for focus pullers, allowing variable focal lengths without lens changes and reducing the reliance on pre-measured marks for focus transitions.^[15] These lenses, such as the Angénieux models pioneered in the early 1950s, enabled smoother dolly zooms and dynamic shots, minimizing guesswork in framing and depth adjustments during live setups.^[16] Concurrently, reflex viewfinders, introduced by ARRI in the 1930s with the Arriflex 35's spinning mirror system and further refined post-war in models like the 1952 Arriflex 16St, provided through-the-lens viewing that allowed focus pullers to monitor focus in real-time without parallax errors inherent in earlier ground-glass systems.^[17] This innovation was particularly vital in the burgeoning television industry of the 1950s and 1960s, where faster production paces demanded quick adaptations; focus pullers transitioned from methodical film workflows to handling rapid live switches and multi-camera setups, often using adapted cinema zooms for broadcast.^[18] By the 1960s, these tools had streamlined focus pulling in TV studios, enabling more fluid coverage of fast-moving subjects like variety shows and news.^[19] In the 1970s and 1980s, the advent of the Steadicam revolutionized focus pulling by facilitating stabilized, handheld tracking shots that required precise, on-the-fly adjustments over extended takes.^[20] Invented by Garrett Brown in the early 1970s and first prominently used in films like Bound for Glory (1976), the Steadicam allowed operators and focus pullers to move freely through complex environments, demanding heightened anticipation of actor movements.^[21] Complementing this, remote follow focus systems emerged in the late 1970s, introducing wireless operation that freed pullers from physical proximity to the lens, enabling control from a distance during Steadicam sequences.^[22] A notable example is The Shining (1980), where Steadicam shots through the Overlook Hotel's mazes relied on wireless focus pulling to maintain sharpness amid dynamic pursuits, setting a precedent for action-oriented cinema.^[22] These advancements expanded the role, emphasizing collaboration with operators for immersive, continuous shots that traditional dollies could not achieve.^[23] The digital revolution from the 1990s onward further transformed focus pulling with the shift to digital cinema cameras, integrating electronic aids while underscoring the need for manual precision. Early digital prototypes in the 1990s paved the way for systems like the RED One camera in 2007, which offered autofocus assists through phase-detection sensors, allowing pullers to verify focus via live monitors and reduce setup time on set.^[24] However, manual pulling remained essential due to the shallow depth of field in digital sensors, particularly in full-frame formats, where autofocus could lag in unpredictable scenes.^[25] The rise of CGI and VFX workflows amplified this demand, as precise focus in live-action plates was critical for seamless compositing; mismatched focus could disrupt match-moving and integration of digital elements, requiring pullers to maintain exact planes for post-production layering.^[26] In high-stakes VFX-heavy films, this precision ensured that foreground and background elements aligned optically before digital enhancement.^[27] From the 2010s to 2025, AI-assisted tools and augmented reality (AR) overlays have begun augmenting focus prediction, yet human pullers retain preference in high-end productions for their nuanced creative input. AI algorithms, integrated into camera software since the mid-2010s, now predict focus shifts by analyzing scene depth and actor trajectories in real-time, as seen in intelligent cinematography systems that automate initial marks.^[28] AR overlays, projected via monitors or headsets in virtual production setups, provide holographic depth maps to guide pullers during complex shoots, enhancing accuracy in LED wall environments.^[29] Despite these aids, directors and cinematographers in prestige films favor skilled human pullers for their ability to interpret artistic intent, such as subtle rack focuses that AI might over-correct, ensuring emotional storytelling over mechanical efficiency.^[30] This balance reflects ongoing evolution, with technology supporting rather than supplanting expertise.^[31]

Equipment and Tools

Lenses and Follow Focus Systems

Focus pullers primarily handle camera lenses, which are categorized into prime and zoom types, each presenting distinct characteristics that influence focus management. Prime lenses feature a fixed focal length, such as 35mm for wide-angle perspectives, delivering consistent optical performance and often wider maximum apertures (e.g., T1.5) that enable shallower depths of field for isolating subjects. In contrast, zoom lenses offer a variable focal length range, such as 25-75mm, providing compositional flexibility during shots but typically with narrower maximum apertures and greater mechanical complexity. Aperture settings directly affect the focus plane by controlling depth of field; wider apertures reduce the acceptable sharpness range, demanding precise adjustments to keep subjects in focus amid movement.^[32]^[33] Follow focus units serve as the mechanical interface for controlling these lenses, with gear-driven systems like the ARRI FF-5 being a standard in professional productions. The FF-5 attaches to the lens's focus gear ring through an adjustable swing arm, transmitting rotation from a handwheel or focus knob to the lens for smooth, incremental adjustments. Designed for cine-style lenses, it employs a 2:1 knob-to-gear ratio, where one turn of the handwheel yields two turns of the gear, enhancing precision for subtle focus pulls over long rotations. This modular unit mounts on 15mm or 19mm rods, integrating seamlessly with camera rigs for stability during dynamic shots.^[34]^[35] To enable rapid and repeatable focus transitions, focus pullers mark distance scales on lenses using non-permanent methods like wrapping adhesive tape around the focus ring or applying grease pencil directly to the barrel. These marks indicate key distances (e.g., from 3 feet to 10 feet) aligned with shot requirements, allowing the puller to reference them quickly without relying solely on the lens's engraved scale, which may vary in readability. Engraved scales on high-end cine lenses provide baseline measurements from the film plane, but custom taping accommodates specific setups and lens variations.^[36] Compatibility between follow focus systems and lenses is critical, particularly with mounts like the Positive Lock (PL) standard used on ARRI cameras such as the ALEXA series, ensuring secure mechanical linkage and data transmission where applicable. Adapters may be required for non-native mounts, but the PL interface supports robust gear engagement for cine primes and zooms. Lens breathing—the slight shift in field of view during focus changes, caused by optical design—poses a challenge, as it can alter framing; high-quality cine lenses minimize this effect, with no visible breathing in most ARRI Signature Primes, and primes generally exhibiting less breathing than zooms to maintain compositional stability. Focus pullers may briefly reference monitoring devices to confirm marks, though primary control remains mechanical.^[37]^[38]

Measurement and Monitoring Devices

Focus pullers employ various distance measurement tools to precisely calculate the distance between the subject and the camera's film plane, ensuring accurate focus marks. Traditional tape measures, such as soft fiberglass tapes up to 50 feet or rigid steel tapes extending 11-13 feet, are hooked to the camera's film plane and extended to the subject's position, typically the actor's eyes, for reliable short- to medium-range measurements.^[39] Laser rangefinders, like the Hilti PD-40, provide quick readings for longer distances over 20 feet or hard-to-reach spots by aiming at the subject's chest, though they require caution to avoid distracting performers.^[39] Marked focus charts, printed targets with graduated scales, assist in calibrating lens focus by offering multiple points for verification during setup.^[40] Monitoring aids enable real-time focus verification through external displays. Video assists, such as the Blackmagic Video Assist 12G HDR, capture high-definition output from the camera for playback on portable monitors, allowing pullers to check sharpness instantly.^[41] Wireless transmitters facilitate review by sending the video feed to remote monitors at "video village" for the director and cinematographer, supporting collaborative adjustments without interrupting the puller.^[42] High-brightness monitors like the SmallHD Cine 7, with 1800 nits and focus assist tools such as peaking and magnification, enhance precision by highlighting edges in the image.^[42] Reference systems provide physical cues to maintain consistency. Floor marks, often using colored tape—red for leads, blue for supporting actors, and fluorescent pink for technical spots—guide actors to exact positions during rehearsals and takes, aligning with pre-measured distances.^[43] Focus wheels on follow focus units incorporate hard stops, adjustable limits set at minimum and maximum distances, to prevent accidental over-pulling beyond the shot's range. These integrate briefly with lens systems for seamless operation.^[36] Digital enhancements automate distance tracking for dynamic shots. The CineTape Measure system uses ultrasonic sensors mounted near the lens to continuously compute subject-to-camera distances from 1.5 to 99 feet, displaying real-time data that can interface with follow focus motors for semi-automated pulls, reducing manual errors in fast-moving scenes.^[44]

Techniques and Methodology

Basic Focus Pulling Process

The basic focus pulling process is a methodical workflow executed primarily by the first assistant camera (1st AC), also known as the focus puller, to maintain precise sharpness on subjects during a shot. It begins in pre-production planning, where the 1st AC measures key distances from the camera's focal plane—marked by a small stud or hook on the camera body—to subject positions using a tape measure during rehearsals. These measurements account for the intended subject movement, such as an actor walking toward or away from the camera, and are marked on the lens barrel, follow focus unit, or a dedicated marking disk with adhesive tape, grease pencil, or colored indicators to create reference points for quick adjustments. Laser rangefinders may supplement tape measures for efficiency in complex setups, ensuring accuracy within inches to match the shallow depth of field typical in cinematography.^[3] During setup, the 1st AC attaches the follow focus system to the camera's support rods or lens directly, ensuring the gear rings mesh smoothly with the lens teeth for seamless rotation. Lens marks are calibrated by aligning the measured distances with the focus ring's scale, often verified using a focus chart at 8-10 feet to confirm back focus and overall accuracy, particularly at wide apertures where depth of field is minimal. A test pull is then performed on a rehearsal run, with the 1st AC practicing the rotation of the focus wheel to synchronize timing with the camera operator's movements and actor cues, adjusting for factors like lens breathing or gear slippage to achieve fluid transitions without visible jerks.^[3] In execution during the take, the 1st AC rotates the focus wheel smoothly and deliberately based on verbal or visual cues from the director, camera operator, or script supervisor, maintaining a speed proportional to the subject's movement—for instance, constant velocity for linear approaches to avoid focus lag or overshoot. This manual adjustment relies on the pre-marked distances, with the puller often using a fingertip or whip handle for fine control, ensuring the plane of critical focus tracks the subject precisely as the camera rolls. The process demands anticipation, as even slight delays can result in soft footage, particularly in low-light or fast-paced scenes.^[45] Verification follows immediately after the take, with the 1st AC reviewing sharpness on a video assist monitor or through the viewfinder to confirm the pull's success, checking for any deviations caused by lens distortions such as parallax shifts in off-axis movements. If issues arise, quick adjustments to marks or lens calibration are made before reshoots. Post-take, the 1st AC logs focus data—including start and end distances, lens details, and timing notes—in a camera report or log sheet to ensure continuity, especially for multi-camera setups or potential reshoots where matching focus is essential for seamless editing. This documentation, often shared with the script supervisor, supports post-production workflows and prevents costly retakes.^[3]

Advanced Techniques and Challenges

Rack focusing, also known as focus pulling between subjects, requires precise timing to shift the focal plane for dramatic effect, particularly in dialogue scenes where the transition underscores emotional beats or reveals information.^[46] Focus pullers often consult depth of field charts to predict and map focus planes, ensuring smooth shifts that maintain narrative flow without distracting blur transitions. For instance, in fast-paced conversations, the puller times the rack to coincide with a speaker's pause, leveraging the shallow depth of field to isolate one actor before revealing another in the background.^[47] In dynamic scenarios such as Steadicam or drone shots, focus pulling demands compensation for variable speeds and potential camera shake, where the operator's movement alters distances unpredictably.^[48] Pullers must anticipate parabolic paths in Steadicam tracking shots, adjusting focus in real-time to keep subjects sharp amid low-light conditions that exacerbate motion blur.^[49] Drone shots introduce additional variability from wind or altitude changes, requiring pullers to synchronize with aerial dynamics while minimizing low-light noise in the footage.^[50] Key challenges arise with low-depth-of-field setups using fast lenses like f/1.4, where even minor errors result in critical out-of-focus moments due to the razor-thin plane of sharpness.^[51] In chaotic environments without pre-set marks, such as improvised action sequences, pullers rely on environmental references like repeating patterns in the background to gauge distances intuitively.^[52] Multi-subject pulls compound these issues, as shifting focus between overlapping actors or elements risks momentary softness across the frame, especially in crowded scenes. To address these, focus pullers employ pre-visualization through detailed shot breakdowns, mapping potential focus transitions during rehearsals to foresee complications. In VFX-heavy productions, hybrid manual-digital approaches integrate traditional pulling with metadata-assisted recompositing, allowing post-production corrections for rack focuses that might otherwise fail in complex composites.^[53]

Skills and Professional Development

Required Skills and Qualifications

Focus pullers require a strong foundation in optics and camera mechanics to ensure precise image sharpness during production. This includes understanding key concepts such as hyperfocal distance—the closest focusing distance that keeps objects from half that distance to infinity acceptably sharp—and the circle of confusion, which defines the acceptable blur threshold for depth of field calculations.^[54] Additionally, proficiency in camera setup, including lens collimation, back focus adjustment, and troubleshooting mechanical or electronic faults, is essential for maintaining equipment reliability.^[55] Precision and dexterity are paramount, demanding excellent hand-eye coordination for smooth focus wheel adjustments and the ability to anticipate actor movements based on blocking rehearsals.^[56] Focus pullers measure distances accurately—often to within inches—using tools like tape measures or laser rangefinders, while applying finesse to execute rack focuses or subtle shifts seamlessly.^[55] Acute visual acuity enables them to detect subtle focus inconsistencies on monitors or viewfinders, ensuring shot quality aligns with the director of photography's (DP) vision.^[57] Soft skills, including quick decision-making under time constraints and effective teamwork with the DP, camera operators, and other departments, facilitate efficient problem-solving on set.^[2] Physical stamina is critical for enduring long shoots, with the ability to handle and transport gear weighing up to 50 pounds, such as rigged cameras and accessories, while maintaining agility in dynamic environments.^[58] Qualifications typically involve prior experience as a second assistant camera (2nd AC), building foundational skills in equipment handling and set logistics, often progressing through entry-level roles like camera trainee.^[57] While no formal degree is required, workshops in camera operation enhance expertise in focus management and related techniques.

Training and Career Path

Aspiring focus pullers often pursue formal education through film school programs that emphasize cinematography and production techniques. Institutions such as the USC School of Cinematic Arts offer comprehensive Film & Television Production degrees, where students gain foundational knowledge in camera operations and visual storytelling through hands-on projects.^[59] Specialized workshops, like those provided by the ARRI Academy, focus on lens handling and control systems, offering certified training in assistant camera workflows that directly apply to focus pulling responsibilities.^[60] On-the-job training remains a primary entry point, typically beginning in entry-level roles within the camera department. Many start as production assistants (PAs) to build set experience before advancing to second assistant camera (2nd AC) or loader positions on independent or low-budget productions.^[1] These apprenticeships allow individuals to shadow experienced crew members and gradually take on focus-related tasks, eventually leading to unionized opportunities such as those through IATSE Local 600 in the United States, which represents camera assistants and enforces contracts for professional gigs.^[61] Career progression for focus pullers generally follows a structured path from assistant roles to first assistant camera (1st AC), the core focus pulling position, before potentially moving into camera operation or directing roles. This advancement relies on accumulating practical experience on diverse shoots, with networking playing a crucial role in securing higher-profile work.^[62] Most focus pullers operate as freelancers, with variable schedules tied to project demands, though union membership provides minimum day rates and benefits; in major markets like Hollywood, freelance opportunities dominate, while international productions may offer more staff positions on long-form series.^[62] Professional networks and certifications enhance career mobility. Joining guilds such as the Guild of British Camera Technicians (GBCT) offers access to crew directories, training schemes, and industry events tailored for camera professionals, including focus pullers.^[63] As of 2025, training trends include expanded online and virtual options for remote learning, such as ARRI Academy's certified digital courses on camera systems, alongside growing demand for focus pullers skilled in AI-assisted and wireless follow-focus technologies in streaming productions driven by the expansion of platforms like Netflix. Efforts to promote diversity in camera departments have led to inclusive training programs targeting underrepresented groups.^[60]^[64]^[65]

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Dark Comedy: What We Do in the Shadows
they were actually too good, and I had ...
[45]
The Steadicam and The Shining Revisited
Mar 1, 2022 · The Steadicam and The Shining Revisited. The Academy Award-winning camera stabilizer lent great fluid scope to Stanley Kubrick's classic horror film.
[46]
Underwater Production for Chasing Coral
Jul 4, 2017 · “You've got a little 5" monitor,” says Orlowski, “and you're trying to do rack focus with people and fish underwater. It's a very fun ...
[47]
La La Land: City of Stars - The American Society of Cinematographers
Feb 27, 2017 · ” The cinematographer generally shot at T2.8 and used no lens filters save for NDs. For the shots that required focus-range flexibility ...
[48]
Seven: Sins of a Serial Killer - American Cinematographer
Jun 1, 2017 · 5 while the exteriors were 2.8 that made it extremely difficult for focus-pulling, but gave a precise plane to the action, so we could direct ...
[49]
Problem Solving on Terminator: Dark Fate
Dec 29, 2019 · ... rack focus to the burning C-5 careening towards us as the flames become the primary lighting source, then the camera wraps around to the ...
[50]
MITC Meeting Report: August 2018 - American Cinematographer
Sep 1, 2018 · ... rack focus that was re- composited via metadata. “A lot of camera manufacturers say they can do it, but it's not a priority,” said Holben ...
[51]
Depth of field and focus | Advanced Cinematography Class Notes
Depth of field and focus are crucial elements in cinematography, shaping visual storytelling and audience perception. Cinematographers use these tools to ...Missing: charts | Show results with:charts
[52]
Three Must-Have Skills for Pulling Focus and How You Can Improve ...
Apr 4, 2012 · These are three must-have skills for focus pullers and show you practical methods to improve them so you can panic a little bit less when the DP sets the stop ...Missing: stamina | Show results with:stamina
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What Is a First Assistant Camera? (With Skills and Job Outlook)
Jul 26, 2025 · A first assistant camera, or focus puller, is a member of a film crew whose main responsibility includes maintaining camera focus on the subject.Missing: qualifications | Show results with:qualifications
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The Physicality of Camera Assisting and How It Could Cost You a Job
but upwards of 50 lbs. Yes. 50 pounds (or 3.5 stone for you Brits). I once weighed a RED One camera ...
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USC Cinematic Arts | Home
### Summary of Film Production Programs, Cinematography Courses, and Camera Assistance/Focus Pulling Training at USC Cinematic Arts
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ARRI Academy
Explore ARRI Academy for training and certification programs to enhance your filmmaking skills. Get certified with our advanced and hands-on training ...Training, Schedule & Booking · ARRI Certified Courses · ARRI Certified Film School
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Homepage | Local 600 - International Cinematographers Guild (ICG)
Every job you report is information your union needs to enforce your contracts, ensure your safety, and organize productions that will provide benefit hours ...Contact · How to Join · About Us · Job Opportunities at Local 600Missing: focus puller skills qualifications
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How to Become a First AC (1st Assistant Camera) in Film/TV
Career Path This will allow them to shadow the 1st Assistant Cameras and 2nd Assistant Cameras to learn the ins and outs of each job while gathering technical ...
[59]
The Guild of British Camera Technicians
Join the Guild · Apply · Crew Directory · Training · Training Courses · Current Camera Trainees · The GBCT Camera Trainee Scheme ... © 2024 Guild of British ...Join the Guild · Training · About · Current Camera Trainees
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Educational Resources | Panavision
Through the Panavision New Filmmaker Program, we offer a range of virtual and in-person educational opportunities for student and professional groups. Learn ...Missing: puller | Show results with:puller
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STREAMING AND VFX: CULTIVATING THE ABILITY TO ADAPT TO ...
Jan 7, 2025 · “Streaming has increased the demand for VFX work and accelerated the growth of all parts of the production and post-production industries,” says ...Missing: pullers | Show results with:pullers