Focus Puller (Film) is someone who works alongside the camera operator on video productions to control the focus of a camera’s lens. Cine lenses for the types of cameras that are often used on major motion pictures and TV commercials, do not have autofocus lenses. Instead, the lens is manually focussed during the recording.

The focus puller’s job is to carefully watch the take and adjust the focus smoothly as the subject moves around the scene. Focus marks are often set with sticky tape, on the floor of the set. The distance of the camera from those marks is measured by the focus puller so that they know the actor’s distance precisely at those points. With a precise distance known, a precise focus ca be achieved by rotating a device called a follow focus, which is attached to the lens on the camera. Sometimes focus pullers will use LCD monitors on the camera to confirm their focus, and sometimes, the really accomplished ones will simply do it visually.

Believe it or not, a good focus puller can look at any object and tell you how far away it is, then set the lens barrel’s focus ring to the exact position to put the lens in focus on that object. What’s more, they can do this on the fly as actors move throughout a scene. With film budgets being so high these days, there’s little time for getting things wrong, so the job of a focus puller is extremely important. It’s no good if the actor gives the performance of their life, but the shot of out of focus! Increased camera resolutions these days have also narrowed the tolerances on what is acceptably in and out of focus.

ANZSCO ID: 399512
   
Alternative names: First Assistant Camera (Ist AC),
   
Knowledge, skills and attributes
    
This is a highly skilled job, that requires concentration, precision, a keen eye for distances and a superb feel for tempo.
 
The focus puller’s position carries huge responsibility. It is generally known as one of the most difficult and stressful jobs on a film set. During the couple of minutes a typical take lasts, days of preparation and rehearsals, hundreds of peoples’ work and a lot of money are in the hands of the focus puller. A million dollar actor might give you the performance of a lifetime, and yet an improperly focused shot or a missed rack que can render the take unusable.

• Exceptionally reliable

• Exceptional knowledge and understanding of cameras, lenses and other camera equipment.

• Experienced in focus-pulling solutions for hundreds of different shooting scenarios.

• Great technical camera skills, and be up to date with new camera technology.

• Excellent eyesight, great attention to detail. Great experience and judgement in accurately judging distances.

• Vigilance on-set to make sure everything is set up correctly and on correct format for the recording.

• Strong communication skills to make sure important information is clearly conveyed within the camera department, and to other departments and actors.

(Source: Wikipedia)

Duties and Tasks
   
Apart from the namesake act of pulling focus, the focus puller has a plethora of other responsibilities within the production. The specifics vary among the different systems around the globe, but it is generally accepted that the “A” Camera’s 1st AC is the technical head of the camera department. As such, the first assistant handles communication between the Director of Photography (DOP) and the camera crew. The “A” Cam’s 1st AC also coordinates equipment upkeep and maintenance, incoming and outgoing rentals and various other tasks. If a production shoots with multiple cameras, the 1st ACs on “B”, “C” and subsequent cameras are each responsible for the technical aspects of their respective camera units. Each 1st AC is in turn supported by a 2nd AC, also known as a clapper loader. Sometimes, the camera unit is completed by a camera trainee or a 3rd AC.

While routine equipment maintenance tasks are predominantly a 2nd AC domain, as the technical head of the camera department, it’s ultimately the 1st AC’s responsibility to ensure all gear is properly looked after and maintained. This requires intimate knowledge of the equipment at hand, combined with a comprehensive toolkit and reference materials.

    
Working conditions
   
The 1st AC reports to the director of photography, works alongside the camera operator, and oversees the 2nd assistant camera (also known as the "clapper loader") and any other members of the camera department. An advanced technique, there is often very little room for error, depending on the parameters of a given shot. As such, the role of a focus puller is extremely important within the realm of a film production; a "soft" image will, in most circumstances, be considered unusable, since there is no way to fix such an error in post-production. One must also consider that an actor may not be able to duplicate their best performance in a subsequent take, so the focus puller is expected to perform flawlessly on every take. Because of these factors, some production personnel consider the focus puller to have the most difficult job on set.

    
Tools and technologies
   
Traditionally, the focus puller used only their marks and their own well-developed sense of distance estimation to achieve good results. Over the last decade, the increased use of digital cameras, higher-resolution video taps and on-camera monitors have provided focus pullers with additional tools to help maintain proper focus. A high-definition monitor can be particularly useful when a fast-paced production simply does not allow time for the focus puller to set and check all marks that may be needed, or if no rehearsal will be provided.

The 1st AC may take surveying measurements of the general environment in order to have a good idea of the distances between reference points, such as patterns on the floor or walls, furniture, and whatever else might be around. These reference measurements can be used to quickly establish rough distances between the camera and the subject in chaotic shooting circumstances.

Focus puller at work using a follow focus on a RED cine camera
(Source: Lens Notes)

Education and training/entrance requirements
    
You can work as a Camera Operator (Film, Television or Video) without formal qualifications, however, a course in audio visual studies or screen and media studies may be useful. Vocational Education and Training (VET) and university are both common study pathways.
    
The position of a 1st AC is a senior rather than an entry position within the camera department. Film crews are extremely hierarchical and, not unlike the military, you generally start from the ground up. While there are always exceptions, you’ll rarely find a senior crew member on a decent production that has not started as a trainee or runner.

 

Camera Operators (Film, Television or Video) set up and operate cameras to photograph scenes for film, television or video productions. Camera operators record film or television productions using film or video camera equipment. They read scripts to work out the best shots to take and liaise with the director, producer and other key technical personnel about the best way to achieve these. They set up camera equipment in conjunction with lighting technicians, compose or frame shots, and operate and monitor camera equipment for the duration of filming. Camera operators work all over Australia, filming television programs and news footage for community, government-funded and commercial television stations in our cities and towns, and shooting films on location in our beautiful remote and regional areas.

TV & film camera operators set up, position and operate equipment in studios or on location to produce photograph or recordings. Camera operators record images for film, television, advertisements and corporate and music videos.

ANZSCO ID: 399512
  
Alternative names: TV & Film Camera Operator, Video Camera Operator, Camera Operator,
   
Specialisations: usually specialise in either film or TV or video work.

• Studio camera operators - work in a broadcast studio and videotape their subjects from a fixed position. There may be one or several cameras in use at a time. Operators normally follow directions that give the order of the shots. They often have time to practice camera movements before shooting begins. If they are shooting a live event, they must be able to make adjustments at a moment’s notice and follow the instructions of the show’s director.

• Electronic news gathering operators - work on location as part of a reporting team. ENG operators follow events as they unfold and often record live events or breaking news. To capture these events, operators must anticipate the action and act quickly to shoot it. They sometimes edit their own footage in the field and then send it back to a studio to be broadcast.

Knowledge, skills and attributes

To become a television & film camera operator, you would need:

• creative visual skills

• good knowledge of camera equipment and technologies

• an interest in photography, film and digital video

• able to accept direction

• highly organised

• good communication skills

• the ability to carry out instructions accurately

• attention to detail

• patient

• able to work under pressure

• good colour vision

• able to work as part of a team

(Source: Career Explorer)

Duties and Tasks

• select and attach equipment to cameras, positions cameras, and follows the action of scenes being photographed while adjusting controls.

• assemble, set up and position cameras and associated equipment such as tripods and monitors

• talk with directors, producers or floor managers about the visual impact of shots

• work with a director to determine overall vision of a production

• discuss filming and editing techniques with a director to improve a scene

• plan and rehearse shots, including the best camera angles and movements

• study and follow a camera script and take cues from the director, or floor manager if in a TV studio

• respond quickly to directions

• view scenes through viewfinders, make final adjustments and photograph scenes

• solve any practical or technical problems that arise during filming

• innovate and experiment with ideas

• creatively frame and capture footage

• select the appropriate equipment, from type of camera to software for editing

• shoot or edit a scene based on the director's vision

• work closely with other technical departments such as lighting and sound

• keep up to date with digital technologies and filming methods and equipment

• repair and maintain equipment

• work with digital, electronic and film cameras

Working conditions
   
Camera operators work in film and television studios, as well as on location on film sets. When working outside they may experience all types of weather conditions. You may have to work at heights on cranes or scaffolding. News camera jobs may involve working under difficult or dangerous conditions. They work long hours, often until late, and may be required to work on weekends or public holidays. They may also be required to travel locally, or across Australia, or overseas to shoot on location.

In a full-time role in a TV studio, you would usually work a regular number of hours per week, which may include shift work and nights. If you work on news programs, you might need to be flexible and able to work at short notice.

As a film camera operator, your hours could often be long and irregular, depending on the production you are working on. You may also need to be flexible and work at short notice, particularly for news programmes.

A drivers licence is an advantage as camera operators are often required to drive to and from locations.

    
Tools and technologies

Film camera operators use 16 mm and 35 mm film cameras or digital video for motion pictures, whereas television and video camera operators use cine-electronic television or digital video and video cameras for direct telecast and for recording. Camera operators work with a variety of technical equipment including cranes, mobile mountings, portable cameras, remote-control cameras, and digital cameras. Camera operators may also wear headsets to receive instructions about shot type and effects from the director or assistant director.

Electronic news gathering operator at work
(Source: Beverly Boy Productions)

Education and training/entrance requirements
     
You can work as a Camera Operator (Film, Television or Video) without formal qualifications, however, a course in audio visual studies or screen and media studies may be useful. Vocational Education and Training (VET) and university are both common study pathways.

You can work as a camera operator (film, television or video) without any formal qualifications and get training on the job. However, entry into this occupation may be improved by obtaining a qualification in screen, film, media or other related areas. You may be required to attend an interview and/or submit a folio of work.

Alternatively, you can become a film and television camera operator by completing a degree in creative arts, media (film & sound), screen production, or film and television. To get into these courses you usually need to gain your senior secondary school certificate or equivalent with English. You may be required to attend an interview and/or submit a folio of work.

You would usually start work as a camera trainee or camera assistant and learn on the job from experienced camera operators.

The Certificate III, Certificate IV, Diploma and Advanced Diploma of Screen and Media are offered at TAFE colleges throughout Australia.

It is possible to study a degree in media, film or screen production. Most universities in Australia offer relevant courses.

As an apprentice or trainee, you enter into a formal training contract with an employer, enabling you to complete training towards a nationally recognised qualification. You spend time working and learning practical skills on the job and you spend some time undertaking structured training with a registered training provider.

You can do an apprenticeship or traineeship if you are a school-leaver, re-entering the workforce or as an adult or mature-aged person wishing to change careers. You can even begin your apprenticeship or traineeship while you're still at school.

If you are still at school you can access an apprenticeship through your school. Talk to your school's VET Co-ordinator to start your training now through VET in Schools. If you are no longer at school you can apply for an apprenticeship or traineeship and get paid while you learn and work.

Additional Information

Once you are employed, you may be able to develop, and have recognised, additional skills under the Screen and Media Training Package that will expand your career opportunities within this industry.

   
Employment Opportunities

Employment of TV & film camera operators is projected to remain relatively neutral. Camera operators may be employed by television broadcasters and film companies. The demand for camera operators depends on levels of investment in film and television production, as well as the introduction of new technology. Competition for entry-level positions is strong and people appointed have usually been employed in some other aspect of film and television production. Promotion to the level of camera operator depends on demonstrated skills and proficiency, as well as full knowledge of the various types of cameras used.

The consolidation of roles in broadcasting, such as reporters who can now shoot and edit their own work using new digital technologies, and the increasing reliance on amateur film footage, may lead to fewer jobs for camera operators at TV stations. However, new content delivery methods in film and video production, such as mobile and online TV, may lead to more work for camera operators.

 

Light Technicians position and control lighting equipment for film, television or video productions or stage performances. Lighting technicians create lighting effects for film, TV and theatre productions, as well as concerts and conferences. Film and television lighting operators are responsible, both creatively and technically, for lighting interior and exterior scenes and must achieve desired effects through the placement, intensity and colour of lighting.

In film production, film and television lighting operators are called gaffers and their assistants are known as best boys.

ANZSCO ID: 399513
    
Alternative names: Lighting Technician, Light Technician, Lighting Designer, Gaffer [Chief Lighting Technician]
   
Specialisations: You would usually specialise in either live events such as theatre and concert productions, or in film and TV work, as the techniques and equipment differ.
    
Knowledge, skills and attributes

To become a lighting technician, you would need:

• practical and mechanical skills

• an understanding of electrical systems and electronics

• patient

• enjoy the technical aspects of film and television production

• able to work as part of a team

• creative

• normal colour vision

• numeracy

• communication skills

• good teamwork skills

• problem-solving ability

• an understanding of technical and design instructions.

What Happens When A Movie Has No Gaffer? | Reverse Film School | Vanity Fair
https://youtu.be/wXcc79AmkyU

 

Duties and Tasks

As a lighting technician, you would:

• position equipment, such as spotlights, floodlights and cables, and operates lights during filming, broadcasting and stage performances.

• read and follow a lighting designer's plans

• establish lighting requirements

• set up lighting equipment and generators

• test all equipment

• organise scaffolding and cranes

• study scripts and discuss lighting effects with production staff

• coordinate activities with electrical crew when putting up metal scaffolding to support lighting equipment

• select and position equipment such as spotlights and floodlights

• arrange and connect cables to electrical supplies using portable junction boxes

• operate lights during filming or broadcasting and vary intensity of light using various filters and reflective screens

• maintain and repair lighting equipment

• arrange for transportation of equipment to remote locations

• conduct risk assessments for health and safety purposes

• program consoles and load automated colour change systems before a show

• take prompts from producers, sound technicians and stage or floor managers

• use both manual and computerised lighting systems during the production

• take down lighting, rigs and cabling post-production

• on films, review footage shots with the director.

(Source: NFI)

Working conditions
   
As a lighting technician, you would work hours which would include nights and weekends. You would set up a lighting system prior to the show or filming, be there during the production and then take down the lighting equipment afterwards.

Your working conditions would vary depending on where the production takes place. You may be based in a theatre or be outside at a concert or on location filming. If working outside, it would be in all types of weather. You may need to work at heights on scaffolding or cranes and wear appropriate safety equipment.
  
If working in TV or film, or with a touring production, you may need to travel nationally or internationally.

Tools and technologies

Uses equipment, such as spotlights, floodlights and cables, and operates lights during filming, broadcasting and stage performances.


Education and training/entrance requirements
   
You can work as a Light Technician without formal qualifications, however, a course in audio visual studies, screen and media studies or electrical may be useful. Vocational Education and Training (VET) and university are both common study pathways. There are no standard requirements for becoming a lighting technician. Your employment prospects may be improved if you have a certificate, diploma, advanced diploma or degree in screen and media or live production.

You can also become a lighting technician through a traineeship in Live Production, Theatre and Events (Technical Operations) - Lighting (Level 3 or Level 4) or a Screen traineeship, Generally, employers require a junior secondary school certificate or equivalent.

Additional Information

Once you are employed, you may be able to develop, and have recognised, additional skills under the Live Performance and Entertainment or Screen and Media Training Packages that will expand your career opportunities within these industries.

   
Employment Opportunities

Employment of lighting technicians is projected to grow slower than the average for all occupations.

Some job growth in the motion picture and video industry is expected to stem from strong demand from the public for more movies and television shows. Lighting technicians who work in small- and medium-sized theatres and production companies may see slower job growth because many of those have difficulty finding funding.

  

Media Diving is a term that covers underwater photography and underwater filming. Media Diving is often carried out in support of television documentaries or films featuring underwater photography or footage. Media divers are normally highly trained camera operators who use diving as a method to reach their workplace, although some underwater photographers may start as recreational divers and move on to make a living from their hobby. The state and territory WH&S regulations are basically silent on any specific legal requirements for diver certifications for media diving.

The Australian/New Zealand Standard 2299 Occupational diving operations; Part 4: Film and photographic diving, which has been prepared specifically for diving work in the film and photographic industry, supplies requirements and guidance relevant for producers, contractors and employees. The Standard is intended to assist in addressing the ‘duty of care’ with respect to diving placed on employers (such as producers) and employees under workplace health and safety legislation to take care of both themselves and others within the workplace.

ANZSCO ID: 399911

Tasks Performed on the Job

Preparing equipment, planning, researching, organizing logistics, diving, cleaning equipment are common tasks for media divers – mufti-tasking in the field is the norm. Media divers rely on the expertise and observations of others (scientists, naturalists, locals) therefore research is critical to ensure that you are in the right place, at the right time, with the best people, when the desired action for the footage takes place. In addition to the specialist media activities, there are of course the additional tasks of maintaining generators, compressors, SCUBA gear, boats and First Aid equipment.
Equipment in this field is varied, with both SCUBA and surface supplied equipment used, depending on requirements. Increasingly, rebreathers are being used for wildlife-related work as they are normally quiet, release few or no bubbles (which reduce the risk of frightening off the subject which is the subject of the film or photography) and allow the diver an increased bottom time.

Other equipment used includes film & high definition video cameras in underwater housings, with special underwater lighting, remote cameras, HD, mini HD and even underwater remotely operated vehicles (ROVs).

Responsibilities and Challenges

As organisations increasingly require more formal records and extra field supervision to cover themselves legally for WH&S reasons, costs in a remote location may increase to the point where enough time to film behaviour and logistics becomes too costly. The more people, the more boat space & logistics required. More bureaucratic rules and paperwork don’t necessarily mean more safety as it’s up to the judgment & experience of the people on the spot to assess conditions and make decisions. This will increasingly be a responsibility and a challenge for underwater filmmaking.

Challenges Include:

• keeping camera gear functional and watertight in remote locations and maintaining personnel safety
• maintaining the balance between adhering to no decompression limits while spending as much time as the budget/ health allows in water to get the desired footage.
• limited time in a location due to high cost of running/hiring boats makes filming periods tight – when filming wildlife behaviour, the more time the better!
• the dilemma of not being able to dive if you have a head cold or the flu, which creates pressures if you are in a remote location with expensive boats and assistants having to be paid for.

Working conditions

You need to be flexible so when an opportunistic event happens (like a whale shark swims by), the team is ready to jump in and film it. Action, like bait ball frenzies, won’t wait and can’t be scheduled. Weather can be unpredictable & water murky, while strong winds often make it unworkable. Then there are tides, currents, cold water & marine hazards to factor in as well!

It is fairly normal for filmmakers to have no days off and to work long hours (definitely not 9 – 5) while involved in the development of a film. Filmmakers are not necessarily guaranteed work all year, and earning a decent living can be extremely precarious. It can be possible to earn very little (e.g. $5/hour) when in the field given the number of hours spent preparing equipment, planning, researching, organizing logistics, diving, cleaning equipment etc.

It’s essential to be an experienced diver, able to work under the whole gamut of possible operational and environmental conditions and to handle the logistics of using cameras & heavy lighting equipment with long lengths of cable underwater safely. Usually media divers work with unfamiliar people/buddies & hire boats in unfamiliar places overseas. It’s important for individual divers to check safety themselves, particularly air quality, equipment and evacuation plans, as they may be travelling alone or with few others, especially when going to remote locations.

Highlights and Rewards
  
Media diving can be an exciting, fascinating career and lifestyle that can take you to some of the most remote and beautiful locations on earth. Nice job if you can get it!


How to Become a Media Diver

It is rare to find permanent employment as a media diver, the usual situation being to work as an independent filmmaker. This includes the extremely challenging task of securing funding to make the film. Raising the money to make an underwater film takes long periods of time and companies like to use people with a track record so it’s difficult to break in but possible. Commonly people need multiple co-production partners to finance a film and this means editorial control is split as different broadcasters have different requirements for different audiences. If producers buy stock footage they want GREAT high definition material in clear water with exceptional never-seen-before behaviour! That’s hard to get and, due to marine expenses such as running boats, about 4 times as costly as just getting topside material.

Did You Know? David Parer and Elizabeth Parer-Cook Successful Australian Media Divers - Cameo (Source: Pinterest) "A Glimpse of Media Diving with Wildlife Film-makers David Parer and Elizabeth Parer-Cook When it comes to a career full of adventure, travel and wildlife, that of David Parer and Elizabeth Parer-Cook, Australian wildlife filmmakers is hard to beat. Since the mid 1970s they have filmed all around the world, from Antarctica to Papua New Guinea, Patagonia to Norway. David & Elizabeth have made exciting, spectacular films about animals both topside and underwater which not only show how extraordinarily adaptable they are, but somehow capture the magnificent landscapes in which they live, while at the same time revealing the latest cutting-edge information about their behaviour and lives. Over the years by using special camera techniques and equipment underwater David has captured on film many detailed behavioural sequences, including killer whale predation and family life around the world, marine iguanas feeding on algae in the Galapagos, coral spawning on the Great Barrier Reef, platypus courtship with in-burrow development of the young, sharks, leafy sea dragons, pteropods, penguins in the Antarctic, dugong, albatross, elephant seals and many other temperate and tropical marine life. In the 1970s & 80s David & Liz went to the Antarctic on many occasions (for them the best place in the world!) to film wildlife. They recreated the 1911 journey of Douglas Mawson and also filmed a Biomedical Expedition on the plateau behind Dumont D’Urville Station. They went on to make several internationally acclaimed films including ‘Wolves of the Sea’ (Emmy and Gold Panda award winner), a documentary about the natural history of killer whales and ‘Mysteries of the Ocean Wanderers’ (Panda award winner) about wandering albatross. Killer Whale (Source: Facebook) From 1995 to 1997 they explored the wildlife of the Galapagos Islands making three films about the archipelago. The first of these, ‘The Dragons of the Galapagos’ is about the incredible struggle for survival of the marine and land iguanas living on the edge of a volcano. ‘Islands of the Vampire Birds’ tells the story of how a tiny finch colonized and evolved there, while ‘Two Years in Galapagos’ shows the adventures the filmmakers had (with their three year old daughter) in making the films (See the website for more information at http://www.abc.net.au/nature/galapagos.htm). ‘The Dragons of Galapagos’ went on to win another Gold Panda at Wildscreen ’98 as well as two Emmies for Music & Editing. While ‘Islands of the Vampire Birds’ won a Rockie at the BANFF Television Festival in 2000. Since then, David and Elizabeth have made detailed behavioural films about Platypus, Tasmanian Devils, one about Surviving Extreme Environments (about the MIR Space Station & Antarctica) and have just completed a film shot in High Definition about the Parrots & Cockatoos of Australia called “Australia-Land of Parrots” .Their work has been shown on national ABC Television in Australia and has been sold to many overseas TV networks including the BBC, National Geographic, Discovery, Turner Broadcasting and PBS in the USA, Telcast in Germany and Canal Plus in France & Spain. In all, their films have won over 130 Australian and international awards for program achievement, cinematography, sound and editing.The real joy for David & Liz has been spending lengthy periods of time both topside & underwater, observing the intimate life of animals in wonderful places like the Antarctic, Papua New Guinea, the Red Sea and Australia. They have also met and worked with some fabulous people. After 35 years and 28 years (respectively) working for the ABC Natural History Unit, David and Liz now work as Independent Wildlife Filmmakers for their own company “Albatross Films & Marine Services”. It’s an exciting, fascinating life that has taken them to some of the most remote locations on earth." (Source: ADAS)

 

Related Jobs or Working with these Jobs

Actor	Director	Film Producer	Makeup Artist
Marine Biologist Scientific Diver

 

Job Cluster - Diving

 

Materials sourced from
Jobs & Skills WA [Camera Operator;  ]
Shuttermuse [Focus Puller; ]
Wikipedia [Focus Puller; ]
ADAS [Media Diver; ]
Careers Online [Film & TV Lighting Operator; Film and TV Camera Operator; ]
Web Archive Only - CareerHQ [Cinematographer; TV & Film Camera Operator; Lighting Technician - Film & TV; ]
Careers in Screen [Focus Puller; ]
Career Explorer [Camera Operator; ]
Your Career [Cinematographer; Camera Operator (Film, TV or Video); Light Technician; ]

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