One thing I didn’t truly understand until I started working on set was just how vital the Assistant Director team is. In this three-part series, we’ll break down the roles of the 1st, 2nd, and 3rd Assistant Directors.
Let’s start at the top.
The 1st Assistant Director (1st AD) is the bridge between the director’s creative vision and the production’s logistical reality. The job demands strong leadership, time management, and communication skills — and thinking you can get away without one is a serious mistake. The 1st AD should be hired early in pre-production because they help shape the entire shoot from day one.
Responsibilities of the 1st Assistant Director in Pre-Production
The 1st AD’s pre-production work lays the foundation for a smooth shoot.
Break Down the Script
Go through the script page by page and note every element that requires attention — props, wardrobe, effects, sound cues, stunts, and more.
(See Breaking Down Your Script for an in-depth guide.)
Mark the Script in 8ths
Each script page is divided into eighths, which helps calculate running time and organize the schedule. Once you gain experience, you can do this by eye; early on, marking pages is essential.
(Each full page generally equals about one minute of screen time.)
Create the Shooting Schedule
Work closely with department heads, the director, and the producer. Modern productions often use Movie Magic Scheduling, StudioBinder, SetHero, or Celtx. Your schedule should show the shooting order, required talent, scene lengths, and any special needs.
Consult with departments about setup times, lighting requirements, and pre-calls. The more accurate your schedule, the smoother your shoot days will be.
Generate Breakdown Sheets
Breakdown sheets summarize all the notes from your script analysis. They’re easily created in Movie Magic Scheduling or similar tools and can be distributed to department heads to ensure everyone is prepared.
Build a One-Liner
The one-liner is a concise overview showing which scenes will be shot each day, including scene numbers, short descriptions, page counts, and time of day.
Complete a Day-Out-of-Days (DOOD)
The DOOD chart tracks each cast member’s workdays, holds, and travel days. It’s essential for payroll and scheduling. This should be finalized once your main schedule is set but will evolve during production.
Confirm All Locations
Maintain a complete list of shooting locations — both their script names and real names. Your location manager or production coordinator should provide this list, along with parking, access, and contact details.
Prepare the 2nd AD
Once your master documents are complete, hand them off to the 2nd Assistant Director to start work on call sheets and background breakdowns.
Modern Tip: Many ADs now manage these tasks collaboratively through cloud platforms (Google Workspace, Dropbox, or StudioBinder) to allow live updates across departments.
Responsibilities of the 1st Assistant Director During Production
Once production begins, your focus shifts from paperwork to leadership, communication, and time management. You are the voice of the production — the person ensuring each day gets made.
Key On-Set Responsibilities
- Introduce yourself on Day One. Be approachable, but firm. Make expectations clear and maintain authority.
- Run the blocking. If a private blocking is needed, allow the director and cast time first, then hold an open blocking for department heads to observe.
- Turn the floor over to techs. After blocking, allow camera, lighting, and grip teams to work, followed by final touches from art.
- Rehearse as needed. Especially if effects, stunts, or camera moves are involved.
- Communicate clearly. Call for “lock-up,” “rolling,” and “cut” both in person and over the walkie. On digital systems, confirm cues over both wired and wireless channels.
- Reset efficiently. Bring everyone back to first positions or announce the next setup quickly.
- Stay on schedule. If falling behind, motivate the crew and coordinate with the director to adjust coverage if needed.
- Handle meal breaks properly. If you’re approaching or exceeding the scheduled meal time, consult department heads before calling a “Grace” period. Be aware of union meal penalty rules if applicable.
- Lead with safety. Begin each day with a brief safety meeting or department check-in. Many sets now require this by contract or insurance.
- Keep daily paperwork up to date. Work with your 2nd AD and production coordinator to log times, incidents, and progress on the Daily Production Report (DPR).
The AD’s Set Box
Have a small set box or kit containing:
- Copies of your documents
- Spare walkie batteries
- Pens & Sharpies
- First aid supplies
- Tape, and multi-tools
- Water and snacks (you’ll rarely have time to leave set)
Skills Needed to Work as a 1st Assistant Director
Be Organized
You’ll be juggling multiple documents, schedules, and communications every day. The more organized you are, the smoother everything runs.
Manage Your Time
Estimate shooting times realistically. Don’t pack an impossible schedule just to look ambitious — producers prefer honesty and accuracy.
Manage Everyone Else’s Time
Keep departments moving efficiently. Directors and DPs often want “one more take” or “five more minutes” — it’s your job to know when enough is enough. A professional crew respects a decisive AD who keeps things on track.
Communicate with Confidence
The 1st AD is the on-set voice of authority. Give clear, confident commands and maintain consistent communication with your team. Listen to feedback and foster mutual respect — your tone sets the atmosphere of the entire production.
Problem Solve Under Pressure
Every day brings challenges — missing props, weather delays, talent issues, or technical failures. Stay calm, think quickly, and find workable solutions that keep production moving.
Safety Awareness & Training
Modern productions expect 1st ADs to lead on-set safety. First Aid certification, WHMIS, or equivalent safety training is often required. Even if a medic or safety officer is present, the AD must know how to respond to emergencies and enforce safety guidelines.
Emotional Intelligence
Great ADs balance authority with empathy. A motivated, respected crew will work harder and stay calmer under pressure.
Modern Tools & Resources for Assistant Directors
- Movie Magic Scheduling / Budgeting – Industry standard for professional productions
- SetHero – Digital call sheet and communication platform
- Gorilla Scheduling – Budget-friendly scheduling software
- Google Workspace / Dropbox – Collaborative storage for shared documents
- Walkie Check Apps / Setkick – Digital tools for communication and distribution
Final Thoughts
The 1st Assistant Director is the engine that keeps a film or television set running. You’re responsible for balancing creative needs with real-world constraints — making the day, keeping people safe, and supporting the director’s vision.
The first time you work as a 1st AD will feel overwhelming, but with experience you’ll develop intuition, confidence, and rhythm. Respect your crew, stay calm, and lead by example. A good AD doesn’t just make the day — they make the day work.
Check out Part 2: Working as a 2nd Assistant Director and Part 3: Working as a 3rd Assistant Director.
