So you want to work in the Camera Department…
I’d say run before it’s too late, but you’ve probably already gotten addicted to sticking tape on things, or felt the rush of achieving a perfectly balanced fluid head.
First of all, I’m no hot shot - I’m still working my way up and I learn new things all the time. But lately I’ve been getting a lot of DMs asking for industry advice. When I think about it, it makes sense; my starting-out years aren’t actually too long ago, so I remember the roses and thorns of early freelance life. So I started collecting info here. Film industry knowledge isn’t meant to be hoarded; I’d rather spend my time pulling focus than gatekeeping.
So…get ready to drink from the fire hose! Keep reading for advice on finding your path in, negotiating, networking, learning technical skills, AC fashion, collecting tools, managing money, spotting red flags, surviving the freelance lifestyle, and more. This is tailored to Los Angeles but there’s something here for everyone.
I’m writing this with a younger version of myself in mind - a hopeful, determined, but very green Caitlin. If you know some of this already, skip the boring parts!
These buttons jump to some of the most popular sections:
My Origin Story
Originally from Boston, I majored in Cinematography at Emerson.
It took me a minute to find my sea legs in film school. The classes seemed easy - too easy. Everyone was getting A’s but we weren’t getting taught about the real-world industry, or learning practical skills. Most of the professors had left the industry behind decades ago, and they’d get confused if questions strayed from theories into the real world. With two years left, I realized I could follow the beaten path, graduate with honors, and end up with no clue where to start. So I began taking a more active role in my career path. I got an internship at Rule Boston Camera. I got a job at the school sound stage and sat in on class sections I wasn’t registered in. Carefully, I skipped a few classes to work on sets around Boston. I did a Lifetime movie as wardrobe PA. My pay for that month was a $50 Target gift card. I script supervised a 1950s thriller for gas reimbursement only. I took the train 2 hours to dayplay (you guessed it, unpaid) as a camera PA on a Paramount feature.
None of this was glamorous but I started getting a sense of where I might fit in. On student sets, the camera department became my home. I shot some senior thesis films and started pulling focus. I took a 16mm film class that was pretty bare-bones, but at least let me load some mags. I read hundreds of blog posts, devoured books on the film industry, and joined facebook groups for ACs in production hubs. New York, Atlanta, LA - didn’t matter, I just lurked and absorbed all the info.
I spent my last semester at Emerson’s LA campus, fletching my final arrows. I interned at AbelCine and a G&E rental house, worked on short films, and bought an old van for $900. I even snuck onto the crew of an AT&T commercial by following the signs to the production office and asking for a walkie, and worked as a PA to see how LA sets compared to Boston.
I graduated and got an apartment in east LA. For the first six months most of my work came from 30 crew facebook groups. I’d keep my laptop open, and when it dinged I’d check if it was a grip or AC job. I had my industry-formatted resumé saved as a .jpg for speed. I had to be fast; within the first five minutes there’d be a swarm of replies. I was able to AC and grip on shoots for Nintendo, Beachbody, and some B-list rappers. There were plenty of under-the-table payments, missed meals, safety hazards and strange personalities, but I took what I could get. With my light 16mm background, I taught myself the rest and started taking film loading jobs too.
I’m sure I’m not the first person you’ve heard recommend this, but I took every job seriously whether I was making $200 or $800. On tiny shoots, I’d practice the type of communication and energy I’d want to have on [my one, absolute bucket-list franchise.]
Sometimes I’d end up on a project that was small, but happened to have an experienced DP or 1st AC. That let me grow my network and start forming ties to the union world. Soon I was getting overlapping job offers so I prioritized working as a 1st AC. Before long I closed the facebook tabs; my offers were now coming from word-of-mouth. I started getting union opportunities so I decided to join Local 600. More on that later.
From there, I went on to 1st AC on various union shows and commercials. Half my jobs shot on 16 and 35mm film, with a bunch of underwater work in the mix.
The lifestyle is unpredictable. The days are long. The food often sucks. But I genuinely love my job, no two days are the same, and I get to work with some really wonderful crews. NOTE: I’m currently stepping up to action DP/operator, but I’ll leave references to ACing in present tense bc I don’t feel like proofreading all this again.
That’s my story so far. I believe that anyone can create a great career for themselves in the film industry - even if you don’t have tons of connections, expensive gear, a film school degree or years of experience. Everything will come together with time and effort in the right places. Hopefully some of the following info will help you on your camera department journey!
Ways to Stand Out
Without further ado, here are some ideas on making great first impressions and showing all your best qualities on set.
Don’t be late. It’s standard to be on set 15 minutes before your call time. I tend to shoot for 15 minutes early to the 15 minute early mark, in case I hit traffic. You shouldn’t be expected to start work early - I get breakfast, coffee, chat with the team. The key is to show face and be ready at go time. It’s also important to be timely with preps you’re shadowing, mentorship phone calls, interviews, email replies, everything. I’ve gotten many jobs by being the first to respond to a hiring text sent to 20 people.
Overkill. Be that kid in the class who adds stencils and gel pen art to their essays. 1st AC Nicole Martinez has some great advice (paraphrased): “Approach every job like it’s the biggest one of your career. If you treat every project the same and keep high standards for yourself you’ll make progress quickly.”
Follow up. A producer texts you:
“Are you free Thursday? John Doe gave me your name for loading 16mm - $600/10.”
Whether or not you’re available, it’s key that John Doe thought of you and took the time to hype you up. Why not send him a quick thank you -
“Hey John, thanks for sharing my info with the 16mm production! I’m booked that day but thanks for putting my name in.”
Maybe John recommended 10 people, and you were the only one he heard back from. Reaching out gets your name to the top of his brain and also shows that you’re responsive. (That said, use your judgement on how often you bug someone; no one wants to be punished with daily thank-you texts.)
Spread the love. Be like John Doe! If you can’t take a job, recommending trusted peers gives them a leg up and a reason to return the favor. Paranoia about people “taking your spot” is a mark of someone who doesn’t quite “get” how the industry works. As I once heard a battle-worn set electric say, “It’s not pie, there’s enough for everyone.” I actually keep a spreadsheet with names of over 100 ACs I’ve worked with, with notes on their niche skills and union status so I can hire or recommend them for the right jobs.
Do your homework. Looking up the crew parking on street view will help you find it faster. Reading your DP’s credit list can give you conversation starters. It’s classy to remember your prep tech’s name, and being educated about the next new camera release can build rapport with your rental houses.
Fake it till you break it. That’s bad advice, but don’t be afraid of new opportunities. You’re adaptable, that’s an AC’s superpower. If I only accepted work I’d already done before, I’d not only have a slow-moving career, but even worse, I’d be bored! If you get called for a job with a new camera, you can usually learn everything you need from a couple hours of googling and manual-reading. Rental house techs are happy to explain gear; I have no ego about asking for help finding obscure settings or loading LUTs into an unfamiliar RED.
Connect with people! Ask the ACs in the next bay what glass they’re prepping. Take time to understand the grips’ car rig. Feign interest in your DP’s strong opinions on espresso. Given the right time and place, most people are friendly and open.
Teamwork makes the dreamwork. Sound will appreciate you offering them boom marks; they’re used to being ignored and then scapegoated. VFX techs have lots of ways for ACs to make post less hellish. Departments like Makeup, Props and Hair will often get their video village cut and need to peek at a monitor that isn’t theirs. Are all of these things our job? Not strictly. But you’ll thank yourself when Electric runs you power without being asked, and Transpo parks your truck close to set.
Don’t be dead weight. Asking experienced people for advice can lead to mentorship and even paid work. That said, when someone asks me for help planning their career and then shows up to the coffeeshop with no thought-out questions, that’s tough. No one else can determine your path for you; and when someone’s willing to share information you really want to make the most of that opportunity. Show up prepared, knowledgable about their career path and credits, and with some specific conversation ideas. IMDB (even the free version) can equip you with lots of intel - maybe the person you’re meeting spent 10 years as a camera PA, or worked with your favorite director. All you need is a bit of kindling to start some really unique, helpful conversations.
Anonymous Callouts
Here are some stories about newer ACs who have stood out to me while working their way up!
DH: We met on a low budget music video; she was a grip but wanted to AC more. She asked if I would show her how my Preston follow focus worked, so I invited her to a camera prep. I always encourage people to try setting up monitors or other small items they’re not familiar with, and DH took me up on that seriously. She also had a notebook with detailed questions that got me and my 2nd AC talking shop. Since then I’ve hired her as 2nd for commercial scale and I’m super glad she put in the time and effort into making the connection. At the first prep she had asked me where I got some obscure accessories, and I sent her a link. Months later we were at another prep and I said I wished I had a spare crab clamp, and she immediately pulled one out that she had bought after our conversation. Full circle!
BM: I was day playing on a ULB feature as a favor to the DP. I immediately noticed that production assistant BM seemed totally happy to be there, working 12 hours in exchange for a high five and a sandwich. She ended up shadowing me on a 16mm film prep, and her quiet confidence made me trust her enough to let her load some fresh film stock. Since then she’s loaded hundreds of rolls on union and commercial jobs, and continues to inspire the same trust as when we first met.
JJ: On one of my first union commercials, I agreed to manage two cameras on a 10-day stage job with only myself and a 2nd AC. This made for a far more stressful shoot than necessary, but I learn something new on every job. JJ was a transpo PA who I pulled in to assist with the camera workload. He was always on top of batteries, monitors, and hooking us up with king size candy bars from crafty. He made a hectic shoot much easier, and every time I saw him it was a reminder that I had people in my corner. He continued on in the camera department under the mentorship of the 2nd AC.
MC: I hired MC as a local camera PA on a 16mm travel job. He could have settled for charging batteries and making coffee, but instead stepped up and learned to load film, becoming our main unit loader for the entire show. Features give you the time to get really comfortable with the people in your department, and MC meshed naturally with the group despite some good-natured hazing from me and the 2nd. Nowadays he’ll fly down to work in LA when the city’s busy.
MT: MT and I hung out in the same social circle, and while he had a goal of being a screenwriter he was making a steady living bussing tables. He didn’t have a window into the camera department until we chatted about film loading, and something clicked for him. I borrowed a mag and showed him the basics, and from there he took his fate into his own hands. MT shadowed me on a bunch of preps, read books and magazines on the industry, and worked enough lower budget film jobs to become an experienced loader and 2nd AC. He just joined the union and has been making a name for himself in the film community.
HM: We met on a shadily-produced music video and production assistant HM was sincere, helpful and openly intrigued by camera team. We traded numbers and within a month I was able to hire her on a film job. Experiencing great vibes all around, she immediately went on my roster of go-tos.
DP: Set apart not only by his excellent camera department initials, DP also has strong networking skills. He was the on duty lifeguard during a beach shoot at El Matador, and stuck around camera team observing our process. Turned out DP was also a broadcast AC, and I’ve hired him to camera PA since then.
One thing in common with these stories is that you don’t see “I was wowed by their encyclopedic knowledge and 10 page resumé.” These people were in the early stages of their careers when we met, and I got to cheer them on (and hire them) as they climbed the camera department ladder. The common threads in these success stories are work ethic, follow-through, making the most of opportunities, and being a cool person. There’s often some prep shadowing involved too but that’s just one way to get a foot in the door.
Looking the Part
Camera tends to dress a little more upscale than say the grips or greens departments; we work hard but we’re not necessarily getting grungy every day so we go for “business rugged.” Some departments embrace color and fun patterns but we usually stick with darker tones. If you’re looking for some specific references, think Chris Evans at his brother’s premiere or Kristen Stewart staring at the paparazzi.
Most 2nd ACs use a hip pouch or a conterra chest pack for tools and tapes. As a 1st AC I’ll wear a chest pack for follow car and beach shoots. Mine, though exceedingly fashionable, is just the $18 knockoff version.
Merrells or other sturdy shoes - $200 bucks spent on footwear can save you thousands down the road in chiropractor visits and lost income.
A lot of ACs gravitate towards pants even in hot weather, but that varies. There’s definitely a time and place for cargo shorts.
When working outdoors I bring a baseball cap, layers, gloves, waterproof socks and sunglasses.
Acting the Part
It’s surprising how often someone tells me “I want to be an AC someday, but I’m worried I’m not ________ enough.” That blank can be filled in with words like “serious” “confident” “organized” or even “laid back.”
There’s sometimes a misconception that you have to fit one specific mold to succeed in your department of choice. In my opinion, that’s a load of horseradish.
So for the person who needs to hear this, you can totally be an AC and have a messy room. You can be shy or struggle with anxiety. You can have a big personality. You can have unique hobbies, hate kombucha and not own a single Carhartt shirt. The true mark of a good camera assistant is learning fast, being attentive and positive, reading the room, and surrounding yourself with people who complement your skillset. If you’re a 1st AC on the quieter side, you might work well with an extroverted 2nd AC who is friends with the whole crew by day 2.
An AC’s Toolbag
You’re going to accumulate tons of stuff, but you don’t need to own a follow focus or a cart to get started. 1st AC Evan Luzi has a great breakdown of a starter runbag - you’ll probably spend about $100 for the basics. If you ask a local AC facebook group for used equipment, retired ACs might be able to hook you up.
If I were to pick a few items as a bare minimum for an aspiring 2nd AC / camera PA, it’d look something like this:
Personal: Walkie surveillance, a headlamp
Tools: Flathead and phillips screwdrivers, allen keys, pliers, rocket air
Expendables: Canned air with chrome nozzle, a couple colors of 1” paper tape, kimtech wipes, pancro, black 2” gaff, bongo ties, black dry erase, sharpies (expendables are ideally bought for you by a production)
Other: Depending what area of the industry you start in, you may be asked if you own a dummy slate. There are cheap options like Elvid that don’t erase properly, so it’s better to try to source a used, higher quality one.
In order to be a 2nd AC on a high professional level, you pretty much need to own everything in this video and more. But that will come with time, and you can get a start in the department before investing in a gold-leaf film tent, Han Solo chamois, or a front box that belongs in the Louvre.
2nd AC Skillz
Here are some responsibilities commonly assumed by the 2nd AC. On big shows camera utilities and interns will share the load.
Coordinating the camera truck for pickup from prep, confirming there’s a lift gate, room for carts, and ratchet straps.
Compiling a list of expendables and making sure production follows through with purchasing.
At the prep: labeling cases, checking camera support, setting up monitors and RX, organizing the battery cart, checking all filters, double checking the order list to see if all gear is accounted for. Many other tasks as requested by the 1st AC.
Coordinating power for battery charging with the electric department, and keeping fresh batteries on active equipment. Nothing should ever die on set; the 2nd stays on top of that.
Laying tape marks for actors during marking rehearsals. There’s an efficient way to do this and it’s best to ask another 2nd to show you how the first time.
Slating before each take. For tail sticks, reminding the 1st AC not to cut.
Keeping track of lunch breaks and meal penalties, as well as in/out times for your entire department.
Filling out start paperwork for everyone in your department.
Keeping camera notes for each take. This can include focal length, framing, fps, height, tilt, ISO, shutter, white balance, and more.
Moving the head and sticks while your 1st AC carries the camera. Swiveling the head so the 1st can conveniently reattach the camera.
Handing off lenses and filters to the 1st AC. The 1st AC often handles the direct camera-contact part, but a 2nd AC should be able to swap a lens and calibrate the motors when needed.
Having accessories for build changes streamlined and ready. For example, if we go from steadicam to handheld on an XL2 job my 2nd will bring the onboard monitor, easy rig, battery belt, handles and viewfinder, usually in one trip without forgetting anything.
Keeping an eye on when a new card or film mag is needed, and having it standing by for the swap.
Carrying common tools like canned air, allen keys, and a flathead T handle.
A 2nd AC shouldn’t be asked to manage media, but if you start out on super low budget shoots that may be on the table. It’s key to know the right file structure and labeling systems, as well as how to use Shotput Pro to quality check and generate reports.
For last minute additions or replacing damaged gear, calling the rental house to arrange for the items and coordinating pickup through production.
Making sure production arranges firewatch for the camera truck and any other loose gear.
Supervising packing the truck each night and securing the carts.
Filling in for the 1st AC for brief moments such as bathroom breaks.
Delegating to anyone on lower rungs of the camera department ladder. These tasks can include keeping the camera truck clean, getting water bottles and coffee, and distributing com headsets. If you’re on the lowest rung then guess what, all that’s your job too!
1st/2nd AC Collaboration
This workflow varies with each camera crew. I can’t say for certain what your 1st ACs will prefer, but here are some things you might encounter if you 2nd AC with me as your 1st. Apart from that, no guarantees but a lot of this is standard.
We keep the lenses, filters, AKS and spares of each battery close by.
Depending on the shoot, we also keep close anything we swap to often like the easy rig, shoulder pad, baby legs, high hat etc.
When I call for a lens, my 2nd AC brings it from the lens case, leaving the front and back caps behind (if it’s a giant zoom the front cap can stay on). Iris = open, zoom = widest, focus = infinity. They place the front of the lens face down in my palm, and wait until I say “mine” to release. I hand off the old lens to them in the same way. Some ACs say “got it” but people sometimes say “got it?” like a question while letting go. This could result in a dropped lens so I’ve always just said “mine” like a Finding Nemo seagull.
For filter swaps usually the 2nd AC either brings it to me, or handles it themselves while confirming “ND6 going in.” Like lens caps, filter envelopes stay in the case.
I have bad hearing so with 2nds I work with often, we exchange hand signals for some of the most common walkie requests. I’ve heard this is pretty old school, as walkies weren’t always so common and visual cues were more reliable.
I appreciate when 2nds take 5 minutes to organize our working space and throw out old tape balls and water bottles. Things get cluttered when I’m tossing T handles around, keeping up with the shoot’s demands and letting the “small things” slide. It’s refreshing to stop by my cart and realize it’s unexpectedly spotless.
It’s helpful when 2nd ACs are like the little angel on my shoulder. If they see something I might be missing, or a mistake I’ve made, they’ll alert me one-on-one. At the end of the day, the 1st AC answers for the department but the 2nd plays a big role in helping everyone work as a unit.
Some 1sts like to know everything a 2nd is doing, and have a say in all the minutia. I’d rather trust my 2nds to handle significant logistics on their own. When I delegate a job, I like to be able to all but forget about it and assume it will be done.
Our film loader recently set this up on a feature - we all contributed to a checklist app with tasks like “order canned air” and “clean the doubler.”
We all know what 10-1 and 10-2 means, but some of my 2nds and I made up the code 10-9 to remind each other to do things safely, at a reasonable pace, and to stay grounded even if the set atmosphere is hectic. I.e. “They’re calling for the camera now, 100 yards down this muddy hill. Let’s go, 10-9.” It’s nice to have a succinct way of communicating that message without sounding to others like we don’t view speed as a priority.
Here’s an excellent perspective on experience and mistakes from 1st AC Bret Lanius. “Here’s my #1 point that I would always start with when bringing a new person onto my crew. Never BS me. If you don't know something say so. I have never judged anyone for not knowing something, BS me and it will come back to bite you and me! This applies to screwing up or breaking something - get in front of it. We have all been there and crap happens. Let’s get it squared away and move on.”
A great 2nd AC can “read the room” and tailor their approach to the needs of each set. Sometimes they’ll follow instructions to the letter, and other times they’ll solve problems independently. Often they’ll move quietly and cover the 1st’s back, but they’re ready to speak up and hold a hard line when needed. Every 1st has a different style. If there’s a reason to speak up for safety or worker’s rights, as the 1st AC I usually like to be the one to step up and handle that conversation. But part of being a good 2nd AC is adapting to the needs of each 1st, and complementing their working style.
Film Loading
This is a bit of a placeholder segment because there’s so much to cover.
For film loading, the best practices have started fading from common memory as the OG film generation retires. Despite the high volume of shows being shot on film, ACing for 16 & 35mm has become more of a niche. As I mentioned, I had to learn film loading skills on my own / piecemeal. Only a few decades ago, I could have easily learned everything on set from older, more experienced ACs - film loading was an entry level position and those skills were passed down as part of the workflow.
Rachel “Rae” Wiederhoeft, a highly experienced union 2nd AC and film loader, took the time to write out these tips on getting into the analog scene. (Note the difference between digital and film loading, also explained here.)
“Digital Loading:
“Many of the tasks in the 2nd AC section are actually things a loader will do, either independently or in tandem with their key 2nd AC and utility. Don’t be surprised if tasks listed here as being 2nd AC tasks get assigned to you. In the days before digital cameras, every camera department had a film loader and these tasks were always their job. It's only since digital that producers saw fit to cut the position and other positions are now making up for that.
“Digital loading is primarily about being the best boy of the camera department. It consists of downloading the footage and ensuring its safe arrival at post, organizing and cleaning the truck, managing the equipment exchanges, working with payroll, coordinating deliveries with transportation and being a point person with the production office. It also means having an excellent working relationship with both the keys (A Cam 1st & 2nd). Learning the paperwork side of the job is fairly easy, but remember to go slow and be diligent. Loaders are often in charge of the camera team’s timecards and messing that up can negatively affect everyone in your department . If you make a mistake, admit it and fix it fast.
“One way to stand out and win over your bosses is to take the initiative to do things without being asked. If you see a charger has some tape over one slot saying that it's broken, take the initiative to order a new one and swap it out. I promise you your supervisors will notice and be *very* happy.
“Another key thing to remember is to never, ever, ever make enemies of anyone on set. Don't have an attitude with the transpo captain, don't be mean to the APOC (assistant production office coordinator). They will make your life a living hell. You'll go from having the truck parked the closest to the furthest. You'll go from having people send over check reimbursement forms to having them get "lost." Be everyone's best friend always and forever.
“Film Loading:
“Film loading is all the aforementioned tasks of a loader plus being able to safely load and download physical film in a dark room or a tent, and safely delivering it to the developer (usually Fotokem). Having the skills to do this is becoming more and more rare as the older generation either ages out or decides they prefer 2nding, 1sting, op-ing or dp-ing. As such, it is important to remember - if you take a low wage for this position, you may be undermining hard fought battles to increase the wages of film loaders industry wide. Do not do this. Make sure you are compensated as well as or nearly as well as the 1st AC. And if your 1st AC doesn't support you earning that much, you don't want to work with them. That is a red flag and is a sure sign that the job will be even more stressful than film loading already is. At minimum, mandate you earn as much as the 2nds. After all, your job is significantly harder than theirs (on film jobs, this does not pertain to digital loading).
“To learn how to film load, the first step is to call up rental houses and ask people in your network who own film cameras if you can come over for a demonstration, or if they have any workshops. It is best to get your hands on dummy rolls of film that you then load into actual magazines and string onto cameras. Watching internet videos and reading manuals can only take you so far. Being a good film loader, especially in the current environment, means being fast. You never ever want to be the reason shooting has to stop. Actors get into a groove and don't want to lose that rhythm. Directors too. DPs will be embarrassed and you could potentially ruin your relationship.
“That being said, you don't have to be super experienced or fast right away. There is a lot of forgiveness when you're first starting out. Just be honest about your abilities and you'll get faster as you go.
“The second most important part of film loading after never flashing a mag is the inventory. Some productions have abandoned the use of an inventory but this is just bad practice. Film stock is expensive and you need to keep perfect records of how much you've received, exposed and have saved for later use (called a short end). Inventories are basic accounting and you probably could devise your own system but it's best to find a mentor who can show you the ropes with a pre-made document. Hopefully, that will be your Key 2nd AC. They need to be working closely with you on ordering enough raw stock for the shoot anyway, so they are a good resource.
“In conclusion, be fast, admit if you've messed something up, never run out of film and have fun! Oh and regularly check your tent for light leaks!
-Rachel “Rae” Wiederhoeft
Paths into the Camera Department
If you’re just starting out in the industry, or thinking about trying on an AC hat, you might be wondering where to start. Everyone finds their own way, but here are some tried and true approaches.
Working at a rental house puts you at the center of the ecosystem. You can work with the latest equipment, help DPs run lens tests, and assist with preps for major shows. One potential problem is, you can get trapped there. Even the most noteworthy camera houses have techs who wish they took the leap to work on set. They got used to having benefits, a schedule, reliable income. I’d say if you pursue the rental house route, ask yourself how long you want to spend behind a desk, maximum. And keep an eye out for ways to get on set.
If you’re working as a general set PA, there are some reliable ways to build connections with the camera team. Things as simple as learning their coffee orders, offering to help charge their batteries overnight, and bringing them labeled water bottles, go a long way.
Same thing with working as a camera truck driver on non-union / commercial shoots; you’ll have unique access to the camera assistants and will notice when they’re short-handed. If you demonstrate that you know how to use ratchet straps, safely pack their lenses on a lower shelf, and are helpful with charging their batteries, packing their carts in the truck, etc, many ACs will eventually welcome you as one of their own. If you’re able to score an additional walkie and keep it on channel 6 (assuming the camera team is cool with that) you can tune in and find ways to integrate, like bringing them a lambda head or expendables right as they realize they need them. (this is a read-the-room thing and not right for every camera crew - but I’ve seen it work!)
Some shows hire an entry-level utility, who learns as they go as a sort of camera department PA. (Not to be confused with an experienced digital utility position.) This role gets different names and duties depending on region, union status and the individual project - camera PA, camera utility, truck loader, camera attachment, camera intern. Regardless of what it’s called, the hiring process and the luck required to land this role are pretty universal. You have to know someone, or be at the right place/right time, or be good at detective work re: what shows are in the area and who’s crewing up.
Many ACs, including myself, will make an effort to invite newer cam PAs and 2nd ACs to work on a slightly lower rate or shorter shoot. That gives me a chance to get to know them, see how they act on set, and decide if I can trust them on a high stakes job.
Shadowing on camera preps can be a win-win for you and the 1st AC you’re learning from. I appreciate a hand with labeling cases, testing tripods, and setting up monitors, and as a newer camera department member a prep is a great place to ask questions and get comfortable with the gear. And also just to show that you’re invested in learning about all the parts of an AC’s job, not just the more “glamorous” aspects of working on set.
Facebook job postings are a wild west. As I mentioned you need to reply within 5-10 minutes, and be confident about negotiating rates and working conditions. You may see a terrible, “for credit only” music video posted right next to a $750/10 union opportunity. Take care of yourself and you can make some good connections.
Instagram is sort of, at the moment, the new business card. You don’t need a ton of flashy camera photos; just a photo or two to show you’re human. I get a surprising amount of job offers directly from instagram; some ACs use their stories to quickly find available day players. It’s definitely worth having instagram just to follow DPs and ACs you want to work with; it’s a great way to meet people and keep in touch after wrap.
I recommend spreading your net wide. You’ll get farther quicker if you pick several of these options to pursue at once. Same thing with the people you network with. If you only ask one 1st AC to invite you to preps, it could take a while. But if you have 10 people who you’re keeping in touch with, you’re going to get a “hand up” into camera faster.
“Networking” doesn’t usually mean literally asking people to hire you. Texting someone with a gear-related question is a subtle way to remind them you exist and are invested in camera dept. That’s often all it takes. Sometimes connections come from unexpected places. For example, one time Hudson Spider saw their light in a Bruno Mars video I worked on, and asked for info on the DP and shooting process. Connecting those dots was easy, and even gave me the chance to meet some new DPs.
If you make a business card, professional instagram, email signature or website, you’ll be faced with defining your crew position. It might be tempting to list all your varied interests, but no one will be impressed that you’re a “Cinematographer, Director, Actor and Hand Model.” Calling yourself a DP when you’re mostly working as a camera PA can come off as tacky. Film schools often encourage students to “dress for the job you want” but I recommend a different approach. If you’re working as a 2nd AC, but want to be a director someday, you can make two different cards that you give out depending on the connection you’re making at the moment. If you’re a jack of all trades, you can list yourself as “Camera Department” and handwrite ‘1st AC’ ‘camera operator’ or ‘DIT / film loader’ for each individual circumstance. If you’re just starting out, you could try a label like “Production Assistant / Camera Department.”
On-Boarding Conversations
When booking me as a 1st AC, many producers would be happy to pay minimum wage. It’s on me to negotiate an industry-standard rate for myself. Normal people with normal jobs only have to ask for a raise every year or less. We often do that daily.
Don’t you just love those random unknown number texts that just say “HEY! Are you free on Tuesday? WE NEED AN AC!!”
I’ll take a deep breath, and ask for more info:
Overall
Feature / commercial / short / music vid?
Union or non union?
Time
Dates, including prep and wrap
Approximate call times (any overnights?)
Location
In the thirty mile zone?
If remote, what’s the travel plan / pay / mileage rate?
$$$$
What’s the rate and guaranteed hours? i.e. $750/10, $750/12, or $750 flat (illegal)
What’s my kit fee for carts and tools?
Is production buying expendables?
Paperwork
Can I get a deal memo?
Payroll or W9? (W9 is illegal for crew jobs in CA but producers will still try)
My Team
How many cameras? Is there a 1st AC for each?
Do I get a 2nd, cam PA, utility, VTR (video assist), DIT or film loader? Not all are needed for every job but it’s good to know the plan.
Prep (Producer expectations vary widely)
Is the prep rate the same as the shoot rate?
Will 2nd / DIT / steadi be there?
Will there be a 1st AC for each camera at the prep?
Negotiation Tips
One of the most tiring parts of pre-pro is red tape - having to beg for resources that should be a given. If I have to really push for something basic like having two ACs at a 2-camera prep, I like to diplomatically circle back with the producers after the fact:
“We're all set with the prep, finished loading the camera truck at 6pm. Having two 1st ACs was invaluable, both camera packages are thoroughly prepared for the shoot. Thanks for helping get that approved!”
That emphasizes that I value their time/resources and don’t ask for things lightly, and it might make that negotiation easier for the next AC.
Speaking of red tape, arranging for expendables is an important pre-pro conversation. Rather than asking “is there a budget for expendables?” I like to ask “who’s the best person to send the expendables purchase list to?”
Often production isn’t planning on buying any, but that approach opens up the conversation of expendables being a given expense.
Rather than asking if there's money for my cart, I'll say that we need X number of carts for the job. I'm happy to bring mine for a kit fee, or if production prefers to find their own that's fine too. If there’s pushback on why we need carts, I’ll explain the delays caused by hauling 30 loose cases by hand and the dangers of transporting partially-built gear without magliners for organization and stability.
TMZ: the “thirty mile zone” circle from the corner of Beverly and La Cienega. On union shoots production has to either shoot within the circle, or pay for mileage/transportation for the crew. There’s no law for non union shoots but it’s reasonable to expect production to follow the same guidelines.
All film shoots have to follow labor laws, regardless of scale or union status. You should be paid at least minimum wage, get a meal every 6 hours, etc. I can’t emphasize enough how important it is to know your rights and speak up for yourself; especially when you’re first breaking into the industry. This website does a good job of explaining the basics.
It’s important to know how to calculate your hourly rate from the lump-sum production tells you (it’s not just dividing by 12 hours.) For a 12-hour day, you get hourly for the first 8 hours and then 1.5x from 8-12 hours. If you go past 12 you start making double-time. So if your rate is $600/10, your hourly is $54.55. If your rate is $750/12, hourly is $53.57.
For a 10-hour rate, divide by 11 to see your hourly.
For a 12-hour rate, divide by 14.
Here are a few rates you can use to practice calculating your hourly:
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Hourly rate: $65.91
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Hourly rate: $57.14
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Hourly rate: $52.50
With the new CA AB5 law, film crew have to be classified as employees not “independent contractors.” We used to have to pay more in taxes, and deal with dozens of 1099s. Now everything should be payroll so you’ll be filling out I-9 and w4 forms for each shoot (not a W9, that’s illegal)
Here’s an 18-minute video on filling out a timecard. It’s long, but better than spending 18 minutes on set trying to figure it out. You always want to fill out your timecard - don’t leave it blank or turn it in without an end time. Production will tell you that’s fine, but that lets them ignore overtime, meal penalties, etc. In addition to taking photos, I’ll calculate each timecard with meal penalties and overtime, and double check that with my paystub. I recently looked at how much I’d lose if I didn’t dummy check the numbers, and it averages out to about $500 every month.
Call Sheets
Call sheets should go out 12 hours in advance. If it's radio silence at 9pm before an expected 8am call, I’ll text the producer and ask if they have my correct email address. That’s a non-confrontational way to say “SEND IT NOW, OR ELSE!”
I try to save all the camera team phone numbers before I get to set. That helps me remember names, and there's always info that needs to be shared within a department.
It's always good to double-check the call sheet for info about what brands are involved. Wearing a Champion sweatshirt to a New Balance shoot will not win you any points.
Things you might not know until you get the call sheet (or after):
What studio/brand the shoot is for
If there are celebrities on set (this is often kept tightly under wraps)
The exact call time and location
What the rest of the crew looks like i.e. sound, G&E, VFX, stunts and safety personnel
Wrap time will rarely be on the call sheet, and even then it’s never guaranteed
Producer Red Flags
Sounding scattered and stressed when they hire you; being caught off guard when you ask common questions.
Being shady about the budget - pretending it’s way smaller to pay crew less. Starting an underbidding war between equipment rental houses.
Being unwilling to put details in writing. Especially agreeing to something over the phone, but avoiding confirming via email.
Trying to skip a meal or avoid paying OT by putting you on the spot. (“We really need to finish this scene, but we don’t have money for overtime. That’s ok with everyone, right?”)
No safety meeting at the start of the day, or before a stunt or other specialized setup.
Seeming unfamiliar with any of the production-related info on this page. Any serious producer will understand their basic responsibilities to the crew.
Producer Green Flags
A good producer:
Pays on time! Or early.
Arranges for fair kit fees.
Communicates well.
Replies to texts and emails quickly.
Picks healthy catering options.
Is straightforward about the budget.
Makes bathrooms, crafty, first aid accessible for everyone.
Thanks their crew genuinely, and not to compensate for an unprofessionally-run shoot.
Tells the crew if they’re expecting to go into overtime, before going over.
Takes all departments’ needs into account for company moves.
The list goes on!
Facebook: AC Forums & Community
The Camera Assistant Group *#1 Active Group for troubleshooting gear, comparing rates, and AC networking.
For Sale: Camera Assistant AKS and More
Facebook: Job Postings
Freelance Film Crew Los Angeles
Film & TV Production Jobs and Internships
Paid Film Crew Jobs Los Angeles
New England Only: Channel 14
Massachusetts Only: MA Film Office
Health, Wealth & Happiness
I’d be missing something if I didn’t talk about the emotional and financial rollercoaster we all ride.
Some people refer to working in the industry as “running away to join the circus.” It’s a good analogy. We travel. We entertain. We get to see and do some crazy things. Our connections and friendships are nomadic. You might work with someone in the trenches for 14 days, then go 5 years before running into them on another set. On travel jobs you may grow close to locals and then never see them again. 15 hour days and 8pm-9am overnights wear you down. You may notice your immune system getting weaker, or scrapes taking longer to heal. An impressive IMDB page does nothing for your back and arches, and many people start to depend on caffeine, alcohol and drugs.
Here’s a graph showing my actual income my first year working in LA. There’s an upward trend but it’s anything but consistent. Especially at the start, there may be months where you struggle to pay rent or worry about keeping up with loans. You might go three weeks without a call, then get five job offers in the span of an hour. Eventually the fear that you’ll be forgotten or “never work again” starts to fade. It can take a minute to get used to the financial ebb and flow, and it might be tempting to splurge the first time your bank account hits five figures. The thing to keep in mind is, no income is guaranteed until the check clears. Jobs cancel, dry spells happen and corrupt companies sometimes take months or years to track down for payment. This next part will sound like a flex at first, but hang in there, it isn’t: in 2022 my busiest month paid $18,943. Yeah, raking it in. How about my slowest month? A few gear payments came in for a total of $245.
Keep your head on straight. Don’t move to Beverly Hills just yet. Keep your overhead low and you’ll be ready for the rainy days.
Los Angeles Year 1 Income
If you have a vacation planned or a partner’s birthday, you will probably get an amazing job offer that tempts you to cancel. Going grocery shopping guarantees that you’ll get a 2-week job and your food will go bad. That’s just how it works, and there’s nothing to do about it except buy frozen veggies and keep a list of qualified people to recommend in your place. If you make a habit of dropping everything whenever a set comes along, it only gets harder to rethink your priorities as life goes on. Before you know it you’re a parent who’s missing little Tommy’s big softball game. Tommy practiced all year. You should be ashamed.
Oh! I should also emphasize how important it is to keep good records. Not only for tax season, but so you can track your ebbs and flows, catch overdue or under-payments, see if your gear is making or costing you money, and more. I can’t give advice on bookkeeping programs; I’ve just used a google spreadsheet so far:
50 Ways to Level Up
If you’ve got down time or are looking for ways to invest in your career, here’s a list of skills you can work on. Some basic, some a little more next-level. These will help you attract better jobs, advance within the camera department, and contribute to conversations on set. I decided not to over-explain or include many links, because tbh learning how to learn is part of the process.
Understand volts, amps, watts and ohms
Learn to solder
Adapt something stupid to P-tap power
Memorize the T stop scale
Get comfortable converting feet to meters and inches to cm
Dissect and reassemble AKS like camera cages, RBQ plates, rosette handles
Explore all the menus of monitors, cameras, decimators and other electronics
Practice operating a gear head
Ask someone to explain the two main types of wiring for 2-pin lemo cables and the danger of mixing them up
Start a discussion on one of the AC forums
Watch films about the industry like Living in Oblivion, Who Needs Sleep and Please Rewind
Try 35mm photography
Stop by a rental house and set up something unfamiliar like a light ranger or analog film camera
Research top DPs, what films they’ve shot, and what directors they’ve worked with more than once
Pair a teradek using the computer application
Research the controversy around camera sensor dynamic range, and why it’s subjective
Learn about how the different WCU, Preston and other wireless channels interact
Get familiar with filters and their optical properties
Connect with IATSE and SOC members via events or facebook groups
Research the relationship between sensor size, depth of field, aperture and focal length
Keep a running list of all the lenses you work with, and comments you hear about them or qualities you observe
Research anamorphic desqueezing, edge distortion and curved focal planes
Watch the forums for questions you don’t know the answers to, and subscribe to get updates when people post answers
Sign up for newsletters on upcoming camera models, firmware, and accessories
Subscribe to American Cinematographer or another industry magazine
Go to Cinegear and activate extrovert mode
Set up Arri wifi control or the Arri app on a phone or tablet
Invest in an assortment of oils and lubricants for equipment upkeep
Make a LUT
Convert a LUT from .cube to .aml
Make your own version of a prep checklist
Make a custom set of Arri frame lines with black bars
Shadow the grip department on a job
Start a workout routine targeted to build strength and stamina
Learn to calibrate monitors
Watch ASC interviews or masterclasses
Find the formula for calculating diopter far focus
Chat with someone at Panavision about their lens sets
Give away extra tools, bags and other junk you’ve accumulated
Expand your kit to fit the jobs you’ve been working (i.e. desert shoots = military boots, sun protection, domke wraps)
Follow some inspiring camera crew on instagram
Write a list of qualities you look for in DPs you work for often
Visit a prop house with vintage cinema cameras in stock (hint: History for Hire)
Make a list of the ACs you’ve worked with who you can recommend for jobs
Reach out to retired ACs to chat about how the industry has changed
Organize the way you keep track of your finances and job payments
Calculate your average day rate, kit fees, days per month worked, and other stats
Marathon movies shot by the same DP
Consider taking on a mentee or giving someone a hand into the camera dept
Write a list of concepts you’ve heard of but don’t quite understand
Joining the Union
When I began the confusing process of joining local 600, the most helpful breakdown I could find was this reddit thread. I knew some other people who were figuring out the process, and were caught in a paperwork abyss. So here’s my best attempt at a clear outline! I joined in January 2020 so some things may have changed since then. Thanks to 1st AC Brian Udoff for contributing lots of details!
As you level up working on indie shoots, you’ll start to hear that little ego-boosting question: “Wow, are you union?” Joining IATSE Local 600 is a significant step, and necessary if you want to work on blockbusters, studio lots, and with name-droppable crew. It’s also a key step towards impressing your aunts and uncles at Thanksgiving. That said, you don’t need to be union to have a successful career in commercials, indies, etc. - and it’s not something you have to accomplish early. If you start having to turn down union job offers, it might be time to join. My canary was a call to load film on Westworld.
To dispel one common worry, joining the union won’t prevent you from working on non-union projects. That’s a factor with some guilds like the DGA but not for us.
Here’s what you’ll need:
30 Union Days (in the last year) or 100 Non Union Days (in the last 3 years). They’ll mostly only accept projects that screen in theaters, broadcast on major networks, or go to festivals. Even Netflix/Amazon shows sometimes don’t count since “new media” days can be categorized differently, although this may be changing. If you’re lucky and get hired on a 30-day non union feature that “flips” and goes union, that’s great but impossible to plan. I went the 100 non union route, mostly 1 and 2 day shoots painstakingly submitted one at a time.
Paperwork for each job:
A pay stub or cashed check from the production company who paid you. No venmos or photos of paper bags full of cash. Has to be traceable, provable income. The scanned check images need to have been stamped and processed by a bank, although they accepted 20 fresh checks from me before enforcing this rule. Some banks save images of checks; they accepted my grainy Bank of America scans.
A signed letter from a producer on the project, attesting you worked X number of days as a 2nd or 1st AC. The template is difficult to find, passed around between union ACs. But since we’re such great friends, here’s your copy. It needs to be on “letterhead” which I thought meant a company logo, but turns out it actually just needs to be formatted as a standard business letter, with the company address listed at the top. No graphics are required.
You don’t need to turn in call sheets or any other paperwork unless they request more info.
The first place you’ll go is Contract Services in Burbank, a separate company from IATSE who handles all the paperwork as you join. No appointment needed just walk in. It’s set up like a bank with rows of bulletproof glass, and only like two people working there. Contract Services is known for being very slow, like the DMV.
The kicker to this process is that they are constantly losing your paperwork and you have to start over again.
Joining took me 11 months. I would hand in printed forms for every job, and I’d also email scanned copies. Then when I came in a week later to check on those days, the answer was often “Sorry, we never saw those. We don’t have them on your file.” So out of the 80 days I had turned in, I only had 40 that stuck. The best way to handle this is getting in face time at Contract Services. If they recognize you they’ll be more likely to help, and it’ll remind them to put last week’s paperwork through. Save copies of every form you turn in, keep asking for your approved total, and compare that to the number you’ve submitted. Never, ever, ever, ever, ever give Contract Services original copies of anything. They will lose it.
Once you have your 30 or 100 days approved, the rest is a breeze in comparison. You fill out an I-9, get paid to take some online safety courses, take a class on operating lifts, and pay your entry fee. For a 1st AC that’s around $8K and you have to pay $1800 up front, with the rest on an interest-free plan. Dues are like $250 per quarter. If you’re working union jobs you’ll quickly recoup that cost so once you’ve paid your join fee it’s not bad. You’ll probably never get the Local 600 shirt they promise to send. I’m still waiting on mine. Edit: Just got it three years in!
The shiny & chrome MPIPHP Union Health Insurance is like the elusive T-shirt. You need to first work 600 union hours in a 12-month period, which is difficult unless you’re working on a long show. Then the target moves to 400 every 6 months. It took me two years of being union to qualify for the health insurance, but it’s amazing coverage and completely free.
FAQ
What’s it like being a woman in the camera department?
Only about 14% of ACs are women, so I do stand out a bit. I look at that in a positive way - people are more likely to remember me because I look different from your typical Mike or Jake.
That said, hierarchy is a natural part of set life, and there are bullies who will try to take advantage of that. That can mean alienating someone based on their race or gender, putting people’s safety at risk, or cheating crew out of pay. Now that I’m a key I have the advantage of being able to speak up. If I see something messed up I won’t let it slide. I’ve been fortunate to work with a lot of great crew, and the vast majority treat me as an equal. I try to only work with DPs who are tuned in with their team and who go to bat for us when needed.
But, back to more specifics about being female. I’ve never found my height or physicality to be a weak point. It’s important to be able to lift at least 50 lbs, and be confident carrying a set of standard sticks with a head. No one should need to deadlift a fully built camera on a cinema head and sticks; if you’re scooting it slightly you can manage but otherwise we pull the camera and carry the parts as a team. Good balance and coordination are also important, but that’s achievable regardless of gender. So all good there!
I sometimes deal with assumptions that people probably wouldn’t make if I were a guy. They’ll be surprised that I can tie knots, read a compass, identify basic grip iron, and drive a gator (golf cart for gear.) I don’t take that kind of thing personally and just go on doing my job.
If a grip says something like “the dolly’s ready for you, sweetie” I’ll just innocently reply “thanks, sweetie!” and if that strikes them as strange then we’ve reached an understanding. No harm done and usually those are just old school guys getting used to the whole “girls carrying cameras” thing. Mutual respect is generally reached very quickly.
The concept of a wage gap hasn’t really affected me, as far as I can tell. There’s decent transparency around rates; everyone’s open to discussing what they’re making. Depending on the job it can be a good idea to check in with grip and electric to make sure you’re on the same scale. I make the same as my male peers, and since I negotiate for myself I have ownership over the process.
What first cart and follow focus should I buy?
There are carts on the For Sale: Camera Assistant AKS page for between $400-800. Magliner juniors are on the small side but will likely fit into your car. If you can wrangle a senior it’s worth it. Yaeger is also a great brand, a bit more expensive but you can get the older models (non Yaeger Pro) for $1-2K.
On to follow focus options. The $900 Tilta Nucleus M has a bad rap because of their flaky customer service, and there are some bad apple Nuclei. In my opinion it’s still a decent starter kit for the price. It might be worth looking into a slightly more expensive older Preston, the Motor Driver (MDR) 1 & 2 and Hand Unit (HU) 1 & 2 are reliable and you can get a 2-motor kit for under $2500. I’ve seen a few for $1200 recently. Whichever unit you spring for, make sure you learn it inside and out. It should feel like an extension of yourself. Spend a day testing it out at a rental house. Learn the distance you have to hold your Nucleus hand unit from the motor to calibrate properly. Find the button on the Preston MDR that disables wireless connection; don’t forget about the settings you don’t plan to use.
Before buying anything new it’s worth posting in the AKS group, in case someone has a perfectly good item collecting dust in their garage. A rescue magliner will love you way more and always be protective and loyal.
How is LA culture different from the east coast?
There’s a joke that goes “How do they say ‘Hello’ in New York? (F you!) How do they say ‘F you’ in LA? (Hello!)”
In NY and Boston, people will let you know exactly where you stand. It takes time to earn their trust, which may seem standoffish to newcomers.
People in LA are often friendly right off the bat, but if something’s wrong they hide that with a smile. This pops up in various parts of the film industry. West coast rental houses might agree to lowball offers from producers, but then decide that there’s no prep bay available or gradually back away from sourcing equipment. It’s rare to see two people openly arguing - far more common to chat pleasantly until one leaves and the other says “Ugh, he’s the worst.”
West coasters are more laid back with time - social events often start 30 minutes late as people find parking and meander over. People also dress more casually; if you show up to an interview in a suit you’ll probably be overdressed.
LA catering is more accommodating of dietary needs like being gluten free, vegan or keto. Some shows have recycling and composting. The coffee stations have nine types of milk-adjacent fluids.
What makes you decide against hiring someone?
A rant-heavy or unhinged social media presence. Being desperate or pushy while asking for work. Someone who’s convinced they already know everything. A bad attitude or sketchy reputation. Taking a long time to reply to texts; if a job offer sits unread for two days I’ll probably have to move on and hire someone else.
How can I get good at pulling focus?
Honestly, just do it a lot. If there’s no marking rehearsal, figure out how to get a few quick, disturbance-free marks in time for the first take. If you’re moving up from 2nd to 1st, see if your 1st will let you handle a shot or two. Keep an eye out for low budget gigs willing to hire an ambitious 2nd AC as a 1st. Always write the distance marks or map your hand unit rings. If your ring is blank you’re just reacting when you see the shot go soft. Try stepping away from your monitor and pulling focus off of measurements. A depth of field calculator app can give you the confidence to do this. It’s key to be adaptable with different strategies for pulling - if your monitor cuts out but you have tape marks and an eyeline to judge distance, you might be able to keep it sharp.
What do you do when a job doesn’t pay you?
I always reach out diplomatically and ask if a check got lost in the mail. Most of the time late payments are innocent enough - not great, but not evil-intentioned. In the case of a production company dodging calls and deliberately stalling, I've had great luck with emails like this one. This usually gets me paid instantly before I even need to start filling out labor board forms.
Payments should not be via venmo and jobs should pay on a two week cycle, not 30 days. But we all deal with our share of sketchiness in this biz.
What’s next for you?
I’m transitioning into action DP/operator work! That said, I still wear my 1st AC and underwater tech hats now and then.
More Resources
Arri Menu Simulator - lets you learn to navigate all Arri menus even if you have no access to the real thing.
The Camera Assistant’s Manual by David Elkins. Free PDF of an older edition available here.
The Black And Blue blog by 1st AC Evan Luzi. I read every post when I was preparing to start my career.
The Hills Are Burning blog by set lighting technician AJ. If you read the posts in reverse order, you get to see her journey from when she first started out in the industry.
The Production Assistant Handbook - if you want to skip PAing and go right into the camera department, understanding how a set is run is especially critical.
The Anonymous Production Assistant - advice and stories from big sets.
Walkie Talkie etiquette - What does “10-2” mean? How do you coordinate private conversations over the walkies? What’s the right way to wear your surveillance set?
Aliexpress - low-cost accessories and electronics. Shipping from China takes around 90 days but that’s the only downside. I use them for noga arms, mini ultralites, labelmaker tape for $3/roll, cable ties, wireless antennae extenders, and more.
Camera Assistant Vault - a stockpile of google drive folders put together by myself and several other union ACs. Lots of spreadsheets, templates, memes and technical specs.
Feedback
Let me know what areas you’d like to know more about, any resources I should include, and other ideas you have! Include your contact info if you want; otherwise it’s anonymous.