In short: A 1st assistant director, or 1st AD, plans the schedule with the director and runs the set on shoot days, keeping the day on time and everyone in the right place. Most start as trainees or runners. A small shoot can manage without one if the director owns the plan.
A 1st assistant director plans the shoot with the director and then runs the set on the day, keeping the schedule, the actors and the crew moving so the director can focus on the shots.
What a 1st AD does on a shoot day
The day starts before the crew arrives. The 1st AD has already checked the plan for the scenes, the cast, the kit and the weather, and they know which shots must be done before the light goes or the actor leaves for another job.
- Confirm the plan. Go through the call sheet with the 2nd AD and check which scenes are on, who is needed and whether the cast is ready.
- Run the set. Call the rehearsals and takes in the order the camera and sound teams expect, and keep the room quiet while the camera rolls.
- Watch the clock. Compare the actual time with the schedule. When the day slips, decide with the director which shot to drop, simplify or move to tomorrow.
- Solve the small problems. A late actor, a noisy generator or a shower that starts early each has a fix. The 1st AD keeps the director informed and picks the fix that costs the least time.
- Close the day. Agree the shots that are in the can with the script supervisor and the director, then confirm the next day's call times.
Before any of this, the 1st AD breaks the script down to see what each scene needs in cast, locations, equipment and crew. They lead the location visits to check whether a place will work, and they schedule scenes around cast and location availability. Many use dedicated scheduling software for this.
Who they work with
The 1st AD is the director's closest working partner. They agree the schedule with the director and plan the day with the director of photography and the other heads of department, so that lighting, camera moves, wardrobe and make-up are ready when the scene is.
- The 2nd AD is the main contact with production, locations and facilities. They prepare the next day's call sheet, make sure the actors are ready on time and coordinate transport, make-up and wardrobe timetables.
- The 3rd AD works on set alongside the 1st AD. They cue extras, keep the public out of shot and work with the location manager.
- Runners support the whole team with whatever is needed.
The 1st AD answers to the director and the producer for the schedule, and runs the team below them.
Kit and skills
The kit is mostly paper and a timer: a copy of the script, the schedule and the call sheet, a stopwatch or clock you trust, a radio if one is issued, and a laptop with the scheduling software. The skills count for more.
- Planning under pressure, and the ability to change the plan without losing the day.
- A calm, clear voice when calling takes, so that everyone on set hears the same instruction.
- Tact with people who are slow to move, and firmness when the schedule needs it.
- Knowing when a shot is not going to happen, and saying so early.
How to become a 1st AD
ScreenSkills describes the 1st AD as a senior role, usually reached after years of work on sets. The honest route looks like this:
- Start as a trainee or a floor runner. ScreenSkills says most 1st assistant directors start out as trainees or floor runners and work their way up.
- Apply for a trainee scheme. ScreenSkills' Trainee Finder scheme offers placements, contacts and industry knowledge.
- Learn the scheduling side. A course such as the NFTS Movie Magic Scheduling course is suggested by ScreenSkills. First aid training is also useful on set.
- Show up and keep showing up. Work experience with an assistant director department and the networking events ScreenSkills runs, such as Open Doors, help people get the next job.
- Join Bectu once you are working. Bectu, the union for the sector, publishes a ratecard for assistant directors, which is a reference point when you agree a rate.
A degree is optional. Useful subjects at school or college include art, photography, film studies, business and drama. A Level 3 route such as the BTEC National Diploma in Film and Television Production also works for direct entry into the screen industries.
Do you need one on a small shoot?
- A one-camera interview or a podcast: usually not. The director or producer can keep the day moving with a plan on one sheet.
- A short shoot with several scenes and a tight schedule: a planning person is worth the cost. Someone has to own the clock, even if the director calls the takes.
- A multi-camera shoot, a drama, or anything with extras, cars or special effects: usually yes. A dedicated 1st AD keeps the risks and the timings under control.
If you are booking Granary's White Space, the day runs in blocks: ten hours for a full day or four for a half day. Build the schedule to fit one of them.
Related roles
- What does a script supervisor do?
- What does a runner do?
- What does a director do?
- What does a 2nd assistant director do?
- What does a production coordinator do?
Sources
- ScreenSkills, Assistant director job profile, read 5 November 2026
- ScreenSkills, Film and TV drama career map, read 5 November 2026
Related guides
Questions we get asked
What does a 1st AD do on a film set?
The 1st AD runs the set on shoot days. They call the takes, keep the cast and crew on schedule and decide with the director what can be shot in the time. Before the shoot they plan the schedule and lead the location visits.
Is a 1st AD the same as a director?
No. The director decides how the story is shot and how the actors perform. The 1st AD decides how the day runs and who needs to be where, working as the director's right hand on set.
How do you become a 1st assistant director in the UK?
Most people start as a trainee or a floor runner and work up through the assistant director department. ScreenSkills runs a Trainee Finder scheme, and a scheduling course such as the NFTS Movie Magic Scheduling course is recommended. No single qualification is required.
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