This is Elkins' third edition of The Camera Assistant's Manual and as such is testament to a successful publication. My question is, where was such a manual when I was a fledgling loader/2nd camera assistant? There would have been one less flashed roll (unexposed, thank God!) and one less dropped center core, that's for sure! Elkins has fulfilled an invaluable role in providing students and neophyte camera assistants with this nuts and bolts manual. He delves into areas that heretofore could only be learned in the school of hard knocks, ie., on- the-job. But then there's that Catch- 22, how does one get the job? He even covers that topic from résumés to interviews. From a step-by-step technical guide to the psychology of on-set behavior, Elkins spans the gamut of learning how to become a camera assistant in the film and television industry.

Following his manual closely can avoid reinventing the proverbial wheel in countless situations. In time all good assistants develop their own working systems that function best for them but Elkins' manual offers a standard by which one can learn. He points out that flexibility is key and one must learn to adapt to the ways of one's superior. The Camera Assistants Manual is chock full of technical information, diagrams, charts and tables in its 394 pages that pertain specifically to the working duties of the camera assistant.

At first I admit I was bothered by what seemed to be a fair amount of repetition from chapter to chapter. On further reading I realized the wisdom of his ways. Repetition of orders and information is paramount to clear concise communication amongst crew members. A good Assistant always repeats the T-stop or filter pack, lens focal length etc. to the DP when given this information by the DP. The apparent redundancy in Elkins' style simply reinforces this all-important aspect of the camera assistant's job responsibilities. Better to check and double check rather than let some-thing fall through the crack, possibly resulting in disaster. Speaking of checking, Elkins' numerous "check-lists" during prep and production for the 2nd and 1st AC are priceless. Again, most of us have had to learn this from other camera assistants through trial and error, ultimately developing our own system.

I'd like to touch on one area in his chapter on focus-pulling which he overlooked. Though specific knowledge of depth of field and lens characteristics is critical, it's equally important to understand that focus-pulling is an art. Developing a sense of timing and feeling the nuances of a scene or an actor's movements can only be accomplished with experience and that takes time. This is what separates a technician from a craftsman.

Although The Camera Assistant's Manual is specifically aimed at individuals just beginning their careers as camera assistants, there is much useful information for the seasoned assistant as well. One can never know it all and with new equipment and technology coming online every day, upgrading one's knowledge and experience is mandatory. Because of this fact, I'm sure we can look forward to a fourth edition of The Camera Assistants Manual when deemed necessary. In the meantime glean all you can from this one.

- George B Stephenson SOC

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