Focus Pullers / 1st ACs

Here is how this works in practice. Focus pulling on Korean shoots is a precision discipline shaped by the country's preferred camera rental ecosystem. The dominant senior packages in circulation. ARRI Alexa 35 and Mini LF kits from NAC Image Technology and KW Studio, Sony Venice 2 and Burano bodies from KW Studio and Hello Pictures Korea. RED V-Raptor and Komodo configurations from Hello Pictures Korea — pair across Korean drama, feature.

Here is the short of it. High-end commercial work with Cooke S7/i, Zeiss Supreme Prime, Leitz Thalia, and Sigma Cine prime sets. Our 1st ACs have prepped, broken down, and lived inside these packages on real Korean call sheets. They run wireless follow-focus systems including Preston FI+Z, ARRI WCU-4. Tilta Nucleus-M, mark in either centimetres or feet against the DP's preference. Carry working relationships with the rental-house prep technicians so gear leaves the loading bay ready for the unit.

Here is the breakdown. On a Korean drama unit running long dialogue blocks at Busan Cinema Studios or Namyangju, a skilled 1st AC holds key focus through eight-minute oners on T1.5 prime sets with a depth of field measured in millimetres, while supporting the ops through Steadicam and gimbal coverage and managing a 2nd AC team on slating and clapper duty. On commercial work in The DMC hub and Gangnam, our focus pullers turn over fast across many lens swaps per setup, manage filter trays under tight schedules.

Here is what that looks like on the ground. Translate cleanly between English-speaking global DPs and Korean grip and electric teams. On action and stunt-heavy content, they run remote focus across crash boxes, car mounts. Stunt rigs with the safety habits Korean unions and the Director's Guild of Korea expect. We check camera-system breadth, prior credit list, and English working ability before adding any 1st AC to a shortlist for a global shoots.