Assistant Directors
Skilled 1st and 2nd ADs managing shoots across Rio de Janeiro, São Paulo, and beyond.
Here is how this works in practice. The assistant director orchestrates the daily mechanics of a Brazilian production, translating creative plans into executable schedules across the country's extraordinary range of locations. From setting up shoots at Estúdios Globo's massive complex in Rio to managing logistics in São Paulo's urban sprawl or the Amazon rainforest, the 1st AD is the operational backbone that keeps each department aligned.
Here is the short of it. NeedAFixer connects you with Brazilian ADs who bring practical expertise in the country's production ecosystem. Our network has pros skilled at Estúdios Quanta and BigBox in São Paulo, on location across Bahia and Minas Gerais, and familiar with ANCINE sign-ups needs, local crew customs, and the logistics of shooting in tropical conditions.
ACT 01
Capabilities
Complete AD Services
From pre-production scheduling through wrap, our assistant directors provide the organizational leadership that keeps productions efficient and on track.
01
1st Assistant Director
- Set management & control
- Shooting schedule execution
- Director collaboration
- Crew coordination
- Safety oversight
Set Leadership
02
2nd Assistant Director
- Call sheet preparation
- Talent coordination
- Background management
- Paperwork & reports
- 1st AD support
Production Support
03
AD Team Services
- 2nd 2nd ADs
- Key set PAs
- Crowd marshals
- Base camp coordination
- Multi-unit support
Complete Teams
04
Pre-Production
- Schedule breakdown
- Day-out-of-days
- Strip board creation
- Location logistics
- Shooting order planning
Prep Excellence
ACT 02
Why Us
Why Choose Our Assistant Directors
01.
Brazilian Production Expertise
Our ADs have credits on global features, Brazilian television, and major commercials. They manage complex shoots across Rio, São Paulo, and remote locations with proven logistics experience.
02.
Studio & Location Knowledge
ADs familiar with Estúdios Globo, Estúdios Quanta, and BigBox in São Paulo. They know ANCINE sign-ups, RioFilme cash rebates needs, and set up with local film commissions across all major filming regions.
03.
Portuguese-English Bilingual Communication
Fluent Portuguese and English speakers making sure clear communication between global directors and Brazilian crews. They handle cultural nuances and local production customs seamlessly.
04.
Tropical & Urban Scheduling
Pro schedule management accounting for Brazil's tropical weather patterns, varied geography, and city-specific logistics. Our ADs plan around rainy seasons, extreme heat, and the unique challenges of urban shoots in São Paulo and Rio.
On Location
1st ADs from the Globo PROJAC, Padilha, and Meirelles schools running feature-and-series schedules to the minute
Here is how this works in practice. Brazilian 1st ADs run set from the call-sheet through the wrap. With stripboards, Movie Magic / StudioBinder schedules, and walkie-fluent control across 12-to-18-hour shooting days. Our bench was trained inside Globo PROJAC — the world's largest telenovela tricky, in steady production since 1965. This covers where daily-output discipline shaped the country's AD culture, then refined on features under Walter Salles, Fernando Meirelles, Kátia Lund, Kleber Mendonça Filho, Karim Aïnouz, José Padilha, Hector Babenco, Anna Muylaert, Bruno Barreto, and Cao Hamburger.
Here is how the picture comes together. On the ground, ADs are SindCine and SATED-registered, with reciprocal DGA plan for visiting US ADs on co-productions. CLT contracts, FGTS 8% termination fund, INSS workers comp, 13º salário, and 30-day paid vacation are budgeted into each schedule. Standard packages cover features, top series (Globoplay, Netflix LatAm — Narcos was a Padilha-created Brazilian production base. This covers Amazon Prime LatAm, Apple TV+, HBO Max Brasil), telenovelas, commercials, and music videos.
Here is the short of it. In practice, our 1st ADs set up ANATEL-licensed walkie systems (Motorola DP-series and Vertex VX-series with custom Brazil-band programming), Polícia Militar and Guarda City street-closure permits across São Paulo, Rio, Salvador, Brasília, Recife, and Belo Horizonte, IPHAN planning for UNESCO heritage shoots (Ouro Preto, Olinda, Paraty, Pelourinho Salvador, Brasília, Diamantina, São Luís), IBAMA and ICMBio planning for Amazon, Pantanal, Iguaçu, Fernando de Noronha, Chapada Diamantina, and Atlantic Forest shoots, and FUNAI planning for Terras Indígenas access.
Here is what we have to work with. On the ground, They handle crowd control on Carnaval-period shoots (February-early March. With Salvador hosting the largest street carnival worldwide), set up ANAC drone permits with DECEA airspace clearance, and manage stunt-and-safety briefings with safety officers and medics. Bilingual Portuguese-English ADs run global shoots natively, with Spanish-Mercosul ease for Argentina-Uruguay-Paraguay-Chile cross-border crews and Brazil-Portugal lingua-Portuguesa co-productions.
ACT 03
FAQ
AD Department Expertise
What does a 1st Assistant Director do?
Here is the breakdown. The 1st AD is responsible for running the set — managing the shooting schedule, setting up all departments, calling shots, and making sure the director can focus on creative decisions. In Brazil, this also has setting up with local authorities for location permits and managing ANCINE compliance.
What's the difference between 1st and 2nd AD?
Here is what that looks like on the ground. The 1st AD runs the set during shooting, while the 2nd AD handles logistics off-set — preparing call sheets, setting up talent movements, managing background artists, and handling production forms. On larger shoots, they work as a team with the 2nd supporting the 1st's set management.
Do your ADs speak English?
Yes, all our ADs for global shoots are fluent English and Portuguese speakers. Many have worked widely with American and European shoots in Brazil and know the expectations of global crews.
How do Brazilian labor laws affect production scheduling?
Brazilian labor rules set specific working hour limits and late hours provisions. Our skilled ADs factor these needs into each schedule, making sure compliance with CLT labor law while keeping production efficiency.
Can you provide AD teams for multi-unit productions?
Yes, we staff complete AD departments including 1st ADs, 2nd ADs, 2nd 2nd ADs, and extra support for main unit, second unit, and splinter units. We set up to make sure steady communication across all units.
What experience do your ADs have?
Our AD roster has pros with credits on major global features, Brazilian cinema, and high-profile commercials. Many have managed shoots across Rio, São Paulo, Salvador, and remote locations in the Amazon and Pantanal.
Related Services
Related Support Roles
ACT 04 — On Set
Need an AD Team?
Tell us about your production and we'll recommend skilled assistant directors.