From Feature Movies to Commercials, First Assistant Camera Chir Yan Lim Focuses on Powerful Storytelling
“From a young age, growing up in Malaysia, I marveled at the potency of moving images in eliciting emotions and conveying impactful messages. Now, as a 1st assistant camera/focus puller, my role is to ensure the team is equipped with the necessary camera gear for the project, including the camera itself, media, lenses, filters, rigging accessories, and etc. My naturally keen attention to detail ensures everything is prepared promptly, minimizing downtime on set where time is both expensive and precious during production.”— Chir Yan Lim
First Assistant Camera/Focus Puller Chir Yan Lim has made invaluable contributions to the storytelling on several feature movies including Alone, Sharpshooter. Pieces of Amy, El Sueño and God is a Bullet. She has also added her skills to the storytelling on documentaries (on PBS) and several national commercials, explaining, “With a deep love and passion for image creation, I possess a profound appreciation for the artistry involved. This fervor drives me to play an integral role in bringing the storytelling of films or commercials to vivid life.”
Malaysia-born Chir Yan, who has also been efficient as a Photo Assistant or Camera Operator on several Glamour magazine cover shoots for the likes of Sydney Sweeney, Paris Hilton, and Halle Bailey, offers a wide range of skills and assets. With a Degree in Film Production (California State University, Northridge), Chir Yan enthuses: “Beyond my hard-earned technical proficiency, I believe my greatest asset as a 1st assistant camera is my commitment to being a team player. I prioritize the well-being of everyone on the team, fostering a positive environment where a content crew and satisfied cinematographer contribute to smoother productions.”
Chir Yan, who has also worked on podcasts, documentaries (PBS), and promotional videos, talks about what makes her invaluable to clients, about the power of moving images, her dedication to collaboration, learning variously related skills, and about advocating for diversified talent that knows no gender boundaries.
— You say there are commonalities but what are the differences between creating the art of moving images and still photography?
— There’s a timeless adage that photos freeze moments in time, a sentiment I find profoundly true. When time stands still in a photograph, we’re drawn to scrutinize every detail, enabling us to fully immerse ourselves in that singular moment. Conversely, moving images offer a shared experience or journey. Still photography presents a challenge in distilling a wealth of information into a solitary frame, while crafting compelling moving images requires a delicate balance to captivate without dulling the audience’s interest. This balance is achieved through meticulous camera movements and pacing. The allure of moving images lies in their ability to transport the audience, inviting them on a captivating journey. By integrating my understanding of both mediums, I’m able to explore their unique characteristics and continually push creative boundaries.
— What is your role as First Assistant Camera on filmed projects?
— As the First Assistant Camera, I am responsible for meticulously managing all essential equipment for each shoot. Leading the camera department, I ensure thorough preparation of gear, conducting meticulous inspections to guarantee optimal functionality meeting industry standards. I have to adeptly navigate diverse shooting conditions, anticipating and providing necessary equipment for seamless production.
— What have you contributed to your filmed projects and what challenges have you helped to overcome?
— Generally, going through challenges fosters a unique camaraderie among the crew, strengthening our bonds within the team, which we often called it “trauma-bonding.” One memorable experience occurred during the filming of El Suenño where we faced scorching heat exceeding 100F degrees on an orchard field. The challenge then was to make sure the gears do not get overheated and that even includes the need to pad down our transmission system with a “protected” ice pack. Filmmaking is definitely performing the skill and knowledge that we have in all different sorts of environments, and it’s trained me to always be prepared for changes, and adapt to the new challenges and condition.
— How have you overcome challenges on national commercials?
— Working on commercials sometimes also places us in uncommon environments. For the shoot with Titleist, the giant golf manufacturing company, we were tasked with filming on a golf course, that was ginormously spacious. Therefore, we decided to ‘customize’ the golf cart into a camera cart using our film rigging tools. I also rigged my focus-pulling station onto the cart for ease of movement between spots. Solving tactical problems like this can be both creative and enjoyable.
— What other challenges have you helped overcome?
— In another project, Sharpshooter, I worked as the Second Assistant Camera and had to juggle responsibilities for two cameras. But the most challenging aspect was contending with unexpected rain during our overnight exterior shoot. Working in the dark while the sky poured down was both stressful and tedious, simply because water and camera gears don’t go well together. Similarly, during the filming of Pieces of Amy, an unexpected snowstorm posed a significant challenge, requiring precautionary measures to safeguard our equipment and ensure functionality in the unusual low temperatures. Additionally, ensuring my team’s basic needs such as heat and safety was paramount.
— How has your understanding and expertise in various roles made you indispensable to producers and clients?
— I entered the industry by seizing every opportunity that came my way during film school. I firmly believe in the principle of learning by doing, which has enabled me to gain valuable experience and refine my skills. Along the way, I embraced diverse roles across various departments and that’s provided me with a comprehensive understanding of the collaborative nature of filmmaking, facilitating smoother integration with other teams on set. Moreover, as I progressed through the ranks, I’ve developed a profound appreciation for every role on set and gained insight into the significance of adhering to rules and regulations.
— How does teamwork apply to both moving and still image creation?
— As a filmmaker and photo assistant, I excel in collaboration by actively listening to others’ ideas and perspectives, fostering a cohesive team environment. I thrive on working alongside others to contribute my skills and expertise, ensuring our collective vision comes to fruition. Through effective communication and a willingness to adapt, I consistently strive to elevate the creative process and achieve shared goals.
— What are 5 critical things you “don’t” want to do?
— Don’t be scared — you’ll encounter numerous challenges and hurdles, so maintain self-trust and resilience; Don’t say “I can’t” — overcoming our own internal doubts can be the greatest challenge; Don’t be limited — exploring diverse dimensions, art forms, and skills not only enriches your personal growth but also enhances your creativity as a multifaceted creator; Don’t be mindless — engage as a critical thinker, questioning the status quo and considering alternative approaches; Don’t halt — life is a personal journey, a race against ourselves, so keep moving forward.
— How has an award-winning director like Yasmin Ahman influenced you to aim for movies that include greater inclusivity?
— Yasmin was a significant source of inspiration for me. I first encountered her through her Petronas advertisements, like the powerful My Son, and they left a lasting impact on me with their soul-stirring narratives. Each ad, though only minutes long, was unforgettable, evoking profound emotions and delivering powerful messages. I eagerly anticipated her ads each year, marveling at the potency of moving images in eliciting emotions and impactful messages. Yasmin’s films courageously tackled pressing social issues such as class, race, privilege, and language. Inspired by that, advocating for my abilities, regardless of my background or gender, plays a crucial role in breaking down stereotypes. By confidently asserting my skills and expertise, I challenge preconceived notions and inspire others to recognize merit over gender. For example, in my past experience, I took charge of key responsibilities despite initial doubts, proving that talent knows no gender boundaries and paving the way for greater inclusivity in the industry.
Drop in on Chir Yan Lim’s website, and on her pages on IMDb, LinkedIn, and Instagram. And, check out Chir Yan’s credit on the Sydney Sweeney/Glamour Magazine shoot.
