Sharpening the Frame: An Interview with Focus Puller Hippolyte Charlut

Today, we’re sitting down with Hippolyte Charlut, a New York–based Focus Puller and 1st AC who brings technical precision, creativity, and calm leadership to some of today’s most fast-paced film sets.

Originally from France, Hippolyte has quickly made a name for himself in the U.S. film industry, working across narrative films, music videos, documentaries, and commercial campaigns. Known for his expertise in critical focus pulling, camera builds and rigging, and on-set workflow coordination, Hippolyte works side-by-side with Directors of Photography to ensure every frame is visually flawless—from handheld shots to complex gimbal and car-rig sequences.

Today, we’ll explore his journey from France to New York, his approach to mastering the art of focus pulling, and the experiences that have shaped him into a rising talent in the film industry.

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Your journey has taken you from France to New York in a relatively short amount of time. What inspired the move, and what was the biggest adjustment you had to make when entering the U.S. film industry?

I moved from France to New York because I wanted to work in an environment where the film industry operates at the highest technical and creative level. The U.S. industry offers enormous opportunities, bigger budgets, and a faster pace that pushes you to grow.

The biggest adjustment was adapting to the intensity and speed of American productions everything happens faster, expectations are higher, and the level of precision required from every crew member is extremely demanding. It pushed me to refine my technical workflow and communication skills.

As a Focus Puller, your work is incredibly technical—and often invisible to the audience. How do you explain what you do to someone who isn’t familiar with film production?

I usually say that I’m responsible for making sure the image is perfectly sharp at every moment.

More specifically, I manage lens calibration, distances, camera builds, wireless systems, and real-time focus during shooting. My work ensures that the DP’s vision is captured with total precision. Even if people don’t see my job on screen, they definitely see when focus is wrong, so the pressure is constant.

What separates a good Focus Puller from a great one on set, especially in high-pressure environments where every second counts?

A good Focus Puller knows the equipment; a great one anticipates everything.

It’s about reading the actors’ movements before they happen, understanding the DP’s intentions intuitively, staying calm in high-pressure moments, and managing complex setups without slowing down the set. Precision, timing, and communication make the difference.

You’ve worked on narrative films, music videos, commercials, and documentaries. How does your approach change depending on the type of production?

Narrative work is about consistency and storytelling, so I focus on continuity and long, detailed setups.

Music videos are fast, creative, and often involve extreme lensing or camera movement. You have to stay flexible.

Commercials require a very high level of technical precision, especially with product shots.

Documentaries demand adaptability: you often work handheld, move quickly, and react to unpredictable situations.

Can you walk us through a particularly challenging or complex setup you’ve worked on—whether it involved a gimbal, car rig, or handheld build—and how you navigated it successfully?

One of the most challenging setups was a high-speed car-rig sequence with a gimbal mounted externally and actors performing inside the moving vehicle.

I had to manage multiple wireless systems, vibration issues, fast dynamic shifts in distance, and constant changes in speed.

I prepared by pre-marking lens ranges, rehearsing with the operator, and monitoring from a chase vehicle.

The key was communication and staying ahead of the movement if you’re reacting instead of anticipating, you’re already late.

You work closely with Directors of Photography. What does the ideal relationship between a Focus Puller and a DP look like to you, and how do you help bring their vision to life?

Trust and communication. A great DP gives you the creative intention of every shot, and as a Focus Puller you translate that intention into technical decisions. When the DP trusts you, the workflow becomes fluid they focus on lighting and composition, and I make sure the technical execution is flawless.

The best collaborations are when you barely need to speak because you already understand each other’s rhythm

Your work has contributed to award-winning short films and major commercial projects. Which of your recent projects challenged you the most creatively or technically—and why?

Recently, a commercial shoot with multiple lens changes, heavy handheld work, and tight lighting setups pushed me a lot. The director wanted constant movement and very shallow depth of field, which means focus accuracy had to be perfect.

It forced me to work extremely precisely while also adapting instantly to last-second changes.

The film industry is constantly evolving technologically. How do you stay sharp and current with new camera systems, lenses, and monitoring technology?

I’m constantly testing new gear, updating my personal databases, and working with rental houses to train on the latest systems.

I also exchange workflow tips with other ACs and operators.

Staying updated isn’t optional in this job technology evolves fast, and productions expect you to master every new tool immediately.

For aspiring camera assistants and focus pullers looking up to your journey, what advice would you give about getting started and standing out in such a competitive field?

Practice as much as possible, stay humble, and learn from every DP and operator you work with.

Be reliable, fast, technically sharp, and always prepared.

And most importantly: never panic. If you stay calm under pressure, people will trust you and that’s what opens the doors in this industry.

Hippolyte Charlut is an accomplished Focus Puller, originally from France, now based in New York. Over the past two years, he has built a strong career in the U.S. film industry, working across narrative short films, music videos, commercials, and documentaries. Known for his precision and technical expertise, Hippolyte specializes in critical focus pulling, lens management, camera builds and rigging—including handheld setups, gimbals and managing on-set camera workflows and wireless monitoring systems. He collaborates closely with Directors of Photography and the camera department to ensure perfect visual continuity, technical accuracy, and smooth operations on fast-paced sets. Hippolyte’s work has contributed to multiple award-winning short films and notable commercial projects, earning him recognition among peers and establishing him as a rising talent in the U.S. audiovisual industry. His dedication, professionalism, and ability to adapt to a wide range of production environments make him a sought-after camera assistant and focus puller for ambitious and technically demanding projects.

Instagram (@hippocharlut)