At a minimum, the call sheet should provide you with sufficient information to arrive on time at a given location with the necessary equipment, together with a list of the people involved in the shoot, their function and contact numbers. Nevertheless, it's often useful to have other details concerning your location, and a well-ordered call sheet will contain all you need to know about shoot/times/location/security/hazards/facilities/directions, etc. etc.
For some shoots, much of this information will have been put together from a site visit by production. On complex shoots, there are times when you may be invited to join in this location visit to assist with the planning. In order to pass the relevant information on to your colleagues, I suggest you take a copy of this list with you.
Location planning – recce
You need to ascertain the following:
The full postal address of the location, including postcode. (An O.S. reference is useful for remote locations, and/or a photocopy of a local map, with the site marked in highlighter.) Directions to site are a bonus, but must not be substituted for the address/postcode.
Names and telephone numbers of on-site contacts/PR.
If permission is required to shoot anywhere on the location (or any particular insurance provision necessary), how may it be obtained, from whom – name, position/designation and contact number, and how long will the process take? (See also, Accreditation/passes/permits, below.)
Make sure you have the details for all three sections above in writing.
As well as obtaining the following details, it is useful to mark, or indicate their position on a site plan:
Parking should be arranged as close to the shooting area on the site as possible for all vehicles carrying equipment. Remember to make provision for the time involved in loading and unloading. If at all possible, obtain parking space/permits for all vehicles involved in the production
Security and ease of access to the site/building – will equipment movement in and out prove straightforward? Points to note are:
Are the entrances/doors/corridors sufficiently wide for manoeuvring the bulk of the equipment?
Do stairs need to be negotiated, and are they of sufficient width?
Are there (working) lifts with sufficient capacity?
Are trolleys available?
At (or just prior to) the call time, is there likely to be any difficulty with obtaining entrance?
Will equipment or facilities be delivered to site before (and/or collected after) the scheduled on-site times? If so, are there facilities to store it securely overnight if necessary?
Will either of the above cases pose a problem for any on-site security? Designate the person whose responsibility it is to notify them beforehand.
Are there any other restrictions with respect to emergency access to the site?
Position of the shooting area relative to the compass – indicate north on sketches/plans, the cameraman needs the information to determine the position of the sun (which may be very important from a continuity point of view for previous shoot/s, scene/s).
Risk/hazard assessment – check that production complete the form, and ensure that all relevant details appear on the call sheet.
Indoors – points to note are:
The room size, does it have alcoves or other raised or partitioned areas, its wall colour/s, ceiling height and colour, the type of floor and its covering and colour?
The position of doors, their dimensions, do they open outwards or inwards, and are they designated fire exits?
Windows (and skylights) – their sizes and positions, do they open, if so which way, and do they have curtains and/or blinds which fully cover their surface area? What is the position of sunlight (where's north)?
The style and colour of furnishings and fabrics?
Details pertaining to fixtures and fittings such as – the size and position of mirrors and/or glass fronted cabinets, the types of tables, chairs, cabinets, desks, shelves, wardrobes, etc. Are they easily moveable?
The position and value of ornaments and antiques, can they be removed for the shoot, or are they a necessary part of the location/storyline?
Acoustics – note the amount of reverberation, and whether there is any intrusive noise, such as ventilation, clock(s), fridge, phones, office equipment, etc. plus any disturbance likely from outside the room such as a reception area, public access, catering facilities, lift motor, kitchen, bar, toilets nearby (see also Outdoors).
Room lights – how many are there, how bright are they (what sort of power), are they on dimmers, what type are they (chandelier/wall-light/floor or table stand – are they tungsten/fluorescent – do they have coloured shades) and their positions?
How much electric power is available (but do not simply count sockets/outlets)? Check the amount of power/circuitry with on-site sparks, and make a note of their name, number and availability on the shooting days. Plan for cable runs to lights/equipment, taking care not to propose a route for cables directly across fire exits, etc.
Where are the nearest fire exits?
Outdoors – points to note are:
Sources of noise over which you have no control, and your proximity to them. Examples being, road/rail traffic, building/road works, emergency services (sirens), public clocks, church bells, airport, etc.
Exterior lighting over which you may have no control, for example, street lights and floodlights. What are their position/s in relation to your shoot, how much light from them is likely to affect the location, and what type (colour) are they (important if night shooting is planned)?
The prevailing weather conditions, what is the long range forecast, but irrespective of its prediction, always make provision for inclement conditions?
Numbers – how many people are involved at any one time (both on camera and off, such as guests, advisers, roadies, supernumeraries, etc.) and are they all TV experienced? Are any of them likely to be unpredictable (children and animals spring to mind immediately)?
Facilities – how close/accessible are toilets, food, drink, accommodation? Is public transport easily accessible, bus/train station, airport, taxi?
Emergencies – location of first aid on site, local hospital, doctor, police station.
Events
Points to note are:
Official start time – plus are there any proposed restrictions and/or security surrounding the event which could hinder parking, access, etc.? If so, what is the earliest time that they are likely to come into force?
Accreditation/passes/permits – what type of personal ID is necessary? Is there paperwork to be completed on an individual basis? Are passes available to all those on the shoot? Do they provide access to all areas, and are they valid for the whole event (especially if it takes place over several days) or are there restrictions and/or different ‘levels’ of passes? If so, how many? Who is responsible for providing them (name/official position/number) and how long will the process take? How will the passes be collected/distributed?
Formal attire – are there likely to be any important dignitaries and/or members of the royal family present? Is formal dress or other special attire required?
The number of people in attendance – how many people/guests/audience are expected and will there be press and/or other crews present?
Public address – is there PA, and will a feed be provided on request?
Related or simultaneous events – will there be other activities/events taking place at the same time, such as a local carnival, competitions, celebrations, etc. which may cause travelling, access and/or noise problems? When forward planning, always keep your eye on the calendar for bank holidays, royal birthdays, Trooping the Colour, Remembrance Day, Bonfire Night, etc. which may place restrictions on your activities.
Crew call sheet
The call sheet should be easy to read, with important points in bold or large text. It should be printed in black type on white paper for ease of fax transmission. All times for the day should be specified using the 24 hour clock and local time. Any travelling between time zones should be very clearly indicated. To provide an overall indication of journey time, include the time at your home base in brackets, e.g. arrive Paris 1630 local (1530 GMT).
The name of the production/client, the production company (together with the company logo), their address and contact numbers should feature prominently at the head of the document.
This information confirms the veracity of the booking, and also serves to authenticate your presence upon arrival at the location, should security or other staff require proof of your status.
Call time and R/V
Crew arrival time, using the 24 hour clock, and (specific) meeting place on location (e.g. 0900: main reception).
Full postal address including postcode.
Names and telephone numbers of on-site contacts/PR.
Production details
The names of the production team.
Their base/office address and phone numbers and fax number if different from page heading.
Their mobile numbers and home numbers.
The details from the recce, hazards and precautions, plus ‘Tech Reqs’.
A brief reésumeé of the shoot.
A timed running order for the day's events, covering rigging, shooting, meal breaks, travelling between locations, and expected de-rig/wrap time.
Other relevant information, especially if other days or crews are involved in shooting for the piece/programme, plus any special requirements.
Post-production schedule, VT/film editor's name/contact, and TX time/date.
This should be available to the crew at least 24 hours before the shoot.
The earlier the crew have the call sheet, the earlier they can ensure that the requirements – especially with regard to hiring/availability of equipment – are met. It also allows time for them to institute last minute queries arising from the information on the sheet.
Shooting
On the day
Meet at the R/V as specified.
If you were unable to speak to production beforehand – spend the first few minutes discussing the shoot. They should:
Outline the finished product.
Indicate whether there has been a previous shoot, together with details of shots which may need matching, and plans for future shooting with respect to the same item.
Specify the order of interviewees and whether they are to be framed right to left, or left to right, where applicable.
Provide details of shots/effects/problems specific to the location.
Identify possible problems, e.g. interviewee availability, parking restrictions, site access, etc. has enough time been allowed overall, and is there any slack?
Contingency plans, or where things may differ from plan.
Discussion beforehand minimizes the risks posed by potential problems which could disrupt the shoot.
At the end of the day/shoot, ensure that production have all their tapes/rushes, and that they are clearly and concisely labelled.
