PRODUCTION MANAGEMENT

Production management is another term for physical production, and it not only encompasses the studio and production company execs who supervise the freelancers working on their shows, it also incorporates those who are “in the trenches”—the line producers, unit production managers (UPMs), assistant directors (ADs), production supervisors, production coordinators (also referred to as production office coordinators or POCs) and assistant production coordinators (APOCs).

LINE PRODUCER

A line producer is also referred to as the “nuts and bolts” guy (or gal), the producer’s right-hand person and the budgeting-scheduling expert who supervises all administrative, financial and technical details of the production—a distinct challenge, no matter what the show’s budget or genre. This individual is usually the one who makes the above-the-line deals, as well as many others, and is responsible for all the day-to-day matters that go into keeping the show running smoothly, on schedule and on budget. The line producer functions as liaison between the crew and the producer and is also answerable to the studio exec (or completion bond company rep) assigned to the show. He has to have keen people and negotiating skills and be proficient at putting the right team together, putting out fires, making decisions on a dime and walking a tightrope while balancing the director’s vision, budgetary considerations, the studio’s concerns, union and guild regulations, the cast and crew’s needs, comfort and temperament, the weather, the right locations and countless other details. Whether it’s changing and re-changing the schedule to accommodate an actor’s other commitments, finding ways to keep a tired crew’s morale up, figuring out how to fill a stadium with people when you can’t afford to pay for that many extras, knowing how to make one location look like several or attempting to reduce the budget so the picture can be shot locally instead of having to take it to another country—it’s an extremely pivotal position. And while the duties of a line producer are rarely as ambiguous as are other producing categories, the exact screen credit a line producer receives can occasionally be confusing, especially now that line producers are receiving executive producer credit.

UNIT PRODUCTION MANAGER

In a nutshell, the production department is a “service” department that handles the logistics for the entire company. It’s the ever-so important hub of the wheel that enables everything else to keep turning and happening. It’s exhaustingly hard work—fast-paced and challenging. And while not considered creative or glamorous by most, those of us who know differently understand that there’s something pretty amazing about creative problem-solving. And as in most other freelance positions—there’s always something new to learn, new people to meet and work with and new locations to travel to. Production is the behind-the-scenes office responsible for dispersing all pertinent information, making sure everyone involved has what they need to do their job and of ensuring that everyone and everything arrives on the set each day—on time and prepared. Production is responsible for preliminary budgeting; scheduling; negotiating for and securing a crew, locations, equipment and all outside services. They generate and distribute scripts, script changes, schedules and a plethora of other essential paperwork (now most often distributed electronically). They make sure all contracts and releases are signed and handle all issues relating to insurance, unions and guilds, safety, product placement, aerial work, clearances and local, distant and foreign locations. Like a band of gypsies, they’re used to setting up mobile and/or temporary, full-functioning units and offices almost anywhere and in no time—experts at transporting to and accommodating entire shooting companies on just about any location in the world.

Production also tends to the comfort and needs of its cast and arranges for all cast and other above-the-line perks—all those extra goodies listed in their contracts (some of which happen to be the size of small phone books), such as extra-wide “popout” trailers, cell phones, TV/DVD players, microwave ovens, specially-prepared food, transportable gyms, personal trainers and chefs—and the list goes on.

The line producer and the unit production manager (UPM) have very similar responsibilities. Generally the one to prepare the first complete schedule and budget, the UPM must function as a trouble-shooter and problem-solver, think on her feet and have the ability to anticipate problems before they occur. She needs to be a good negotiator and thoroughly understand the production process, because she’s the one who makes the deals, hires the crew, (note that it’s usually the line producer who makes the above-the-line deals) and approves all expenditures, time cards, call sheets and production reports. Good people skills are a tremendous asset to a UPM, as she must routinely interact with the entire cast and crew, a myriad of vendors, agents and managers, union reps, studio executives (or investors and bond company reps), film commissioners, etc. She’s quickly blamed when something goes wrong, not always appreciated when things go well and is well known for having to say “no” more often than others care to hear it. Having to work closely with each department to stay on top of what and how everyone’s doing and to make sure they all have what they need, she’s also under constant pressure to control or cut costs. It’s quite a balancing act, and one must be diplomatic, creative and adept at finding compromises to do it well. And although her capabilities must be multifaceted, the skill most valued by a studio is a UPM’s ability to keep a show on (or under) budget.

FIRST ASSISTANT DIRECTOR

A first assistant director is the director’s right arm and the liaison between the director and the crew. He’s the one who, once all final determinations are made during pre-production, prepares and issues a final shooting schedule and a selection of breakdowns (schedules of background players and standins, stunts, special equipment, picture vehicles, etc.). The First AD is instrumental in setting the director’s pre-production schedule and running the production meetings. And in conjunction with the director and UPM, he oversees the survey and selection of shooting locations. During principal photography, (the “shooting” period in which all scripted material covering all speaking parts is filmed) the First runs the set, oversees a contingent of at least one second assistant director, sometimes a DGA trainee and set PAs. The First is largely responsible for safety and for ensuring that each day’s work is completed. He directs background action and supervises crowd control and is the one who yells “Quiet on the set!” On episodic television where the directors constantly change, the First AD has a great deal of input and more of an opportunity to shape the outcome of a show.

First ADs often become production managers and line producers, but some just love what they do and remain First ADs throughout their careers.

SECOND ASSISTANT DIRECTOR

During pre-production, the second assistant director works closely with casting, extra casting and locations; goes on tech scouts (“technical” scouts are when specific department heads are taken to selected location sites to ascertain requirements needed to prepare for shooting at that location); helps with breakdowns and clarifies all needs in as much detail as possible. She makes sure everything is ready, call times are issued and all paperwork is in order and packed for the set. During principal photography, she’s responsible for the cast, stand-ins, extras and photo doubles, making sure they’re where they’re needed when they need to be there. She takes care of all on-set paperwork, coordinates the schooling of minor cast members, works closely with casting, liaisons with the production office, issues work calls, checks cast members in and out, orders extras and supervises the second second assistant director, PAs and interns working under her supervision. A Second’s rear rarely sees the top side of a chair. They’re the first ones to report to set at the beginning of the day, the last to get lunch and the last to leave once wrap is called.

Second assistant directors usually move up to become first assistant directors. Some Firsts are perfectly happy to retain that position throughout their entire careers, because when working on a fairly regular basis, the salary and benefits are terrific. Those who do move up tend to become UPM/line producers, producers, second-unit directors, directors and production executives. Working as an AD is a great way to learn while amassing an extensive network of contacts.

PRODUCTION SUPERVISOR

The production supervisor isn’t a traditionally standard position, but one that is fairly common—especially on larger productions. This person is a step higher on the food chain than a production coordinator, and doesn’t work as a UPM for various reasons. Either she’s not a member of the Directors Guild of America, or she is, and the show already has a UPM. On some shows, the line producer and UPM are one and the same, and the supervisor helps to handle the production manager duties. Other shows are busy enough and spread out enough to use the talents of both a UPM and a supervisor. Often, a production supervisor is asked to run an autonomous unit or is responsible for the oversight of certain departments, such as Construction.

PRODUCTION COORDINATOR

The production coordinator sets up and runs the production office; hires and supervises the APOC and other office personnel; interfaces with each department head and assists them with all their needs; helps the UPM by checking availabilities and assembling the crew; obtains bids on equipment and services; places orders for equipment and special services; handles all distant and foreign location travel (if there isn’t a travel coordinator on the show), accommodations, shipping, customs and immigration matters; makes sure all paperwork and information is generated and disseminated in a timely manner; liaisons with the set, the studio, the vendors, film commissions, agents, casting, etc.; handles all production-related insurance matters; oversees the “taking care of” the cast, making sure their perks are arranged for and ready on time; coordinates the screening of dailies; and prepares SAG contracts for day players, stunt players and anyone else whose contract isn’t generated by the project attorney or casting office. The coordinator definitely has to be someone who enjoys multitasking, is super organized, detail-oriented, patient, diplomatic, can anticipate the next step and be prepared, is good at problem-solving and has the ability to pack up his life and office on a moment’s notice and move to the next location. It’s a tough and often thankless job, but it can also be rewarding. Having done it for years, I always enjoyed putting all the little details together and watching everything come together. I loved taking care of “my” crews, being challenged, having to learn new things with each new project, negotiating good deals, constantly being exposed to new people and new experiences and feeling a great sense of pride from knowing that I was good at my job.

WHO DOES WHAT?

A question I’m asked often is “Who does what on the production team?” So in addition to the more detailed job descriptions listed above, at the end of the book, in the Appendices, you’ll find a Production Team Responsibilities chart that encompasses more members of the team and should help answer the question as to who does what. Also in the Appendices, you’ll find a rather simplistic Crew Organizational Chart that will give you an inkling of how a basic crew is structured and who reports to whom.

THE PRODUCTION OFFICE

For those working on a specific film or TV show, this is where it all starts. Casts and crews, vehicles and equipment don’t magically appear at a designated location site on a specific day at an exact time and start unloading, rigging, setting up, dressing, rehearsing, lighting and shooting unless a team of people seeing to every little detail makes it all possible. The “office” could be set up on a major studio lot, in a high-rise, in an old warehouse, a bungalow, a trailer, a mobile home, a hotel room or out of someone’s car, but it always serves the same purpose. It’s the driving force behind any production. Its significance and contributions are rarely fully recognized, and there is little correlation between how hard you work and the ratings or box office success of a show. Let’s face it. Who’s going to watch a movie or TV show and think to themselves, “Wow! Great production coordination on this one!” or “Gee, whiz. I loved the accounting on this movie!”

Coming from years of having set up, run and supervised production offices, I’ve witnessed the overwhelming feeling many rookies have upon walking into one for the first time. This is not something film schools generally prepare their students for, so let me give you an overview of how they’re set up and operate. If you’d like further information on this topic, I suggest you pick up a copy of my other book (if you don’t already have it), The Complete Film Production Handbook. In it you’ll find a much more detailed explanation of production and accounting procedures that emanate from the production office (covering pre-production through wrap). Also included is a wide assortment of the most commonly used terms, forms, checklists, releases, contracts and sample lists used to facilitate an entire production. If this is an area of the industry you’re interested in, knowing what the paperwork looks like will be invaluable to you. The book also contains a great Daily Office To-Do List, which will give you a better idea of what a day as an office PA looks like.

The production office (which also houses the accounting department) is the heart of a production. It’s the communications and operating center where, among other things . . .

• scheduling, budgeting and cost reporting take place.

• the crew is hired after their deals (salary plus extras that include guaranteed hours, screen credit, travel, housing, per diem, etc.) are negotiated.

• necessary services are lined up.

• regular communications are established with the studio, network, parent company and/or bond company.

• deals are negotiated with vendors, and equipment, vehicles, materials, supplies and catering are ordered.

• vital paperwork and information is generated and distributed (primarily electronically).

• contracts, releases and agreements are processed.

• insurance coverage, completion bonds, clearances, license fees, location sites and permits are secured.

• above-the-line cast perks are seen to and arrangements are made to get actors into Wardrobe and have them fitted for wigs and prosthetics.

• stunt work, aerial work and effects are planned.

• the look and colors of the film are decided, and sets are designed.

• special requirements such as picture vehicles, animals, mock-ups, miniatures, boats, helicopters and models are purchased, rented, fabricated and/or rigged.

• travel and hotel accommodations are made for all show personnel working on distant location.

• shipping, customs and immigration matters pertaining to all foreign locations (and international cast and crew working in the U.S.) are handled.

• stages are secured, as are post production and visual effects services and facilities.

• editing bays are set up, often requiring special electrical needs.

• arrangements are made for WiFi at the show’s various locations.

. . . and where countless other arrangements are made, details are managed, problems are solved and crew needs are met every day.

Every show is set up a little differently. Sometimes an art department will choose to work at a different location to be closer to the set construction, the transportation department will work out of its own self-contained trailer, the wardrobe department will work out of a wardrobe house and the prop master will work out of a prop house. There are also shows where everything is set up at the same location, and on large shows, that can equate to 20,000 square feet of space. Generally, production offices house:

• at least one executive producer.

• at least one producer.

• the director.

• the production manager (UPM) and/or production supervisor.

• the production coordinator.

• the accounting department (headed by the production accountant or, if it’s a very large show, a production controller). This department generally requires at least three (independently locking) offices, depending on the size of the accounting staff and the size of the offices.

• the location manager and one or two assistant location managers/scouts.

• two or three assistant directors and a couple of set PAs.

• the transportation department (coordinator, captain and a driver or two).

• the unit publicist (generally for two weeks before the start of principal photography).

• the art department (production designer, art director, set designer, set decorator, lead person (second-in-command to a set decorator), a set dresser or two, property master, assistant property master, art department coordinator and perhaps an art department PA).

• although not in the office all the time (and then only during prep) desks and phones are normally set up for both the stunt coordinator and director of photography (DP).

• a bullpen area for the assistant production coordinator, production secretary and at least two office PAs.

• an area for meetings.

• a kitchen or area that can be set up for craft service.

• a separate office or bullpen area for supplies and photocopying.

The line producer answers to the producer. The UPM and/or production supervisor answer to the line producer. The production coordinator answers to the UPM or supervisor. The assistant coordinator, production secretary and PAs work under the supervision of the production coordinator. The art director, set designer, set decorator, property master and art department coordinator report to the production designer. The entire accounting department works under the supervision of the production accountant (or controller). The location manager works closely with the director, production designer, producer and line producer. The first assistant director is chosen by the director and works closely with the director, line producer and UPM. The second assistant director is chosen by and reports to the first assistant director. And it’s the production coordinator who is primarily responsible for setting up and running the office.

Each office has a central information center (which is generally the reception area or a portion of a bullpen area manned by the APOC, production secretary and/or PAs), where messages are posted; out-baskets are labeled and set out for Outgoing Mail, Overnight Delivery Packages, anything going “To The Set” and “To The Studio” (or parent company); deadlines for outgoing mail and overnight packages are posted. If an office isn’t totally paperless, you’ll also find extra copies of crew lists, the latest script changes, schedules, day-out-of-days (a chart that denotes workdays, almost always referring to the cast), start paperwork, time cards, I-9s and other payroll and accounting forms and maps to locations. This is also where request for pickup and delivery slips, a menu book, an office supply catalog, extra office supplies, mailing supplies, waybills and other commonly used forms and supplies are kept. Because workdays are so long (ranging from 10 to 15 hours a day, sometimes longer), it’s not uncommon for a production office staff to work in staggered shifts. It makes the hours a bit less brutal for some of the staff, and the office is covered at first call or at the start of the business day (whichever is first) through wrap or the close of the business day (whichever is last). Even when the crew call is not early in the morning, someone is in early to set up the office for the coming day, be available to deal with vendors and accessible to prepping and rigging crew members who start early. And when shooting nights, many productions require coverage in the office through wrap.

For people who work all hours of the day and night, have little or no time to shop or cook, and for the most part, are fairly health-conscious, most production offices have a better stocked kitchen than you might have at home. The kitchen (or “craft service”) area is commonly stocked with an assortment of food, juices, snacks, fruit, etc., as well as a variety of headache remedies, antacids, cold medicine, vitamins and protein bars.

Accounting is a big part of any production office. This department is headed by the production accountant (or controller), who is essentially the guardian of the production’s budget and purse strings. The department as a whole is responsible for opening vendor accounts; processing check requests and purchase orders; paying the production’s bills (accounts payable); processing payroll; dispersing petty cash; making sure studio or production company accounting procedures are being adhered to and that all State, Federal, union and contractual obligations are being met as they come due. A great deal of this department’s time is spent tagging qualified expenditures eligible for tax credits and/or rebates and adhering to guidelines pertaining to a jurisdiction’s incentive program (sometimes more than one at a time). And on environmentally-conscious shows, certain costs are tracked to determine the production’s carbon footprint. Accounting also plays a major role in preparing insurance claims.

On their first day on a new show, crew members are given (or emailed) a packet of start paperwork. This packet may include some or all of the following: a payroll start/close slip, a U.S. Immigration I-9 Form, a box rental inventory form (a box rental is a fee paid to a crew member for use of his or her own equipment, and the inventory form is used to list said equipment), a blank deal memo form to be completed and approved by the UPM (deal memos may also come from the production supervisor or coordinator and outlines the terms of each crew member’s deal), a set of safety procedures, a crew information sheet and a memo outlining the production’s accounting policies. This memo will generally cover procedures pertaining to payroll (pay checks are issued on the fourth work day of the following week, usually Thursday), box rental, vendor accounts, competitive bids, purchase orders, check requests, petty cash, production-owned assets, automobile allowances and mileage reimbursement.

During pre-production, while based out of the production office, members of the production team are scattered—scouting locations, having meetings, reading actors, working on script changes, supervising the building of sets, working on the schedule or budget, etc. This is a time when good communications are essential and when everyone needs to be aware of everything else going on around them. Once pre-production is over and principal photography begins, the director, assistant directors, DP and stunt coordinator work exclusively from the set. Members of the transportation, art, prop and location departments are in and out of the office, as is the producer, line producer, UPM and unit publicist. It’s a bit less crowded and noisy once shooting begins, but busy nonetheless.

Prep doesn’t stop when filming begins. As long as there is shooting to be done (and changes that occur), there are preparations to be made (and remade). Once principal photography begins, the goal of the UPM, assistant directors, production coordinator and the rest of the production staff is to keep one step ahead of everyone else by making sure sets are ready on time; special elements (i.e., equipment, prosthetics, picture cars, animals, etc.) are there when needed; filming progresses as smoothly as possible; unexpected problems are resolved quickly; the director and DP are getting the footage they envisioned; the studio is happy and being kept well-informed; the set remains harmonious and the show is running on-schedule and on-budget.

Also during the shooting period, an assortment of paperwork is sent and/or emailed in from the set each night (waiting for the office staff when they arrive each morning). It’s copied, filed, acted upon and/or distributed as needed. The weather is closely monitored and cover sets (interior locations scheduled as alternate shooting sites for bad-weather days when exterior shooting isn’t possible) are planned, runs are coordinated between the set and the office throughout the day and cars and drivers are arranged for actors whose deals include being picked up and driven home from the set. Dailies (footage from the previous day’s filming) are scheduled, new equipment is continually being ordered and equipment no longer needed is returned. There is constant communication with vendors, new purchase orders are generated and pickups and deliveries are scheduled. If on a distant or foreign location, on a road show that is constantly on the move, or if more than one unit is operating at one time from different locations, there is a continuum of travel and hotel arrangements to be made, new crew members starting and others wrapping, new locations to set up and others to strike, a voluminous amount of shipping to coordinate and travel movements to keep. Quantities of supplies, materials, expendables, etc. are constantly being monitored, inventoried and reordered as needed. Script and/or schedule changes are continually being generated and distributed. New cast members are starting all the time, necessitating new contracts and deal memos, wardrobe fittings, additions to the cast list, travel plans (if necessary), etc. Call sheets are emailed in from the set toward the end of each shooting day, and maps and safety bulletins are attached before the call sheets are distributed. “Sides” (reduced-sized script pages that contain the scenes to be shot that day) are also prepared for the next day’s shoot and sent to the second assistant director. And in between a steady flow of problem-solving and budget-balancing, UPMs and production supervisors make their way through stacks of purchase orders, check requests, invoices and time cards in need of approval. All in all, the production office represents a fine-tuned operation that keeps the production running smoothly and continuously advancing toward completion. While what goes on behind the scenes is rarely heard about, it’s a facet of the filmmaking process that should never be underestimated.

GREEN PRODUCTION

The preferred color of most productions these days is green, and environmentally-responsible procedures have become commonplace—in offices and on sets. No longer do production offices just recycle paper—many are going paperless all together and use virtual production offices to distribute vital information. And no longer are disposable water bottles merely being recycled, but on many shows, cast and crew members are required to carry their own water bottles and refill them at central water stations. The industry as a whole is firmly on board with a myriad of eco-friendly programs, standards and checklists. There are also consulting companies ready to advise and set up environmentally sustainable practices and procedures tailored to specific productions. If you’re located in certain cities, there are companies that will pick up recyclables right from your set at no cost. At some studios, you’ll find one or two individuals responsible for overseeing environmental policies, and at some, there are entire departments. There are programs that merely entail a list of guidelines, suggestions and resources. And there are others that include very specific policies and goals that include the tracking of each production’s carbon footprint. As you start any new production, be aware of the company’s green (environmental) policies.

PRODUCTION TECH

I remember how scheduling and budgeting software transformed the production process, and technology-wise, that was it for a long time. In the past several years, however, there’s been an explosion of web-based environments that have streamlined every step of the production process. There have been so many technological innovations, my head hurts just trying to keep up with them all. To name just a few, there are web-based tools for:

• casting—cas­tit­sys­tem­s.c­om

• virtual production offices—sce­nio­s.c­om, swi­ftl­yic­.co­m, ep.­com­/ho­me/­man­agi­ng-­pro­duc­tio­n/s­cen­ech­ron­ize­/, est­udi­one­two­rk.­net­

• asset management and workflow systems—dax­clo­ud.­com­, 5th­kin­d.c­om

There was a time when location managers and scouts would take photos of potential location sites (using 35mm film) and then drop their film off to be developed and printed. Once the photos were ready, they would tape them to the inside of a manila folder (often laying them out in order to create panoramic views). They would label each folder and stack them up before carting them off to present to the production designer and director. Today photos are taken digitally and are emailed or sent via Dropbox (or another program that allows you to send large files all at once). Many location managers and scouts have their own websites on which they post photos, making it easy for multiple people to view. I asked some of my location manager pals which tech tools they currently use, and they listed a combination of web-based resources, software and apps that included Adobe Lightroom, ArcSoft Panorama Maker, Gmaps Pedometer (for route planning), Google Maps/Earth/Images, Yummy FTP to transfer files, Filemaker Pro and Evernote (for keeping notes). If the old photos taped to the manila folders are still in existence, they’re at the bottom of an old file cabinet in a storage shed or they’ve been scanned and are kept in digital files.

Whether it’s virtual reality or the latest in previsualization (a process used to generate preliminary versions of shots or sequences predominately using 3D animation tools and a virtual environment)—if you want a career in any facet of production, I recommend that you stay up to date on the technology that you’ll one day be using (if you’re not already).

A REEL SET

Before we even get to the set, it’s worth mentioning that once principal photography begins, an army of people report each day to base camp—a small city of trailers, motorhomes, tents, trucks and other vehicles, equipment, a catering truck, dressing rooms, etc., that’s located in close proximity to each day’s shooting location. This is where the cast is made-up, coiffed and wardrobed, it is where equipment is prepped, meals are served, meetings are held, background players and stand-ins are checked in and out and from where cast, crew, equipment and materials are transported to the set as needed.

Walking onto a real set on a real movie, TV show, commercial or digital media project is very different than the set of a student film. First of all, your crew is usually much larger. And second, there are unwritten protocols and rules of behavior that you wouldn’t necessarily know without the practical experience.

Deciding what to shoot each day starts with what’s reflected in the shooting schedule. Adjustments are made to accommodate changing weather conditions, an occasional sick actor, the availability of certain locations or pieces of special equipment or the possibility that the show is running behind or ahead of schedule. Once the first assistant director, director and line producer agree with what’s to constitute a day’s work, it’s reflected onto a call sheet and distributed the evening before.

Actors and stunt performers are given work calls to accommodate the time it takes them to get through wardrobe, hair, makeup and prosthetics, and crew members are likewise given call times to accommodate the amount of prep time they each need. More time is always needed when shooting in a new location. Less set-up time is required when returning to a long-standing set on a sound stage or other interior location. When shooting on a distant location, drive time to and from the set is also factored into the workday.

Each day is different. Sometimes a succession of scenes is completed, sometimes just portions of one scene. Much will depend on what type of show it is, the schedule and budget and how complicated any particular scene is. A one-page scene of two people sitting at a table talking is going to take a lot less time to shoot than a one-page scene full of car crashes, stunts and explosions. One complicated scene (such as one on a battlefield) could take several days to accomplish (as well as multiple cameras and second units). Much will also depend on the amount of coverage any one scene is given. Low-budget films and productions with inflexible schedules and budgets don’t have as much latitude when it comes to creative lighting and camera moves.

Let’s just say you have a scene in which several people are sitting around a table talking and having dinner. Coverage would normally begin with a master shot, often achieved with a wide-angle lens to encompass everyone who’s in the scene. Subsequent coverage might include two-shots, close-ups, over-the-shoulder shots and high- or low-angle shots. If the table is outside on a rooftop, the director might want an aerial shot (captured via helicopter or a drone). The more coverage the director is able to get, the more footage the editor has to work with. Every time the camera is moved, however, another set-up is created, and lights, equipment and sometimes flats (walls) must be moved to accommodate the shot. If the entire scene is played out in the master, then each subsequent set-up represents a portion of that scene, sometimes requiring many takes until the director is ready to move on. Multiple set-ups and takes equate to a lot of waiting around, and those new to working on a set are always surprised at how slowly things move (especially on features).

The same basic sequence of events occurs over and over again throughout the day. They are:

1. Rehearse: The director works with the actors as they go over their lines and get a sense of the scene.

2. Block: Decisions are made as to where the actors will be standing, how the scene will be lit and where the camera(s) will be placed. Once finalized, the principal actors are dismissed (to deal with wardrobe, hair, makeup, prosthetic fittings, etc., or to just relax and go over their lines in their dressing rooms or trailers). At this point, the stand-ins are brought in for the purpose of lighting.

3. Light: The DP and gaffer are now in charge of lighting the set as per the director’s wishes.

4. Shoot: Once the set is lit, the stand-ins are dismissed and the principal actors are brought back in to shoot. (It’s the second assistant director’s responsibility to make sure the actors are ready once the set is ready for them.)

If you’re going to be working as a set PA, here are some things you should know.

• As a PA or trainee, you’ll report to the Second AD or Second Second AD.

• Wear comfortable (and quiet) shoes.

• Keep a backpack handy with extra clothing to cover changes in weather (extra sweatshirt, t-shirt, socks, gloves, boots, hat, warm jacket, rain gear); also sunglasses, sunscreen and a bandanna. (It can be kept in your car if your car isn’t parked remotely.)

• If you’re reporting to an interior set, never enter when the red light (wigwag) is on.

• The warning bell will sound once when the camera is rolling. It will sound twice when the shot is over and it’s safe to enter the set.

• Consider getting yourself a walkie-talkie belt (which can usually be found at an Army-Navy surplus store or a sporting goods store) or a waist pack to accommodate a walkie-talkie and cell phone. It’ll make it a lot easier for you to lug that stuff around all day.

• You’re going to want to keep a copy of the shooting schedule, one-line schedule, day-out-of-days, crew list, cell phone list, contact list and the script (with all the latest script revisions). Some use three-ring binders or legal-size metal clipboards with a hinge on the left side. They refer to it as “my tin.” The outside is flat and great for writing notes, and the inside is used to store paperwork and a few basic supplies. Most 2nd ADs carry hard copies and also look up information on their smartphones. And many 1st ADs are using what’s called a gold fold— a trifold with a snap closure they use to store paperwork and keep in their pockets. They can be purchased at specialty stationery stores, expendable stores or online.

• Your basic set supplies, or “kit,” should contain pens, pencils, roll-on type white-out, a small flashlight, note paper or a mini notebook and reduced versions of the crew list, one-line schedule, cast list, cell phone list, contact list, etc. They won’t all fit inside your clipboard, but you might get them into a fanny pack or work belt; and they should be carried around with you at all times.

• Read the back of a call sheet, learn crew job titles and how many from each department will be on the set.

• Learn the names of the cast and crew as quickly as possible.

• Learn basic terminology as well as production slang: what is a DP (and who is he/she)? What’s a gaffer? A best boy? What’s a stinger? A pancake? An apple box? What does it mean when someone yells “Back in?” If you’re told to get a grip, he’s probably the guy with the hammer sticking out of his back pocket; the electrician is probably the guy with a pair of gloves sticking out of his back pocket and clothespins on his sleeve, etc.

• Learn where each department is located (wardrobe, makeup, camera, etc.) so you can find people quickly.

• Learn the paperwork as soon as possible.

• Understand that everyone is busy, so when asking or answering questions or explaining a situation, be brief. Only say what’s needed. You’ll know when there’s time to chat.

• Start familiarizing yourself with union and guild guidelines.

• Learn military time (or keep a chart with you for easy reference).

• Always give the impression that whatever you’ve been asked to do is going to get done quickly. If for some reason you can’t accommodate a request, let your supervisor know immediately, so other arrangements can be made. (There’s always a sense of urgency on a set, and delays are costly!)

• Video village is the place where the director, producers, script supervisor and production execs watch the action on monitors. It’s an area that can get very crowded. You’ll want to watch, but you don’t need to be there (unless you’re invited).

• Show deference to strangers on the set, as you never know who they are. Be polite and respectful to everyone.

• Have a sense of when to be quiet, even when quiet hasn’t specifically been called for. If in doubt, be quiet.

• If you see something that might be hazardous, mention it to your supervisor.

• If you see individuals smoking, ask them to please stop, and if they don’t, advise your supervisor.

• Avoid stepping on cables.

• Never introduce yourself to a director or an actor because you’re a big fan and/or to ask for an autograph. You’ll meet them soon enough in the course of your job; don’t bother them unnecessarily.

• Stay out of the director’s and actors’ line of vision. Stay behind the camera.

• Don’t walk in front of the camera while others are looking through the viewfinder. If you absolutely must, you need to say “crossing” before you do so.

• When the camera is rolling, don’t walk, don’t talk. Remain quiet.

• Never take still photos on a set unless you get prior permission from the director of photography or First AD.

• Never sit down (except at lunch or to do paperwork).

• If you ever feel unsafe or see something being done that appears to be unsafe, let your supervisor know immediately.

• Be the last to take lunch—after the actors and the entire crew.

• Keep your conversations on the walkie-talkie short and to the point (or go to another walkie channel).

• Follow-up with anyone who has given you something to do. Let him know the task has been completed. And if for whatever reason you can’t complete the task—let him know that as well, so other arrangements can be made ASAP.

• When you’re on the set and cameras are rolling, keep your cell phone off. If for whatever reason you need to be reachable, keep it on vibrate. Just be aware that Sound can pick up a vibrating phone if it’s too close to the set.

• If you have nothing to do and have permission from your supervisor, help the crew out whenever possible. Just ask first. And never touch gear that isn’t yours without permission.

WALKIE-TALKIE BASICS

If you’re going to be a set PA or DGA trainee, you’re going to be given a walkie-talkie, because that’s the way film crews communicate. You may also be put in charge of assembling the walkies, making sure the batteries are charged and keeping track of which department/crew members have which units. Walkies have multiple channels, some of which are assigned to specific departments. Headsets are usually used with walkies, making them much easier to use, and the most popular headset is called a surveillance kit.

The large button attached to the headset is the push-to-talk device. It’s the microphone, so when you talk into it, hold it near your mouth, press down, wait a beat, and then start talking. Don’t let go of the button until you’re finished speaking.

Here’s some standard walkie language:

• “Walkie Check” —said when a crew member first turns on her walkie. You’ll respond with “good check” if it came through or “go again” if you had trouble hearing.

• “10–1” or “10–100”—what you’d say when you need to take a quick break.

• “Copy that”—what you’d say after information is relayed to you, signifying that he’s been heard and understood.

• “Go again”—meaning please repeat the information.

• “On it”—you understand the information being relayed to you.

• “[Joe] for [Kathleen]” —what you’d say if your name is Joe and you’re asking to speak to Kathleen.

• “Go for [Kathleen]”—this is how Kathleen would respond to Joe, letting him know that she’s heard him and is ready for the information he has for her.

• “Standby” —what you’d say if you’re being called for and can’t respond right away.

• “Switch to 2”—what you’d say if you’re asking another crew member to switch to a different channel, so you can have a longer conversation. You never want to talk too long on Channel 1, so longer conversations are often held on Channel 2. Before you switch to Channel 2, be sure to announce on Channel 1 that you’re switching to 2.

• “On 2”—what you’d say once you’ve switched to Channel 2.

• “Back to 1”—what you’d say when you’re done speaking on Channel 2 and are ready to switch back to Channel 1.

• “Eyes on . . .”—this term is generally used when an AD is requesting that another AD or PA find someone or some thing or is asking to know what’s happening.

This is just a sample of phrases you’ll hear over the walkie. You’ll pick up more as you go along, and terms may vary from show to show.

If you take the time to look, there are some terrific blogs being written by assistant directors and other crew members about the protocols of working on a film set. I’d like to give a specific shout-out to Michelle from Austin whose blog is: goi­ngf­orp­ict­ure­.tu­mbl­r.c­om.

GETTING INTO THE DGA

If you think you might like to pursue a career as a DGA, starting as a second assistant director, there are a couple of different ways to get into the Guild. While the competition is stiff, the best route is via one of the official training programs—the 400-day Assistant Directors Training Program on the West Coast or the 350-day Assistant Director Training Program in New York. Both programs consist of on-the-job training, seminars and special assignments. Trainees are assigned to work on the sets of various feature films, television series, etc. under the supervision of DGA members—primarily second assistant directors. Upon completion of the program, graduates are qualified to join the DGA as second assistant directors.

The Directors Guild–Producer Training Plan (which administers the Assistant Directors Training Program) is headquartered in Los Angeles. Established in 1965 by the Directors Guild of America and the Alliance of Motion Picture and Television Producers, it’s governed by a board of trustees consisting of representatives from both the DGA and AMPTP. Applications are available each fall for the following year’s training program and can be downloaded from the training program’s website. After the applications are reviewed, a certain number of individuals (the exact number is subject to change each year) are invited to the “assessment center,” and then, if considered eligible, are invited to be interviewed. A class is then selected to participate in the training program.

The requirements for the training program require that applicants:

• be eligible to work in the United States,

• have a high school diploma, and

• have demonstrated an interest in and/or have experience in the motion picture and television, entertainment or related industries and at least one of the following:

- a Bachelor or Associate degree from an accredited college or university; or

- certification of current enrollment specifying that you will complete your coursework and graduate with an Associate or Bachelor degree no later than the date specified on the most current application; or – written proof of having attained at least a level E-5 in a branch of the U.S. military service (along with a copy of an official DD Form 214 or a document on official letterhead, identifying the separation date and the condition of Honorable discharge); or

- two years (520 actual work days) of full-time paid employment (or its part-time equivalent). Applicants may also use a combination of college credits and work experience to meet the eligibility requirements. The combination must equal two years.

There is no fee to apply, and a test is no longer given. Of the 600 to 1,000 yearly applicants, nine to 15 are accepted into the program. To find out more about this program, what’s expected of a trainee and/or to download an application, go to: tra­ini­ngp­lan­.or­g. The phone number of the DGPTP is: 818/386–2545.

In New York each year, the DGA Assistant Director Training Program accepts a limited number of applicants into their program. The number is determined by the employment outlook for the coming year in the motion picture industry in New York. On average, the program receives between 300 and 350 applications from around the country, and of that total, between five and seven candidates are accepted. Applicants must be U.S. citizens or permanent residents. A four-year college degree and some industry experience is recommended but not essential. Applicants who are accepted are then invited to take an exam that’s held in New York City once a year. The exam consists of a battery of tests designed to evaluate problem-solving skills, interpersonal orientation, verbal ability and critical thinking. Those candidates who rate the highest on the written exam are then scheduled for a one-on-one, half hour interview with assessment consultants. Of those, about 20 candidates are chosen to interview before the Board; and of those, the trainees are selected for that year’s program. For more information on the New York DGA Assistant Director Training Program, go to: dga­tra­ini­ng­pro­gra­m.o­rg or call: 212/397–0903.

If you’re not able to get into the DGA through one of the training programs, another way in is via one of the Third Area Qualifications Lists, which allows production companies in certain instances to hire non-qualified and/or non-union second second assistant directors or additional second assistant directors when shooting outside of the Southern California and New York metropolitan areas. You’re allowed to work third area on a union show in one of these capacities (before you’ve accumulated a certain number of work days and are placed on a qualifications list) if you live locally. (Note, however, that the company must first consider those who live locally who are already on the appropriate qualifications list.) Once your days (and all required substantiation) have been accumulated, you can apply to be placed on the Third Area Qualifications List, which is administered by the DGA and the AMPTP. You will be informed if everything is in order, and a copy of that letter along with your application package will be passed on to the DGA. The Guild then has 30 days in which to agree or object to your application. If they have no objection, you’re placed on the Qualifications List, and it’s then up to you whether to join the DGA (or not). If you work under this provision while on a DGA project, you have to join while working on the production. If you’re submitting days from all non-union work, you can then choose to join “on placement.”

Third Area is considered anywhere outside of the Southern California Area, which expands from San Luis Obispo to the U.S.-Mexican border and anywhere outside of a 75-mile radius around New York City from Columbus Circle. All such employment must be performed in the United States or, if in another country, only on motion pictures on which the employment of American First Assistant Directors would not have been prohibited by labor restriction, law or quota.

In addition to the Southern California, New York Area, Third Area Film and Multi-Camera qualification lists, there are also Commercial Qualification Lists for commercial ADs and UPMs (negotiated by the DGA and the Association of Independent Commercial Producers “AICP”). For complete information on the requirements needed to be placed on each of these lists, go to: dga­.or­g/T­he-­Gui­ld/­Dep­art­men­ts/­Mem­ber­shi­p/A­DUP­M-Q­ual­ifi­cat­ion­-Li­st.­asp­x.

If you’re working as an AD or UPM on a non-union film that becomes a signatory during the course of the production or you’re hired early-on before a new production entity signs a DGA contract, you may work on the show as an incumbent. As an incumbent, you’ll be required to join the DGA, but once you’ve completed your assignment on that show, you’ll still have to finish fulfilling your days, which means that your work options may be somewhat limited. You can collect days on certain shows that are considered “exceptions” (specific low-budget basic cable and low-budget feature films). It’s also possible to be hired as an incumbent on a DGA project, if the company signing a new DGA agreement is eligible for incumbents. Also remember that you have to be a second second AD or additional second AD and a local hire in the Third Area where work is being performed to be eligible for that provision.

DGA members are also subject to a residency requirement, where they’re required to declare affiliation to a specific production center (Los Angeles, New York, Chicago, Florida, etc.). While the production center need not be the city in which they live, it is generally where most of their work is generated from. If a DGA member were to live in Omaha, Nebraska, for example, and he were to claim Los Angeles as his production center—he can work in Los Angeles as a local (meaning the production company would be under no obligation to pay air fare, hotel or per diem for this person), and he can work in Omaha as a local as well. DGA members can switch their production center once a year.