Positions on Set - An Ever growing list
- Thread starter Mattykins
- Start date
Mattykins
Cute Member
So, first day on set today.
We are running a very finicky RED camera package. The bugger likes to crash after playback - but aside from that, it is giving beautiful images. I like the camera after seeing it in use. I really do.
But that aside,
Script Supervision is something that in and of itself should not be that terrible. We run lines. Mark the coverage of the shots (IE. Master, POV, Main Character, Secondary), keep continuity, and watch the monitor for anything that might pop in that isn't supposed to be there. We also keep time on the takes. Fun stuff when that is all you have to do.
Here - I am effectively doing all of the paperwork on set. Camera reports, Sound logs, script supervision stuff. We don't have a shot list, so people ask me what we are shooting - and I don't even know. Sometimes the slate goes in without a number and they look at me, while no one told me we were now shooting a different scene with the same setup. They are common mistakes and oversights on lower budget productions. Some might not be able to happen - such as department heads. But scheduling is something any production can benefit from.
For those that aspire to be Assistant Directors - I cannot stress the importance of scheduling. Knowing what needs to be shot when, who is on set, what props are on set, and what we are actually shooting. It speeds the production and helps it run smoothly without people yelling. Another critical note is having people be heads of departments. Critically important. Again, helps the production run smoothly.
I can answer any on set questions you might have as I round out my second - and final day - on set tomorrow. I was invited to spend the rest of the week and some of next, but I am busy over the weekend.
We are running a very finicky RED camera package. The bugger likes to crash after playback - but aside from that, it is giving beautiful images. I like the camera after seeing it in use. I really do.
But that aside,
Script Supervision is something that in and of itself should not be that terrible. We run lines. Mark the coverage of the shots (IE. Master, POV, Main Character, Secondary), keep continuity, and watch the monitor for anything that might pop in that isn't supposed to be there. We also keep time on the takes. Fun stuff when that is all you have to do.
Here - I am effectively doing all of the paperwork on set. Camera reports, Sound logs, script supervision stuff. We don't have a shot list, so people ask me what we are shooting - and I don't even know. Sometimes the slate goes in without a number and they look at me, while no one told me we were now shooting a different scene with the same setup. They are common mistakes and oversights on lower budget productions. Some might not be able to happen - such as department heads. But scheduling is something any production can benefit from.
For those that aspire to be Assistant Directors - I cannot stress the importance of scheduling. Knowing what needs to be shot when, who is on set, what props are on set, and what we are actually shooting. It speeds the production and helps it run smoothly without people yelling. Another critical note is having people be heads of departments. Critically important. Again, helps the production run smoothly.
I can answer any on set questions you might have as I round out my second - and final day - on set tomorrow. I was invited to spend the rest of the week and some of next, but I am busy over the weekend.
Last edited:
Mattykins
Cute Member
Second Day
Yesterday was my first full day as a script super. I was hired as an independent contractor - like everyone else was - though last minute. I negotiated my contract on set actually.
Something I came across today was the critical importance of script supervision. Not only to watch lines being said are correct and match take to take, and note when they didn't, to feeding actors lines, to reading with them. There is a lot of responsibility there. I was stationed at video village. Watching focus of all things today. Along with an misgivings in the frame. The stray boom pole to the fly's mating behind our talents head. Everything needed to be noted. We were using the RED which records on drives. I was also in charge of making sure drives matched. As easy as that sounds - with everything else going around, it is hard to remember. We were up to the 29th drive when I left set today right before lunch.
As an aside, as a script super, I was given the distinct pleasure of running "lines" on the shoot. Lines is something I have never actually seen done before. And I enjoyed it - maybe a little too much. I was given three highlighters to note coverage on the scenes. What lines were being covered by what angle. We had a color for masters, one for any shot our lead is main point, and one for anything where the secondary character was in. As well as a zigzag pattern for any POVs. The colors had me excited. But essentially the purposes for this is to ensure coverage and make note of it for the director. Wether (s)he listens to you is another matter all together.
I will run through a senario with you all here right now. Lets say we had a master shot of myself talking to someone. Let's say that someone is my non-existent girlfriend. We have the master shooting right now. And lets say that master is labeled as Scene 23 Take 1. We get half way through it and I fudge a line. I, as the script super will recite the line missed in full to jog memory if asked by the talent. You don't want to jump in, especially if there are pauses in the script. Now we cut reset to one and go again. This time we make it all the way though. Money shot and print. Gate is checked (or drive is checked to be sure the clip posted). And we are moving on. When I bring out the marker, in this show it was green (representing a master shot) I would then mark the entire exchange with a line down the script from start to end point. We fudged a point midway so I make a dash on that line where we messed up. The script is marked, I fill out my paper work. In this case I had the Scene, Take, Sound remarks, Length of Take, Int/Ext, Lens used, T-stop, focus mark, remarks, and roll (drive). In this exemplar:
Scene 23, Take 1, good for sound, 1:23, INT., 85, T1.3, 6 1/2 feet, MASTER, Roll 15.
Now we are moving on with a new setup. This is noted for the DPR. The daily production report to be filled out later. This setup is now Scene 23/A. The camera is now an OTS on me. The same process works as above. Everything is again noted. Though this time a different color is marked on the script that we covered in that OTS. This is marked in say, orange for any camera on me. 23/A is noted in the Log.
We reset to one and take a new setup with an MCU on my non-existent girlfriend. Same process again. We roll and when we go to post, the RED pops up with an INTERNAL FAULT ERROR. We have a problem. I quickly make note of this and the exact message in the notes for the production. As our AC is running to get our camera tech, our DoP resets the RED and we are back and running. The drive is switched, and this is noted in the log. I am also recording scene files in the log. We go again for the MCU. Everything runs flawlessly. I note everything and mark the script with a blue marker to designate camera on a secondary character. We have proper coverage, and it is marked in the script as such. We move on.
This is what I do for the entire day. As well as watch focus, watch for crap in frame - reflections and whatnot. Watch basic continuity.
The job of a script super is a fun one - lots of pseudo coloring.
Yesterday was my first full day as a script super. I was hired as an independent contractor - like everyone else was - though last minute. I negotiated my contract on set actually.
Something I came across today was the critical importance of script supervision. Not only to watch lines being said are correct and match take to take, and note when they didn't, to feeding actors lines, to reading with them. There is a lot of responsibility there. I was stationed at video village. Watching focus of all things today. Along with an misgivings in the frame. The stray boom pole to the fly's mating behind our talents head. Everything needed to be noted. We were using the RED which records on drives. I was also in charge of making sure drives matched. As easy as that sounds - with everything else going around, it is hard to remember. We were up to the 29th drive when I left set today right before lunch.
As an aside, as a script super, I was given the distinct pleasure of running "lines" on the shoot. Lines is something I have never actually seen done before. And I enjoyed it - maybe a little too much. I was given three highlighters to note coverage on the scenes. What lines were being covered by what angle. We had a color for masters, one for any shot our lead is main point, and one for anything where the secondary character was in. As well as a zigzag pattern for any POVs. The colors had me excited. But essentially the purposes for this is to ensure coverage and make note of it for the director. Wether (s)he listens to you is another matter all together.
I will run through a senario with you all here right now. Lets say we had a master shot of myself talking to someone. Let's say that someone is my non-existent girlfriend. We have the master shooting right now. And lets say that master is labeled as Scene 23 Take 1. We get half way through it and I fudge a line. I, as the script super will recite the line missed in full to jog memory if asked by the talent. You don't want to jump in, especially if there are pauses in the script. Now we cut reset to one and go again. This time we make it all the way though. Money shot and print. Gate is checked (or drive is checked to be sure the clip posted). And we are moving on. When I bring out the marker, in this show it was green (representing a master shot) I would then mark the entire exchange with a line down the script from start to end point. We fudged a point midway so I make a dash on that line where we messed up. The script is marked, I fill out my paper work. In this case I had the Scene, Take, Sound remarks, Length of Take, Int/Ext, Lens used, T-stop, focus mark, remarks, and roll (drive). In this exemplar:
Scene 23, Take 1, good for sound, 1:23, INT., 85, T1.3, 6 1/2 feet, MASTER, Roll 15.
Now we are moving on with a new setup. This is noted for the DPR. The daily production report to be filled out later. This setup is now Scene 23/A. The camera is now an OTS on me. The same process works as above. Everything is again noted. Though this time a different color is marked on the script that we covered in that OTS. This is marked in say, orange for any camera on me. 23/A is noted in the Log.
We reset to one and take a new setup with an MCU on my non-existent girlfriend. Same process again. We roll and when we go to post, the RED pops up with an INTERNAL FAULT ERROR. We have a problem. I quickly make note of this and the exact message in the notes for the production. As our AC is running to get our camera tech, our DoP resets the RED and we are back and running. The drive is switched, and this is noted in the log. I am also recording scene files in the log. We go again for the MCU. Everything runs flawlessly. I note everything and mark the script with a blue marker to designate camera on a secondary character. We have proper coverage, and it is marked in the script as such. We move on.
This is what I do for the entire day. As well as watch focus, watch for crap in frame - reflections and whatnot. Watch basic continuity.
The job of a script super is a fun one - lots of pseudo coloring.
Mattykins
Cute Member
General notes on the production. We again fell behind schedule due to lack of scheduling and an AD who has never AD'd before. Like I said before a successful AD is critical to a film. I personally think AD's are generally overlooked. Without one, we tank. With a bad one, we tank even harder. I would even go so far as to say we fail.
Department heads are amazing to keep questions contained. Should this water hose be on or off? Ask the department head. Have an issue on set, as a department head. They are the general knowledge base for that department, and they should know what is going on in the take. A very good thing.
Today, I am going to be running as a second AD. My friend is back and I no longer have to cover Script Super.
Department heads are amazing to keep questions contained. Should this water hose be on or off? Ask the department head. Have an issue on set, as a department head. They are the general knowledge base for that department, and they should know what is going on in the take. A very good thing.
Today, I am going to be running as a second AD. My friend is back and I no longer have to cover Script Super.
Mattykins
Cute Member
My experience as an AD (second).
This production is haunted by zero and unreliable schedules. Today I was moved to AD second since the position opened. I taught our AD how to AD. (Fun stuff)
Here is a general misgiving with AD'ing. Although you are marked as a director, you are NOT directing. Never think you are. The worst thing you can do is start directing - or making calls to CUT and go again. Which we had issues with. You are in charge of the crew and the schedules.
Here is another note. Make sure your crew and cast get fed ON TIME. Schedule it and let people know to expect it. If it is marked as 13:00 you are eating at 13:00, or 13:30 with a 30 minute grace if you are in the middle of the setup. Eating, as trivial as it sounds, is probably one of the most important things on set. If you don't eat - you get angry. And everything goes to hell. Tensions flair, people mess up. BNCs get wrapped wrong, and UPMs flip out.
Get your people food and get it to them ON TIME.
Tomorrow I will post breakdowns and strip boards.
This production is haunted by zero and unreliable schedules. Today I was moved to AD second since the position opened. I taught our AD how to AD. (Fun stuff)
Here is a general misgiving with AD'ing. Although you are marked as a director, you are NOT directing. Never think you are. The worst thing you can do is start directing - or making calls to CUT and go again. Which we had issues with. You are in charge of the crew and the schedules.
Here is another note. Make sure your crew and cast get fed ON TIME. Schedule it and let people know to expect it. If it is marked as 13:00 you are eating at 13:00, or 13:30 with a 30 minute grace if you are in the middle of the setup. Eating, as trivial as it sounds, is probably one of the most important things on set. If you don't eat - you get angry. And everything goes to hell. Tensions flair, people mess up. BNCs get wrapped wrong, and UPMs flip out.
Get your people food and get it to them ON TIME.
Tomorrow I will post breakdowns and strip boards.
Tom Marshall
Actor!!!!!!
Matt, awesome thread man. :beer:
Neal Buconjic
Well-known member
Informative and entertaining. Keep it coming!
Mattykins
Cute Member
Thanks guys - I might just keep adding to this for almost every position I've been in my day.
Anyways, back to the realm of Assistant Direction. Let me reiterate the most important thing of ADing. Do not read AD as assistant director. Read it: Guy that keeps production on schedule and deals with crew. I can't say this enough. I have seen far too many AD's jump in and start directing. Call to go again because they didn't like the take. Run over to video village pushing everyone aside to watch. (In case you haven't noticed, the people in front of video village usually are there for a reason. Standing in front of the guy with a clipboard watching village intently is most likely not a good idea.
You are the person responsible for the creation of a strip board and shooting schedule. And no, a strip board has nothing to do with people taking their clothes off. You can do that after the wrap. The strip board is a very colorful, very informative...well...board.
Sometimes it is a literal board, akin to a chalk board, just with these colored strips everywhere. This is much harder than it seems. The strip boards are generally colored the same production to production.
Let me give you the color breakdown I use.
DAY INT. is white
DAY EXT. Yellow
DAY INT/EXT. light green
NIGHT INT. Green
NIGHT EXT. Blue
NIGHT INT/EXT. green
MORNING INT. Pink
MORNING EXT. Pink
MORNING INT/EXT. Dark green
EVENING INT. Orange
EVENING EXT. Orange
EVENING INT/EXT. Dark Green
If the shot is scheduled in one of those areas - it is colored as per the above breakdown.
Usually on the strip board you have the breakdown sheet number, the number of pages in the scene, what scene it is, Where and When it takes place (INT DAY), The location, brief descriptor, Estimated Time.
Below is what the strip board looked like for this weeks production. The strip board was a fast creation. Since we didn't have one, and I thought it was ridiculous we didn't.
This is what our Production Calendar looked like for friday. Again - made fast.
This is one of the most important things an AD does. Without these documents - no one really knows what is going on. People wander waiting to find out where we are shooting, people ask questions. Slate loaders don't know what to mark. Tech Directors and grips wander aimlessly wondering where video village should be placed next. Or if it should be moved at all. That document is given to people who need it (AKA mostly everyone, department heads mostly)
The strip board can be placed in the staging area so anyone who wants to can take a look at the board and know what is shooting when and in what order. It doesn't take much to put one up - and really saves the production some time.
To make the strip board the entire film needs to be broken down scene by scene. Elements are tagged and breakdowns are made. I do everything in EP scheduling. And I am in love with the program. The breakdown capabilities are astounding. The following breakdown is a little bland. I was more concerned with the general breakdown for the film than actually breaking every element down. Since that wasn't my job. And they were not going to pay me my hourly rate to really break it down. So I only did a general one. But you get the picture here.
Of course, this paperwork makes the production more prepared than you could imagine. Things can move and there are no questions with what is shot next or what is in this scene.
Of course, you are also in charge of Day Out Of Days. Which I might cover later. That is a hugely intensive process. You basically get down in paper, when people are traveling, when they are on set, when they aren't, when they are done. So that is a lot of paperwork with a full cast.
You are also in charge of prepping set to run. You also give the calls before the director says action. Standby to roll, roll sound, roll camera, Marker, Set. Pretty self explanatory. The calls differ from production to production - however they are generally the same.
That does it for me right now anyways. I will add more later.
Anyways, back to the realm of Assistant Direction. Let me reiterate the most important thing of ADing. Do not read AD as assistant director. Read it: Guy that keeps production on schedule and deals with crew. I can't say this enough. I have seen far too many AD's jump in and start directing. Call to go again because they didn't like the take. Run over to video village pushing everyone aside to watch. (In case you haven't noticed, the people in front of video village usually are there for a reason. Standing in front of the guy with a clipboard watching village intently is most likely not a good idea.
You are the person responsible for the creation of a strip board and shooting schedule. And no, a strip board has nothing to do with people taking their clothes off. You can do that after the wrap. The strip board is a very colorful, very informative...well...board.
Sometimes it is a literal board, akin to a chalk board, just with these colored strips everywhere. This is much harder than it seems. The strip boards are generally colored the same production to production.
Let me give you the color breakdown I use.
DAY INT. is white
DAY EXT. Yellow
DAY INT/EXT. light green
NIGHT INT. Green
NIGHT EXT. Blue
NIGHT INT/EXT. green
MORNING INT. Pink
MORNING EXT. Pink
MORNING INT/EXT. Dark green
EVENING INT. Orange
EVENING EXT. Orange
EVENING INT/EXT. Dark Green
If the shot is scheduled in one of those areas - it is colored as per the above breakdown.
Usually on the strip board you have the breakdown sheet number, the number of pages in the scene, what scene it is, Where and When it takes place (INT DAY), The location, brief descriptor, Estimated Time.
Below is what the strip board looked like for this weeks production. The strip board was a fast creation. Since we didn't have one, and I thought it was ridiculous we didn't.
This is what our Production Calendar looked like for friday. Again - made fast.
This is one of the most important things an AD does. Without these documents - no one really knows what is going on. People wander waiting to find out where we are shooting, people ask questions. Slate loaders don't know what to mark. Tech Directors and grips wander aimlessly wondering where video village should be placed next. Or if it should be moved at all. That document is given to people who need it (AKA mostly everyone, department heads mostly)
The strip board can be placed in the staging area so anyone who wants to can take a look at the board and know what is shooting when and in what order. It doesn't take much to put one up - and really saves the production some time.
To make the strip board the entire film needs to be broken down scene by scene. Elements are tagged and breakdowns are made. I do everything in EP scheduling. And I am in love with the program. The breakdown capabilities are astounding. The following breakdown is a little bland. I was more concerned with the general breakdown for the film than actually breaking every element down. Since that wasn't my job. And they were not going to pay me my hourly rate to really break it down. So I only did a general one. But you get the picture here.
Of course, this paperwork makes the production more prepared than you could imagine. Things can move and there are no questions with what is shot next or what is in this scene.
Of course, you are also in charge of Day Out Of Days. Which I might cover later. That is a hugely intensive process. You basically get down in paper, when people are traveling, when they are on set, when they aren't, when they are done. So that is a lot of paperwork with a full cast.
You are also in charge of prepping set to run. You also give the calls before the director says action. Standby to roll, roll sound, roll camera, Marker, Set. Pretty self explanatory. The calls differ from production to production - however they are generally the same.
That does it for me right now anyways. I will add more later.
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Mattykins
Cute Member
My Life as a Production Assistant:
Like most people in the industry - I began my career in the professional market as a Production Assistant. Which is not a glorious job. I will admit. But it isn't nearly as bad as you might think.
My first production assistant position was on set for Psychic Investigators shown on A&E. It was my first time being on set. Needless to say - I was nervous.
Within the first few minutes I became away of how serious this job actually is. The first thing you might consider doing when you are offered a position as a PA is learning the general set speak.
A C-Stand is exactly that. A stand that looks like a C when folded. These open very particularly. Twist the knob on the bottom to loosen - and twist the unit. It should open. Why do I tell you how to open a C-Stand? Because many people can't open them - or can't open them properly. Trust me - you look like an idiot when you can't figure it out. And while I am talking about looking like an idiot - if you don't know what something is, or what it does - ASK! If you do something wrong, or waste time figuring it out, it slows everything up.
The Apple Box. The apple box is a wooden crate basically - it comes in a few sizes. Full Apple, Half Apple, Quarter Apple and Pancake. If someone asks you for a half apple. Don't run to crafty and demand an apple cut in half. Grab the smaller wooden crate. Same with a pancake. Crafty most likely won't be making pancakes. As great as it might sound - bringing a fluffy golden pancake to your DoP won't score you any points. The pancake is a flat piece of wood essentially.
C-47. Not the plane. This is a clothes pin, a wooden clothes pin. Does it sound a lot cooler? You had better believe it. These things are the most useful piece of equipment you could use (Discounting Gaff Tape). Use it to hold gels, hold notes, hold up note cards, break them in half and use them to support a dolly track, use them to pinch people. Many uses, but if you don't know what a C-47 is...you are lost.
Gaff Tape - If you are asked to get this, make sure to actually get GAFF TAPE, and not DUCT TAPE, or ELECTRIC TAPE. Neither of which will get the job done. Ideally you know what Gaff Tape is - but if not. It is cloth tape, doesn't leave residue, rips easy, can withstand heat. Basically amazing.
10 - 100. Yep, its a 10 code. Means you will be taking a little longer than expected.
20 - As in "What is your 20" - translates = where are you?
BNC - Cable used to feed video. Usually from camera to village.
Video Village - A monitor for the camera, connect by BNC, and the people standing around it. If you are near village, don't leave your crap on the cart or around it. Village is mostly for director and some other criticals. Typically not you. As cool as it is to watch the monitor - stand back and watch it. Though village is the same wether you have one monitor on a stand or several. The latter should be called video chateau.
Flying In - used to signify something is coming to set and fast. Note it, and stay out of the way when something is flying in.
Pictures Up - used to signify picture is up in village. Apparently some sets use it to signify the actual take is going to happen - as opposed to Rehearsals up. Never seen it used that way before.
Striking - Not used like it is in theatre. We aren't taking anything away here. It means a light is coming on. Don't look at someone when they yell striking. Your eyes will thank you.
T-Stops and F-Stop - Not going to explain what they are. Just know if you are asked to go to the expendable store for them - you will look like an idiot. They are used on a lens. For detailed descriptions, look them up. That is a post unto it self.
When I think of more, I will post them here. There is a lot of set speak. These are the most common ones.
Another thing you really want to learn before going on set is proper cable wrapping. There is a standard wrap and the over under. KNOW THE OVER UNDER. Look it up online, practice it, know it, love it. The Over-under is used to wrap many cables, especially BNCs. Wrapping it wrong damages the cable, and turns a perfect wrap into a rats nest.
As a production assistant be prepared to actually get coffee. (and other stuff). You are there to help people on the production. Basically you answer to the Assistant Director. Be ready to get coffee, waters, snacks. If a director is looking upset or stressed, ask if he wants anything. Be proactive. Just don't go asking people if they want something every couple minutes. Think ahead. If the talent is kneeling on the ground for a scene, ask if (s)he wants a pillow to kneel on for the time being.
Be ready to lift heavy cases. While I am here. FIRST RULE ON SET: LOCK ANY CASE YOU OPEN OR LEAVE IT FULLY OPEN. It is so important I will say it again. LOCK ALL CASES YOU OPEN. When you close the case again, lock it. Close at least one of the clips to the case. Want to know why? When people grab cases - they assume they are closed and locked. Yeah - I know what you say about assuming. But it's true. And if that case isn't secure - you have several thousand dollars worth of gear falling out of a case. That is not good by any standard. Lock the case you open, if you see an closed case that isn't locked, lock it. If you aren't going to lock it - leave it FULLY open.
Be ready to carry heavy cameras. We shot with an F900 this set. She is a beast. She is heavy. She is worth four of my houses. Anything you carry, know that it is more important than your life. Never drop it. And always watch for cords.
That's all I got for now. If you have any questions on anything post them here. I've been many things on set. If you want something covered in more detail or a position covered - I will write it up - If I've been there, or know enough about it.
Like most people in the industry - I began my career in the professional market as a Production Assistant. Which is not a glorious job. I will admit. But it isn't nearly as bad as you might think.
My first production assistant position was on set for Psychic Investigators shown on A&E. It was my first time being on set. Needless to say - I was nervous.
Within the first few minutes I became away of how serious this job actually is. The first thing you might consider doing when you are offered a position as a PA is learning the general set speak.
A C-Stand is exactly that. A stand that looks like a C when folded. These open very particularly. Twist the knob on the bottom to loosen - and twist the unit. It should open. Why do I tell you how to open a C-Stand? Because many people can't open them - or can't open them properly. Trust me - you look like an idiot when you can't figure it out. And while I am talking about looking like an idiot - if you don't know what something is, or what it does - ASK! If you do something wrong, or waste time figuring it out, it slows everything up.
The Apple Box. The apple box is a wooden crate basically - it comes in a few sizes. Full Apple, Half Apple, Quarter Apple and Pancake. If someone asks you for a half apple. Don't run to crafty and demand an apple cut in half. Grab the smaller wooden crate. Same with a pancake. Crafty most likely won't be making pancakes. As great as it might sound - bringing a fluffy golden pancake to your DoP won't score you any points. The pancake is a flat piece of wood essentially.
C-47. Not the plane. This is a clothes pin, a wooden clothes pin. Does it sound a lot cooler? You had better believe it. These things are the most useful piece of equipment you could use (Discounting Gaff Tape). Use it to hold gels, hold notes, hold up note cards, break them in half and use them to support a dolly track, use them to pinch people. Many uses, but if you don't know what a C-47 is...you are lost.
Gaff Tape - If you are asked to get this, make sure to actually get GAFF TAPE, and not DUCT TAPE, or ELECTRIC TAPE. Neither of which will get the job done. Ideally you know what Gaff Tape is - but if not. It is cloth tape, doesn't leave residue, rips easy, can withstand heat. Basically amazing.
10 - 100. Yep, its a 10 code. Means you will be taking a little longer than expected.
20 - As in "What is your 20" - translates = where are you?
BNC - Cable used to feed video. Usually from camera to village.
Video Village - A monitor for the camera, connect by BNC, and the people standing around it. If you are near village, don't leave your crap on the cart or around it. Village is mostly for director and some other criticals. Typically not you. As cool as it is to watch the monitor - stand back and watch it. Though village is the same wether you have one monitor on a stand or several. The latter should be called video chateau.
Flying In - used to signify something is coming to set and fast. Note it, and stay out of the way when something is flying in.
Pictures Up - used to signify picture is up in village. Apparently some sets use it to signify the actual take is going to happen - as opposed to Rehearsals up. Never seen it used that way before.
Striking - Not used like it is in theatre. We aren't taking anything away here. It means a light is coming on. Don't look at someone when they yell striking. Your eyes will thank you.
T-Stops and F-Stop - Not going to explain what they are. Just know if you are asked to go to the expendable store for them - you will look like an idiot. They are used on a lens. For detailed descriptions, look them up. That is a post unto it self.
When I think of more, I will post them here. There is a lot of set speak. These are the most common ones.
Another thing you really want to learn before going on set is proper cable wrapping. There is a standard wrap and the over under. KNOW THE OVER UNDER. Look it up online, practice it, know it, love it. The Over-under is used to wrap many cables, especially BNCs. Wrapping it wrong damages the cable, and turns a perfect wrap into a rats nest.
As a production assistant be prepared to actually get coffee. (and other stuff). You are there to help people on the production. Basically you answer to the Assistant Director. Be ready to get coffee, waters, snacks. If a director is looking upset or stressed, ask if he wants anything. Be proactive. Just don't go asking people if they want something every couple minutes. Think ahead. If the talent is kneeling on the ground for a scene, ask if (s)he wants a pillow to kneel on for the time being.
Be ready to lift heavy cases. While I am here. FIRST RULE ON SET: LOCK ANY CASE YOU OPEN OR LEAVE IT FULLY OPEN. It is so important I will say it again. LOCK ALL CASES YOU OPEN. When you close the case again, lock it. Close at least one of the clips to the case. Want to know why? When people grab cases - they assume they are closed and locked. Yeah - I know what you say about assuming. But it's true. And if that case isn't secure - you have several thousand dollars worth of gear falling out of a case. That is not good by any standard. Lock the case you open, if you see an closed case that isn't locked, lock it. If you aren't going to lock it - leave it FULLY open.
Be ready to carry heavy cameras. We shot with an F900 this set. She is a beast. She is heavy. She is worth four of my houses. Anything you carry, know that it is more important than your life. Never drop it. And always watch for cords.
That's all I got for now. If you have any questions on anything post them here. I've been many things on set. If you want something covered in more detail or a position covered - I will write it up - If I've been there, or know enough about it.
Terry_Lasater
All about the Caption
Great thread, Mattykins! Very informative. :thumbsup:
Big Bad
Active member
It should be mentioned that when you're a PA on a feature, you will rarely be asked to get something like a C-stand or wrap a BNC cable. Departments are very protective of their gear (especially grip, camera, and electric) and due to union rules they will almost always ask someone in their department to do those kinds of jobs. As a general rule you should NEVER touch another department's equipment without first being specifically asked to, and when I say "equipment" I mean everything on set, down to the craft service coolers.
Mattykins
Cute Member
Well it's true to an extent. Non-unions will be things most people will be involved in. Where PA's are asked to move equipment due to lack of a full crew. I have never been on a set when I couldn't touch a crafty cooler to get a water though.
I wouldn't recommend grabbing a BNC or anything without being asked. But if you are asked - don't go telling them I can't touch it because it's against union restrictions. But you should still know what the equipment is.
I wouldn't recommend grabbing a BNC or anything without being asked. But if you are asked - don't go telling them I can't touch it because it's against union restrictions. But you should still know what the equipment is.
Big Bad
Active member
That's not what I meant. Of course you can get a water, that's what it's there for. But if you start relocating coolers or refilling them without being told to, then you're in sketchy territory. Every big studio feature I've been on has been pretty uptight about that kind of stuff.
Scott F
Pug Life
As well as looking like a C, it's actually short for Century Stand.
An informative thread, keep the posts coming.
Big Bad
Active member
Do you know why? I've heard it's because it's 100 cm high, but I've never bothered to see if it's true.