How to be a good PA.

Batutta said:
11) If you haven't been told to do something, go find something to do. Don't stand around doing nothing, or worse, sit down. A PA should never be seen sitting down except at lunch break.
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Not so sure about that. It's not the job of the PA (nor should it be) to make decisions about what they should be doing unless they actually know what they should be doing. They shouldn't really need to ask for something to do either. When in pause mode, a PA should just be at the ready and visible (or nearby on a radio) to the coordinator or key PA.

If it hasn't been mentioned, this is really important:

Knowing when to talk and how much to talk. Production-speak should be succinct and it's not a time to be telling stories or bullshitting or elaborating unnecessarily. PA's should only speak when spoken to or when they have pertinent info to pass along.
 
Chris Santucci said:
Not so sure about that. It's not the job of the PA (nor should it be) to make decisions about what they should be doing unless they actually know what they should be doing. They shouldn't really need to ask for something to do either. When in pause mode, a PA should just be at the ready and visible (or nearby on a radio) to the coordinator or key PA.

If it hasn't been mentioned, this is really important:

Knowing when to talk and how much to talk. Production-speak should be succinct and it's not a time to be telling stories or bulls*%tting or elaborating unnecessarily. PA's should only speak when spoken to or when they have pertinent info to pass along.
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I completely agree with your first point, but I have actually been told before not to just "stand around", which I thought was ridiculous since I was standing near the action so I could be available to anyone. The simple fact is there are many times throughout a day where there is literally nothing productive for a PA to do, but you should obviously always be at the ready, and if you see something that you know needs to be done, then you can do it.

As for talking, it really depends on the production itself. I've worked as PA on some productions where there was always something to be doing and in that case, yeah talking a lot was not a good idea. But i've also been on some jobs where me and a few other people would have ~10 minute time periods occasionally with nothing to do, and of in those situations i think it's perfectly ok and in fact a good thing to get to know them. A closer crew works together better in my opinion.
 
Chris Adler said:
Why pick on PAs? This applies to everyone involved during production.

9) Frankly... if you don't know anything about production, why did you want do this in the first place?

Everyone has to start somewhere, right?
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There is nothing here picking on PA's. But, honestly, PA work is where you start if you have not specialized in a skillset. So yes, it does attract the less knowledgeable individuals as a jump-off point for something bigger. That said, Matt, is correct.........do a little research as to what a PA does, and what is expected on set. A lot of it is common sense, unfortunately these days, it must be an elective that a lot of people don't take.

PA's can be the labor backbone of a film, and invaluable. But they also can be frustrating, if they don't understand where they are on the ladder.
 
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jghenderson said:
But i've also been on some jobs where me and a few other people would have ~10 minute time periods occasionally with nothing to do, and of in those situations i think it's perfectly ok and in fact a good thing to get to know them. A closer crew works together better in my opinion.
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I don't mean then, I mean in normal production mode.

And yeah, if a PA is "standing around," then either the Key PA or coordinator is not doing their job, or there's just nothing to do (it happens), or the PA is neglecting their duties (yeah, dictated by Kep PA or coordinator).
 
Doc Bernard said:
But, honestly, PA work is where you start if you have not specialized in a skillset. So yes, it does attract the less knowledgeable individuals as a jump-off point for something bigger.
.
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That seems a bit condescending and misrepresents the way the process works. PA is where the vast majority of people start, whether they have a skill-set or not. It is very rare for someone to start above a PA, especially on larger budget productions.
 
LOL, keep in mind.....I am focused on the Indie /student market. Yes...my statement was generalized.......but overall, not untrue. PA's do have focused individuals in their ranks, no argument......but they also have those "fresh" individuals who barely can identify where the camera is. Again this is not a rip on anyone, because if you are inexperienced on set, chances are you will start as a PA, not DP, 1st AD, or any other position/department not requiring experience. PA is a "catch-all" position. Even on big budget stuff. And a source of the problem. And in the big budget stuff I have worked....I have seen PA's literally ejected from studio property with security escort....so.....the advice given hereafter just speaks to that experience on set.


You can have done a ton of student shorts and Indie shorts, but when you are working as a PA on a big budget production.........keep your mouth shut, or at least keep your suggestions localized to your immediate supervisor. You are not the DP, not the Cam Op, not the Audio Guy, not the Director........you are a PA, nothing else. Trying to assume anything else, will usually get you fired.

Frankly, what you did for a Youtube vid, or a short no one knows about......no one cares. They just care that you can do your job competently...screw that up by talking too much about projects you DP'ed when you are just a PA......you are back as as the rest of the unemployed.....


Your goal is to show how you can adapt to a change or grasp the intention of the scene without telegraphing you understand it. Someone that can do that......gets rehired. Tough to do without giving your own advice???? Go to film school or build up your res in that field.

To over glorify the role of a PA would also be a non-starter and a source of some of the issues addressed. PA is the bottom of the food chain on a set. Like it or not, there is always "general labor" on a set. If you land a job as a PA, you are the "ditch-digger" on set, keep that in mind. Always look to do something that helps, keep out of the way as much as possible, offer help to whatever department you are assigned to. Go above and beyond....without giving your opinion on how the shot should have been done. As a PA, your opinion is neither wanted nor needed. Others were hired to fill those positions to give that advice. The question you need to ask is "How do you want me to accomplish it?" If you don't know, you may already be behind the curve.

PA's have a unique position, in that they can see most other skills at work. And can discreetly share interest in those departments. But there is a limit to that interest.....get in the way or try to talk above your position......not a good employment move.

You can bit%& and moan about my statements all you want....but when it comes down to it....they are true. PA's are the ones that do the lowliest jobs on set. If that is not your "cup of tea"......develop another skillset that puts you into another department.


KUDOS!, Matt. An excellent subject to discuss. Surprised not brought up before....
 
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A great book is "Set Production Assistant's Handbook." I recommend it to anybody just starting out.
 
MattinSTL said:
7) If you're asked to do something you don't know, admit that you don't know and ask for clarification, or ask somebody in that department for clarification. Don't pretend like you understand and try to figure it out.
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Can you give some examples of job duties that may be asked of a PA? Are they an extra hand on deck for any/all depts?
 
Bill Clar said:
Can you give some examples of job duties that may be asked of a PA? Are they an extra hand on deck for any/all depts?
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"Grab me a pepper"

"Can you bring in a stinger and a 300?"

"Hollywood in that flag"

"Walk in that light"

"Would you mind sitting in"

I don't know... in my opinion (maybe wrong)... a PA should have some base knowledge... like a "video 101" understanding of things... He shouldn't have to ask what a c-stand is... or how to open/close a C-stand... or what a cube-tap is... or how to spike an actor/prop/tripod. Maybe I'm expecting too much... but I think a PAID PA... PAID, being the key term, should know some of the base level details about production... i.e. how to NOT drop a light down on the riser so that it slams and blows the bulb... or how to sandbag a light... you know... basic stuff.
 
or what a cube-tap is
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aka....Q-tap?

Though most of your examples, Matt, are relegated to the G/E crew assignments. There are many more assignments for a PA on a crew than just the G/E crew. Even I get assigned one or two from time to time. And what I need from them.........totally different. And you will find that to be true of any department you are assigned to as a PA. Whether its as an audio PA wrangling my cables and tethers....or as an armorer's assistant.......the jobs are totally different, though have the same title of PA.

The one thing I ask is..........have some common sense........ if you don't understand, ask me............... and be completely honest with me. I am too busy on set to have to doubt someone assigned to help me, especially halfway through the shoot schedule. And yes, if I ask you to do something.......trust me....I have a reason. I don't believe in "busy work", unless it's done to protect you and help keep you assigned to me.
 
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This past winter I was hired on to be the camera department's PA for a major Hollywood production (that's actually in theaters right now). I was brought in a couple weeks into the show because the original PA had to be let go due to a "lack of effort/enthusiasm" apparently.

Just to add and reiterate what has been said specifically related to camera PA (from what I learned);

Say hello to everyone you meet. You will at some point have to request something from them and that's an awkward conversation if you have seen each other on set for a week but have not made contact.

Don't ever look like you are waiting around for something to happen. There will be times when you are waiting around for other departments or such and such but stand ready, don't whip out your iPhone.

You are the first on the truck and the last to leave. Always. If your crew's call is 5:00am you are on the truck at 4:30am breakfast in your belly and making sure everything is set for the day.

Your job is to take care of your crew. Learn what they like for breakfast (but still ask them every day). Learn what they like for snacks and have those on hand from craft if you are on location and getting back to crafty is a hassle. Always have water ready.

If you work out of a camera truck (we had a 53' rig) learn where everything is as soon as possible. Don't ever say "I can't find it."

Be vocal on your walkie. If you are walking away from set to crafty (for the crew or yourself), the bathroom, or to go back to the truck to get something make it known.

Keep the carts clean! Those babes should be free of trash and clutter and organized at all times. (also you will become a master at maneuvering carts)

If your DP wants something - everything else gets dropped.

Have a pen and notepad that you can fit in your pocket and WRITE EVERYTHING DOWN.

You should only have to be shown things once.

Know exactly what you are carrying at all time (e.g.; what film stock is loaded in the cases you are running out to camera)

Have fun - They crew I was with was a blast, they taught me a lot over the course of the gig and we laughed and joked and the next instant were back to business and serious as ever. Perhaps it was because the crew was from out of town, but I was invited lots to grab a drink afterwards if we had a semi early wrap - take this opportunity. These are people that you work with for 14-16 hours a day, get to know them. I would imagine it varies from film to film and crew to crew but look for opportunities to learn. There will be moments where you are waiting around, for set dressing, G&E etc... use this time to ask relevant questions. I was fortunate enough to have hours worth of conversation with the cinematographer this way, an experience I will never forget.

There's lots more stuff, but this is what popped out of my head first!
 
Doc Bernard said:
aka....Q-tap?
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Of course we all call it a Q-tap... just like people in Toronto call it "chuh-ron-oh"... but since I was answering the guy asking what he should be able to do... I called it what it is if you try to buy one... the official name is a cube-tap, from the little cubes that had outlets on 3 sides.

I also call 'em plug-ons when I'm talking to green folk... because butt-plug just doesn't sound good.

I think we're saying the same thing regardless... the question above my post was "what are some common duties"... and I meant to throw out some things that a guy should have some grasp of on a set. Basic stuff.
 
William_Robinette said:
This past winter I was hired on to be the camera department's PA for a major Hollywood production (that's actually in theaters right now). I was brought in a couple weeks into the show because the original PA had to be let go due to a "lack of effort/enthusiasm" apparently.

Just to add and reiterate what has been said specifically related to camera PA (from what I learned);

Say hello to everyone you meet. You will at some point have to request something from them and that's an awkward conversation if you have seen each other on set for a week but have not made contact.

Don't ever look like you are waiting around for something to happen. There will be times when you are waiting around for other departments or such and such but stand ready, don't whip out your iPhone.

You are the first on the truck and the last to leave. Always. If your crew's call is 5:00am you are on the truck at 4:30am breakfast in your belly and making sure everything is set for the day.

Your job is to take care of your crew. Learn what they like for breakfast (but still ask them every day). Learn what they like for snacks and have those on hand from craft if you are on location and getting back to crafty is a hassle. Always have water ready.

If you work out of a camera truck (we had a 53' rig) learn where everything is as soon as possible. Don't ever say "I can't find it."

Be vocal on your walkie. If you are walking away from set to crafty (for the crew or yourself), the bathroom, or to go back to the truck to get something make it known.

Keep the carts clean! Those babes should be free of trash and clutter and organized at all times. (also you will become a master at maneuvering carts)

If your DP wants something - everything else gets dropped.

Have a pen and notepad that you can fit in your pocket and WRITE EVERYTHING DOWN.

You should only have to be shown things once.

Know exactly what you are carrying at all time (e.g.; what film stock is loaded in the cases you are running out to camera)

Have fun - They crew I was with was a blast, they taught me a lot over the course of the gig and we laughed and joked and the next instant were back to business and serious as ever. Perhaps it was because the crew was from out of town, but I was invited lots to grab a drink afterwards if we had a semi early wrap - take this opportunity. These are people that you work with for 14-16 hours a day, get to know them. I would imagine it varies from film to film and crew to crew but look for opportunities to learn. There will be moments where you are waiting around, for set dressing, G&E etc... use this time to ask relevant questions. I was fortunate enough to have hours worth of conversation with the cinematographer this way, an experience I will never forget.

There's lots more stuff, but this is what popped out of my head first!
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Awesome work ethic, Bill. If you want to be a KATN PA........between Matt's and William's posts...........you have the recipe for success.
 
Here is another tip. I was in a jam looking for a PA, in the ad I asked for two things, a resume, and the time and dates you need to be available. 80% of the responses were like teens texting, and no resume. "I got tonz of sperience, when do you want me", and that would be it. I wish it was a joke, but a majority where along those lines. Write a complete and proper sentence or two, spell check it twice, and give me the simple things that are asked for. Otherwise I am just hitting delete.
 
For me it all started at the bottom, those first unpaid PA-type gigs on early AM, crummy, cold, low budget sets. It was the best opportunity I'd ever been afforded as a young man, and I could sense that this could lead somewhere, which it has in spades, careerwise and emotionally.

The thought I tried to keep in my head all the time, other than being quiet and thoughtful, was 'what can I be doing to help the production right now.' Young people: some of you can write your ticket with that mind set.

I didn't direct, shoot, produce any films on my own until years later. Showed up, learned (while being paid, mind you!) about electricity, lighting, cameras, and the craft, and when my moment came to move up, I was ready and able.
 
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