Film Runs

When you’re dealing with the film, you are dealing with the single most important item on the whole shoot. You must be extremely careful with the film and you must pay careful attention to what you are doing.
Raw Stock
• When picking up film (raw stock) at Kodak (or any other film vendor), make sure you get the right film stock and quantity; always double-check. Turn in the receipt immediately to Production. Give the raw stock only to Production unless otherwise instructed.
• If you are bringing raw stock back to the set, be clear about when you are expected back on set. If you are delayed or think you are going to be delayed, call Production immediately.
• Keep the film (raw stock or exposed) cool. Do not leave it in a hot truck and never, ever leave exposed film or negative unattended.
Taking film to the Lab
Take exposed film to Lab with:
1 copy of purchase order for Lab
1 copy of each camera report
Sound rolls (if any)
1 copy of each sound report (if there is sound)

Do not make any stops on the way to the lab. If you are delayed for any reason, call the Production Coordinator and inform them of the delay.
Picking up film at the Lab
When making a pick up at the lab, make sure you are clear about which elements you are getting and where you are taking them (to the editor, to the production company’s office, back to the set, etc.)

At the lab, you could be getting any of the following:
• Dailies - A and/or B rolls, usually in 3/4” video and/or 1/2” video format______
• Sound transferred to DAT tapes
• Original sound on 1/4” or DAT tapes
• Negative

Do not count on the lab to give you the right stuff. If there is any confusion at all, call Production to clarify.

If you are bringing whatever you got from the lab back to the set, give it only to Production.


New York Film Runs
When making a film run to a New York lab, call the Production Coordinator each step of the way:
• when you have delivered the film to the lab
• when you have picked up processed film/dailies/etc. at the lab
• when the film/dailies/etc. have arrived at their final destination.

If you are staying in New York overnight, make sure production has the phone number.

Runs & Errands

General guidelines
• Have pen and paper ready at all times, and write down what you’re told to get.
• Never, ever go on a run without checking in with Production. Don’t assume that the director who is sending you out for the latest copy of “American Cinematographer” is going to remember to tell us.
• Never, ever take a vehicle on a run without first confirming that Production doesn’t need it for something else. Just because you’ve been driving the green 15-passenger van for three days doesn’t mean we won’t need it in 10 minutes to drive the extras back. Try to always use an empty vehicle for a run; if there’s equipment or personal belongings in a van, leave them on set before going on the run.
• Always check with Production; we may already have the item that’s needed
• If you don’t have a cell phone or pager, you must call in at least once per hour or at every stop ( it depends on the urgency of your run). If you do have a cell phone or pager, make sure Production has the number and that it’s on and that you can hear or feel it. It’s a good idea to check in with Production if you’ve been out of touch for a while.

Have all the information
• exact location and directions
• vendor’s hours and hours for the freight elevator (if applicable)
• contact name
• what you’re getting, how many and how much it costs
• method of payment-(PC, do you have enough?, check, credit card, on account)

If Production cannot provide you with all of this info, call the place you’re going to and double-check. Since vendors think you’ll buy something else if they don’t have exactly what you want, they may not check their stock before they tell you that they have what you want. Make the salesperson put the desired object in his hands as he is speaking to you and make him tell you his name. This usually avoids unnecessary trips.

Sometimes, even if you have been thorough, what you were sent for isn’t there in the exact way we thought it would be, and you may want to make a decision about what to get. Get Production on the phone and ask; do not try to choose yourself. Through no fault of yours, you probably don’t have enough information to make a good decision, so please let Production decide. Do not try to find it by going to several more places. We’re probably expecting you back and you need to let us know what’s going on, so don’t just disappear on a hunt.

Pick-Ups & Returns

Read your pick- up or return list thoroughly before you start!

When you pay for something, get a receipt, regardless of how you paid. You keep receipts for things that were paid with your petty cash and reconcile them at the end of the job. Receipts for things paid with checks or credit cards or on account must be turned in immediately to Production. Do not wait till the end of the job to turn in these receipts.

If the vendor doesn’t have what you expect him to give you, call Production immediately.

Load the trucks neatly and safely. Be particularly careful with props. Tie things off on the truck, use sound blankets, and take the time to do it right. Keeping the Shoot Day Checklist in mind, don’t bury the things you are going to need first.

Call in at each vendor or location you are sent to. You never know when additional items may be needed.

Vehicles

Your car:

The very nature of the Philadelphia market makes it necessary for all crew members to have a car. As a PA, it is very possible that you will be using your own car as a production vehicle for the job.

• If you use your car specifically as a production vehicle (for runs, picking up talent at the train, etc.) your mileage for this will be reimbursed by the production company. Always make a note of your mileage and get a mileage form from production.
• Mileage to and from a local location, set or a production company office is NOT reimbursable. This is considered your commute to work.
• Your car should be in good running condition, insured and clean.
• Make sure your car is filled with gas when you arrive on set, and don’t let it get too low.
• Keep your car well stocked with maps of all the surrounding areas.
• Always have your drivers license with you.

Rental Vehicle Checklist:

Follow this list when picking up a rental vehicle:
 Vehicle is clean and in good shape
 Inform rental company of any existing damage
 There is a spare tire and a jack
 No broken mirrors
 All inspection and registration stickers are up-to-date
 Read the rental agreement. Find out from production ahead of time how much they should be paying, whether or not to get insurance, etc.
 Copy of rental agreement and registration in vehicle at all times. Make sure to bring the rental agreement to the production office and make a photocopy of it for the production coordinator.
 Air-conditioning works well
 Wipers work and there is wiper fluid
 Fill up the van with gas before you pick up people

Follow this list when returning a rental vehicle:

Check the entire vehicle(under seats, in trunk, etc.) for any personal belongings or equipment and turn them in to production.
Fill up with gas. Most rental companies charge an exorbitant amount for gas.
 Get a receipt. Do not assume that production will “somehow” obtain one.
 Take any locks belonging to production.


Parking & Permits
• If this job has a permit, make sure a copy is properly displayed in the vehicle, usually in the front window, with a sign in the back window that says “parking permit in front window.”
• If a parking permit is not required, keep a sign in your car indicating that this is a “Film Crew Vehicle”. Place signs in the front and back windows.
• A parking permit does not mean you can park wherever you wish. Check with production on where you are permitted to park.
• Whenever possible, park legally. If you get a parking ticket, turn it in to Production immediately. Production will not pay for any moving violations.
• If you’re keeping the vehicle overnight, and park the vehicle in a lot, make sure they will be open as early in the morning as you need to get the vehicle.
• If your car is towed, call production. It happens, and your production coordinator is likely to know the quickest method of dealing with it.
Chauffeur Duty
It is often the responsibility of a PA to pick up non-local crew members, Agency, Client or talent. Remember the following:

• Make sure you know who you are supposed to be picking up, where they will be and where you are to take them.
• Either get a sign from production or make one yourself with the production company name on it. Make sure to keep poster board and markers in your car for this.
• Make sure your car is clean. In most cases the production company will let you know you’ll be picking someone up, and will reimburse a car wash if necessary.
• If you’re waiting for people, have the car or van already facing the correct direction for leaving and have it running with AC or heat already on.
• Respect the person you are driving, and the production company. Don’t make idle chatter or small talk unless invited to do so. Don’t discuss aspects of the job.
• Only go where you are told by production. If a person you are driving wants to make some stops, or go someplace else, inform production. This may delay you or be inappropriate.
Getting there
• Read through the directions ahead of time. Listen to local traffic reports before and as you drive.
• Use the commercial directions if you’re driving a truck (or any other oversized vehicle) to location. The time on the call sheet is the time at which you should be parked on location, so be 15 minutes earlier than that. Also, allow plenty of extra time for commercial directions, which sometimes means taking slower streets and roads instead of faster highways. Always check with Production to find out how much time to allow for driving.
Accidents
If you get in an accident
• Call the police and file a police report (this is not negotiable, regardless of the size of the accident). Sometimes the police will not come to the scene, you may have to go to the nearest police station. Call Production first, before you go to the station
• Call Production and inform us of the situation.
• Get the name, address, phone numbers, license plate number and insurance company name, address, phone number of the other party. If they will not give you any information, do not give them any of yours; just get their license plate number and call the police
• Write down what happened
• If possible, buy a disposable camera (get one with a flash) and take pictures of the damage to both vehicles.
• Swap out the rental vehicle if there is significant damage.

Call Times

• Be on time. On shoot days, timing is everything, and here’s where we really depend on you. If you are late, the people or things that you’re bringing will be late and that will throw a very carefully orchestrated plan into chaos. You must be on time on both shoot days and prep/wrap days.
• Call Production immediately, if you realize you are going to be late. Don’t wait until your call time to tell us.
• If you’re driving a passenger vehicle and meeting at a pick up point, the time on the call sheet is the time you are leaving from the pick-up point. Be at the pick-up point 15 minutes earlier.

Communications

How do I communicate?
• Read what you’re given, cover to cover.
• Write down what you are told. Have pen and paper ready at all times.
• Be specific. Avoid using vague words like “there, he , she, thing, this, that.” Always use proper, complete name as in “the camera truck, the key grip, the spring clip on the fourth table from the west.” Effective communication is absolutely essential to efficient production.
• Respond verbally when someone asks you to do something, before you start the task. Like on Star Trek-the captain says, “Ahead, warp factor one,” and the helmsman responds, “Ahead warp factor one.” Goofy? Yes, but then we know we’ve been heard.
• After you have completed any task, tell the person who assigned it to you that it’s done.
• Answer phones when you hear them ringing. If you’re at the production company’s office, answer with the name of the company and give your first name. If you are on stage, at location, etc., answer with “Production,” and give your first name. Always find out who is calling.
• Ask the source directly when you need information: ask the receptionist how the office copier works; ask the homeowner where the nearest hardware store is.
• Know the names of everybody on set. Use your call sheet to become familiar with them. Carry your call sheet with you at all times.
• Be discreet. Try to deliver information only to the person to whom it goes. Ask him/her to step aside and be aware of the volume of your voice, or write it on a small note, fold it and hand it to them.
• Beware of voicing you opinion, especially to the director and the agency personnel. If you don’t like the house we just scouted, and you say so out loud, you’ll be the one driving the van around for another four hours trying to find a better one...Most people won’t be swayed by your opinion but you never know, so play it safe.
• If you have to deliver bad news, don’t hedge around, just get it out, but very discreetly. Maybe the teamsters wouldn’t let you take the dolly out of the camera house or you don’t have enough room in your truck for the 3-piece bedroom set and anyway, it’s 5 o’clock so the freight elevator just closed. Our distress at hearing about this may make it appear that you’re being blamed for something over which you had no control. This is called “killing the messenger” and it is a very old and very nasty habit. If you know you’ve done your very best, try to just let people’s emotional responses roll off you and move on to the next thing on your ever-growing to-do list.
• If we tell you something you already know, please do not be offended. Until they figure out how to link our brains together by cables, we won’t know what you do and do not know.
•
• Give away information. Do your job as if you won’t be here to explain yourself later. Write down your research and leave it with us; pack the truck so anybody can find anything on it; label boxes clearly. There is no true power in hoarding information.
• When you have a problem or complaint of any kind, bring it to us. We can solve it easily, but only if we know about it. You will really impress us if you also bring some suggestions about how to solve it, but you won’t impress us if you try to solve it yourself and the solution doesn’t work.
• Please do not fib as a way of being funny. If you were sent out to buy dove gray seamless paper, don’t say you got thunder gray as a “goof”, as this will unnecessarily send us into the problem-solving mode, accompanied in some cases by an adrenaline rush. Life in Production is stressful enough.
• If you need Production to know something important after work hours, do not just leave the information on an answering machine, use cell phones or pagers and keep calling until you reach a human being.
• If you do some research and the producer wants you to present the information to anybody else (especially executive producers, directors and agency personnel) make sure you have told the producer everything privately first. Do not let the producer be surprised by what you say to other people.
• If a director, agency person or client asks you directly to do something for them, always get an OK from the Producer or someone in Production. If the rule is no food in the house, then the client may not be allowed to eat that bagel you’re bringing him. Let the producer decide what is and isn’t OK.
• If you leave paperwork or anything else on someone’s desk, tell them. Don’t assume they’ll find it.
• Don’t assume anything. Check and re-check everything as you work.
• We all make mistakes. Especially in film production, things are happening at such a fast pace, mistakes are bound to happen. The sign of a good production person is not whether or not you make a mistake (although we do try to avoid them altogether) but how you handle it once a mistake is made. It is more important to “own up” if something happens (deal with the butterflies) and see what can be done to correct the problem as quickly and efficiently as possible.

Please send your feedback to: palmerx1964@mac.com

On The Set

As you become more experienced, you will be kept on the set to work instead of being the designated errand-runner.
What are the most important things to remember on set?
• At least one PA on set (where you can be seen by the First AD) at all times. Also, if you are assigned to be on set and you have to leave, get an OK from the Key PA, Second AD or First AD and make sure you replace yourself.
• Be aware of where the camera is pointed and if the scene is being filmed so you can stay out of the shot.
• Listen to your walkie so you know what is going on. If the camera is rolling and sound is being recorded, turn down your walkie.
• Remember to keep you opinions to yourself, especially on set.
• The First AD runs the set; when you bring something (or an actor) to set, always tell the First AD.
• Arrive on location (or at the stage) prepared to do the hardest work under the most pressure in the first three hours of the shoot day.
• Remember that the time between rolling film is when you are needed most by the AD’s and the crew. All PA’s should report to set when you hear any of the following: “Checking the gate,” “moving on,” or, our favorite, “That’s a wrap.”
• Keep your cell phone or pager on vibrate whenever you are on a set, even when no sound is being recorded. Any extraneous noise can be distracting.
• Two or more PA’s standing around talking or hanging around the trucks means something isn’t getting done. If you’re not sure what to do, review the Shoot Day Checklist or ask Production.
Why did that crewmember tell me I’m not allowed to help him?
On a union shoot, union members cannot allow non-union personnel (i.e. people in production) to do certain things. There is no concise way of telling you what is and isn’t OK, since every shoot is a little bit different.
Why does the crew get to eat first?
Like so many other seemingly unfair things about hierarchy , this one is about money. The crew is being paid on the clock until the last crew member goes through the food line. It’s our responsibility to make sure that that happens as soon as possible. Also, be prepared to eat fast, you may not be able to get as long a break as the crew.

When do I get to go home?
The truth is that, by definition, Production personnel are the first to get there and the last to leave. Always keep in mind that you will do the hardest work in the first three hours of the day, around lunch time and after camera wrap. Always check with both the AD’s and the Production Manager or Coordinator before going home.


We all make mistakes. Especially in film production, things are happening so quickly and there are so many things, mistakes are bound to happen. The sign of a good production person is not whether or not you make a mistake (although we do try to avoid them altogether) but how you handle it once a mistake is made. It is more important to “own up” if something happens (deal with the butterflies) and see what can be done to correct the problem as quickly and efficiently as possible.

Please send your feedback to palmerx1964@mac.com

Holds & Bookings

Holds and bookings
When we call to check your availability to work with us, we will want to either put you on hold (because we’re not sure of the dates or we’re not sure yet how many PA’s we will need) or guidebook you.

If you give us a first hold, you are saying that you are available for the date(s) specified and that you will not accept work from another source without checking with us first. If a while goes by and you have not heard from us, do not assume that you are no longer holding for us. We probably just don’t yet know what we need. PA’s are sometimes not guidebooked until the night before they are needed.

If you get a call from someone else who wants to check your availability, tell them that we have you on a first hold and offer them a second hold. If they are ready to book you, then call us and we will either book you on our job or release you so you can do their job. Please do not accept the other booking without checking with us first.

Please send your feedback to palmerx1964@mac.com

Who Do I Work For?

Who do I work for?

The answer is...everybody. You are here to support every crew member in every department. You need to do the easy (or gross or boring) stuff for them so they are free to do the technical or artistic stuff they were hired to do.

Probably the most confusing thing about being a PA is when you already have something to do and someone else tells you to do something else. You don’t want to appear as if you have a “bad attitude”, but you also know you can’t be in two places at the same time.

One thing you can do is get another PA to do one of the two things you’ve been asked to do. Another thing you can do is take the two tasks to your immediate supervisor and let him/her figure out how to get it all done. On set, do this by calling the Key PA on the walkie, and taking the conversation to channel 2 (or your “go to” channel. (see also: walkie etiquette)

The worst thing you can do is not get one of the things done and not tell anybody about it. This makes us all look bad. And remember to tell the person who assigned you the task when you are finished.

During Prep and Wrap-your immediate supervisor is the Production Manager or Coordinator. You are also working directly for the Production Manager, the Producer, the Director and the Executive Producer and all the people from the advertising agency.

During Shoots-your immediate supervisor is the 1st AD, 2nd AD or Key PA (often dependent on crew size). You are also working for the First and Second AD’s, in addition to all the department heads and all the people listed above in Prep and Wrap.

Please send your feedback to palmerx164@mac.com

The Makings of a Great PA

The makings of a great PA:
• flexibility - you roll with the punches.
• adaptability - you shift gears quickly and anticipate the next move. You don’t repeat mistakes.
• communication - you listen attentively and speak clearly and specifically.
• attention – to details
• willingness - to get the job done
• courtesy - you are polite to everyone at all times.
• hyper-vigilance - you see and hear everything as it happens and you quickly learn everybody’s name and position.
• a gigantic sense of responsibility - you take your assignments very seriously and always complete them.
• resiliency - you don’t take any of it personally.
• neatness - yes, it counted in elementary school and it counts again now. Everything from your petty cash to your production truck should be immaculate and brilliantly organized.

Please send your feedback to palmerx1964@mac.com

What is a PA?

What is a PA?

A PA is different things to different people:

“Every location or stage looks, to me, like an empty field. Our job in production is to put every necessary body and thing on that field at the right time to efficiently create whatever the director (and the advertising agency) has in mind.
“Production assistants are the essential ingredient for moving all this material and all these people. The rest of us are completely dependent on you. Anybody who treats you as though you’re disposable just doesn’t get it.”

According to the “Set Lighting Technician’s Handguidebook”: production assistant (PA) An assistant in the production department who performs any number of menial and administrative tasks.

We look at a PA as someone who is paid to learn the business and may be asked to do almost anything relating to the production. It is a position that asks you to be whatever anyone wants you to be at any give time. The job description is ever-changing. PA’s are indeed an indispensable support not only for production, but for all the departments involved.

Please send your feedback to: palmerx1964@gmail.com

Production Assistant Guidebook: Table of Contents

Here's an overview of what we hope to cover in this guidebook.
Again, your feedback is valuable to us. Let us know what is helpful and what isn't. And most importantly, let us know if there is something we didn't cover that you think we should have.
Please email your thoughts to palmerx1964@gmail.com
Thanks
Palmer

TABLE OF CONTENTS
ABOUT THIS GUIDEBOOK 1
TABLE OF CONTENTS 2
THE PRODUCTION ASSISTANT 5
What is a PA? 5
The makings of a great PA: 5
Who do I work for? 6
Holds and guidebookings 6
ON THE SET 7
What are the most important things to remember on set? 7
Why did that crewmember tell me I’m not allowed to help him? 7
Why does the crew get to eat first? 7
When do I get to go home? 7
COMMUNICATIONS 9
How do I communicate? 9
Call Times 10
VEHICLES 11
Your car: 11
Rental Vehicle Checklist: 11
Parking & Permits 12
Chauffeur Duty 12
Getting there 12
Accidents 13
PICK-UPS & RETURNS 14
RUNS 15
General guidelines 15
Have all the information 15
FILM RUNS 16
Raw Stock 16
Taking film to the Lab 16
Picking up film at the Lab 16
New York Film Runs 17
SHOOT DAY CHECKLIST 18
Immediately upon arrival: 18
All Day: 18
Camera Position Change: 19
Before Lunch: 19
After Lunch: 19
Before Camera Wrap: 19
After Camera Wrap: 19
WALKIE-TALKIES 20
When walkies are your responsibility: 20
Using the walkie 20
Walkie Etiquette 20
WALKIE TALK & SET LINGO 21
SAFETY & SECURITY 22
Lock-up (Sound and Crowd Control) 22
Equipment 22
Idiot Check 22
CRAFT SERVICE 23
What is Craft Service and why would I want to do it? 23
A Craft Service Time Table: 23
The day before: 23
The Morning 23
After Lunch 24
Craft Service Tips 24
What you need 26
Craft Service Kit 26
Paper Goods & Staples 26
Morning Chow 26
Afternoon Chow 26
Drinks 26
LOCATIONS 27
The Location Manager 27
Prepping a location 27
Location Supplies 27
Location Signage 27
Wrapping a location 27
Trash 27
Property damage 27
Crowd Control 27
THINGS WE NEVER WANT TO HEAR 28
PAPERWORK 29
General Rules 29
Timecards 29
Petty Cash 29
PERSONAL STUFF 30
YOUR FUTURE 32
GLOSSARY 33
OTHER RESOURCES 36

Production Assistant Guidebook

Greetings to the Production Community!

In conjunction with my good friend Sharon Stein, we will be self publishing a guidebook for production assistants. Prior to publishing a paper version we have decided to run several chapters here online and hope to later do a series of podcasts. We know you'll find this information helpful and hope you'll send us feedback so we can finalize any last minute changes and go to press. Later, we'll post information on how you may obtain a complete hard copy. Please email your comments to Palmerx1964@gmail.com
Many Thanks,
Palmer

* * * * * * * * * * * * * * *
ABOUT THIS GUIDEBOOK

This guidebook will not tell you how to get a job in broadcast or film production. This book is for the new, or “green”, production assistant (PA). I am assuming that you have already gotten your first job as a PA. Now you need to know more about this alien world you’ve gotten yourself into.

I’ve put this guidebook together from a myriad of different publications that I’ve come across that instruct on how to get into the business, what a PA does, yadda, yadda, yadda. I own up now that I have relied on many sources. If I have inadvertantly plagerized your work, please accept my apologies. Also added to that is my own experience as a production assistant (yes, we all started as a PA), as well as my experience as a production manager and my expectations of the PAs I hire. I’ve also passed this book on to other production coordinators, managers and ADs as well as what I considered to be the “cream of the crop”(or Kick-ass) PAs. Their input has been invaluable.

This guidebook is geared to the Philadelphia market. Although the majority of the information is the same for anywhere you work, there are some things that are unique to this market. Also note that this booklet is written for PA’s working on TV commercial film shoots. Some things will be slightly different on other kinds of shoots.

For the purposes of this guidebook, “Production” refers collectively to the producer, production manager, production coordinator and assistant production coordinator. In this book, “us”, “we” and “our” refer to these people as well. On set, PA’s are also included when crew members and others say “Production.” Sometimes the Assistant Directors(AD) are included in our group as well.