PRODUCTION

ASSISTANT
BOOTCAMP
HANDBOOK

Presented by Witt Lacy

Assistant Director | DGA

PA HANDBOOK

WHAT IS A PA?
WHAT IS A PA? ...................................................................................................................................................... 3
Production Assistant Job Descriptions & Duties ........................................................................................................ 3
PRODUCTION ASSISTANT JOB DESCRIPTIONS ............................................................................................................ 3
Various Production Assistant Jobs ......................................................................................................................... 3
What is a Set Production Assistant? ........................................................................................................................... 3
What is an Office Production Assistant? .................................................................................................................... 4
What is a Post-Production Assistant? ......................................................................................................................... 4
Considerations for a being a Set PA ............................................................................................................................ 5
What should you bring to set? .................................................................................................................................... 5
Learn the anatomy of a call sheet ............................................................................................................................. 14
Call sheet essentials ................................................................................................................................................... 13
Learn On-Set Walkie Talkie Lingo ................................................................................................................................ 7

PA DUTIES ............................................................................................................................................................. 8
How to handle paperwork carefully ............................................................................................................................ 8
How to wrangle gear and clean set ............................................................................................................................ 8

Great PAs do these things on set ........................................................................................................................ 10

Never sit down on set or be idle ................................................................................................................................ 10
Learn names and introduce yourself ......................................................................................................................... 10
Be early and be confident .......................................................................................................................................... 11
Keep the work area clean and stocked ..................................................................................................................... 11

WALKIE STUFF .................................................................................................................................................... 18

A QUICK GUIDE TO WALKIE LINGO ............................................................................................................................ 18
MOST COMMON CODES ............................................................................................................................................ 19
WALKIE TALKIE ETIQUETTE ........................................................................................................................................ 21

General Production Slang: .................................................................................................................................. 22

HAND SIGNALS .................................................................................................................................................... 25

START PAPERWORK ............................................................................................................................................ 26

CREW DAILY TIME SHEET .................................................................................................................................... 53

CREW TIMECARD ................................................................................................................................................ 54

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GENERAL CODE OF CONDUCT ............................................................................................................................. 56

US ARMY RANGERS TROOP LEADING PROCEDURES ............................................................................................ 57

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WHAT IS A PA?
Production Assistant Job Descriptions & Duties
Production assistants are integral to a shoot whether it’s for a film, TV show, music video, or
commercial, but it’s hard to learn an entry level job when you can’t get your foot in the door.
You may be looking to book your first PA gig, or you’ve already had a few production assistant
jobs but you haven’t been able to get steady production work. The hope is that this
presentation, and handbook will take you through everything a PA needs to know during their
time on set, in the office, and in the editing suite.

PRODUCTION ASSISTANT JOB DESCRIPTIONS

Various Production Assistant Jobs
There are many types of production assistants. Additionally, each department on a film or
television set can have its own PAs.

However, PA’s are generally broken down into different categories:

1. Set PA
2. Office PA
3. Locations PA
4. Post-Production PA

On set, there will often be a Key PA (Lead PA). These are more than likely PA’s who have been
working for a while with the production team or have a good amount of previous experience on
similar or larger sets.

Key PA’s may be tasked with coordinating production assistants with less experience and may
even hire the PAs for the remaining workdays.

What is a Set Production Assistant?

A set PA supports the physical production. A set PA’s duties can change each day, but in general,
they're support staff for the on-set team — carrying out tasks for the production team first and
foremost.

Set production assistant duties can include:

• Transporting equipment
• Driving talent and crew
• Supporting crew members on set
• Preparing and packing items
• Handling production paperwork
• Protecting the set from the public (lock down)
• Cleaning the set and emptying trash cans

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What is an Office Production Assistant?
An office PA is an entry-level position in the production office of a film, television show or
commercial. An office PA supports a film’s production from a clerical standpoint-- handling
paperwork, phone call inquiries, and picking-up / dropping-off items. Office PAs are also
commonly involved in supporting a production’s writer’s room.

Office production assistant duties can include:

• Handling phones
• Maintaining craft services/kitchen area
• Generating script sides
• Going on supply runs
• Calling vendors

What is a Locations Production Assistant?

An office PA is an entry-level position in the Locations department of a film, television show or
commercial. An Locations PA supports a film’s production from a clerical standpoint-- handling
paperwork, phone call inquiries, and picking-up / dropping-off items. Office PAs are also
commonly involved in supporting a production’s writer’s room.

Office production assistant duties can include:

• Organizing Parking
• Posting directional signs
• Maintaining the portable restrooms
• Going on supply runs
• Interacting with locals

What is a Post-Production Assistant?

A post-production assistant is an entry-level position in the post-production office of a film,
television show or commercial.

The post PA supports a film’s post-production operations by supporting editors and post-
production producers by helping to make sure editing operations are smooth and organized.

Post-production assistant duties can include:

• Organizing and grouping footage
• Keeping the edit bays organized
• Managing hard drives (no magnets)
• Scrubbing through shot footage
• Supporting post-production staff
• Going on supply runs

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Considerations for a being a Set PA
If you’re a set PA, this means your main job is to support the department you are hired/assigned
to. Typically, you will be with the Assistant Directing department (1st AD, 2nd AD, 2nd-2nd AD,
key PA).

Your job is to support them, and their job is to keep the set safe and secure, to make sure union
and employment rules are adhered to, and to ensure the production stays on track so everyone
leaves on time.

There will be times where the wardrobe and make-up department will ask you to carry their
clothes and wardrobe racks to their car, or make-up will ask you to carry something, or maybe
even crafty.

You can help them out, but remember that your job is to support the production team, and
while everything is technically part of the production, if the AD or production manager asks you
to do something urgent and you're helping a department that may already have their own PA,
you might have to bail on them to go on a supply run.

What should you bring to set?

You’ve just been hired as a set PA. Nice job! You’ve got gas in your car, right? You’re prepared to
eat your own personal breakfast in the morning, right? And you’re ready to arrive fifteen
minutes early, right?

Good on ya.

The chance that you’ll be carrying ladders, dirtying your clothes, and handling trash bags is pretty
high, so don’t bust out the dancing shoes.

Often, sets will be on outdoor sites or in areas with mud. It may rain, or snow, or be windy, or
the production is faking all three, so your clothing should be able to deal with inclement weather
and conditions.

Here’s what you absolutely need to bring:

• TENNIS SHOES / HIKING SHOES

o Hiking shoes are good for outdoors, but also good because they have a stronger toe
than say a pair of Vans.

• TEE SHIRT & WEATHERPROOF JACKET

o You want to wear something that you can work in, layer up, and not worry about
getting dirty
o Even if it’s summertime, you’ll want to have a jacket on stand-by

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• CARGO SHORTS / WORK PANTS
o Cargo shorts are great because you have extra pockets and will allow you to carry
things securely in those pockets. They’re also durable, and good in hot weather.
Similarly, work denim and cargo pants are a good idea for the colder days. Bring a belt
as well so you can hang your walkie.
o Wear a belt - you'll need it for your Walkie

• BACK UP CLOTHING
o It may rain or be muddy on the outdoor set. This is way more likely than a normal day
job, so bring something just in case. It’s better to have it, and not need it rather than
need it, and not have it.

• PHONE CHARGER & BACKPACK

o We live in the digital age, so your phone will be one of the most important things on
set — especially as a PA. Make sure to keep it on vibrate so that it doesn’t ruin a take.
If the battery dies… that’s not good.
o There will be times when you need GPS for directions, so make sure the phone is fully
charged the night before and bring your charger.

• PEN AND NOTEBOOK

o If you’re the PA who will be going on runs, taking coffee orders, or maybe even lunch
orders, you will need to have a pen and notebook. If you bring your own from home,
production will be impressed.

• LIGHTER
o Lighters probably won’t be necessary on set, and in many cases, they should stay in
your pocket due to fire hazards, but there will be times where you want to have it just
in case.

• MULTI-TOOL & ZIP TIES

o A multi-tool is like a Swiss Army knife on steroids, and they are great for quick fixes
and can help you stand out from the other PAs. Zip ties are great for the same
reasons, and while they’re less necessary than the multi-tool, they will come in handy
more often than you might think.

• WALKIE TALKIE EARPIECE (SURVEILLANCE)

o On professional sets, these will be provided with the walkie set that the production
rents from an equipment rental house, but some sets may not have the budget for a
professional walkie set rental.
o This is where you’ll have something the other PAs don’t, and this will allow you to
keep open walkie lines from ruining a take. Everyone needs to be completely silent
when shooting… so don’t be the person who isn’t.

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 • HAT & SUNGLASSES
o Set days can go anywhere from 8 to 20 hours. This sounds like a joke, but it’s
absolutely true, and if you’re in the sun for an extended period you will not only burn,
but you won’t be able to perform your duties the next day.
o Also, suggest to the producer that you scoop up some spray on sunscreen and ask the
crew (when appropriate) if they need a spritz. Bring a towel as well so the camera
team and grips can wipe their hands.

Learn On-Set Walkie Talkie Lingo

Walkie talkies are the most important tool you’ll use on set because they’re used to
communicate quickly and expedite tasks. Walkie etiquette is kind of a big deal; if it were a
person, it would have many leather-bound books and furniture made of oak.
Walkie talkies have multiple channels, and often each department will have its own dedicated
channel.
Here are the common assignments:
• Channel 1 — Production (You)
• Channel 2 — Open, for one-on-one conversation
• Channel 3 — Transportation
• Channel 4 — Open, for one-on-one conversation
• Channel 5 — Open, for one-on-one conversation
• Channel 6 — Camera
• Channel 7 — Electric
• Channel 8 — Grip
There are even situations where multiple crews are nearby one another, like say on the backlot,
so make sure the frequencies aren’t mixing.
Walkies aren’t your private landline, they’re one of the most serious tools on set that also
happens to have the most ridiculous name.

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PA DUTIES
How to handle paperwork carefully
You may deal with time cards, call sheet distribution, script sides, PRs, Daily Time
Sheets, or DOODs, and it’s important to be as responsible as possible.

Many of these documents have important information like social security numbers and
identification information, and if something goes wrong or suspicious activity is reported they
will ask the PAs first.

The 2nd AD, and 2nd-2nd AD will check the paperwork before releasing anyone for the day, but
it will probably be your job to shag down any stragglers who might have incomplete paperwork.
If the crew is still shooting, don’t run onto set with the paperwork and ask them to fill it out. If
they’re wrapping the set, politely let them know they have a few missing sections, and they’ll
come over when they can.

They know they need to fill this stuff out to be paid, so they won’t leave you hanging, but if they
do let them know before they leave.

How to wrangle gear and clean set

Generally, you will only be touching production equipment like walkies, ladders, trash bags, and
maybe the odd wardrobe rack, but there may be times where you must head to the electric
department to return a stinger (large extension cable) or asked to help move some furniture.

You shouldn’t touch equipment that isn’t part of your department, so if you see a light stand
that’s in the shot, tell a grip. If you notice a $15,000 lens sitting on top of a storage box… tell the
camera assistant.

If an actor is eating crafty and their lipstick is smudged, take them back to hair and make-up. You
may have the best of intentions, believe that time is of the essence, and just want to help the
production, but there are union rules that keep people in their specific lanes for good reason.

If you point these things out to the correct people, not only will they be fixed, but they will
remember you for bringing it to their attention. It’s always good to follow the rules, help the
team, and be remembered.

Now, maintenance can mean a lot of things, one of which is clean up for the set, which often
means discarding and replacing trash bags. Here is something you want to keep in mind with
trash and production:

1. Productions generate a large amount of trash

2. Productions are responsible for trash disposal
3. You are NOT responsible for trash disposal

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So, what does this mean? Does that mean the producer has to take out the garbage bags? No, of
course not — that’s totally your job, but...
That doesn’t mean it’s your responsibility to store the garbage in your personal car and take it
home to discard at your apartment. You shouldn't be asked to load the trash onto the
production cube and then find a random dumpster on the way back to the lot. If you’re caught
throwing garbage bags into someone else’s dumpster, you will get a $400 ticket at minimum…
and the production won’t pay for it.

Again, most professional productions will know they need to arrange for some trash disposal, but
I’ve worked music videos and commercials where the production wanted to cut corners with
garbage.

Some producers will ask for the trash to be loaded on the truck and driven back to the
production office to be disposed of in the dumpsters, or they might tell you to dump the garbage
at the production lot.

You might end up at the production office and the garbage is locked, or at the lot and the lot
owner tells you, “there’s an extra charge.” Immediately call your superior until they answer and
figure it out. You're all on the same team, so don't be shy to figure it out together.

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Great PAs do these things on set
We’ve gone over production assistant duties and job descriptions, but now let’s talk about a few
of the things you can do to impress and show you’re ready to be part of the production team
going forward.
Producers, Production Coordinators, UPMs, Assistant Directors — all of these people have a
contacts list with dozens of PA’s. When they book a job, they go right into their contacts list and
they find the favorites on their ‘roster’ so that they bring the best crew with them.

Never sit down on set or be idle

On a film set, the crew never sit down. Chairs would get in the way, apple boxes are for more
important things, and there’s no reason to sit down.

If a producer sees a PA sitting on set, they will remember, and they will say something. As a PA,
you don’t have to be the Tasmanian devil running around, but you cannot be the 'chill dude' on
the phone either.

When everyone is taking a break from their work, that’s when they need the PA’s to be helping.
Your phone should be on vibrate, in your back pocket, and you should be anticipating the needs
of the production.

The only time a production assistant should sit on set is when they’re behind a table and
accepting the background actor paperwork.

“How can I help the team wrap early?”

If you’re thinking this question throughout the day, you will be a better PA and every person on
set will thank you for it, including yourself.

Learn names and introduce yourself

A big PA responsibility is to learn the cast and crew’s names. If you’re part of a specific
department, know their names at the very least.

If you’re the PA who escorts talent to and from set, you should learn the talent’s name, and in
some cases, Gene Hackman will prefer to be called Mr. Hackman versus, “Hey Gene, we’re ready
for you!”.

You should make it a point that they know your name too, so when the time comes for you to
‘invite them to set’, you can knock on the dressing room door and say, “Valerie… this is Bill.
Production would like to invite you to set.” and then wait patiently for Valerie to emerge.

The fact of the matter is that being on camera is a somewhat terrifying affair, and they need
someone to be on their side. Often, that person is you, and your job is to keep them thinking
about the positive and send them off with confidence.

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Don’t ask them, “feeling good?” or “ready to make some magic?” because frankly what you’ve
just done is taken them out of their character and reminded the talent that a lot is riding on
them to do well. Let them talk to you on the walk, answer questions with a smile and at the very
end, you can maybe say “you’re going to do great.”

Be early and be confident

One of the production assistant duties might include being the first person to arrive on set along
with a production coordinator or UPM, and this is because you need to prepare for everyone
else.

Be fifteen minutes early, because the producers will be there at this point too, and it will show
your professionalism. You can then safely grab some coffee (maybe breakfast) and then begin
unloading the truck, moving things out of the way, clearing paths, opening bathrooms, cleaning
dressing rooms, setting up areas for staging.

It will be you and the other PAs who will set the tone for the day, and that is some serious power
in your hands. Don’t waste it, but rather create a perfect situation that guides everyone exactly
where they need to be.

Keep the work area clean and stocked

Part of the PA’s job is to keep things organized, and while you’ll never touch light stands and
camera equipment, you can absolutely clean up, throw away trash, keep set kit organized and
stocked.

One of the biggest wastes on film sets are plastic water bottles, the scourge of the environment.
Every production will have about a dozen cases or 24 pack water bottles, which means 200 plus
plastic water bottles that will be opened, sipped from, and left half full.

That is a lot of wasted water, and a lot of wasted plastic. This is why many productions will buy
reusable water bottles for cast and crew and use the water cooler method to make the
production more green.

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PA DO’s and DON’Ts
• DO – Show up for work. Do not accept a job unless you will show
up
• DON’T – Ever be late
• DO – Communicate clearly with others
• DON’T - Bother cast. BE friendly, polite, and be socially aware.
Sometimes the cast wants to be alone.
• DO – Listen to what people are saying. Not what you THINK they
are saying.
• DON’T – Talk back
• DO – Exactly what you are told, and only creative if it makes sense
within the boundaries given to you
• DON’T – Be rude
• DO – KEEP QUIET unless you have a reason to be vocal. This doesn’t
mean don’t have fun. Just don’t be a distraction. It can be
dangerous if people don’t pay attention to their job.
• DON’T – Bother the crew. Wait until there is down moment and the
let them know you are interested in their cast.
• DO – HELP move coolers, director chairs, pop up tents, or other
amenities of production. Try to anticipate where those items will be
needed most.
• DON’T – Expect a 12 hour day at the minimum.
• DO – Echo certain call from AD.
• DON’T – Use the radio during while rolling
• DO – BE positive.

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TYPICAL PRODUCTION PAPERWORK:
Call Sheets, Sides, DOODS, etc.

A Call Sheet is a document sent out to the cast and crew that outlines where and when they
need to be for the following shoot day. It also outlines the daily shooting schedule for the day,
informs the cast and crew of weather conditions, parking regulations, and all other pertinent
details.

• The 1st AD, producer, or prod. coordinator creates it.

• If you're sending it out, only send it ONCE.
• If you're sending it out, pay attention to who RSVPs.
• Look out for it the night before.
• Triple check where you need to be the next day.

Call sheet essentials

Also, there will be at least two addresses on the call sheet:
• Set location address
• Nearby hospital address
• Production office (possibly)

If you don’t study the call sheet, and you arrive fifteen minutes early to the nearby hospital,
you’ll be pretty disappointed in yourself.

Arrive fifteen minutes early to the production office, and there is a 90% chance you won’t make
it to set… which increases your chance of being asked to not come to set at all. It’s not personal…
it’s business.

Call sheets will often have information about the day’s events as well, so see what you can learn
about the next day from your call sheet.

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 Learn the anatomy of a Call Sheet: DATE, SHOOTING
DAY, GENERAL
Production office
CREW
information
CALL/SHOOT CALL:
(address, phone,
General info and
etc) & a list of the
times for the day
Producers

THE DAYS WORK –

scene number, a
summary of the
scene, who is in it,
when it takes
place, how long it
is, and any notes.

CAST INFO – Cast

number, Name,
Character Name,
DETAILS/NOTES – work status, call
Background/ time, when they
Stand-in numbers are expected on
and call times, any set, and any notes.
special
instructions,
related to the
scenes, for
departments

ADVANCE
SCHEDULE –
The next few days
for work.
Location, Scene
Numbers, and
notes.

NOTE: THIS IS AN EXAMPLE OF A CALLSHEET – THEY WILL VARY FROM

PRODUCTION TO PRODUCTION

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 INDIVIDUAL INDIVIDUAL CALL
NAMES TIMES-each on-set
persons call time.

DEPARTMENTS
AND WALKIE
CHANNEL

INDIVIDUAL
TITLES –
Each
person’s
on-set job
title

IMPORTANT ADDRESSES –
Crew Parking, Basecamp, set
and the nearest hospital.

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SIDES
Script pages that contain only the scenes being shot that day. Notice in the example that the
cover sheet (Page 1) reflects the formatting of a callsheet. It contains all the pertinent
information of the current days work – the scene numbers, cast info and department notes.
Also, notice that all the scenes (Pages 2 – 4)that are not scheduled to be shot at all greyed out,
and are “x”ed out.

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 Sides Example:
34.

61 EXT. THE TREE - NIGHT - CONTINUOUS 61

Conner holds the pocket knife as he gazes upon the tree.

62 INT. ANNA'S BEDROOM - NIGHT 62

Anna lays awake.

SOUND: MAY LAUGHING/CRYING

Anna follows the sound, it's coming from the backyard. She
looks out the window and sees May approaching the edge of the
woods.

63 EXT. MAY'S VICTORIAN - BACKYARD - CONTINUOUS 63

May is overwhelmed with joy. Her smile gets bigger. She

disappears into the darkness beyond the tree line...

Anna looks puzzled.

64 INT. ANNA'S ROOM - LATER THAT NIGHT 64

Anna lays in bed.

Sound: back door shuts, footsteps, May's electric chair,

May's bedroom door shuts.

Anna listens up until May's door closes, then her eyes slowly
shut taking her into a deep slumber--
The clock reads 1:13a.m.

Our camera pans over revealing an ANTIQUE WOODEN HOURGLASS on

Anna's nightstand. Black sap leaks from underneath it
creating a double reflection of the hourglass on the
nightstand table. The sand begins to swirl around inside it.

As Anna sleeps we slowly pan around the room. We barely see

that there is a dark figure in an odd position looming in the
darkness by Anna's bed. (Pre-reveal of "Mr. Sandman".)
CLOSE ON ANNA'S eyes -- Sap disappears into her eyes.

65 EXT. STREET - NIGHT - DREAM 65

Anna's eyes open wide. She's upside down in the backseat of a

flipped over car. Anna gains consciousness and takes her seat
belt off making her body fall to the roof with a bang; she
struggles to get out and slides out of the car frantically.

Page 1 Page 3
35. 43.

ANNA He walks up to her and grabs her tote bag lying next to her.
Mom, dad? Are you okay--
Anna looks back startled to see him. He doesn't say anything
She checks the driver and passenger seats for her parents. and begins walking towards his truck with her belongings.
Her "parents" are rotten skeletons. She screams and backs
away. ANNA
Shawn?! What are you doing?
As she turns around we REVEAL something at the end of the
road. An Easter bunny photo OP is lit by a spot light. A SHAWN
camera on a tripod sits across from the BUNNY; The Bunny Being a friend and giving you a ride.
waits patiently for Anna.
ANNA
She slowly walks towards the Bunny. Her eyes seem to be I don't need a ride.
hypnotized. She sits down on the Bunny, we push into her face
in a trance as the camera flashes a bright light. SHAWN
If you want this back you have to get
in the truck.
66 INT. BUNNY ROOM - CONTINUOUS - DREAM 66
Anna tries to snatch her bag back. Shawn dodges her and jumps
We pull out from her face, revealing her still sitting on the in his truck.
Bunny's lap, but now in a small pink room full of vintage
bunny memorabilia. Stuffed animals, glass figurines, art SHAWN (cont'd)
work, etc. It's time that we have a little talk.

A silhouetted little boy stands behind a camera aiming it at ANNA

her. (Pre-reveal of "Vincent".) Anna tries to move, but the Talk to me here.
Bunny holds her tight.
Shawn turns the ignition on and waits for her. Anna has no
The silhouetted boy gently hums "Dreamland", but it has so choice but to get in.
much reverb it's not recognizable yet.
ANNA (cont'd)
The camera flashes, and flashes again. From Anna's POV, she This better not be a game, you better
sees the light rings from the flashes. be taking me home.

Anna elbows the Bunny and runs to the corner of the room. The SHAWN
Bunny walks slowly over to her, he reaches into his "chest Promise.
pocket" and grabs a BUTCHER KNIFE. Anna gets so scared she
covers her eyes-
79 INT. SHAWN'S TRUCK - MOVING - DUSK 79
Her POV goes black. Her hands slowly move away from her eyes.
The human bunny is gone. She looks down and sees a REAL BUNNY Anna looks at empty beer cans on the ground. Shawn speeds up
with the most innocent looking eyes looking back at her. He while he passes Anna her bag, she grabs it from him fast and
hops towards a small door in the wall. The door opens and the checks her seat belt.
bunny goes through.
SHAWN
Anna gets down on her knees and does the same. You want a beer?
She begins to crawl through a dark tunnel with black sand ANNA
lining the ground. As she crawls black sap lands on her hand. What do you want to tell me?
She stops. Looks up and the black sap lands on her face. Her
eyes go wide as she see's where its coming from. SHAWN
Nothing.
Shawn speeds up.

Page 2 Page 4

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WALKIE STUFF
A QUICK GUIDE TO WALKIE LINGO
You always want to always keep extra walkie batteries on you, these are known as “hot bricks.”
You also will want to lock the set down while shooting, even crew shouldn’t be walking on and
off set.

Additionally, the terminology used on the walkies can often be used off walkies, so you can use
many of these terms whenever appropriate.

Here’s some of the lingo: Let’s say you name is BILL. If you need to talk to someone, say, “BILL
for TED.” There may be times where there are multiple people with the same name so use a
last initial, crew position, or nickname (i.e., TED L.).

If someone calls you on the walkie, say, “Go for BILL.” Don’t say, “yeah” or “what’s up” or “BILL
here.” There may be times where you need to move to an open channel to discuss something
more complex or list off coffee orders to another PA.

If you need to go to another channel, say, “TED go to TWO.” This means you will both go to
channel two on your walkies, but if you find someone else already on the channel, then either
go back to ONE (hopefully TED will do the same) and move to a different open channel.

When you need to confirm that you understand information, say, “COPY THAT.” This extends
beyond just the walkies, so use this term all the time. If you need to confirm that you’re
carrying out a task, say, “ON IT.”

This is used both in person but also over the walkie. If you’re performing said task, and you
hear someone ask for another PA to do this over the walkie, make sure to chime in and let
them know you are in mid-task: “BILL is ON IT.”

This will limit redundancies, and if it’s something you anticipated it will show initiative.
However, don’t try to snake tasks from others to impress because it will backfire, and you’ll
look silly.

If you didn’t hear information over the walkie, say, “GO AGAIN PLEASE.” Walkies don’t always
work perfectly. Sometimes extras are being loud. Sometimes pyrotechnics went off and you
couldn’t hear. Don’t be embarrassed to ask for clarification, they will understand.

If you already have a task, or need extra time, say, “STAND BY.” This will let the production
know that you heard the call, but that you’re currently busy with something that will be done
soon. If your task is going to take a little while, let them know with an ETA.

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 When you’re asking someone where they are, say, “WHAT’S YOUR 20?” This will let you know
where someone is, but often someone will be asking you this question, so make sure to keep
your answer brief.

If you’re about to leave the set, or turn off your walkie, say, “GOING OFF WALKIE.” This is so
that the crew knows you will be unavailable for the moment. When you’re bringing something
to set, like a ladder, say, “FLYING IN.” This will let the crew know that you’re on your way,
either with an item, or because they asked for a PA to get rid of something.

When you need to find something or someone, say, “EYES ON ____.” Someone might ask if
anyone has eyes on the ladder, and if you see the ladder in the production cube, you can say,
“BILL’s got eyes on ladder.” This way they know who has eyes on what, and most likely “flying
in.”

If information needs to get to everyone quickly, they say, “SPIN THAT PLEASE.” This is where
something important has changed, or the crew needs everyone to understand something, so
the information is sent out.

When you need to head to the restroom, or are already inside, say, “BILL is 10-1.” This will
politely let the crew know that you’re unavailable, and that you’ll be back soon, whereas
“going off walkie” can be for longer.

When the camera is rolling, everyone on set needs to be quiet and the PAs will help by calling
out, “ROLLING.” This is so that people know to be quiet and not to walk on and off set.

MOST COMMON CODES & LINGO

10-1
“I need to go the bathroom” (number 1)

10-4
“I understood the message.”

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Location; as in, “What’s your 20?”

COPY
“I heard and understood the message.”

GO AGAIN
“I did not understand the message, please repeat”. You can also say “come back on that.”

EYES ON
When someone or something is spotted; as in, “[NAME] has eyes on Spielberg.”

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LOCK IT UP
“Don’t let anyone through.”
This is usually an instruction to a PA who was told of a door or area they must block

FIRST TEAM
The principal actors in in a scene, as in: “walking first team to set”

SECOND TEAM
These are the stand-ins for the principal actors

FLYING IN
When someone or something is en route; as in, “I’m flying in masking tape.”

ON IT
When you understand the request and are actively working on it. Only use if you’ve started the
work.

“ETHAN” FOR “NICKY”

‘Ethan’ being your name, ‘Nicky’ being the person you want to reach.

GO FOR “NICKY”
The response. “I heard you call for me, what’s up?”

WALKIE CHECK
When you first turn on your walkie talkie. Someone will reply with “Good Check”, so you know
your walkie’s working

KEYING
When someone is accidentally holding down the “talk” button on their walkie. Someone will
catch it and say “keying” or “someone’s keying.”

GOING OFF WALKIE

When you’re taking off your walkie talkie or can’t talk anymore.

SPIN THAT PLEASE

When something is said on channel 1 that must be passed along to other channels. This is
usually assigned to key PA’s or 2nd 2nd AD’s

STAND BY
“I hear you, but I’m too busy to reply.”

STRIKE (OR 86)

When something needs to be removed; as in: ““Strike that prop” or “86 those C-stands from
the staging room.”

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 KILL
When something needs to be turned off; as in “Kill the fog machine.”

WALKIE TALKIE ETIQUETTE

HIERARCHY
Give up your walkie talkie if someone higher than you run out of battery.

TAKE YOUR TIME

Speak slowly, clearly, and at a moderate volume.

BE PROFESSIONAL
Cut back on jokes and other non-sequiturs.

MEMORIZE NAMES
Learn your crew’s voices to avoid constantly asking who you’re speaking with.

BE CONCISE
Be brief and to the point. Bluntness is best.

THINK BEFORE TALKING

Be concise and to the point into walkie talkie codes. Are you saying something offensive? Just
think.

GIVE IT A BEAT
Wait a moment before speaking. Don’t hit the button right when you speak. You’ll have to
repeat yourself.

WATCH THE DIALS

Be aware of your walkie talkie’s buttons. Don’t accidentally switch your dials on, or turn down
the volume and miss important instructions.

ASK TWICE IF NEEDED

While it’s always best to say “Copy That,” if you don’t understand, don’t be afraid to ask again.
Repeating instructions back can help this.

DOUBLE-CHECK
Check your channel often to make sure you didn’t forget to switch back.

GRAB AN EARPIECE
Think about buying your own surveillance earpiece. These are cheap and may be in short
supply when you get to the set.

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 WATCH THE DISTANCE
Keep your mic a good distance from your mouth while speaking. You don’t want your voice to
be too loud. 3-5 inches away should be good enough.

WATCH FOR WIRES

Make sure your mic wires are underneath the back of your shirt. Loose wires are a danger to
yourself and others.

General Production Slang:

Abby Singer – Second-to-last shot of the day. Named for a crew member who would always
alert his crew of the second-to-last shot of a setup, scene, or the day.

Apple or Apple Box – a solid wooden box that comes in standardized sizes (from largest to
smallest): full, half, quarter, pancake

Back In – phrase meaning lunch and/or any break is over, and work has begun again

Back-to-one - This refers to doing another take and having everyone (actors, camera, crew,
etc.) go back to their starting positions for the shot. Usually called by the AD.

Banana - This is not the director calling for a snack or delivering the punchline to a joke. It is a
direction given to an actor. It means that when moving toward or away from the lens, the actor
needs to walk in an arc in order to accomplish a cinematic goal such as revealing something in
frame at the proper moment, or for making the movement itself look natural on camera.

C47 – a WOODEN clothespin

Check the gate - A term called by the A.D. before a change in camera position. At this time, the
camera assistant will examine the aperture plate/gate of the film camera for any built-up debris
that intrudes onto the image area. Although technically only applicable to shoots using film,
check the gate can also signify the checking of the last few seconds of the last shot in digital to
see that both the picture and sound have been recorded.

Choker/Choker C.U. - A shot that uses the bottom of the frame line to “choke” the actor by
cutting him or her off just below the chin.

Cookie - (Shorthand for Cucoloris) - similar to a flag or cutter, but usually a solid material with
an abstract pattern that passes light, creating patterns on backgrounds or subjects. It is used to
break up light, giving it a more natural feel.

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Crossing - This is said by someone crossing in front of the camera, before doing so, to warn the
operator that the viewfinder is going to go black as they obliterate the frame momentarily.
Crossing close to the camera is generally bad form, and it should be avoided as much as
possible. However, when it is unavoidable, calling out “crossing” is a standard on-set courtesy.

Crafty – craft services area and/or person

Cutter - Also known as a flag, it is used to “cut” the light and define the area lit. You can use a
cutter to create a hard or soft edge, depending how close to the light it is placed. Please note
the terms “cutter” and “flag” are used interchangeably; however, strictly speaking, when you
are controlling spill light from striking something out of the shot (such as the camera lens or a
crew person), you are flagging that light. When you are setting a precise shape for the light that
is in the shot (for example, a set light), you are using a cutter. Some grips will use special names
depending on the size or shape of the flag, but there is no penalty for switching the terms
“cutter” and “flag.”

Day Player – a crew member hired for only one day, or a handful of days, worth of work

Floppy - It is a large rigid flag, usually four feet on each side, with an extra flap that is held in
place with hook-and-loop fabric. When you want to block light, you set up the floppy and then
release the extra fabric.

Flying in - It means that the necessary item or person is on its/their way to set.

F.A.S.T. - Focus Aperture Shutter Tachometer. These are the minimum four responsibilities of
the 1st camera assistant. Yes, even in the digital era, these are still valid responsibilities.

Furnie Blanket – a furniture blanket or sound blanket

Greek - To modify the name of a product so that the package looks the same but the brand
name on it is not readable. This is important to do when you use a trademarked product, such
as Coke™, in your shot but don’t have permission. The term probably developed as words were
obscured by adding bits of tape to the letters. This resulted in a subtle change that often-
resembled Greek lettering. It is a very effective way of dealing with concerns over trademark
use and can be used on product names and logos.

Hollywood - To “Hollywood” something is to handhold it and not set up a stand for it. Crew will
often Hollywood reflectors, bounce cards, or small light fixtures such as china balls. This allows
for fast adjustments and also to move with the actors.

Hot Points – yelled when carrying something with the potential to hit somebody like dolly track
or a C-stand. Usually said when going through a narrow hallway, doorway or around a corner

Juicer – an electrician

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Last Looks – phrase to call in hair/make-up to give a final touch-up to actors before a scene is
filmed

Last Man – phrase that refers to the last person to get their food at lunch; usually used
because lunch should not officially start until the last union
person has gone through

Magic Hour – the time right before sunrise/after sunset in which the sky is somewhat dark but
still illuminated. Often lasts only 20 minutes despite its name

Martini – the last shot of the day

MOS - There are many myths and lore behind this term, which means that the camera is
recording, but audio is not being recorded. It is often used when shooting insert shots. The
reason a shot is slated “MOS” is so that the editorial department doesn’t waste time trying to
find the audio for the shot or wonder why people are talking during the take. The most likely
explanation for MOS is that it means “Motor Out of Sync,” and it was written on a slate so that
the editor would de-couple the sound head on the Moviola upright editing machine for that
shot so that only the picture was rolling and not the sound.

Negative Fill - This is when you use a flag or the black side of a show card to prevent light from
reflecting on a subject. It is used much the same way you would use a bounce card to provide
fill

OTS (Oh - Tee - Es) - This means “over-the-shoulder shot,” where two characters are having a
dialog and the camera is positioned over the shoulder of one actor to capture the other actor.
OTS shots can be either “clean” as in a clean single, where it is a close-up of your subject
without anyone else intruding in the frame, or “dirty,” usually a close-up of an actor with a part
of another actor in the frame. This is used when not having a small part of that other actor in
the close-up would be jarring.

Pancake – a size of apple box; see “apple”

Pickup - Doing another take of a shot, but only part of it, starting part-way through the
beginning. For example, the first half was good, so you are only going to retake the second half.
Usually this refers to a shot which only has part of the dialog or action.

Picture’s Up – phrase to alert all on set that cameras are almost set to start rolling

Roll sound/camera or Turnover - The A.D. calls for audio and camera to start. “Turnover” is
most often used in the British film industry.

Room tone - Similar to wild sound, since there is no picture being recorded, but different
because you are recording the sound of the environment with no dialog. This is done so you can
use the recording to replace any audio that has unwanted noise without hearing the

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background noise of the room disappear. If your camera is also your audio-recording device, it
is customary to shoot a slate that says, “Room Tone” and to specify what scene it is for.

Scripty – the script supervisor

Sides – a half-sized script pages that contains only the scenes being shot that day

Sparks – an electrician; see “juicer”

Stinger – an extension cord

Talent – actor(s) or actress(es)

Video Village – the area in which viewing monitors are placed for the director and other
production personnel. Referred to by this name because of the propensity to fill with people,
chairs, and overall “too many cooks in the kitchen”

Wild Sound - Audio recorded without the corresponding picture (the complement to MOS),
great for getting clean sound to match visual effects such as a coin dropping or the sound of
wind through the trees

HAND SIGNALS
These can help to reduce the noise on a set, which is a good thing, since the last thing you as a
crew member want is to be noticed for being too loud.

Counting - As while on set, you often need to share information, but you want to keep the
noise to a minimum and not disturb the actors. Still, information such as lens focal length and T-
Stop, walkies channels, scene numbers, etc. So, it is necessary that you be able to share simple
numeric information between takes without interrupting the workflow or the actors’
concentration. This brings us to the need for a one-handed signal. This is simple: fingers straight
up—1, 2, 3, 4, 5. Fingers horizontal—6, 7, 8, 9. A closed fist indicates zero/ten.

I’m going off set to use the bathroom - Two fists held next to each other and then a twisting
motion is applied to each hand as if tearing a phone book. It is commonly used in conjunction
with the cover-me sign above.

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START PAPERWORK
On your first day you will need to fill out a “start work packet”. This will consist of lots of
repetitive worksheets that MUST BE COMPLETED in order for you to get paid. The following
pages are an example of a “Union Member” start packet.

Best advice is to fill out what you know. Then comeback and ask questions.

PRODUCTION ASSISTANTS ARE NOT UNION…but its best to familiarize yourself with the items
that you will be asked for.

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WRAP PAPERWORK

At the end of each day and each week, the Set PA’s will likely have to help wrangle all paperwork
that needs to go to the production office. This will be in the form of Loss and Damage reports,
Daily Time Sheets, Week Timecards, Box Rental Forms, and anything else the department need
to send in after wrap.

Once the PA has been given the paperwork, they should check in with the Key PA and/or the 2nd
2nd AD.

The PA should also check that the in time and the out time make since – IE: if the electrics
started at 10A and wrapped at 1030P it should be written that way and NOT like IN 10 / OUT
1030.

Time on set is traditionally tracked on the 24-hour clock and using an incremental point value
system. I call it “Accounting” time. The figure below helps illustrate the conversion.

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CREW DAILY TIME SHEET

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CREW TIMECARD

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APPENDIX:
EXAMPLES OF FILM RESUME

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GENERAL CODE OF CONDUCT
1. Maintain condition yellow. Stay out of the white. Stay switched on instead of switched
off.
2. Never be late, light, or out of “uniform”. If I’m not early, I’m late. And if I’m late, please
come look for me because I’m probably face down in a ditch somewhere.
3. The best way to get out of an altercation is not to be there in the first place. But when
things escalate, find a solution quickly.
4. Drive like the roads are a chess match. There are a lot of pawns on the board.
5. My mindset allows me to be introspective and to recognize my faults and weaknesses. It
states, “You can probably do better.”
6. Do what’s right instead of doing the right thing. Innately, human beings know right from
wrong. We should be good to others and do what’s right instead of doing the right thing
to appease someone of some higher power.
7. Don’t plan to fail by failing to plan. Be prepared for whatever may come. I need to be
prepared to save my life, someone else’s life, or to kick someone’s ass.
8. Check my anger. Though I will not be victimized, I should exercise keen intellect instead
of rage when avoiding being victimized. I’ll try at all costs to defuse a situation before it
gets out of hand.
9. Limits begin where vision ends. We cannot outperform our self-image. Positive mental
attitude goes a long way in training and in day-to-day life.
10. My mind says that everything is a competition, and I can do better at anything than
anybody. Is that true? No. It doesn't have to be true.
11. Don’t rest on my laurels. What’s done is done. Yesterday doesn’t mean shit unless you
can perform tomorrow.
12. Don’t underestimate anyone. Looks can be deceiving. Cunning and moxie rule the day.
13. Don’t be a JERK. It doesn’t resonate well.
14. Remember the lesson, forget the insults
15. When working with a team remember to be a team player.

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US ARMY RANGERS TROOP LEADING PROCEDURES

• Step 1. Receive the Mission

• Step 2. Issue a warning order
• Step 3. Make a tentative plan
• Step 4. Start necessary movement
• Step 5. Reconnoiter
• Step 6. Complete the plan
• Step 7. Issue the complete order
• Step 8. Supervise

1. Receive the Mission

The leader may receive the mission in a warning order, an operation order (OPORD), or a
fragmentary order (FRAGO). He immediately begins to analyze it using the factors of METT-T:
What is the MISSION?
What is known about the ENEMY?
How will TERRAIN and weather affect the operation?
What TROOPS are available?
How much TIME is available?
(1) The leader should use no more than one third of the available time for his own planning and
for issuing his operation order. The remaining two thirds is for subordinates to plan and prepare
for the operation. Leaders should also consider other factors such as available daylight and
travel time to and from orders and rehearsals. In the offense, the leader has one third of the
time from his receipt of the mission to the unit's LD time. In the defense, he has one third of the
time from mission receipt to the time the squad or platoon must be prepared to defend.
(2) In scheduling preparation activities, the leader should work backwards from the LD or
defend time. This is reverse planning. He must allow enough time for the completion of each
task.

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2. Issue a warning order
The leader provides initial instructions in a warning order. The warning order contains enough
information to begin preparation as soon as possible. Platoon SOPs should prescribe who will
attend all warning orders and the actions they must take upon receipt: for example, drawing
ammunition, rations and water, and checking communications equipment.
The warning order has no specific format. One technique is to use the five-paragraph OPORD
format. The leader issues the warning order with all the information he has available at the
time. He provides updates as often as necessary. The leader never waits for information to fill a
format.
If available, the following information may be included in a warning order.
The mission or nature of the operation.
Who is participating in the operation.
Time of the operation.
Time and place for issuance of the operation order.

3. Make a tentative plan

The leader develops an estimate of the situation to use as the basis for his tentative plan. The
estimate is the military decision making process. It consists of five steps:
1. Detailed mission analysis
2. Situation analysis and course of action development
3. Analysis of each course of action
4. Comparison of each course of action
5. Decision.
The decision represents the tentative plan. The leader updates the estimate continuously and
refines his plan accordingly. He uses this plan as the start point for coordination,
reconnaissance, task organization (if required), and movement instructions. He works through
this problem solving sequence in as much detail as time available allows. As the basis of his
estimate, the leader considers the factors of METT-T.

4. Start the necessary movement

The platoon may need to begin movement while the leader is still planning or forward
reconnoitering. The platoon sergeant or a squad leader may bring the platoon forward, usually
under the control of the company executive officer or first sergeant.
This is where your subordinate leaders prepare men, weapons and equipment for the coming
mission. It is an excellent time for them to eat, conduct maintenance on weapons/equipment,
and gather together anything they are going to need for the upcoming mission.
This step could occur at any time during the troop-leading procedure.

5. Reconnoiter
If time allows, the leader makes a personal reconnaissance to verify his terrain analysis, adjust
his plan, confirm the usability of routes, and time any critical movements. When time does not

58
allow, the leader must make a map reconnaissance. The leader must consider the risk inherent
in conducting reconnaissance forward of friendly lines. Sometimes the leader must rely on
others (for example, scouts) to conduct the reconnaissance if the risk of contact with the enemy
is high.

6. Complete the plan

The leader completes his plan based on the reconnaissance and any changes in the situation.
He should review his mission, as he received it from his commander, to ensure that his plan
meets the requirements of the mission and stays within the framework of the commander's
intent.

7. Issue the complete order

Platoon and squad leaders normally issue oral operations orders.
(1) To aid subordinates in understanding the concept for the mission, leaders should issue the
order within sight of the objective or on the defensive terrain. When this is not possible, they
should use a terrain model or sketch.
(2) Leaders must ensure that subordinates understand the mission, the commander's intent,
the concept of the operation, and their assigned tasks. Leaders may require subordinates to
repeat all of part of the order or demonstrate on the model or sketch, their understanding of
the operation. They should also quiz their soldiers to ensure that all soldiers understand the
mission. Chapter 5 Infantry Platoon Tactical Standing Operating Procedure provides a list of
questions that leaders can ask to determine if the soldiers understand the mission.

8. Supervise
The leader supervises the unit's preparation for combat by conducting rehearsals and
inspections.
(1) Rehearsals. The leader uses rehearsals to--
Practice essential tasks (improve performance).
Reveal weaknesses or problems in the plan.
Coordinate the actions of subordinate elements.
Improve soldier understanding of the concept of the operation (foster confidence in soldiers).
(a) Rehearsals include the practice of having squad leaders brief their planned actions in
execution sequence to the platoon leader.
(b) The leader should conduct rehearsals on terrain that resembles the actual ground, and in
similar light conditions.
(c) The platoon may begin rehearsals of battle drills and other SOP items before the receipt of
the operation order. Once the order has been issued, it can rehearse mission specific tasks.
(d) Some important tasks to rehearse include--
Actions on the objective.
Assaulting a trench, bunker, or building.
Actions at the assault position.
Breaching obstacles (mine and wire).

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Using special weapons or demolitions.
Actions on unexpected enemy contact.
(2) Inspections. Squad leaders should conduct initial inspections shortly after receipt of the
warning order. The platoon sergeant spot checks throughout the unit's preparation for combat.
The platoon leader and platoon sergeant make a final inspection. They should inspect--
Weapons and ammunition.
Uniforms and equipment.
Mission-essential equipment.
Soldier's understanding of the mission and their specific responsibilities.
Communications.
Rations and water.
Camouflage.
Deficiencies noted during earlier inspections.

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LINKS AND SOURCES:

ORGANIZATIONS
• https://www.savannahfilm.org
• www.Dga.org
• www.dga-cql.com
• https://www.sagaftra.org
• www.Iatse491.com
• www.icg600.com

HIRING SITES
• www.staffmeup.com
• www.Mandy.com

INSITE AND HELPFUL HACKS

• http://school.rocketjump.com
• https://www.studiobinder.com
• https://www.stage32.com

INDUSTRY NEWS AND INFO

• https://www.btlnews.com
• https://variety.com
• https://www.hollywoodreporter.com
• https://www.imdb.com/

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NOTES:

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