Category: set operations

Insurance

COVERAGE AND RESPONSIBILITY

All projects approved by Production Administration are covered by the school’s insurance policy. In the event of an insurance claim (theft, damaged equipment, third party property damage) the student filmmaker is responsible for a $3500 deductible.

COVERAGE PROVIDED BY LMU

There are three types of insurance that are provided to you and your project: 

General Commercial Liability (GCL)  

Property Damage  (PD)  

Worker’s Compensation (WC) 

GENERAL COMMERCIAL LIABILITY 

This is a policy that covers activities, actions and damage from those circumstances not directly related to filming that would normally be resolved by litigation. It covers all the people and property directly involved with an accident you may have that was not directly related to filming. 

For example, if you were filming at a private residence and a piece of equipment fell and damaged a neighbor’s fence – that would be an incident covered by General Liability. 

Another example might be if a neighbor slipped and fell due to you having not secured or maintained your set properly. 

PROPERTY DAMAGE  

This insurance refers to the specific property that you may rent from an off-campus vendor and covers accidental damage or loss for that equipment. This insurance only covers damage to the specific property that you rented for filming. (Remember that leaving equipment unsecured or unattended is considered negligence and any resulting loss or damage would not be covered by LMU’s insurance.) 

WORKER’S COMPENSATION (WC) 

This is insurance for the members of your cast or crew that may be injured on the set while working on the project. Note: for documentary projects, our WC does not cover subjects provided they are performing their normal activities and the student filmmaker does not direct them in any manner.  

The LMU Worker’s Compensation policy covers all projects within the United States. For projects shooting outside of the United States, WC coverage, may be provided under our Foreign Package policy. It would require additional cost that the student would have to bear.   In order for a project to be covered by the Foreign Package policy, it must be reviewed, underwriter approved and specifically declared on the policy.  

INSURANCE RESTRICTIONS 

To help you understand the scope of our coverage, please review the list of excluded items below and their exceptions. The following elements are not covered by the SFTV Insurance Policy:

  • Use of aircraft (including drones). Students may purchase their own drone coverage. 
  • Use of watercraft valued over $50,000 (replacement value of craft) or over 26ft in length. Students may purchase their own insurance policy provided the filming activity is approved. 
  • Use of pyrotechnics. 
  • Use of animals without a professional animal handler. (see Animals section for more information) If you obtain the services of a professional, they must provide proof of their own insurance. Exotic animals are never permitted in student films.  
  • Use of railroads, either on a train or near train tracks.  
  • Any water activities (pool, ocean, river, lake) without a lifeguard on set. 
  • Minors on set without a parent/guardian and a studio teacher. 
  • Alcohol and drug use. 
  • Criminal activity, or violation of federal, state, and local regulations. 
  • Filming on rooftops. You can NEVER film on a roof while at SFTV.  
  • Unauthorized use of others’ intellectual property.  
  • Damage or injury, which resulted due to an insured’s Gross Negligence 
  • Skydiving, the use of planes, scuba diving, parasailing, major stunts, extreme sports or any other similar “hazardous” activity. 
  • Property insurance is extended to projects shooting outside the state of California however equipment valued over $10,000 must have the Risk Manager’s approval before leaving the United States. 
  • LMU insurance coverage does not provide Errors & Omission insurance. 

MOTOR VEHICLE COVERAGE

Picture Vehicles.

As long as the vehicle is not moving in the shot, your picture vehicle is considered a prop. Damage is covered by SFTV’s insurance with the student filmmaker responsible the $3500 deductible. 

Personal Vehicles

Personal vehicles are allowed to be used, however the personal auto insurance policy on the vehicle will respond in the event of a claim not LMU’s insurance. Check with your personal auto insurance carrier for possible coverage.  

Production Trucks

Production trucks are not covered. If you are renting any production vehicles, it is highly recommended to purchase the insurance coverage from the rental company.  The student filmmaker is also responsible for SFTV’s gear in the truck. Please see Production Trucks for required security measures when parking overnight.

Towed Generators

Towed generators are considered vehicles and are not covered while in transit. They are covered once on location and functioning as a power plant. 

ADDITIONAL INSURANCE COVERAGE 

If your project requires additional insurance coverage and you need to purchase your own insurance, below are several companies that offer student production insurance.  

Abacus Find a Broker

ispeakproduction.com Insurance Services

Gallagher Entertainment Insurance

FILMING OUTSIDE OF THE UNITED STATES 

  • The first step for filming outside the United States is approval by the pertaining faculty.
  • At the same time, book a “check in” with the head of production, Josef Lieck, for an initial conversation about what it entails.
  • The insurance underwriter will make the decision about coverage for the project based on:
    • general risk assessment of the region using the US State Department Travel Advisories
    • value of insured gear
    • detailed description of the filming locations and how gear will be stored and secured over night.
    • description of all “hazardous activities” planned for filming
  • When thinking about filming abroad, consider that the gear will have to be shipped. However, our camera and sound departments try to provide cases that can be checked in as luggage and will provide you with “carnet” documents (list of all items, serial numbers and values, so you can import and then export the gear without having to pay customs).
  • Any LMU equipment requested to be used outside of the United States will need to be approved by Production Administration and Risk Management.  
  • *Workers compensation coverage needs to be approved by our insurance provider subject to additional cost borne by the student. 
  • All foreign projects need to be vetted by Risk Management, our insurance broker, and our insurance carrier.  
  • When filming in a foreign country, research should be done ahead of time to determine if the country accepts U.S. insurance coverage and what kind of coverage that country requires. 

Our insurance brokers may decline to cover a project for any number of reasons. Before you begin writing your script you may want to check with the Head of Production to see if there are any red flags. An uncovered loss could jeopardize insurance coverage for all students and SFTV.  If you have questions about any production element in your project, please consult with the Head of Production or  contact:   

Doug Moore, LMU Risk Manager 

310.338.3071 

Dialogue In Moving Vehicles

HOW TO SHOOT IN A MOVING CAR

Scenes involving dialogue between characters inside a moving vehicle are difficult to shoot. Even MOS (non sync sound) shots inside a car presents serious challenges. If your scene must be shot in a moving vehicle you should know that LMU’s insurance does cover picture vehicles provided they are not moving. 

If you rent a picture vehicle that needs to move in your shot then the insurance coverage is different (please see the Insurance section of this handbook). Personal vehicles are also allowed to be used however the insurance policy on the vehicle will respond in the event of a claim.  

Another consideration is that shooting inside a car is cramped with little room for personnel and equipment. Therefore, the time it takes to complete a scene is much longer than a scene outside of the vehicle.  

PRODUCTION ADMINISTRATION RESTRICTIONS FOR MOVING CAR SHOTS 

  • No actor will be allowed to drive a car with exterior camera mounts on an open public street without a police escort. Production Administration will consider each request on a case-by-case basis. 
  • Handheld shots may be permitted on an open public street, depending on the scene and the action. The camera operator must be secured with a safety belt and the camera must be secured by a safety line.  Production Administration will consider each request on a case-by-case basis.  
  • Exterior camera mounts may be permitted on either private or controlled public streets, depending on the action. Production Administration will consider each request on a case-by-case basis. 
  • If you request exterior camera mounts, Production Administration will need to approve your key grip to ensure that he or she has the required level of experience to perform the job safely.  

INTERIOR CAR SHOOTING THAT DOES NOT INVOLVE A MOVING VEHICLE:  

“POORMAN’S” PROCESS 

Simulates the look of moving when the car is actually standing still. Poor Man’s can be done for day shots, but normally it’s done for night scenes and the procedure is fairly standard. Poor Man’s can be done on a stage, in a garage or even a parking lot (with black hung around the car to block extraneous light). 

Production elements can be added to help “sell” that the car is actually moving:  

  • “Drive by lights” – a couple of headlight units in the rear to simulate a car following, a high mounted street light rig on the side to “wipe over” the car to simulate street lights 
  • Some rain on the windshield is a huge plus, as is a little bit of smoke driven by a quiet fan (an E-fan if you have one). 
  • Have a crew member place a 2’ x 4’ under the car to give the car a little shaking motion. 

PROS: inexpensive, good control of the elements, excellent sound 

CONS: works best for night shots shooting towards the windshield, limited frame lines 

COST: minimal 

GREEN SCREEN 

This process has been in use for many years and is a proven method of achieving good sound and images while shooting in the friendly confines of a sound stage. Fortunately for you, here at LMU we have a sound stage with a green screen cyc and you are allowed to bring a vehicle onto Stage 2 for this purpose. It does require skill in lighting the green screen and the car in front of it. The background “plates” need to be filmed separately and composited in at a later date using computer software. It is possible to purchase stock shots for this purpose, but the angles, depth of field and the exposure need to blend with your green screen shots.  

PROS:   good control, good sound 

CONS:  mixed results – can be time consuming to not only film, but to composite. Background plate shots need to be acquired. 

COST:   varies widely 

PROJECTED BACKGROUND IMAGES USING LED MONITORS 

This is an update from the old technology of rear screen projection. It also incorporates elements from both Poor Man’s and green screen. This process allows you to shoot in a controlled environment (stage, garage, etc.) and achieve very realistic effects. Using strategically place monitors behind your subjects and playing back images on the screen, you are able to capture the composited image in camera. It also gives the added benefit of light reflected from the monitor onto your subjects. Background plates need to be obtained and played back on set.  

VER is one of the leading companies using this technology.

PROS: good control, good sound, in camera compositing, real time light reflections onto your subjects, good for both day and night scenes, relatively fast process 

CONS: monitors need to be rented, background plates need to either be shot or purchased, additional rigging time depending on the number of monitors. 

BRINGING VECHILES ON THE STAGE  

All of the above options would require you to bring your vehicle on a sound stage. Here are the rules for that process: 

  • Stage 2 is the only stage that vehicles may be used. 
  • Only one vehicle is allowed. Prior approval is required from the Head of Production and the Studio Operations Administrator. 
  • No vehicle may be driven (engine running) into any portion the building. The vehicle must be pushed into building and the TV Stage and pushed out in the same way. 
  • Once the vehicle is completely on the stage and has passed over the sliding door track, it can be placed on Go-Jacks3 so it can be maneuvered for a preferred position. DO NOT attempt to push the vehicle over the sliding door tracks while it is on the Go-Jacks, it will get stuck. 
  • You may not start the engine to position the vehicle, you must use the Go-Jacks. 
  • All vehicles MUST have less than a ¼ tank of fuel. 
  • The vehicle’s battery MUST be disconnected once it has been placed. Remove the positive terminal connection from the battery and wrap it in a cloth so it is not touching the exposed 
  • terminal. If the vehicle is equipped with electric windows, raise or lower them for the shot before you disconnect the battery. You will not be able to use any of the electric features of the vehicle (wipers, windows, lights, radio etc.) 
  • If the wheels will not be in the shot, it is recommended that you leave the vehicle on the Go-Jacks. 
  • All of the above applies to motorcycles as well. 
  • Fully electric vehicles are exempt from the above policies but hybrids are not. 
  • See the Studio Operations Administrator for instruction on the safe use Go-Jacks. 

OPTION FOR INTERIOR CAR SHOOTING THAT DOES INVOLVE A MOVING VEHICLE: TOW-SHOTS 

Standard practice is to use an “insert car” (sometimes called “camera car”) specially engineered for the mounting of cameras and other equipment for the primary purpose of photographing a moving vehicle to tow a picture car or process trailer.  The actor(s) sit in the picture car and are pulled along by the insert car. The actor “pretends” to drive while performing. Sometimes the picture car is mounted on a “process trailer” and this is towed.   

Coordinating and running a tow shot is a complex and time-consuming activity. We do not recommend this process unless you have the funds and the time to shoot it safely. You will need to hire professional drivers, assistant director, grips as well as off-duty police 

PROS:   best control of performance, picture, lighting and sound. 

CONS:  complex and expensive – requires skill and knowledge to do well, very time consuming 

COST:   approximately $5000/day 

Production Trucks

SAFETY AND RENTALS

As part of the Production Safety Program, it is strongly recommended that all SFTV students working on productions receive the Truck Loading Safety Badge (see the Safety Badge section of this handbook). This is especially important for Grips and Gaffers who will be loading trucks. It is mandatory for all students working in Camera, Grip and Electric, and Sound on set to receive this badge. 

If you plan on getting carts, you must get a truck with a lift gate. Carts DO NOT fit on UHAUL trucks with ramps. L&G will not let you leave with carts if your truck cannot properly accommodate carts. There will be a fine if L&G has to remove carts from your order. 

Don’t be pennywise and pound-foolish and try to pack your family or friend’s SUV. It is dangerous to you, the vehicle and the equipment. Trucks with lift gates are relatively cheap (around $180/day) and will save you and your crew a lot of time and possible injury. 

INSURANCE 

LMU’s insurance does not cover your production truck. We highly recommend you purchase the insurance from the rental company. This will save you money if there is an insurance claim. 

In California, all drivers must have Liability Insurance. You may provide it through your own personal auto insurance or purchase it from the rental company. 

One of the most popular truck rental companies that students use is Avon Truck Rentals. They have been very supportive of SFTV and offer student discounts. 

Many rental companies will have specific exclusions on coverage(s), i.e. overhead damage as a result of low clearance. Make sure you understand exactly what is and is NOT covered for before you arrive to rent the vehicle. 

WHO’S DRIVING? 

Make sure that the person who is actually going to be driving the truck is listed on the insurance and rental agreement and that they have a valid driver’s license. Do not let any unauthorized driver operate the vehicle – EVER. Confirm with the rental company on how to properly add or change a driver. If possible,  have someone with truck driving experience assist you. 

LOADING AND UNLOADING 

Loading a truck requires some thought and planning. Everything has to go in a certain way. The reason for this is that you have to be able to work off of the truck. 

That’s pretty.

The contents of the truck may shift during travel. Open all doors slowly to avoid being hit by equipment tumbling out. 

The lift gate should be operated by only one person. The operator should give a verbal warning, “going up” and “going down.” Crew not operating the lift gate should stand well clear of the lift. 

Use truck shelves and racks and ratchet straps to tie off equipment. Avon, for example, has shelving available for their trucks – use them. Ratchet straps are available for the Lighting & Grip department. Notify them of your intent to use a truck and they will provide those.  

DRIVING 

Whenever possible – and it is highly recommended – have someone drive with you. They can assist you with visibility and clearance. This is especially important when changing lanes, parking or driving in a tight space. 

Drive slow and take extra precaution. Always allow considerable extra travel time. Driving a truck will take longer than you expected. 

Familiarize yourself with the route you will be taking. Be aware that some freeways re- strict trucks by size and weight. Check with your GPS to confirm you are requesting truck routes. 

Make sure your load is properly secured and evenly distributed. 

Trucks are taller and wider than the vehicles most people are used to driving. Make sure you have proper clearance at all times – if you want to avoid costly damage to the roof and sides of the truck. Overhead damage is usually NOT covered by insurance purchased from the rental agency. 

What was that bump?

This truck damage occurred on a recent student film because the driver did not pay attention to the tree branches. This cost the student filmmaker $5,500. 

If the height and width of the vehicle is not indicated on the truck, be sure to get this information from your rental agent or measure it yourself. 

Always use your turn signals and make sure to signal well in advance.  Avoid making sudden stops or abrupt lane changes and obey all traffic signs and lights. 

Trucks don’t accelerate as fast as cars. Be aware of this when you attempt to change lanes. Additionally, sudden movements can cause your load to shift – damaging the items – for which you will have to pay. 

Driving uphill (especially with a full load) will be slow. When appropriate, use “truck- only” lanes; otherwise, stay in the right lane. 

The recommended maximum speed for a loaded truck is 45 mph. Do not attempt to pass a vehicle moving faster than 40 mph. Never pass on hills or curves. 

Trucks weigh three to ten times more than cars and must have more time and  room to stop. You must begin braking sooner, particularly when you have a load. 

Set the hand brake (or emergency brake) every time you park. Turn the wheels away from the curb when parking with the truck faced uphill. When parking with the truck faced downhill, turn the wheels in toward the curb. 

PARKING OVERNIGHT

When parking your rental truck or van overnight you must park on private property in a secure, well lit area. Do not park on the street. Pad lock your rental and safely back the vehicle close to a wall so the lift gate is inaccessible. DO NOT ATTEMPT TO ENTER A PARKING GARAGE WITHOUT KNOWING IF YOUR TRUCK WILL COMFORTABLY FIT.

Your camera and lenses should NEVER be stored overnight in your production truck. Camera and lenses should be taken home EACH NIGHT by the DP and stored in a secured home. 

The safest place to park your production truck is at LMU in the Hannon Lot near the Loyola Boulevard entrance. Drive to the edge of the lot near the trees that border 80th street and safely back your truck into a spot. Weekend parking is free starting at 8:00 PM on Friday. You must pay to park before then.

IF AT ANY TIME DURING THE COURSE OF THE RENTAL YOU HAVE A QUESTION OR CONCERN – TAKE THE TIME TO CALL THE RENTAL COMPANY. THEY WILL BE HAPPY TO ANSWER ANY QUESTION OR CONCERN YOU MAY HAVE. 

Special Effects or Mechanical Effects

SPECIAL EFFECTS OR MECHANICAL EFFECTS

The use of special effects can enhance any production. Effects can range from something as small as the use of breakaway glass to a huge fireball. No matter the size of the effect, care must be taken and all safety procedures need to be followed in order to maintain a safe set. The Assistant Director must include any special effects in the daily safety meeting. We recommend the use of on-set professional special effects personnel or at least consulting with them when renting or purchasing special effects equipment and/or material. There are many choices of special effects “shops.” Here are a few that have worked with LMU students: 

Full Scale FX

Roger George

Special Effects Unlimited

At LMU you are not allowed to use any pyrotechnical device (explosions, guns firing any blank or projectile, etc.) 

At LMU you are allowed to use several special effects on your productions: 

  • Breakaway glass or bottles (eye protection must be available and worn) Alfonso Breakaway Glass
  • Wet downs (spraying water to enhance the look of streets for night shooting) 
  • Rain bars (if on stage, precautions taken to protect the floor and a clean-up plan in place. A wet-vac or sump pumps as needed are useful tools.) 
  • Smoke/fog (non-toxic, water-based materials only.) An SDS1 must be attached to the call sheet. Cast & crew must be notified ahead of time. Particle masks should be made available to the cast & crew. There is no form of any smoke, fog, or haze allowed on campus, which includes any LMU stages or black boxes at this time. For any off-campus use, you must obtain permission from the location and it must be indicated on your Film LA or another jurisdiction’s permit. You may be required to hire a Mechanical FX professional.
  • Smoking on camera is allowed however ONLY HERBAL cigarettes, fake tobacco or fake cannabis are the only substances that can be used on camera. BUTT CANS and a FIRE EXTINGUISHER MUST be present for all such work.
  • Dust pellets, you may use dust pellets to simulate bullet hits only if they are thrown. If you want to use a paint-ball type of gun or wrist rocket, a professional special effects person (approved by Production Administration) must be hired to control and administer the device. In any case, eye protection must be available and used. 
  • Open flames (candles, camp fires, stoves). There are no open flames or candles allowed on campus, except for the the sound stages, which are permissible locations provided there are safety procedures in place, such as a fire extinguisher and the office of Public Health & Safety (P-Safe) has been notified.
    • If you are shooting on a local location (LA County or City), the Film Permit Office may require the presence of a professional FSO2 if an open flame is used. If you are filming in a “High Fire Hazard” area you will not be allowed to use an open flame.     
    • A responsible person shall be designated for the handling, placement, safe use and securing daily of any open flame devices.  
    • secure all stationary open flame fixtures.  
    • Flammables and combustibles shall be kept a safe distance from open flames.  
    • All gas lines in connection with the use of open flames shall be approved in accordance with applicable building and fire codes. When using liquefied petroleum gas (LPG), hoses and fittings must be of a type approved for LPG service.  
    • All cast and crew, including stunt performers, should be notified reasonably in advance of their involvement with open flames. (again, this should be on the call sheet) 
    • When fire is used, fire extinguishment equipment must be in close proximity and properly trained personnel should stand by.  
    • Appropriate fire authorities should be contacted prior to the use of open flames, whether at a studio or on location. 
    • The person responsible for igniting the flame should ensure he or she maintains a clear line of sight of the flame or maintains direct communication with a designated observer.  
    • Make sure that an adequate number of proper fire extinguishers are at hand. 
    • Test the extinguishers before igniting any open flame to ensure that they are in working condition. 
    • Consider that the illusion of fire can be created with a lighting effect. Be careful with loose clothing around open flame. Untreated fabric can ignite quickly and cause severe injury. 
  • Dust Effects “Fuller’s Earth” is the most common “product” used for dust.  Some of the more common organic products used to create dust effects include wheat flour, rice flour, corn starch, coffee creamers and crushed nutshells. 

POTENTIAL HEALTH EFFECTS  

Common effects of exposure to any airborne material are eye irritation, respiratory irritation, and skin irritation. Particle masks should always be made available to the cast & crew. The MSDS will contain information about the products being used, the necessary precautions that should be taken, and the products’ potential effects. The MSDS must be attached to the call sheet. 

If the product is combustible, do not use around open flames or other potential sources of ignition (e.g., set lighting devices). 

Before using any materials please ask: 

  • Are you or any member of the cast or crew asthmatic, allergic or have other medical conditions that would be affected by exposure to the product?  
  • Is the product combustible; and will it be used on an interior set or location?  

When using products to create effects, you must take all appropriate safety precautions.  

Do’s and Don’ts

BEFORE THE SHOOT 

Be honest with your actors about what the shoot will require of them. Set expectations early and clearly about your rehearsal schedule and any sensitive or physically challenging work that will be required of them. 

DURING THE SHOOT 

Ensure actors have a private place to change and something accessible to cover up with between takes if they are performing scenes undressed or partially dressed. Do your best to provide a quiet rest area so that the actors can collect themselves between set-ups. Be sensitive to the emotional work they are doing to bring your film to life.  Create a plan to take care of the actor’s comfort and safety when shooting scenes that require repetitive eating, drinking, or physical activity. 

AFTER THE SHOOT 

Keep the actors informed about your post-production schedule. Let them know when you will be done with the project, when the screening is scheduled, and when they can expect their copy of the film. 

MAKE SURE ALL YOUR ACTORS GET A COPY OF THE PROJECT 

The reason actors want to work on student films is to get a tape of the film to show to agents and casting directors. If it’s going to take some time to finish the project, let them know. Call periodically and fill them in on your progress and reassure them that you haven’t forgotten them.  

Be up front about what deliverables you will provide your actors. It is standard to give actors a digital copy of the completed film, but some directors are happy to provide NON-COLOR CORRECTED raw footage with UNMIXED audio of their actor’s scenes for their reel. If you and your editor have the time to give actors a copy of their takes it goes a long way in creating mutual beneficial relationships. Remember to tell your actors to how you’ll allow them to use your media. You don’t want them editing their own film out of your footage!  

On Set Best Practices

SET ETIQUETTE 

Learn by Doing

As a new production student one of the best places to learn about making movies is on other students’ sets. You can (and should) volunteer as a Production Assistant, which is an entry-level position. This role is a great way to gain experience, meet people, and learn how and with whom you like to work. 

As you begin your production journey, the following guidelines will   help you develop professional work habits that will serve you well throughout your career. 

RULES TO LIVE BY 

  • Honor your commitment. Refer to the crew deal memo
  • If you’ve volunteered to help a classmate with their film keep your word and give them a full day of honest work.  Quid pro quo is Latin for “You work on my film; I’ll work on yours.” When you need them for your film, you will expect the same. Expect to work up to 12 hours. 
  • Be prepared. Read the call sheet and the script pages for the day’s work.  
  • Be pleasant and enthusiastic. Follow the Golden Rule and treat others the way you would like to be treated. You never know who might be able to give you your next job. Be willing to do anything to help. Don’t say “No, it’s not my job.” 
  • Pay attention. Don’t stand in front of the camera when the D.P. is trying to set up the shot. If you need to leave the set make sure your supervisor knows where you’re going, why you’re going there, and when you’ll be back. 
  • Anticipate and be proactive. The more time you spend on a set the easier it will be to do this. The filmmaking process is highly repetitive. You will get the hang of it pretty quickly. Anticipating what will be needed can save you a lot of extra steps. 
  • Don’t assume anything – if you are in doubt, ask. 
  • Don’t play with the props. They’re not toys. 
  • Don’t move equipment that is not your responsibility without permission. If something is in your way, ask the appropriate crew member to move it.  
  • Work quietly.  
  • Cell phones should only be used for work-related texts, calls or emailing. Always keep it in silent mode! 

HOW TO DRESS 

  • Wear close-toed, comfortable footwear. Keep in mind that you are going to be on your feet for a long, long time. Shoes, boots or sneakers with good support is a worthwhile investment. Need ideas for shoes? Check out Shoes for Crews! 
  • Wear work-friendly, dark-colored clothing. Dress for maximum mobility and comfort. Clothing that is too loose can become a safety hazard. 
  • Make sure to bring protective equipment with you like gloves, sunglasses and a hat. It’s not a bad idea to carry sunblock, Chapstick, Visine, aspirin and the like. 
  • The weather can change. You should carry a “set bag” with you that contains rain gear and cold weather gear. 

THE CHAIN OF COMMAND 

  • A film set is organized in a hierarchical structure. It is not a democracy. As a crew member, you are expected to observe proper protocol.  Direct your questions and suggestions to your direct supervisor rather than to the director.  This is called “following the chain of command.” It is an effective way of avoiding confusion and miscommunication. Questions like, “where do I park?” or “where do the water bottles go?” should be directed to your 1st AD or UPM.  Assume all logistical matters are being handled by the producers and ADs.  

WALKIE TALKIES 

  • All professional sets employ the use of radios. They are an inexpensive device that improves efficiency and communication. We highly recommend the use of “walkies.” 
  • Someone needs to be responsible (usually a P.A.) to distribute, charge and collect the radios at the beginning and end of the day. It is highly recommended to put a piece of tape with the crew person’s name on the radio. A sign out sheet is used to track who received a radio. One of the most common lost items on any set is walkie-talkies. Keeping fresh bricks (a.k.a. batteries) on hand is necessary. The battery charger should be kept close to set to allow for changes.  Using headsets or surveillance ear buds are a good way to keep the set quiet.  

LOCKUPS 

  • If you are a P.A. you will be expected to help with “locking up” the set when it comes time to do a take. You will be assigned a position at the perimeter of the set. It will be your responsibility to keep everyone in your area aware of when the camera rolls and to make sure there is no noise that will ruin the take. 
  • When the AD calls “PICTURES UP” repeat the message in a loud, clear voice so that every- one knows that the camera is about to roll.  
  • When the AD calls “ROLLING,” repeat this loud. Rotating your index finger in a circle is a universally understood signal for “ROLLING”. Your crew should know to be quiet, unfortunately you will have to remind them. At that point, you should be on the lookout for “bogies” or non-crew persons that could ruin the shot.  
  • You will come across people who do not want to follow your pleasant request of, “We’re filming a movie. Would you mind waiting a minute.” In all cases, treat “civilians” (anyone not involved in the production) with respect and politeness. Remember, the shooting company’s presence is probably an inconvenience to them and you may need to return to the location. 
  • When you hear “CUT”, repeat the message so both crew and the public will know they can resume work or walking. 
  • P.A.’s or other crew members are never permitted to control vehicular traffic. Only designated law enforcement officers are allowed to stop or direct traffic. 

WRAP 

  • Put your tools and equipment away – then help others.   
  • Clean the area and pick up and dispose of any trash. 
  • Make sure you’ve filled out all the necessary paperwork before you leave the location. 
  • Make sure you have the next day’s Call Sheet and map before you leave the location. 
  • Make sure all cast and crew have transportation. 

Script Supervisors

SCRIPT SUPERVISORS 

Students planning an advanced production should give serious consideration to securing the services of a Script Supervisor for their project. 

Almost all scripts are shot “out of continuity” yet when edited together they must make continuous verbal and visual sense. The Script Supervisor helps ensure this continuity by recording every detail of every take of every scene. They take notes for the Director and Editor. They are the critical link between the set and the editing room. 

WHAT A SCRIPT SUPERVISOR DOES: 

Pre-production 

Prepares Breakdowns  

Times the script 

Production 

Assigns scene numbers for slating 

Makes a “lined” script (vertical lines indicating which takes cover which part of the script) 

Makes detailed notes of each take and ensures continuity between takes 

Checks and ensures all scenes have been shot and covered  

Provides the Assistant Director with an “End of Day” report 

WHERE TO FIND A SCRIPT SUPERVISOR  

You might be able to enlist a fellow student to work as the Script Supervisor. Local 871 of the IATSE (International Alliance of Theatrical & Stage Employees) represents script supervisors. You may contact them for a list of people willing to work on a student production. 

For more resources, visit the Los Angeles Script Supervisors Network.  

SCRIPT SUPERVISOR WORKSHOPS 

There are a number of workshops offered in the Los Angeles area that offer instruction in script supervising. The people enrolled in these workshops want to work as professionals, but they need some practical experience first. They are excellent candidates for Script Supervisors on student films. 

Randi Feldman Cinema Workshops  

Email:  

randifeld@gmail.com 

cinemaworkshops@gmail.com 

Bus/Cell:  310 429-4864 

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