Tag: safety

First Aid and CPR Training

Students are strongly encouraged to complete First Aid and CPR Training in order to ensure safety on set. This is especially recommended for students that work often as 1st Assistant Directors or Health and Safety Supervisors.

You may take an American Red Cross First Aid/CPR/AED course through Loyola Marymount University. The purpose of this course is to provide you with the knowledge and skills needed to recognize and respond appropriately to cardiac, breathing and first aid emergencies.

The training is comprised of an online and in person component. When you complete the online portion of the training, which can be accessed here, you will receive a “certificate” saying you completed the online training, which can be used as proof of completion. You will also receive an email stating that you completed the training. For more information and detailed instructions about the online training, click here. 

If you are interested in completing the certification process, you will need to schedule a time to complete the in-person skills test. Certification is $32.

On successful completion of the course, you will receive an American Red Cross First Aid/CPR/ AED certification, which is valid for 2 years. To successfully complete the First Aid/CPR/AED course, you must:

  •  Successfully complete the online session (blended learning courses only).
  • Attend and participate in all class sessions.
  • Actively participate in all course activities, including assuming various roles during skill practices and assessment scenarios.
  • Demonstrate competency in all required skills.
  • Successfully complete all assessment scenarios.

In addition, you may need to complete a final exam with a passing grade of 80 percent.

During your project approval meeting, PAT will discuss with you whether they will require someone with this training to be on set. In some cases, a certified LMU EMS will be provided for you.

Click here for a Ready Reference guide, which students can use as a quick reminder on how to do CPR, use and AED and what to do in the event of choking and bleeding.

Stunts

OUT HERE STUNTING

During your approval meeting with Production Administration, any script action that reads like a stunt will need to be discussed. If it is determined the action can be achieved safely and without the use of a stunt person, then Head of Production will tell you. However, if the action requires a stunt person or stunt coordinator, then you will be required to you hire them.  

WHAT IS A STUNT? 

A stunt is a physical action requiring an actor to fight, fall, jump, run and, in general, perform in an athletic manner and/or in hazardous situations may require the services of a stunt player to double the actor.  

Many common activities, which may be simple tasks for someone familiar with the tool, toy, appliance or device, can be dangerous to someone unfamiliar with its proper and safe operation. For example, skateboards, manual transmissions, scooters and motorcycles. 

WHAT IS A STUNT COORDINATOR? 

A Stunt Coordinator is a stunt player who assumes the responsibility for supervising all the stunt work and all stunt players in a picture. In addition to hiring the stunt performers and arranging for any necessary equipment, the coordinator works with the director and cinematographer to work out the best possible camera angles for each gag to achieve the most effective visual impact. He or she also has the responsibility for keeping all members of the crew and the stunt people safe during filming. 

WORKING WITH THE STUNT COORDINATOR 

The performances of all stunts or hazards is preceded by a meeting on the site of the event with all people concerned. This meeting includes a “walk-thru” or “dry-run” with the stunt coordinator and/or special effects crew and all of the persons involved in the event. An understanding of the intended action, possible deviations, and authority to abort should be made clear.  

All stunts and special effects should be reviewed by all participants prior to execution to help ensure that they are performed in the safest manner possible.  

Listed below are some sources for both stunt coordinators and stunt performers:

In addition, below is a current list stunt coordinators who have worked or are willing to work with students: 

LMU APPROVED STUNT COORDINATORS 

Name Phone Union Website 
Alex Bankier(301) 437-6400N/AResume
Bryan Forrest 714-697-7700 non union and union shoots  Personal Website 
Connor Deadrick 310-597-0361 SAG IMDb Page 
Danny Wayne 818-469-0379 DGA/ SAG   
Darren Holmquist 530-604-5492 SAG-E   
Joe Perez 818-625-5450 SAG IMDb Page 
Kristian Lambert 818-310-5715 SAG  
Mathre Lorenceau 818-631-3923 SAG   
Reuben Lee 562-233-0526 SAG IMDb Page 
Ryan Rasberry 916-380-2769 SAG   
Surawit Sae Kang 626-354-4788 SAG  
Tessa Anderson 949-632-8140 SAG  
Tony Sre 562-607-1705 SAG   
Dean Jackman541-227-4433n/aSFTV Alumni
If using a SAG stunt coordinator, it is important to plan in advanced and to understand the proper rates. 

Dangers To Avoid On Set

COMMON WAYS YOU CAN INJURE YOURSELF ON A FILM SET

Falling 

Falls are the single most common injury-producing accident on film sets. Often these falls are the result of haste and/or not utilizing proper safety measures such as fall restraint systems, nets and guardrails. Any elevation, location, or lighting that requires an elevation of over 6 feet must be reviewed by PAT for safety and may require a fall arrest system (harness, e.g.) designed by a competent person. The most important thing you can do to prevent accidents of this type is to be aware of tempo of the set. Have a sense of when things are starting to get hectic and out of control. If you perceive this to be the case, slow the pace down. 

WHILE A STUDENT AT LMU, YOU ARE NEVER ALLOWED TO FILM ON ANY ROOFTOPS. 

Jumping on or off a truck lift gate 

Despite your age and athleticism, do not jump on or off a lift gate. This is a very good way to sprain an ankle or knee.  

Motor Vehicles and filming equipment 

Shooting on any public street, thoroughfare, alley, road, highway or freeway; or near enough to any such roadway so as to present a “distraction and/or disturbance” is prohibited by local, State and/or Federal law without the proper permits and safety procedures. Filmmakers are never empowered to control or direct traffic in any way. Per SFTV policy, if you are planning to shoot on or adjacent to a street, highway, road or parking lot you will be issued SFTV reflective safety vests. These must be worn by all of your crew.  

MEDICAL DANGERS 

Heat Illness Prevention 

Labor rules kick in at 80 and 95 degrees and above. While not applicable to a student film shoot, it’s a good idea to adapt them. Set must provide access to water and shade. There should be continuous line of sight maintained between all cast and crew. Have a buddy system.

Hyperthermia 

When the body gains or retains more heat than it loses, the result is called hyperthermia or high core temperature, which can cause damage to the brain and other vital organs and could decrease the chances of survival. Elevated air temperatures and humidity, working around hot machinery, vigorous work activity, absence of a breeze or wind or exposure to direct sunlight can all contribute to overheating. 

Hypothermia  

Hypothermia is reduced body temperature that happens when a body dissipates more heat than it absorbs. In mild hypothermia there is shivering and mental confusion. In moderate hypothermia shivering stops and confusion increases. In severe hypothermia, there may be paradoxical undressing, in which a person removes his or her clothing, as well as an increased risk of the heart stopping.  

Efforts to increase body temperature involve shivering, increased voluntary activity, and putting on warmer clothing. Hypothermia may be diagnosed based on either a person’s symptoms in the presence of risk factors or by measuring a person’s core temperature.  

The treatment of mild hypothermia involves warm drinks, warm clothing, and physical activity. 

Heat Cramps 

Heat cramps are caused by the loss of electrolytes in the blood and muscle tissue through sweating.  The primary symptom of heat cramps is painful muscle spasms or cramping of skeletal muscles, such as the arms and leg, or involuntary muscles such as abdominal muscles or both. 

Heat Exhaustion 

Heat exhaustion, also called heat prostration or heat collapse, is the most common serious illness caused by heat. 

Symptoms may include:  

Nausea, cold/wet (clammy), dizziness, grayish skin color, headache, disorientation, blurred vision. Heat exhaustion may come on suddenly as syncope (fainting) and collapse. This is especially true if the crew or cast member has been sitting or standing for long periods of time with little movement. The vital signs may be normal, although the pulse is often rapid.  

Treatment includes removal from the heat, seeking medical attention and/or calling 911, replenish fluids .

Heatstroke 

Heatstroke is the least common but most serious heat illness caused by heat exposure. It is caused by a severe disturbance in the heat regulating mechanism of the body and is a true medical emergency. Left untreated, heatstroke may result in death. 

Treatment includes: 

Seek medical attention and/or call 911 immediately remove from heat, lie on back with feet elevated. Start aggressive cooling with wet cloths, alcohol wipes or immersion into tepid water. Transport to a medical facility. 

Ultraviolet radiation 

Another hazard is ultraviolet radiation, caused by exposure to the sun’s rays. Exposure can cause sunburn; long term exposure can cause skin cancer. Precautions to minimize exposure should be taken, including the use of sunscreen should be applied 15 to 20 minutes prior to exposure, reapply throughout the workday. 

General Precautions for hot environments 

Fluid replacement is the most important thing a person can do to prevent heat- related illnesses; Alternate between water and Gatorade type drinks. Avoid alcohol and caffeine.

Use sunscreen or sun block, wear long loose sleeved shirts and pants and a wide brim hat; baseball caps do not provide protection to the ears and neck area of the body. 

Overhead sun protection, water and/or fluid supply should be available. 

Indigenous Critters 

Special safety considerations must be taken when working on locations where various indigenous critters may be present. It is also production’s responsibility to assure the safety of the indigenous critters in the filming area, and to provide for the removal of wildlife from locations.  

If you have additional questions regarding the AHA’s Guidelines for the Safe Use of Animals in Filmed Media, contact the Film and Television Unit at (818) 501-0123.   

Snakes 

Always look where you are putting your feet and hands, never reach into a hole, crevices in rock piles, under rocks, or dark places where a snake may be hiding. If you need to turn over rocks, use a stick. 

Attempt to stay out of tall grass. Walk in cleared spots as much as possible. step on logs, not over them so that you can first see whether there is a rattlesnake concealed below on the far side.

Be cautious when picking up equipment, coiled cables, and bags left on the ground. Cables must be properly secured in all walkways.

On hot summer days, rattlesnakes can become nocturnal and come out at night when you do not expect it. Care should be taken when working at night after a hot summer day.

If bitten:  

Seek immediate medical attention, immediately immobilize the body part affected, attempt to note the time and area of body bitten, do not apply a tourniquet, incise the wound, or attempt to suck out the venom, do not allow the victim to engage in physical activity. 

Rodents 

Locations that may involve the use of alleyways, beneath bridges, tunnels, abandoned buildings, or other structures, may involve potential contact with rodents. 

OTHER SAFETY CONSIDERATIONS

Power Tools

Power tools are dangerous unless they are handled with care and respect. If the operator is standing on a wet conductive surface, the shock can be fatal. Power tools should never be carried by their cords and they should never be shut off by yanking the cord from the receptacle. When using power tools during construction, Ground Fault Circuit-Interrupter (GFI) protection is required. Test the GFI device to see if it is functioning properly.  

Fire 

Smoking is never allowed on sound stages unless the script requires it. In that case, butt cans, or a metal can filled with sand to extinguish cigarettes, must be nearby. The stage must be adequately managed and means of escape from sets and buildings is provided. All items of scenery, including props and dressings, should be either naturally fire resistant, flame- or fire- proofed. 

Glass

The use of glass within studios and stage sets should be avoided. Where possible, use plastic-based materials. 

Fire Lanes and Fire Exits

Means of escape in case of fire should be clearly identified and kept clear at all times. 

Sets should not obstruct the statutory fire signage used within studios, stages, or theaters. If necessary, temporary signage should be provided if any scenery obstructs the view of normal fire escape signs. 

The Assistant Director

THE ROLE OF THE A.D.

The AD is responsible for all on-set logistics and for keeping the production on schedule.  The AD makes it possible for the Director – and everyone else on set – to do their job.

A good AD creates an atmosphere that enables creativity and collaboration. The AD must have good communication and leadership skills. Make sure the crew know what phase of work is in progress and what, if anything, the crew is waiting on when pauses in work occur. A good AD always has a backup plan, which should be vetted by the director.  

The Director’s Guild of America (DGA) defines the 1st Assistant Director as follows: 

  • Organizes pre-production, including breaking down the script, preparing the strip board and a shooting schedule. During production, the AD assists the Director with respect to on-set production details, coordinates and supervises crew and cast activities and facilitates an organized flow of production activity. 
  • Check weather reports. 
  • Prepare day-out-of-day schedules for talent employment and determine cast and crew calls. 
  • Supervise the preparation of the call sheet for cast and crew. Direct background action and supervise crowd control. 
  • May be required to secure minor contracts, extra releases and on occasion to obtain execution of contracts by talent. 
  • Supervise the function of the shooting set and crew. 

SAFETY 

The AD is in charge of safety management and must do everything they can to avoid injuries and accidents to the crew, cast and the public. They are responsible for conducting a safety meeting* every day at call time.  

Here at LMU, the AD must be a dedicated staff position and may not be shared with another crew position. In rare cases an exception can be made to allow a Producer/AD combo. This exception must be requested ahead of time and approved by Production Administration. The exception can only be made if it can be guaranteed that the AD can remain on set at all time during filming. In some cases, a professionally experienced AD might be required to be on set based on the project’s and safety requirements. If this is the case, you will be informed by Production Administration no later than at your approval meeting. 

A DIRECTOR MAY NEVER BE HER OR HIS OWN AD. 

All AD’s (students and non-students) are required to earn the Assistant Director Certification Badge before being allowed to work in this capacity. For more information about badges see Safety Badges.

WORKING WITH THE DIRECTOR 

As the AD develops the schedule to find the most efficient way to shoot the film, they check with the Director to make sure their assessment of the script is in sync with the Director’s. The AD tries to balance the Director’s artistic vision with the available money and time. She will also keep the Producer updated on any money or schedule issues.  

ITS ALL IN THE PREP 

The 1st AD is responsible for the prep schedule. The importance of prepping cannot be understated. The more time you have to prep, the easier the shoot will be. The AD will schedule location scouting, tech scouting1 and then the Production Meeting. 

THE PRODUCTION MEETING 

This is the final step before production begins. It is where the director, AD and all the departments meet with the final shooting script to review all the production aspects. It’s usually the last opportunity to ask questions before shooting. The AD runs the meeting as they go in script order (sometimes shooting order). You should allow at least a one (1) day buffer between the production meeting and the first day of shooting. This will allow any crew to deal with last minute changes that come up.  

THE SAFETY MEETING 

The First Assistant Director will hold a safety meeting each day at call time. The meeting may be brief and informal, but the following should be discussed:  

  • Emphasize the importance of safety on the set and everyone’s responsibility for maintaining a safe workplace. 
  • Set goals for making the day. 
  • Remind crew of the length of the work day. Unless you are shooting outside of the SFTV 30 Mile Radius crew are allowed to work a maximum of 12 hours (not including meal breaks). 
  • Remind crew the SFTV Safety Hotline phone & email are located at the top of the call sheet to report any safety concerns. 
  • Inform cast and crew about the locations of fire extinguishers, emergency exits, and first aid kits. 
  • Inform the crew of the location of the nearest hospital. 
  • Review any special issues pertaining to the day’s filming- in particular, any stunts or special effects and refer to any applicable Safety bulletins. 
  • If filming on location, make the crew aware of indigenous critters and plants that may be hazardous. 
  • Check that all crew members are wearing appropriate clothing (open toed sandals, high heels, etc. are NEVER appropriate for any crew member- including the Director and Producer) for the weather and climate. 
  • Solicit safety concerns from crew members. If there are any, the First Assistant Director will address them to the satisfaction of the crew member before any work begins. 
  • Add a brief synopsis of the day’s schedule (time-line of scenes, lunch and wrap estimates). 
  • Keep it light and fun! 

PROP WEAPONS ON SET

During the daily safety meeting, the 1st AD will inform cast and crew if a PROP weapon will be used on-set on that day, for which scenes, and who is responsible for its use. The AD will ensure all cast/crew are aware that the prop weapon is not real and, if possible, show it at the safety meeting. It is not to be used at any time other than for the scene or rehearsal of a scene.

 SFTV METHOD OF SHOOTING  

Creating an efficient shooting plan is extremely important. The director, D.P. and A.D. should decide during prep as to the method used to organize your shooting day. Standard practice on SFTV sets is a five-step process: B.L.R.T.S. (Block. Light. Rehearse. Tweak. Shoot.) 

Step 1) Block 

Invite all necessary crew to observe and mark (with tape or other materials) the blocking (where the actors stand and move). The D.P. and director will fine tune as the Gaffer, Key Grip and other department heads take notes. If you can afford stand-ins (second team) they need to watch the rehearsal. 

It is counter-productive to light the set before you block! Pre-rigging a location or set is common, but that is for general not specific lighting

Step 2)  Light 

The D.P. and the crew light the set and set up the camera. On larger sets, stand-ins (usually wearing similar colors to the actors) are used instead of the actors. A “second team rehearsal” is very common to work out any camera moves. During this time, it is very common for the actors to go back “in the works” to hair and makeup and/or the costumer for adjustments. It is also the time for the A.D, director and D.P. to confirm the shot list.

Step 3)  Rehearse 

Once the set is lit and the actors are ready, you want to do another rehearsal to confirm all the elements are correct. In some cases, (stunts, animals and minors) you want to shoot the rehearsal. Suggest to your director that they watch this rehearsal with their eyes on the actors, not through the camera or monitor. This will make the cast feel safe and seen.  

Step 4)  Tweak 

After rehearsal, it’s common to make minor changes to blocking, lighting, hair/makeup or any other element of the shot. Clear the set and allow department heads to make the proper adjustments. Keep things moving quickly and safely. Once the essential changes have been made, call the actors to their places and rehearse the shot again if it feels necessary. Your director should watch this rehearsal from behind camera or on the monitor. 

Step 5)  Shoot 

If you’ve made a good plan and communicated it to the crew, your efficiency will increase and will allow you to make changes when the director suddenly gets a great idea. 

It is the AD’s responsibility to make sure the shot goes off on time. Don’t rush your director but gently suggest “Are we ready for a take?” once you get the feeling that the shot is ready to roll. NEVER CALL OUT OR DISRESPECT YOUR DIRECTOR. 

WORKING WITH THE CAST & CREW 

Here are a few tips for working with the crew: 

  • Be prepared. If you are ready and communicate well, the crew will respond. They love leadership. 
  • Stay calm, what can go wrong – will. How you handle adversity – how you solve the countless problems that arise each day on the set is the true test of an AD. Don’t yell or use sarcasm. That’s a quick way to have a crew turn against you.  
  • Communicate clearly. Announce what is happening loudly and clearly . (“Blocking rehearsal for camera is up,” or “Holding for battery change,” etc.) 
  • Keep your sense of humor 

WORKING WITH ACTORS 

Actors are the most vulnerable people on the set. It’s important for the entire crew to do everything they can to put the actor at ease, so they are able to focus on performing and to give their best work. 

WORKING WITH EXTRAS (aka Atmosphere, Background or B.G.’s) 

Extras in a film are those background performers, who don’t have dialogue, but whose presence lend “texture” and an air of reality to the scene. The best way to retain your extras and prevent them from leaving early is to have a good game plan and treat them with respect. Don’t bring them in too early and keep them waiting around for hours to work. Make sure they have access to the same food and drink as the crew. On almost all student films – you will find yourself working with “non-professional” atmosphere. If you treat them with care and respect you will get better performances and decrease the odds that they will abandon your set. You’ll need to provide a place for the extras to wait between scenes – a “holding” area. This area needs to be sheltered from the elements, whether it’s rain, sun or cold. You need to provide water and restrooms. 

SETTING BACKGROUND 

As the AD reads the script they have to imagine where extras may be needed – a restaurant, for example, would have diners, waiters, bus boys and so on. The amount, ethnicity, age and gender of the extras should be decided on during prep. If you’re shooting a period film, your costumes, props and hair and make-up will be affected.  

Setting background is one of the AD’s chances to use creativity. Giving the extras a “story” or motivation will inspire them to use their acting skills. Make sure that the atmosphere never distracts from the main action. Watch for distracting movements, gestures and wardrobe and make sure continuity is maintained.  

KNOW YOUR FRAME LINES 

You have to know the frame you’re trying to fill. Either look through the lens or at the monitors provided. If there’s a camera move in the shot – have the camera operator show it to you. 

REHEARSE, SHOOT & REPEAT 

Pay attention during the blocking and rehearsal. Know where the cast is going to be. As you set the background watch out for shadows cast by the extras and any blocking of actor’s movement and/or lines. 

Try to get a rehearsal with extras before you shoot whenever possible. You don’t want to ruin a take because your extras were bumping into each other – or the actors. 

Because the need for continuity is important, duplicating movements from take to take is extremely important. You can choreograph the action by having the extras move on specific lines of dialogue or a bit of action. Have the extras take their own cues. This means they have to pay attention to what’s going on in the scene – and that’s not a bad thing. 

Electricity

SAFETY AND POLICIES

Electrocution is the fifth leading cause of workplace death from injury. More than half of those deaths result from the use of defective equipment or not following safe procedures.  

Before leaving the SFTV Grip & Lighting Department with electrical equipment, examine all cables for breaks or cuts in the insulation. The same examination should be made of cables on the stages prior to connecting power.  Do not use damaged cables. 

ELECTRICAL INSTALLATION, INTEGRITY AND PROTECTION 

The design of sets frequently requires electrical fittings and wiring to be mounted on flats and scenery for “practical lights1”. Only a qualified electrician should undertake the work of fixing and wiring electrical fittings and fixtures. 

Do not let your body become grounded. Many factors can put you at risk of becoming grounded. If you are grounded, it means you have the potential of becoming part of the electrical circuit and thus, open to having electricity pass through your body.  This can be fatal. 

The following is a partial list of the serious risks on both interior and exterior locations:  

  • Wet feet, wet hands, wet or damp floor or ground, wet lamps, wet cables 
  • Touching two lamps at the same time – even when conditions are dry faulty circuits at your location 
  • Faulty wiring of your lighting equipment, appliances or cable insulation breaks or cuts in the cable 
  • Touching electrical equipment and a grounded object any place where water is present 

FILMING NEAR WATER AND IN DAMP/WET CONDITIONS 

Lights underwater 

LMU does NOT have certified water sealed lights. No lights or electrical cables can be submerged into any water source under any circumstance. If lighting directly from within water is absolutely necessary, you must rent certified waterproofed lights from a company that specializes in such lights (ex; HYDROFLEX Inc.) You will be required to have an experienced lighting technician present if using any of the above mentioned underwater-specific lights.  

These lights MUST be used with an in-line GFCI (see the Generator section for more information) between the power source (house power or generator) and the entire set. 

Inspect all cables for damage that may cause water to seep in. Do not use any equipment you feel may have a defect. 

Filming near water; 

  • Lights and any electrical cables must remain no closer than 10 feet from water. This includes; pools, fountains, ocean, ponds, lakes, streams and rivers. 
  • A GFCI must be used at all times. LMU does have small in-line GFCI’s that can be rented to attach to small lights closest to the water sources. However, a larger GFCI still needs to be used to protect the entire set and crew. 

Filming in damp and wet conditions (rain) 

  • All of the above still applies but you must also take other precautions. 
  • All distribution boxes must be elevated from the ground to keep them from resting in water. This can be done by using “swamp boxes” which LMU will provide, or a plastic milk crate or a half or full apple box. Plastic trash bags or Visqueen should be used to cover the distro boxes and all electrical connections. 
  • Feet and hands must be dry when doing any If rain is imminent, stop and disconnect power before you and your equipment get wet.  You should have an up to date weather forecast just prior to setting up for the day.  
  • Electrical connections MUST also be elevated from the ground and not left in standing water or in wet conditions. 
  • Lights used outdoors need to be covered/protected from the rain. This can be done by using Celo Screen (a tough plastic wire screen), a metal flag, aluminum Black Wrap, or a solid structure no closer than 3 feet above the light (be aware of fire sprinklers). DO NOT USE solid-fabric covered flags, rags or solids as water protection. Water with still seep through. You will be charged a fine from L and G for anything returned wet or damp. 
  • Be aware of sprinklers when filming on grass. Make sure you know if the sprinklers are turned off or are on timers. 
  • Lights/cables used indoors on wet/rainy days are NOT ANY SAFER if the power source is coming from outside or from a generator. All of the above still applies. 

LMU SCHOOL OF FILM AND TELEVISION PROHIBITS STUDENTS FROM “TIE-IN” TO ELECTRICAL MAINS

No student is allowed to “Tie-In” or connect DIRECTLY to any Electrical Main or Circuit Breaker for power. This is illegal and dangerous. The Electrical Main service panel “is like a switchboard for all the electricity in a home or commercial location. It receives the incoming power from the utility company and distributes it to each of the circuits that supply various lights, outlets, appliances, and other devices.”

Know where the circuit breakers are at your location and DO NOT OVERLOAD any circuit. Breakers commonly list the amperage each is rated for. (ex. 10-amps, 15-amps, 20-amps, 50-amps, 100-amps etc.)  Do not load more amperage than each breaker is marked (see the chart below for a quick way to determine how many amps a light will use.) It is common for one breaker to be designated to a single room. If there is doubt, use different sources (rooms) for lighting a particular set. Each room is likely to have its own breaker or several, thus lowering your chance of overload. Older location structures which have only the two-prong type outlets must be avoided. If your location uses the old screw-in fuses, do not shoot there. Consult with L&G to examine alternatives and power sources.  The Lighting and Grip department offers low power-draw lights such as LED’s and Kino Flo’s of several varieties as well as Quasars. These types of lights should be considered first when plugging into to the outlets of any structure and are recommended for indoor filming.

Amperage/amps are how much power the light requires/draws to operate.

Light Types

Tweenie 650650 means it uses 650 watts which equates to 6.5 amps *  
Baby 1K 1K means it uses 1000 watts which equates to 10-amps **
Junior 2K 2K  means it uses 2000 watts which equates to 20-amps ***
Senior 5K 5K means it uses 5000 watts which equates to 50-amps ****
Tenner 10K10K means it uses 10,000 watts which equates to 100-amps *****

*         No more than 2 can be used in a single outlet.  

**       Only 1 can be used in most outlets.

***     Not recommended for plugging in to an outlet. Consider a generator.

****   Not possible to be plugged into an outlet. You must use a generator.

***** Not possible to be plugged into an outlet. You must use a generator.

YOU MUST CONSULT WITH THE L&G DEPARTMENT WHEN USING A GENERATOR

SAFETY REMINDERS 

  • NEVER USE ALUMINUM LADDERS or any METAL support such as kitchen step stools when working with electricity. 
  • Use cable crossovers for electrical cables if you must lay them across walkways, sidewalks and doorways. Cables must be properly secured in all walkways. 
  • NEVER TOUCH TWO LIGHTS AT THE SAME TIME 
  • Do not reach for an electrical appliance that has fallen into water. Unplug the device immediately if you have dry hands and feet when it is safe to do so.  Make sure the breaker has “TRIPPED” FIRST 
  • Always hold the cable connector or plug when disconnecting a cable. Never pull from the cable. 
  • Examine all electrical equipment for signs of wear. Watch out for breaks or openings in any cable, any plug or any place where the cable attaches to a lamp. 
  • Uncoil heavier electrical cables before they are used. Cables should not remain coiled while they are connected to power. 
  • Make sure equipment is properly grounded. 
  • Keep all exits where you shoot clear of equipment and cables. Escape routes must be understood by the cast and crew. 

IF SOMEONE RECEIVES A SHOCK 

  • DO NOT PULL THE VICTIM AWAY WITH YOUR HANDS – you may be shocked, too. Use a broom, belt, towel, rope, lumber or other non-conductive material to separate the victim form the source of shock. 
  • Call 911 
  • Try to disconnect the source of power  
  • Once the victim is separated from the electrical source, determine if they are breathing and have a pulse. If not, begin CPR immediately and continue until the ambulance arrives. 
  • Be sure that all equipment that is being plugged and unplugged is in the off position to avoid creating an arc at the receptacle. 
  • Wear protective gloves to avoid getting burned from a flash created by short-circuit in the equipment. 
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