A Guide to On Set Etiquette
A Guide to On-Set Etiquette
Below is an industry standard guide of what to expect, and how to behave on a film
set. Whilst some points may seem obvious, it is easy to be caught out by others.
Call Times
Your Call Time is the time by which you must be on-set and ready for filming. The Production Company will either tell you your Call Time when they first contact you about the job, or they may ask you to ring them back later to find it out once the
filming schedule is finalised.
Punctuality
When you are given your call time write it down and make sure you turn up on set on time. Production companies have complex schedules to film specific scenes at specific times and they will not wait around for you. If you are late the production crew will not be happy and your job will likely be given to someone else and you will not get credited. In film, time is definitely money.
Make sure you have enough time to get to the film set and don’t rely on internet route finders for accuracy. If using public transport, check the timetables and catch the earlier bus or train. Also don’t assume that public transport will be regular for very early starts or late finishes.
Clothing
Make sure you take something warm to wear during the long breaks between filming
because you might not have somewhere warm to wait.
On Arrival
On arrival sign in with a member of the production staff to let them know you've
arrived. Make sure you know in advance who this person is. If you don't sign
in, the production company has no way of knowing you have arrived and your job
may be given to someone else.
Waiting Around
If filming is not ready to begin, find out if there is somewhere for the Background
Artistes to wait. You may have somewhere warm and comfortable to wait for filming
to start but, if you are on location, you could only basic cover form the elements.
There may also be long waiting periods between filming but please be patient.
Chain of command
> the Director is in charge but will only be occupied with the Actors and the DP. Please make sure that any questions or comments are directed up the chain of command and then through the DP to get to the Director if neccesary.
Etiquette on set (camera)
A good film set is like a well-oiled machine. All of the parts must work together for everything to go properly. Set procedure and etiquette are very important components in keeping the train moving. Here are a few tips that I have picked up along the way. These are primarily geared towards the camera department; however, they should work well for other departments as well.
- Ask before touching any other department’s stuff. This includes apple boxes or any other piece of equipment that does not fall under your department’s guise. How would you feel if the grips started grabbing cameras and lenses?
- Never, ever run on set. Unless you are the actor or operator in the scene, then there is absolutely no reason to run on a film set. It’s just plain dangerous. Recently on a commercial shoot, a PA was running back and forth to get stuff. After the third time I had to take him aside and explain that there is no running on set. It’ s a recipe for disaster. Walk with a purpose. Don’t run.
- Everything goes up the food chain, not down. If you have a concern, voice it to the next person above you in the pecking order. On the Sopranos my camera loader exclaimed in front of David Chase, “We were out of film!” This was simply not the case; we had thousands of feet of short ends and I had to explain to Mr. Chase that we were just fine.
- Conversations should be taken off set. If there is something wrong with the gear or anything else, then it should be discussed away from the rest of the crew until a solution can be found.
- Do not move equipment while the camera is rolling. Actors are a strange breed and it may only take one instance for them to literally freak out. No names mentioned here.
- Stay out of the actors’ eye line at all costs. It only takes one blown take to get you fired. If the actor looks over to you and you make eye contact, it can easily distract them out of their scene. Who do you think will get fired for being unprofessional?
- Know where the camera is pointed at all times. You never, ever want to make it in the film, or worse, blow a take.
- Count to ten as soon as you get on set. Everything changes in an instant. Take a moment to assess the situation before you open your mouth. It may no longer apply to the shot.
- Communication on set is very important. The last voice should be the Director’s; everything else leads up to the words “and action.” Roll sound, roll camera, speed then action. This is a no-fail system and works on most film sets throughout the world.
- Leave your baggage at home. Try to keep a positive attitude. There is nothing worse than having to prop up another person all day long. Everyone has something else going on, keep it off the set. Distractions are a danger to you and the rest of the crew.
- Use “copy that” and other set vernacular. This is an easy and quick way to communicate. I use it all the time in real life. It is in fact a military term. Try to also use “Yes, Sir” and “No, Ma’am”. Unless noted, this is a respectful way to address both the Client and Talent. While on a still photography tour with Sandy Puc’ they all thought I was joking until they heard the TSA using it. Now, they use it all the time.
- Safety first. In most cases all of the established set procedure is about being safe while being efficient. If you feel that something is not safe, then bring it up to the Grip department, not the producer. Be respectful and play well with others. This respect will gain you the trust of the crew and all of the people involved in the shoot.
Floor plan exercise.
Floor plans are schematic drawings from a bird's eye perspective of the scene.
TASK, Produce a floor plan from the script that you have been given.
1) Bracket the shooting script from this scene to show how you could 'cover' the scene.
2)Bracket each intended shot in the scene drawing a vertical line through all of the dialogue and activity that the particular shot covers.
3)Designate each lined shot with a capital letter. Starting with shot A, shot B etc. Now every shot set up has a unique shot number. Eg, scene 14 can be covered with 6 shots. 14-A, 14-B, 14-C, 14-D, 14-E, 14-F
4)Give each shot an abbreviated shot description , eg MCU, MLS-2 Shot, etc. So, it becomes 14-A is MCU
5) Once you have a bracketed script anyone can see how you plan to cover the scene.
6) Make a drawing of the floor plan including all walls, windows and furniture and indicating the position and movements of characters.
NB: Wide shots (or establishing shots) are always taken first as they set performance levels, take most lighting resources and set lighting patterns. Closer shots will them appear to match the acting and the lighting logistics of the master shot.
Example of a script marked up for coverage.
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TASK, Produce a floor plan from the script that you have been given.
1) Bracket the shooting script from this scene to show how you could 'cover' the scene.
2)Bracket each intended shot in the scene drawing a vertical line through all of the dialogue and activity that the particular shot covers.
3)Designate each lined shot with a capital letter. Starting with shot A, shot B etc. Now every shot set up has a unique shot number. Eg, scene 14 can be covered with 6 shots. 14-A, 14-B, 14-C, 14-D, 14-E, 14-F
4)Give each shot an abbreviated shot description , eg MCU, MLS-2 Shot, etc. So, it becomes 14-A is MCU
5) Once you have a bracketed script anyone can see how you plan to cover the scene.
6) Make a drawing of the floor plan including all walls, windows and furniture and indicating the position and movements of characters.
NB: Wide shots (or establishing shots) are always taken first as they set performance levels, take most lighting resources and set lighting patterns. Closer shots will them appear to match the acting and the lighting logistics of the master shot.
Example of a script marked up for coverage.
Saturday, 15 November 2014
Directing: Pre-production continued, Production and Post -Production
In pre- production you need to establish your broad aesthetics.
Once you know which method you will use to make the film, you will be able to produce a shooting script. The shooting script indicates every shot required to cover each scene.
This will be largely dependent on the overall aesthetic that you have decided is most appropriate.
Here are some major choices of approach.
Task: Write down and then discuss the pro's and con's of each method.
MASTER SCENE METHOD
Master scene shooting technique (part of the continuity system) involves shooting the scene in a
wide shot -master shot, then changing the placement of the camera and shooting again to achieve
closer shots of one character then changing set-ups to shoot the reverse shot. Actors repeat moments
with to create overlapping action where the editor can make edits.
The Lives of Others (F. Von Donnersmark, 2005) Sideways (Alexander Payne, 2005) The Artist (THE LONG TAKE METHOD This approach allows actions to play out over extended periods, sometimes in only one shot per scene. Generally , this needs a mobile camera and intricate blocking of both camera and actors to avoid a flat, stagey appearance. Nine Lives (Rodrio Garcia, 2005)Mirror (Andrei Tarkovsky, 1974)4 months, 3 Weeks, 2 days (Christian Mungiu, 2007)THE SHORT TAKE METHOD In short -take coverage, shots are edited together to create rhythm, tension and energy. The Bourne SupremacyFIXED VERSUS MOBILE CAMERA You need to discuss the pro's and cons of each method. You should discuss, movement, focus, action, actors, lighting,sound and all other set ups. Cinematographer Maryse Alberti (The Wrestler) is one of the best at hand-held techniques.Robbie Mueller shot Breaking the Waves (Lars Von Trier, 1996) What do you think the handheld camera lends to the telling of this story?SUBJECTIVE or OBJECTIVE CAMERA According to Maichael Rabiger, camera handling alone can alter the voice of a film and make it more personal and vulnerable, or more confidently general in outlook. Maintaining either mode for too long may become dull, whereas shifting justifiably between them can be very potent. THE CAMERA AS REVEALING AND OBSERVING CONSCIOUSNESS POST PRODUCTION EDITING Eisenstein's Dialectical Cutting.Metric montage Rhythmic montage Tonal montage Overtonal Montage (All designed to elicit emotional responses) Ideological Montage (Abstract ideas creating relationships between opposing visual intellectual concepts) HITCHCOCK ON EDITING
Once you know which method you will use to make the film, you will be able to produce a shooting script. The shooting script indicates every shot required to cover each scene.
This will be largely dependent on the overall aesthetic that you have decided is most appropriate.
Here are some major choices of approach.
Task: Write down and then discuss the pro's and con's of each method.
MASTER SCENE METHOD
Master scene shooting technique (part of the continuity system) involves shooting the scene in a
wide shot -master shot, then changing the placement of the camera and shooting again to achieve
closer shots of one character then changing set-ups to shoot the reverse shot. Actors repeat moments
with to create overlapping action where the editor can make edits.
The Lives of Others (F. Von Donnersmark, 2005) Sideways (Alexander Payne, 2005) The Artist (THE LONG TAKE METHOD This approach allows actions to play out over extended periods, sometimes in only one shot per scene. Generally , this needs a mobile camera and intricate blocking of both camera and actors to avoid a flat, stagey appearance. Nine Lives (Rodrio Garcia, 2005)Mirror (Andrei Tarkovsky, 1974)4 months, 3 Weeks, 2 days (Christian Mungiu, 2007)THE SHORT TAKE METHOD In short -take coverage, shots are edited together to create rhythm, tension and energy. The Bourne SupremacyFIXED VERSUS MOBILE CAMERA You need to discuss the pro's and cons of each method. You should discuss, movement, focus, action, actors, lighting,sound and all other set ups. Cinematographer Maryse Alberti (The Wrestler) is one of the best at hand-held techniques.Robbie Mueller shot Breaking the Waves (Lars Von Trier, 1996) What do you think the handheld camera lends to the telling of this story?SUBJECTIVE or OBJECTIVE CAMERA According to Maichael Rabiger, camera handling alone can alter the voice of a film and make it more personal and vulnerable, or more confidently general in outlook. Maintaining either mode for too long may become dull, whereas shifting justifiably between them can be very potent. THE CAMERA AS REVEALING AND OBSERVING CONSCIOUSNESS POST PRODUCTION EDITING Eisenstein's Dialectical Cutting.Metric montage Rhythmic montage Tonal montage Overtonal Montage (All designed to elicit emotional responses) Ideological Montage (Abstract ideas creating relationships between opposing visual intellectual concepts) HITCHCOCK ON EDITING
Sunday, 19 October 2014
Directing and Pre-Production: Preliminary Script Breakdown
A preliminary script breakdown links characters to scenes and can help to plan rehearsals as well as visualise the underlying structures of your film. TASK; prepare a preliminary script breakdown for the film Gasman (Lynne Ramsay, 1997) to try and uncover her pre-production process.
It`s the Christmas season. With her mom`s help, Lynne, a girl of perhaps eight, dresses up; her younger brother Steven plays with a toy car. The children leave with their dad, who`s affectionate with them. They walk down a railroad track where an unkempt woman waits with two children, about the same age as Lynne and Steven. The children go with them. They`re all headed to a holiday party at a pub. Lynne notices that the girl acts all too familiar with her dad. What`s going on?
It`s the Christmas season. With her mom`s help, Lynne, a girl of perhaps eight, dresses up; her younger brother Steven plays with a toy car. The children leave with their dad, who`s affectionate with them. They walk down a railroad track where an unkempt woman waits with two children, about the same age as Lynne and Steven. The children go with them. They`re all headed to a holiday party at a pub. Lynne notices that the girl acts all too familiar with her dad. What`s going on?
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