This is a streamlined “cheat sheet” for seasoned 1st ADs. Twirl open any callout and the complete description of that step will be displayed. Please remember that all GREEN CALLS are made over the radio and are repeated by the 2nd AD, while all BLUE CALLS are made to on-set crew only and are not repeated by the 2nd AD.
Daily Protocol
Morning Meeting
We are having the morning meeting
Precisely at call time, the 1D gathers the crew by the trucks for the morning meeting. The 1D goes over the logistics of the day and addresses safety concerns.
COVID: Due to the congregation of all crew members, the morning meeting should ideally be performed outside. If the space does not permit all crew to congregate with physical distancing, the crew should be divided into smaller groups and the meeting should be repeated for each group.
Work safely, everyone
This concludes the morning meeting. 1D then gathers DR, DP, SS, 2C, and goes to set.
WORKING OUT THE BLOCKING
Clear the set for blocking
If DR is ready, the 1D asks 2D to escort the actors to set, so that DR and actors can work out the blocking. During this time, 1D manages crew staging, while periodically monitoring DR.
Are we ready to mark the blocking?
If DR is ready, 1D invites DP, SS, and 2C to set and oversees the determination of coverage.
WORKING OUT THE COVERAGE
Observe the crew working out the coverage
DR and DP watch the action that’s been worked out with the actors. Together they discuss any changes. 1D watches and checks that: DP watches the coverage through a viewfinder or lens; SS watches eyelines and notes coverage plan; 2C marks the actors’ stopped positions with colored tape.
COVID: Physical distancing must be maintained during the laying down of marks. Either the actors should step back while the 2C lays down the mark, or the actor should be provided tape to lay down their own mark.
Are we ready for the New Deal?
Only when the plan is agreed upon, 1D calls:
NEW DEAL
We have a New Deal
1D confirms all department heads are present. DR shows the action.
COVID: If physical distancing is not possible due to space limitations, the New Deal should be repeated for smaller clusters of department heads.
Questions on the blocking?
DR fields queries, then shows/explains coverage.
Questions on the coverage?
DR fields questions on the plan. 1D facilitates, making sure every department is anticipating issues.
Is the plan good?
NO Troubleshoot
YES Proceed
BUILDING IT
OK, let's build it. Thank you, First Team.
2D escorts First Team (DR and actors) to base camp. 1D quietly gets a setup time estimate from the DP. (Note: No one else but 1D and DR need ask about time or guess how long things will take.) From this point on, 1D is quietly monitoring progress and updating department time estimates.
Ways of being helpful throughout this process include: “Let’s get the frame” … “Let’s get focus” … “Let’s get a boom line” … “Work quietly”
COVID: Crew must maintain physical distancing at all times, except for where a technical operation makes it impossible. Such moments should be kept to a bare minimum and undertaken with extreme caution. If the space does not permit crew members to maintain physical distancing, 1D must organize the staggering and rotation of different departments’ work. This is something that should have been identified during the tech scout, so a plan should already have been discussed for this in advance of the production day.
COVID: Camera placement should be more than six feet away from any actor. Any exceptions to this need to have been approved during Director’s Prep.
COVID: Set up video village in a location to minimize crowding around the monitor. Only two, physically distancing crew members may be at video village at one time, with priority given to DR and SS.
COVID: SM gives a sanitized wireless lav to each actor and instructs them how to secure the mic. If necessary, SM may secure the mic themselves, but the physical proximity should be kept to a minimum duration and an extra level of protection should be considered, such as a face-shield or a plexiglass divider.
Are we ready for camera rehearsal?
NO Troubleshoot
YES Proceed
Camera Rehearsal
Camera rehearsal is up. Stand by.
2D asks DR if they wish to be present. DR either comes to set or 2D informs 1D to proceed without DR. (If DR does not come to set, 1D calls “action” and “cut” instead.)
COVID: Do not use actors for the camera rehearsal, and keep minimal crew on set.
Camera ready?
Check, or confirm by non-verbal eye contact.
Sound ready?
Check, or confirm by non-verbal eye contact.
We are going for camera rehearsal...
Action is called. Technical team runs shot.
...That's a cut on camera rehearsal
How was that for camera?
Check, or confirm by non-verbal eye contact.
How was that for sound?
Check, or confirm by non-verbal eye contact.
BAD FOR EITHER Troubleshoot
GOOD FOR BOTH Proceed
Camera ready for rehearsal?
Check, or confirm by non-verbal eye contact.
Sound ready for rehearsal?
Check, or confirm by non-verbal eye contact.
NO Troubleshoot
YES Proceed
Rehearsal
Essential personnel only, please.
COVID: The set is about to become a Zone A space, so 1D clears the set of all non-essential personnel.
First Team in, please
2D brings DR and actors to set. Everything must be ready!
Everyone work quietly. First team is on set.
DR works with actors. (Note: Rehearsal moves directly into shooting. If any technical issue arise that cannot be solved immediately, 1D releases First Team until it is solved.)
COVID: Actors should ideally remain in masks during rehearsals. If masks need to be removed for any reason, consider deploying other protections, such as plexiglass barriers.
Rehearsal is up. Stand by.
1D waits and confirms visually when DR is ready.
Quiet, please. We are going for rehearsal...
DR calls “action” and “cut.” This should be treated like it is a take by all set personnel. Make sure the set is locked up.
...That's a cut on rehearsal. Stand by.
While DR checks in with the actors, 1D checks in with camera and sound for feedback. 1D relays this information to DR, who chooses to rehearse again or proceed. Are we ready to shoot?
Are we ready to shoot?
NO Call: “We are going again. Stand by.”
YES Proceed
Last Looks
Picture is up. Last looks.
Camera ready?
Check, or confirm by non-verbal eye contact.
Sound ready?
Check, or confirm by non-verbal eye contact.
Director ready?
Check, or confirm by non-verbal eye contact.
NO Troubleshoot
YES Proceed
Going for picture
We are going for picture. Lock it up.
It’s GO time. Listen to ensure set is locked up. Be very sure EVERYONE is actually ready, especially DR and actors, before calling:
COVID: Slating should be at least six feet from any actors. If the lens or space does not allow for that, a pan over to the slate should be used instead.
COVID: Actors should remove their own masks. If the shot doesn’t permit them to keep the mask on their person, PD should provide a Ziploc bag with the actor’s name on it and PD should manage the Ziploc bags during takes.
COVID: If hair and makeup needs to make an adjustment due to the masks, this should occur swiftly.
COVID: If DR wants to go again quickly, and actors consent, masks can stay off between takes.
Roll sound...
If sound is being recorded on a dedicated field recorder, use Cadence for Dual-System Sound.
If sound is being recorded by the camera, use Cadence for Single-System Sound.
Cadence for dual-system sound
SM calls SPEED
2C VOICE SLATES
1C rolls camera and Camera Operator calls SPEED
2C calls MARKER and clacks the sticks
Camera Operator calls FRAME
1D calls MASKS OFF (actors remove masks)
DR calls ACTION, watches take, and calls CUT
1D calls MASKS ON (actors replace masks)
Cadence for single-system sound
1C rolls camera and Camera Operator calls SPEED
2C VOICE SLATES
2C calls MARKER and clacks the sticks
Camera Operator calls FRAME
1D calls MASKS OFF (actors remove masks)
DR calls ACTION, watches take, and calls CUT
1D calls MASKS ON (actors replace masks)
That's a cut on picture. Stand by.
1D checks in with camera and sound to see if the take was good or if a technical issue may require another take.
1D relays this information to DR, and checks to see if the DR would like to go again or move on to the next set-up.
Ready to move on?
NO Repeat
YES Proceed
Moving on
Thank you, First Team
2D escorts the actors (and DR if desired) off set and the crew comes in to execute the next set-up.
COVID: After the First Team has left the set, 1D allows crew to re-enter the space.
We are moving on to... (describe next set-up)
Move on to the next planned set-up as indicated previously during the New Deal. 1D restates shot as previously described.
Return to BUILDING IT and proceed until all scene coverage is complete.
When the scene is complete, return to WORKING OUT THE BLOCKING for next scene.
Continue this process for the rest of the day.
During the day, if the production falls behind schedule or if any problems arise, 1D should be proactive in conferring privately with DR and/or DP on how to solve the problems. This can be done quietly and discreetly on set or during breaks, such as lunch.
COVID: Departments should sanitize equipment throughout the day during free moments, especially anything to be handled by others in the department.
Important Time-Based Items
Start of Day
First shot is off at (state time)
Recording the time of the first shot of the day (and the first shot after lunch) is an important item that is reported to the studio on the DPR.
Midday
That's lunch
At exactly the 6-hour mark after first call time Lunch must be called. If the team has already rolled on a set-up you can go into “Grace,” which means work must then be completed within 12 minutes. You cannot shoot past this or you are in meal penalty.
During lunch, 1D talks to DR and the DP about the rest of the day’s work and participates in making any adjustments to the plan and/or schedule to help make the day.
COVID: Boxed lunches should be delivered to the team spaces for each department, so as to avoid having people congregating around a single lunch table.
COVID: Since masks need to be off for eating, extra precaution must be taken. Eating outside with maximum distance between people is recommended.
COVID: Staggering the start time for lunch for different departments is recommended, if the schedule permits. Staggering the start time for lunch is required if physical distancing is not possible at the location.
Ten Minutes
Ten minutes before the end of lunch the 1st AD announces this to everyone.
We're back
This call marks the official end of lunch. All crew is required to return to work. 1D should remind everyone what set-up is first up after lunch.
COVID: After lunch, PR makes sure that high-touch surfaces get a sanitizing wipe down and each department sanitizes heavily used items of equipment.
End of Day
This is the Abby Singer
1D alerts the crew that this is the second-to-last set up. (Be sure it actually is before announcing.) This is a morale boost as the day nears its end.
This is the martini
1D alerts the crew that this is the last set up of the day. (BE SURE it actually is before announcing.) This is a bigger morale boost as the day nears its end.
That's a day (and/or picture) wrap for (actor's name)
Crew applauds to thank the talent for the day’s work or for their work over multiple days on the whole picture.
That's a day (and/or picture) wrap for (production name)
Crew celebrates a hard day’s work. “Picture Wrap” can be an emotional call after weeks of work on a feature.
Company Wrap
1D talks to the DR and the DP about the next day’s work and any adjustments to the plan and/or schedule.
1D signs off on the Daily Production Report (DPR), which is sent back to production by the 2D.
COVID: 1D makes sure that camera wrap happens no less than 60 minutes before company wrap, to allow sufficient time for loading out and cleaning the location.
COVID: Actors change out of wardrobe, preferably in a single-person occupancy changing room. PD places any wardrobe supplied by the production in a secure bag to be laundered if used again. If actors need to remove their masks, the changing room becomes a Zone A space.
COVID: Equipment should be reloaded back into the truck in a prescribed sequence. Only one crew member is permitted in the back of the truck at a time. Physical distancing must be observed at all times. Each department should clean equipment during wrap.
COVID: Doors Down Meeting should ideally be performed outside. If the space does not permit all crew to congregate with adequate physical distancing, the crew may divide up into departmental groups for separate, smaller doors down meetings.
COVID: 2D keeps access to location restricted until last crew member has left. The plan for sanitizing the location at company wrap must be completed before the 2D leaves the location.
The Internet is a wonderful place for finding videos, images, motion graphics, clip art, music, and sound effects that can be used in your films. Below is a list of resources to help with finding stuff that’s either in the Public Domain (belongs to all of us) or Creative Commons (licensed by the author for others to use).
Beware, however, that the Internet is also a terribly unreliable place and the burden of proof will fall on you to document that you actually have the rights to use any of the stuff you dig up, so that you have a clear chain of title on your film.
For works in the Public Domain, this can sometimes take a fair amount of research, as there is often unclear and unreliable information circulating about works that are supposedly in the public domain. Any works published in 1924 or earlier are now in the public domain. Any works published after 1924 should be assumed to be under copyright, unless otherwise confirmed. Also be aware that new versions of works public domain — e.g., the New York Symphony Orchestra’s recent recording of Beethoven’s 9th Symphony— are copyrighted. In other words, you could perform the composition yourself and be okay, but you couldn’t use the New York Symphony Orchestra’s recording without clearing it first.
For Creative Commons work, some license types (such as “NoDerivs” and “ShareAlike”) are not compatible with the work we do, so you would not be able to use that work in your film. Generally speaking, you’ll need to look for works that are licensed either as “Attribution” or “Attribution-NonCommercial”. (Note, however, that many authors who’ve opted for a NoDerivs or ShareAlike license may be open to giving you permission to use their work if you contact them directly. If they are willing, you’ll need to follow the usual process of acquiring a licensing agreement for a copyrighted work.)
Audionautix – The music on this site is the creation of Jason Shaw.
Bensound.com – Download royalty free stock music for YouTube and your multimedia projects.
Brett Van Donsel provides affordable music options for filmmakers, YouTubers, gamers, podcasters, advertisers and more. Most of the music is royalty free.
Filmmusic.io – Over 600 tracks, free even for commercial use, primarily with cinematic music by Sascha Ende.
Gravity Sound – Free Music and Sound Effects for Personal and Commercial Use
Safety Bulletins are researched, written, and distributed by the Industry-Wide Labor-Management Safety Committee for use by the motion picture and television industry. The Safety Committee is composed of guild, union, and management representatives active in industry safety and health programs.
Safety Bulletins are guidelines recommended by the Safety Committee. They are not binding laws or regulations. State, federal, and/or local regulations, where applicable, override these guidelines. Modifications in these guidelines should be made, as circumstances warrant, to ensure the safety of the cast and crew.
A PDF of all relevant Safety Bulletins must be attached to Call Sheets or otherwise distributed to affected employees. All crew are required to read distributed Safety Bulletins prior to commencing the work day. Failure to do so may result in disciplinary action, including immediate dismissal from the school.
This document is intended to serve as a guide to help 1st Assistant Directors understand the role, as well as to supply set-specific jargon and the proper sequence of “callouts,” which are only a small part of the 1st AD’s job.
The role of the 1st AD is an important and multi-faceted one, involving organization, anticipation, communication, problem-solving, leadership, support, morale-building, time-budgeting, and resource allocation. It is a role that is critical in planning and scheduling a film during prep, and one that is vital for smooth set operation during production. The 1st AD runs the set and works just as hard as either the DP or the Director.
It is the responsibility of the 1st AD to know where everyone is, so crew must inform the AD department if they briefly leave set (e.g., “I’m 10-1”). The 1st AD always remains by camera; if the show has a base camp away from set, the 1st AD should communicate with the 2nd AD by radio. The 1st AD tracks the time but does not harass people about it. Good ADs need never raise their voice because they have not allowed things to reach that point. Above all else, it is the 1st AD’s job to watch, facilitate, and anticipate problems for the betterment of the film, not simply to “make the day.”
GREEN CALLS ARE MADE OVER THE RADIO AND REPEATED BY 2ND AD
BLUE CALLS ARE MADE ONLY TO ON-SET CREW AND NOT REPEATED BY 2ND AD
Daily Protocol
Having already been instrumental in helping to schedule the order of shots and estimating the time for each, a typical day for the 1st AD on set goes as follows. Note: On shows with smaller crews – such as F1s and F2s – some of the crew positions listed in this protocol may not have a dedicated crew member performing the role. If there is not a dedicated 2nd AD, the 1st AD should either assume those responsibilities or delegate them to another person. If there is not a dedicated Script Supervisor or 2nd AC, the Producer is responsible for making sure that other crew members cover the relevant tasks described in this protocol.
Morning Meeting
We are having the morning meeting
Precisely at call time, the 1D gathers the crew by the trucks for the morning meeting. The 1D goes over the logistics of the day and addresses safety concerns.
COVID: Due to the congregation of all crew members, the morning meeting should ideally be performed outside. If the space does not permit all crew to congregate with physical distancing, the crew should be divided into smaller groups and the meeting should be repeated for each group.
Work safely, everyone
This concludes the morning meeting. 1D then gathers DR, DP, SS, 2C, and goes to set.
WORKING OUT THE BLOCKING
Clear the set for blocking
If DR is ready, the 1D asks 2D to escort the actors to set, so that DR and actors can work out the blocking. During this time, 1D manages crew staging, while periodically monitoring DR.
Are we ready to mark the blocking?
If DR is ready, 1D invites DP, SS, and 2C to set and oversees the determination of coverage.
WORKING OUT THE COVERAGE
Observe the crew working out the coverage
DR and DP watch the action that’s been worked out with the actors. Together they discuss any changes. 1D watches and checks that: DP watches the coverage through a viewfinder or lens; SS watches eyelines and notes coverage plan; 2C marks the actors’ stopped positions with colored tape.
COVID: Physical distancing must be maintained during the laying down of marks. Either the actors should step back while the 2C lays down the mark, or the actor should be provided tape to lay down their own mark.
Are we ready for the New Deal?
Only when the plan is agreed upon, 1D calls:
NEW DEAL
We have a New Deal
1D confirms all department heads are present. DR shows the action.
COVID: If physical distancing is not possible due to space limitations, the New Deal should be repeated for smaller clusters of department heads.
Questions on the blocking?
DR fields queries, then shows/explains coverage.
Questions on the coverage?
DR fields questions on the plan. 1D facilitates, making sure every department is anticipating issues.
Is the plan good?
NO Troubleshoot
YES Proceed
BUILDING IT
OK, let's build it. Thank you, First Team.
2D escorts First Team (DR and actors) to base camp. 1D quietly gets a setup time estimate from the DP. (Note: No one else but 1D and DR need ask about time or guess how long things will take.) From this point on, 1D is quietly monitoring progress and updating department time estimates.
Ways of being helpful throughout this process include: “Let’s get the frame” … “Let’s get focus” … “Let’s get a boom line” … “Work quietly”
COVID: Crew must maintain physical distancing at all times, except for where a technical operation makes it impossible. Such moments should be kept to a bare minimum and undertaken with extreme caution. If the space does not permit crew members to maintain physical distancing, 1D must organize the staggering and rotation of different departments’ work. This is something that should have been identified during the tech scout, so a plan should already have been discussed for this in advance of the production day.
COVID: Camera placement should be more than six feet away from any actor. Any exceptions to this need to have been approved during Director’s Prep.
COVID: Set up video village in a location to minimize crowding around the monitor. Only two, physically distancing crew members may be at video village at one time, with priority given to DR and SS.
COVID: SM gives a sanitized wireless lav to each actor and instructs them how to secure the mic. If necessary, SM may secure the mic themselves, but the physical proximity should be kept to a minimum duration and an extra level of protection should be considered, such as a face-shield or a plexiglass divider.
Are we ready for camera rehearsal?
NO Troubleshoot
YES Proceed
Camera Rehearsal
Camera rehearsal is up. Stand by.
2D asks DR if they wish to be present. DR either comes to set or 2D informs 1D to proceed without DR. (If DR does not come to set, 1D calls “action” and “cut” instead.)
COVID: Do not use actors for the camera rehearsal, and keep minimal crew on set.
Camera ready?
Check, or confirm by non-verbal eye contact.
Sound ready?
Check, or confirm by non-verbal eye contact.
We are going for camera rehearsal...
Action is called. Technical team runs shot.
...That's a cut on camera rehearsal
How was that for camera?
Check, or confirm by non-verbal eye contact.
How was that for sound?
Check, or confirm by non-verbal eye contact.
BAD FOR EITHER Troubleshoot
GOOD FOR BOTH Proceed
Camera ready for rehearsal?
Check, or confirm by non-verbal eye contact.
Sound ready for rehearsal?
Check, or confirm by non-verbal eye contact.
NO Troubleshoot
YES Proceed
Rehearsal
Essential personnel only, please.
COVID: The set is about to become a Zone A space, so 1D clears the set of all non-essential personnel.
First Team in, please
2D brings DR and actors to set. Everything must be ready!
Everyone work quietly. First team is on set.
DR works with actors. (Note: Rehearsal moves directly into shooting. If any technical issue arise that cannot be solved immediately, 1D releases First Team until it is solved.)
COVID: Actors should ideally remain in masks during rehearsals. If masks need to be removed for any reason, consider deploying other protections, such as plexiglass barriers.
Rehearsal is up. Stand by.
1D waits and confirms visually when DR is ready.
Quiet, please. We are going for rehearsal...
DR calls “action” and “cut.” This should be treated like it is a take by all set personnel. Make sure the set is locked up.
...That's a cut on rehearsal. Stand by.
While DR checks in with the actors, 1D checks in with camera and sound for feedback. 1D relays this information to DR, who chooses to rehearse again or proceed.
Are we ready to shoot?
NO Call: “We are going again. Stand by.”
YES Proceed
Last Looks
Picture is up. Last looks.
Camera ready?
Check, or confirm by non-verbal eye contact.
Sound ready?
Check, or confirm by non-verbal eye contact.
Director ready?
Check, or confirm by non-verbal eye contact.
NO Troubleshoot
YES Proceed
Going for picture
We are going for picture. Lock it up.
It’s GO time. Listen to ensure set is locked up. Be very sure EVERYONE is actually ready, especially DR and actors, before calling:
COVID: Slating should be at least six feet from any actors. If the lens or space does not allow for that, a pan over to the slate should be used instead.
COVID: Actors should remove their own masks. If the shot doesn’t permit them to keep the mask on their person, PD should provide a Ziploc bag with the actor’s name on it and PD should manage the Ziploc bags during takes.
COVID: If hair and makeup needs to make an adjustment due to the masks, this should occur swiftly.
COVID: If DR wants to go again quickly, and actors consent, masks can stay off between takes.
Roll sound...
If sound is being recorded on a dedicated field recorder, use Cadence for Dual-System Sound.
If sound is being recorded by the camera, use Cadence for Single-System Sound.
Cadence for dual-system sound
SM calls SPEED
2C VOICE SLATES
1C rolls camera and Camera Operator calls SPEED
2C calls MARKER and clacks the sticks
Camera Operator calls FRAME
1D calls MASKS OFF (actors remove masks)
DR calls ACTION, watches take, and calls CUT
1D calls MASKS ON (actors replace masks)
Cadence for single-system sound
1C rolls camera and Camera Operator calls SPEED
2C VOICE SLATES
2C calls MARKER and clacks the sticks
Camera Operator calls FRAME
1D calls MASKS OFF (actors remove masks)
DR calls ACTION, watches take, and calls CUT
1D calls MASKS ON (actors replace masks)
That's a cut on picture. Stand by.
1D checks in with camera and sound to see if the take was good or if a technical issue may require another take.
1D relays this information to DR, and checks to see if the DR would like to go again or move on to the next set-up.
Ready to move on?
NO Repeat
YES Proceed
Moving on
Thank you, First Team
2D escorts the actors (and DR if desired) off set and the crew comes in to execute the next set-up.
COVID: After the First Team has left the set, 1D allows crew to re-enter the space.
We are moving on to... (describe next set-up)
Move on to the next planned set-up as indicated previously during the New Deal. 1D restates shot as previously described.
Return to BUILDING IT and proceed until all scene coverage is complete.
When the scene is complete, return to WORKING OUT THE BLOCKING for next scene.
Continue this process for the rest of the day.
During the day, if the production falls behind schedule or if any problems arise, 1D should be proactive in conferring privately with DR and/or DP on how to solve the problems. This can be done quietly and discreetly on set or during breaks, such as lunch.
COVID: Departments should sanitize equipment throughout the day during free moments, especially anything to be handled by others in the department.
Important Time-Based Items
Start of Day
First shot is off at (state time)
Recording the time of the first shot of the day (and the first shot after lunch) is an important item that is reported to the studio on the DPR.
Midday
That's lunch
At exactly the 6-hour mark after first call time Lunch must be called. If the team has already rolled on a set-up you can go into “Grace,” which means work must then be completed within 12 minutes. You cannot shoot past this or you are in meal penalty.
During lunch, 1D talks to DR and the DP about the rest of the day’s work and participates in making any adjustments to the plan and/or schedule to help make the day.
COVID: Boxed lunches should be delivered to the team spaces for each department, so as to avoid having people congregating around a single lunch table.
COVID: Since masks need to be off for eating, extra precaution must be taken. Eating outside with maximum distance between people is recommended.
COVID: Staggering the start time for lunch for different departments is recommended, if the schedule permits. Staggering the start time for lunch is required if physical distancing is not possible at the location.
Ten Minutes
Ten minutes before the end of lunch the 1st AD announces this to everyone.
We're back
This call marks the official end of lunch. All crew is required to return to work. 1D should remind everyone what set-up is first up after lunch.
COVID: After lunch, PR makes sure that high-touch surfaces get a sanitizing wipe down and each department sanitizes heavily used items of equipment.
End of Day
This is the Abby Singer
1D alerts the crew that this is the second-to-last set up. (Be sure it actually is before announcing.) This is a morale boost as the day nears its end.
This is the martini
1D alerts the crew that this is the last set up of the day. (BE SURE it actually is before announcing.) This is a bigger morale boost as the day nears its end.
That's a day (and/or picture) wrap for (actor's name)
Crew applauds to thank the talent for the day’s work or for their work over multiple days on the whole picture.
That's a day (and/or picture) wrap for (production name)
Crew celebrates a hard day’s work. “Picture Wrap” can be an emotional call after weeks of work on a feature.
Company Wrap
1D talks to the DR and the DP about the next day’s work and any adjustments to the plan and/or schedule.
1D signs off on the Daily Production Report (DPR), which is sent back to production by the 2D.
COVID: 1D makes sure that camera wrap happens no less than 60 minutes before company wrap, to allow sufficient time for loading out and cleaning the location.
COVID: Actors change out of wardrobe, preferably in a single-person occupancy changing room. PD places any wardrobe supplied by the production in a secure bag to be laundered if used again. If actors need to remove their masks, the changing room becomes a Zone A space.
COVID: Equipment should be reloaded back into the truck in a prescribed sequence. Only one crew member is permitted in the back of the truck at a time. Physical distancing must be observed at all times. Each department should clean equipment during wrap.
COVID: Doors Down Meeting should ideally be performed outside. If the space does not permit all crew to congregate with adequate physical distancing, the crew may divide up into departmental groups for separate, smaller doors down meetings.
COVID: 2D keeps access to location restricted until last crew member has left. The plan for sanitizing the location at company wrap must be completed before the 2D leaves the location.
The Assistant Editor (AE) works for the Editor and is responsible for managing the media as it enters into the editorial phase of post-production. The key tasks are to:
Setup the AE and Media Bay kit
Offload media
Import media into Premiere
Synchronize clips
Organize media in Premiere
Organize Script Supervisor notes
Build, export, and review dailies sequences
Compile the Editor’s notebook
Offload Media
The AE will retrieve the Red Mini Mags (containing the video) , the CF cards (containing the audio), and the camera reports at regular intervals throughout the day. It is very important that sound and picture cards are offloaded concurrently. It is also important that production turns over media at realistic intervals to allow the AE to work effectively on set.
Insert the cards into the corresponding readers, they will mount like an external hard drive and appear on the desktop.
CF Card containing SoundRed Mini Mag Containing Video
The Media Bay will have two separate solid state drives always mounted to the desktop. You will need to offload every camera and sound card to BOTH drives. This way the media will aways be in two separate places. That way, in the slim chance that something goes wrong with one drive, the media will always be safe on the other one.
Backup 1 and Backup 2
Copy the audio from the CF card to the appropriate folder on Backup 1 AND Backup 2. Inside the day folder you will need to create a folder specific to the roll and the card. Ex:(03_CF_912) That would be the third sound roll and it was on CF card number 912.
Sound Day 1 ExampleSound Day 2 Example
Next, copy the video from the Red Mini Mag to the appropriate folder on Backup 1 AND Backup 2. Just like with the sound card , inside the day folder you will need to create a folder specific to the roll and the card. Ex:(03_SSD_61) That would be the third camera roll and it was on SSD card number 61.
Camera Day 1 ExampleCamera Day 2 Example
After you have offloaded camera and sound cards to both backup drives you may then safely eject them from the card readers.
Do not return these to production until you have sunc the footage and performed a QC in premiere.
When that is complete, the CF sound card will need to be erased. Remember to empty the trash after deleting the sound card media as that is the only way to free up space on the card. The camera card does not need to be erased as it will be reformatted in the camera.
Import Media into Premiere
Navigate to the following folder on Backup 1 to open the Premiere Project.
Premiere Project Example
The bin structure is already setup for you and must be maintained.
Import theWAV files into the appropriate bin.
02_Audio – Production – Day
Import the ProRes Quicktimes into the appropriate bin. Do not import the R3D files into premiere. To make this easier you may want to highlight them in a finder window and then drag them into Premiere to import.
03_Footage – Production – Day
Check the audio and video clips in premiere against the camera and sound reports to make sure their is no discrepancy in the amount of media.
Synchronize Clips
Use the “merge clips” command in Premiere to sync the audio and video together. To make this easier you should create a keyboard shortcut for the “merge clips” command.
Select “Keyboard Shortcuts” from the drop down.
Type “merge” in the spyglass window to find the “merge clip” command.Set “control + m” for the shortcut.
Double-click on the first video clip to open it in the Source Panel. Make note of the setup and take numbers that are on the slate.
Scroll up to the Audio bin and find the corresponding audio files that are labelled with the same setup and take numbers. Each take may have multiple .wav files depending on how many microphones were used on set. More than likely, each take will have three separate WAV files (boom, radio, radio).
Command-select all the corresponding video and audio clips. With all your assets for the take highlighted use hit “control + m” to use your shortcut for “merge clips”.
A window will appear asking how to merge them:
Name the merged clip after the setup and take number (e.g., 2A_1)
Set the Synchronize Point as “Timecode”
Check “Remove Audio from AV Clip”
Click “OK”
The newly merged clip will appear in the project panel outside of any folder. Open the merged clip in the Source Panel and confirm that it’s correctly synchronized. You can check this by watching the clapper one frame at a time. You have a margin of error of one frame. The merged clip can be off by one frame and still be acceptable. If the sync is good, scroll to the footage bin and change the label color on the clip you just merged (to help you remember how many you have done).
If for some reason the sync is wrong delete the merged clip and start again. Most likely it’s a case of highlighting the wrong takes and trying to merge them. It’s also possible that the sound mixer accidentally mislabelled a sound file, which will take a little detective work to locate the correct file.
If that does not work, then you will need to sync manually by setting in-points on the corresponding audio and video files (or out-points, if a shot was tail-slated).
Open the video clip in the Source Panel and set an in-point on the first frame when the sticks are together.
Open each of the corresponding audio files in the Source Panel and set an in-point on the first frame that you can hear the clapper.
Command-select all the corresponding video and audio clips. With all your assets for the take highlighted, use your shortcut for “merge clips”.
A window will appear asking how to merge them:
Name the merged clip after the setup and take number (e.g., 3A_1)
Set the Synchronize Point as “In Points”
Check “Remove Audio from AV Clip”
Click “OK”
To check the sync on a clip you merged manually, you will need to place it into a sequence and extend the head of the clip to get some pre-roll to the clapping sound. Once you have checked it for sync delete the clip from the sequence.
If the sync is still incorrect contact the Post Production Supervisor.
If you come across a clip that was labelled “MOS” on the slate, it means there are no corresponding audio files to sync. Instead, you should right-click on the clip to duplicate it. Then, rename the duplicate version whatever it was slated, with a suffix of “_MOS” (e.g., 3B_1_MOS). Then, move the duplicate version out of the Production Footage bin, so that it is grouped with all the merged clips.
Organize media in Premiere
After everything has been synchronized successfully, move the merged clips into the appropriate Scene bins.
Organize Script Supervisor notes
At the end of each day, after the Script Supervisor has uploaded their notes to the Locket Network, download them so they can be imported into Premiere and entered into the metadata of the individual shots.
Click the login button and enter the username and password for the school’s account. (Check with the Post Staff if you do not know the login credentials.)
In the project dropdown select your project.
Select the “Reports” tab. Before proceeding make sure to select “All Shooting Days”, “PDF”, and “English”, then download:
Editor’s Log
Facing Page
Shot Log
Lined Script
When they are downloaded move them to the “Lockit Notes” folder alongside your Premiere Project Backup 1. Email a copy of them to the shows producer.
Locket Notes Example
In Premiere, open the “PDF viewer” extension.
Write caption…
Dock the PDFviewer Panel next to Effect Controls Panel.
Click the upload button and import the four documents. Each one will have to go in a separate tab. You can hit the plus button to make all four tabs.Paragraph
When they are all imported it will look like the example below.
Write caption…
Next, you’ll need to customize how metadata is displayed in the Project Panel, so that the necessary columns are visible. Right-click on the tab for the Project Panel and select “Metadata Display…” from the menu.Image
Search for “Description” and confirm that the first box is checked. Then search for “Comment” and check the first box.
Once you have both a “Description” and a “Comment” column, you can drag them next to the “Name” column in the Project Panel.
Open the Facing Page tab in PDFviewer. For each shot, copy-and-paste the “Shot Description” from the Facing Page document into the “Description” field on the merged clip. And copy-and-paste the “Take Comment” from the Facing Page document into the “Comment” field on the merged clip.
Build the Dailies Sequence
Under 01_Sequences – Dailies you will find the prebuilt sequence. Everything shot from the entire show will be put into this one sequence. Please do not separate each days footage into separate sequences or omit any material.
Organize the merged clips in scene order (story order) and, within each scene, place the shots in the following order:
Wide shots
Medium shots
Close-ups
Inserts
Charts
Since sound starts rolling before picture on set, you’ll notice that there’s excess audio media at the head (and sometimes also the tail) of each shot.
You’ll want the head and tail of each audio clip to line up with the head and tail of the video. To trim the audio, hold down Option and drag the head or tail of the audio track. The trimmed sequence should look like this.
Makea 5 second Slate to begin the dailies sequence and fill it out as below.
Exporting the Dailies Sequence
At the end of production, after everything has been sunc and organized in the dailies sequence, export the sequence to Frame.io using these instructions. Upload to the appropriate Dailies folder in Frame.io and point the render to save locally in the “Dailies Export” folder, alongside your Premiere Project on Backup 1.
Since the AE is already on set, their is no need to export dailies for review while still in production. The ATL can view the dailies or the assembly edit right in Premiere.
Review the dailies sequence
Prior to screening dailies Faculty in the HD suite, watch the exported QuickTime file to check for errors and to fill out the relevant fields of the Dailies Screening Notes form. Each form has spaces for the Date Shot, Scene Number, Take Number, which you can enter in the order that the shots are arranged in the dailies sequence. You can also note if the shot was sync or MOS, if it was a series take, and if it was the “best take,” a “good” take, or “no good.” Within the text box for each shot, you should also include a brief technical description (i.e., WS, MCU, Dolly into an ECU, etc.) and note any obvious technical flaws. Leave enough space to capture the Director’s notes as well during the dailies screening.
These notes should be hole punched and compiled in a labeled three ring binder to make the AE Binder.
Wrap
Once you have confirmed that the dailies sequence has exported properly and your screening notes in the AE Binder are complete you are done. Return the completed editors notebook and the media cards into the assigned cubby in the ingest room. Leave the two (the AE Kit and The Media Bay) in the ingest room for safe keeping. The post staff will transfer your work from the Media Bay to the SAN.
Secure each filming location by completing a Location Agreement and Shooting Plan. Make sure the location owner is clear about the nature of the production, and provide them with a Location Pamphlet.
Organize the Tech Scout for each location with at least the ATL. Establish where the restrooms, parking, staging, base camp and set will be. Complete a Location Hazard Assessment Checklist. If any location hazards, then also complete a Hazard Notification Report.
Pre-order lunch and arrange for it to be picked up by a volunteer on the day of production.
Create the Call Sheet, including a map and email no later than 12hrs before call time.
Have a Greenlight Meeting with the Head of Production and pick up camera & sound cards, 2D iPad, and SS iPad.
Upload script into LockItScript for the Script Supervisor. Then download it onto the Script Supe iPad.
Double check every logistical piece of information and make sure nothing has been forgotten.
On Set
Start of day:
Arrive at set 30 minutes to an hour early.
Immediately establish contact with the location owner to make sure everything is still going as planned. Check back with them periodically throughout the day as needed.
Deliver the craft services to the 2nd AD for them to set up the craft service table.
Give the 2nd AD all the paperwork you prepared ahead of time for them to have completed throughout the day.
Throughout the day:
Be another set of eyes at the tap monitor to make sure all is going as planned.
Verify with volunteer that lunch will be brought to set in time for 2nd AD to set it up prior to releasing for lunch.
End of day:
Approve the Daily Production Report and have 2nd AD distribute copies at the end of the day.
Collect all the Daily Production Paperwork, camera cards & sound cards from the 2nd AD.
With 2nd AD, clean and secure location. Be the LAST TO LEAVE (except perhaps Art Dept).
Whenever possible, do a walk-thru with the location owner to verify everything is in order.
Leave the location better than when you arrived.
Post-Production
Turn in iPads to the Head of Production by 10am on Wednesday after production.
Below is the data allocation for each production. If you would like to request additional data (e.g. for slow motion), you must present the Data Allocation Approval form at the Director Prep, and get approval from the Prep faculty. Then submit to the Head of Production for final approval.
For each live action show, a dollar amount is provided for every assigned crew member, plus two actors and one volunteer:
$8.00 per head lunch catering for 15 crew members and 3 actors or volunteers (18 people total ): $144.00 per day.
$3.00 per head craft service for 15 crew members and 3 actors or volunteers (18 people total): $54.00 per day.
Therefore, the total allocation for lunch and craft service is $396.00.
The amount of money allocated to each film is a set amount. It does not shrink if the crew gets smaller and it does not increase if you add volunteer crew or actors. This amount is allocated as part of the necessary budget the school provides, based on the scope of the production.
Food budgets are allocated to live action productions only and are considered part of the “Provided Production Costs” because meal time is regulated and crew members are not allowed to leave set.
You may use the total funds for food in any way you wish, as long as it goes only to catering and craft service. This is a “use-it-or-lose-it” budget.
