#daily-production

1st AD Protocol (Cheat Sheet)

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.
Caption

1st AD Protocol

Overview

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.

Walkaway Wraps

A “walkaway wrap” is when equipment remains at a shooting location overnight.

The standard operating procedure for location shoots is for all school equipment to be packed up and removed from the shooting location at the end of each day. This is for a number of reasons: to protect the equipment from theft and damage; to protect location owners, and our relationship with location owners, by returning their space to normalcy at the end of each shooting day; and to protect the educational experience of the below-the-line crew, so that they have the opportunity to practice wrapping equipment safely and efficiently at the end of each shooting day.

On thesis productions only, students may request a walkaway wrap, but permission will only be granted in exceptional circumstances. Approval is at the discretion of the Director’s Prep Faculty and the Head of Set Operations, and the following conditions must be met:

  1. Requests must be made prior to the start of the show’s first day of production.
  2. Walkaway wraps may not be requested for family homes or other residential locations.
  3. Production must resume the day following the walkaway wrap. There cannot be any days off between the walkaway wrap and resuming of production.
  4. All department heads on the crew must approve the plan for the walkaway wrap.
  5. The Producer must provide a detailed description of which pieces of equipment would remain at the location and the reasons for why a walkaway wrap is being requested. Approval will only be given for rigging, where the extensiveness of the tear-down is a major factor.
  6. The Producer must provide a detailed plan for how the equipment will be secured safely at the location, to prevent theft/damage and to prevent injury to anyone who may enter the location before the crew returns.
  7. The Producer must provide a security professional to sit with the equipment overnight. The Head of Set Operations will determine whether or not a specific individual is approved for this task.

1st AD Responsibilities (D2)

Pre-Production

  • Attend the Production Meeting.
  • Meet with the Producer to discuss the schedule.

On Set

  • Start of day:
    • Arrive at set 30 minutes to an hour early.
    • Get a walkie from the 2nd AD, then go stand where the set will be and stay there. Radio 2nd AD to bring you whatever you need.
    • At call time, have a Safety Meeting with the entire crew. Complete the Safety Meeting Report.
  • Throughout the day:
    • Run through the 1st AD Set Procedure: Block, New Deal, Build, Rehearse, Shoot…
    • Manage the time on the set by keeping up with the Setup Schedule. Adjust schedule as needed.
    • Look ahead to next setups and make sure departments are prepared and working ahead.
  • End of day:

Producer Responsibilities (D2)

Pre-Production

  • 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.
  • Have each actor sign a Performance Agreement.
  • Arrange for volunteers and/or extras if required.
  • Break down the script and create the Production Schedule in Scenechronize.
  • Coordinate call times with other Producers in your cycle using a Call Time Agreement to ensure 10 hr turnaround.
  • Create a Setup Schedule with the DP.
  • Prepare all scheduling information and other material required for Directors Prep.
  • Attend Directors prep and takes notes for the Director.
  • Assist the Director with any and all logistical needs to prepare for principal photography.
  • Run the Production Meeting by reading the action of the script. Answer crewmembers’ questions.
  • Prepare and make copies of all the paperwork needed on set.
  • Check the weather periodically to monitor adverse conditions. Have a back-up plan.
  • Meet with the 1st AD to discuss the schedule.
  • Purchase Craft Services by the night before production.
  • 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.
  • Turn in Production Delivery Paperwork via OneDrive to the Head of Production by 9am Thurday after production.

Data Allocation (D1)

Below is the data allocation for each production.

Format7K HD R3D
Frame Rate24fps
Data per minute6.7 Gb/minute
Final Draft Page Count3 1/8 pages
Shooting Ratio20:1
Shooting Days1 Day
Pages per day3 1/8 pages
Estimated data per day420 Gb
Estimated data per page134 Gb
Maximum Dailies Length
63 minutes
Maximum Dailies Size420 Gb

updated 10/31/19