Never ever can a crew member be in the line of VIew of the actor or even worse look into their eyes during a take.

 

Next, the 1^st AD announces to roll. Sound and camera confirm they are both rolling and the slate marks the first take of the shot. The director calls for action.

The actors do the 1^st take and the director calls CUT, which is repeated by the 1^st AD over the radio.

Everybody HAS TO BE SILENT on set and remain in their positions until the director lets the 1^st AD know what he wants to do next. Crew members off set continue their work until “PICTURE IS UP” is announces again. Only the 1^st AD can allow a crew member to walk in front of the camera, if the actor needs immediate assistance after a take. This can be due to a stunt rig they are placed in or to extreme temperatures or any other uncomfortable situations.

 

It’s important that the director announces as soon as possible what his next intentions are: if he needs another take, if he’s watching play back, or if he has the shot and the crew can move on to the next shot. If he wants to give instructions to the actors he can walk up to them while everybody else keeps themselves as low profile and quiet as possible.

It creates a very confusing moment when the director stays silent for a long time, because everybody, especially the actors want to know what is going on. It’s the 1^st AD who needs to ask the director what he wants or what he or she needs to communicate to the people on set.

 

In between takes

Only the director can enter the holy ground freely and give instructions to any of the department heads to make changes for the next take. ONLY the department heads who are given instructions from the director can make those adjustments, all the rest stay off the set and very low profile, preferably silent.

If a department head wants to make an adjustment to the shot, he or she needs to make a request to the director, who will give the OK or not. If it’s a very minor and not time consuming adjustment, such as moving a prop or a light stand, the request will be made to the 1^st AD. The 1^st AD needs to be aware of any adjustments that any of the crewmembers are doing in between the takes.

NEVER EVER interrupt the director when he or she is talking to the actors. At that point all the questions are asked to the 1^st AD.

The 1^st AD keeps the set quiet and in order between takes.

 

IN BETWEEN TAKES IS NOT THE MOMENT WHEN THE SET BECOMES LIKE THE WORKING FLOOR OF THE STOCK MARKET AFTER THE BELL RINGS.

A way to shoot fast is to make the time in between takes as short as possible. Each time a take is done, the camera operator, DP or sometimes the 1^st AD announces “Back to one” which means going IMMEDIATELY to the first camera positions and for props or stunts to go to the situation of the beginning of the shot. It should be a habit or automatism that you do without thinking.

 

Having the take

When the director announces that he has the take and is ready to move on, the 1^st AD announces to the whole crew what the next shot will be and if unsure checks with the DP what it will be.

Right after the take the DP has the set and all the rules and procedures of “THE DP HAS THE SET” apply.

 

HAVING THE TAKE DOESN’T MEAN THAT WORK IS DONE AND TIME FOR A COFFEE AND CIGARETTE BREAK. THIS IS WHEN WORK STARTS.

IT’S DURING THE TAKES THE MAJORITY OF THE CREW HAS TIME TO RELAX AND HAVE A COFFEE OFF SET.

 

The scene is in the can

When the director announces he has the scene the 1^st AD requests a blocking rehearsal as soon as possible if there are no major changes needed to be done to the set. When the 1^st AD calls for blocking rehearsal, the crew clears camera, light stands or any other equipment that can obstruct the movement of the actors and director, off set.

This usually takes less than 2 minutes.

 

If the set needs to be redressed or any other big equipment, like crane, dolly and tracks, or special rigs, the 1^st AD sends the actors off set and allows the crew to clear the set. As soon as the set is cleared the actors are invited back in to do the blocking rehearsal.

 

Lunch

Maximum 6 hours after shooting the 1^st AD calls lunch. If work will continue after 6 hours a 12 minute “grace period” can be asked from the crew members in order to finish the shot. During this “grace period” no new shot can be set up. If it’s necessary to shoot past this 12 minute “grace period” meal penalty apply. This means the crew member receives financial compensation because the production fails to respect the basic human need and compromises a person’s health “The human body needs food and water to function”.

 

Lunch should be served in a sheltered environment in a relaxing way. Meaning the crew needs to have the opportunity to eat lunch at tables with chairs, covered from sun and rain and protected from cold or heat.

The lunch period last 30 minutes after the last crew member receives lunch. It’s the duty of the 1^st AD and assistants to make sure that everybody goes to lunch.

 

After 30 minutes of “last man has lunch”, work can start again.

 

If work exceeds over 6 hours after last time the crew receives food, 2^nd meal needs to be provided by production. Failing to do this will result in meal penalties.

 

FRENCH HOURS

French hours mean that there is A VARIATION of NUTRICIOUS food available during the whole shooting day AND the crew agrees to work under these conditions. The production can’t one-sidedly decide to do French hours.

 

French hours DON’T mean working non-stop and provide lunch after 6 hours and let it get cold or dry up till some one of the crew finds time to eat. This is a huge violation and can result in shutting down production.

 

Many beginning and amateur production companies fail terribly at how to feed crew and underestimate the value of it. It’s a vital need for the human body to exist and to perform the job asked from production. At the same time it is the highest form of respect and appreciation towards the crew. Self-respecting crew members will not work with productions who neglect the fact of serving nutritious food at regular times.