By: Matthew Klein

In the last installment, I discussed the importance of pre-production and how it, when played out effectively, positively plays into the rest of your production. This time, I’ll be discussing what it’s like to actually be working on a production set. I’ll go over some of the quick dos, don’ts, tips and tricks about the exciting life on set.

DO’S and DONT’S ON SET and HOW TO MAKE THE CREW LOVE YOU:

I’ve been on a bevy of sets, and it’s always funny to me how, despite the fact that everyone always seems to have their own little of bag of tricks to employ, there’s a quiet syntax of behaviors that are widely appreciated across any crew on any production. Below is a small list of the things you should probably be doing if you’re working on a set, no matter what your job may be.

1) Be Aware – BE VERY AWARE: Safety is a #1 priority on any set, and usually the key grip is considered the ‘Sheriff of Safetytown”. But that doesn’t mean that you shouldn’t be doing your part to make sure you don’t end up tripping over a cable, or getting your eye poked out by a C-Stand. So stay alert and be sure to pay attention, as things can get rather hectic.

2) Coil-ing All Cables: In an age when everything wireless – the film/video set has yet to make this leap. This becomes apparent when one takes into account ALL of the pesky cables that get left all over the ground during a shoot (your light cables, power strips, extension cords, sash-rope, ratchet straps and bungie cords – man, it is a JUNGLE out there). All it takes is one P.A. to stumble over an extension cord and down a flight of stairs into the basement furnace to end the whole show for everyone. A great way to prevent this is coiling cables! If you’re standing around, and you notice that the floor is riddled with random cables/wires all over the place, help wrangle those suckers! You can use the over-under method of cable-wrapping (http://techno-fandom.org/~hobbit/flipcoil/howto.html) or simply tidy them up as best you can! If you’re a best-boy grip, P.A., or anyone authorized to do so, you can also use gaffer’s tape to tape the cables to the floor so people are less likely to trip over them. This simple act greatly reduces risk, and is totally worth the effort.

3) Put Things Back: The larger your shoot, the more things you need to bring with you. Props, costumes, equipment, office supplies, computers, printers, paint, your camera lenses, de-glossing spray, sound blankets, batteries, coffee, coffee, more coffee, lots and lots of coffee and things related to coffee. As you can see, the sheer magnitude of ‘stuff’ that gets brought to set can be staggering. It can be seemingly endless. In the fast-paced world of production, organization is crucial, and more than often the most innocent of mistakes or misplacements can RUIN a shoot. One example: a tripod plate. You know, the little plate that holds the camera on the tripod? It’s this teeny little thing, but guess what? If someone loses that, NO MORE TRIPOD! And if you don’t have extras around, guess who is holding the camera for the next six hours? You got it, an infuriated camera operator who wants you fired – stat. So, moral of the story here is, if you use an item, ALWAYS return it to where it originally was. Simple lesson, but often ignored.

4) Stage Your Equipment: Many people don’t realize that when a crew gets to a set the first thing they do is unload and ‘stage’ their equipment before doing anything else. Basically, ‘staging’ is when you prepare every item of equipment as much as you possibly can without actually using it. That means every single light stand gets set up. Mic packs are fitted with new batteries. A charging station is set up for all of the walkie-talkies. Gels are set out and labeled. Each camera is prepared and rigged. Dolly tracks get lubricated. For the best way to tackle how to stage equipment, I would recommend researching how grips prepare their equipment for a production day! There are tons of videos on the web about this. Even C-Stands have a particular way of being ‘soldiered’ (large nuts on the right, small on the left, and stack them right next to each other so the larger legs overlay the smaller legs). This might seem rather silly, but when the sun is setting and you’re going to lose thousands of dollars in budget if you don’t get this ‘ONE LAST EPIC SHOT’ taking five seconds to grab a properly staged C-stand as opposed to taking two minutes to find and then stage one makes a world of difference to your crew.

5) Mission – Make Everyone’s Job Easier: In the end, you’ll notice that a reoccurring theme of the previous 4 tips has been ‘look out for your crew and try to help things move along as smoothly as possible’. This brings me to the most important thing I was ever told while working on a set, by the Key Set PA for the movie Unstoppable. He told me that with any job on set the point should be ‘to make everyone else’s job easier’. Adopting that policy translates to the people around you, and your crew will surely notice when you’re going out of your way to help, do your job, and lighten the load for them as well. Surely, they’ll be doing the same for you.

So there you have it! There are many more tips I could provide, but I find that these basic five are the most important and effective when working on a production crew. Blunders are avoided, and progress is influenced. Plus, the crew will love you.

In the next installment, I’ll be going over the basics of post-production. Until then, thanks for reading!