Tag Archives: On the Job

TIPS FOR A PA: How to Roll Calls aka Answering Phones for Newbs

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One of the main responsibilities of an Office PA is to roll calls. You have a phone on your desk with many buttons (and every fucking phone is different and way more complicated than it needs to be) and it rings all day long. The thought of answering phones when I started office PAing was honestly terrifying. Not only did I have the fear of not knowing what I was doing — I had the fear of  not knowing what I was doing in front of a bunch of people. When you’re in a production office, generally all the PA’s are set up in a bullpen. No cubicle dividers — just a room full of desks. So everyone can hear everything you say.  It was scary… but a completely unjustified fear. Answering phones is one of the easiest things in the world. Suffice to say, I learned fast. So here are some tips.

You’re sitting at your desk. The phones ring. Pick it up as fast as possible. If possible don’t let it ring more than once. Answer. “Production, this is [Insert Name Here].” Some people just answer with “Production”. But I like to let people know who they’re talking to.

One of the first things you should do if you’re on a new phone system is figure out how to transfer a call. Like I said, every phone is different. There are two types of transfers. Blind Transfers and Consult Transfers. A blind transfer simply transfers one call to another phone. A consult transfer transfers you first so you can say, “So and So is on the line, would you like me to put them through?” and they will either say, “Yes”, and you complete the transfer, or, “No, take a message”. You usually only have to do this if it’s someone important… or if you’re transferring out to someone’s cell.  If someone is calling for another department — just blind transfer. No need to consult. 

So someone calls and you answer the phone, person on the other line says, “Hello, can I talk to so and so”. If it’s another department, simply say “Yes, please hold.”  and blind transfer them to the extension on the phone list.  If they’re asking for someone in your department (Apoc, Poc, another PA, etc) you can probably just put them on hold and tell that person what line they’re on. E.g. “Hey, Jess, So and So is on Line 1 for you.”

9000 times out of 10 the person on the other line will say “Hi, can I speak to so and so?” Without giving their name or why they’re calling.  If it’s for another department… just transfer them over. But if it’s for someone in production — you need to find out two things. Who they are, and why they’re calling.

“Yes, may I ask who’s calling please?”  If it’s a name you recognize or know to be important, it’s probably okay to just walk up to the person in your department and be like, “So and So is on the line for you.” But if it’s someone you don’t recognize you need to be all like, “May I ask what the call is regarding.” I had so much trouble with this when I started out. How do you ask someone why they’re calling without sounding like a little shit. You can’t just ask, “Why are you calling?” It just sounds bad. So asking what the call is regarding seems to be the best way to ask that question.

Also if the dude doesn’t have the name John Smith and you’re not exactly sure what he said… a good way to find out what his name is, is by asking “Can you spell your first and last name for me, please?” That why when you tell the producer that Moises Trajicomahetmetet is calling for him, he actually knows who you’re talking about. It’s very important to get names right. Double checking with the person on the phone is way less embarrassing than getting the name wrong while talking to the producer.  DONT BE AFRAID TO ASK QUESTIONS ON THE PHONE. Get the information down correctly. Get their name spelt right. If the dude on the other end of the phone is an irritated piece of shit, it’s not like they can reach through the phone and strangle you. Remember, you’re just doing your job. Get the name right. Ask what the call is regarding, and then place them on hold.

Same thing for taking messages. Name. Who they’re with. Why they’re calling. Note down the date and time, and ALWAYS ask for a callback number. Unless it’s a person you know is very familiar to the person they’re calling, always ask something along the lines of “And what number can you be reached at?” Even if you know the person you’re giving the message to has their number, you’ll save them the time to look it up.

That’s all I can think of about phones at the moment. There is always 3 way calling and conference calling… but every phone is different so I can’t really tell you how to do that.

I hate phones.

Working for No Pay Part 3

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Just stumbled on a new reader question that I feel like addressing in a post.

…what is a reasonable amount of PA work to be doing gratis before you can expect to be paid? I don’t want to shoot down opportunities but at the same feel like I am being used. Is this something negotiated before hand? Does it depend on budget? I worked 35 hours on a 3 day shoot thinking I was getting paid and then I didnt. I even paid out of pocket for lunch and didnt get reimbursed. They want me to work for them again and say it wont be paid (a pretty decent sized indie studio). I told them I would do it but expect to be paid in the future. Am I out of line? Am I burning bridges? Did I shoot myself in the foot? The whole if you wont do it, someone else will line is getting old. People have to live. People have to pay bills. I cant keep working for free, can I?

– Josh

Okay. So I wrote briefly a while back about DOING free jobs to get noticed. And then a little while later I did a quick follow-up about being WARY of free jobs.  I’m going to go a little deeper.

I would ONLY take free work if you know there is a high possibility that it could get you paid work in the future. I’ve only worked for free 5 times. I will lay them out here.

1. The very first job I took in LA was a non paid 2 day job on a music video. I knew somebody working for a production company out here and they told me “Hey, the production company is super over budget on this music video and are looking for some free labor. I know you just moved out here and are looking for work. These guys do a lot of work. If you work your ass off for free I’m sure you’ll get noticed and get more work.” …or she said something along those lines.  It was my first week in LA and I didn’t know anyone… so what the hell. I took the job, worked my ass off for free, and it TOTALLY paid off. I ended up getting about $900 worth of work from the same producer the next week on two more shoots. Which then led me to getting work with their company doing freelance shoots up until the now. Last shoot I did with them was a few months ago. I also networked my ass off and got work later down the road from the Set Dresser and the Production Designer as an Art PA. So… I did this job because A). I didn’t have anything to lose. B). It was the first and only opportunity I had to get on set. C). My friend who worked there told me there was a good chance I would get paid work if I proved myself.

2. The second free job I did was a 3 day super low-budget TV pilot. I had already been working freelance a bit and another friend I met in the industry shot me an email. Basically he knew an AD that was going into production on a big hour-long network drama in the fall. So he got me in contact with her 2nd AD. The 2nd AD told me they were shooting this low-budget pilot for a friend (they were all working for free… even the ADs.) And if I came and worked on it, it could be like my interview. If I proved myself, I could become a candidate for a PA position on the show. So, of course, I took the free 3 day job. Long story short — They got a few political hires (producer’s nephew or something) and hired another one of the PAs I was working with for free… who was a girl. Girl ADs… wanting to hire Girl PAs… I feel like they stick together in this industry. But in the PAs defense, she was one of the best PAs I’ve ever met. A god damn super PA. You’ll know a super PA when you meet them. They carry like tool belts and shit. You can’t compete with them. Anyway… I didn’t get the job. Months later I got a call from the ADs wanting me to day play a few days on the network drama. So I did that. It was a miserable couple days. And I haven’t heard from them since. BUT! A few months after that, the DIRECTOR of the super low-budget free pilot I worked on called me up. (I had kept in contact with her. NETWORK!) Turns out she was an AD as well… on another big network half hour comedy. So — I got a few day playing days as a SET PA with her… Then one day she called me up because there was an OFFICE PA out sick. So I lied and said that I had been an office PA before (first… and only time I have lied while trying to get work… i just don’t like to do it… but it paid off). So I came in. Was super terrified about answering phones, but got over it quick. (fake it til you make it). Then I became the go-to day playing office PA for the show. (Every time one of their office PAs was sick or had jury duty they would call me to come in). Then the coordinator from that show (who I will call Coord. A) hooked me up with a coordinator friend of hers (who I will call Coord. B) who was working on another pilot. I did that show. Then Coord B. hooked me up with a coordinator friend of hers (who I will call Coord. C), and I went down to Atlanta and worked on movie with her… and now I’m back in LA working on another pilot with Coord. B.  CANT YOU SEE NOW THAT THIS INDUSTRY IS ALL ABOUT MEETING PEOPLE! Anyway. I guess that free job paid off. It didn’t pay off the way I wanted it to at first… but it definitely paid off in the end. I took that free job because A). There was a chance I could get a PA job on a big network drama.

3. The third free job I took was a First A.D. job for a super small Funny or Die video. No one was getting paid. I did it because a friend asked me to. A friend who had gotten me work in the past. You have to do favors in the industry. You don’t want to be the guy only asking for stuff and never returning.

4. Fourth free job. Also First A.D. on a short film for a friend. Again, favors.

5. Fifth free job. Set PA. Favor. Friend.

So there you have it. Only  take a free job if you think it’s going to help you in the long run. Personally to me… it sounds like these guys are fucking you over. If you feel like you’re getting fucked over… you probably are. Go with your gut man. That’s all I can tell you. But think about your options as well. If they’re not going to pay you… but you have no paid work… are you still willing to work for free to make contacts and get experience? If so, do it. But look for more work in the meantime. And the second some paid work comes in, leave them. Just say, “I appreciate the opportunity, but I have to take this paid job, I’m sure you understand.” And if they don’t understand, fuck ’em. And… unfortunately… if you don’t do it. Someone else will do it. But then they’re the ones getting fucked over.

P.S. — and as far as the “Is this something negotiated before hand? Does it depend on budget?” 99% of budgets include paying PAs. And yes… it is negotiated beforehand. How you ask? Easy “Is it paid?” You say. “Yes” They say. That’s it. Feel free to ask how much. It will be anywhere from 112-250 a day. Usually more on the 112 side of things.  And if this company led you to believe you were going to be paid… and then didn’t… fuck them. Fuck them forever.

A Bitter Taste

Fuck It

When I started working in this industry I noticed something. Everyone seemed like they hated their lives. I would run around as a PA, so eager to serve, and notice that all the grips, teamsters, and props guys were all really angry people. Everyone pretty much seemed like they would rather take a hammer to the eye than work another day. Don’t get me wrong, I became friends with a lot of them, but I noticed how bitter everyone was. As if their job was the worst thing on the planet. I didn’t get it. Why were they working in the industry if they hated it so much? I was overjoyed to be working on set. Watching how everything came together. Meeting a ton of new people. Making connections. Working on TV shows and movies! Living the dream and starting a life. A new adventure every day.

About 5 minutes ago I realized I have turned into that bitter, angry, below-the-line ball of stress and nerves. I have become what I didn’t understand, and it only took 2 years.

So let me educate those who were once like me, eager and free. It comes from getting paid way below what you think you should be getting paid. From working 14 hour days making minimum wage — where overtime isn’t worth your time. From figuring out that working your ass off and hardly working yields almost the same result in pay, respect, and recognition. The eternal lingering sense that you’re not doing what you really should be doing to get where you want to go. It’s a real kick in the balls of motivation. But you need to continue. You need to work harder, and stronger, and faster. You need to show everyone how much they depend on you. But the harder you work, the worse it feels when you don’t receive the recognition you deserve. Which makes you angry. It makes you bitter. It makes you hate everyone around you. But you stay.

Why do you stay? Because deep down you wouldn’t rather be doing anything else. This is exactly what you want to be doing, you just want to excel at it. Make more money at it. Be better at it. Gain the appreciation and affirmation of your peers. So you stay. And you hate. And the more you try to change the world around you, the more it shits all over you. And when you clean up all the shit and become a reinforced blank canvass ready to take on the world, you get shit on again. And this happens forever and ever until your that 50 year old prop master with a permanent scowl. Ready to snap at any moment. But you still stay, because something about your job makes you happy, and keeps you going, and you’re not exactly sure what it is. But it’s there, rooted deep in some unyielding part of your being, telling you that you can make it. That you will be happy some day.

I now understand.

What Kind of Jobs Do You Get From Being a PA?

I know I’ve been neglecting this blog. My most humble apologies. Things have been crazy. Trying to find work. Moving into a new apartment. Trying to pay my bills. Surviving my crazy move to LA. I’ve been here for a little over 4 months now and I am slowly settling in. It’s been an adventure so far, and I promise I’ll continue my life updates shortly! But for now here is my once a month post… 🙁

A reader has a question.

Reader Question:

Hey, I’m a senior year in college pursuing a degree in Communications with an emphasis in Entertainment Studies. As of now I have yet to decide which area of the Film Industry I’d like to work in and in research came across your blog & had a few questions if you don’t mind. First, I have many interests in the field & have been trying to find one to focus my efforts into. My front runner right now is Casting & I was wondering if you knew anything about how Casting is ran or any tips on getting into that area? My other question is about P.A.’s, & what are the different career paths they lead to? Also, how long do most people work as a P.A. before moving on to something else? Would you recommend working as a P.A.?
Thanks for your time!

 

-Keri

Thanks for the question Keri!

I honestly don’t know much about the casting department. As I said in my last article on PA’s, you can be a Set PA, and Art PA, an Office PA, a Writer’s PA, and yes, even a Casting PA.  Just about every department can have a PA depending on how big the show is. If you want to get into casting I suggest learning as much about it as possible, and trying really hard to get in contact with a Casting Director or Agency and ask about becoming an assistant in that department. Again, it’s all about who you know. Make some contacts in that department and let everyone know what job you want, and eventually someone will (hopefully) hire you. You have to be proactive.

What kind of Career path’s do PA’s go into? It all depends on what department you WANT to go into. If you want to be an AD (assistant director) you can work your ass off as a Set PA and learn as much as possible about being an AD. Eventually you can start getting jobs as a non-union 2nd 2nd AD, then a 2nd AD, then a 1st AD. Once you have enough days on set you can get into the DGA and make the big bucks.

Basically, a PA doesn’t get you any job. Being a PA just helps you learn about the industry by working IN it. It’s an entry-level position. What you do WHILE working as a PA is what counts. You want to work in the Art Department and become Props or a Set Dresser? Meet the art department on set as a PA and let them know. Then work your ass off and stay in contact with them. Maybe they’ll call you to be an Art PA. Then eventually you can start doing Set Dressing with them once you’ve learned enough about the Art Department by being a PA.

You want to be a Grip? While working as a PA talk to the grip guys and let them know. You want to work in Camera? Meet camera people. A PA only becomes what they want to become, and what they work hard to become. It’s not a position that naturally gets promoted into another position.

How long does someone stay as a PA? That also depends on the person. There are PA’s out there who are PA’s FOREVER. You only get promoted when you actively try to learn other departments and move into another position. I’ve been working as a PA for 4 months and every time I’m on set I let the 2nd AD know that I’ve run talent before and worked as a 2nd 2nd before, so they give me more responsibility. I’ve already done a non-union commercial out here as a 2nd AD. But if I want to join the DGA, I could be working as a PA or Non-Union AD for years before that happens.

The short answer. While working as a PA find what department you want to work in and let everyone know. Meet and stay in contact with as many people in that department until they give you a job.

Would I recommend working as a PA? Only if you’re serious about working in the Industry. Being a PA honestly sucks ass. It’s not a fun job. You’re on set before everyone else, and you’re the last to leave. You’re the last to eat lunch. You’re usually working non stop for 12-16 hours. If you sit down you get yelled at. Don’t dare use your phone while working. You are a machine that does what you’re told without question. The only reason I’m doing this is because I love the field I’m working in, and I have a strong desire to move up. Nobody likes being a PA, but it’s necessary to get where you want to go.

Now I have to go to bed because I have another 12 hour day tomorrow.

Until next time…

Don’t Be a Bitch Part II: Coffee Run Woes

Make sure you check out part 1 of the Dont Be a Bitch series.

If you see the Director or Producers walking around with a special cup of coffee, that means there was a coffee run and YOU WEREN’T INCLUDED. So fucking deal with it. Don’t bitch about it. Even if bitching will eventually get you your special brew, you’re still that guy who was bitching on set. But “it’s not fair!” Yeah, OK, you know what else isn’t fair? The producers day rate compared to yours. He probably secured the budget that got him that coffee in the first place. Now you’re the guy making him spend more money so that your below-the-line ass can have a double machiato frapawhataver. You also take up the AD’s time to send a lucky PA(me) on another coffee run. You see that brown box on the craft service table? That’s called a traveler. That’s what you drink out of. When you decide to become a producer or director, you can have special coffee also.

Lesson? Don’t be a bitch.

Don’t Be a Bitch Part I: Lock-Up Woes


Today, while on “Lock-up”, I was reminded of when I played baseball in grade school. Way out in right field on a sunny day with nothing to do but watch the other kids play. So bored that I eventually sat down and picked at the grass — and when the ball was finally hit to me — I didn’t catch it because I wasn’t paying any attention. Except now the ball is a really bitchy woman who resembles someone you might see on a show called The Real Housewives of Hell.

I understand that it’s annoying when a production takes over your apartment complex or local park. I understand that no one told you we were going to be here. I understand you don’t have anywhere to park now, and that you pay your taxes, and that you “come here everyday to walk your dog at 5:00pm”. What I don’t understand is why you have to be a bitch.

I am paid an insulting amount of money to stand around all day with the sole purpose of keeping you from parking in crew parking or walking your dog right into the middle of the shot. So when I ask you very politely to move, why do you have to be a fucking bitch about it? I’m just trying to let you know that in about 2 minutes a giant police escorted “shot-maker” truck pulling a classic Chevy  Camaro is about to drive right into where your idling your vehicle. If you’re that pissed off, take it up with the manager or park service who allowed us to use this property for an ungodly amount of money in the first place.

It’s not like you live in Norman, OK — You live in fucking Los Angeles. We shoot stuff here. Get used to it already. I mean, god damn it, you live in the Hollywood Towers! Productions are bound to be around. Does your life suck so much that the only way you can make yourself feel better is by causing those around you to be miserable? I am a 24-year-old with a low paying job and more student loan debt then I can handle. You pay $2500 a month for a one bedroom in Hollywood without batting an eye. I am the one who should be bitching.

Tips for a Production Assistant: Set Lingo

Walk onto a film set for the first time and you will quickly realize there is an entirely different language you must learn, in order to communicate effectively with those around you. Here is a list of general set lingo. Be sure to check out Walkie Lingo as well.

Above-the-Line: Producers, Directors, Actors, Screenwriters and all the people who have “creative” input.

A.D.: Short for Assistant Director. If you’re a set P.A., he or she will probably be your boss. For more info go here.

Apple Box: A wooden box used for many different things.  Sizes include;  full apple, half apple, quarter apple, and pancake.

Base Camp: Sometimes located away from set. This is where the trailers, parking, and meals are usually located.

Below the Line: Everyone not “Above-the-Line”.  This is the crew and makes up most of the production.  (Interesting Note: I think the budget for “Below-the-Line” and “Above-the-Line” usually evens out to about the same. Which is depressing.)

Bogies: Unwanted people in the shot, usually pedestrians, are called “Bogies”.

C-47 or Bullet: A wooden clothes pin.

Camera Op or C.O.: Short for Camera Operator – For more info go here.

Crafty: Nickname for the craft services table.  This is where all the snacks and drinks are.

Crossing: It’s polite to say this to the Camera Op if you’re crossing his frame.

Cube Trucks: Large white trucks with lifts that look like cubes. Each department usually has their own. E.g. The Production Cube.

Day for Night: When planning on shooting a night scene, during the day on stage.

D.P.: Short for Director of Photography or Cinematographer.  For more info go here.

Honeywagon: Portable trailer with bathrooms and dressing rooms.

Hot Points: If someone yells this, move out of their way. They are probably carrying something pointy and/or sharp.

Genny: Short for the generator which supplies power.  Usually on a truck.

Lanyard: The thing around your neck that says you’re part of the production, and have permission to be on set.

Last Looks: Usually yelled by the A.D. to Hair, Make-up, and Wardrobe to hurry the eff up with the talent.  Shooting NOW!

Layout Board: Large strips of cardboard or other type board used to protect floors on location.  Sometimes people use carpeted mats as well.

Locations: Short for Locations Managers. See more here.

Lockdown: Term for standing around making sure people don’t walk onto set during takes

Abby Singer: Aka “The Abby” — Term from the second to last shot of the day.

Martini Shot: Aka “Martini” – Term for the last shot of the day.

Pass Van: Short for Passenger Van.  These vans drive people where they need to go.

Pictures Up: A warning that they’re ready, and the camera is about to start rolling.

Pop-Up: Short for the Pop-Up tents all around set.  Usually, each department will have one to shade people and equipment.

Production or the P.O.: Short for the Production Office. This is where you will find the Production Manager and the Coordinators for various departments…usually.  Also where you fill out paperwork and time cards… etc.

Props: Any item on set that is touched by an actor, in accordance with what is written in the script.  Otherwise it is a set decoration.

Rolling: When footage is actually being shot.

Settle in: See “Pictures Up.”

Show: Whether it be TV or a Feature, everything is called a “Show”.

Talent: Actors, Models, Musicians — People being filmed on camera.

Transpo: Short for transportation.  These are the guys who drive everything.

Travelling: If someone is outside of the location, or walking to set, they are “traveling”.

Video Village: A camp of monitors and chairs.  This is where the video feed from the camera goes so that producers, directors, and other above-the-line people can watch what is being shot.

Hot Brick:Term used for a charged walkie battery.

Cold Brick:Term used for a dead/dying walkie battery.

I will update this list periodically. Feel free to comment and add more lingo!  I will put it up on the list.

Also check out:

Tips for a PA: Advice from Sam

One of my readers, Sam, has added some valuable advice for a new PA, on my previous post Tips for a PA: Hard Work and No Pay. Here is what he had to say:

I’ve been a PA on some smaller TV shows and I was an unpaid intern on a big, 50 million dollar Hollywood project, and I can say that it is not easy.  My tips are as follows:

– Never sit down:  If a Producer sees you sitting without some sort of paperwork in front of you, they assume you are not working at all. Wait until lunchtime to sit down.  If your legs get tired, then lean on something.

– Never stand near another PA during set-up, wrap time:  Those times are the busiest, if a Producer or Chief PA or Second Second AD sees you, they assume you are being unproductive.

– Live and die by the walkie talkie:  If you are lucky enough to have a radio, keep it attached to your ear at all times, and do not speak unless you absolutely need somebody/something. Before long, the sound the walkie talkie will be easy to listen to, even during multitasking, like an internal monologue. When you do speak, make sure you don’t “step-on” someone who was already talking. Always lower the volume before a take. This brings me to the most obvious thing which is:

– Never ruin a take, ever: This seems obvious, but I’m always surprised to see how volatile even the most controlled of studio environments can be. For this reason, I recommend that you overcompensate by being basically motionless and utterly silent during takes, with your phone shut off, no matter where you are. There will be exceptions to this rule, but get in the habit of being the most silent, most still person on set each and every take.

– Wear a name tag on your first day. Introduce yourself briefly. Make them feel comfortable coming to you for help with anything.

For extra credit: bring nice cigarettes and share, you’ll get bonding points from the smokers.

Great advice Sam!

Also check out:

Tips for a PA: Sweetened or Unsweetened?

This tip is a short one, but it will save you a lot of time and energy.

When I order a coffee, I usually get… a coffee.  If I’m feeling crazy,  I might get an iced coffee. Apparently, coffee comes in many different combinations and flavors. As a PA, you will often be tasked with getting people their caffeinated liquid of choice.  This is when your handy dandy notebook comes into play.

When someone asks you to fetch their “Iced-Venti-Double-Macchiato-Soy-Latte-Green-Tea-Pumpkin-Chai” make sure they specify whether they want their “Iced-Venti-Double-Macchiato-Soy-Latte-Green-Tea-Pumpkin-Chai” sweetened, or unsweetened! The last thing you want, after parking a mile a way (there is never a place to park near a coffee house in LA), and standing in line forever (there are always 900 people in line brandishing iPads, and sporting trendy blazers), is to have the barista ask, “Sweetened?” …and you have no idea. Saying, “Well, she’s a chick, so she probably wants it sweetened.” is the wrong answer. Then, once you find a way to fit all of that coffee on your body, somehow survive the mile back to your car, and drive all the way back to set, you will learn that she actually wanted it unsweetened.  Now, you get to go back to “Coffee House X” and fetch her an unsweetened “Iced-Venti-Double-Macchiato-Soy-Latte-Green-Tea-Pumpkin-Chai” before she snaps, and kills the locations guy.

People are very particular about their coffee. Get every detail right! Sugar or “Sweet n’ Low”?  One packet or two? Milk, 2%, or soy? Sweetened or unsweetened? Now, do this with 6 different orders. You are NOT going to remember. Write it down. Be detailed. Be Awesome! Get everyone’s name as you’re taking their orders. Make sure the barista writes the names on every cup.

People can be bitches without their coffee. Become awesome at it, and you will turn into “that guy who’s awesome at everything”!!

Any PAs out there have crazy coffee run stories?

Also check out:

Tips for a PA: Walkie Talkie Lingo

A PA without a walkie is a talking sandbag. – Unknown AD

As a PA, you are going to be on the walkie a lot. You will quickly find that there is a certain walkie lingo that you must learn, if you don’t want to look and sound like a complete retard. Let me attempt to explain how some of this works. It’s pretty straightforward. Also be sure to check out Set Lingo.

When you first get your walkie: If you are given a headset, plug it in. Turn the walkie on. You do this by turning the nob on top. Make sure you are on the right channel. Usually, you will be on channel 1, but be sure to check with your supervisor to confirm this. Hit the talk button and say: “Radio Check” or “Walkie Check” . Someone will then respond: “Good Check”.  This means everything is working properly. If no one responds, something probably isn’t working.

Channels: Different departments can be on different channels, but the main channel will most likely be channel 1. Channel 2 is usually left open for one-on-one conversation. If you need to have a private conversation, or a conversation that lasts more than a few seconds, you should issue (or will be issued) the following instruction:  “Switch to 2” Then, you (or the person you’re speaking with) should respond with: “Switching”, or, “Copy, Switching to 2”.  When the private conversation is over, one of you should issue the term: “Back to 1″ to which the other person should respond with: “Copy that, switching back to 1” The reason it’s done this way, is because only one person can be speaking on a channel, at a time. You don’t want to be jamming up a main channel that people need, and you don’t want to annoy people with conversations that they don’t want to hear.

(Also, on that note – No goofing off over the walkie. Unless you want the AD to take it away from you, and make you look like a child in front of the whole crew.)

Frequently check to make sure you are on the right channel, and that your walkie is still working properly. If you don’t hear anything over the radio for a long time, you should probably do a walkie check.

Remember to keep fresh batteries on you or somewhere close – at all times!

“Does anyone have eyes on _____” – Term used when trying to find someone who doesn’t have a walkie.

“____ to ____” – Term used when requesting someone’s attention: “John to Bill”

“Go for _____” – Term used when acknowledging a request: “Go for Bill”

Copy/Copy That – Term used to indicate that you understand the instructions, or tasks you’ve been given. Make sure to respond EVERY TIME, that way people know you actually heard them.

“10-1” – Term used when someone is in the restroom: “Going 10-1” or, “Where is Mary?“, “10-1“.

“What’s your 20?” Term used when attempting to locate someone: “Bill, what’s your 20?

“Flying In” – Term used when bringing someone, or something, to the set. The someone/something “flies in”.

These are some of the more frequently used “walkie lingo” terms.

If anyone else has more on set walkie lingo let me know and I’ll add it to the list!

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