How do You Get Work in the Film Industry? You Have to Fucking WORK.

There is a symptom that plagues film school students and those who want to work in the film industry.

I know this because I’ve had the opportunity to talk to a lot of film students. That vast majority of them don’t want to work. They don’t want to start at the bottom and crawl their way to the top. They want to make art. Let me tell you something, you want-to-be-filmmakers —

YOU ARE GOING TO FAIL. YOU. YES. YOU.

You’re going to graduate film school thinking you want to work in the film industry, but end up switching careers with thousands of dollars in student debt, or work at a local TV station making shitty commercials, or film weddings for the rest of your life. And that’s no one’s fault but yours.

How do you not fail? You work you fucking ass off, that’s how.

I have not made it. Far from it. But I’m a lot further along than the lot of you. And you probably want to be where I am right now. I work for a “big-time” guy in the industry. I frequent film sets during production and have the occasional chat with a celebrity. My scripts are being read “around town”, and I have representation courting me. This is shit I DREAMED about having 7 years ago when I started this blog. I’m STILL not happy with where I am, but that’s another story. THIS story is about how none of this is going to happen to you because you’re a lazy piece of shit.

If you want to work in the film industry, you have to be willing to work 18 hours days 6 days a week for minimum wage with an Assistant Director yelling at you over the walkie in front of the entire crew right after you’ve spent the last 2 hours picking up dog shit and used condoms off the side of the road for the art department at 6 in the fucking morning.

If you want to work in the film industry, you have to be willing to leave EVERYTHING behind and move to Los Angeles with no money and sleep on a strangers couch that you met on craigslist who smokes weed every day and watches TV until 1 am not letting you get any sleep before you have to wake up at 4am to get to pre-call on set in the middle of sun valley by 6am.

If you want to work in the film industry, you have to leave every comfort you know, and jump headfirst into a chaotic environment using equipment you’ve never used before for people you’ve never met before, while all the time trying to prove that you’re the hardest worker in the world so that maybe they will hire you again for the next job.

If you want to work in the film industry, you need to be meeting people and spending more time looking for work than actually working because you need to have a job lined up when the current job your working is over.

And then, MAYBE, after you’ve done all this for a few years and find a steady job, you will be able to direct enough shorts or write enough screenplays in your “free time” to get noticed and actually do the shit you really want to be doing out here.

If you’re not willing to do any of this stuff. Then do everyone already working in LA a favor and  GTFO of here so that our commute on these god-forsaken highways is minus one car.

Now get off your lazy piece of shit ass and go do something.

-12pt

Getting a Production Assistant Job (Reader Question Backlog)

 

Getting A Production Assistant Job

The site went down for a couple of weeks. Server-side problems. Sorry about that. All better now. How about a reader question!? I have a backlog.  Lets blow through these.

These questions all seem to be focused around GETTING A PRODUCTION ASSISTANT JOB.

First, a quick one:

What do you think of sites like StaffMeUp and Mandy? – Nick

I’ve honestly never used either.  But it can’t hurt to look. Just beware of all the people asking for non-paid work. Most of the time, getting a production assistant job revolves around meeting people and making connections. More often than not, if someone is posting a need for production assistants on a job website, they probably are NOT going to pay you. I think I wrote some articles on working for free before. ARTICLE ONE, ARTICLE TWO, ARTICLE THREE

Alright, onto the next one.

So I am currently going into my senior year at film school, and am trying to work as a PA in LA this summer. I have some money saved up, and am trying to buy some essential gear to have on set. I just don’t have enough money right now to buy all the essentials I have been compiling. Do you have any suggestions on which are the most important up front? Any suggestions are welcome. Thank you. – Shaeden.

I have an article written about production assistant gear here. But when talking about ESSENTIALS… I would say good shoes are #1, followed by sunscreen for day work, followed by warm clothes for night work, and sunglasses. Everything else is just extra. Don’t waste your money on crap you don’t need… until you can afford it. You can slowly build up your PA arsenal over time. Buy a multi-tool on one job… get something else on another job. For now just get yourself some good comfortable shoes to run around in all day and you’ll be well on your way.  Everything else can come later. Save your money for surviving in LA. And you don’t need anything of these things to actually get a production assistant job.

Note that all of this crap is for a Set PA… if you’re going to be in the office you’ll need different stuff. Like #1 would be a laptop. #2 would be a car.

Next one.

“Hello, my name is Stevie and I am film school right now at Full Sail University in Orlando, Florida.  I came across your blog and find it very helpful.  I even take notes, its always good to keep those things in mind.  I am in a program where I will have my bachelors in 20 months.  I am in my 10th month right now so I will graduate in 10 months.  I am starting to feel the stress of wondering how I’m going to break into the business.  I read that you packed up and headed to LA which is what I plan to do.  I was just wondering if you had any advice for a film student getting ready to try to break into the PA world.  Thanks. – Stevie.”

Hi Stevie. If you go through the archives of this website you’ll find a bunch of good advice on getting a production assistant job. I would, if you can, try to lock down some work or make as many connections out here as you can NOW before moving out here. If you can afford to take a summer internship for no pay out here while still in school, do it. But if you can’t do any of that, just save up as much money as you can, come out here, find a place to stay, and start calling up ANYONE you know who works out here and asking them for a job, or if they know of anyone who can give you a job. Then take ANY job you’re offered. You just need to worry about getting your foot in the door. Even if it’s a job you don’t really want to stay in…. doesn’t matter. Take it.

While you’re on that job meet everyone and make connections and when the job is over start bothering everyone you met about getting another job. Rinse and repeat until you have enough contacts that know you’re a kick ass worker who will call you up on the reg for work.

Alright. That’s all we have time for today. I’ve been working non-stop. Writing a lot. Still trying to get a manager. See you in another 6 months with an update.

First Time On Set? | Tips for a Production Assistant

First Time On Set

I haven’t answered any reader questions in a while. Sorry. Here’s one —

QUESTION ABOUT YOUR FIRST TIME ON SET AS A PRODUCTION ASSISTANT

I just got my first pa job on a tv show and it’s coming up this weekend. It’ll be my first time on set and though i’m excited, I really nervous as well! I’ve been reading through your posts and they’re super helpful, but is there anything I should know going into this for the first time? I’ve only ever been on set in film school, unfortunately, and I really scared I’m going to look like and idiot! – Jessica

—–

FIRST TIME ON SET

Well, Jessica, here’s the thing. If this is your first time on set, you are going to look like an idiot. BUT THAT IS OKAY! Because you’re new. Unless you lied to the person who hired you, they know you’re a new production assistant as well. So, relax, it will be fine. Just keep your ears open, always pay attention, and be willing to learn and do anything.

Since this is your first time on set, you WILL be put into positions where you have no idea how to proceed. The best advice I can give you is:

DON’T BE AFRAID TO ASK QUESTIONS!

Find another production assistant who looks like he/she knows what they’re doing. Introduce yourself. Ask questions and take their lead.  You’ll pick it up fast. If you screw up, and the AD yells at you over the walkie — you’re not alone. It happens to everyone at least once. By the end of a day or two, you’ll have your sea-legs. Don’t fret. Everyone has been there. Everyone working in the film/tv industry has had their first day on set.

SOME TIPS FOR YOUR FIRST TIME ON SET AS A PRODUCTION ASSISTANT

Don’t ask questions over the walkie. If someone tells you to do something and you have no idea what they’re talking about, say “copy that!” (as if you know what you’re doing) and then run to your closest PA buddy and ask them what the hell the AD was talking about.

A couple of things to watch out for. There is no such thing as Kino Fluid. If the AD or anyone asks you for Kino Fluid, they are hazing you. There are a few other common hazing tricks people pull on new production assistants, but I can’t remember them right now. It’s just part of becoming a production assistant.

ALWAYS know where the actors in the scene are. They tend to wander off set. If the A.D. asks something along the lines of  “Anyone have eyes on ACTOR X?” — a quick response from you could mean brownie points.  (I had an A.D. who would randomly ask me where a certain actor was even if she knew where he was, just to make sure I knew where he was…. )

Hopefully, you aren’t put in charge of locking up the area where the grips hang out. Grips don’t listen when production assistants tell them to be quiet. Then you just have to stand there like an asshole while the AD asks why the grips aren’t “locked up” during filming.

If the A.D. yells cut — YOU YELL CUT. If the A.D. yells rolling — YOU YELL ROLLING. That’s one of a production assistant’s primary jobs. It’s called “echoing” and you do it during “lock-up.” This is, so EVERYONE on set knows to shut the fuck up.  If you don’t do this, any respectable AD will yell at you.  And the grip who just walked into the shot will yell at you because the A.D. just yelled at him for walking in the shot while YOU should have been “locking” up the set.

Also, ALWAYS reply when the AD asks a question over the walkie. One of the ADs I used to work for would get IRATE if she asked a question over the walkie and no one responded. She called it “crickets” and it was the bane of her existence. Always respond, “Copy” and then repeat the order given to you. Even if you’re doing what the AD told you over the walkie, they don’t know that you heard them unless you reply.

ALSO, CHECK OUT THESE HELPFUL ARTICLES:

WALKIE TALKIE LINGO
SET LINGO
HOW TO GET A PRODUCTION ASSISTANT JOB WITH NO EXPERIENCE

I’m sure there are a million other things I could tell you, but they’re not coming to me.

Anyway — I hope you enjoyed your first day on set. If you read this, leave a comment on how it went! And share your tips!

Production Assistant Resume Template PDF

production assistant resume template

[Post Updated August 7, 2018]

Below you will find a sample production assistant resume template.

I wrote an article a few months back on what a production assistant resume should look like. You can find that article here. Today for some reason, I decided to quickly whip up a production assistant resume template for you guys. Yay! Here is what it looks like:

production assistant resume templateIt’s not pretty. But it does the job. Your name, address, phone number, and email addy are right up at the top. Followed by the only thing that matters — work experience.

Feel free to mess with it and customize it to your needs. I will in no way be offering tech support. If you can’t get it to work. I apologize. However, if the download link doesn’t work, let me know, and I’ll try and fix that. I also included a pdf file of the production assistant resume template if you just want to see what it looks like.

DOWNLOAD LINKS:

DOC FILE

PDF FILE

Production Assistant Resume: Tips for a Production Assistant

Production Assistant Resume

[Post Updated August 8, 2018]

This article focuses on how to make a PRODUCTION ASSISTANT RESUME.

What everyone says about this industry is correct, it is all about “who you know.” Most of the time your production assistant resume is not going to factor into you getting a job. It is more of a formality, as the interview is what will land you the job. But sometimes the resume is what will land you the interview. Now that I’ve thoroughly confused you, let’s start!

I was recently hiring production assistants for a new production office, and I would say 8 out of every 10 production assistant resumes went immediately into the trash pile. Why?

When hiring a production assistant, I only care about two things:

#1: Can you do your job?

#2: Can I stand to be around you for the length of this show?

People don’t give a shit about what your goals are. They don’t give a shit if you went to college. They don’t give a shit about your short film. All they want to know is — do you know how to be a production assistant?

Look at your production assistant resume. If any of this shit is on there, take it off.

DON’T INCLUDE ON YOUR PRODUCTION ASSISTANT RESUME

  • Student Films
  • Unrelated Work Experience – No one cares if you worked at Starbucks — and don’t argue that it applies because you’re getting people coffee. If it’s not a job in the film/tv industry, take it off!
  • Anything you Directed or DP’d or any High-Level Sounding Job – Why the fuck are you applying for a PA position if you’re a director? No one cares. It will make you look dumb.
  • Career Objective – No one cares.
  • Hobbies – Again, no one cares.
  • References – If they want a reference, they’ll ask. 99% of the time they heard about you from someone else anyway, as most people hire production assistants based on referrals.
  • Background – Don’t think the person hiring you, who has probably been working in a production office for longer than you’ve been alive, cares about your background. There is plenty of time for this type of conversation after you’re hired.
  • Interests – Definitely Not.
  • That you Wrote a Screenplay – Seriously, I’m looking at a resume right now where a PA lists a feature screenplay in his work experience. Dude, why would you think a production coordinator hiring you to go pick up lunches for people gives a shit about your screenplay? NO! I would immediately throw that production assistant resume in the trash (and I did).

Now, here is what your production assistant resume SHOULD include.

INCLUDE

  • Name and Contact Info – Email, phone number, home address.
  • Job History – Name of Show (or movie or commercial or photo shoot), Position (Set PA, Office PA, Art PA, etc), Date of job (if you want), Production Company (this is where you can make it a little sexier by adding in WALT DISNEY STUDIOS or something).

That’s it. Anything else on your resume should go below those two things. (AND PROBABLY NOT BE INCLUDED AT ALL) Your production assistant resume should look like a list. Name and contact on top, below just a list of all the production assistant jobs you’ve held.

Chances are you haven’t worked that much. If you need some padding see below: (ALSO CHECK OUT THIS ARTICLE ON NOW HAVING MUCH WORK EXPERIENCE)

PRODUCTION ASSISTANT RESUME PADDING

  • Schooling – No one cares, but it doesn’t take up much room… and why else did you get a film degree if not to do SOMETHING with it… so put it on the resume. At the bottom. (Still, no one cares).
  • Skills – A producer friend of mine says he likes it when skills are listed on a production assistant resume. It doesn’t take up much room. But it’s where you can list appropriate skills like Microsoft Office Suite, Adobe Suite, Scenechronize, Final Draft, Final Cut, Avid… etc. This is more relevant for a non-set PA job. You can even put MAC and PC… If you know how to hook up network printers on Macs AND PCs, you instantly become like a god-figure in the office. Same with knowing the ins and outs of how to use an iPhone ( a lot of technologically impaired people work in production).
  • Internships – Unlike student films and your own shorts, a good internship at an agency or production company is basically a non-paid Office Production Assistant job. In this case, “internship” is an easily dismissible word when the experience you gained shouldn’t be dismissed. I would just change the job title from “internship” into whatever job you were doing  — Office PA, producer’s assistant, development assistant… Looks better and it’s basically the same job, you were just getting school credit instead of being paid.
  • Job Descriptions – You can add this stuff if you’re seriously lacking in things to put on your resume. Just a few bullet points under every job. Try not to be monotonous.

PRODUCTION ASSISTANT RESUME DESIGN

  • Make your resume clear and easy to read – You won’t believe how many people’s resumes look like a jumbled mess of text. Or, god forbid, they try to make it “artsy”. Nobody wants to read — they want to SCAN! I should look at your resume and know in 1 second if I’m putting you in the consider pile or in the trash can. If I have to read too much… sorry buddy… you’re in the trash.You might now be thinking, “Why is this guy so lazy and disgruntled? He’s going to pass on a qualified applicant just because they have “too much text” on the page?” Dude … when you work in a production office hiring PAs, you literally have a 100 resumes to go through in an hour. I’m not reading your fucking wall of text. If it takes a wall of text for me to realize you are qualified for a job where you get lunches and answer phones, you’re doing it wrong. You get a quick glance. That’s it.
  • Keep your resume ONE PAGE  – You’ve done 40 jobs? Pick the sexiest looking ones. I shouldn’t have to turn the page when looking through your resume. No seriously… keep it one page. This is a PRODUCTION ASSISTANT JOB. One page only. Or it will go in the trash.
  • Portrait View – Seriously… a landscape resume? Don’t. Ever.
  • Make Font Bigger – A larger font is easier to read and stands out more. Even just bumping the standard 12pt to 14pt is a nice touch.
  • A Little Color Never Hurt Anyone – Even using greys with black looks better than a simple black text resume, and it’s non-color printer safe.
  • Too Much Color Hurts Everyone – If it looks like a Teletubby took a shit on your resume — I will burn it.

IN CLOSING

People in a hiring position only want to know that YOU know what you’re doing. And the best way to persuade them is by showing that you’ve done the job before. So if you’re looking for set PA work — stack your resume with Set PA jobs. They’ll take one look at it and see SET PA, SET PA, SET PA, SET PA. “Great! Bring ’em in for an interview.” If they have to navigate through your resume like pans fucking labyrinth — you’re on a fast track to the trash.

[UPDATE]

Download a simple production assistant resume template here!

12PTRESUMETEMPLATE082714-page-001Also check out:

Production Assistant Career Paths: What Kind of Jobs Do You Get?

production assistant career paths

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 insane move to LA. I’ve been here for a little over four 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 production assistants, 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 production assistant 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 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.

Production Assistant Career Paths

What kind of production assistant career paths are out there? It all depends on what department YOU want to work in. If you want to be an AD (assistant director), you can work your ass off as a set production assistant 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.

BEING A PRODUCTION ASSISTANT DOESN’T GUARANTEE YOU ANY JOB.

The production assistant career path is not like most career paths. There isn’t a standard promotion hierarchy. Being a production assistant helps you learn about the industry by working IN it. It’s WHAT you do WHILE working as a production assistant that counts. You want to work in the art department and become a prop (property) master 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. Then you can use that experience and your new art contacts to try and get into IATSE, the union all the art people are in.

Do you want to be a grip? While working as a PA, talk to the grip guys and let them know. Do 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 to another position.

HOW LONG DOES SOMEONE STAY A PRODUCTION ASSISTANT?

This also depends on the person. There are production assistants out there who are PAs 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 four 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. (I don’t want to be an AD).

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 PRODUCTION ASSISTANT?

Only if you’re serious about working in the film/tv 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 nonstop 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…

Life Update: Befriend the Bitches

After not having work for 4 weeks, and then getting a brutal job and spending a week in severe pain, and then working a commercial shoot were I experienced some bitching, I got offered a crazy job that lasted me a week and a half. It was hell, and irritating, and awesome all at the same time.

Something happened on that shoot, that I’ve noticed on other shoots since then. When some people are under extreme amounts of stress, they can be highly volatile and hard to be around. In fact, one may say that they become downright horrible to be around. When encountering these unfavorable people, it is man’s first instinct to react to unfriendly/bitchy behavior with equal or greater unfriendly/bitchy behavior. I suggest a new approach. Be friendly/stay out of their way.

When you’re a friend to the unfriendly, you could soon become “the only person that bitch likes”. People will warm up to you eventually — in most cases. Also, as I have experienced, when you meet them in a less stressful situation, E.g. The Wrap Party, they can be quite pleasant and surprisingly fun to be around.

In a nutshell, Don’t judge a book by its — 6am “I haven’t had my coffee we have to shoot way more coverage than we have daylight and my in-laws are staying at my house” — cover.

Also. Happy 4th of motherfucking July! Meat, Beer, and Fireworks. America!

Life Update: Keep in Shape

A little while back I wrote an article on not having work for 4 weeks. I was going crazy. I sent out a shit ton of emails letting people know I was available. Nothing was coming up… until. BAM! I got a job. It was a one day gig. If I only knew what I had just booked…

Arrived on set at 10am. On a beach. “Alright” I said, “This could be interesting”. Interesting indeed. I worked my ass off harder than I’ve ever worked in my entire life. It was fucking brutal. I got in my car to drive home at 6am. That’s right. 10am-6am with two 30 min meal breaks. 20 hours on set. Welcome to Hollywood.

The worst part was that I had just gone 4 weeks doing absolutely nothing. Sitting in my computer chair working on websites, writing, and playing video games. That’s like, 4 weeks of atrophy, to running on the beach for 20 hours. I really hurt myself. Bad idea. When I got out of the car after driving home I literally couldn’t walk without locking my knees. Climbing up stairs wasn’t accomplished without searing pain. The next week was spent sleeping for 12 hours a day and overloading on pain killers. It was bad. To this day, 7 weeks later, my knees are still a little fucked. After a long day on set I can really start to feel the pain again.

So my first bit of advice. Keep in shape. I don’t care what you have to do. Go for walks, go jogging once or twice a week. Just keep your legs in good shape so you don’t do something stupid like I did. Now I’m just hoping I don’t have chronic knee pain for the rest of my life.

Learning Set Lingo: Tips for a Production Assistant

set lingo

[Post Updated August 7, 2018]

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 to communicate effectively with those around you.

Here is a list of general set lingo. Be sure to check out Walkie Lingo as well.

Film Set Terminology

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 clothespin.

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.

Fire Watch: A duty that involves keeping watch over the film equipment while the rest of the crew takes lunch or shoots in a location where they don’t “have eyes” on the equipment. (For a PA, this usually means you get to skip the line and get food first!)

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! (or as one commentor who didn’t appreciate my humor put it “Last Looks = the call for hair, makeup and wardrobe to make final additions/adjustments after seeing the talent in position with all other departments set.”

Layout Board: Large strips of cardboard or other type of 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 the 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 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.

Traveling: 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 set lingo film set terminology list periodically. Feel free to comment and add more set lingo!

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Production Assistant Clothing and Accessories

Production Assistant Clothing

[Post Updated August 8, 2018]

In this article, we’ll discuss production assistant clothing, accessories, and tools.

There are many different things people will tell you to bring to set as a production assistant. I’m just going to include the things that I have found useful.

What to Wear on Set as a Production Assistant? How to dress as a PA?

Before getting into the details, let’s answer this question. As a set production assistant, you are going to be running around all day. You’re going to get dirty. You’re going to sweat. You want to wear CASUAL/COMFORTABLE WORK CLOTHES. Jeans and a t-shirt, shorts and a t-shirt, comfortable shoes, hat and sunglasses. You can bring layers, like a long sleeve shirt. You can bring a jacket if you think it’s going to get cold. Are you shooting outside or on a stage? Stages can be cold, or hot, so it’s nice to bring options. See the “Wear Layers” section below. Basically, dress to move around and sweat. If you show up on set as a production assistant looking fancy, with loafers on, or open-toed shoes or sandels, you’re going to be a laughing stock.

If you’re working as an office production assistant.

Just wear casual office clothes. Again, nothing too fancy. Don’t wear a fucking suit and tie. You can wear a casual tie if you want… but I would advise against it. You’re just sitting at a desk all day, and occassionally running out to pick up lunches or office supplies. Jeans and a t-shirt or long-sleeve button up is fine. Unlike a set-pa, since you’re in an office setting, feel free to wear slightly nicer clothes and shoes. You won’t be running around and sweating as much. Office Casual.  Now onto some specifics.

The items listed below are more geared towards what you would wear or bring as a SET PA. As an OFFICE PA, really all you need is a car and a laptop.

PRODUCTION ASSISTANT CLOTHING AND ACCESSORIES

  • GOOD SHOES. The number one most important piece of production assistant clothing. You will be running around all day, and your feet are going to hurt. Try to get some comfortable shoes. Spend the big bucks if you have to.  Some brands that have been recommended to me are; Merrell and Keen. I wear Merrell, but it’s all about personal preference.  I would also recommend getting some good gel Inserts as well. Also, make sure your shoes can breathe. Steel-toe is not necessary as a production assistant. [UPDATE: I pretty quickly switched from my Merrell’s to a pair of Nike Running Shoes. They were my favorite on-set shoes. They’ll run anywhere from $100 to $150… but they’re def worth it.  Plus they look good. Always good to get shoe compliments on set.] NEVER EVER BRING OPEN TOED SHOES OR SANDLES TO SET. SOME ASSISTANT DIRECTORS WILL SEND YOU HOME. BIG NO NO.
  • WEAR LAYERS. Always check your call sheet for weather conditions, but I still recommend wearing layered clothing. LA weather is a fickle bitch. It could be cold in the morning, hot during the day, and then cold at night. If you’re stuck standing outside making sure no weirdos get on set all night, and it’s chilly, you will want a jacket! If you know it’s going to be warm for the whole shoot, you can wear some cargo shorts (pockets are your friend), but I would still recommend jeans, or something similar. (I once did a shoot on the beach, didn’t know the shoot was going to go for 21 HOURS STRAIGHT. I wore shorts. It was FUCKING COLD at night. I was miserable. Never made that mistake again. I always brought some extra clothes and kept them in my car.)
  • KNIFE. Just in case a homeless person tries to rape you, or a bunch of little kids threaten to trample you because they heard Justin Bieber was on set. But more practically, someone will always need a knife.  When that happens, you will always come to the rescue. [UPDATE: I always carried around a Husky Utility Knife.]
  • LIGHTER – Even if you don’t smoke, someone else will!  If they need a lighter, you’ll become a “Godsend.”
  • SHARPIE — Always carry a black sharpie on your person, at all times. You WILL use it.
  • EXTRA “BRICKS.” A “brick” is a walkie battery. Someone always needs one, and it’s your job as a PA to get it for them. It will also save you time, and energy, if you carry a couple fresh “bricks” on your belt. A good Assistant Director will always make you carry fresh bricks. You do NOT need to buy these. They are handed out at the AD trailer. You might be put in charge of handing them out.
  • HAT, SUNGLASSES, & SUNSCREEN. The sun is your enemy when you’re outside for 14 hours. Protect yourself! You don’t want some dermatologist scraping melanoma off your face with an exact-o-knife in 20 years.
  • PEN AND NOTEPAD. As a PA you will be going on runs. They will send you out to get coffee, lunch, ice, eight different packs of gum, vegan salad dressing, small and large water bottles, straw hats, spray on sunscreen, and just about anything else they can think of. Write this shit down because you will forget. (Or just use your phone.)
  • CORKSCREW. Whether it is attached to your knife or not, you will want to have one of these close by. Just the other day I had someone asking me for one because the talent wanted to drink a half a bottle of wine before her photo shoot. Just another way to come to the rescue of those in need. (You can keep stuff like this in your car, as long as crew parking isn’t a million miles away.)
  • GPS. Whether on your phone or standalone, you will want some sort of GPS. You will be sent on a lot of runs. You will find that the ability to quickly navigate to the closest Trader Joe’s or Starbucks is instrumental in being a good PA. [UPDATE: My GPS ended up breaking… which turned out to be a good thing because I learned how to drive around LA. But I also got a smartphone since I wrote this post… and that’s all you need. Get Waze or something.]
  • SCISSORS. Put these in your PA bag as well. I’ve found them useful.
  • DRUGS. Have a good assortment of Advil, Tylenol, etc. You cant always count on medics having these if you get a headache or sore muscles.

That’s all for now. Check back later for more advice and insights on production assistant clothing and accessories.

Any PA’s out there have some important production assistant clothing or accessories to add?

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