Production Algebra, A Handbook for Production Assistants (eBook)
An Overview of the Production Industry
eBook Download:
EPUB
2018
|
1. Auflage
160 Seiten
Bookbaby (Verlag)
978-1-5439-6870-5 (ISBN)
160 Seiten
Bookbaby (Verlag)
978-1-5439-6870-5 (ISBN)
What does it take to get onto corporate, commercial and feature film sets? Production Algebra A Handbook for Production Assistants is essential to let you know what you can expect and what is expected of you on your first day.
Have you ever wanted to know what it's like to work on a film set? Production Algebra is packed with information that will help you get into the film and video industry and walk onto sets feeling strong!Industry professional and co-founder of the Michigan Production Alliance Mark Adler provides detailed descriptions of the many roles that a Production Assistant plays on the set of corporate projects, commercials or feature films. Chapters include types of Production Assistants, specific duties, a day in the life on a set, terms and jargon, as well as examples of forms. This handbook is your launching pad into the film and video industry. Once you have read this book, you will know what you can expect and what is expected of you as you develop your career.
Have you ever wanted to know what it's like to work on a film set? Production Algebra is packed with information that will help you get into the film and video industry and walk onto sets feeling strong!Industry professional and co-founder of the Michigan Production Alliance Mark Adler provides detailed descriptions of the many roles that a Production Assistant plays on the set of corporate projects, commercials or feature films. Chapters include types of Production Assistants, specific duties, a day in the life on a set, terms and jargon, as well as examples of forms. This handbook is your launching pad into the film and video industry. Once you have read this book, you will know what you can expect and what is expected of you as you develop your career.
What is a Production Assistant? You’re called a lot of things, which might include go-getter or gofer. A P.A. is a freelance contractor or a ‘seasonal’ employee in a non-union position and usually the lowest paid, especially for the potential work you will do and the hours you will tally. You can work either as a day player, that is, a person hired on a day-to-day basis, or for the “run of the show” on a feature or day to day on corporate or commercial projects. You’re inserted into the work equation as a means to help move the greater wheel of production along.
If you find work on a large feature film as a P.A. you will be interviewing with members of the Directors Guild of America, the Assistant Directors on the show. The DGA tries to enforce the specific duties assigned to production assistants as noted in their Basic Agreement and some examples indicated here will be discussed more fully throughout this handbook.
• Distributing and Maintaining a walkie-talkie inventory.
• Copying, emailing, faxing and general office tasks.
• Assisting craft service to distribute water on sets.
• Running off-set errands.
• Answering stage or production phones.
• Taking and distributing food orders.
• Assisting with crowd control once at least two Additional 2nd A.D.s are employed in addition to a Key 2nd Assistant Director and a Second Second Assistant Director.
TIP! Go for the chauffeur’s endorsement on your driver’s license for an edge ahead of others.
The DNA of P.A.s
The production industry is broad and varied in terms of why and where projects are produced. P.A.s fit into the equation because they help support all other departments. On large sets, you will usually work with a union crew consisting of a gaffer, grips, director of photography, script supervisor, camera assistants, and assistant directors. Other departments represented will include art department, accounting, props, special effects, teamsters (who drive the vehicles), the ‘vanities’ or ‘glam squad’, (hair, makeup, and wardrobe), Stunts, DIT, video assist, sound, locations, set decorations, production and construction. On larger sets, you’ll meet many P.A.s who are assigned responsibilities by department. On smaller sets, a single person will perform many jobs.
As you continue reading, you’ll find a breakdown of P.A. positions in these sectors of the industry. I have laid out the basics as ‘snapshots’ and more detail in ‘segments.’ Keep in mind that while some tasks can be viewed as menial, when you look at the big picture - or as a means to an end a P.A. is considered the glue that holds the important parts of a job together.
TIP! Be certain to have a conversation with your producer, coordinator, or A.D. prior to the job about your pay rate, if you’ll receive overtime, and when you can expect to be paid.
Practical needs and job description for a P.A.
• Must be ready to paint studio floors.
• Must be ready to sweep floors or sidewalks, rake grass, cut branches, and move trash barrels.
• Must maintain stages or locations, taking care to keep all areas clean of cigarette butts and other human refuse.
• Have basic math skills, ability to balance a petty cash report, and the ability to handle large sums of cash.
• Makes film and digital media runs - both pick-up and delivery (at times after hours) to post houses or to an airport.
• Handle security, also called ‘Fire Watch’ to guard production equipment and/or “hot” locations or sets (“hot” refers to a working area).
• Set (studio or location) cleanup.
• First to come, last to leave.
• Have a valid driver license. Go for a chauffeur’s endorsement allowing you to drive third party rental vans and trucks.
• Have a working vehicle.
• Be knowledgeable of many geographic areas. BE an ambassador for your state.
• Be knowledgeable of the location of twenty-four hour facilities (pharmacies, grocery stores, hospitals too!).
• Know how to use online search engines.
• Expected to run at a moment’s notice anywhere instructed, get there safely, keep production apprised of progress, and return quickly and successfully.
A P.A.’s Kit
Every P.A. needs a kit, here is a basic list:
• Smart phone (charging cable, extra battery)
• USB drive loaded with information you’ll need to do the job.
• Extra batteries (AA, AAA, watch battery type).
• A MultiTool, Gerber, Leatherman, Swiss Army or similar knife Tape roll (gaffers, electrical and paper) .
• Weather gear: a duffle or knapsack containing essential clothing
• Clipboard or pad to write on (writing implement that works too).
• Tool kit—optional, as a Leatherman tool or Swiss Army knife does it all.
• Sharpie marker (Red and Black).
• Basic first-aid kit.
Corporate P.A. Snapshot:
• Daily hours, but not nine to five.
• Could be long term—hence the name “Permalancer.”
• Research multimedia libraries, assist producers in edits, hire crew, and rent equipment.
• Some travel involved.
• This work sometimes leads to a full-time position.
Corporate Segment
Corporations of a certain size may be able to afford either a production department or budgets for freelance assistance to create newsletters or updates for their clients, shareholders, or customers. A large corporation, like a pharmaceutical firm, might employ a producer who is allowed to hire small crews for such projects. A smaller corporation, like a tool and die maker, might have a PR/Marketing department that can contract for similar services.
In these scenarios, a production assistant is often hired. A corporate P.A. position is an interesting starting point for an entry-level worker because it allows great flexibility in tasks AND learning. In a corporate setting, a P.A. might get coffee for the crew but may have also hired them and secured needed equipment.
Because of this flexibility, a corporate P.A. gains a great deal of specific knowledge which is of enough value that he or she might down the road be hired for a longer term. We, in the industry, have developed the name “Permalancer” to describe this job category. Permalancer is an apt title as this person might work for months at a time for one client, performing tasks such as research or supervising an edit session. Corporate work is the bread and butter of many production communities and it is where valuable networks of people are developed. It can also lead to a full-time position, thus, is a very good gig to have.
Commercial P.A. Snapshot
You will typically be hired for prep, shoot, and wrap days, and being the glue that holds the show together you will help out anywhere on the set. For example, you may page, or manage, a cable attached to a film or digital camera. The set decorator might ask you to move set pieces or other equipment.
• You might be sent blocks away to hold or ‘lock down’ both vehicle and human traffic or you might get coffee for the A.D. as well as refresh two-way radio batteries.
• Sometimes you will be given petty cash which you will use to make purchases for the project. You must keep track of all your receipts and be able to balance a petty cash report. You may also be asked to disburse this money, or per diems, to other crew members.
• In short, you’ll do anything needed, as quickly and efficiently as possible.
Commercial Segment
A P.A. hired to work on a commercial is more of what the business refers to as a “day player.” This position is hired on a day-to-day basis usually for prep, shoot, and wrap days depending on the length of the job.
A commercial P.A. has a bit less responsibility since most of the organizational work is performed by the production department, which consists of the Assistant Director (A.D.) and the Coordinator. The production department assigns tasks to the P.A., and it is common to have many workers in this position usually with a more seasoned leader or Key P.A.
On some commercials, you might be driving a motor home or production cube van, in addition to helping lock down a set or street. Always be safe when assigned to driving large vehicles or those with passengers (their safety is in your hands!). Don’t forget to build and maintain the small kit outlined earlier to help do your job.
Features P.A. Snapshot
As for other projects you are hired by the day or for the duration of a feature, indie, or documentary project. These projects might run from scattered weekends to 3 to 6 months. In many cases P.A.s are hired as “Day Players” to assist on “big’ days as well. (Locking up shooting areas, coordinating extras and more).
• On a feature, you could be a set P.A., an office runner, get linked to a department like Casting, Wardrobe, or camera or you might assist with background, paperwork, and administration as an office P.A., or with more experience, an assistant production office coordinator (APOC).
• In some cases ‘environmental’ P.A.’s are put on the show. For example, if there is weather, shelters or warming tents are called for. An environmental P.A. would be assigned to maintain propane heaters and...
| Erscheint lt. Verlag | 14.6.2018 |
|---|---|
| Sprache | englisch |
| Themenwelt | Kunst / Musik / Theater ► Film / TV |
| ISBN-10 | 1-5439-6870-8 / 1543968708 |
| ISBN-13 | 978-1-5439-6870-5 / 9781543968705 |
| Haben Sie eine Frage zum Produkt? |
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