SET ETIQUETTE & RULES

WHAT TO DO WHEN YOU ARE ON THE SET

SET ETIQUETTE & RULES

Here is a list of general set rules and definitions that apply to most assignments. Please take a moment to review them so you will be better prepared for work as an extra.

SET RULES:

1. Listen and follow directions at all times.
2. Bring a pen and small pocket note pad to write any information you may need to remember at a later time.
3. Bring proper identification with you to the assignment, (i.e. driver's license, state identification).
4. Arrive at the location at least 20 minutes prior to your call time, (Note: You must provide your own transportation).
5. Always call if you will be late or are unable to attend an assignment. (Note: Do not wait until the last minute).
6. Never bring cameras, alcohol/drugs, or family and friends on an assignment. (Some sets do allow personal photography, always ask previous to showing up with a camera.
7. Meals are generally provided by the production companies, however, bring snack type items in a small back pack or purse in case meals are not provided.
8. Check in with the appropriate person as instructed.
9. Bring all props previously assigned. Take care of props issued to you on the assignment.
10. Do not touch any equipment you have not been previously authorized to touch.
11. Always check in with your casting director on the eve of your assignment, between 1900-2200 (7:00 p.m.-10:00 p.m.) to verify location, directions and call times.
12. Even if you are only going to the restroom, ensure that someone knows where you are heading. Normally, a "PA" (Production Assistant) will be in charge of keeping up with all of the extras.

SET TERMS AND DEFINITIONS:

1. "Action" - The camera is rolling. Everyone must be in their assigned spots and doing what is instructed to them.
2. "Background" - Extras must be in their assigned spots and doing what is instructed to them.
3. "Back to One" - Return to your starting position for shot.
4. "Blocking" - Preplanned movement in a scene.
5. "Call Time" - The time you are required to be on the set.
6. "Continuity" - Doing everything exactly as it was done in the previous take.
7. "Cut" - Stop all action.
8. "Extras" - Paid / non-paid actors.
9. "Flashing" - This is said, only when the film/videotape is not running and someone is using their flash photography to take photos. It helps everyone to know that none of the various light bulbs have blown, it was only you taking a photograph.
10. "Quiet On The Set" - All voices quiet.
"Places" or "Places everyone" - This means that were ever you are assigned to be, please head immediately and quietly to that spot and await further instructions.
11. "Speed/Rolling" - Film is moving.

MOTION PICTURE PREMIERE DEFINITIONS:

1. "Double-Feature" - a double feature would be the showing of two "feature-length" films and that would typically mean films of greater than 60 minutes each. Not all people or film festivals agree on the "feature length" terminology. All of that said, if your two films have been "premiered" previously, the bundling of the two of them does not create the opportunity for you to call the SHOWING of these two films a "premiere" just because you are showing both at the same time.

2. "Premiere:" - The use of the term "premiere" is only appropriate for the absolute first time the film is publically shown. The phrase "world premiere" cannotes that it is a film being shown for its first time that will be released world-wide.

If the film already showed previously, it is not appropriate to ever refer to the following showing as a premiere. Calling it the "Double Feature" is an accurate statement. If it is the first time they are bundled together, it is a far stretch to call that bundling a "premiere" as you explore the definition of that term. I appreciate your efforts to positively sell seats and to get an audience to show up at the theater to see a local production and I support that too. Always be cautious as to the promotion of it. If the film will not be distributed to theaters outside of the city, then it is simple a "premiere" or a "local premiere." That phrase of "local premiere," could be used if you were to show your film in Louisville, but only for the first time as well.

3. "World Premiere" - The phrase "world premiere" cannotes that it is a film being shown for its first time that will be released world-wide. If you are ONLY releasing your film in your city and do not have a distribution contract in place, please do not stretch the truth by calling your movie a "World Premiere" just because your film showed in a 100 seat theater or on fold-out chairs. That type of hype is not as positive for your film as you might think it is. For people in the entertainment industry, it is viewed as over-self importance. Please just call your film, for the VERY FIRST SHOWING: the "premiere" or "local premiere."

CASTING TERMS AND DEFINITIONS:

1. "AFTRA/SAG" - American Federation of Television and Radio Artists and the Screen Actors Guild. These are two of the most known entertainment unions.
2. "Availability" - A client is interested in seeing if you have an open schedule for specific dates and times. At this stage, you still have not been cast for the specific role.
3. "Booking" - This is a job. Once you have been called, you have been cast for the particular role.
4. "Call Back" - This is a second (or additional) audition that is another opportunity to positively impress the client with your abilities. Additional call backs can mean that the number of actors is being dwindled down to the final choices and you might be one of them. At this stage, you still do not have the job.
5. "Call Time" -
6. "Camera Ready" - When asked to arrive in "camera ready" status, this means that you are expected to arrive on the set with your hair and make-up prepared. It is also likely that there is no stylist on the set.
7. "Commercial" -
8. "Commission" -
9. "First Right of Refusal" - This is similar to a HOLD. If another job opportunity occurs, the first client would have the ability to get you first. If they decide not to use you, then that other job is a fallback. The client makes that decision.
10. "Fitting" - This call for cast or crew members is to obtain measurements and it could include you trying on clothing. If you already know your measurements, that helps, but there is likely to be someone that will retake the measurements as not all cloths are fit according to typical measurements and require everyone to try on cloths.
11. "Go See -
12. "Hold" - Holds occur when a client requests that you make yourself prepared to be available for a date and time, but this still does not mean that you have been cast for the specific role.
13. "Industrial" -
14. "Print" -
15. "Release" - This occurs when you have been placed on HOLD and the client no longer needs you for the job. If you have been released, then you are welcome to go forward with other opportunities.
16. "Slate" -
17. "Voice Over (VO)" -

COMMUNICATION TIPS:

1. When a producer, director, writer, casting director, or other member of a crew contacts; you should reply to either their email, letter, or phone call immediately. There are many people who claim, "Just give me a call and I will be happy to help you," however, many of them fail to read the entire note; they fail to react to the note; or they fail to comprehend that an immediate answer is sought. If you never get a second call, that can be due to the lack of your response on the first call, email, or letter. There are too many people wanting to get into the business to baby sit someone that fails to promptly respond to those requests for help. Reputations for either reliability or unreliability can be determined or based off of how many times people had to write you and ask for help...so you might lose a job before you ever returned a message! REMEMBER THE OLD SAYING: First impressions are lasting impressions! So do you want people to think you are disorganized, do not respect the other people's time and feel they should continue contacting you; or that they should baby sit you? Life is too short for that. If you are sincere about wanting to work with professions; be sure that all of your communications are professional and prompt!

2. When you select an email account name for your "profession" be sure to avoid using email addresses that make you sound more like a porno star than a professional actor. Your email address conveys something about yourself, so if you want people do remember you for positive or negative reasons; then consider getting a new email address that is specifically for your professional networking. Be sure to use a dignified and respectable email address and have it printed onto your business cards.

3. ALWAYS HAVE BUSINESS CARDS WITH YOU! If you claim to be an actor, producer, director, writer, sound engineer, or any other member of a cast or crew, be sure to have business cards with CURRENT INFORMATION on them. Even if you only have paper stock instead of card stock, just having something that is typed will help people to remember you each time they open their wallet and find your card. Avoid hand written information as people end up with those incomplete notes and cannot recall the "who, what, when, where, why, and how" about you and your information. For people to believe you are serious about the business, it is essential for you to be prepared at all times.

4. ALWAYS HAVE RESUMES AND HEADSHOTS WITH YOU! This is more important for actors than most crew members, however, it never hurts to be prepared in case you need to convey your professional attributes in a written format to a potential production team. Often, we meet someone in our daily lives and wish we had either our resume or headshot to provide them so we will be able to work in their production, but if you do not have them yet, the opportunity might pass.

5. TIMING IS EVERYTING! Whether you are returning emails, phone calls, or letters, if you are serious about your professional abilities, do whatever it takes to immediately communicate back with the person that contacted you. They will see that you are sincere, respectful, and serious about helping on their project. Also making sure that you provide CURRENT CONTACT information on your business cards, online resumes, webpages, etc., is essential for someone to reach you. If they are forced to research just find you, unless you are a major star, they are likely to move on to other people.

6. When ever someone gives you their business card, take the time to write down the date you got their card and why it is important to keep it. Too often, people look through their endless collection of business cards and cannot recall when or where the cards came from or how they can be helpful to keep for future use. If you met someone and wrote down reasons why you met and what impressed you about the interaction, the card increases greatly in its overall value.

7. Have a purpose for communicating! Prior to calling someone, write down the prioritized list of why you called someone. Perhaps your time to communicate will be brief and if you failed to get to the point, your opportunity to make a good, first impression, could have passed up and you only told someone why you are their greatest fan. Your written list of questions will impress the person that you had respected their time to be prepared for a succinct call.

8. When ever someone communicates with you, be sure to absorb the entire communication and ensure that you respond to their communication fully. Too often in our electronic emails, people just respond to the first paragraph or two but they fail to read the entire not. It is not the sender's responsibility to continuously ask you the same question over several notes and then have you fail to pay attention to their questions. If you fail to respond to the inquiries, it comes across that you disrespected the sender by failing to read their entire note.

9. If someone has to ask you how often you check your email, they are striving to find a polite way to ask why you have failed to reply to their repeated notes. The 1980s were the "fast food" days; the 1990s were the "information age" and in the 2000s, there are no excuses for people taking more than 24 hours to respond to phone calls or emails unless they are somewhere exotic on a movie. Do whatever it takes to respond to people in less than 24 hours!!!

10. CELL PHONES: if you have one:

a. turn it off at all productions as you can cost a great deal of distractions on the set;
b. find somewhere private to take your calls when you are off the set. No one else is as interested to hear about your call than you are, so that will keep people out of your business.
c. rechargers: if you are a producer, director, or whatever position, the entire crew is counting on being able to reach you and you must have an ability to recharge from your lighter plugs; from 120 VDC, etc.
d. extra batteries: even if you have a recharger, it can be helpful to keep your phone on VIBRATE in your pocket, but then have the extra battery charging up in the wall socket. These methods will allow your team to reach you.
e. clear your messages: you might as well not have a cell phone or a message center if you fail to clear out your older messages.
f. be aware that some productions will not allow your phone onto the set for many liability reasons such as you taking photos of actors; for you taking photos of a copyrighted movie set; of you taking any photos deemed to be inappropriate, etc. Do not be shocked if you are restricted from having your cellphone/camera on the set! It also benefits you if others do not have theirs with them too.

ON THE SET SAFETY TIPS:

Safety is of the utmost importance during production. All of the following rules must be followed at all times!

1. Report any unsafe conditions to the nearest production member.
2. Do not touch any piece of equipment not previously authorized by production personnel.
3. Do not report to a set ill. Call the casting director and advise them of your situation/condition.
4. Report all accidents that occur on the set and see emergency medical attention.
5. Any talent with an existing medical condition must submit a medical release from a physician. (i.e. heart conditions, expectant mothers, certain orthopedic conditions).
6. Use good common sense and judgment throughout the assignment.

MEDICAL AID:

Each set SHOULD include a set medic or a way to access emergency medical attention. Be sure to identify this area as soon as you check in. This will eliminate confusion and delayed treatment should you require it.

FIRE:

In case of a fire on the set, remain calm and locate the closest exit. Move quickly but try to avoid pushing or running. Remember you have a much better chance of avoiding injury if you are able to remain calm and react rationally. If the fire takes place out of doors vacate to a safe place away from the flames and listen for instructions. Always being aware of the location of exits and fire safety equipment can help in case of an emergency.

EARTHQUAKE:

In the event of an earthquake seek cover immediately. Avoid running to exit the facility. The most important thing is to take cover under the most sturdy structure available. If possible place your head between your knees and cover the back of your head and neck with your arms. If you are outside stay clear of power lines, trees, or other objects that may fall. Do not attempt to leave until you have been given instructions by local safety officials. Reminder: The most department of safety offices recommend keeping an earthquake survival kit in the trunk of your car. While they might not occur often in Kentucky or Indiana, all cast and crew should always be prepared for the unexcpected.

What Amateur or Professional REALLY Means!

Amateur has come to mean: unskilled, bungler, a hobbyist a layman, inexperienced and inept. It was not always so.

Traditional meaning of Amateur was 'a lover of....' it was person of taste, refined, sophisticated, connoisseur, cultured, epicurean. In these long bygone days: an Amateur would not take money for her/his passion. It might even be an insult! It did not refer to quality! By contrast, a Professional would take money for what they do.

This in order to distinguish themselves from amateurs (such as in guilds) it came to mean instructed, businesslike, at a minimum standard, expert, skilled, competent.

Those who have worked with 'professionals' in theatre know well that not all are - Also, many amateurs are truly professional in the modern sense since talent, high stardards and dedication might be found anywhere!

Email address: bc@brennancallan.com

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