Production Algebra, A Handbook for Production Assistants: An Overview of the Production Industry

By Mark Adler

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.

• Language: English
• Publisher: BookBaby
• Release date: Jun 14, 2018
• ISBN: 9781543968705

Book preview

Production Algebra

A Handbook for Production Assistants

Copyright © 2009 and 2018 by Mark Adler

All rights reserved.

Published by Next Century Publishing

Austin, TX

www.NextCenturyPublishing.com

Copyright © 2009 and 2018 by Mark Adler

All rights reserved. No part of this publication may be reproduced or transmitted in any form by any means, electronic or mechanical, including photocopy, recording, or any other information storage and retrieval system, without permission in writing from the publisher.

Summary: An overview and handbook for those looking to enter the live show, corporate media, commercial, feature film and production job market at entry level.

Library of Congress Cataloging-in-Publication Data

Adler, Mark

Production Algebra P.A. Bootcamp / Mark Adler – First Edition and Second Edition

ISBN-13: 978-1-54396-870-5 (ebook)

1. Film and Video 2. Occupations 3. Production industry

4. Production assistants

I. Adler, Mark II. Production Algebra Bootcamp

Library of Congress Control Number: 2009927976

All photos by Mark Adler unless otherwise credited.

This handbook is dedicated to the teachers and friends who have helped me along the way…to my wife Carol and my family, what joy they bring.

Contents

Introduction

Chapter 1: What is a Production Assistant?

Chapter 2: On Set Etiquette and Protocols

Chapter 3: Housekeeping and Other Responsibilities On Set or On Location

Chapter 4: A Day in the life on the set

Chapter 5: Breaking Down call sheets

Chapter 6: Pay Rates and Scheduling

Conclusion

Appendix

Glossary of Common Film and Digital Media Production Terms and Set Terminology

Author Biography

Endorsements

INTRODUCTION

This new edition of the handbook is intended to give you a real world and practical overview of how the production industry operates from the perspective of an entry level crew member or a Production Assistant.

But it is also for those who are interested in working in the industry yet don’t know what they might do or how to attempt it.

I have compiled information from my own experiences as well as those from conversations over years with other professionals across the U.S. There are bits and pieces of very good advice that I want you to think about and consider as you start this journey.

The first and most important thing to keep in mind is that production is a team effort. From script to edit, the making of a motion picture, commercial, television show, or music video requires the collaboration of what may well be thousands of people, from office staff, production crew to talent and extras.

If you want to capture a career in this industry you need to figure out what strengths you have, to sell to the team. For example, you may have worked in the construction or electrical trades. The skillsets you developed there might be ‘translatable’ to the work you want to do in motion pictures. My experience is that strong organizational skills, the ability to listen well and successfully execute instructions is quite simply key to moving ahead.

The U.S. Department of Commerce calls motion picture production a ‘locomotive’ industry, very similar to housing construction and the manufacture of automobiles. Locomotive in that, quoting now, the number of production workers in the industry belies the true impact of the industry on the economy because so many upstream, downstream, and peripheral industries depend on the primary production plant.

The gist of this is that people from all sorts of cultures, trades and educational backgrounds land in the industry. You’ll have to be able to relate to people doing a variety of different jobs in many departments from Teamsters who drive vehicles on big shows to producers, writers and directors who have lived with an idea in their heads and are ready to make it a reality on screens or displays.

While the atmosphere may appear casual, production sets are actually running based on time-tested methods that come from disciplines such as communication, quality control, safety, and efficiency. It is important that everyone who reports to set for the first time learns and adheres to these methods.

Additionally, you’ll need to understand the distinction between the two dynamics occurring on any production set: the business of production and the creative side. Production administration and Creative—the yin and yang of the industry, if you will—must blend together for a successful project to happen. The algebra we allude to is here—finding the solution to issues that always develop because of the collision of business and art.

Yet another reality to consider is that film and digital production is demanding work.

Projects are a special sort of organized chaos which again represents an algebraic equation. Though little math is involved it is necessary to be able to think conceptually, keep your head clear under stress and have the vision to solve the problem. Production crews work extremely long hours for days in a row and often in trying conditions. If shooting a music video sounds glamorous, consider working sixteen hours or more a day, night shoots, outside, and in inclement weather.

A positive attitude is essential, and its importance cannot be overstated. No matter how technically skilled a person is, a poor attitude can derail a film career very quickly. On the other hand, an upbeat, hardworking, and respectful person who is willing to learn has enormous potential to move up the ladder quickly.

Vanities and Sound working with talent

This handbook will help get you started as a freelance independent contractor. But understand that this is just a kickstart for you! You’ll find that you must follow up with a wide variety of seminars, social media, web-based information, trade magazines, networking, and membership in guilds, unions, or trade organizations to keep sharp and competitive.

At any level, even as a Production Assistant (P.A.), which is our focus here, the more you bring to the party (so to speak) in terms of those traits mentioned as well as ingenuity and determination, the more you will become the common denominator in our equation. Let’s discuss what exactly being a P.A. means.

CHAPTER 1

What is a Production Assistant?

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