Hi all, I just got accepted as a PA for a short film shoot. It's my first actual job on a film crew and I was wondering if any of you out there could share some tips so I don't blow it. Anything would be helpful.
Production Assistant
- Thread starter Lord of Light
- Start date
Do what you're asked to do, do it quickly, but not carelessly, be willing to accept any task, but if you don't know exactly what they want you to do, make sure and clarify it.
A PA's duties (especially on a low budget short) can range from "Hey go make a fresh pot of coffee", to "Quick run to Walmart and by some DV tapes" to "Jump in your car and go meet the lead actor at the gas station down the street he can't find the location", to "Grab two 35lb sandbags off the truck and take them to the grip".
A PA's duties (especially on a low budget short) can range from "Hey go make a fresh pot of coffee", to "Quick run to Walmart and by some DV tapes" to "Jump in your car and go meet the lead actor at the gas station down the street he can't find the location", to "Grab two 35lb sandbags off the truck and take them to the grip".
If you don't know what something means, ASK. Better to feel like a newb than look like a fool who pretended to understand.
1. You show up early and stone cold sober. In your backpack is a stack of your business cards, a quart bottle of water, a couple of oatmeal bars, a small toolkit, a roll of gaffers tape, a small first aid kit, a yellow pad, some pens, pencils and markers, two cotton towels, a pair of clean sox & underwear, a t-shirt, a sweatshirt, some rainwear, a small flashlight, fresh batteries for your cell phone and a sleeve of AA batteries and a sleeve of 9-volt batteries. Wear a belt; if there is anything like a budget you'll have some place to hang things. If you drive get there with a full tank if you can. You now have potentially dozens of opportunities to save the day.
2. Do whatever job you are assigned to the absolute best of your abilities. Ask questions - there's no such thing as a stupid question. If you have some down time with no responsibilities offer to help elsewhere. If your help is not needed talk with someone else with nothing to do. Give him/her a business card, get one from them. If you have a moment or two make a few notes on the back about your conversation.
3. Eat the best food "health wise" that is offered (go for the bran muffin instead of the donut - LOL). Drink lots of water. Make sure that you dress for the weather, like, when it's 10 degrees out with a minus chill factor and you have to stand on a windy street corner for two hours.
4. Stay pleasant and stay positive the entire shoot.
4. Lend a hand wherever needed when wrapping for the day.
5. After wrapping for the day drink soda at the bar because you're still at work: networking, weeding out the wannabees from the other hard workers, getting leads for more jobs, handing out more business cards. Oh, okay, after everyone else is well along you can have one or two.
6. Go home. Replenish your bag. Have a good meal (if it's not too late). Relax for a bit. Get a good nights sleep.
7. Repeat steps 1 through 6.
8. When you're not working go to screenings. Yeah, lots of them are bad, but it's amazing how much money gets spent on bad. Network as best you can, observe rule #5.
The following is a true story. I have worked on numerous projects with a producer who has a way of attracting talent. In fall 2004 she put together a team to enter the NYC Midnite Madness Film Festival. The DP had done some indie film (real film), his business is commercial advertising, industrials, etc. The lighting was provided and run by a local commercial photographer. I did production sound and audio post. The acting talent was local theatre-lo/no indie types. And there was our PA, Abram. This was 19-year-old Abrams fourth gig as an unpaid PA. Our producer met him at a screening and got a good reference.
Abram stepped in and took responsibility for all of the tape logs for the camera and the DAT. He spoke up whenever he saw a continuity snag. He held a second boom for me. He was a focus puller a few times. He helped move lights. On the second day he even suggested a shot, which we used. We all had a very good time with him during the shoot and the following weekend at the wrap party. Our second place finish was due in large part to Abram.
Because Abram worked his butt off he got a call from the DP a few weeks later; Hans needed a last minute one-day replacement for a job on his set. Six months later he was Hans' right hand man at all his shoots. A year later Abram got a gig as a Key PA on a well budgeted indie project. He later worked, although I don't know in what capacity, on the "I Am Legend" set in NYC.
By working his ass off Abram got very far very fast. You may not get quite as lucky, but people always remember hard workers with a positive attitude.
2. Do whatever job you are assigned to the absolute best of your abilities. Ask questions - there's no such thing as a stupid question. If you have some down time with no responsibilities offer to help elsewhere. If your help is not needed talk with someone else with nothing to do. Give him/her a business card, get one from them. If you have a moment or two make a few notes on the back about your conversation.
3. Eat the best food "health wise" that is offered (go for the bran muffin instead of the donut - LOL). Drink lots of water. Make sure that you dress for the weather, like, when it's 10 degrees out with a minus chill factor and you have to stand on a windy street corner for two hours.
4. Stay pleasant and stay positive the entire shoot.
4. Lend a hand wherever needed when wrapping for the day.
5. After wrapping for the day drink soda at the bar because you're still at work: networking, weeding out the wannabees from the other hard workers, getting leads for more jobs, handing out more business cards. Oh, okay, after everyone else is well along you can have one or two.
6. Go home. Replenish your bag. Have a good meal (if it's not too late). Relax for a bit. Get a good nights sleep.
7. Repeat steps 1 through 6.
8. When you're not working go to screenings. Yeah, lots of them are bad, but it's amazing how much money gets spent on bad. Network as best you can, observe rule #5.
The following is a true story. I have worked on numerous projects with a producer who has a way of attracting talent. In fall 2004 she put together a team to enter the NYC Midnite Madness Film Festival. The DP had done some indie film (real film), his business is commercial advertising, industrials, etc. The lighting was provided and run by a local commercial photographer. I did production sound and audio post. The acting talent was local theatre-lo/no indie types. And there was our PA, Abram. This was 19-year-old Abrams fourth gig as an unpaid PA. Our producer met him at a screening and got a good reference.
Abram stepped in and took responsibility for all of the tape logs for the camera and the DAT. He spoke up whenever he saw a continuity snag. He held a second boom for me. He was a focus puller a few times. He helped move lights. On the second day he even suggested a shot, which we used. We all had a very good time with him during the shoot and the following weekend at the wrap party. Our second place finish was due in large part to Abram.
Because Abram worked his butt off he got a call from the DP a few weeks later; Hans needed a last minute one-day replacement for a job on his set. Six months later he was Hans' right hand man at all his shoots. A year later Abram got a gig as a Key PA on a well budgeted indie project. He later worked, although I don't know in what capacity, on the "I Am Legend" set in NYC.
By working his ass off Abram got very far very fast. You may not get quite as lucky, but people always remember hard workers with a positive attitude.
To echo Alcove Audio..,
With unpaid/low paid PAs the general philosophy is "I'll hire fifteen of then in the hopes 3 of them are worth a damn", be one of the three that are worth a damn, and when that producer/director/DP has paid gigs they will likely call you back, or refer your name to others.
Unpaid PA on my shoot was the total go-getter. Wound up doing a lot of grip type work out of necessity. He busted his ass, listened and learned, didn't have to be told the name of a piece of equipment twice, etc... Three weeks later the DP called him to work as a grip on a paid gig.
With unpaid/low paid PAs the general philosophy is "I'll hire fifteen of then in the hopes 3 of them are worth a damn", be one of the three that are worth a damn, and when that producer/director/DP has paid gigs they will likely call you back, or refer your name to others.
Unpaid PA on my shoot was the total go-getter. Wound up doing a lot of grip type work out of necessity. He busted his ass, listened and learned, didn't have to be told the name of a piece of equipment twice, etc... Three weeks later the DP called him to work as a grip on a paid gig.
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Lord of Light-
There is a lot of good information here but there is also some bad information here that I would stay away from. I have been a PA a number of times which eventually moved me up to a grip and now a camera operator. All have been paying gigs. I am not trying to brag I just want everyone to know where I am coming from and why I am going to write what I am going to write.
First off, as far as having a backpack full of stuff for the shoot, I would never bring that much stuff. Reasons, if you have that on your back all day you are going to get extra tired from the extra weight and also have to worry about that bag making it from location to location if you ever want to put it down. Your going to have enough on your mind and having to worry about your bag is one thing that you really aren't going to need. If you take it and leave it in your car you run the risk of being far away from your car on certain points in the day and by the time you run to get something out of it, it will have already been to long and you just look like the guy running off the set. Also if I was a grip and I saw you with a full back pack I would turn to the other members and ask what the hell is in the bag. At that point you are sticking out on set for all the wrong reasons. A pad of paper and some pens or markers are good. A change of shoes and socks in your car to change into when you break are good. Other then that, it is really just extra that you don't need. I understand being prepared but you need to be prepared for your position not everyone elses.
Which brings me to my next point. Remember your place. Help out where you can and every time your told, as long as the producer or whoever in charge knows what you are doing and don't need you for something else. If a grip asks you to do a job but then the Producer needs you to do another job, tell the grip you have been summoned. He/She will understand they get paid by the producer too. DO NOT correct the director or producer on set. It is not your place to say if a shot doesn't look right or there are continuity issues. It is rude and unprofessional. If you are really good friends with either the director or producer go ahead, but if your not and you correct them it could be your last PA job with that crew. Again sticking out on set for all the wrong reasons.
I would say don't run on set. Running causes panic and gives people the false impression. If the producer says "run and get me this" it is a different story. You better haul ass. If they say "go get me this" I would briskly walk, but wouldn't break out into a sprint unless specifically told to. Use your common sense when making a judgement call. This sounds backward but trust me. Could you imagine a group of people running around on a set. It would look like anarchy.
Hopefully the film you are working on isn't solely resting on your shoulders. It is great that people know you by the end of the shoot and would like to work with you again, but if your film places in a contest mostly because of your PA, then I would never want to work on their set again.
There are things that PA's do and things that they don't do. I would never hire a PA to pull focus, hold a boom, be my continuity person, or anything that goes over what I think a PA should do. Remember your place and what you are there to do. You are there to make it easier for other crew members not to do their job.
Other then that just listen, ask, work hard, and be yourself. That's all I really have to say. I hope no one is offended by my comments here and I hope they help. Good luck and let us know how it goes.
There is a lot of good information here but there is also some bad information here that I would stay away from. I have been a PA a number of times which eventually moved me up to a grip and now a camera operator. All have been paying gigs. I am not trying to brag I just want everyone to know where I am coming from and why I am going to write what I am going to write.
First off, as far as having a backpack full of stuff for the shoot, I would never bring that much stuff. Reasons, if you have that on your back all day you are going to get extra tired from the extra weight and also have to worry about that bag making it from location to location if you ever want to put it down. Your going to have enough on your mind and having to worry about your bag is one thing that you really aren't going to need. If you take it and leave it in your car you run the risk of being far away from your car on certain points in the day and by the time you run to get something out of it, it will have already been to long and you just look like the guy running off the set. Also if I was a grip and I saw you with a full back pack I would turn to the other members and ask what the hell is in the bag. At that point you are sticking out on set for all the wrong reasons. A pad of paper and some pens or markers are good. A change of shoes and socks in your car to change into when you break are good. Other then that, it is really just extra that you don't need. I understand being prepared but you need to be prepared for your position not everyone elses.
Which brings me to my next point. Remember your place. Help out where you can and every time your told, as long as the producer or whoever in charge knows what you are doing and don't need you for something else. If a grip asks you to do a job but then the Producer needs you to do another job, tell the grip you have been summoned. He/She will understand they get paid by the producer too. DO NOT correct the director or producer on set. It is not your place to say if a shot doesn't look right or there are continuity issues. It is rude and unprofessional. If you are really good friends with either the director or producer go ahead, but if your not and you correct them it could be your last PA job with that crew. Again sticking out on set for all the wrong reasons.
I would say don't run on set. Running causes panic and gives people the false impression. If the producer says "run and get me this" it is a different story. You better haul ass. If they say "go get me this" I would briskly walk, but wouldn't break out into a sprint unless specifically told to. Use your common sense when making a judgement call. This sounds backward but trust me. Could you imagine a group of people running around on a set. It would look like anarchy.
Hopefully the film you are working on isn't solely resting on your shoulders. It is great that people know you by the end of the shoot and would like to work with you again, but if your film places in a contest mostly because of your PA, then I would never want to work on their set again.
There are things that PA's do and things that they don't do. I would never hire a PA to pull focus, hold a boom, be my continuity person, or anything that goes over what I think a PA should do. Remember your place and what you are there to do. You are there to make it easier for other crew members not to do their job.
Other then that just listen, ask, work hard, and be yourself. That's all I really have to say. I hope no one is offended by my comments here and I hope they help. Good luck and let us know how it goes.
To Brooksy's points...
In the micro-budget world there may or may not be a script supervisor, or any grips beyond the key grip (if you even have a key grip). On many microbudget sets there will be a director, a DP, a sound person, maybe an experienced AD or two, and 14 people who have never worked on a movie before, but volunteered to work like slaves for free pizza and a credit. These 14 people are the PAs. By the end of the shoot, the PAs who work like dogs, do what they are told, and demonstrate they are not mildly retarded will have titles like script supervisor, line producer, AD, etc...
That doesn't mean stick your nose where it doesn't belong, or contradict the director, but going to the 1st AD (if there is one) and whispering "hey Jim, that chair wasn't there when we shot this from the other angle" isn't a bad thing.
Others may feel differently, but in my experience a PA has basically no experience on a movie set (again in the microbudget world of $3000 shorts and $30,000 features). If they had any experience they'd be an AD or a grip, or an assistant camera, or something else not a PA.
In the micro-budget world there may or may not be a script supervisor, or any grips beyond the key grip (if you even have a key grip). On many microbudget sets there will be a director, a DP, a sound person, maybe an experienced AD or two, and 14 people who have never worked on a movie before, but volunteered to work like slaves for free pizza and a credit. These 14 people are the PAs. By the end of the shoot, the PAs who work like dogs, do what they are told, and demonstrate they are not mildly retarded will have titles like script supervisor, line producer, AD, etc...
That doesn't mean stick your nose where it doesn't belong, or contradict the director, but going to the 1st AD (if there is one) and whispering "hey Jim, that chair wasn't there when we shot this from the other angle" isn't a bad thing.
Others may feel differently, but in my experience a PA has basically no experience on a movie set (again in the microbudget world of $3000 shorts and $30,000 features). If they had any experience they'd be an AD or a grip, or an assistant camera, or something else not a PA.
Gonzo makes good points here. In my experience, even on low/no budget shorts/features, I was never hired as PA and then told to do another job. It was always "I would like you to help run the camera, set up lights, supervise the script." I never really had "Your a PA but help grip, run camera, etc." But Gonzo definitely makes a good point. I guess I just assumed since Lord said job I was thinking the PA position was assigned to him and it was a paying gig. But yes Gonzo, I agree with, when volunteering and working as a favor with no crew you can almost be called to do anything.
Sorry, Broosky, didn't make it clear. I volunteered. Just used the word job for lack of a better term.
Oh and thanks everyone for the info. A little overwhelming, but nonetheless helpful. Thanks.
Oh, and the whole business card thing, is it a good idea to distribute them for this, being a short film produced in New England as opposed to LA or New York? I don't want to come off as pretentious or anything.
Oh and thanks everyone for the info. A little overwhelming, but nonetheless helpful. Thanks.
Oh, and the whole business card thing, is it a good idea to distribute them for this, being a short film produced in New England as opposed to LA or New York? I don't want to come off as pretentious or anything.
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I figured out my "bag of tricks" over 20+ years on the road as a touring musician (I also have a small toolkit in mine) and it saved the day on numerous occasions. When I got into film I altered it slightly. I didn't wear it, but it was always nearby. FYI, most gigs were very low budget shoots, most of the crew had little experience.
Yes, have business cards, it doesn't matter where you're working. "Don't leave home without them!"
