Happy New Year gang!
Here’s to firm dates, and full rates!
Thank you IATSE for keeping us prepped!
An interesting write up on the current union deals going on.
Fingers Crossed
Today I will take all the well wishes and finges crossed Tumblr can muster, as I take a long wait on hearing back on the possible accelerated career push that life might be giving me.
Simple terms: I’m up for a series of jobs with a large large producer who actually likes me. And it may mean being put into the Union.
Fingers crossed.
-Griffin
DGA
So. So.
Griffin can go DGA, that's the Director's Guild of America, the union for Assistant Directors. He's been an AD since the last century or he was in high school or some crazy thing. Me? I came to this late and in short, if he goes DGA we're production-breaking-up. All because he has a trillion days on set or something. Yes, really, a trillion.
I can't stand that thought. First AD mostly means "I'm a gigantic narcissistic personality." They are so so much fun at the bar. And so so not much fun to work for. Griffin has been different. He's tough but he likes it when you argue back. He's not into micromanaging, figures if he hears about a mistake it's only because you weren't smart enough to fix it before he heard about it but even better he sees it...as HIS department. I've benefitted from that. I've made some classic screw ups on set and he's presented it as "The AD Department has an issue and this is my proposed solution..."
I'm not saying he's perfect, just that if I AD I would like to keep working with him.
So. I'm doing it. I have the paperwork and I missed the deadline for the LA program but that's okay as my best girl lives in NYC anyway and if I gotta do this, I need her for drinks and cheer. So I'm doing it. I'm filling out the paperwork for the trainee program and I know that only 6 people out of 300 get in, but you know what? If I believed in anything less than great luck and serendipity I wouldn't be in this industry.
That said, anyone else here ever apply?
-Valentina
Callsheets Part One: What is it?
The callsheet is, simply put, the defining document of that day's shoot. A callsheet is done on legal paper, and has a front and a back. If you have a small shoot you can sometimes do a letter sized callsheet. Callsheets are different depending if you are doing a commercial, short film, movie or television show. There are different formats for each. I do not know of ANY AD that uses a pre- formatted callsheet. Callsheets are created in Excel using your wits, good sense, formatting and lots of formulas and tricks.
Sometimes you are required to use a production company's callsheet. I also have my own that I far prefer.
The callsheet is a legal document and must be exact. Even the slightest error can be a dangerous problem and/or cost you thousands of dollars.
This is why interrupting the AD when they are working on the callsheet is not great. And it is why not reading prelims, or answering back to the AD department regarding questions for tomorrow's callsheet or ignoring the office. This document MUST be precise in spelling, formatting and content. It is a huge amount of pressure on the AD department as you are making this document as you are filming and you MUST know what you are doing when you make this document.
The front of the callsheet has:
- The production company name and information
- The names of the producers, executive producers, etc.
- Sunrise/sunset, civil sunrise/civil twilight & weather report, including an hourly update if there is a dramatic change.
- Crew call time
- Any precalls, done in a "banner" (more on this later)
- A section that contains the scenes for for the day in order that you are shooting them (and it includes a small description of the scene), who is in the shots (each actor is assigned a number when you do the initial breakdown of the script. These numbers are listed beside the scenes so you know who is supposed to be in them) and the script location.**
- The actual location we are shooting at and any parking or location notes.
- A section with each department that lists any special or unusual things happening for that department. ie if you have a fire stunt that day, or any police arriving to help with a driving scene.
- Any picture vehicles and/or significant props for that day.
- The page counts for each scene and a total number of pages that will be shot that day.
- A list of all actors in NUMERICAL order, with cast name and real name, pick up time, time that they go into Hair, Make Up and Wardrobe.
- The "Advance Schedule" for the next two days which is the the **.
- Any safety or warning notices.
- The Second Assistant Director's phone number ALL OVER THE EFFING THING. And their name.
- What channels each department are on.
The back of the callsheet has:
- A listing of every single person who will be on set, by department and their title.
- For some styles of callsheets, the contact number or email for every person.
- A call time or notation for that person
- Crew call times
- Pre-call times (more on this later)
- Actor pick up times if you have a transpo department
- The caterer's info, and lunch time, as well as where lunch is being served.
- The quote of the day or picture of the day or movie trivia.
- A listing of all picture vehicles and their call time as well as all special equipment and their call times.
- A listing of all drivers.
- Sometimes your vendor information and numbers.
- What channels each department are on.
- Sometimes a walkie/headset count.
- Notes regarding the courtesy breakfast, who, notes about the Non Deductible Breakfasts and reminders to people to come 15 minutes prior to call to eat the damn breakfast.
This document is updated DAILY for the next day while you are on set, also dealing with on set issue. You must have a "Prelim" callsheet done by lunch time and present it to all Keys (department heads) for notes.
Now on to call times, which isn't half as easy as you would think....
-Val