How to be a Film Production Assistant on Set
How do you get hired as a film Set Production Assistant? I’ll show you how to get on set and kill it so you can stay hired!
Shout out to my friend and colleague, Gene Smith, who helped with me with this video. We were set PA’s back in the day and now he’s working as an AD.
I’m going to jam pack this post with a lot of great tips. You’ll love my FREE PA Survival Guide. I’ll list some additional terms to know, tools to have, and links to some recommendations of products and resources.
Click HERE for my Set PA kit recommendations.
For a one-stop-shop with fast shipping, I shopped on Amazon. I am a participant in the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for me to earn fees by linking to Amazon.com and related sites.
How do I get hired as a Film Production Assistant? How do I find jobs as a film Production Assistant?
I highly recommend you read my post on how to Get hired in film and TV. I reveal the #1 way to get hired, how to craft your resume, what to wear and how to prepare for an interview. These steps are vital to getting your first job, so be sure to empower yourself to land that first gig.
This post is near and dear to me because I started off as a Set PA. Working as a PA really solidified my love for working in film. I got to see a lot of cool movie magic moments like seeing explosions, fake snow during summer, get unique access to some awesome locations, and meet some celebrities. All the said, there were a lot of tough conditions of working in snow, rain, intense Georgia heat, and some hot tempers to go along with it. Working on set you have to bear the elements and also grow a tough skin fast. Shooting schedules are tight and it’s incredibly important to “make your day,” or get everything that is required to film in that day. So expectations and the stakes are high. Let’s dive in so you can rise to the challenge.
PA
What is a film Production Assistant?
PA or Production Assistant is the entry-level position for working in film or TV. There are 2 types of PAs: set and office. I’ll be doing a separate post on how to be an Office PA.
As an on Set PA, you’re part of the AD team, which falls under the Production department. AD stands for Assistant Director, not to be confused with a Director’s Assistant (who is a person who only assists the Director). ADs are in the DGA (Directors Guild of America). It takes years of being a PA to join DGA along with some hefty fees, click HERE so you can do your research on what it takes to join DGA and what are the benefits. I will mention you need to keep your pay stubs, Call Sheets or PR (production report) for each project as part of your submission materials. Stay organized!
Chain of Command
There are 3 main types of ADs: 1st, 2nd, and 2nd 2nd AD or sometimes referred to as 3rd AD.
1st AD: Schedules the days of filming and keeps the day moving in a timely manner. They are the director’s right hand person.
2nd AD: Works off the 1st ADs shooting schedule, this person lines up any logistics for filming the next day & preps the call sheet. They typically are found working in the AD trailer at basecamp. They schedule actors’ transportation to/from set for filming and fittings. Communicates with extras casting to determine how many extras are needed, what their looks are, when & where they should be on the day of filming.
2nd 2nd AD: Works with the 1st AD on set. They help to ensure the set runs safely and smoothly. They oversee the PAs, background, and actors.
HIRED!
I’ll never forget how exciting those first booking calls were. After months of networking, even 1 day on set is a huge stepping-stone. When you first start out, you’ll begin as a day playing PA. Which means you’ll get hired on an as needed basis. Perhaps they have a lot of extras, more actors, a large location, or multiple moves throughout the day. More hands on deck are needed, but temporarily. That’s your opportunity to make a great impression to get hired back.
Set Etiquette
Be alert, listen, anticipate, and take action. Do not play on your phone. Take great notes. Do NOT sit down, unless you have a medical condition. There’s a stigma that you must not be working if you’re sitting. Which can honestly be tough. As a PA I’d walk miles in a day, sometimes through challenging terrain or conditions, and for many hours. Something to keep in mind for your physical well-being.
Before your first day, do some prep work of who the ADs, PAs, cast members, and department heads are. *Hint: they are listed on the call sheet. Very often a crew member will ask, “What’s your 20?” Meaning, where are you? Often the ADs will need to locate the Director, DP (director of photography), or talent (actors). So get on IMDB and/or social media to learn names and faces. A quick introduction doesn’t hurt so they are familiar with who you are when you need to speak with them, like inviting them to set. Or you may have something they need like an extra call sheet or sides. Establish rapport and show you are valuable.
Length of Day
Be early! Get there 15-30 minutes early. Your call time will be on the back of the call sheet. It will take time to find crew parking and how to get to basecamp. After you park, the first thing you’ll want to do is get to basecamp, which is where all the working trucks are. If it’s your first day, you’ll want to find where the AD trailer or office is (they may share a trailer). Let them know you’re there, learn names, and get your radio (or walkie). Next go to catering to get some breakfast. Once you’re done eating is when you should be ready for work: your call time.
PAs are the first in and last out. It was very common for me to be there before the sun comes up and after it’s gone down. A very short film day is 10 hours, they more average around 12 hours, and can even be as long as 18+ hours.
Length of Job
I go over this in greater detail in my post on how to Get Hired in Film & TV, but here’s the short version.
Starting as a day player you’ll be working on a day-to-day, as needed basis. Once you move up to staff, you’ll be working the entire length of the show during filming days. In certain PA roles you may get some prep and wrap days.
A shooting schedule for a feature film ranges from 30 to about 60 days of filming.
TV shows (or episodic gigs), can really vary. A typical, narrative half or full hour show can take a week or two to film an episode. You can expect to be hired on a TV show for 5-6 months.
Typically you’ll be working Monday through Friday, but there are a lot of factors that can cause an unusual schedule. Often there are what we call “Fraturdays,” which is where you will come in late on a Friday and work into Saturday.
Types of PAs
There are a few different types of PAs: Key Set PA, Basecamp PA, Background PA, 1st Team PA, Walkie PA, and additional PAs. Gene created a series of videos as a PA Crash Course, click HERE to view them. He goes into much greater depth on what each type of PA does. Here’s a quick, brief overview.
When I was in college, I attended a PA Bootcamp, which was a weekend-long deep dive. I highly recommend it.
A Key Set PA will help delegate tasks to the rest of the PAs. This will be a seasoned PA who is getting ready to be an AD.
A Basecamp PA will help run basecamp and assist the 2nd AD. They’ll be on the look out to greet actors as they arrive, inform anyone who needs to know, get them through the works (hair, makeup wardrobe), get them to any fittings, rehearsals, and invite them to set when they are called. As you get more experienced, ask to help prep the Call Sheet, PR (Production Report), and Exhibit G.
A Background PA runs the background actors. Get them checked in, through the works (hair, makeup, wardrobe), place and cue them on set, and check them out. You’ll need to learn how to fill out extra’s vouchers, extras breakdown, and how to read skins.
A 1st Team PA will help keep track and take care of the actors (also known as the talent or 1st team). Keep them in your vision, but don’t hover. Work with locations and security to get them discreetly in/out of busy locations. Get them mic’d up at sound, help facilitate getting them fed, and communicate their whereabouts to the crew as needed.
Once the shot has been determined, PAs need to call in 2nd Team to be the stand-ins for the actors as the scene is lit.
A Walkie PA is in charge of keeping track of all the walkies, batteries, and rented headsets. Keep a good inventory, label them, and keep batteries charged. You may be in charge of the set box, which contains Production paperwork. Be sure it’s up to date with the latest distro (or distribution), which can consist of schedules, scripts, etc.
An Additional PA will help all these different types of PAs. You may find yourself getting all the actors breakfast and lunch orders to deliver to basecamp. Label the boxes and include silverware. You may be helping to cue background or keep track of first team.
As an additional PA, let the staff take the lead, you don’t want to be stepping on toes. You’re there to assist, not take over.
What you’ll need
The basics of what you’ll need to have as a PA are: a working car, headset (surveillance mic) for your radio, something to hold pens, black & red sharpies, call sheets, sides, personal belongings like car keys, wallet, and mints are always a plus. A light tool belt with a pouch, or a fanny pack, or a GoldFold are the common choices. Here’s a link to my recommendations.
I’ll be creating a separate video on the paperwork of film, but basically a call sheet is a schedule of what is filming that day. The front lists the basic information of the show, general call time (your call time will be listed on the back by your name), the scenes filming that day, location information, the cast, department needs, and an advanced schedule of what films tomorrow. The back of the call sheet will have all the departments listed, who is on the crew, their call time, and any special notes.
Sides are the pages from the script that will film that day. You may see some areas X’d out because they may not film the entire scene, only portions.
Lockup
Nearly all PAs will be given a lockup during filming. A lockup is to keep everyone silent during takes and prevent anyone from entering the shot who shouldn’t be. As they are announced on the radio, you’ll need to loudly call out “rolling,” and “cut.” Same with rehearsal: “rehearsals up,” and “cut on rehearsal.” Occasionally someone will be caught up in a task and not be paying attention. You can signal with your hand, to show we’re rolling and they need to be quiet (see my vlog video for the demonstration at 11:50 timecode).
Once they got what they needed from a set up, you’ll hear “moving on.” Be sure to loudly echo those directives to your surrounding crew.
On stage, a PA will be assigned to be in charge of the bells. You’ll hit a button to turn on the “roll” light and hit the bell button once. These lights and bells are located at every entrance to the stage so someone doesn’t walk in/out during takes. You’ll turn off the light and hit the bell button twice once “cut” is called. For rehearsals, you typically just need to turn the light on/off. Usually for rehearsal, it’s a soft lockup, so crew can continue loading in. Every AD team is different, so pay attention to their direction.
Relay to Crew
Be sure to communicate to all departments what the next shot(s) is. Especially hair, makeup, and wardrobe with an eta for filming the next set up. The 1st AD will call “last looks,” when camera is close to being ready to film. PAs need to let hair, makeup, wardrobe know so they can do touch ups as needed.
Lunch and calling last man
You may get called to catering before the crew is released for lunch. Once crew breaks for lunch, you’ll want to count the line. How many people are going through? Communicate with the last PA on set to make sure it’s clear before calling last man. Once the last man is in catering, it’ll be a half hour before crew is back in. Everyone needs to know when the crew is back in, so spread the word.
Pro Tip: You need to know military time. Any reference to time should be in military time.
Radio
You will need to be listening and talking on the radio as a PA. It does take some getting used to, as you always have to be paying attention, even if you’re having a face-to-face conversation.
You’ll want to invest in a couple of headsets for your radio. I like having an ear mold, it stays in & is more comfortable. When plugging it in, make sure your radio is OFF. Double check you’re on Channel 1 (for Production). Turn ON your walkie, you should hear a beep, and do a walkie check, “Michelle walkie check.” Someone should respond with, “Good check.” When you press down on your button to talk, be sure to wait a breath so the first part of what you’re saying doesn’t get clipped or cut off.
Each department will have their own channel. Production will always be on Channel 1. Check the front & back of the call sheet, as it’ll list which departments are on which channels. Sometimes you’ll need to switch channels. Here are some example conversations you may have:
Here’s how you can switch channels.
“Michelle, switching to channel 3.”
Switch to channel 3.
“This is Michelle I’m in catering and need a van to go to basecamp.”
A driver should say “Copy” to show they heard the directive and are on the task.
You may need someone to switch channels with you. Often folks will go to Channel 2 if they need to have a longer conversation. That way Channel 1 can stay open.
Michelle: “Gene, can you go to 2?”
Gene: “Copy, switching to 2.”
We both switch to channel 2.
Gene: “On 2, go ahead.”
Then I give whatever directive. Once we’re done, we’ll say “Switching back to 1.”
Then when we switch back to 1, we can announce “Michelle back on 1.”
If someone calls you on the radio, it may go something like this.
Gene: “Gene to Michelle.”
Michelle: “Go for Michelle.”
Gene will give me the directive, then I’ll respond with “Copy.”
Speak on the radio very sparingly. It’s a great idea to get as many people’s phone numbers as you can in case you need to have longer side conversations. Plus you’ll want to stay in touch for future job opportunities. If it’s a larger location, you may even get out of walkie range at times.
Ideally you should stay on walkie though. If a longer side conversation is needed you can call someone to Channel 2. Keep it short as neither one of you wants to miss what’s being announced on Channel 1.
StudioBinder (which is a fantastic resource by the way), has a great, more in depth article on radio etiquette and terms. I’m focusing on the broad strokes in this post, but a PA knowing how the use the radio is vitally important.
10-1
As a member of the Production Team, you help keep the day moving. If you need to go to the bathroom (10-1), it should be during a slower moment in the day. The best time to go is when they are setting up lighting. Announce you are “10-1” on the radio. This means you are going to the restroom. Be sure to announce when you’re back as you may be needed.
Pay
How much does a film Production Assistant make?
Being a PA is an entry-level position. The current going rate for a Set PA is between $150 to $175 per day for a 12-hour day. Typically you’re guaranteed pay of 12 hours and you’ll be compensated more if you work over 12 hours.
Commercials pay around $200/day.
If it’s your first day on the job, fill out start paperwork and turn it in. You’ll need a government ID, driver’s license or birth certificate, or passport, and know your social security card. In some cases, you may need at least a copy of your social, best to be safe and bring it with you.
On your last day of work for the week (before Saturday), make sure you sign a timecard and get a copy for payment. Usually the basecamp PA will fill out timecards. It should have your name, position, days you works, and the hours. Timecards are turned in on Fridays or Saturdays. Also, Fridays are typically the payday for the previous week of work. If you’re only working for a day and need to pick up your paycheck, let them know so they can call you and let you know where to pick up your check.
Tools
I know I breezed over some of these, but here’s a more in depth list of what you need.
2-wire surveillance headset, two way radio. Earpiece mold.
Make sure your headset works with a Motorola CP200 radio, which is the standard walkie used in the industry.
Here’s what you’ll want to have on you at all times.
2-3 call sheets and 2-3 set of sides. Make sure you keep 1 of each for yourself! You may have to cue background or possibly an actor. If this is the case, get a set of cans (headphones) so you can hear actor’s delivering their lines. Have an extra walkie battery (or hot brick) or 2 on your tool belt. These should be clipped to the outside of the set box. Cold or dead batteries should go inside the box or on the charger if it’s nearby.
You’ll also need a notepad with easy tear sheets, pens, black & red sharpies.
The notepad is for taking notes and easily sharing information (like someone’s meal order for catering). Black sharpies are handy for labeling the meal boxes. Most likely you’ll be at catering and sending the meals to the basecamp PA to distribute, make it easy. Red sharpies are necessary for when calls for the next day are pushed or pulled. At the end of a filming day, the next day’s call sheet will be printed. Depending on when wrap is called they may want to start the next day earlier or later. Therefore, push or pull back the call time. You’ll need to write this information in red at the top of every call sheet before you distribute them.
I recommend you invest in a tightly sealed, temperature controlled, and reusable water bottle. You’ll be able to fill up at crafty (craft service) which is where snacks and beverages are available for the cast and crew. You may be working in hot weather with a far lockup, you’ll be glad you have a water bottle with cold water. You’ll want to make sure it’s got a great seal in case it gets knocked over. You don’t want to be responsible for water ruining equipment. Coming from the Art Department, I want to mention there should be no food or drink on set.
Weather Attire
Rain jacket, rain boots, rain pants. Have in your car a change of clothes, extra shoes/socks. I personally recommend having water proof shoes no matter what. Even if it’s not raining, you may have to walk through mud or they may do a wet down (which is spraying down the set with water so its more reflective). It’s likely your footwear will get wet. Be prepared!
Martini
No I’m not talking about the drink, though there is cause for excitement. A martini is is the last shot of the day. You’ll hear, “Martini is up.” Once they’ve got all the takes of that camera set up, then “Wrap” is called.
PAs need to standby the working trucks for crew’s Out Times to be turned in. Get direction of which department to cover by your Key Set PA or an AD.
That’s a wrap!
I hope this post has helped to demystify how to get started as a Set PA. Bottom line is you are your best advocate. Having this knowledge will help you to kill it on your first day. Make it count so you can be asked back.
A book that Gene recommended is “The Ultimate Production Assistant Guide: Getting it Done” by Joshua A. Friedman. It goes into way more detail and provides further insight about working in film.
I know this is a lot of information, be sure to download my PA Survival Guide for quick reference. You’ll learn faster by getting on set & putting this into practice.
Thank you for reading. Please let me know what you’ve learned and be sure to share this post with anyone who is looking to be a Set PA. If this post was helpful, I recommend signing up for my newsletter so we can stay in touch & keep growing together. Stay tuned for my next post where we go over how to be an Office PA.
For a one-stop-shop with fast shipping, I shopped on Amazon. I am a participant in the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for me to earn fees by linking to Amazon.com and related sites.
