A WORKING MANUAL Read up on the job If you are already in the camera department or a director of photography there are many things that you may have learned in your time on set. Every set is different and therefore every crew member has come across their knowledge in a very specific way. There are plenty of manuals for lighting equipment, but there aren’t so many on how to lead your dept. Most DPs will have had plenty of mentors as they worked their way up the ladder on set. But if you are new to having a crew, by all means read about, ask about or even mimic what you’ve seen before. Just in case you came up on a set that was out of the ordinary or very specific to a long term project, here is our refresher.

This manual is chock full of technical movie terms

Everyone's Favorite Meal times Follow on-set meal time etiquette. When lunch time finally arrives, it can seem a bit like a high school cafeteria. There is a preordained order to where one sits at meal times and usually it is by department. This is a good rule to follow if simply to discuss the workflow of the day and what work needs to be done. Also, when lunch is called, everyone gets in line to eat, usually by position. See where you are on the call sheet. The call sheet is a good determination of where you and the crew should stand in line unless specifically directed otherwise. For more on this, see our ultimate guide to call sheets.

Catering and meal time rules on set are essential to know

When the AD calls "last man" the clock will stop for half an hour. Thirty minutes later you’re "back in" (on the clock). This has more to do with union regulated meal times and should be observed religiously. If you see talent or department heads at the craft services table, do not look at this as an invitation. They may very well be working on the run. It isn’t necessarily a time to chat or network. Professional Etiquette Keep your distance What do you call the talent? For starters, don’t call them anything. Remember they are often times there to play another character or be in another emotional headspace than you may be used to seeing them in. You cannot take it personally, you cannot proactively engage. They are working when others are not. Let them be your guide and still tread lightly. For more on communication on-set, see our guide on working with difficult talent. Speak to the 1st AD if you have questions that will involve your work. If it’s socializing, be aware of their subtle clues (e.g., are they in makeup, smoking, laughing, or in a corner talking to themselves?).

On working as an actor prepares

Don't Act a Fool Model behavior Show your crew how to behave. Say "hello," introduce yourself and get to know people a bit before you give orders. Ask about the families of people you know. Use given names...or be formal. Furthermore, give credit for trying. Mention “my crew…” to anyone and they will know you mean your department and its welfare. Your crew will look to you and the other department heads to see what is acceptable and appropriate behavior. Remember, you only get one chance to make a first impression with your crew. Scene Geography Be mindful of the camera Whether the camera is running or not, even if no one is doing anything of note, you must ALWAYS know where the camera is. No one can do anything without the camera — whether it is tiny or large, expensive or less so. Ultimately, that camera is the reason everyone is there. The primary responsibility of the camera department is to ensure the safety of the camera. You must know who has the camera, why, and for how long? This is true in a literal as well figurative, or storytelling, sense. Camera placement is the reason the DP is on set. For deeper dive, see our post on The primary responsibility of the camera department is to ensure the safety of the camera. You must know who has the camera, why, and for how long? This is true in a literal as well figurative, or storytelling, sense. Camera placement is the reason the DP is on set. For deeper dive, see our post on what does a cinematographer do

What’s the camera got to do with it?

Use Your Words Effective communication Communicate your responsibility and goals to the crew before shooting starts so everyone on set is on the same page, both creatively and technically. You can do this with shot lists or with storyboards. You might even do this with mood boards. Luckily, this is much easier today than it has ever been. Before you get on set, the senior members of your crew should know what’s the main objective for what you are shooting that day. In addition, your team will often want a heads up regarding the next day’s shoots. Anything relevant to the shoot, whether it be company moves, an extra long day, a short lunch, special gear or equipment needed, should be communicated as far in advance as possible. Stay Positive Negative criticism Discretion and diplomacy are very important on any set. The criticisms or observations that you offer can be infectious. You don’t ever want to be known as the “Negative Nellie” on set. If you have something pertinent to whatever you’re shooting, make sure you’re speaking to the right person. Maybe even remember what they say to children in situations when you don’t know whether to speak up or not: is it true, is it necessary and is it positive? Be Loyal Double booking There is nothing worse than a member of your team being half way out the door and you have not finished shooting yet. This is doubly true for any department head. It is demoralizing at best and poor work ethic at worse and a good way not to be invited back to the team. To avoid situations like this, see our how-to guide on wrapping your film production on time. Don't Get Curious Stay in your lane Don’t touch any other department's equipment. This should go without saying for everyone on the set. Everyone has their own job to do and it will never be helpful to touch equipment, crew or anything that isn’t specific to your department. In the same vein, no one should be touching anything in the camera department without express permission. Damages and thefts happen on many sets. Don’t tempt the fates. Freeze! Don't move yourself Be still during takes, no matter how much you need to 10-1 on set. Do not move at all if you are in view of where the shoot is taking place. A fidget or sudden movement can really distract the focus of the scene from an often times very calibrated performance. Even sensing someone wiggling uncontrollably during a take could steal attention away and cost the production a take. LEAVE IT ALONE Don't move anything else either Not even the smallest item can be moved after the Director or 1st Assistant Director yells, “Action!” There have been some public examples of how talent can react in this situation. None of them are good. Again, do not move equipment or anything once someone yells action. You will regret it. For more Assistant Director responsibilities, see our guide on what does an Assistant Director do.