Tagged: reality tv

Nov 22

Walkie Talk

 

One thing that I have realized working on set is that green PA’s don’t know how to use their walkies.  What I don’t get is that walkies really aren’t that hard to use, but then again I’ve also said that it isn’t that hard to be a PA and yet some people still manage to screw that up.

Here is your basic guide on how to use your walkie on set:

Turn it on

So it is your first time being a PA and you are so super excited so you arrive on set like 30 minutes before your call.  You meet up with your production coordinator and they hand you a walkie.  At first glance it looks simple enough.  Then the coordinator hands you some crazy looking headset.  Don’t panic it’s pretty simple, just plug everything in and turn the nob on top.  When you hear it make a nose that means that its on.  Grab your mic and say “walkie check”.  If someone else is on walkie they should say “good check”.  Trust me you don’t want to be that PA who does not have their walkie on.

Keep it on the right channel

This should be pretty self explanatory but everyone messes this up at some point or another.  Depending on how large or small your production is different departments will be placed on different walkie channels.  Double and triple check which channel you and the rest of the PA’s are supposed to be on.  Only switch to a different channel if someone asks you to.  Once you are finished on that channel switch back to your PA channel.

Walkie Sayings

There are several quick phrases that people use on walkies to get their points across quickly.  Here are some main ones that you should know:

Walkie Check- what you say when you are trying to see if your walkie is working

Good Check – what people say when someone asks walkie check

10-1- You are using the restroom

Switch to (insert number)- switch your walkie channel to another one

Copy- You understood what is being asked of you.

Remember each set is different.  Find out how your production runs and follow those rules.

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Nov 12

Production Resume Update

Found this article while searching for answers online:

How to Make a Production Coordinator Resume

By Scott Nicholas Amendolare, eHow Contributor

In my time in the entertainment industry, I’ve seen thousands of résumé’s come across my desk. The irony is that oftentimes a person with the highest level of skill has a more difficult time selling themselves on paper whereas a person with less skill has no problem selling their experience beyond their true abilities. A Production Coordinator is hired for their ability to be highly efficient and organized and your resume must reflect that. This article will show you how to construct an effective Production Coordinator resume. Please look to the example résumé in order to see the step by step applications of the directions.

Difficulty: Moderately Easy

Instructions

Things You’ll Need:

  • A computer with printing capabilites
  1. 1

    Lay out your personal information in a clear, simple and professional manner. This is important as it says so much about you as an individual. Avoid overly fancy fonts and ostentatious presentation. List you name in an 18- to 22-point font. In this example, the name is prominent with a line underneath to separate the contact information. List your full name and address with all your contact numbers as well as an email address.

  2. 2

    Lay out your primary work experience. Start with information about work directly related to the job you are going after. For this example we will be using a résumé with a three-column format as it makes this clean and easy to read, and condenses the information so that you can limit the number of pages. Starting with the left column, list the job title you held. In the next column, list the title of the show you worked on. In the last column list the company that produced the show and the year it was released.

  3. 3

    Next, lay out your directly related experience. This is experience that is similar to the coordinator position. List experience that shows you have held positions of responsibility and were required to perform tasks that are similar to the ones you are looking to perform.

  4. 4

    List any special award(s) that you have earned over the course of your career.

  5. 5

    List any special skills, software knowledge, guild or union membership and language ability that would be pertinent to the entertainment industry.

  6. 6

    List your education. Make sure that you list any educational distinctions you have earned during that time. Do not forget to list years of graduation.

  7. 7

    On the bottom of the page, centered in the middle, type the line: References available upon request. Although some people like to list their references on a separate sheet, it is really more professional to have a prospective employer request them.

Tips & Warnings

  • Make things clean and simple.
  • Do not list your references.
  • Use no larger than a 12-14pt font for the headings and 10 points for the information.
  • Spacing of the resume should be as follows: Use a 9pt space for the line per credit and a 12pt space to separate each of the headings.
  • Do not pad your resume; people can tell when you are lying.

Read more: How to Make a Production Coordinator Resume | eHow.comhttp://www.ehow.com/how_4463843_make-production-coordinator-resume.html#ixzz156LdcMh2

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Oct 27

Shows You Should Watch

http://www.youtube.com/watch?v=Ff8z2PhV_SU

This looks like an amazing show!

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Sep 01

PA Resume

 

I have been getting a lot of questions lately about how your PA resume should look.  Should it just list the title of the production, your position, production company and dates you worked on it?  Or should it be more descriptive and explain everything you did?

Honestly, I don’t really know the true answer.  So I am throwing this question out to everyone out there, how should a resume for a production assistant look?

When I find out more I’ll post it here.

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Jul 21

D-List Celebrities With Their Own TV Shows

So I am currently working on a new reality show in A about a “Celebrity” and how amazing her life is.  Now I put celebrity in quotes because I honestly don’t think that many people care about this woman but nether the less she has a reality show and I do not.

On set this week we had to do interviews.  This is pretty normal for reality shoots because the interview usually helps the story move along kind of like narration in a movie.  Now on a normal reality show set without “celebrities” you can usually tell them when to be ready for interviews and what not.  This was so not the case for our interview day.

My call time was 7 am, which is pretty darn early in my book.    All of the pa’s are to meet at the production office and then drive 15 passenger vans to pick up the crew at the crew parking lot.  As a side note seeing me drive a 15-pass van is just hysterical because lets be honest I can barely see over the steering wheel.   Anyway, since LA traffic is god awful we get to crew parking around 8am which is close to the D-listers house that we are shooting at.  At this same time this said D-lister is supposed to be in her makeup chair getting her face put on.

After picking up the crew myself and other pa’s drive to house and start to unload gear into the interview room.  9am rolls around and we are supposed to begin interviews…

And the waiting game begins..

11 am rolls around and we finally get the D-Lister into the interview room.  Yes you read that correctly.. 11am.  Apparently the D-Lister’s husband refused to wake up at his call time so the entire production had to wait for him.

Seeing as it is an interview day and there is not much to do during them as a pa, I got to sneak a peak at the monitors to see how the interviews were going.  Now I have never before felt bad for an executive producer, but while watching the monitors I wanted to go hug him or give him a very strong drink.  Not only was this D-lister refusing to say certain things because she thought they sounded stupid, she constantly complaied about having to do the interview.  Her ranting and complaining lasted for three hours.

At around 7pm we finally wrapped production, when we were originally supposed to be wrapped at 2pm. And thus are the extreme joys of shooting a reality show about someone who believes that they are above everyone else.

Seriously, does anyone besides my mom watch these shows?

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Jul 10

Being A Casting Recruiter

 

I received this email in my inbox today:

Hi Rachel,

I came across your blog and wanted to reach out to you and tap into your knowledge of the casting industry. I have an interview to become a casting recruiter for an MTV show on Wednesday of this week and wanted to ask you how your experience was working as a casting recruiter. Was the work difficult? How was the pay? Better yet, any advice for how to nail the interview?

I’ve always been a fan of reality tv and view working in the casting industry as a dream job, so to speak. I’m currently working for a publishing company but would love to do casting on the side… just not sure where to start. I read in one of your blogs that being a casting associate for MTV was your foot in the door type of job.

Looking forward to hearing back from you… any advice you can give me would be greatly appreciated!

Being a casting recruiter or associate can be wonderfully fun or terribly awful depending on the show you are working on and the company you are working for.   I’ve done casting for four different reality shows and each experience was very very different.  There are a few main things that I think you need to ask before taking a casting recruiter position.

First and most important what show are you working on?

Certain shows are very easy to cast for while others are extraordinarily hard.  Take for example a show like Is She Really Going Out With Him?  For me it was fairly easy to cast for because around where I lived there were tons of douchebag guys going out with hot girls.  However when I had to cast for a show about parents with troublesome children  it was extremely difficult because no parent really wants to admit that they can’t control their own kids let alone show that on national television.

What is the rate?

I know this is an obvious question to ask when taking any job but it especially important with casting because you need to find out if they pay you based on your quota or not.  This means that some companies will either pay you a set amount each day or week like a production assistant or that they will only pay you only if you reach your quota of potential  cast members.  If you think you can reach your quota then by all means take the job.  But, trust me from personal experience it sucks to work a full 12 hour day, not reach your quota, and find out that the company won’t pay you for your efforts.

Is there a daily/weekly quota and if so what is it?

This ties into the question above, however, it is still important to ask.  Before you start casting you need to know how many people you have to turn in on your contact list each day.  Some companies will be great and your quota will be 2-4 people, while others will have unrealistic quotas of 20 people.  Take this all into mind when accepting the position.

As for nailing a casting recruiter interview the best thing to do is to come off as an outgoing person.  The position involves you going out to the public and finding potential cast members for the show, therefore you can’t be shy or scared to talk to people.

Check out some of my older posts to read stories about my casting experiences.

Good luck!

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Jun 25

Making The Big Move

 

It is time for me to finally put on my big girl shoes and step out of my comfort zone of South Florida and step into the shark tank of an industry that is Los Angeles.

So what has taken me so long you ask?  Well the honest truth is that I was scared.  I have heard of so many stories of bright eye and bushy tailed film school graduates making the big move right out of college only to end up moving back home with their parents 6 months later.  I did not want to end up moving back home to Indiana, so instead of following the rest of my film school alumni I opted to stay in Florida and try to build up my resume and to most importantly grow up.

Deciding to stay in Florida was probably the best decision I have ever made.  When I graduated college I had a very jaded view of the industry and I honestly had no idea where to begin to find work.   After graduation I pretty much sat in my room dumbfounded on what I should do next.  From  pressure by my parents to find a job I quickly scrambled to find the first steady thing that I could which was a job at a small talent agency.  Now working at a talent agency is a very special experience, and I would only recommend it to people that are seriously interested in talent management who have extremely thick skin.  Talent agencies are cut throat, and there are a lot of people under you that are more than willing to fling you in front of a bus to get your job.

After only  lasting at the agency for nine months I quit and moved on to something else.  At this point I knew I wanted to work in production, however, I didn’t really know how to accomplish that.  I decided that working at a small production company would be the best fit for me.  I searched for months to find that no one was hiring.  Finally as my bank account slowly started to fall into smaller and smaller digits I got a job as a receptionist/office assistant at a small production company.  I took the job with hopes of being promoted quickly from after they saw what an amazing person I was.  After months of being frustrated by answering phones and ordering office supplies I finally got the chance to prove myself and help out with a commercial shoot.   I was suddenly flung into a whirlwind of productions where I got the chance to coordinate and assist in editing.

Then when this whole economic crisis hit business started to slowly fade.  Our company took a little bit of a hit and things were not looking so good for my future there.   I eventually left the company and decided it was time for me to try freelancing.  Through networking with people I already knew in the industry I landed the job as a casting associate for “Is She Really Going Out With Him?” on MTV.

After getting my foot in the door I have been fortunate to be a pa on several reality shows that have shot down here in Florida.

Over the years that I have spent  here I have certainly grown up from the shy Midwestern girl from Indiana.  Now it is time for bigger and better things out on the West Coast!

Check back often to hear about my new experiences in California!

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Jun 08

New 2010 Tax Incentives in Florida!

South Florida is finally beginning to step up it’s game in production!   With the final passing of the five year $242 million transferable tax incentive program a lot more productions may be knocking on our doorstep.

For years shows like Dexter, CSI Miami, and Nip Tuck would film b-roll shots in Miami and leave the rest of the production to people in Los Angeles.  It was always so frustrating for me to watch these shows that are supposed to take place in Miami and then see California sets instead of Florida ones.  With these new tax incentives hopefully more productions like Burn Notice on USA and The Glades on A&E  will start to show their faces around South Florida.

Here are the program highlights (from the film in Florida website):

• 5 year – $242 million transferable tax credit
• $53.5 million transferable tax credits authorized for the 2010/2011 fiscal year
• 20% – 30% transferable tax credit
o 20% base percentage
o 5% Off Season Bonus
o 5% Family Friendly Bonus
• Three separate queues based on project type/budget:
1. General Production Queue
o Eligible productions: films, TV, documentaries, digital media projects, commercials  and music videos
o $50,290,000 in tax credits available
o Minimum spend: $625,000
o Maximum incentive reward: $8,000,000
2.   Commercial and Music Video Queue
o $1,605,000 in tax credits available
o Minimum spend: $100,000 per commercial or music video
o After a production company produces national or regional commercials, music  videos, or both and reaches the threshold of $500,000, it is                    eligible to apply (can bundle projects)
o Maximum incentive reward: $500,000
3.   Independent & Emerging Media Production Queue
o Eligible: films, TV, documentaries, digital media projects
o $1,605,000 in tax credits available
o Minimum spend: $100,000
o Maximum spend: $625,000
o Maximum incentive reward: $125,000
• An off-season certified production that is a feature film, independent film, or TV series or pilot is  eligible for an additional 5% tax credit on actual qualified expenditures
• A certified theatrical or direct-to-video motion picture production or video game determined by the Film Commissioner with the advice of the Florida Film and Entertainment Advisory Council, to be family-friendly, based on the review of the script and the review of the final release version, is eligible for an additional tax credit equal to 5% of its actual qualified expenditures
• Qualified high-impact television series (min $625,000 per episode with an order of at least 7 episodes per season) have priority for tax credits awards not yet certified
• Qualified projects must be certified (tax credits allocated to project) prior to principal photography or project start date (not applicable to qualified projects in the commercial and music video queue)
• Min 50% production cast and below-the-line production crew must be legal Florida residents on all qualified/certified projects (except digital media projects)
• Min 75% positions must be legal Florida residents on digital media projects
• Qualified production expenditures include pre-production, production and post-production but exclude costs for development, marketing, and distribution

For more information about the incentives and anything else to do with filming in the sunshine state  go to www.filminflorida.com

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May 08

Being a Good Produciton Assistant

So let’s be honest…being a production assistant really isn’t that difficult.  That being said it amazes me how many bad production assistants there are out there and how few and far between a good PA is.

In reality being a PA is a lot like getting hazed for a fraternity or sorority in college, minus the forced drinking and paying for your friends part.  You are thrust onto a set where you have to prove yourself or you will be kicked out and replaced quicker  than you can say “walkie check”.  Why then will these PA’s come to set acting like they are too good to be a PA?

I blame it on what I like to call the “But what I really want to do is direct” syndrome.  New PA’s are usually fresh out of college or film school with a jaded view of Hollywood.  Most of these colleges and universities only teach film students certain parts of the industry.   With classes such as “Directing The Motion Picture” or “Directing Actors 101″ instead of “How To Be A PA”,  it’s no wonder why a lot of PA’s think that Dreamworks will be calling them in a matter of months to direct their next summer blockbuster.

How then do you be a good production assistant?  Well there really is no set way, however, there are a few things you should always keep in mind:

Come dressed ready to work

It amazes me how many PA’s I have seen that will show up to set wearing flip flops or a dress, especially when they are hired to be a set PA.  If you are working on set you are most likely going to be running around a lot, lifting things, and standing for most of the day.  Get a great pair of sneakers and check the weather the night before because you definitely do not want to be stuck standing outside in 90 degree weather in jeans.

Listen to what people tell you to do

Seriously listen.  If someone on set asks you to run and get something you better know exactly what you are getting and where to get it.  Listen to what they are telling you and repeat it back to them so that you both know that you understood the errand.  DO NOT TALK BACK.  If they start yelling at you just smile and nod and get out of their way quickly.

Always keep your walkie on

Never ever ever turn off your walkie.  If the production coordinator is frantically searching for you for an important errand, or a AD needs you to drive a crew vehicle they will most likely get pretty upset when they try calling you on a walkie and you are no where to be found.  If can carry an extra brick (a walkie battery) with you so you will always have a back up.

Be nice to everyone

This one is pretty obvious.  If you are mean and talk back to people no one will want you around.  You can end up meeting some really great people on set so try and get to know everyone.  On a good set the whole crew can start to become like a family which makes working with everyone for 12 hour shifts a lot more enjoyable.

Work hard and it will all pay off in the end.  People notice when you are giving 100% to you job, and the will most likely hire you in the future because of that.  Keep up the good attitude, listen and do what you are told and you will eventually be out of the PA hazing and on to bigger and better things.

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Apr 22

The Lowest Rung On The Ladder

I was given this wonderful article written by David Robb at the Hollywood Reporter and I thought I would share it with all of you.  I have to say Mr. Robb I completely agree with you:

Commentary: Prod’n assistants need pay

Workers should get protections from unions, labor board

By David Robb

April 7, 2010, 09:00 PM ET

They are Hollywood’s migrant workers, the gofers, the errand boys, the Girls Friday. They are Hollywood’s production assistants, the lowest-paid workers on the set — if paid at all — and the only ones without a union, the only ones no union even wants to bother with. In Hollywood’s caste system, they are the untouchables.

These PAs work in nearly every phase of production and postproduction, and sometimes their employers break the law by not even paying them.

There are transportation production assistants (the Teamsters don’t want them); camera PAs (the Photographers Guild doesn’t want them); costume PAs (the Costumers Local doesn’t want them); office PAs (the Office Workers Local doesn’t want them); and art department PAs (the Art Directors union doesn’t want them, either).

Production assistants have five things in common: They’re young, they’re multitaskers, they’re trying to break into show business, they wear earpieces on the set so they can be yelled at from afar — and they all have stories of abuse. Our estimate is that, at any given time, there are hundreds of such people in Hollywood that fit the PA description.

One production assistant tells of being ordered to run into a burning building to deliver scripts — a real building that actually was on fire! Another tells of being screamed at because she didn’t bring back enough chips from the lunch run to a Mexican restaurant. “How f***ing stupid are you?” the production coordinator shrieked.

Sexual abuse is not uncommon, either. Last year, ESPN baseball analyst Steve Phillips was fired after it was revealed that he had an affair with a 22-year-old production assistant. The PA, natch, was fired, too.

Most PAs work for $10 an hour or less and often at minimum wage, which is $7.25 an hour. But some low-budget producers think they don’t have to pay their production assistants at all. Craigslist and Mandy.com, a jobs board for the entertainment industry, are full of ads seeking production assistants who will work for nothing.

As one anonymous PA blogger noted recently, “I’ve been combing Craigslist and Mandy.com for a while and I tend to notice that, like, every single ad or call for a PA is indefinitely nonpaying.”

One way producers think they can get around state and federal minimum-wage laws by not paying production assistants anything is to call them “interns.”

A recent want-ad on Mandy said: “Our production interns will handle appearance releases, assist crew with gear, and everything in between. The days are 10 hours long. We are not able to provide compensation, but your lunch will be paid for on every workday. This is a fast way to gain some amazing experience for your resume!”

Trouble is, the law governing use of unpaid interns is clear: Unpaid interns can’t perform work that is of any benefit to the company, which clearly was not the case with the employer in the want ad.

Labor law also requires that unpaid interns receive school credit for their internships, and even then they can’t do work that normally would be performed by a paid worker. Answering phones, making copies, running errands or any of a thousand other tasks normally performed by paid workers is not permitted.

But that doesn’t stop producers from trying.

Another ad for an unpaid production assistant “intern” said: “The heart of the Internship will focus on researching information and gathering visual content, but you will also help with the public relations side of filmmaking, which is not taught at most film schools. This is an unpaid internship.”

A similar ad on Craigslist read: “Looking for experienced production assistant for upcoming feature-length film shoot in Missouri. Great for your resume! We are looking for those who feel comfortable with/and have: Camera/equipment knowledge; camera set up, working closely with DP; lighting set up; transporting equipment and heavy lifting. Compensation: no pay.”

Still another recent Craigslist ad sought production assistant “interns” for a feature film shooting in and around Ione, Calif. “We will be needing production assistants for daytime prepping of the location. This is a nonpaid position. You will be responsible for assisting director and producers, which means anything from running errands to helping with the meals.”

Clearly, these all are violations of state and federal minimum-wage laws that leave the employers exposed to complaints to the State Labor Board.

In California, such complaints can be filed with the state’s Department of Industrial Relations, Division of Labor Standards Enforcement.

If no union wants to protect Hollywood’s production assistants, maybe the State Labor Board will.

The only good news recently for PAs is that the new federal healthcare reforms require large employers to provide healthcare coverage for all their employees.

So maybe the next time a PA is forced to run into a burning building, at least her medical treatment will be covered.

David Robb is a regular commentator for The Hollywood Reporter. He has covered Hollywood’s unions for more than 20 years and is the author of “Operation Hollywood: How the Pentagon Shapes and Censors the Movies.” He can be reached at davidrobb88@aol.com.

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