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Hello all and Happy Thanksgiving! Gratitude is so important for our wellbeing and meditation allows me to harness my gratitude without stop. Come join a free virtual guided meditation class tonight. Here’s the link: 🍃Topic: Lighten the Mind
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Chief
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Let the crew eat on set before you do.
Be aware that any change, no matter how small, you suggest “on the fly” on set, on the shoot day, that wasn’t previously discussed at the pre-pro meeting, comes with a cost of either time, money or both.
Wear layers.
the line producer is your friend. on the shoot days they’ll be your liaison to the director (unless your director lets you stand next to the camera, which they might). ask them how the director would like to get notes from you on set. they might let your agency producer know what the dynamic is before the shoot day too, but if not, you should ask.
don’t drink a ton at dinner the night before a shoot. bad idea for a lot of reasons.
it’s also a good idea to be checking in with your client to make sure they’re liking what’s happening, but if you’re a mid-level writer, your CD or account people will likely do that. but you’ll look good if you do.
Splitting the dif: creatives should check in with clients here and there, explain what’s going on, show face, etc., but account should be their main contact throughout the day. Build their trust on set and it will pay dividends when you’re trying to sell crazier shit later on.
Chief
The crew eats first.
Always bring spares. Don’t forget to hydrate and eat, and get sleep!!! Don’t be late. Print out all storyboard/ shotlists. Introduce yourself to everyone, and find out who’s doing what before you start. Always check in with the client (if they’re on the set). Before the shoot detail out every shot so that you know the exact scene/script/vo/product/movement etc.
Unlike with Zoom you’ll need to keep your pants on
Wear closed toe shoes. Bring a charger pack. Crew eats first.
And comfy shoes, you’ll be on your feet ALL day.
read the call sheet lol
If it’s dialogue, write some extra lines or alternative jokes if comedy. Extra lines to swap out with what you have. If a line falls flat, you’ll be asked for alt options and can be stressful to do on the fly. If you wind up with something extra you love, ask if there’s time to grab it as an alt. Always good to go into the edit with options!
Agree with whomever said be on time and wear layers.
Ask questions, even if it’s only to your producer and CD. This is your chance to capture everything you need.
Be in every conversation that comes up. If the CD or art director is having a wardrobe conversation or color grading conversation, listen in. Go on the tech scout. This is an amazing opportunity to learn about filmmaking.
Have a blast! If your schedule allows, see if you can go a day earlier or stay a day later to see the sights (on your own dime, so you might have to stay at a different hotel.)
Second all this, especially the backup lines. Not fun writing a new “funny” option while everyone on set stares at you and waits.
A line producer, an agency director, a creative director, a producer, a client, a chief creative director, and a copywriter walk into a room…
$1M+ in salaries and too much ego to fit in a conference room to get a :15 direct response commercial on local television.
Wait I forgot about craft services…oh and it was still shot on a phone.
Hahaha so really $2M in salary time
There’s always something to be done! Shoots are usually very jam packed days so always ask what you can be doing if you’ve completed a task and don’t know what’s next. Cleaning up, organizing, running to get coffees, etc. Never sit around with nothing to do!
There’s a handbook in the poolhouse called “setiquette” that could be helpful for you.
I like the advice here and also glad you asked. That’s awesome!
Make sure your phone is on silent!