With a commercial – the main goal is to capture the Product – in its best selling moments – while keeping the ad agency comfortable with the operation.

 As the Assistant Director – on the set – you are the 1^st mate to the Director who is the captain, making sure the director gets all the shots he/she needs.  It’s a big responsibility…so take it serious.

 PRE-PRODUCTION

 Meeting the Director and the Producer

 KNOW YOUR DIRECTOR

• The Director – will have a certain flair, of how he or she sees capturing shots. 
• Get the treatment and storyboards and study them thoroughly.  Know what’s expected to be captured. 
• The ad agency will provide the storyboards they want to follow. Be aware each storyboard may have different shots and angles in them, so there may be more footage to capture within each drawing.   
• Discuss how you see the flow of the set running.  A seasoned director will understand and appreciate your approach.
• The director is relying on you keeping the set moving even when he/she is being constantly questioned by the ad agency.
• On commercials the product is the main attention.  Conform everything around the ad agency’s needs and blend the director’s needs – into that.

KNOW YOUR PRODUCER 

• Get your pay clarified immediately.  Don’t be greedy with your pay desire.  You should get paid for pre-production meetings, location scouting, running the actual set of the shoot day, and any post-production needs that arises.
• A fair price is $300 a day for pre-production stuff and $500 for the shoot day.
• In the producer’s eyes you are the running man/woman who is going to insure the director gets his shots, crew is moving and setting up, talent is been used as need and lunch and dinners are called on time to prevent any meal penalties.
• Are there children involved?  With children there are sensitive issues that need to be addressed.  When working with children – there are filming schedules that need to be regulated and followed.  Always make sure the parent or guardian is always present.
• Find out if your 2^nd Assistant Director is handling talent or is the casting director handling that area of production.

TOOLS OF THE TRADE 

• A fully completed production booklet with all names and numbers of people working on the project. Get it from the producer.
• The complete ad agency’s visual request.
• Your shooting Schedule.
• An AD kit – full of all production forms.
• A working phone for the entirety of the production.

LOCTION SCOUT

• Never be late.
• Your job is on right here.  Get all respected parties into the cars or what ever transportation there is. Have a check list here.
• Make a mental note of who is late – and keep that information in your head as a possible future problem.
• The key people for a location scout are – the Director, the Producer, the Assistant Director, the Director of Photography, the Gaffer, the Key Grip, and the Art Director.

HERE’S WHY: 

The Producer tells the Director “Here’s the location you got”.                           

The Director tells the DP “Here’s what I want to shoot.”

The DP tells the Gaffer “This is how I want to light this.”

The Gaffer tells the Key Grip “This is how I need to rig the lighting.”

The Art Director tells the Director “This is how I see the art working.”

Everyone tells the Producer “This is what I need – to do this.”

And the Assistant Director is to make sure all of this happens – on set.

• At the location look for:  holding area for production, holding area for ad agency, a area for product set up, a area set up for hair/make-up and wardrobe, camera area, craft service area, an area for lunch, the area for the actual filming, and a area for crew to store equipment and still operate without interfering with the filming.
• Draw a diagram of the entire area and place these groups in them.
• Check out power supply.  This is important for the Gaffer because a generator may be required if there is no power supply to tie into.
• And lastly – make sure everything looks safe and will be safe.  The Assistant Director is totally responsible for all the crew and talents safety on the set.

ASSISTANT DIRECTING PROCEDURE

• Once you have established all information with the director and the producer – start your Assistant Director set up.
• Take the storyboards and the treatment and cut them up in the order they can be shot.  Elements that help you design your Shooting Order are: the environment the Director needs to be in, the product’s readiness, estimation of crews set up speed, the props needed, and how close to meal time you will be.
• If there are going to be many vehicles and Winnebago’s – do diagram of the streets and place all production vehicles in their respected areas, and in order of importance – to keep the set running smoothly. 
• Make a booklet based on all of this information with the storyboards and treatment – cut up to your operating method.  Also paste this information on a large piece of foam core to be used on set.

DAY BEFORE THE SHOOT

• Call crew and talent for there call times needed on set.  When I first started in this business I was so nervous calling people but as you go along you will realize how much respect and trust you gain for giving people their official call times. 
• Check off their names – which ones you talked to and which ones you left a message with.
• Even remind the Director and the Producer of their call times.
• Check with Production if the ad agency and client have call times for shoot.
• Make sure product and all elements the ad agency required – are scheduled for the appropriate call times on set.
• Decide which Production Assistants are going to be your point people.
• Make sure your fore core board is being delivered to the set.

PRODUCTION

• Never be late.  Have the crew and talent move to your pace and have that pace be fast.  For commercial’s – you only have a certain amount of time to capture the desired shots so be the driving force to getting those shots.
• As people arrive – walk up to them and introduce yourself and state your position. Shake their hands and find out their position.  Do this with every single person.  Crew members want to know who’s in charge and that’s you. Send them to their department heads and put a check mark next to their names on your crew sheet.
• Get your PA point people in place.  Usually 1, doing runs for the Assistant Director and keeping check ups on the department heads and that the ad agency and client are being catered to.
• If the company has to travel to get to location, make sure everyone who is suppose to ride in the transportation vehicle, are all accounted for and present.  Who ever is not there – give them a call and warn them of the time.
• On Set – get craft service set up immediately.  Make sure there is coffee for crew first thing in the morning.
• Have grips and electrics load in while setting up for the first filming area – and give them a shooting schedule.
• Make sure Script Supervisor has all material to take good notes and give him/her a shooting schedule.
• Get hair, make up, and wardrobe set up in their holding area, for any live talent needed. Give them a shooting schedule.
• Get all product material ready and in its place of order – of shooting.
• Make sure Production Team is set up and ready to handle all meal calls and any emergencies that may arise and give them a shooting schedule.
• When the ad agency and client arrive – make them feel special.  Have a special holding area just for them – not to far from shooting area with monitor. Introduce the PA point person assigned to them.
• Get VTR person set up and warn them of possible print outs of stills of the scenes – for the client and director to view.
• Make sure the camera department is setting up and knowing the first shots that need to be captured – and give them a shooting schedule.
• Make sure sound department is setting up and has all the music and cues need for todays shoot – and give them a shooting schedule.
• Make sure props and set people are setting up and knowing the first shots that are coming up – and give them a shooting schedule.
• Go over the storyboards and shooting schedule with the Director and the Director of Photography and make them feel comfortable and on the same page.
• Once all departments did their part to get the first shooting area ready notify the Director.  Make sure all is well and safe.

THIS SHOULD TAKE NO LONGER THAN 2 HOURS TO GET HERE.

SNAGS

-         Art Director may need more time to rig product.

-         The Director of Photography may need more time to light – to make the    product look pretty

-         The ad agency maybe making too many tweaks.

-         Hair and make up may not be finished because of special look  required.  I usually give them 1 hour from the time talent sits in their chair.

-         Camera may not be totally ready.  They have a lot of parts to put together on the camera.  I usually give them 1 ½ hours from the time of arrival on set.

• With product and talent in place you’re ready to go. Sometimes the assistant cameraman does the slate action – but here…
• You – the Assistant Director – hold up the time code slate and say “Roll camera.” 
• The Assistant cameraman shouts “Speed” once the camera is rolling”You say next – “Roll sound.”  The numbers on the slate start to run and you read out the product name, the name of the commercial, and the take number.  Make sure the camera picks up the images on the slate.
• Slap the slate close and get out of the way.
• The Director calls action when he/she is ready.
• Mark down the time the first shot is taken.
• REMEMBER – if you want crew people to move – you do not have to shout so much.  Use it when you need it – or they will ignore you.  Be professional.
• Constantly check with camera department about film or video card supply. You don’t want to run out.
• Make sure lunch is going to be served on time. It’s usually 6 hours from the call time on set.
• If you have the equipment and crew ability, have some crew members break away and start setting up the next location.
• Stay on schedule and stay 4 steps ahead of everyone – in getting the next shot done.
• Call lunch on time and the last crew member on line – to get his meal is when the break really starts.  If you see lunch starting to run overtime – notify the Director, the Producer and the Department Heads.  Arrange next move but make crew and company comfortable.
• Repeat shooting process until dinner break – if any.
• Make sure to log down any and all times of the events on the shoot.
• If you see shoot running overtime – notify the Director, the Producer and the Department Heads.  Arrange next move but make crew and company comfortable.
• Make sure everyone hears “That’s a wrap!” The Director will call it -but make sure it is known to everyone.
• The Assistant Director does not have to stay on the set until everything is packed up.  But – the AD must help clean up everything and restore the location to normal.

POST PRODUCTION

• Make sure to fill out The Production Report for future references and information.
• Hand in all production forms you have and you’re done and can move onto the next commercial shoot.

A STORY

 While working as an Assistant Director on a commercial – the shooting became slightly delayed because on set the client decided they wanted the talent to do the script in English and in Hindi.  Every take became doubled.  Make sure ahead of time you know if there is going to be a language change – and work that into your shooting schedule.

Happy ADing

With a music video – the main goal is to capture the Artist – in his/her best moments – of performing the song.

As the Assistant Director – on the set – you are the 1^st mate to the Director who is the captain, making sure the director gets all the shots he/she needs.  It’s a big responsibility…so take it serious.

PRE-PRODUCTION

Meeting the Director and the Producer

 KNOW YOUR DIRECTOR

• The Director – will have a certain flair, of how he or she sees capturing shots.
• Get the treatment and read it thoroughly.  Know what’s expected to be captured.
• Many directors will have storyboards they want to follow. Be aware each storyboard may have different shots and angles in them, so there may be more footage to capture within each drawing.
• Discuss how you see the flow of the set running.  A seasoned director will understand and appreciate your approach.
• The director is relying on you keeping the set moving even when he/she is going bonkers.
• On music videos the artist is the main attention.  Conform everything around their needs and blend the director’s needs – into that.

KNOW YOUR PRODUCER

• Get your pay clarified immediately.  Don’t be greedy with your pay desire.  You should get paid for pre-production meetings, location scouting, running the actual set of the shoot day, and any post-production needs that arises.
• A fair price is $200 a day for pre-production stuff and $400 for the shoot day.
• In the producer’s eyes you are the running man/woman who is going to insure the director gets his shots, crew is moving and setting up, talent is been used as need and lunch and dinners are called on time to prevent any meal penalties.
• Are there children involved?  With children there are sensitive issues that need to be addressed.  When working with children – there are filming schedules that need to be regulated and followed.  Always make sure the parent or guardian is always present.
• Find out if your 2^nd Assistant Director is handling talent or is the casting director handling that area of production.

TOOLS OF THE TRADE

• A fully completed production booklet with all names and numbers of people working on the project. Get it from the producer.
• Your storyboard booklet.
• Your shooting Schedule.
• An AD kit – full of all production forms.
• A working phone for the entirety of the production.

LOCTION SCOUT 

• Never be late.
• Your job is on right here.  Get all respected parties into the cars or what ever transportation there is. Have a check list here.
• Make a mental note of who is late – and keep that information in your head as a possible future problem.
• The key people for a location scout are – the Director, the Producer, the Assistant Director, the Director of Photography, the Gaffer, the Key Grip, and the Art Director.

HERE’S WHY: 

The Producer tells the Director “Here’s the location you got”.                           

The Director tells the DP “Here’s what I want to shoot.”

The DP tells the Gaffer “This is how I want to light this.”

The Gaffer tells the Key Grip “This is how I need to rig the lighting.”

The Art Director tells the Director “This is how I see the art working.”

Everyone tells the Producer “This is what I need – to do this.”

And the Assistant Director is to make sure all of this happens – on set.

• At the location look for:  holding area for production, holding area for talent, a area set up for hair/make-up and wardrobe, camera area, craft service area, an area for lunch, what is the actual filming area, and how can crew store equipment and still operate with out interfering with the filming.
• Draw a diagram of the entire area and place these groups in them.
• Check out power supply.  This is important for the Gaffer because a generator may be required if there is no power supply to tie into.
• And lastly – make sure everything looks safe and will be safe.  The Assistant Director is totally responsible for all the crew and talents safety on the set.

ASSISTANT DIRECTING PROCEDURE 

• Once you have established all information with the director and the producer – start your Assistant Director set up.
• Take the storyboards and the treatment and cut them up in the order they can be shot.  Elements that help you design your Shooting Order are: the environment the Director needs to be in, talent for those shots, estimation of crews set up speed, the props needed, and how close to meal time you will be.
• If there are going to be many vehicles and Winnebago’s – do diagram of the streets and place all production vehicles in their respected areas, and in order of importance – to keep the set running smoothly. 
• Make a booklet based on all of this information with the storyboards and treatment – cut up to your operating method.  Also paste this information on a large piece of foam core to be used on set.

DAY BEFORE THE SHOOT

• Call crew and talent for there call times needed on set.  When I first started in this business I was so nervous calling people but as you go along you will realize how much respect and trust you gain for giving people their official call times. 
• Check off their names – which ones you talked to and which ones you left a message with.
• Even remind the Director and the Producer of their call times.
• Decide which Production Assistants are going to be your point people.
• Make sure your fore core board is being delivered to the set.

PRODUCTION

• Never be late.  Have the crew and talent move to your pace and have that pace be fast.  For music videos – you only have a certain amount of time to capture the desired shots so be the driving force to getting those shots.
• As people arrive – walk up to them and introduce yourself and state your position. Shake their hands and find out their position.  Do this with every single person.  Crew members want to know who’s in charge and that’s you. Send them to their department heads and put a check mark next to their names on your crew sheet.
• Get your PA point people in place.  Usually 2.  1) Stays on Major Artist Talent 1) Does runs for the Assistant Director and keeps check ups on the department heads.
• If the company has to travel to get to location, make sure everyone who is suppose to ride in the transportation vehicle, are all accounted for and present.  Who ever is not there – give them a call and warn them of the time.
• On Set – get craft service set up immediately.  Make sure there is coffee for crew first thing in the morning.
• Have grips and electrics load in while setting up for the first filming area – and give them a shooting schedule. 
• Get hair, make up, and wardrobe set up in their holding area – and give them a shooting schedule.
• Make sure Production Team is set up and ready to handle all meal calls and any emergencies that may arise and give them a shooting schedule.
• Make sure the camera department is setting up and knowing the first shots that need to be captured – and give them a shooting schedule.
• Make sure sound department is setting up and has all the music and cues need for todays shoot – and give them a shooting schedule.
• Make sure props and set people are setting up and knowing the first shots that are coming up – and give them a shooting schedule.
• Go over the storyboards and shooting schedule with the Director and the Director of Photography and make them feel comfortable and on the same page.
• When the main artist arrives – make them feel special.  Have a special holding area just for them and their posse.  Have a mini craft service in their area. Introduce the PA point person assigned to them.
• Once all departments did their part to get the first shooting area ready notify the Director.  Make sure all is well.

THIS SHOULD TAKE NO LONGER THAN 2 HOURS TO GET HERE.

SNAGS

-         Hair and make up may not be finished.  I usually give them 1 hour from the time talent sits in their chair.

-         Camera may not be totally ready.  They have a lot of parts to put together on the camera.  I usually give them 1 ½ hours from the time of arrival on set.

• Get talent in place
• You – the Assistant Director – hold up the time code slate and say “Roll camera.”
• The Assistant camera man shouts “Speed” once the camera is rolling”You say next – “Roll sound.”  The numbers on the slate start to run and you read out the artist name, title of the track, and the take number.  Make sure the camera picks up the images on the slate.
• Slap the slate close and get out of the way.
• The Director calls action when he/she is ready.
• Mark down the time the first shot is taken.
• REMEMBER – if you want crew people to move – you do not have to shout so much.  Use it when you need it – or they will ignore you.  Be professional.
• Constantly check with camera department about film or video card supply. You don’t want to run out.
• Make sure lunch is going to be served on time. It’s usually 6 hours from the call time on set.
• If you have the equipment and crew ability, have some crew members break away and start setting up the next location.
• Stay on schedule and stay 4 steps ahead of everyone – in getting the next shot done.
• Call lunch on time and the last crew member on line – to get his meal is when the break really starts.  If you see lunch starting to run overtime – notify the Director, the Producer and the Department Heads.  Arrange next move but make crew and company comfortable.
• Repeat shooting process until dinner break – if any.
• Make sure to log down any and all times of the events on the shoot.
• If you see shoot running overtime – notify the Director, the Producer and the Department Heads.  Arrange next move but make crew and company comfortable.
• Make sure everyone hears “That’s a wrap!” The Director will call it -but make sure it is known to everyone.
• The Assistant Director does not have to stay on the set until everything is packed up.  But – the AD must help clean up everything and restore the location to normal.

POST PRODUCTION

• Make sure to fill out The Production Report for future references and information.
• Hand in all production forms you have and you’re done and can move onto the next music video shoot.

A STORY

 While working as an Assistant Director on a music video – the shoot took place in an abandon church.  The Director wanted a group of children to dance on a balcony – on the third floor.  As the action was going on – I noticed the balcony swaying from the children’s weight.  The Director turned to me and asked “do you know who gets in trouble if this balcony falls?” “No.” “You are. You are responsible for everyone safety on the set.” I shouted “Cut.  This shot is not happening.”  It was too unsafe.  The Director got pissed that he didn’t get his shot – but he understood my actions.

Happy ADing

Example

Casting a music video; the talent only needs to be available for the weekend of the shoot.

Casting a commercial; the talent needs to be available at all times for the agency to have total control of – when they need to see these people.

Casting a film; the talent needs to totally take on the project – because it can go on for months. It’s about the director, trying to tell a story, and finding an actor, who they both feel – is right for the part.

At the castings-most likely the Director is there at all times – to see if there is someone who is bringing the story to life.

PRE-PRODUCTION

Meeting the Director and the Producer

KNOW YOUR DIRECTOR

• The Director – will have a certain flair, of how he or she sees talent – and with a film they have full control – unless it’s with a major movie company who wants to ensure sales- and forces a known actor. As the Casting Director – your job is to coordinate real acting talent that will blend together all these important elements – and people.

KNOW YOUR PRODUCER 

• Get budgets clarified immediately.  The overall casting budget and talent budget.
• Your casting budget includes: casting personnel, casting space, video camera, casting paperwork Polaroid film, expenses, and lighting.
• Method of payment for talent in a film – works on a point system – as well as a bio-monthly or monthly payment. The points are worked out based on how the movie will do in the theatres.
• Are there children involved?  With children there are sensitive issues that need to be addressed.  When working with children – there are filming schedules that need to be regulated and followed.  Always make sure the parent or guardian is always present.
• Find out how involved you are needed for the production.  The 2^nd AD usually handles the talent after the payment negotiations are done but you need to know – if you are in charge of talent during the Production phase. There are times when the Casting Director works the whole Production through.

BEGIN YOUR CALLS FOR TALENT TO ARRIVE AT YOUR CASTING

Handling Agents and Managers

• Always do fair negotiations with agents – and SAG – their job is important.  Their job is to make sure their talent gets the best product work – and gets paid well – and that they get paid themselves. They have their own rules – follow them.
• They need to know what is required from the director – from their talent.  Things may involve: manicures or pedicures, a special hair job or coloring, nudity, or even learning Kung-Fu. 

TOOLS OF THE TRADE 

• video camera with the capability to transfer material – for viewing
• 2 bright lights
• A camera for stills
• Casting forms:  Sign In sheets | individual Information sheets
• Sides (the part the talent is trying out for)
• Tripod
• Stapler
• A quiet room or area
• Black duct tape to mark the floor
• Stack of blank paper
• A box of pens
• A box of Sharpies
• A box of paperclips.

THE PROCEDURE

-         Get your casting location in order.  Usually 2 rooms – one as a talent holding area for filling out forms – and one for the actual audition.  The perfect location I found for this set up is:

CHAMPION STUDIOS

257 W 39^th St, 14^th Fl

212-307-7707

-         They have holding areas and rooms for multiple castings going on at once.  Call ahead of time – they get filled up fast.  Mention – filmproductionexpert.com. If you don’t use this studio you run into the chances of being charged for both rooms – and other studios are flakey about a large Go-See.

-         In the holding area- set up a Sign In sheet, a stack of individual Information sheets, the stack of blank paper, pens, and Sharpies.  As talent arrives have them fill out forms and on a blank sheet of paper have them write their names big and bold with a Sharpie.

-         Set up audition room with video camera on tripod.  Make sure camera is far enough from the wall to get full body shots. Set up lights.  Place strip of duct tape as a standing spot for talent.

-         Check with talent in holding room area – and give them the Sides you want them to read.  Sometimes you can send this to them ahead of time via email.

-         Once talent is brought into the audition room – make them feel comfortable. Shake their hands and greet them. This is especially important for children.  Don’t rush them. Bear in mind movie actors are delegate – and they are thinking how they are doing you a favor – coming to the casting.  Make them feel that way.

-         Read over their resumes and information – and or – mention productions you seen them in – either stage or screen.  Be truly interested.  They are nervous and this makes them feel like you are really trying to get to know them.  Commit on anything special – from there information.

-         “Okay, stand on that piece of tape for me please.  Don’t worry –just relax.  It’s painless.”  Snap a photo of them and then start the video camera rolling with a close up of their face and name sign.  “Okay, hold your sign up and tell me your name and agency number.” After they say their information “Now let me get a profile of you.”  Pull back on the camera to get a full body shot.

-         Here I would say – NEVER – shoot close ups of their private parts.  Stay professional.  1- You may not be able to erase it before the client sees it and 2 – the talent may want to see it, when their done.  Keep that stuff to yourself – and make a mental note about it.  If the director needs provocative shots – like a Russ Meyer – you let the talent know – and if they are comfortable – proceed.  You need to know right then if they are down with the requirements.

-         Once that’s done – have them read the selected sides.  Video this several times – in different angles – close up and wide.  Have them bring out their best actor.

-         Once done – shank their hand again “Thank you.  See – that was easy.  Someone will call you – no matter what the outcome is.”  And really call them – even if they don’t get the part – they really want to know.

-         Once they are out of the room – paperclip all their information together.

-         Repeat with next talent.

AFTER CASTING – BACK TO PRODUCTION

• Set up meeting with the Director and the Producer to show casting.
• Have a large table available to lay out all photos and information sheets.
• Have video viewing capability set up and ready to go.
• As you go through the meeting mention everything you have learned from the individuals that you are presenting.

ONCE TALENT IS SELECTED

 There are two things you need to do: 

1- Make a booklet of who’s who in the talent for the film.  This helps the Agency and the Production Team see you are on top of your game.

2-In the Production Office – make a 4 x 8 form corm board – of the talent who is going to be in the film.  Get a can of 3M Spray Mount, lightly spray it, and paste the information, on the board.  This board will stay at the Production Office for the Director and the Production Staff to view.  One less thing – for them to worry about.

• Here is where the 2^nd AD would step in – to handle talent.
• If are in charge of the talent handling – you are the communication between the Agents, the Talent, and the Production Team.
• Stay on top of choreographer scheduled meetings and rehearsals. Make sure talent is at rehearsals.
• Make sure talent and Wardrobe are in sync.
• You need to coordinate with the AD for call times – and even give the talent their call times.
• Always let the Producer know, of any conflicts the talent may have – i.e. schedules, pick ups, over budget payment, etc.
• Never hire a talent that will take you over budget.  If the Director wants them he or she will pay for them.  Never pay out of your pocket.

PRODUCTION

• On the set the Casting Director will hold talent in the holding area, make sure they are getting prepared by make up and wardrobe, and release them when they are done.
• Make sure all payment is done – for talent.

POST PRODUCTION

• Here – you’re pretty much making sure the talent names are spelled correctly for the film credit. 

A STORY

While casting a film – there was this one particular actor – I’m not going to mention names – but he’s huge in the film industry.  He constantly threatened to call the SAG union rep – to complain about the casting conditions.  There was no water.  A car should have picked him up and dropped him off.  I didn’t budget for that – then – but I do now – just in case.  Deep down some actors have a diva – complex.  Figure out theirs’ – cater to it – and rock your casting.

Moral: – it is important to know what animal you are dealing with – in business – in life – or even trapped in the wilderness with a bobcat staring at you.

Human Factor – never make someone feel stupid they hired you.

PRE-PRODUCTION

Meeting the Director and the Producer

 KNOW YOUR DIRECTOR

• The Director – will have a certain flair, of how he or she sees talent – and with music videos the Director can have full control – if the artist is feeling the vibe. As the Casting Director – your job is to bring together a unique blend of talent – to paint a visual painting.

KNOW YOUR PRODUCER 

• Get budgets clarified immediately.  The overall casting budget and talent budget.
• Your casting budget includes: casting personnel, casting space, video camera, casting paperwork Polaroid film, expenses, and lighting.
• Method of payment for talent in a music video is paying One Time Only.  Meaning:  once they are done on the set for that day – they are entitled to be paid.
• Are there children involved?  With children there are sensitive issues that need to be addressed.  When working with children – there are filming schedules that need to be regulated and followed.  Always make sure the parent or guardian is always present.
• Find out how involved you are needed for the production.  The 2^nd AD usually handles the talent after the payment negotiations are done but you need to know – if your are in charge of talent during the Production phase. There are times when the Casting Director works the whole Production through.

BEGIN YOUR CALLS FOR TALENT TO ARRIVE AT YOUR CASTING.

 Handling Agents and Managers

• Always do fair negotiations with agents – and SAG – their job is important.  Their job is to make sure their talent gets the best product work – and gets paid well – and that they get paid themselves. They have their own rules – follow them.
• They need to know what is required from the director – from their talent.  Things may involve: manicures or pedicures, a special hair job or coloring, nudity, or even learning Kung-Fu.  I’m kidding about the Kung-Fu, that’s just when you’re Casting For A Film.

TOOLS OF THE TRADE

• video camera with the capability to transfer material – for viewing
• 2 bright lights
• A camera for stills
• Casting forms:  Sign In sheets | individual Information sheets
• Sides (the part the talent is trying out for)
• Tripod
• Stapler
• A quiet room or area
• Black duct tape to mark the floor
• Stack of blank paper
• A box of pens
• A box of Sharpies
• A box of paperclips.

THE PROCEDURE 

-         Get your casting location in order.  Usually 2 rooms – one as a talent holding area for filling out forms – and one for the actual audition.  The perfect location I found for this set up is:

CHAMPION STUDIOS

257 W 39^th St, 14^th Fl

212-307-7707

-         They have holding areas and rooms for multiple castings going on at once.  Call ahead of time – they get filled up fast.  Mention – filmproductionexpert.com. If you don’t use this studio you run into the chances of being charged for both rooms – and other studios are flakey about a large Go-See.

-         In the holding area- set up a Sign In sheet, a stack of individual Information sheets, the stack of blank paper, pens, and Sharpies.  As talent arrives have them fill out forms and on a blank sheet of paper have them write their names big and bold with a Sharpie.

-         Set up audition room with video camera on tripod.  Make sure camera is far enough from the wall to get full body shots. Set up lights.  Place strip of duct tape as a standing spot for talent.

-         Check with talent in holding room area.

-         Once talent is brought into the audition room – make them feel comfortable. Shake their hands and greet them. This is especially important for children.  Don’t rush them.

-         Read over their resumes and information – looking very interested.  They are nervous and this makes them feel like you are really trying to get to know them.  Commit on anything special – from there information.

-         “Okay, stand on that piece of tape for me please.  Don’t worry –just relax.  It’s painless.”  Snap a photo of them and then start the video camera rolling with a close up of their face and name sign.  “Okay, hold your sign up and tell me your name and agency number.” After they say their information “Now let me get a profile of you.”  Pull back on the camera to get a full body shot.

-         Here I would say – NEVER – shoot close ups of their private parts.  Stay professional.  1- You may not be able to erase it before the client sees it and 2 – the talent may want to see it, when their done.  Keep that stuff to yourself – and make a mental note about it.  If the director or artist needs provocative shots – you let the talent know – and if they are comfortable – proceed.  You need to know right then if they are down with the requirements.

-         Once that’s done – Okay, I just want to see a little dancing.  It doesn’t have to be anything fancy – I just want to see what you got.”  You will be surprised at some of the dances moves people can do. Video this several times – in different angles – close up and wide.

-         Once done – shank their hand again “Thank you.  See – that was easy.  Someone will call you – no matter what the outcome is.”  And really call them – even if they don’t get the part – they really want to know.

-         Once they are out of the room – paperclip all their information together.

-         Repeat with next talent.

AFTER CASTING – BACK TO PRODUCTION

• Set up meeting with the Director and the Producer to show casting.
• Have a large table available to lay out all photos and information sheets.
• Have video viewing capability set up and ready to go.
• As you go through the meeting mention everything you have learned from the individuals that you are presenting.

ONCE TALENT IS SELECTED

• There are two things you need to do: 

1- Make a booklet of who’s who in the talent for the commercial.  This helps the Agency and the Production Team see you are on top of your game.

2-In the Production Office – make a 4 x 8 form corm board – of the talent who is going to be in the commercial.  Get a can of 3M Spray Mount, lightly spray it, and paste the information, on the board.  This board will stay at the Production Office for the Director and the Production Staff to view.  One less thing – for them to worry about.

• Here is where the 2^nd AD would step in – to handle talent.
• If are in charge of the talent handling – you are the communication between the Agents, the Talent, and the Production Team.
• Stay on top of choreographer scheduled meetings and rehearsals. Make sure talent is at rehearsals.
• You need to coordinate with the AD for call times – and even give the talent their call times.
• Make sure talent and Wardrobe are in sync.
• Always let the Producer know, of any conflicts the talent may have – i.e. schedules, pick ups, over budget payment, etc.
• Never hire a talent that will take you over budget.  If the Director wants them he or she will pay for them.  Never pay out of your pocket.

PRODUCTION

• On the set the Casting Director will hold talent in the holding area, make sure they are getting prepared by make up and wardrobe, and release them when they are done.
• Make sure all payment is done – for talent.

POST PRODUCTION

• If possible – ensure a copy of the music video for the talent who was in it.  This builds relationships.
• Hand in all forms of talent payment.  If you paste all your receipts and talent bills on paper – form a booklet – your good to go and can move on to the next music video casting.

A STORY

While casting a music video in Chicago.  We went through many agencies looking for that one woman – with that look.  After one week of casting – we found her.  The day before the shoot I explained to her – there is a bedroom scene with you in your bra – and she said “I don’t do bra shots.  I’ll wear pajamas.”  I said “This not ‘I Love Lucy’. I need to see flesh.”  Nope.  Her scene was shot with her – in pajamas.  It sucked.

Understand the animal.  Some people are shy – but when they dance – they shine.  And some people want to flash their bodies.

Happy Casting

PRE-PRODUCTION

Meeting the Director and the Producer

KNOW YOUR DIRECTOR

• The Director – will have a certain flair, of how he or she sees talent – but with commercials, the Director is bound by the agency’s vision – of the talent selling their product – and must conform to that.  As the Casting Director – your job is to have castings that will satisfy both parties.

KNOW YOUR PRODUCER

• Get budgets clarified immediately.  The overall casting budget and talent budget.
• Your casting budget includes: casting personnel, casting space, video camera, casting paperwork Polaroid film, expenses, and lighting.
• Method of payment for talent in a commercial is based on a Buy Out situation.  Meaning:  the commercial will air for a curtain amount of time – in a curtain area – and that will calculate how much the talent needs to be paid.  The agency usually works this out. This does not come out of Production’s budget – this comes out of the agency’s budget.
• Are there children involved?  With children there are sensitive issues that need to be addressed.  When working with children – there are filming schedules that need to be regulated and followed.  Always make sure the parent or guardian is always present.
• Find out how involved you are needed for the production.  The 2^nd AD usually handles the talent after the payment negoiations are done but you need to know if your are in charge of talent during the Production phase. There are times when the Casting Director works the whole Production through. 

BEGIN YOUR CALLS FOR TALENT TO ARRIVE AT YOUR CASTING

Handling Agents and Managers

• Always do fair negotiations with agents – and SAG – their job is important.  Their job is to make sure their talent gets the best product work – and gets paid well – and that they get paid themselves. They have their own rules – follow them
• They need to know what is required from the director – from their talent.  Things may involve: manicures or pedicures, a special hair job or coloring, nudity, or even learning Kung-Fu.  I’m kidding about the Kung-Fu, that’s just when you’re Casting For A Film. 

TOOLS OF THE TRADE

• video camera with the capability to transfer material –for viewing
• 2 bright lights
• A camera for stills
• Casting forms:  Sign In sheets | individual Information sheets
• Sides (the part the talent is trying out for)
• Tripod
• Stapler
• A quiet room or area
• Black duct tape to mark the floor
• Stack of blank paper
• A box of pens
• A box of Sharpies
• A box of paperclips.

THE PROCEDURE

-         Get your casting location in order.  Usually 2 rooms – one as a talent holding area for filling out forms – and one for the actual audition.  The perfect location I found for this set up is:

CHAMPION STUDIOS

257 W 39^th St, 14^th Fl

212-307-7707 

-         They have holding areas and rooms for multiple castings going on at once.  Call ahead of time – they get filled up fast.  Mention – filmproductionexpert.com. If you don’t use this studio you run into the chances of being charged for both rooms – and other studios are flakey about a large Go-See.

-         In the holding area- set up a Sign In sheet, a stack of individual Information sheets, the stack of blank paper, pens, and Sharpies.  As talent arrives have them fill out forms and on a blank sheet of paper have them write their names big and bold with a Sharpie.

-         Set up audition room with video camera on tripod.  Make sure camera is far enough from the wall to get full body shots. Set up lights.  Place strip of duct tape as a standing spot for talent.

-         Check with talent in holding room area – and give them the Sides you want them to read.  Sometimes you can send this to them ahead of time via email.

-         Once talent is brought into the audition room – make them feel comfortable. Shake their hands and greet them. This is especially important for children.  Don’t rush them.

-         Read over their resumes and information – looking very interested.  They are nervous and this makes them feel like you are really trying to get to know them.  Commit on anything special – from there information.

-         “Okay, stand on that piece of tape for me please.  Don’t worry –just relax.  It’s painless.”  Snap a photo of them and then start the video camera rolling with a close up of their face and name sign.  “Okay, hold your sign up and tell me your name and agency number.” After they say their information “Now let me get a profile of you.”  Pull back on the camera to get a full body shot.

-         NEVER – shoot close ups of their private parts.  Stay professional.  1- You may not be able to erase it before the client sees it and 2 – the talent may want to see it, when their done.  Keep that stuff to yourself – and make a mental note about it.

-         Once that’s done – have them read the selected sides.  Video this several times – in different angles – close up and wide.  Have them bring out their best actor.

-         Once done – shank their hand again “Thank you.  See – that was easy.  Someone will call you – no matter what the outcome is.”  And really call them – even if they don’t get the part – they really want to know.

-         Once they are out of the room – paperclip all their information together.

-         Repeat with next talent.

AFTER CASTING – BACK TO PRODUCTION 

• Set up meeting with the Director and the Producer to show casting.
• Have a large table available to lay out all photos and information sheets.
• Have video viewing capability set up and ready to go.
• As you go through the meeting mention everything you have learned from the individuals, that you are presenting.
•  

ONCE TALENT IS SELECTED

• There are two things you need to do: 

1- Make a booklet of who’s who in the talent for the commercial.  This helps the Agency and the Production Team see you are on top of your game.

2-In the Production Office – make a 4 x 8 form corm board – of the talent who is going to be in the commercial.  Get a can of 3M Spray Mount, lightly spray it, and paste the information, on the board.  This board will stay at the Production Office for the Director and the Production Staff to view.  One less thing – for them to worry about.

• Here is where the 2^nd AD would step in – to handle talent.
• If are in charge of the talent handling – you are the communication between the Agents, the Talent, and the Production Team,.
• You need to coordinate with the AD for call times – and even give the talent their call times.
• Always let the Producer know, of any conflicts the talent may have – i.e. schedules, pick ups, over budget payment, etc.
• Never hire a talent that will take you over budget.  If the Director wants them he or she will pay for them.  Never pay out of your pocket.

PRODUCTION

• On the set the Casting Director will hold talent in the holding area, make sure they are getting prepared by make up and wardrobe, and release them when they are done.
• Make sure all payment is done – for talent.

POST PRODUCTION 

• If possible – ensure a copy of the commercial for the talent who was in it.  This builds relationships.
• Hand in all forms of talent payment.  If you paste all your receipts and talent bills on paper – form a booklet – your good to go and can move on to the next commercial casting. 

A STORY

While casting a Coke commercial – I filmed the casting like I would a music video casting – which flashy moves and angles.  Once I dropped off the material to the producer and they showed it to the client – the client complained about the camera work being to jerky and music video like.

The client – did a new casting for the commercial – using another casting director – other than me.

Moral: – it is important to know what animal you are dealing with – in business – in life – or even trapped in the wilderness with a bobcat staring at you.

Human Factor – never make someone feel stupid they hired you.

Filmmakers Listen Up:

Every film/video production company operates differently, but they are all striving to get the best cost effective product while delivering high production value.

As a filmmaker, or as a team player on a production, everyone who works on the project must have a different mean – to meet the end.

I have created an outline of methods of operations proven to be imperative to a successful project to run smoothly.

Follow along with my blogs and you will find sheets from my book ‘The Successful Filmmaker’s Production Manual’ for your filmmaking needs.

REMEMBER: Once you have everyone on your project conforming to your guidelines, the better chance you have to get your Directing artistic vision translated.

Use the video below - Film Making advice and tips from pros at the 2009 Comic Con. as the fire under your butt.

The video was originally published on Comic Con‘s You Tube Channel.

Enjoy!