1. The Director’s Team The Complete Guide to Film & Digital Production:
The People & The Process
Lorene M. Wales, Ph.D.
© 2017 Taylor & Francis

2. Director Pre-Production
Reads the script and works with the producer to develop a vision for the project.
Meets with department heads to relate his/her vision.
Works with the storyboard artist on storyboards.
Attends casting sessions to hire cast for the project.
Rehearses the actors.
Meets with the 1st AD to discuss the schedule.
Goes on location scouts to approve or not approve a location.
Writes shot lists for each scene.
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3. Director Production Works with the DP to execute shots.
Works with the 1st AD to “make the day.”
Directs actors.
Works with the 2nd AD to direct the atmosphere.
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4. Director Post-Production
Works with editors to achieve a first cut of the project.
May have final approval of a finished picture.
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5. 1st Assistant Director Pre-Production
The 1stAD usually starts a month before shooting starts, sometimes earlier.
Does a character breakdown by each scene.
Go over storyboards with the director.
Go over atmosphere needs for each scene.
Once the shooting schedule is done, he/she will need to make sure that actors know where and when they need to shoot.
Prepares the day-out-of-days, according to the shooting schedule and gives it to the POC to distribute.
Attends and helps coordinate cast rehearsals.
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6. 1st A.D. Pre-Production
Works with the director, DP and producer to organize and orchestrate difficult shots.
Runs the final production meeting.
Attends all location scouts.
Determines the first day call times.
Gets from the director and places the shot list in order of shooting for the first day. The 1st AD will continue to do this on a daily basis.
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7. 1st A.D. Production Gathers all crew together for a safety meeting.
Stays with camera while prep is made for first shot.
Works with the 2nd AD to get actors ready.
Spends the day running the set, moving the crew along.
Is responsible for making the day.
 Approves the call sheet and production report. Makes a determination of when to break for lunch and when to wrap the crew.
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8. Qualities of a good 1st A.D.
Authoritative demeanor.
Excellent with detail.
Quick thinking and resourceful.
Able to handle a thousand items at once.
Able to deal calmly with temperamental cast and crew.
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9. Director, 1st A.D. Relationship
The 1st AD is to keep unnecessary people away from the director.
The 1st AD is to keep a track of where they are in the shot list so that they make sure they get everything shot that they need to.
The 1st AD makes sure the 2nd AD directs the background in a manner consistent with the director’s vision.
The 1st AD is expected to keep the rest of the crew working efficiently.
The 1st AD is to keep the energy going on set and to keep the set quiet so the director can concentrate on his/her work.
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10. Director, 1st A.D. Relationship
Accurate storyboards. The 1st AD needs to know exactly what each shot is framing, composition, what actor’s are in it, what background is seen. This allows the 1st to get the actor’s needed next ready.
Trust from the director to run the show. That means, when it is time to get the shot, the director, depends on the 1st to have everything in place.
© 2017 Taylor & Francis

11. 2nd Assistant Director Pre-Production
Usually arrives two to three weeks before shooting begins.
Reads the script to know each scene well. Highlights actors in each scene and make notes on scenes with extras.
Puts together the set box.
Works with the APOC to determine the travel schedule for cast.
Goes over the number of extras in each scene with the director and discusses how the scenes will work.
Prepares the call sheets and production reports with the APOC and POC.
Determines Walkie-talkie channel assignments for all applicable crew.
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12. 2nd A.D. Production
Completes the call sheet. This duty will continue daily throughout the shoot.
Does SAG daily contracts
Takes over for the 1st AD, if he/she needs to leave camera.
Calls “rolling!” when each shot begins
Calls into the production office the first shot of the day, lunch, the first shot after lunch and wrap.
Arrives first on set and works with the transportation department to assist cast and crew as they arrive.
Leads all actors to the honeywagon or trailers or into make-up and wardrobe.
Distributes Walkie-talkies.     
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13. The 2nd A.D. Production
The 2nd or 2nd 2nd keeps count of how many people go through lunch line.
The 2nd AD prepares the call sheet, about mid way through the day. Once prepared, it gets approval from the 1st and U.P.M.. When it is approved, it goes to the production office to be copied and attached to the location map.
The 2nd informs the caterer of the next days count.
The 2nd calls actors with call times for the next day.
Keeps the set quiet at all times. If the 1st has to call quiet, the 2nd is not doing his/her job.
Takes care of any Taft-Hartley’s.
 May be responsible to charge the Walkie-talkies each night so they are fully charged for the next day’s shooting.
Directs the atmosphere for each scene, also called the “background.”
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14. Directing Background 2nd or 2nd 2nd does it Just like cheerleading
Story-moving around the crowd, jumping, cheering
Need to understand crosses
Watch for holes
Need to keep frame as busy as is appropriate
Remember, it won’t be noticed
Story, moving news room too fast give each person motivation-specific motivation
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15. Directing Background Work quickly Keep them quiet
If you give them nothing, they will do nothing
Watch on the monitor
Adjust quickly between takes, they shouldn’t have to wait on you.
If someone is distracting, move them to the back
Ultimately, be sure to reflect the mood of the scene
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16. Qualities of a good 2nd A.D.
Authoritative demeanor.
Excellent with detail.
Quick thinking, and resourceful.
Able to handle a thousand items at once.
Able to deal calmly with temperamental cast and crew.
Able to produce accurate paperwork.
© 2017 Taylor & Francis

17. 2nd 2nd A.D. DGA Trainee Usually starts 1 week before shooting.
Assists the 2nd AD with various duties.
May type the production report for the 2nd AD.
On a union shoot, completes the exhibit G.
Makes sure all extra releases are signed. A background coordinator may do this.
Supports the 1st and 2nd AD’s with what is called the “lock-up.”
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18. Qualities of a good 2nd 2nd DGA Trainee
Excellent with detail.
Quick thinking, and resourceful.
Able to handle a thousand items at once.
Able to deal calmly with temperamental cast and crew.
Able to produce accurate paperwork..
© 2017 Taylor & Francis

19. Set Production Assistants
Assists the AD’s with copying, getting coffee, making telephone calls.
Assists the AD’s with lock up
May escort actors to and from the set.
Escorts actors to and from makeup, hair and wardrobe.
May escort actors to their trailers.
May need to sit with the extras in their holding area.
Gets coffee for the 1st AD.
© 2017 Taylor & Francis

20. Set P.A.’s Qualities That Make a Good Set PA
Physically capable of being on their feet for 12 or more hours.
Great communication skills.
Servant attitude toward crew and cast.
Quick thinking.
Resourceful
Understands set protocol.
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21. Director’s Assistant
The assistant answers telephone for director and screens calls. A good knowledge of different screenwriting programs is essential.
Some assistants schedules meetings.
Some assistants become the voice of communication with the studio and/or certain crew.
Some assistants may be involved in more personal matters such as picking up the dry cleaning, walking the dog, or scheduling a hair cut.
Some assistants may be asked to read scripts and complete coverage forms.
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22. Other Personnel Dialogue Coach Dialect Coach Choreographer
Storyboard Artist
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23. The Rolling Call 1st AD: Sound ready? Sound: Ready.
1st AD: Camera ready?
Camera Operator: Ready.
1st AD: Roll sound.
Sound: Speed
2nd AD: Rolling!
1st AD: Roll camera.
Camera Operator: Speed.
2nd AC: Scene 41A, Take 1 (Claps the slate).
1st AD: Background action (if applicable) or Playback (if applicable).
Director: Action.
When the shot is finished:
Director: Cut.
1st AD (into the Walkie-talkie) Cut.
AD’s and PA’s echo Cut.
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24. Set Operations
After the director yells cut, the 1st AD watches the director, if the director gets up and walks to the actors, he/she most likely wants another take.
If another take is warranted the 1st AD calls “Take 2 is up.”
If, after calling cut the director sits there, the 1st AD watches, and asks if another take is needed, if yes, calls it, if no, calls “new deal.” New deal is a term used to notify all crew that the shot is changing.
When the crew breaks for lunch, the 1st AD calls “Lunch!” The 2nd’s and PA’s echo this announcement for all crew and cast to hear.
© 2017 Taylor & Francis

25. End of the Day
The 1st AD calls the last shot, the “martini.” The 2nd AD’s and PA’s echo this to the crew.
Hearing the martini the crew knows they will wrap soon and begin to wrap out unneeded items.
The 1st or 2nd quiets the set so sound can record ambiance. Ambience, also called room tone is the natural sound of a room or location.
When the day is done the 1st AD calls “wrap” and the 2nd AD’s and PA’s echo to the crew.
The 2nd AD and PA’s distribute the next days call sheets.
The 2nd 2nd or PA’s collect Walkie-talkies to charge for the next day.
The 2nd AD keeps track of leave times for all cast and crew and records it on the production report.
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26. Director’s Team Issues
Press Day
Closed Set
Set Box
Call Sheet
Production Report
Production Meetings
The Concept Meeting
The Big Production Meeting
Walkie-Talkie Etiquette
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27. Set Protocol The set is to be kept extremely quiet.
No one touches camera except camera team and director.
All heads of departments must inform the 1st AD when they leave set and when they return.
All crew are expected to check in and out with the 2nd AD.
No one converses with the actors, except the director.
No one is late.
If there is an accident or injury no one provides assistance except the first aid person.
Foul language is kept to a minimum around children on set.
© 2017 Taylor & Francis

28. Set Protocol
Locations and their owners are to be treated with respect.
All cell phones need to be on vibrate.
No one orders anyone else’s assistant (s) to do anything.
Wrap is to be completed quickly.
Distractions to the director should be kept to a minimum.
No one moves set dressing except the set dresser.
No one moves lights except the lighting department.
No one moves any equipment that is not in his or her department.
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29. © 2017 Taylor & Francis Director Script Supervisor Choreographer
Dialogue/Dialect Coach
2nd Unit
Director's Assistant
1st Assistant Director
2nd Assistant Director
2nd 2nd Assistant Director/DGA Trainee
Key Set PA
Set PAs
© 2017 Taylor & Francis

30. Conclusion
The director’s team is made up of the AD team, which includes the assistant directors and the set PAs, who are responsible for running the set smoothly. Other support personnel include a choreographer, storyboard artist, and a dialogue or dialect coach.
The director works with these personnel to achieve his or her vision. All of the day’s activities are recorded on a call sheet (for the next day) and a production report (from the previous day).
© 2017 Taylor & Francis