Daycall on a show you’ve never been on before. What do you do to get ready, if anything?
For narrative:
I ask for a script or advance sides so I can become familiar with the script.
If I am called and a checkout will happen between the phone call and my day on set, I do whatever I can to make it to the checkout to meet the team and get prepared, especially if it is a handheld shoot.
I look up the cast and make a face sheet to keep in my pocket for quick discreet reference. Under the photos I include their real name, character name and stand-in’s name if listed.
For narrative and unscripted:
I ask what I should prepare for in the way of interiors/exteriors, length of day and location.
I ask about the camera package and whether it will be handheld or supported. If I am unfamiliar with the camera, Googling ensues.
I watch a few episodes of the series if it has aired before. If not, I ask if there are any examples of similar shows to watch.
I read the call sheet to see if I know anyone on the crew and for clues to help me prepare.
I IMDB the camera department to see if I know any of them, what they have worked on and/or if we have people in common.
If I know anyone or we have people in common, I make some phone calls or send some texts to get up to speed.
I Google map my trip to parking and the time it takes to get from parking to set and plan accordingly.
If my call is the same as the rest of the crew, I arrive to parking an hour in advance in case their are bumps along the way.
I find the sides asap to make sure I am prepared.
I find the camera truck and introduce myself.
Once introductions are made, if it’s handheld, and I wasn’t able to make the checkout, I ask when I will be able to adjust the camera to my preferences.
Once settled, I find the DP and introduce myself.
If I have a later call than the main crew, I arrive 2hrs early, find the camera truck, introduce myself. Then I find the DP and introduce myself and ask if I might watch from the back of the DP tent to see how the style is executed. This will also show me what the interpersonal dynamics are before I am on-the-clock and under pressure.
If I beat the ACs, I go over the sides to get familiar and look for more clues. I write the actors’ names next to the characters’ names all over the call sheet to get my memory going.
Daycalls — if it’s a show that’s been on the air, watch a few episodes noting the visual style and composition — on the show what defines “close-up”; what kind of camera movement, ie., “steady handheld?”, movement to emphasize chaos?, what constitutes an “over"? Watching episodes also helps you to become familiar with the actors not to mention the genre, storylines, etc.
Take a look at imdb to also see photos of the actors, try to learn their names; look up previous projects that the DP, director, show runner have worked on.
I also try to get as much info about the details of the “day” I’ll be working on from whoever got me the job….exteriors, location work, and bring all the “stuff” I need to work efficiently under those circumstances.
On a brand new show — I’ll also ask the person who’s hiring me for info about the style, actors, etc. I ask for a prelim call sheet to get a head start on familiarizing myself with the actor names, crew, etc. and details of the shooting circumstances.
If I don’t have any connections to the camera crew — when I arrive on the job, I ask the other operator and/or DP about framing styles, headroom. Anytime I’m not working on a shot I try to discretely position myself behind any monitor I can get next to - to observe the style and be ready (anticipate) upcoming coverage or look for shots I could suggest. I tune up my listening skills to hear everything the director describes to the regular camera operator and to the actors. First AC’s and dolly grips who are on the regular crew are also a good sources of info about all of this as well. I study the call sheet to learn crew names, introduce myself to the ADs, boom operator, set dressers and the actors when appropriate. Sometimes I’ve been hired at the last minute and don’t know the DP so I always start with that person — and if time permits — get the composition info I need from them.
I prefer not to dig too deeply into the show if on a dayplaying gig. If it is an episodic TV show, the look may have changed from the previous seasons, or perhaps they are doing a special-look episode, or they may have switched DPs since the episode you screened to prep yourself. If a feature, the style employed by the director or DP might be completely different than their last project, and it is best not to make aesthetic assumptions. I find it best to get the information straight from 1) the DP, 2) the A camera operator – things like headroom, over the shoulder (how dirty etc), how still the frame is, and framing can all be very different from one show to the next, and it is good to get a sense of what they are looking for. It is good to ask, and if possible, have the A camera operator take a look at your shot prior to rolling to confirm it is in line with how they do things.
I would also advise reading the emailed callsheet very carefully before you go. It is good to see what kind a day you’re in for (rain towers, gunfire, explosions, or perhaps just a normal on set day). This will give you an indication of what else you might need to bring with you. As an operator, I always have my handheld shoulder pad in case you are thrust into a handheld scene, but other things not related to being an operator are just as important. Bring along a weather bag with things you might need depending on the callsheet, or weather. You don’t want to be on set and wish you’d thought to bring rain gear when production decides to go off the callsheet and head outside to pop off a shot while it’s raining.
Reading the callsheet will also tell you who your team for the day will be. It is good to take a minute and remember the names of the people you’ll likely be dealing with – the camera team, the ACs on your camera, your dolly grip, the key grip, the gaffer, the 1st AD. Extra credit points for reaching out to the 1st AC (either the key, or the person you’ll be working with who is likely doing the prep) for any information they might have about what the day will look like.
Read the prelim very carefully. Look at what you are shooting, check special equipment, find out who the team you are working with. When you get to set, if you know someone say hi and find out what’s what. If you dont, look for the camera crew setting up equipment near the carts. Say hi and ask them to point out the A cam op and the DP. When you can, say hi, thank them for having you, and then be quiet. Listen, be nearby but not in the way. Read the room. Slowly introduce yourself to people but you are not there to make an impression, you are there to be seamless. If you are seamless, and you do good work, you will make an impression.
Watch a recent episode to get the feel. Look over the call sheet for people you know on the crew. Ask them if they have any info you should know coming in to their show. I was once told that the director hates the phrase “swinging singles.” Okay note taken. Also, learn the names of the people you’ll work with directly. A bit of cast research doesn’t hurt either. “Are you new?” “Yes, my name is…., I really liked watching your show…..,how was that working in Hawaii?
