aAD KIT CHECKLIST Accident reports Beeper/cell phone numbers Blank SAG contracts (weekly and daily) Call sheets Cast, crew, and vendor packs Check request forms Copies of signed cast contracts Current shooting copy of the script Exhibit G forms Extra keys to locations and vehicles Extras vouchers Location contracts and blanks Location insurance certificates and blanks Location permits Maps Meal allowance sheets Petty cash and envelopes Production reports Purchase orders Releases: personal, filming notices, Extended hours, and neighbor SAG rulebook Schedules, day-out-of-days sheets, and strip board Security guard and parking lot information Start forms Taft-Hartley forms Tax forms: W4 and I-9 Time cards Walkie-talkie sign-out sheetS aCamera CHECKLIST Arrange to have an insurance certifi- cate sent to the camera house. Rent monitors, VCR, video tap, special equipment, etc. Rent a camera bag or camera van. Compile a camera supply list. give the second assistant camera oper- ator petty cash to purchase supplies. Rent camera package (when the director of photography comes on, weeks 2 and 3). Purchase film stock (week 3). pick up cores, bags, cans, and camera reports (week 4). Schedule camera and film tests (week before production). Schedule camera prep day for the first assistant camera operator (week before production). aCast CHECKLIST Hire a casting agent (week 1 or before). Fill out and file SAG paperwork; post bond (weeks 1 and 2). Prepare for auditions (weeks 1 and 2): secure a casting space; arrange for beverages and food; prepare sides; make copies of the sign-in sheet; forward head shots to the casting director. Have the casting director fill out cast contracts and deal memos; file and send to SAG as the cast is hired. Have cast members fill out W4 and start/I-9 forms as they are hired; forward copies to SAG and the payroll company. Have the casting director “station-12” cast members as they are hired. Ask the insurance carrier about required medical exams. schedule medical exams for principal players as they attach and before production begins; schedule Medical exam for the director if required. Ensure that wardrobe fittings and makeup tests are scheduled (weeks 3 and 4). Compile the cast list as cast members are hired. Secure rehearsal space; schedule rehearsal time with the actors and the director. Arrange for extras, or hire an extras casting agent; determine how many location extras will be needed and when. Give the assistant director the SAG paperwork and forms that will be filled out on the set. Have the SAG payroll time cards on hand to be filled out weekly and forwarded to SAG and the payroll company. Make travel arrangements for out-of-town actors and, if necessary, determine how they will be transported to and from the set. Ascertain special meal needs or dietary requirements of any actors. aCompany Move CHECKLIST Load the equipment into the production trucks bearing in mind what will have to be unloaded off the truck first at the new location; this should be coordinated in advance. Make sure that all cast and crew members have directions, a map, and transportation to the new location. If possible, send a production assistant ahead to post parking and bathroom signs, to familiarize him- or herself with the space, and to determine where to unload equipment and set up tables, chairs, and other items. If possible, have the craft service person leave a small cooler at the old location with drinks and snacks, and send him or her to set up at the new locale before the rest of the company arrives so that there are coffee, cold drinks, and snacks awaiting them. Have the AD ensure that every last bit of equip- ment, paperwork, and supplies has been loaded into the trucks. The AD and the location manager should be the last ones off the set; send the second AD to the new location or vice versa. Make sure that the location is left in proper order; refer to the End-of-Day Checklist. Whenever possible, have the company move to a location where you will do more than one day of shooting to avoid having to wrap out the second location that same day (too tiring). If you have equipment that the vendor must deliv- er and pick up, inform the vendor in advance that you will need the equipment moved. (This is often the case with cranes, generators, and other heavy equipment.) Provide any cast and crew members who were not needed at the previous location with a call sheet for the new location. Determine in advance to which location the cater- er will report on the company move day. Indicate clearly on the call sheet that there are two locations for that day; include maps and directions to both locations. Call the office to check in when the crew arrives at the new location. aCraft & Catering CHECKLIST Hire a craft service person and have him or her prepare food and expendables lists (week 3). Have craft service approach local cafes and restaurants regarding donations. Identify the eating areas at each location. Secure a caterer (a catering company, restaurants, and so on); sort out the menu so that there is a variety. Compile a list of local restaurants near each location that might be able to provide second meals or extra food on larger set days. Have petty cash available daily for second meals or extra meal needs. Arrange for special meal needs if necessary. Arrange for catering and craft service at distant locations. aCrew CHECKLIST Hire a production manager or produc- tion coordinator (week 1). Schedule meetings with key crew members and the director. Hire an office production assistant (week 1). Hire a director of photography and members of the camera department (weeks 1 and 2). Hire members of the locations department (week 1). Hire an assistant director and other members of the department (week 2); start scheduling and filling out paperwork two or three weeks before production begins and as locations are secured. Hire crew for the art, prop, and production design departments (week 1 or 2). Hire crew for the wardrobe department (week 2); get cast sizes and set up fittings. Hire other office and set production assistants (weeks 1 to 4). Hire electricians and grips (weeks 2 and 3). Hire members of the makeup and hair department (week 3); schedule meetings with cast and makeup and hair artists. Hire sound department crew (week 3). Hire transportation department crew (week 3). Hire editing department crew (week 3); discuss lab and editing facility needs. Hire a script supervisor (week 3). aCrew CHECKLIST Secure crew deal memos as the crew is hired; send copies to the payroll company. Have crew members fill out W4 forms and start/I-9 forms as each is hired; file forms and send copies to the payroll company. Have the department heads fill out kit rental forms as needed. Have the heads of the prop/art, makeup, and wardrobe departments and the script supervisor start their continuity notebooks. Set up mailboxes or hang manila folders for each crew member as he or she is hired. Compile a list of extra crew members (day players) for larger shoot days. Make petty cash available to all departments with sign-out slips and petty-cash envelopes. Ascertain any special meal needs or dietary requirements of crew members. Schedule a preproduction meeting with all crew members the week before pro- duction; arrange for a place to hold the meeting. aDaily office Responsibilities CHECKLIST Review To-Do lists; update with office staff. Have petty cash on hand. Issue checks per check requests. Compile pickup and return lists for pre- production needs. Check in with the director regarding schedule and equipment needs. Check in with each department head regarding schedule and budget. File all paperwork in office files at day’s end. Prepare a daily cost overview sheet. Actualize the budget for prepro costs when quotes for equipment, vehicles, locations, lab, food, etc., come in. Remember to eat and sleep. Thank the crew. aDistant Locations CHECKLIST Travel arrangements and living accommodations for cast and crew Parking arrangements for crew vehicles and production trucks Catering and craft service Transportation of crew, materials, and equipment to the location Equipment storage Office space and setup Insurance if you are filming in a differ- ent state Film stock purchase if needed, a proper place to store film Equipment rental if additional equipment is needed Local unions Shipment of film to the lab if necessary Screening of dailies aEnd-of-Day CHECKLIST Review shooting schedule for the next shoot day; make sure all arrangements have been made. Confirm arrangements for the next day’s location with the location manager. Confirm catering arrangements with the craft service person or the caterer. Total the number of people to be fed the next day. Check with the AD to make sure that the cast and additional crew needed for the next day’s shoot have been notified of their call times and have a map or directions. Distribute the next day’s call sheet if it wasn’t done at lunch. Check in with the department heads. Purchase more raw stock if needed; dole out raw stock for the next day to be sent to the set. Return or pick up equipment or materials if necessary. Properly store perishable craft service and catering items. Load vehicles with equipment, bearing in mind the order required for unloading. Clear out and clean up the location; have the trash removed. Collect copies of the camera and sound reports. Take the film and sound rolls directly to the lab after the shoot day wraps.