RTVF Set Protocol Cheat Sheet

190 Set Protocol Cheat Sheet
Roles broken up by departments:
Directorial
▪ Director
• Oversees the creative details of the project: directing actors, locations, camera
angles, overall visual aesthetic
• The director is the only person who can call “Action/ Cut”
▪ 1st Assistant Director (AD)
• Director’s right hand
• Helps director break down script and make shot list and schedule
• Usually in charge of practical stuff, like making sure everyone is on schedule
• Link between the cast/crew and the director
• Queues up the following scene and actors
• Calls the shot
• Holds the call sheet, which has all the technical details and scheduling for the day
▪ Script Supervisor
• To save time, most of the script is shot out of order. The Script Supervisor makes
sure that the story, dialogue and anything in the script still makes sense.
• Takes notes on whatever the Director and the DP thought of each shot.
• Knows which takes are not usable.
• Watches for errors in continuity.
• Make sure the actors don’t miss any lines.
Camera
▪ DP/Cinematographer
• Creates the visual look of the film by working with the director and camera dept.
• Works to execute that vision so that the director can focus on actor’s performances.
• Tells the ACs (assist. Camera) how to set up the camera and works with the gaffer
to set up the lights.
• It is up to the DP to decide whether or not they also act as the camera operator.
▪ 1st Asst. Camera
• Maintains and manages the camera equipment.
• Follows instructions given to the them by the DP
• If needed, helps the camera op do things that requires another person, ex. Pulling
focus
▪ 2 AC
nd
• Loads new batteries

• Loads fresh film magazine
• Slates each take
▪ Camera Op/ Steadicam Op
• Prepares and operates gear, works with DP and the director to achieve the visual
look of the film
▪ Digital Image Technician
• Offloads all media and creates a backup.
• Ensures the image quality is what the DP and director intended.
• Will sometimes create dailies for director of the day’s shoot.
Electric
• Gaffer – head of the electric department
o Executes the lighting design and can sometimes help in its creation as well.
o Term comes from the gaff tool to change the lights
• Best Boy/ Electrician
o Assists the gaffer, usually an electrician
Grip - This department supports all non-electrical components on set. They set up any gear for the
cameras, like tripods or cranes.
• Key Grip – head Grip
o The head grip/ Assistant to the Gaffer
o Tells the grips where to put all the non-electrical equipment (such as flags,
light stands, gels, etc.)
• Grip
o Directed by the key grip to execute equipment set up
o Very physically demanding
o Moves and maintains all non-electrical gear
Sound
▪ Sound Recordist
• Sets up all the mics on set.
• Monitors the sound recording of each take.
• Ensures levels are correct and signals are clear.
• Looks out for background noise and other sounds that could affect the quality of the
recording.
• Keeps a log of notes during recording.
▪ Boom operator
• Holds the boom pole above talent to ensure quality audio.
• Must always keep in mind the frame line, the direction of mic and noises made by
the pole/operator.
Unit Production Manager

• Oversees all the business arrangements to of shooting: location permits, releases,
insurance, etc.
• Makes sure everyone is paid and fed.
• Coordinate arrangements for the transportation and housing of cast, crew and staff.
• Maintains overall budget and schedule to ensure the production is where it should
be and is efficiently making progress.
Slate/Clapperboard:
Purpose for Slating:

1. To Sync Audio and Video – in the camera footage you can see where the slate claps down
and you can match that to the sound of the slate clapping down in the audio.
2. To organize your footage
The Information on a Slate:
Roll: What roll of film or memory card you’re using. If you’re using multiple memory cards, it’s
good idea to give each one a unique identity (ex. Card A, B, C, etc.) because if something
happened to your footage it would be helpful to know which card it was shot on and remove that
card from circulation to prevent anymore issues.
Scene: What number Scene you’re shooting. Every time you change the shot, you have to give that
shot a corresponding letter. For example, if you’re scooting scene 1 from three different angles:
Scene 1A, 1B, 1C.
You don’t say 1A or 1B, you should say 1 alpha or 1 apple, or 1 baker or 1 bravo so that the letter
is clear.
*When using the alphabet to identify different shots, skip the letters I and O because they could be
mistaken for a 1 and 0.
Take: Which take/attempt # that is being shot
SYNC: You would circle SYNC if there is sound being recording
MOS: You would circle MOS if there is no sound being recorded

• If you’re slating with no sound, you put your hand in the slate to indicate to the editor that
there is no corresponding sound file.
Circle the necessary information according to where and when you’re shooting:
INT: Interior | EXT: Exterior
Night | Day
Slate Terminology:
“Soft Stix”
• Sometimes you’ll be shooting a CU or an intense scene where the actors are in character
and the clap may be distracting. This may warrant the 2nd AC to clap the slate more gently.
When this happens, the 2nd AC calls “Soft Stix” to signal to the editor to pay attention for
that slate.
“Second Stix”
• If something happens that messes up your first slate (ex. It wasn’t in the frame properly)
and you need to re-slate, make sure to call “Second Stix” to let the editor know that the
slate beforehand was a mistake.
“Tail Slate”
• There may be an instance when you have to slate the shot at the end of the scene (maybe
the actors were having a great rehearsal and the director wanted everyone to start filming
without pulling them out of the moment), at the end of the scene you would when the
director has said cut, the 2nd AC would call for a “tail slate”
• You hold the slate upside down while slating to indicate that it is a tail slate. After you’ve
slated you can flip it upside right, keeping it closed, to make sure the editor can easily see
the info.
Make sure the slate is clearly visible in the frame and that the information written on
the slate is legible
Calling the shot

o Always done by the 1st AD
The Script:
AD: Quiet on set, the take is up. Sound ready?
SM: Ready.
AD: Camera ready?
DP/ AC: Ready.
AD: Roll sound.
SM: Speed
2nd AC/ Loader: Scene 1A, Take 1
AD: Roll camera.
DP/ AC: Speed.
2nd AC/ Loader: Marker
Clap the Slate
DP/ AC: Set
DIR: Action.
o Why is this important?

• Saves film/ data by staggering sound speed and cam speed
• Slate serves to sync the pic and sound
• A routine that all crews know, keeps the set together
• Settles down the set, creates safe place for the actor
• The time between the Slate and Action is valuable time for the Director and the
Actor

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190 Set Protocol Cheat Sheet

Roles broken up by departments:

• Loads new batteries

Unit Production Manager

Purpose for Slating:

The Information on a Slate:

Scene 1A, 1B, 1C.

Take: Which take/attempt # that is being shot

SYNC: You would circle SYNC if there is sound being recording

MOS: You would circle MOS if there is no sound being recorded

Calling the shot

o Why is this important?

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