It can’t be helped. We exist in time/space. We’ve all been at work, staring at the clock, wondering when our time in purgatory will come to an end. But on a film set, the different circles of hell each have names and meanings. As a filmmaker (especially if you’re a production assistant (PA)), it’s good to know what these times are and how they affect your day.
Call Time (In)
This is the time you show up to set. For our example, let’s say call time is 6:00am. This is known as “general crew call” because it’s when most of the crew will show up. However, any good production manager will say, “Be sure to check individual call times.” Production will generally have a “pre-call” to make sure doors are unlocked, parking is sorted out, and the caterer knows where to set up breakfast. Your individual call time is listed next to your name on the call sheet (pretty straightforward). So with a 6:00 call time, a PA can expect to have an individual call time of 5:00 or 5:30. Even so, if someone asks you what the call time is, they’re probably asking about general crew call. (And remember, if you’re early, you’re on time. If you’re on time, you’re late. If you’re late, you’re fired.)
Depending on the day, other departments may have a pre-call as well. The grips or set dec may need to get in early to prep a location. The camera department may have a special piece of gear to prep for the day. But no matter how many staggered call times there are, there will always be an official general crew call.
First shot is when you get your first shot. (Duh.) The script supervisor is in charge of recording this. (On a small shoot without a script supervisor, however, an assistant director (AD) may record it.) Ultimately, this time goes to the 2nd AD who puts the production report together. An AD or producer may ask you when the first shot was. All you have to do is ask the script supervisor. (Fun note: The script supervisor is the official timekeeper of a film set and keeps a record of all of these times.)
Ah, the second best time of the day. Lunch is owed to the crew 6 hours after general crew call. In our example, lunch would be 12 noon (6 hours after call). Technically, production can break whenever they want, but there may be repercussions…
If production does not break after 6 hours, they owe the crew meal penalties (AKA money). This is why production almost always breaks after 6 hours and why ADs always freak out after 5 hours and 45 minutes. (Sadly, PAs do not get meal penalties and often end up working through lunch. But sometimes they do get to break early.)
What about those grips who were in at 5:30? Shouldn’t they break at 11:30? Yes. That’s why many call sheets will say, “All crew must NDB.” That stands for non-deductible break. As time permits (say the director needs to have a heart to heart with his star) crew members break away one at a time for a 30 minute break. That way they don’t go into a meal penalty, but production may continue uninterrupted. They will still break for lunch with the rest of the crew.
Production may also ask for a grace period to finish a shot in progress. This is only 12 minutes and needs to be asked for and agreed to by the crew. Then you may break for lunch at say 12:03 without going into a meal penalty.
Crews generally break for half hour lunches, but that clock doesn’t start until the last crew member (last man) is through the line. Let’s say lunch was called on time at 12:00, but the crew needs to be shuttled 10 minutes away to catering. It takes a further 8 minutes to get the entire crew through the catering line. So your half hour starts at 12:18. As a PA, it may be your job to watch the line and call last man. After that last man is through the line, tell the AD the time for last man.
Back in is the time lunch ends. In our case, that would be 12:48. The crew is “back in” at catering, so don’t expect to shoot anything until everyone’s taken that 10 minute shuttle back (~12:58). At lunch, after the last man is called, PAs will be asked to inform the crew. E.G. “Last man 12:18. Back in 12:48.” As with these other times, you may be asked to relay this info to and from production, the ADs, and the script supervisor.
First Shot After Lunch
Same as the first shot, just… after lunch.
(That’s a wrap…or is it lunch? Or both?)
“That’s a wrap. Everybody go home!” Ah, the best time of the day. When the first AD says those magic words, it’s time to start packing the trucks. This is the official camera wrap, but much like the official call time doesn’t dictate when you stop (or start) working.
Once the trucks are loaded and the crew is shuttled back to the parking lot, they are “out.” This is the individual wrap time and varies from department to department. Departments are generally (but not always) out as a group (e.g. the grips are out at 7pm). Most productions will assign a PA to each department to get out times. This information is relayed back to the 2nd AD for the production report. To simplify things, most productions have started using daily time cards that a representative will fill out and pass to the PA. That makes it easy to just run everything back to the office.
(Note: remember that 6 hour rule? If you continue to film 6 hours after lunch, production will owe another meal break or go into dinner meal penalties.)
The production report is a kind of mirror image of a call sheet. Whereas a call sheet is when you’re supposed to show up and what you hope to achieve for the day, the PR is what ended up actually happening.
At the end of the week, production will send PRs to each of the department heads. PAs often call these “cheat sheets” because crew members will copy the information on them to their time cards. But PRs have much more information on them than in and out times (injury reports, rerates, additional crew members that weren’t listed on the call sheet, etc.). Department heads (or their seconds) should actually be checking the PR to be sure that the information on them is correct. If you want to sound like you have a clue, call them by the correct name.
Now when someone asks, “Did we break on time Tuesday?” “What was call time today?” “When are we back in?” or “What was camera wrap last night?” you’ll have a vague idea what they’re talking about.
Bonus! Time cards!
To make this all a bit more confusing, times cards are filled out in 10ths of an hour on a 24 hour clock. Before your brain explodes, let me explain. First, a 10th of an hour is 6 minutes. 0:30=0.5, 0:18=0.3, 0:48=0.8. So 7:24 is… 7.4. Not that difficult.
A 24 hour clock simply means that Instead of going to 1pm, you go to 13.0. Just add 12 to the normal time. 3:24pm=15.4, 5:42pm=17.7, 11:54pm=23.9.
But wait, there’s more! If you bleed into a new day, you don’t reset the clock. So midnight becomes 24.0, 1am is 25.0, 2:12am is 26.2. (Last week, I wrapped at 31.0 or 7am Saturday morning.)
On set, everyone still speaks about time in the normal 12 hour, 60 minute way, but if you see a bizarre number like 14.6 on a PR, now you know what it means. (Also, it’s always morning when you start your day even if it’s 7pm… or 19.0.) As a nerdy form of masochism, check out the time card below and see if you can get the same results I do! (Notes: Even though I list the whole lunch time, only 1/2 hour is deducted from the time worked. Also, straight time is 8 hours, 1.5X is 4 hours, any additional time is 2X.)