[Reprinted from Camera Operator magazine]

Survival on Set

A Film School for Actors

By Michelle Brittan

Crew members: Do you remember your first time on the set? Did you feel awkward? Did it seem as if everyone was looking at you, judging your performance? Did you feel comfortable with your skills and abilities in using the equipment?
Somehow you survived and managed to master your job, progressing from one classification to the next.
As for the equipment, no matter how much it has changed, the technique remains the same: cameras are loaded with film or tape, SxS cards, lenses must be focused, compositions created, sets and actors lit with equipment that has been used or modified for decades. We learn, we relearn, we adapt, learn old rules, create new rules and break them all when necessary to get the shot!

Although everybody on the set is there to serve the same common goal, a gap occasionally exists between cast and crew. Not merely the “above the line vs. below the line” division but a communication breakdown of sorts. To this end a unique and ongoing seminar has been developed by Michael Frediani SOC, veteran camera operator & director, and producer/casting director Sally Forcier (Smokin' Aces, APParition) (www.forciercasting.com). The sole purpose of the seminars is to educate actors and demystify the behind-the scenes process, thus creating a comfort level for the novice as well as the more experienced actor.

Aspiring ACTORS have learned at these seminars--entitled Survival On Set (www.survivalonset.com) -- what to expect when arriving on a set for the first time. Frediani produced and directed a series of video interviews with actors, producers, directors and various crewmembers who explain exactly what their job entails and how it relates to you the actor.

Forcier states, “If the talent possesses a deep knowledge of set etiquette they can be freed to focus on their craft when in front of the camera, even on an unfamiliar or chaotic set.”

“As camera operators we are occasionally approached by actors and background artists regarding just what our job entails,” says Frediani. “There is genuine interest on their part in learning what takes place behind the lens technically and creatively. As a rule those of us who love what we do also enjoy imparting tidbits of knowledge on the set or in a classroom setting to actors and novice crewmembers. New people enter this business every day whether working in front of or behind the camera; experience and knowledge are the goals. Although we’ve heard all of the familiar catch phrases since we first set foot on a soundstage we may recall that at one time or another we actually had to ask someone the meaning of AKS, MOS, and POV,” Frediani acknowledges.

When an actor approaches a camera assistant, operator or director of photography concerning the size of the lens on the camera, chances are he or she is camera- savvy enough to know “where you are cutting them” based on the lens and the distance of the camera from their mark on the floor. At some point in time a helpful crewmember taught that actor a few technical lessons that have served them well.

“With that knowledge an actor can adjust his or her performance and action to best serve the camera—that is after all why we are on the set, right? As the camera crew we are in constant communication with actors, letting them know what we need from them in order to make the shot work. The more we can teach and effectively communicate with them the more productive and creative we can be,” adds Frediani.

On Your Mark

Bearing that in mind it is in the best interest of the camera crew to reach out to actors (and background players) in order to facilitate this dialogue. Communication is key. This is where the camera operator comes in, letting the actor know where there might be mechanical limitations of the camera or dolly that must be addressed so their performance is not compromised.

Camera operators, have you ever had an actor ‘miss their mark’ or sit down so fast that it appeared as if they fell through a trap door? We all have, but unless we explain to the actor how their actions appear through the lens they may not have a clue that what feels natural will in fact not look natural on the screen,” stresses Frediani.

“Rather than just tell them what we need, it’s beneficial to tell them why we need it done a particular way. This serves two purposes: we’re letting them know why their modified actions will look best on camera, and we’re establishing trust between the actor and the camera operator. That trust will go a long way in developing rapport between crew members and actors, raising their comfort level and perhaps aiding their performance.”

Feel Comfortable On The Set

“You should never feel intimidated by actors,” declares Forcier. “We are all on the set to be as creative as possible and if you hesitate to communicate then you’ve given up an essential tool in your possession. As for hitting marks, I’ve found that inexperienced actors may think their mark is nothing more than a zone within which they can move around. We teach them that the marks were placed at their feet during rehearsal, marks that they felt comfortable hitting based on their blocking performance.”

Frediani and Forcier demonstrate to actors that their mark is important for the following reasons: They will be in focus because that’s where the 1st AC measured them; they will be framed properly without major adjustments because that is where the optimum composition was set up; they won’t be blocked by another actor if the shot was designed as an over-the-shoulder; and last but not least they will look their best because the DP set the lights for them on that mark.

“Once an actor is cognizant of these factors,” Forcier explains, “they will do their best to accommodate the camera and be appreciative of you for taking the time to educate them. Remember that many actors admit to their insecurities. You can help them to overcome some of their qualms.”

In class during the blocking and scene study portion Frediani uses a video camera and monitor to demonstrate the end result when their mark is missed. Students see first hand onscreen what works and more importantly what doesn’t when blocking for camera.

Demystifying The Process

Other aspects of this distinctive seminar include explaining details of a typical call sheet such as the fine points of the day’s work listed, special items specific to each department and the job of each crew member listed on the back of the callsheet.

Basic functions and differences of the film and video cameras are explained to demystify some of what can be accomplished on the set; film and video formats are outlined and a glossary handout helps cement the knowledge of what is learned in class.

Props, breakaways, scripts, sides and a camera slate allow for hands-on education during this fast-paced seminar.

Interspersed with the video interviews from the set, Forcier leads the students through the slating process. Not the slate that you are familiar with as the camera crew--this slating process involves actors auditioning for a commercial who simply stand on their mark in front of a video camera, casting director, producer and director, stating their name and affiliated agency if they have one.

“This ten-second process can make enough of an impression to get them the job -- or not,” explains Forcier. “How well I train them in making a great first impression will go a long way towards getting them to the next step which is the cold read. In commercials usually the auditioning actor is given 30 seconds of copy to read on camera. First impressions count in this highly competitive industry, so actors must learn the skills and confidence in a class environment in order to excel in this process.”

That's a Print!

Taping them for later review allows the students to see what Frediani sees so he can make adjustments during their second pass at the material. Scene study and blocking round out the “on set” training segments.

Behind The Scenes Tips From Cast & Crew

Shifting gears back to the on-screen video interviews, students learn from assistant director Valerie Finkel (90210, Gilmore Girls) how best to conduct themselves on the set, where to report, what vouchers are, why they should wear quiet and comfortable shoes, how to match their crosses and how to think on their feet to help enhance the shot.

From a first assistant director’s standpoint Derek Johansen (Southland, The Brink) explains how and why a script is broken down and boarded to create the most efficient and logical schedule.

Third generation stunt coordinator Noon Orsatti (Charmed, Spider-Man: Homecoming, The Hunger Games: Catching Fire) reveals to students that they may be asked to do simple stunts such as throwing or taking punches. With various camera angles Frediani and Orsatti demonstrate “hits and misses” based on camera placement.

Veteran director Joel Feigenbaum (7th Heaven, Guns of Paradise, Charmed) details the casting process and the ordeal of choosing one actor over another who may be equally qualified. He explains that he directs three kinds of actors:

“In series television I trust the regulars’ instincts because they need very little in terms of character notes. However the director can help them with nuances that may be overlooked during the grind of week-in and week-out production. Guest stars are great fun to direct and that is where I may have carte blanche with their character and actions because they are eager to work on their short-term role. The third type of actor is the day player, someone with perhaps less experience and onscreen time who is also receptive to direction.”

Frediani then takes the class on a video tour of the wardrobe department with set costumer Kate Wood. Kate explains what every actor must know about wardrobe fittings and continuity, and she adds with a wink and a smile, “…in theatre, actors always hang up their clothes; in movies and television that’s not always the case.”

From assistant prop master Christy McGeachy (Piranha, Charmed) who explains the extreme importance of onset weapons handling and safety--“Never handle a weapon without the supervision of a prop person”--to a tour of an ADR studio led by sound mixer Brett Grant-Grierson (Big City Blues)--“ looping your own dialogue is an art unto itself”--and into the hair and make-up trailer with make-up artist Ani Plotkin (Dead Sexy) working on a lead actor, students get the total overview of what it takes to put a production together.

On location, still photographer Richard Cartwright (Wedding Crashers, 10 Things I Hate About You) demonstrates the equipment he employs on the set and explains what he needs from actors in order to place them in their “best light” for publicity photos.

Steadicam™ operator Mark LaBonge (We Were Soldiers, Supernova, American Wedding) explains the ins and outs of his specialized equipment, and a crane step off shot is demonstrated by Colin Anderson (Star Wars: The Force Awakens, Phantom Thread).

Learn From Experienced Actors

Actor Brian Krause (Charmed, CSI: Miami) explains to students what it takes to get the job and how “it’s sometimes easier to be on the set doing the work as opposed to the hard part which is the audition process. There have been some auditions where I thought I did well but didn’t get the part and others I didn’t feel good about but ended up getting the role.”

Julian McMahon (Fantastic 4, Charmed, Nip/Tuck, Marvel's Runaways) agrees and adds, “There is a certain technique that must be learned in order to audition well. First of all you must understand the script going in. Know what the writer wants.”

To that Krause adds, “Sometimes all you get are sides and very little explanation of the story, but you should remember that we got the audition for a reason. Based on our photo we are brought in because we already look right for the part. That’s an advantage right from the start.”

McMahon continues, “It is vitally important to be honing your skills in classes, studying with acting coaches, learning from casting directors and studying with other actors so that when all the stars are aligned and the right part comes along, you will be ready because you studied your craft and you won’t be let down.”

“Survival On Set" seminars illuminate the whole on-set process for actors,” concludes Frediani. “That’s why it’s imperative we take classes, read books and attend seminars provided by unions, guilds, rental houses and our own SOC. Knowledge empowers us—sharing that knowledge empowers others. Collaboration and reciprocity allow us to gain experience and knowledge in order to be more creative in all of our endeavors.”