Savage Light Studios

Reading without JavaScriptThe scenario is shown as a script. Every choice is listed with what happens, the best answer is marked, and the meter changes are in brackets as crew trust, schedule, safety.

Day 1Ext. StreetTake 1

Your First Day as a PA

Call time is 6 a.m. Nobody's going to explain twice.

A branching scenario, about 15 minutes. A non-union indie feature in the US.

BriefingBefore call

How today works

What you'll practise: reading a call sheet, talking on the radio, holding a lockup, standing clear of the frame and the actors' eyelines, knowing who you work for, calling a safety hold, and wrapping out.

You'll make the calls a new production assistant makes on a real shooting day. Three meters track how it's going:

You can't get fired. Mistakes get corrected, like on a real set. There's a debrief at the end, and a card to keep.

Scene 1Call Time5:40 a.m.

Call time

The call sheet came by email last night. You skimmed it.

Call sheet · Day 1 of 18 · "Last Light"

General crew call6:00 a.m.
Production assistants5:30 a.m. · report to key PA (Marco)
BasecampLot on Elm Street at Main
Crew parkingWest side of the basecamp lot
SetMain Street at Third Avenue (2 blocks east)
Nearest hospitalSt. Agnes Hospital, 1200 Elm Street, 2.1 mi
WeatherClear, 54–71 °F, sunset 6:52 p.m.
Scenes12, 13 (ext. street, day) · 27 (picture car)
The basecamp map Top-down map of basecamp, a lot on Elm Street two blocks from set. Crew parking is on the west side. In basecamp: the camera truck, the grip and electric truck, and the generator along the north edge, with a keep-clear zone round the generator; the hair and makeup trailer, wardrobe, and the production trailer in the middle row; the honeywagon and the catering tent in the south row. The sign-in table, where you start, is by the lot exit at the south-east corner. Your route to deliver sides runs from sign-in to the hair and makeup door. The walk to set leaves the lot and heads east along Main Street. CREW PARKING KEEP CLEAR CAMERA TRUCK GRIP & ELECTRIC GENNY HAIR & MAKEUP Jules is in here WARDROBE PRODUCTION HONEYWAGON CATERING SIGN-IN Sides to makeup To set: 2 blocks east YOU MAIN STREET ← Nearest hospital: St. Agnes, 2.1 mi (it's on the call sheet) N 05 m10 m ≈ 33 ft Your route Walk to set Keep clear Truck or trailer Doors marked in white. Not to scale for people.
Basecamp. You start at sign-in, by the lot exit.

You pull up at 5:40. Marco, the key PA, is already setting out cones. He looks at his watch.

What do you say?

  1. "My call was 6:00, so I'm early."

    Marco: "General crew call is 6. PAs were 5:30. Read your line on the sheet."

    (−10, 0, 0)

  2. "Sorry, I misread my call. What do you need?" And you check your own line next time.

    Marco hands you a stack of sides. "Next time be here 15 early. Early is on time."

    (+5, 0, 0)

  3. "Sorry, traffic was bad."

    Marco: "Traffic's always bad."

    (−5, 0, 0)
On setPAs often have an earlier call than general crew call. Your call is on your line of the sheet. Early is on time; on time is late.
Scene 1Call Time5:45 a.m.

Quick check

Marco: "First thing I ask every new PA. Where's the nearest hospital?"

Which line of the call sheet answers him?

  1. Basecamp: lot on Elm Street at Main

    That's where you're standing. Look further down the sheet.

    (0, 0, 0)

  2. St. Agnes Hospital, 1200 Elm Street, 2.1 mi

    Marco: "Good. Most people have to look."

    (0, 0, 0)

  3. "I'd look it up on my phone."

    Marco: "In an emergency you won't have time. It's on the sheet."

    (0, 0, 0)
On setThe nearest hospital is on every call sheet. Know it before you need it.
Scene 2The Radio6:15 a.m.

The radio

Marco hands you a walkie and an earpiece. "Production's on channel 1. Don't talk on it unless you have to."

Dana: Marco, Dana.

Marco's guiding a truck back and doesn't answer. Dana is the 2nd AD, and your boss today. Ten seconds later:

Dana: Anyone near basecamp?

You're at basecamp. What do you say?

  1. "Go for [your name], I'm at basecamp."

    Dana: "Need the sides for Jules in hair and makeup." You: "Copy." You take the route on the basecamp map.

    (+10, +5, 0)

  2. "Hi Dana, this is the new PA, I'm at basecamp right now, what do you need me to do?"

    Dana: "…Need sides in makeup. Keep it short on 1."

    (0, −5, 0)

  3. Wait for Marco to answer.

    Dana, again: "Anyone?" Marco finally answers and gives you a look.

    (−5, −5, 0)
On setAnswer with "go for" and your name. Confirm with "copy". Keep channel 1 short: if it takes more than a sentence, say "go to 2" and switch.
Radio words
Go for [name]How you answer when called
CopyI heard and understood
Flying inOn my way
Go to 2Switch channels for a longer talk
What's your 20?Where are you?
10-1Bathroom break
Scene 3The Lockup9:20 a.m.

The lockup: where do you stand?

Marco puts you on the corner of Main and Third. "Nobody walks into the shot while we're rolling. Find a spot where you can see anyone coming. I'll be back."

They're lighting a shot of Jules, the lead. Jules plays the scene to the other actor, who stands just beside the lens.

The lockup map Top-down map of the block. The camera sits on the north sidewalk near the corner of Main Street and Third Avenue, pointing east at Jules. Its frame widens east down the block. Jules looks back toward the lens, so the space beside the camera is in their eyeline. Pedestrians arrive down Third Avenue to the corner. Spot A is at the corner, behind the camera and out of frame. Spot B is beside the camera, in Jules's eyeline. Spot C is down the block, inside the frame. VIDEO VILLAGE CAMERA OFF-CAMERA ACTOR JULES on their mark A B C MAIN STREET THIRD AVENUE PA 2 holds the far end → N 05 m10 m ≈ 33 ft Camera frame Eyeline Pedestrians AWhere you could stand Not to scale for people. Buildings hatched.
Tap A, B or C on the map, or use the buttons below.

Where do you stand?

  1. At the corner, behind the camera's side, with a clear view up the avenue

    Marco, passing: "Good spot."

    (+5, +5, 0)

  2. Beside the camera, so you can hear the AD

    Jules stops mid-line. Dana: "Whoever's by camera, you're in Jules's eyeline. Clear it, please." The eyeline is lit on the map.

    (−10, −5, 0)

  3. Halfway down the block, closer to where people come from

    The camera operator: "There's someone in the back of frame." You're the someone. The frame is lit on the map.

    (−5, −10, 0)
On setAn actor's eyeline is where they look during the shot, usually at the other actor beside the lens. Never stand in it, and don't watch an actor during a take. If you can see the lens, it may see you. When in doubt, ask "Am I clear?"
Scene 3The Lockup9:30 a.m.

The lockup: the neighbour

You're at the corner, out of frame and out of the eyeline.

Dana: Lock it up… Rolling!

A neighbour with grocery bags comes down the avenue to your corner. "I live right there. I just need to get through."

What do you do?

  1. "We're rolling right now. It'll be about a minute. Thanks so much for waiting." Then echo "rolling" on the radio.

    You hear "cut", and you walk them through. They thank you.

    (+10, +5, 0)

  2. Let them through. It's their street.

    They walk into the back of the shot. Radio: "Cut! Who's got that corner?"

    (−15, −15, 0) · goes to the branch scene

  3. Put out an arm and block them.

    They push past you, angry. Radio: "Cut!" You've touched a member of the public.

    (−10, 0, −5) · goes to the branch scene
On setA lockup is a request, not an order. You can't legally stop the public, so be polite, give a time, and thank them. Never touch anyone. Echo "rolling" and "cut" so the next PA hears it too.

Branch scene: only if the neighbour walked into the shot

Scene 3bWalk and Talk9:40 a.m.

Walk and talk

Dana walks up. "What happened on your corner?"

What do you say?

  1. "That was my corner. My mistake. Next time I'll ask them to wait and tell them how long."

    Dana: "Good. It happens once."

    (+10, 0, 0)

  2. "They said they lived there. I didn't think I could stop them."

    Dana: "You can't stop them. You can ask nicely and tell them how long."

    (0, 0, 0)

  3. "Nobody told me what to do."

    Dana: "Marco told you. Next time, ask if you're not sure."

    (−10, 0, 0)
On setOwn the mistake in one sentence and say what you'll do next time. ADs remember the answer more than the mistake.
Scene 4Between Setups11:00 a.m.

Two requests at once

The crew is turning around for the reverse. Two requests reach you at the same moment.

Rae, a grip: "Hey, can you grab that C-stand and move it over by the truck?"

Jules: "Could you tell the director I want to try the line differently?"

What do you do?

  1. Tell Rae you'll check with Dana whether you're free to help. Tell Jules you'll pass it to the 2nd AD. Then radio Dana.

    Dana: "Copy, I'll tell the 1st. Rae can have you for five." Rae shows you how they want the stand carried.

    (+10, 0, +5)

  2. Move the C-stand yourself, then walk over to the director.

    Rae: "Not like that. Don't touch my gear without asking." The 1st AD stops you before you reach the director.

    (−10, −5, −5)

  3. Tell them both you're busy.

    Jules has to find someone else, and Rae carries it alone.

    (−5, 0, 0)
On setYou work for the AD department. Other departments' gear belongs to them: don't touch it unless they ask and show you how. Messages for the director go through the ADs.
Scene 5The Picture Car2:15 p.m.

The picture car

After lunch, the scene is a car pulling up fast to the kerb. The precision driver is rehearsing. You're holding the background extras on the sidewalk.

The car is backing up to its first mark. One extra steps off the kerb to take a selfie, right into its path. From camera, nobody can see them.

The picture car map Top-down map of Main Street during the picture car rehearsal. The car is at its end mark by the north kerb and is backing east to its first mark. The lane it reverses along is a keep-clear zone, and the area behind the car is the driver's blind spot. The camera and video village are on the south side, and the car body blocks their view east. Background extras are held on the north sidewalk, where you are standing. One extra has stepped off the kerb into the car's path, inside the blind spot. DRIVER'S BLIND SPOT END MARK FIRST MARK CAR reversing to first mark BACKGROUND HOLDING Extra off the kerb YOU CAMERA VIDEO VILLAGE The car blocks camera's view east MAIN STREET N 05 m10 m ≈ 33 ft Car path: keep clear Blind spot Camera frame Extra Hazards in ember, always labelled. Not to scale for people.
The car reverses east. The extra is in the driver's blind spot, and you're the only one who can see it.

What do you do?

  1. On channel 1: "Hold the roll, person in the car's path!" Then move the extra back.

    Dana: "Holding! Thank you." The car stops. The stunt coordinator moves the extras' holding area back from the kerb.

    (+10, −5, +20)

  2. Walk over and quietly ask the extra to step back.

    The car stops a few feet from them. The driver is shaken, and the stunt coordinator wants to know why nobody called it.

    (0, 0, −10) · goes to the branch scene

  3. It's only a rehearsal and the driver can see. Say nothing.

    The driver can't see behind the car. Someone shouts. The car stops with inches to spare.

    (−10, 0, −25) · goes to the branch scene
On setAnyone on set can call a hold for safety, and nobody will be angry that you did. Call it first, then fix it. A lost minute is cheap; an injury shuts down the shoot.

Branch scene: only if the hold wasn't called

Scene 5bSafety Meeting2:30 p.m.

Safety meeting

Nobody was hurt. The 1st AD stops work and calls the crew together. "Who had eyes on the sidewalk?"

What do you do?

  1. "I did. I saw them step off, and I should have called a hold."

    1st AD: "Thank you. Next time, call it. Everyone hear that? Anyone can call it."

    (+10, 0, +10)

  2. Say nothing.

    The extra points at you.

    (−15, 0, −5)
On setAfter a near miss, tell the truth fast. The safety meeting exists so it doesn't happen twice.
Scene 6Martini Shot6:45 p.m.

Wrap

Dana: That's a wrap on the day. Thanks, everyone.

You've been up since 4.

What do you do before you leave? Choose all that apply.

  1. Return your walkie and earpiece to Marco

    (do it)

  2. Pick up the cones and signs from your corner

    (do it)

  3. Check you have tomorrow's call sheet

    (do it)

  4. Sign out with the key PA

    (do it)

  5. Head straight home

    (not yet)

All four done and nothing missed: (+10, +5, 0). Missed any: (−5, 0, 0).

On setYou're not wrapped until the PAs are wrapped. A missing walkie gets charged to the production.
End of dayWrap

How the day went

Three endings, decided by the meters:

Asked back: safety 60+ and crew trust 60+

Dana: "Same call tomorrow. Nice work today."

Day player: safety 40+, but not asked back

Marco: "Dana says they've got you down as a maybe for next week."

Talk with the 2nd AD: safety under 40, whatever else happened

Talk with the 2nd ADDana: "Can I have a minute? Let's go through today."

DebriefYour day

Debrief

Best calls

0 / 0

MomentYou choseBestThe rule

With JavaScript on, this screen lists every choice you made beside the best answer and the rule behind it.

Keep the card

The PA's First-Day Card: radio words, the lockup script, where to stand, who you work for, safety, and the wrap checklist on one page. Download the PDF

How ready do you feel for your first day?