I canceled my local IPS account where my webpage was hosted.
My domain registration was separate. It had 15GB storage space but they closed that in October. You now "can" pay a monthly fee for storage.
I made a blog for a lot of the content from my old webpage. channing-humphries.com now redirects to that blog.
I'd like to add stuff without deleting posts to get the main post on top. (11-7-09 case in point, cool flashy ads for movies were showing but disappeared when I deleted main post to put one after it and re-added main post.)
I didn't put all of the photography. Blogspot is a real pain for adding photos. Maybe other settings than the ones I wanted work as expected and don't require a ton of copy/paste/edit text for EACH photo.
Most of the webpage/blog is my extra work. I edit out principal actors where applicable. Many you would have to freeze, knowing exactly where it is to catch me. A few aren't good enough to be there and some others I could ad. I thought about adding a still from a 10-second foreign commercial spot but actors aren't supposed to list commercial involvement (could be an issue, can be checked out or possibly negotiated later).
I kind of wanted to post the NYFA short but want the director's permission. Technically this is required even though it is my image (and others are in it too). She's from France. I got in touch with her online from Qatar I think, working on a reality show. She had worked with the people from Donald Trump's "The Apprentice" but I don't know how long.
Showing posts with label acting. Show all posts
Showing posts with label acting. Show all posts
Sunday, November 1, 2009
Thursday, June 11, 2009
SAG and AMPTP
The Screen Actors Guild voted unanimously to ratify yet another contract with the AMPTP for TV/theater pretending that AMPTP will look at giving a fair share of profit sometime in the future. Unlike baseball's "player to be named later" which has been the same player, this profit sharing never is revisited.
Media is evolving at such a pace that internet and TV are already combining and soon will be one and the same. You will surf YouTube or its latest incarnation or replacement on your TV/computer.
Small gain was made in this upper class SAG railroaded contract for MADE-FOR new media projects, but no change was made for profits made by production companies from content produced for TV or theaters.
The members of the SAG board, who were elected to represent the membership (much like Congress) ignore the needs of the membership and set up deals for themselves (much like Congress). They also would have you believe that the background (or "extra") actors are the problem blocking the contract and negotiation.
A producer to remain nameless claims are not WORKING actors (I'd like to see the films where they don't work), regurgitates this, not knowing anything about the union nor actors, stating that they should not be allowed to vote. The TRUTH is that background talent does not make enough money for other benefits and their only hope is the 3% raise, barely cost of living. They wanted this last July when the contract ran out.
The million + upfront for film actors do not want to lose a bargaining chip that they aren't getting backend profit sharing. This would cut their upfront rate, some might lose a million or more. If the film or project does very well then they would receive money from DVD sales, ticket sales, etc. and might actually make more money. If the movie flops, they wouldn't make much more than their upfront contract amount. Letting the market decide, hmm sounds like capitalism.
SAG *censored* opposing view where many people will lose their health and pension benefits under the new contract and spewed propaganda largely from producer/actors. Hmm sounds like North Korea and all the countries censoring internet access to keep out opposing idealogies.
The WGA had the cajones to strike for a fair contract. I picketed with them in support for their contract. They only wanted a small percentage and that percentage would be $0 if no money was made. SAG did not have the cajones to demand the same thing.
The AMPTP will not take SAG seriously as they join AFTRA in putting BOARD members first. They left out "board" when trying to get members' votes to place them on the board.
I was skeptical about SAG president Alan Rosenberg until sitting in a meeting with him. He knows the union from top to bottom, the rich and middle-class and background and struggling actors. He sought to UNITE and address issues at all levels. He was railroaded by [Board] members first who had barely a majority of the board, about 52%. They stalled until they could get organized and have enough members bother to show up to a meeting and fire the chief negotiator, making a joke of the union.
Then they concede to AMPTP and wink at the "we'll look at that later" clause as if the big production companies were bankrupt like the car industry. % of zero is 0 never gets revisited, not with VHS, DVD, now new media. Besides allowing multiple airings within a week and 3 weeks for cable, which might play twice a day for those 3 weeks, or more. Besides that, the networks brag to shareholders how much money they are making on the internet. NONE of the multi-airing in the time period and internet streaming revenue is shared. Reruns are covered, however, and residuals from the additional advertising profits are shared.
If the union isn't going to stand up for anything, they might as well concede to a 20 year contract with the current rates and a fixed percentage bump. Leave a clause open for change for all the things that are never revisited.
So the totally ignorant may think that SAG got its act together. But in reality the AMPTP will not take SAG seriously and the disarray and fallout could be much worse than any strike ever could have been.
Media is evolving at such a pace that internet and TV are already combining and soon will be one and the same. You will surf YouTube or its latest incarnation or replacement on your TV/computer.
Small gain was made in this upper class SAG railroaded contract for MADE-FOR new media projects, but no change was made for profits made by production companies from content produced for TV or theaters.
The members of the SAG board, who were elected to represent the membership (much like Congress) ignore the needs of the membership and set up deals for themselves (much like Congress). They also would have you believe that the background (or "extra") actors are the problem blocking the contract and negotiation.
A producer to remain nameless claims are not WORKING actors (I'd like to see the films where they don't work), regurgitates this, not knowing anything about the union nor actors, stating that they should not be allowed to vote. The TRUTH is that background talent does not make enough money for other benefits and their only hope is the 3% raise, barely cost of living. They wanted this last July when the contract ran out.
The million + upfront for film actors do not want to lose a bargaining chip that they aren't getting backend profit sharing. This would cut their upfront rate, some might lose a million or more. If the film or project does very well then they would receive money from DVD sales, ticket sales, etc. and might actually make more money. If the movie flops, they wouldn't make much more than their upfront contract amount. Letting the market decide, hmm sounds like capitalism.
SAG *censored* opposing view where many people will lose their health and pension benefits under the new contract and spewed propaganda largely from producer/actors. Hmm sounds like North Korea and all the countries censoring internet access to keep out opposing idealogies.
The WGA had the cajones to strike for a fair contract. I picketed with them in support for their contract. They only wanted a small percentage and that percentage would be $0 if no money was made. SAG did not have the cajones to demand the same thing.
The AMPTP will not take SAG seriously as they join AFTRA in putting BOARD members first. They left out "board" when trying to get members' votes to place them on the board.
I was skeptical about SAG president Alan Rosenberg until sitting in a meeting with him. He knows the union from top to bottom, the rich and middle-class and background and struggling actors. He sought to UNITE and address issues at all levels. He was railroaded by [Board] members first who had barely a majority of the board, about 52%. They stalled until they could get organized and have enough members bother to show up to a meeting and fire the chief negotiator, making a joke of the union.
Then they concede to AMPTP and wink at the "we'll look at that later" clause as if the big production companies were bankrupt like the car industry. % of zero is 0 never gets revisited, not with VHS, DVD, now new media. Besides allowing multiple airings within a week and 3 weeks for cable, which might play twice a day for those 3 weeks, or more. Besides that, the networks brag to shareholders how much money they are making on the internet. NONE of the multi-airing in the time period and internet streaming revenue is shared. Reruns are covered, however, and residuals from the additional advertising profits are shared.
If the union isn't going to stand up for anything, they might as well concede to a 20 year contract with the current rates and a fixed percentage bump. Leave a clause open for change for all the things that are never revisited.
So the totally ignorant may think that SAG got its act together. But in reality the AMPTP will not take SAG seriously and the disarray and fallout could be much worse than any strike ever could have been.
Monday, April 6, 2009
How to be a Movie/TV extra during a Vacation to LA
Since I lived in LA doing extra work, and actually did my first gig unpaid by paying charity (different rules apply), I know lots of people would love to be an extra on TV or in a film. Sorry but this is for people 18 and older. Some stuff applies to kids as well but there are so many more laws and the legal parent has to be there and I don't know all the details for children. Currently only US residents too or at least legal work tax number not requiring sponsorship.
You might not be able to work on your favorite show and you aren't likely to get to meet any actors. Working as background/extra means part of your job is not to bother the principals (actors). No cameras on set, no picture-taking of celebs, no asking for autographs, etc.
Now that your expectations are lowered a bit, you also have to know that you might not be made visible at all, there's a chance you could be hired and never go to set, sometimes they do all day what they wanted to get done by lunch for various reasons, etc. Even if you make it on camera, and it is VERY important to remember NOT to look at the camera unless that is your explicit instruction, it might be edited so that you don't get seen, the scene might get dropped, etc.
Now that I've burst your bubble, there is a chance you could be seen and recognizable in a shot or more than one shot. There's a small chance you could be close to the actors and even interact with them, no speaking of course unless explicitly directed to do so.
Maybe this should be in multiple parts, but I'm going to try to get enough info in here.
Given hiatus (scheduled breaks) the best months to plan such a visit would be August through November and February through April for TV shows. There will be some movie work most of the year except holidays but you never know.
Plan your trip around having an early-on Monday/Wed/Fri at the beginning and about 3 days or more afterward. Whatever you plan to do as a tourist, you will probably want unscheduled so that you have whole days available to be on set, or do sightseeing on days when you don't get hired to work on set.
For non-union (not a member of Screen Actors Guild, or if applicable AFTRA) registration with Central Casting is held M/W/F at 10:30am for about an hour or so. The address is 220 S. Flower St, Burbank CA. Be there early, dressed for a photo to be taken how you would like to appear, business attire or hip and trendy and some might have a swimsuit body and have an additional photo taken (might cost more, not sure).
Street parking only, more reason to get there early. Don't park in the bus station lot or any business lot as your vehicle will most likely be towed. If you don't mind walking a couple blocks there is usually somewhere you can park. As always in the area, check for signs about restricted parking by times/days, etc.
You will need either a photo ID such as drivers license along with Social Security card; or a valid US Passport. The registration fee is $25 cash only. The fee is subject to change, don't flash your cash stash when getting the money. There is an ATM a few blocks away, better to go beforehand.
You will be filling out a registration form and asked your measurements, height and weight, plus chest, hat, shoe, bust for ladies, dress coat for gentlemen. They will probably have measuring tapes for you to get the measurements but probably not assist you in getting them.
There will be someone giving an info talk and possibly questions but limited. You will wait in line (likely two lines) to give completed registration forms to people at computers. Have ID(s) ready. Then you will wait in another line for photo. You will pay the $25 (or current registration) at the counter where you will get your photo taken. Stand at the T, look into the camera in this case, and smile your best until the flash goes off (on and back off). They will usually be helpful to make the photo better but don't waste too much time.
There's a chance that a Casting Director (CD) will be lurking to see if there are model types or something special needed for an upcoming episode. Decide for yourself how much to admit if asked about being added to a specialty list (since you are not local, and they will be less inclined to want you, but I would recommend not lying).
Once you are registered, you can usually call in for work the same day. This is the very annoying part. Although they are not the only background casting, they handle probably 90% or more of TV shows in the LA area and some movies. The number they give you will be a recorded line of available background Casting Calls. Unless they have updated their system, there is a lot of dead air because they cannot skip empty "boxes" when cycling through them. Listen carefully to what is wanted for a call.
Have pen and paper ready when calling to jot down details and especially the number to call to try and get booked. If you hear something that matches you, and be totally honest thinking about your age and don't pretend you look more than 5 years younger than that unless dozens of people who don't know you have told you that.
There is a different line for women and men. They will ask for ethnicity and possibly age or age ranges, height, build, wardrobe, distinguishing features, special abilities (and don't claim to be able to do unless you know you're as good as they say they want, they likely need you to bring the prop or equipment and pay a little extra for that). Sometimes you will hear a call that you might have missed, and they've updated and all they need are a certain number of an age range or ethnicity. They really do have a number from production of how to fill the slots based on gender, age, ethnicity, etc.
Back to hearing something you match, on a show or movie you would like to work on. You might want to hear the message more than once before trying to call in. Sometimes it is a nightmare trying to call in. There could be a LOT of people and only a few slots. It's much easier to get booked on a "cattle call" of hundreds or even a thousand or more, but not very likely that you'll be visible in the final cut.
Don't assume you can go buy wardrobe unless you're disgustingly rich and can make anything happen quickly and know where to look and exactly what to buy for anything didn't bring with you.
If the call is for multiple days, they will usually say so, otherwise it is only for one day. Sometimes they know the Call Time (time to be on set and ready to work) and sometimes you have to assume you'll do nothing else that day and get the Call Time in the evening. One reason for this is that consecutive days have a union turnaround minimum and they decide the Call Time for the next day based on when they wrap that day.
Note that you probably have to keep calling the info line listening for Casting Calls multiple times before hearing something that fits. If you happen to be 18, you won't have to listen as long. There are a lot of calls for "18 to look younger" to play high school, etc.
OK say you've found something you fit and a day(s) you know you can commit to, you call the number that they give and either keep trying for the CD to answer or keep trying so you can leave a message. Always when calling, be ready with "First 5" which is what they refer to as the first five digits of your Social Security number. This is how they look you up in the computer. So have ready or memorize them. They'll want First 5, Name, and Project calling about. Sometimes they're only doing one at a time, other times they have multiple things going.
If they pull up your info and photo and think they can use you for the Call, they will wither give you a call time, or just a Tape # for the other info line. The Tape info line will ask for the number, and you will have to have it so write it down. Have pen and paper ready when trying to call the CD or getting a phone call from them. As I said before, all info might not be ready until the evening so you might have to call the number multiple times and enter the # for the Tape/Box. Again you will want pen and paper to jot info about the job.
There will also likely be a second # for Call Time changes. You will be asked to check that before going to bed and again in the morning to be sure it hasn't changed. Other things to consider are night calls where starting time is afternoon/evening and could run 8-12 hours or more, and location.
Probably the best thing for locations if you can afford it is Rand McNally's Thomas (Bros.) Guide. Google maps is often good enough but the actual street number placement is better with Thomas Guide. They often give page and map grid for Thomas Guide when telling you how to get to a location. If the location is a studio, your name will have been added to a list with permission to enter the studio lot. They will likely tell you where to park. There might be additional security (especially Warner Bros.) before entering the lot. Allow extra time for all of this, and finding your way to the sound stage in the lot (could be a long walk).
You will need to take additional clothes with you. There are various reasons for Wardrobe to choose different clothes and it doesn't matter, just wear one and take two changes or more and be ready to change. If they think you look like a cop or military they might have the wardrobe for you (and haircut and sizes were probably already discussed before hiring you).
Once hired, even if your a billionaire, treat this as a job, albeit paying only California state minimum wage. As background/extra you are about the bottom of the hierarchy so don't have attitude about being told what to do or where to be, etc. Also treat it as a priority to be there (allowing for horrible traffic, etc.) on time and quiet when needed available when needed, etc. Don't wander around a studio lot beyond going where you are supposed to be and the restroom, or commissary if there isn't catering.
This might not be the best time to try and do this with unemployment as it is, but maybe keep the info for later. If you want to do this, I know you will.
Know who and/or where to report to when you arrive on set. Many times you're only given the location and if you're early as you should be eager to be on set, you might wait around until more background show up or Production Assistants (PAs). A PA will usually have the vouchers (work payroll data forms) for you to sign in, and tell you where to be.
If you get an item from Wardrobe or Property (Props) you will usually give a copy of your voucher (at least three "carbon" pages) to hold so that you return the item to be paid. Not taking the pay doesn't mean you aren't stealing if you don't return Props or Wardrobe.
The PA (or possibly 2nd Assistant Director, 2nd AD) will tell you where Holding is. This is where you will sit and wait. Hopefully it isn't too close to set and you can talk, but sometimes you have to stay quiet at least while they are Rolling. You will need to be in this are or the restroom or on set at all times. If you want the option of being seen (maybe don't do the school nerd hand-raising thing) you will want to be available and actually volunteer. Sometimes if you volunteer the PA or 2ndAD will use you more often and/or place you more visibly in the shot. There is a LOT of "Hurry up and wait."
If breakfast is provided before shooting, you will be told where, etc. If you are there more than 6 hours you will likely have a lunch break (payment penalty might be chosen instead and you might be there less than 8, but you still get paid for 8 as you were hired for 8). "Come having had" means that a meal will not be provided before any shooting. There are often different lines for union and non-union food, both meals and Craft Services (sometimes called Crafty). Craft Services will have snacks and water and maybe sodas. Sometimes the different lines have the same food, sometimes they do not. If you want to protest conditions, do something when you aren't on the job as non-union. SAG (or AFTRA) regulates conditions but not for non-union. Sometimes there are state law issues. Try not to "rock the boat" unless there is a real reason to.
OK now you get called to set, and you will often single-file into a space and play the quiet game. Go where you're told and do what you're told to do. As I said before, don't look at the camera when rolling unless explicitly told to do so. Pay attention to where it/they are so you won't look for them while rolling (if you look for them, you'll be looking into the camera before you realize it). "Back to One" or "Reset" means to go back to the position you were placed at the top of this scene. Usually you'll either be told to sit at a table in the background and pretend to have a conversation, usually without speaking, or make "crosses" where you are walking in/through the background or possibly even in front of the camera. Pay attention to cues, "Last Looks" usually isn't for background, occasionally they do hair/makeup adjustments on background that is seen well, that is usually called for them to make adjustments to the principals (actors). Sometimes "Background" or "Background Action" is called separate from "Action" to have the atmosphere in motion before the action takes place. Background is there to make it look like a REAL place. Sometimes you will get done with any crossing told to do, other times they will have to "Cut" in the middle. "Places" might be called instead of "Back to One" or "Reset." You will often repeat a scene more times than you would like. Unless told to change, you will try to match the same crossing movement so editing will result in realistic, or more realistic results.
Working background you will meet all types. Try not to be judgmental. Many will be more talented than background and networking. Many networking will aspire to be producers or directors. Some will have talent and low budget projects and some might not have a clue what they're talking about. Take some things with a grain of salt but mainly just try to have a good time and be a good employee.
Hopefully I've put enough info in here to actually register and know what to do to get a job, go to it, and work on a show or movie. There's a lot of info. There are all kinds of things that might come up and I obviously haven't covered every possibility.
If you have questions you can leave a comment and I will try to answer. I would love to hear any success stories whether you just loved working a show or movie or were visible in the final cut or anything exciting you want to share.
You might not be able to work on your favorite show and you aren't likely to get to meet any actors. Working as background/extra means part of your job is not to bother the principals (actors). No cameras on set, no picture-taking of celebs, no asking for autographs, etc.
Now that your expectations are lowered a bit, you also have to know that you might not be made visible at all, there's a chance you could be hired and never go to set, sometimes they do all day what they wanted to get done by lunch for various reasons, etc. Even if you make it on camera, and it is VERY important to remember NOT to look at the camera unless that is your explicit instruction, it might be edited so that you don't get seen, the scene might get dropped, etc.
Now that I've burst your bubble, there is a chance you could be seen and recognizable in a shot or more than one shot. There's a small chance you could be close to the actors and even interact with them, no speaking of course unless explicitly directed to do so.
Maybe this should be in multiple parts, but I'm going to try to get enough info in here.
Given hiatus (scheduled breaks) the best months to plan such a visit would be August through November and February through April for TV shows. There will be some movie work most of the year except holidays but you never know.
Plan your trip around having an early-on Monday/Wed/Fri at the beginning and about 3 days or more afterward. Whatever you plan to do as a tourist, you will probably want unscheduled so that you have whole days available to be on set, or do sightseeing on days when you don't get hired to work on set.
For non-union (not a member of Screen Actors Guild, or if applicable AFTRA) registration with Central Casting is held M/W/F at 10:30am for about an hour or so. The address is 220 S. Flower St, Burbank CA. Be there early, dressed for a photo to be taken how you would like to appear, business attire or hip and trendy and some might have a swimsuit body and have an additional photo taken (might cost more, not sure).
Street parking only, more reason to get there early. Don't park in the bus station lot or any business lot as your vehicle will most likely be towed. If you don't mind walking a couple blocks there is usually somewhere you can park. As always in the area, check for signs about restricted parking by times/days, etc.
You will need either a photo ID such as drivers license along with Social Security card; or a valid US Passport. The registration fee is $25 cash only. The fee is subject to change, don't flash your cash stash when getting the money. There is an ATM a few blocks away, better to go beforehand.
You will be filling out a registration form and asked your measurements, height and weight, plus chest, hat, shoe, bust for ladies, dress coat for gentlemen. They will probably have measuring tapes for you to get the measurements but probably not assist you in getting them.
There will be someone giving an info talk and possibly questions but limited. You will wait in line (likely two lines) to give completed registration forms to people at computers. Have ID(s) ready. Then you will wait in another line for photo. You will pay the $25 (or current registration) at the counter where you will get your photo taken. Stand at the T, look into the camera in this case, and smile your best until the flash goes off (on and back off). They will usually be helpful to make the photo better but don't waste too much time.
There's a chance that a Casting Director (CD) will be lurking to see if there are model types or something special needed for an upcoming episode. Decide for yourself how much to admit if asked about being added to a specialty list (since you are not local, and they will be less inclined to want you, but I would recommend not lying).
Once you are registered, you can usually call in for work the same day. This is the very annoying part. Although they are not the only background casting, they handle probably 90% or more of TV shows in the LA area and some movies. The number they give you will be a recorded line of available background Casting Calls. Unless they have updated their system, there is a lot of dead air because they cannot skip empty "boxes" when cycling through them. Listen carefully to what is wanted for a call.
Have pen and paper ready when calling to jot down details and especially the number to call to try and get booked. If you hear something that matches you, and be totally honest thinking about your age and don't pretend you look more than 5 years younger than that unless dozens of people who don't know you have told you that.
There is a different line for women and men. They will ask for ethnicity and possibly age or age ranges, height, build, wardrobe, distinguishing features, special abilities (and don't claim to be able to do unless you know you're as good as they say they want, they likely need you to bring the prop or equipment and pay a little extra for that). Sometimes you will hear a call that you might have missed, and they've updated and all they need are a certain number of an age range or ethnicity. They really do have a number from production of how to fill the slots based on gender, age, ethnicity, etc.
Back to hearing something you match, on a show or movie you would like to work on. You might want to hear the message more than once before trying to call in. Sometimes it is a nightmare trying to call in. There could be a LOT of people and only a few slots. It's much easier to get booked on a "cattle call" of hundreds or even a thousand or more, but not very likely that you'll be visible in the final cut.
Don't assume you can go buy wardrobe unless you're disgustingly rich and can make anything happen quickly and know where to look and exactly what to buy for anything didn't bring with you.
If the call is for multiple days, they will usually say so, otherwise it is only for one day. Sometimes they know the Call Time (time to be on set and ready to work) and sometimes you have to assume you'll do nothing else that day and get the Call Time in the evening. One reason for this is that consecutive days have a union turnaround minimum and they decide the Call Time for the next day based on when they wrap that day.
Note that you probably have to keep calling the info line listening for Casting Calls multiple times before hearing something that fits. If you happen to be 18, you won't have to listen as long. There are a lot of calls for "18 to look younger" to play high school, etc.
OK say you've found something you fit and a day(s) you know you can commit to, you call the number that they give and either keep trying for the CD to answer or keep trying so you can leave a message. Always when calling, be ready with "First 5" which is what they refer to as the first five digits of your Social Security number. This is how they look you up in the computer. So have ready or memorize them. They'll want First 5, Name, and Project calling about. Sometimes they're only doing one at a time, other times they have multiple things going.
If they pull up your info and photo and think they can use you for the Call, they will wither give you a call time, or just a Tape # for the other info line. The Tape info line will ask for the number, and you will have to have it so write it down. Have pen and paper ready when trying to call the CD or getting a phone call from them. As I said before, all info might not be ready until the evening so you might have to call the number multiple times and enter the # for the Tape/Box. Again you will want pen and paper to jot info about the job.
There will also likely be a second # for Call Time changes. You will be asked to check that before going to bed and again in the morning to be sure it hasn't changed. Other things to consider are night calls where starting time is afternoon/evening and could run 8-12 hours or more, and location.
Probably the best thing for locations if you can afford it is Rand McNally's Thomas (Bros.) Guide. Google maps is often good enough but the actual street number placement is better with Thomas Guide. They often give page and map grid for Thomas Guide when telling you how to get to a location. If the location is a studio, your name will have been added to a list with permission to enter the studio lot. They will likely tell you where to park. There might be additional security (especially Warner Bros.) before entering the lot. Allow extra time for all of this, and finding your way to the sound stage in the lot (could be a long walk).
You will need to take additional clothes with you. There are various reasons for Wardrobe to choose different clothes and it doesn't matter, just wear one and take two changes or more and be ready to change. If they think you look like a cop or military they might have the wardrobe for you (and haircut and sizes were probably already discussed before hiring you).
Once hired, even if your a billionaire, treat this as a job, albeit paying only California state minimum wage. As background/extra you are about the bottom of the hierarchy so don't have attitude about being told what to do or where to be, etc. Also treat it as a priority to be there (allowing for horrible traffic, etc.) on time and quiet when needed available when needed, etc. Don't wander around a studio lot beyond going where you are supposed to be and the restroom, or commissary if there isn't catering.
This might not be the best time to try and do this with unemployment as it is, but maybe keep the info for later. If you want to do this, I know you will.
Know who and/or where to report to when you arrive on set. Many times you're only given the location and if you're early as you should be eager to be on set, you might wait around until more background show up or Production Assistants (PAs). A PA will usually have the vouchers (work payroll data forms) for you to sign in, and tell you where to be.
If you get an item from Wardrobe or Property (Props) you will usually give a copy of your voucher (at least three "carbon" pages) to hold so that you return the item to be paid. Not taking the pay doesn't mean you aren't stealing if you don't return Props or Wardrobe.
The PA (or possibly 2nd Assistant Director, 2nd AD) will tell you where Holding is. This is where you will sit and wait. Hopefully it isn't too close to set and you can talk, but sometimes you have to stay quiet at least while they are Rolling. You will need to be in this are or the restroom or on set at all times. If you want the option of being seen (maybe don't do the school nerd hand-raising thing) you will want to be available and actually volunteer. Sometimes if you volunteer the PA or 2ndAD will use you more often and/or place you more visibly in the shot. There is a LOT of "Hurry up and wait."
If breakfast is provided before shooting, you will be told where, etc. If you are there more than 6 hours you will likely have a lunch break (payment penalty might be chosen instead and you might be there less than 8, but you still get paid for 8 as you were hired for 8). "Come having had" means that a meal will not be provided before any shooting. There are often different lines for union and non-union food, both meals and Craft Services (sometimes called Crafty). Craft Services will have snacks and water and maybe sodas. Sometimes the different lines have the same food, sometimes they do not. If you want to protest conditions, do something when you aren't on the job as non-union. SAG (or AFTRA) regulates conditions but not for non-union. Sometimes there are state law issues. Try not to "rock the boat" unless there is a real reason to.
OK now you get called to set, and you will often single-file into a space and play the quiet game. Go where you're told and do what you're told to do. As I said before, don't look at the camera when rolling unless explicitly told to do so. Pay attention to where it/they are so you won't look for them while rolling (if you look for them, you'll be looking into the camera before you realize it). "Back to One" or "Reset" means to go back to the position you were placed at the top of this scene. Usually you'll either be told to sit at a table in the background and pretend to have a conversation, usually without speaking, or make "crosses" where you are walking in/through the background or possibly even in front of the camera. Pay attention to cues, "Last Looks" usually isn't for background, occasionally they do hair/makeup adjustments on background that is seen well, that is usually called for them to make adjustments to the principals (actors). Sometimes "Background" or "Background Action" is called separate from "Action" to have the atmosphere in motion before the action takes place. Background is there to make it look like a REAL place. Sometimes you will get done with any crossing told to do, other times they will have to "Cut" in the middle. "Places" might be called instead of "Back to One" or "Reset." You will often repeat a scene more times than you would like. Unless told to change, you will try to match the same crossing movement so editing will result in realistic, or more realistic results.
Working background you will meet all types. Try not to be judgmental. Many will be more talented than background and networking. Many networking will aspire to be producers or directors. Some will have talent and low budget projects and some might not have a clue what they're talking about. Take some things with a grain of salt but mainly just try to have a good time and be a good employee.
Hopefully I've put enough info in here to actually register and know what to do to get a job, go to it, and work on a show or movie. There's a lot of info. There are all kinds of things that might come up and I obviously haven't covered every possibility.
If you have questions you can leave a comment and I will try to answer. I would love to hear any success stories whether you just loved working a show or movie or were visible in the final cut or anything exciting you want to share.
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