It’s hard to pin down Paul J. Salamoff to one particular profession. A twenty-year veteran of the industry, he has found simultaneous success as a Special F/X Make-Up Artist, Producer, Writer, Director, Author and recently as a Film Executive. Currently he is President of Production for Rat Bastard Productions and Director of Special Events and Film Moderator for The Academy of Science Fiction, Fantasy & Horror Films as well as a Producer of The Saturn Awards.

As a writer he has written for Film & TV and is a twice-published non-fiction Author. He currently is writing a number of Comic Book Series for Bluewater Comics. Including issues of their wildly popular Vincent Price Presents as well as two series based on Roger Corman properties and a new adaptation of Logan’s Run written with William F. Nolan. He is also developing a number of projects as a Writer/Producer including a Reality Series and Graphic Novels based on his original screenplays.

Here he excerpts his book On the Set: The Hidden Rules of Movie Making Etiquette, which The Hollywood Reporter calls “an indispensable introductory guide to the modern-day movie set.”

After working for more than nineteen years on well over fifty movie, television and commercial sets as a Make-Up FX Artist and Filmmaker, I’ve discovered that there are many rules that you’re somehow expected to know but are never told. Now granted, many of these are common sense things (which I still included just in case), but many of them are codes of conduct specific for each Department.

To say I learned the hard way is an understatement. But considering these “rules of set etiquette” are not taught in film school, I figured it might be worth imparting them to a new wave of budding filmmakers.

They say “ignorance of the law is no excuse.” But let’s face it, if you work as an Actor how the hell are you to know what an “inky” is? Well you better, especially if someone tells you you’re blocking one.

I myself have witnessed many a crew member get chastised for plugging a hairdryer into a hotbox without asking an Electrician or placing a drink on top of a camera case. It never fails on a set that someone at some point won’t yell “Flashing” when taking a picture.

I hope you benefit from the years of abuse I suffered to finally bring these hidden facts to the surface.

THE CAMERA DEPARTMENT

I. A BRIEF OVERVIEW

Headed by the Director of Photography (a.k.a. the cinematographer), this department encapsulates anything and everything that has to do with the camera and with the physical filming of the motion picture.

The camera truck, usually parked the closest to the set, houses all the camera equipment and has a built in darkroom for loading raw film into the magazines. Because the equipment is expensive and fragile, only authorized crew members are allowed on the vehicle.

The D.P. is one of the most important personnel on a movie set. Decisions he makes will shape and affect the ultimate look of the movie.

The highly trained and skilled camera team must follow the D.P.’s orders as well as maintain a meticulous record of all camera activity. Because so much is dependent on the quality of the image, it is a high-pressure profession.

Movies run the gambit from realism (i.e. Roger & Me ) to formalism (i.e. Star Wars) and everywhere in between. The way the footage is shot is the main visual factor in determining what type of movie is being presented. Movies, however, can be shot in a realistic style and still be about the fantastic such as Jaws or Close Encounters of the Third Kind.

Over 200 film and television Directors of Photography belong to the American Society of Cinematographers. This fraternity denotes its members by the initials ASC after the D.P.’s name in the credits.

Every year an Oscar™ is given by the Motion Picture Association of America at their annual Academy Awards Ceremony for achievement in the field of Cinematography. Notable past winners include: Janusz Kaminski (Saving Private Ryan), John Toll (Braveheart), Vittorio Storaro (Apocalypse Now), and Conrad Hall (Butch Cassidy & The Sundance Kid).

II. THE PLAYERS

Director of Photography (D.P.): a.k.a. The Cinematographer. Responsible for the overall style of the movie, including lighting, shot composition, camera movements, and any decisions involving the look of the movie, including the printing of the film.

Camera Operator: In charge of the actual operation of the camera. Works under the direct supervision of the D.P. and makes sure that the shot is set correctly.

1st Assistant Camera (1st A.C.): Responsible for the overall maintenance of the camera, as well as changing lenses and pulling focus during the shots.

2nd Assistant Camera (2nd A.C.): Marks the slate and “claps” it before each take. Also takes focus marks and is in charge of loading the new magazines and keeping notes about the shooting.

Still Photographer: Takes still pictures during the production of actual scenes from the movie, staged shots, and/or behind the scenes pictures. The shots are generally used for publicity, advertising and archives.

III. 10 TERMS YOU SHOULD KNOW

1.) “Check the gate”

Once a director is satisfied with a series of shots, the gate of the camera is inspected. This area, where the lens connects to the camera body, is prone to becoming dirty. A “Hair in the gate” could potentially ruin a series of shots.

2.) clapper board

a.k.a. slate, a.k.a. synch slate. The hinged board that is photographed between takes. Written on it is vital information used in editing the film. The “Clap” is used to synchronize the sound with the picture. In post-production, the editor coordinates the two by utilizing the first frame of the sticks banging together with the first sound emitted on the soundtrack.

3.) ditty bag

A small leather utility bag containing important tools that is usually hung under the tripod’s head.

4.) dolly

A wheeled mobile platform that is designed to hold the camera, the camera operator and the 1st A.C. It allows the camera to silently glide across the floor for a moving shot.

5.) gate

The part of the camera where each frame of film is momentarily exposed. The gate supports the pressure plate and holds the film in the proper place for exposure.

6.) light meter

A hand-held device that uses a photoelectric cell to measure the amount of light either falling on a subject or reflected by a scene. Used to determine the proper F-Stop for exposure.

7.) “Mark it”

Shouted by the 2nd A.C. when he “claps” the slate at the beginning of a new take to synch the sound with the image.

8.) “Roll out”

Called out when the camera magazine runs out of film.

9.) steadicam

Used for smooth tracking shots, this device attaches to the camera operator via a vest and uses a system of springs to counterbalance the weight of the camera.

10.) tail slate

This marks the shot at the end of a take if it was not marked at the beginning. Usually the clapboard is held upside down when this is done.

IV. THE RULES OF SETIQUETTE

• Always yell “Flashing” then take a beat when taking a picture on set that requires a flash. This is to warn anyone looking through the camera lens or taking a light reading. (also see The Electric Department)

• Never look through the camera eyepiece unless you have permission from the Director of Photography. A shot may be be lined up and any movement of the camera could ruin the take.

• Keep the monitors clear. They are meant for the Director and other key personnel, not for your personal movie watching experience.

• As a general rule, always cross behind the camera, especially when a shot is being lined up.

• If you must step in front of the camera lens, always yell “Crossing”. This is a consideration for the camera operator focusing on something through the eyepiece.

• The slate is not a toy, especially the electronic ones. They are designed to coordinate the sound with the image and unauthorized use can cause problems.

• Never place food or beverages on top of a camera case or cart. A spilled drink could ruin valuable equipment stored inside and cost production time and money.

• Stand out of the way of the lights, especially when the Director of Photography is taking light readings. A misinterpreted light reading will cause an incorrect camera setting.

• If you can see the lens of the camera, the camera can see you.

Want to learn more? You can pick up a copy (and help keep Minerva’s lights on!) of On the Set: The Hidden Rules of Movie Making Etiquette in The Minerva Shop.