WHAT ARE THE VARIOUS TYPES OF PRODUCTION ASSISTANTS’ ROLES (PAs)? (In the Entertainment industry.)

Production Assistant / Photo Credit: Script Magazine

WHAT ARE THE VARIOUS TYPES OF PRODUCTION ASSISTANTS’ ROLES (PAs)? (In the Entertainment industry.)

Bruce Bisbey…please follow me at: https://dumbdogproductionsllc.blogspot.com or https://www.facebook.com/DumbDogProductionsLLC/ thank you.

What are the various types of production assistants’ roles (PAs)?

Runners/PAs are found in almost every department such as camera, costume, locations etc. if the budget will allow. Many of the following positions will only be found on big budget production (studio and indie), on the low to micro-budget productions there will be a team of floor runners rather than designated types of PA.

Office PAs. Usually spend most hours in the respective show's production office handling such tasks as phones, deliveries, script copies, lunch pick-ups, and related tasks in coordination with the production manager and production coordinator.

Set PAs. Work on the physical set of the production, whether on location or on a sound stage. They report to the assistant director (AD) department and key set PA if one is so designated. Duties include echoing (calling out) "rolls" and "cuts", locking up (making sure nothing interferes with a take), wrangling talent (actors) and background, facilitating communication between departments, distributing paperwork and radios, and related tasks as mandated by the ADs. Set PAs usually work 12- to 16-hour days with the possibility at the end of a shoot to work more than 20 hours a single day and are regularly the "first to arrive and the last to leave".

Key PA. Who is the ‘go to’ PA for the 3rd AD. They often step in to cover the 3rd if they need to leave set, and primarily look after the cast and their movements and requirements while on set.

Cast PA. Attached to the principle cast. They are responsible for getting cast members to set, lunch and will perform any tasks that need attending to. This is not the same as the actor’s assistant; the cast PA is more of a logistical and communications role attached to the AD Department.

Crowd PA. Will work closely with the background actors making sure they are getting through hair, makeup and wardrobe. Moving them on and off set quickly and quietly, and making sure they are looked after. They will often support the 3rd by keeping notes about the continuity of the background in the scene.

Walkie Talkie / Set PA.  Normally the responsibility of the 3rd AD, but often falls to the set PA on a large production. Walkie-talkies are the lifeblood of the film set and are heavily embedded in the ADs world. Without someone being responsible for charging batteries and logging them in and out, batteries can get lost, or an antenna can remain damaged.

Location PA. Works closely with the location manager and transportation department. Detailed and concise work involving personal and property releases. Crowd control, parking, security for sets and production sites.

Accounting PA. Works directly with the key accountant, assistant accountants’ and the paymaster. A position of trust in dealing with money, per diem, petty cash, payroll, filing and interdepartmental communications.

Additional/daily PAs are brought in on a daily basis as and when required. Usually, if there is a second unit or the production has a large number of cast or extras that day.

In the United States, Production Assistants in union and non-union workplaces face various tasks on the movie set of a filmmaking project. Most union PAs are asked to complete tasks with a certain focus. Union PAs only are asked to do a few tasks that may be related to one another and they normally receive tasks concentrated on the actual making of the movie. For example, union Production Assistants may be asked to evaluate a movie's daily rushes for a film director or help the film editor decipher ways to alter a scene. Those who are non-union Production Assistants are usually asked to complete a variety of tasks by a department head on a film set. The tasks of a non-union PA can match those of a union PA. These tasks asked to be completed by either a union or non-union PA are requirements that are related to the movie's production, such as setting up props on set and negotiating with the director on how a scene should be shot. However, non-union PAs commonly may be asked to complete a wider array of tasks since these tasks may not necessarily be associated with the film. For example, non-union PAs may be asked to input data in a computer, wash dishes, sort letters in the mail room, and buy coffee for department heads. Basic duties of non-union PAs can be classified as running errands for any person in the production department.

Most PAs work with many people since their job requires them to complete generic obligations. Therefore, PAs must be proficient with their communication skills. Traditionally, PAs communicate with department heads by walkie-talkies on and around the films set. However, PAs can be asked by any member of the film crew to complete a job via interpersonal communication (talking to each other in person) or across technological devices such as a cell phone. Aspiring PAs must also expect to be attentive on set since they may be asked to complete any job for anyone at any time through any medium of communication. Former Production Assistant Caleb Clark recommends that people who want to be PAs must avoid sitting down, remaining alert at all times. Clark elucidates that PAs must be vigilant because they could be asked for help by any other person at any time of the day. In addition to their improving their skills pertaining to communication and readiness, PAs must adapt to their film set environment. Many movie sets that Production Assistants work on may vary in terms of luxuries. Since movie sets are given different amounts of amenities, not all of them may have the properties and resources that a Production Assistant will need to complete certain assignments. Therefore, PAs should be able to familiarize themselves with the movie set in order to increase their success rate. PAs also must be aware that they may need to bring their own form of transportation on the set. Due to the little resources some sets may have, PAs should consider bringing their own cars or trucks to the set so that more of their long-distance tasks can be completed. The people that normally ask PAs for help are usually superior to them within the film crew. Those that ask a Production Assistant for help typically include people at the top of the film crew's structure, such as the production coordinator, screenwriter, producer, and especially the film's director.

Sources, References & Credits: Google, Wikipedia, Wikihow, WikiBooks, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, Film Daily, New York Film Academy, The Balance, Careers Hub, The Numbers, Film Maker, TV Guide Magazine, Blurb, Media Match, Quora, Creative Skill Set, Chron, Investopedia, Variety, No Film School, How Stuff Works, WGA, BBC, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Career Trend, Producer's Code of Credits, Truity, Production Hub, Producers Guild of America, Film Connection, Variety, Wolf Crow, Get In Media, Production Beast, Sony Pictures, Warner Bros, UCAS, Frankenbite, Realty 101, Careers Hub, Sokanu, Raindance, Film Connection, My Job Search, Prospects,

THIS ARTICLE IS FOR INFORMATIONAL PURPOSES ONLY. THE INFORMATION IS PROVIDED "AS IS" AND BRUCE BISBEY MAKES NO EXPRESS OR IMPLIED REPRESENTATIONS OR WARRANTIES, INCLUDING WARRANTIES OF PERFORMANCE, MERCHANTABILITY, AND FITNESS FOR A PARTICULAR PURPOSE, REGARDING THIS INFORMATION. BRUCE BISBEY DOES NOT GUARANTEE THE COMPLETENESS, ACCURACY OR TIMELINESS OF THIS INFORMATION. YOUR USE OF THIS INFORMATION IS AT YOUR OWN RISK. YOU ASSUME FULL RESPONSIBILITY AND RISK OF LOSS RESULTING FROM THE USE OF THIS INFORMATION. BRUCE BISBEY WILL NOT BE LIABLE FOR ANY DIRECT, SPECIAL, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES OR ANY OTHER DAMAGES WHATSOEVER, WHETHER IN AN ACTION BASED UPON A STATUTE, CONTRACT, TORT (INCLUDING, WITHOUT LIMITATION NEGLIGENCE) OR OTHERWISE, RELATING TO THE USE OF THIS INFORMATION.

Production Assistant / Photo Credit: Script Magazine