1. Call times:
Your CALL TIME is the time by which you must be on-set and ready for filming. Your agency may either tell you your CALL TIME when they first contact you about the job, or they may ask you to ring them back later to find it out (possibly because the production company hasn't yet finalised their filming schedule). If you are told to ring the agency for your CALL TIME, make sure you DO ring. It is part of your commitment to them.

2. Clothing:
Find out what you need to wear for filming. Some production companies provide costumes for the cast and some don't - in which case your agency (or a member of the production team) will tell you what to wear. Make sure you follow their instructions to the letter. If the scene to be filmed is set in a bank and you are told to wear a suit, DON'T wear jeans. You will not be allowed on set. If you are told to bring a change of clothes, make sure that you do bring a change of clothes.
TIP - Dress for the weather. Some production companies film during winter or early spring because there are fewer tourists around and it may also be cheaper to film at this time of year. But the scene might be set during summer, so you'll have to wear light clothes for filming. Make sure you take something warm to wear during the long breaks between filming because you might not have somewhere warm to wait. If you are uncertain about what to wear, talk to the agency.

3. Punctuality:
When you are given your call time WRITE IT DOWN and make sure you turn up on set punctually. Production companies have complex schedules to film specific scenes at specific times and they WON'T wait around for you. If you are late the production crew won't be happy and your job could be given to someone else - which means you won't get paid!
TIP - If possible TEST YOUR JOURNEY to make sure you have enough time to get to the film set. If using public transport, CHECK THE TIMETABLES. You will find a special link to local public transport services on the LINKS page.

2. Waiting around:
If filming is not ready to begin, find out if there is somewhere for the extras to wait. If you're fortunate, you'll have somewhere warm and comfortable but, if you are on location, you could be lucky to have a drafty bus with a Calor Gas heater. There may also be long waiting periods between filming but please be patient. Production companies don't like these any more than you but they're unavoidable, so take them in your stride and don't start complaining. Nobody likes hearing someone moaning on set and you may be asked to leave. The big stars in the production might be able to get away with it but you won't!
TIP - Bring a good book, magazine or newspaper paper to read. Because of the regular need for silence on set, it's probably not a good idea to bring a Gameboy™ (unless you want to get pelted with small rocks).

1. Know your stuff
Be familiar with the usual various words and phrases used by the production team. See Section D: Glossary for details.

2. Behave on set
This should go without saying but it's better to be safe than sorry. Always conduct yourself in a professional manner at all times and be polite and courteous to everyone you meet - even if they don't return the favour. If you have a problem with anyone you meet, let the agency know. Don't take matters into your own hands. Two wrongs don't make a right and you could be jeopardising more than just your own chances of getting paid.

3. Stay with your group
Don't wander off without letting the person in charge know where you are going because instructions for filming can be given at any time. Even if you're just nipping to the loo, make sure that you have permission to do so and that the relevant people know where you are.

4. Don't ask for autographs
This is a BIG no-no on set. Don't go hunting for autographs because some actors just don't like it. There is a time and a place for autographs and on set is not the time or the place.

5. Don't get star-struck
As with autographs, don't wander around the set saying "Oh look, there's [name]". Once again, many actors just don't like it. They are ordinary people and - despite being in the public eye - the last thing they want, while they are trying to work, is someone staring and pointing and treating them like a zoo exhibit.

6. Don't refer to the actor by the character name
It's polite and courteous to refer to the actor by their real name. It also demonstrates your professionalism and familiarity with the environment. However, don't be too informal. Unless you know otherwise, refer to them as Mr, Mrs or Ms [surname]. Besides, it's a lot better for them to correct you by asking you to call them by their first name than if they ask you to call them by their surname (it also avoids uncomfortable silences, too).

7. Don't talk to the actors
Once again, some actors don't like being spoken to by extras. Ok, so for some of them it's some pompous power trip of theirs but just let them get on with it. You don't have to work with them for long. But for some actors, especially method actors trying to immerse themselves fully in their role, it's important not to have distractions. Respect their decision and abide by it. Otherwise, they may ask for you to be removed from the set.

8. No photos
Never take a camera on set. Film companies just don't like it. Many films are protected by copyright and you would be infringing this if you took photos on set.

9. Turn off your mobile phone
…and that means COMPLETELY OFF - not just on silent mode. Many productions use radio mikes for sound and the signal from a mobile phone set to SILENT will be picked up on these.

10. Follow the Director's instructions to the letter:
If the Director calls for silence during filming, don't whisper. The sound equipment is very sensitive and your whispering can be picked up on the recording. Practise the art of miming. You may be asked to mime a conversation so try to act natural and - above all - don't "ham it up". If you happen to make a mistake, don't draw attention to it (e.g. suddenly turning around and saying "sorry" to everyone). It may not have been picked up on camera. That said, if someone does shout "CUT" because of your error, a simple "sorry" isn't a bad thing - mistakes do happen, after all.

11. Don't drink the drink:
If your scene is in a pub or restaurant and you have a glass of wine for a prop, DON'T actually drink from it. The scene may need to be filmed several times from a number of angles and abrupt changes in the level of wine in your glass could cause continuity problems for the editing crew. Simply mime drinking and make sure to hold the glass so that your hand covers the level of the fluid.

12. Don't wave at or look at the camera:
This sounds like an obvious rule but you'd be surprised how many people break it. You may be asked to look in the general direction of the camera for a particular shot and with all of the activity going on behind the camera, it's very tempting to risk a quick, sneaky glance into the lens. If you do this, it WILL be noticed at a later date and you may be called back because the scene needs to be re-filmed. If that happens, you probably won't be very popular with the cast and crew - who also have to re-shoot the scene.

13. Refreshments:
The production catering facilities can be varied. They may have a canteen, a catering but or just vending machines. Take some money with you just in case you need to pay. Also, remember that the cast and crew will be fed BEFORE the extras (they've probably been up longer than you) so don't make a beeline for the catering van when you know the food is available. You will be fed last.
If you have special dietary requirements, please don't assume that these will be catered for. It's better to have some food in your bag, just in case filming takes longer than expected, that to expect the crew to let you "nip to the shop" for a Mars Bar (which is very unlikely, by the way). If you do bring your own food, please do not consume it during filming. You may be called for filming at very short notice and it doesn't look very good if you've got your mouth full or turn up in front of the camera with crumbs all around your mouth.
TIP - Dispose of any litter responsibly. Some production companies will allow you to grab a coffee while you're waiting. Please don't just drop the cups around the set or leave them in a doorway - they WILL be noticed. If necessary, take your litter home with you.

14. Before you leave:
When filming is finished, you should speak to the appropriate person on set about or signing a RELEASE FORM (or "signing off"). This is your proof that you have been working on set and have completed the work and been released. It has to be signed by you and a representative of the production team. Without it, you won't get paid.
NOTE - Make sure to sign your contact details as 10 Twenty Two Casting. It helps the company to track where it got the extras from and they will know where to send your payment. Many companies send payments in bulk to the agency and if you do not put our contact details on you may well delay your payment.

Action
This is the command to everyone in the scene to start acting.

Atmosphere/Atmos
This is the term used to describe the act of recording the background (or ambient) noise in a scene (e.g. in a pub scene, the sound recordist would make a special recording of just the background chatter in a pub). This is one of the rare occasions where the extras are encouraged to speak in a normal manner. Remember you CAN be heard so do not talk about the filming - you are supposed to be in a pub, café or wherever the scene is set.

Background Action
This is the command for the extras to begin acting

Banana
If the director tells you to Banana it means he/she wants you to walk in a curve, so that the camera can see the area (and usually the actors) behind you.

Call back for continuity
Sometimes the same scene may be filmed over a period of several days. If this happens, the director may want the same extras to return to repeat the same actions they did during the first filming. This is referred to as a "call back for continuity". You will usually be told if this is going to happen but it's always wise to check. Make sure you don't change your hairstyle between the shoots and do wear the same clothes as before.

Call Time
The Call Time is the time you are expected to check-in at the unit base. Ideally you should arrive a little early and NEVER late!

Check-in
Once at the unit base you are expected to check-in with the Second or Third Assistant Director (a.k.a. the 2nd or 3rd AD) to let them know you have arrived.

Checks
The Checks are the make-up and hair checks that are carried out before each 'take'. These are done to ensure good continuity for the scene. They can be rather repetitive but you should always be patient with the staff - they are doing their job.

Close Up
Shot Of a person, the camera would be only on their head.

Continuity
A sequence filming over more than one day, or more than shot. It is therefore essential that nothing changes to upset the continuity of the scene.

Costume fitting
You may need to have a costume fitted before filming. You may also be asked to go to a wig or prosthetics fitting if they are going to change your appearance.

Cut
This signals the end of the shot but it may have to be repeated if the Director isn't entirely happy with it.

D.F.I.
Basically this means that there has been a change in plans for the day.
NOTE - literally D.F.I. means Different F**king Instruction.

Dolly
Equipment that carries the camera on tracking shots.

Establisher Shot
A general view of any location or building.

Eye line
The direction you are required to look in shot.

Final Checks
Hair and make-ups last chance to get everything right.

First Positions/Reset
This is the position in which you stand at the beginning of the shot. Whenever the director shouts "First Positions", "Number Ones" or "Reset" you should return to this spot.

Focus Puller
The person in charge of the lens on the camera.

From the Top
Begin again from the start of the scene.

Hair in the Gate
This means that the film has come loose. Filming will stop if this happens, until the problem is fixed.

Hitting your Mark
The focus of the camera is very important, the mark is a focus point. Hitting your mark means that you will be in focus.

Hold the red
Means hold the red light on (to signal that filming is still taking place) and go for another 'take'.

Honey Wagon
This is the name the crew give to the toilets.

Keep Running
If a mistake is made in the scene, the Director may shout, "keep running", meaning that the cameras should keep filming because the scene will be re-filmed immediately.

Leading eye
The Leading Eye is the eye that is closest to the camera. During a close-up take, the camera operator will focus on the Leading Eye to ensure that the focus is clear.

Marks
Marks are indicators in the floor that tell you where to stand. If you are told to walk to a specific mark, it may be to ensure that you are in focus or to allow a specific action to take place. Always follow the instructions of the director about marks to the letter.

Pick Up
Pick Up shots are the small shots played during a scene to show specific characters, or action or to emphasise reactions.

Rehearsal
This is when you rehearse a scene before filming.

Repeat fee
Featured artistes sometimes receive a fee every time something is shown.

Rest
This signals a break in the filming - either to sort out a technical problem or to change the scene - and you should return to the waiting area until you are needed again.

Reverse Angle/Reverse Shot
This is a shot that shows what's going on in the other direction. In scenes depicting a conversation, where two people are facing each other, the one character may have his back to the camera so that the other faces it. The Reverse Angle would be used to show the face of the first person and the back of the second.

Rolling/Turning
Means that the film is rolling in the camera.

Save the red
This means that the Director is happy with the take and filming has stopped.

Split the difference
If you are standing on the left side of the shot and the director asks you to move to the right and then tells you to "split the difference" it means you should move to a spot halfway between where you started and where you are now.

Tracking Shot
This is the action of moving a camera along a path parallel to the path of the object being filmed (e.g. in a chase scene).

Turnover
This is a command to the camera crew to start the cameras running. It means they are about to start filming the scene - so be ready!

Turning Around/Moving Around
This term means the camera is going to be facing in another direction, revealing all that has so far not been seen.

Wild Track
See Atmosphere

Wrap
This means that filming is finished for the day and it's time to go home.

Backlot
An area of the studio used for constructing sets or for filming outdoor scenes.

Bells and lights
One bell means 'shooting' is starting. Two bells means 'cut'. The red light acts as a warning not to enter the set (or sound stage) while filming is on.

Blonde
A 2000W light.

Call Sheet
A list of the actors needed for a scene.

Catering Bus
A coach or double-decker bus where you will eat and wait to be called for.

Clapperboard
The board used to indicate the number and other background details for each scene.

Click-track
If music is to be added into a scene later (e.g. in a nightclub scene) the crew will use a click-track (sometimes just a metronome) to simulate the rhythm of the music. The music will be dubbed in later. This may mean dancing or reacting to music that you cannot actually hear.

Dolly
The name given to the trolley carrying the camera.

Dub
During the editing process, extra sounds or music may be added to (or removed from) the soundtrack. This is called Dubbing.

Gel
A piece of translucent coloured film that covers a light to create a background colour.

Jib
The arm on the dolly that allows the camera to move out to the side, as well as forwards and backwards.

Redhead
An 800W light.

Scrim
A thin strip of gauze covering a light to cut down the glare.

Set
The area used for filming.

Soundstage
A filming area in a studio.

Squib
A small explosive that simulates the effect of a bullet shot or small explosion.

Steadicam
A steadicam is a mobile camera worn via a harness. It is strapped to the wearer and has a hydraulic arm to cushions any sudden movements by the operator that would cause the picture to be jerky. It allows the camera operator to get much closer into the action and take dynamic shots. Real-life drama series such as 'Casualty' make use of these types of cameras to give the viewer a feeling of being in the middle of the action.

Track
The track that the camera dolly rolls along.

Unit Base
This is where you should check-in at the start of a day's filming and where the production will base itself on any given day when on location

Voucher or Chit
You are given a slip of paper at the end of filming which you must sign to say that you were there and have been filmed and also that the crew are happy that you have completed the work. You must sign this in order to get paid. If it asks for your address, put the name of your agency.

Assistant Director (1st)
Easily mistaken for the director since they are normally the person doing all the shouting and giving everyone their cues. They are the person in charge when you are on set. Listen very carefully to what they say.

Assistant Director (2nd)
Normally your first point of contact, but not always on the set as they are often at the Unit Base planning ahead. The 2nd AD is responsible for making sure all members of the Cast and Crew are in the right place at the right time. They liaise with the Agency about background requirements.

Assistant Director (3rd)
On set, the 3rd AD is the person who will be looking after you. He/she liaises with the 1st and will be the person giving you instructions on where you should go.

Best Boy
A lighting technician - usually the second in command of the lighting unit. The Best Boy assists the Gaffer.

Booker
Works with the 2nd AD to cast and supply the production's background needs. They are the ones who will call you to offer you work (i.e. us).

Camera Operator
Watches the action and films it using a camera.

Clapper Loader
Loads the film into the camera and claps the board at the start of a take.

Costume
The Costume department supplies all clothing worn on set and will make sure that it fits appropriately. The costume department may issue instructions to your agency or may even contact you directly to tell you what to wear. If they tell you to bring a type of clothing, make sure to follow their instructions and then check with them before filming begins to ensure that your clothing is appropriate. Always make sure your costume is presentable (i.e. clean, ironed, etc). It is often a good idea to take a change of clothes to prevent your filming outfit from being creased.

Crowd AD/Crowd Marshal
The Crowd AD/Crowd Marshall is in charge of selecting the extras used in a crowd scene on big productions where a lot of extras are being used.

Director of Photography (D.O.P.)
Responsible for creating the shot, including the angle, lighting effects and many other aspects. He is also known as a Lighting Cameraman.

Double
A person used when the Actor is not available. Usually from long distance or from behind, or for a part of the body such as hands and feet.

Featured Artiste
Another name for an actor.

Focus Puller
The person who is responsible for ensuring that the shot is properly in focus.

Gaffer
The Head of the Lighting department.

Grip
The person who pushes the 'dolly' on which the camera stands. The Grip is also responsible for ensuring the camera can get everywhere it needs to go to get the shot and lays down the tracks on which the 'dolly' runs.

Line Producer
Responsible for managing every person and issue during the making of a film. He/she is also responsible for making sure the film keeps to its budget.

Location Manager
Manages various aspects of filming on location, such as arranging with authorities for permission to shoot in specific places.

Producer
In charge of all production matters except the directing. Also raises the finances, hires key personnel and arranges for a distributor to buy the film.

Production Manager
Responsible for all administration matters to do with filming.

Runner/PA
Does the odd jobs and is available to pass messages on to other crewmembers or to fetch items.

Second Unit
A completely separate crew, filming different scenes to the Main Unit, often Insert or Pick-Up shots.

Spark
A lighting technician or Electrician