How do you know if you're ready to level up from a Production Assistant (PA) to a Production Coordinator (PC)? PCs are not necessarily the fastest PAs, but they are the ones taking on the most responsibilities. Are you guarding receipts with your life? Do you protect the integrity of lunch orders as if they were a precious commodity? Have you started to program everyone's phone number into your phone, so you don't have to take the extra time to look it up when you have to dial it? Oh, yes. PCs are magical elves, indeed!

In Part 2, we discussed how best to be fully receptive to on-the-job mentorship as a PA. Today's blog explores how sharing your strategies as a supervisor elevates subordinates and superiors alike. To be clear, the primary responsibilities of a PC or 2nd AD include setting up basecamp (cleaning and prepping the trailers), setting up craft services (and rearranging it when need be), holding and tracking petty cash, holding and tracking receipts, holding and delegating the company credit card, arranging coffee runs and lunch orders, monitoring and handing out radios, and delegating tasks to PAs. They also act as the point of contact at base camp, which means they have to be prepared to assist the 1st AD on set with any last-minute requests. The best PCs will never say, "I'm only doing what I'm told," because they know to both come prepared (as they have learned during their time as a PA) and listen to accommodate the immediate needs on set. It's the same anticipation of needs that made them rockstar PAs but on a much larger scale.

The most significant indicator that you're ready to level up is when you're beginning to help other PAs who are less experienced than you step up their game. If a PA's primary job is to make everyone else's job easier, then a PC's primary job is to ensure PAs perform at peak efficiency. Below are the key strategies I employed while on the indie feature Double Threat (2021) as a 2nd AD with Shane Stanley.

The Strategy Imparted

Always Ask

If you have a question, ask it. Better to confirm or clarify than to assume, relying on pointing fingers to explain what went wrong. Remember from Film Production Mentorship Part 1 - do everything in your power to be a problem preventer! This includes but is not limited to using your radio to ask your Point of Contact before you leave a location. One of our early strategies on Double Threat was starting each day with a group text connecting all of the production team - myself as the PC with all PAs scheduled that day. Make sure to ask if your 1st AD/PM wants to be looped in, as you can text them separately. This became invaluable because of signal issues on set. Conveying messages also became collaborative because anyone on the text chain could communicate on another's behalf.

Meditate on a Roomba

As a PC, I would ask my PAs to think of themselves as a Roomba. Yes, that little robotic vacuum. As a PA, you will be sent out on an assignment with details programmed in, and you must return to your home base (this will likely be the P.C./2nd A.D. if you're at basecamp or your 1st AD if you're on set). It is crucial that you not take a detour on your return trip to home base. The only exceptions are unless you need to stop for water, craft services, and/or the bathroom. If you must stop, communicate that so your supervisor doesn't have to ask. On the way back, however, there are certain things you can check to ensure every corner is clear.

The Automatic Program of a Roomba… err, PA

These are everyday (every hour) tasks that PAs can have some autonomy over. IF you start to do these things without being asked to, higher-ups WILL notice and appreciate it.

Ask if the crew wants water or anything else to drink. When you get good, you know to walk around with a handful of water bottles asking if people want water. It's incredible how likely people are to say "yes" if it's within reach, and you want people to say "yes" to water to stay hydrated.

Pick up trash around the set, craft services, basecamp, bathrooms, and G&E truck - every place people have been hanging out, especially where there may be a security deposit, should it be left in disarray.

Take Every Opportunity to Help Carry something, take something from someone else, so their hands are free, hold something so someone else's hands are free, even communicate something (like calling "points" or "camera moves" to help grips and ACs move past safely), so someone else doesn't have to ask.

Beyond Programming is People

PAs have a unique opportunity to get to know the most people in the shortest period of time. I've known some people who will take PA work just to network, and it's an excellent idea (so long as you're good at your job). One way to do this is to ask a follow-up question, like "how did you enjoy lunch?" or "did you notice we have Lime La Croix?"

Do NOT Commentate

Commentating usually involves standing back, judging, and voicing those opinions out loud. At best, it's unproductive. At worst, it's disrespectful and disheartening and could result in you being dismissed from the production. There will be a time and place for your opinion. At the bottom of the rung is not that time; it is on the PC to establish those expectations. This is especially important because you never know who is listening. If you observe something you feel is unsafe or uncouth, bring it up with your PC to decide how best to process this information. Mentors will appreciate you looking out for others. Our task as mentors is to encourage good behavior and confront those who have not learned lessons like these.

While it will be easy to be tempted to talk with people at length about the stuff you're excited about - the latest movies and what you thought of them, what inspired you to get into the business, or even your upcoming projects - please, Please, PLEASE do not use precious set time to do so. You may be given about 60 seconds worth of grace to answer any one of these questions, but do not make the mistake of thinking it's okay to turn work time into hang time. Instead, make a date or wait for a wrap party if you want to hang out after set to continue the conversation.

It is a blessing and a curse with a director like Shane Stanley. He is so incredibly gracious; he greets everyone on his set. And not like on their first day only, but every day. He is sincerely interested in showing his gratitude and assisting you on your professional journey. Should you be on a set like Double Threat (2021) or Night Train (2022), where few barriers exist between the bottom and the top, please remain respectful. If your director or top talent initiates the conversation, then they are inviting it. If you start a conversation, you may be overstepping without knowing it. Overstepping has a way of killing the favors you seek.

There are a few more ways to set yourself up for success on set, especially if you are interested in different departments. It's worth noting that most PCs have solidified their interest in becoming a 1st AD or Production Manager. If you're interested in the camera or other departments, best to make that known as a PA. Here are a few things you can learn as a PA or PC to help elevate everyone's experience on set:

The Strategy Learned

Learn Filmmaking Terminology

It's okay if you don't know what a stinger or a cube tap is, but take a moment to learn if you want to make opportunities for yourself in the Grip & Electric (G&E) department. Even if you don't, making that effort will make their lives easier, which will make you an invaluable asset on set. If your next step up is to become a Camera PA, don't just say it. Show them by learning what a Dana Dolly is or how to slate.

Know What Everyone Does

All the better to assist them! I'm not in the camera department, nor do I wish to be, but I know where they plug in their batteries, and I know how to change out the batteries should they need someone to graduate from a PA to a Camera PA. I also have no interest in G&E, but on those days where it's "all hands on deck," I can be an invaluable asset to that department because I know what they do and how I can leverage my strengths to their advantage.

Think (and Pack) Ahead

Pack work gloves for grip work (snug fit, no baggie gloves either), keep a multitool handy, invest in your own rolls of gaff tape, purchase individually wrapped meds like allergy pills or anti-nausea meds, stockpile command strips (set decorators live and die by them), keep cash on hand for parking, etc. Eventually, these items become what we call an "oh shit" bag, usually in a clear bag for easy access.

This "think ahead" mentality extends to the setup as well. Once you get on-site, confirm where the bathroom is, where craft services are, where first aid is, and make sure you've parked in the correct spot (you don't want to work all day and find out you were towed).

Study for Your Next Step Up

If you want to become an AC or Gaffer, consider participating in more conversations with them (like this one about natural versus artificial lighting in the Cinematography Lounge). You might not be able to speak at length with the DP on your own set, but you may be able to talk to the ACs. My strategy? Carry what they carry. Pencils, tape, apps, even a flashlight or headlamp so you can justify standing by them longer. Consider upgrading your fanny pack to a tool belt to indicate you're ready for the jump.

Take on a Special Assignment

Taking lunch orders is a great way to show autonomy. Since COVID, more sets have had to take individual lunch orders, which is tedious, but it ensures each person gets exactly what they asked for and their food has fewer people coming in contact with it. Nailing a lunch order as a PA requires that you correctly take down the order, confirm it is correct and labeled before leaving the location and deliver it safely and on time. It sounds easy, but it's easy to mess up. Even as a PC on Double Threat, I often picked up our lunch orders to ensure safety and make sure unpaid interns would not have to incur gas reimbursement for the trouble.

My strategy? Check every order while you're still there - look at it, have an employee confirm what it is, confirm on your list who it is supposed to be for, write their name on the container, and check them off the list. You must do this before you leave because otherwise, you risk the guessing game of "is this really what I ordered," and the only way to know for sure is for you and the person who made it to work together.

Learn Radio Terminology

The sooner you can master this, the better. Nothing shows how green you are like improper radio conduct. You will also earn favor if you can utilize your radio to the benefit of all. Remember, every second counts, so if you can prevent someone from running around by radioing instead, do it! My strategy? Have a radio assignment list, so you know who will be returning a radio at the end of the day (no matter who else they hand it to). Then, do a "Role Call and Radio Check" for each person on the radio to say their name and confirm they can hear you with "Good Check." The essentials after that are:

• Get people's attention before you ask a question or give an order. "Kay to Andrew," and if no response, "Andrew, do you read me?"

• If you hear what people say, you confirm with "copy" or "copy that."

• If you agree to the assignment given, then you confirm with "roger."

• And if you are on set, then I recommend calling out over the radio with active updates. If the cameras are rolling, say, "cameras are rolling, quiet on set." If the director has called "cut," confirm it with "that's a cut" over the radio.

BONUS POINTS: Collect and Safeguard receipts. Remember that little plastic baggie? Yep. You will be someone's hero with that. When you get a receipt, immediately take a photo of it (so you now have a digital copy and a hardcopy), gently fold it up, and put it in your plastic bag, and again into a zippered pocket. Use a binder clip to help keep multiple receipts organized, flat, and clean. You then turn in any receipts to the P.C./2nd A.D. These safeguards and redundancies will be seen and appreciated by every person who lays eyes on it after that - the production manager, the production accountant, and possibly even the director/producer.

If you're not sure what your next best steps are towards graduating from "how can I make your life easier," then I would suggest asking, "what can I keep on set to make your day better"? This innately shows that you are ready to emerge from "doing good work" to "making a good plan." This is particularly helpful if you take over the lunch orders so that you can think ahead for their comfort. In two days, everyone on Double Threat knew my name because I made sure we had coffee and La Croix available.

What this inadvertently does is open yourself up to the responsibility to be asked to do something more. For example, after checking in with the cast and crew of Double Threat about what drinks they prefer, they would begin to ask me to help them with other issues - parking, receipts, wardrobe, relaying messages, etc. Offering to make their experience more enjoyable earned me a level of trust that initiated a greater level of responsibility. Being granted more responsibility is how you emerge victorious from the bottom rung!

Please Note: When you've been granted more responsibilities as a PA, you should assume you've earned a modicum of favor with your PC (or at least with the issuer of this new responsibility). Be very careful about what you then ask for in return, as you only have ONE ASK. If you ask for more money, you may not be granted a different title (remember that zero-sum game?). If you ask for another title, you may not be considered for a referral.

What are some strategies you've employed as a PC or as a mentor on set? Share in the comments!

Thanks for reading about how to give and receive mentorship while on set as a Production Coordinator! For my final reflection on my time working with Shane Stanley as a Production Manager, be sure to check out Part 4!

Enjoying Kay’s insights? Be sure to check out these previous blogs to help build better relationships in the industry:

How to Make Friends in the Film Business: Resetting the Intention of Networking

5 Ways to Explore and Network in the Stage 32 Lounges

#SocialSaturday - Mining for Gold in the Stage 32 Lounges

#SocialSaturday - Connecting the Facets of Filmmaking

#SocialSaturday - The Calm is the Storm

Let's hear your thoughts in the comments below!

Got an idea for a post? Or have you collaborated with Stage 32 members to create a project? We'd love to hear about it. Email Taylor at taylor@stage32.com and let's get your post published!

Please help support your fellow Stage 32ers by sharing this on social. Check out the social media buttons at the top to share on Instagram @stage32 , Twitter @stage32 , Facebook @stage32 , and LinkedIn @stage-32 .