Casting & Talent

On-Set Etiquette: How to Get Hired Again

Talent gets you the job, professionalism gets you the next one. Set hierarchy, call times, behavior during takes, crafty and meals, wardrobe, notes, networking on set and wrap etiquette.

On-Set Etiquette: How to Get Hired Again

Talent gets you the job. Professionalism gets you the next one. Every set is a job interview for your next gig. Here is how to conduct yourself so people want to work with you again.

Understanding the Hierarchy

Every set has a chain of command. Understanding it prevents you from overstepping, asking the wrong person, or slowing things down.

Director: Creative vision. Gives you direction on performance. The only person whose creative notes you should take (unless they delegate to the 1st AD).
1st Assistant Director (1st AD): Runs the set. Manages the schedule, calls "rolling" and "cut," manages background, keeps everything on time. The 1st AD is functionally your boss on set. When they tell you to be somewhere, be there.
2nd AD: Handles talent logistics: call times, holding, paperwork, getting you to set when needed. Your main point of contact for non-creative questions.
Department Heads: DP (camera), gaffer (lighting), key grip, production designer, costume designer, sound mixer. Do not give them notes or suggestions unless asked.
Producers: Paying for everything. Be polite and professional but they typically do not give performance direction. That is the director's role.

If you are unsure who to ask about something, find the 2nd AD. That is literally their job.

Call Times Are Not Suggestions

If your call time is 7:00 AM, you are in the building at 6:45 AM. Not pulling into the parking lot, not "on your way," but physically present and ready. Early is on time. On time is late.
General call vs your call: General call is when the crew arrives. Your call time might be different (later if you are not in early scenes). Always confirm YOUR specific call time the night before.
Check the call sheet. It is typically emailed the night before. It lists call times for every department and cast member, the day's shooting schedule, locations, and weather. Read the entire thing, not just your name.
If you are going to be late, call immediately. Things happen: traffic, emergencies. But the worst thing you can do is just show up late without warning. Call the 2nd AD or production office the moment you know there is a problem. Five minutes of advance notice is infinitely better than zero.

During Takes

When you hear "Rolling!", freeze. Do not walk, do not talk, do not move equipment. If you are mid-conversation, stop. If you are eating, stop chewing. The entire set goes silent.
Do not move or make noise until you hear "Cut!" Even if you think the take is over. Even if there is a pause. Wait for the official call.
Stay off your phone during setups. When the crew is lighting and the AD calls you to set for a rehearsal or blocking, you need to be reachable. If you are in the bathroom scrolling Instagram when they call for you, that is your fault and everyone notices.
Cell phones on silent. Always. Not vibrate, silent. A phone buzzing during a take can ruin the audio and waste tens of thousands of dollars in re-shoots. Put it on Do Not Disturb and put it away.
Hit your marks. When the DP and gaffer have spent 30 minutes lighting a shot, your mark exists for a reason. If you drift off your mark, you drift out of focus and out of the light. Practice hitting marks precisely in rehearsal.
Continuity matters. If you picked up a glass with your right hand on take 1, pick it up with your right hand on take 12. The script supervisor is tracking this, but making their job easier makes you a better professional.

Craft Services and Meals

Craft services (crafty) is the snack table that is available throughout the day. Catered meals are served at specific meal breaks.
Crew eats first. On most sets, crew goes through the meal line before cast. This is tradition and it is respected because the crew has been on their feet rigging, lighting, and building since before you arrived. Wait your turn.
Do not take food to your trailer and hoard it. Take a reasonable portion and let others eat too.
Clean up after yourself. Throw away your plates, do not leave coffee cups on apple boxes or C-stands. The art department and grips are not your maids.
Dietary needs: If you have allergies or restrictions, communicate them to the 2nd AD before the shoot day so catering can accommodate. Do not wait until the meal break to announce you are vegan.
Thank the craft services team. They are often the first people on set and the last to leave. A genuine "thank you" goes a long way.

Wardrobe Care

Do not eat in wardrobe. If you are wearing a costume, especially something rented, vintage, or custom-made, do not risk staining it. Change into your own clothes or wear a cover-up (the wardrobe department usually provides one) before eating.
Do not alter wardrobe without permission. Rolling sleeves, unbuttoning, tucking in, adjusting: check with the costume designer first. Every wardrobe choice was deliberate.
Return wardrobe at the end of each day to the wardrobe department, hung up and in the same condition you received it. Do not throw it in a pile in your trailer.
Communicate fit issues immediately. If something is too tight, too loose, or uncomfortable, tell wardrobe during the fitting, not when you are already on set holding up the shot.

Professionalism

Know your lines cold. Arrive with your dialogue memorized to the point where you do not have to think about the words, only the intention. If you are still reading off your sides during blocking, you are not prepared.
Do not direct other actors. If you have a note about a scene partner's performance, keep it to yourself unless it directly affects your ability to do your job (blocking issue, missed cue). Even then, bring it to the director privately.
Do not watch the monitor. Unless the director invites you to video village to review a take, stay away from the monitors. Watching your own playback on set is a distraction and it can make you self-conscious in subsequent takes.
Handle notes gracefully. If the director gives you a note that contradicts what you prepared, adjust. Do not argue, do not explain your "choice." You can ask a clarifying question, but ultimately, the director's vision is what matters. That is the job.
No gossip. Do not talk about other cast or crew members negatively on set. Ever. Sets are small communities and everything gets back to everyone. Your reputation is your career.
No photos or videos on set unless explicitly allowed. Many productions have strict NDA agreements. Even a casual Instagram story from set could violate your contract and get you fired.

Networking on Set

The best networking is doing your job well. When you are prepared, professional, and easy to work with, people remember. You do not need to "network." You need to be someone people want to work with again.
Build genuine relationships, not transactional ones. Talk to the crew. Learn people's names. Ask the gaffer about their rig, ask the sound mixer about their setup. Show genuine interest in their work. These are the people who will recommend you for the next project.
The DP is your best friend. A Director of Photography who likes working with you will advocate for you on future projects. Be patient during lighting, hit your marks, and be responsive to their needs.
Exchange contact info naturally. Do not hand out business cards on set like you are at a conference. But if you have a genuine connection with someone, swapping Instagrams or phone numbers at wrap is completely natural.
Follow up after the project wraps. A simple text or email ("Great working with you on [project], hope to cross paths again") keeps the relationship alive.

Wrap Etiquette

When you wrap for the day: Return wardrobe, return props, sign out with the 2nd AD, and check if there is anything else needed from you before you leave. Do not just disappear.
When the project wraps entirely: Thank the director, the ADs, and as many crew members as you can. A genuine, specific thank-you is memorable: "Thanks for making me look good in that last scene" to the DP means more than a generic "thanks everyone."
Wrap gifts are a nice touch but not mandatory, especially if you are a day player. If you are a series regular or the lead, a small gift or card for the department heads (DP, 1st AD, costume, HMU) is a classy move.
Do not ask when the project will be released on the last day. It puts producers in an awkward position. You will find out when it is announced publicly.
Leave the set better than you found it. Clean up your holding area. Do not leave personal items behind. Be the person the locations department does not have to clean up after.

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Understanding the Hierarchy

Every set has a chain of command. Understanding it prevents you from overstepping, asking the wrong person, or slowing things down.

Director: Creative vision. Gives you direction on performance. The only person whose creative notes you should take (unless they delegate to the 1st AD).

1st Assistant Director (1st AD): Runs the set. Manages the schedule, calls "rolling" and "cut," manages background, keeps everything on time. The 1st AD is functionally your boss on set. When they tell you to be somewhere, be there.

2nd AD: Handles talent logistics: call times, holding, paperwork, getting you to set when needed. Your main point of contact for non-creative questions.

Department Heads: DP (camera), gaffer (lighting), key grip, production designer, costume designer, sound mixer. Do not give them notes or suggestions unless asked.

Producers: Paying for everything. Be polite and professional but they typically do not give performance direction. That is the director's role.

If you are unsure who to ask about something, find the 2nd AD. That is literally their job.

Call Times Are Not Suggestions

If your call time is 7:00 AM, you are in the building at 6:45 AM. Not pulling into the parking lot, not "on your way," but physically present and ready. Early is on time. On time is late.

General call vs your call: General call is when the crew arrives. Your call time might be different (later if you are not in early scenes). Always confirm YOUR specific call time the night before.

Check the call sheet. It is typically emailed the night before. It lists call times for every department and cast member, the day's shooting schedule, locations, and weather. Read the entire thing, not just your name.

If you are going to be late, call immediately. Things happen: traffic, emergencies. But the worst thing you can do is just show up late without warning. Call the 2nd AD or production office the moment you know there is a problem. Five minutes of advance notice is infinitely better than zero.

During Takes

When you hear "Rolling!", freeze. Do not walk, do not talk, do not move equipment. If you are mid-conversation, stop. If you are eating, stop chewing. The entire set goes silent.

Do not move or make noise until you hear "Cut!" Even if you think the take is over. Even if there is a pause. Wait for the official call.

Stay off your phone during setups. When the crew is lighting and the AD calls you to set for a rehearsal or blocking, you need to be reachable. If you are in the bathroom scrolling Instagram when they call for you, that is your fault and everyone notices.

Cell phones on silent. Always. Not vibrate, silent. A phone buzzing during a take can ruin the audio and waste tens of thousands of dollars in re-shoots. Put it on Do Not Disturb and put it away.

Hit your marks. When the DP and gaffer have spent 30 minutes lighting a shot, your mark exists for a reason. If you drift off your mark, you drift out of focus and out of the light. Practice hitting marks precisely in rehearsal.

Continuity matters. If you picked up a glass with your right hand on take 1, pick it up with your right hand on take 12. The script supervisor is tracking this, but making their job easier makes you a better professional.

Craft Services and Meals

Craft services (crafty) is the snack table that is available throughout the day. Catered meals are served at specific meal breaks.

Crew eats first. On most sets, crew goes through the meal line before cast. This is tradition and it is respected because the crew has been on their feet rigging, lighting, and building since before you arrived. Wait your turn.

Do not take food to your trailer and hoard it. Take a reasonable portion and let others eat too.

Clean up after yourself. Throw away your plates, do not leave coffee cups on apple boxes or C-stands. The art department and grips are not your maids.

Dietary needs: If you have allergies or restrictions, communicate them to the 2nd AD before the shoot day so catering can accommodate. Do not wait until the meal break to announce you are vegan.

Thank the craft services team. They are often the first people on set and the last to leave. A genuine "thank you" goes a long way.

Wardrobe Care

Do not eat in wardrobe. If you are wearing a costume, especially something rented, vintage, or custom-made, do not risk staining it. Change into your own clothes or wear a cover-up (the wardrobe department usually provides one) before eating.

Do not alter wardrobe without permission. Rolling sleeves, unbuttoning, tucking in, adjusting: check with the costume designer first. Every wardrobe choice was deliberate.

Return wardrobe at the end of each day to the wardrobe department, hung up and in the same condition you received it. Do not throw it in a pile in your trailer.

Communicate fit issues immediately. If something is too tight, too loose, or uncomfortable, tell wardrobe during the fitting, not when you are already on set holding up the shot.

Professionalism

Know your lines cold. Arrive with your dialogue memorized to the point where you do not have to think about the words, only the intention. If you are still reading off your sides during blocking, you are not prepared.

Do not direct other actors. If you have a note about a scene partner's performance, keep it to yourself unless it directly affects your ability to do your job (blocking issue, missed cue). Even then, bring it to the director privately.

Do not watch the monitor. Unless the director invites you to video village to review a take, stay away from the monitors. Watching your own playback on set is a distraction and it can make you self-conscious in subsequent takes.

Handle notes gracefully. If the director gives you a note that contradicts what you prepared, adjust. Do not argue, do not explain your "choice." You can ask a clarifying question, but ultimately, the director's vision is what matters. That is the job.

No gossip. Do not talk about other cast or crew members negatively on set. Ever. Sets are small communities and everything gets back to everyone. Your reputation is your career.

No photos or videos on set unless explicitly allowed. Many productions have strict NDA agreements. Even a casual Instagram story from set could violate your contract and get you fired.

Networking on Set

The best networking is doing your job well. When you are prepared, professional, and easy to work with, people remember. You do not need to "network." You need to be someone people want to work with again.

Build genuine relationships, not transactional ones. Talk to the crew. Learn people's names. Ask the gaffer about their rig, ask the sound mixer about their setup. Show genuine interest in their work. These are the people who will recommend you for the next project.

The DP is your best friend. A Director of Photography who likes working with you will advocate for you on future projects. Be patient during lighting, hit your marks, and be responsive to their needs.

Exchange contact info naturally. Do not hand out business cards on set like you are at a conference. But if you have a genuine connection with someone, swapping Instagrams or phone numbers at wrap is completely natural.

Follow up after the project wraps. A simple text or email ("Great working with you on [project], hope to cross paths again") keeps the relationship alive.

Wrap Etiquette

When you wrap for the day: Return wardrobe, return props, sign out with the 2nd AD, and check if there is anything else needed from you before you leave. Do not just disappear.

When the project wraps entirely: Thank the director, the ADs, and as many crew members as you can. A genuine, specific thank-you is memorable: "Thanks for making me look good in that last scene" to the DP means more than a generic "thanks everyone."

Wrap gifts are a nice touch but not mandatory, especially if you are a day player. If you are a series regular or the lead, a small gift or card for the department heads (DP, 1st AD, costume, HMU) is a classy move.

Do not ask when the project will be released on the last day. It puts producers in an awkward position. You will find out when it is announced publicly.

Leave the set better than you found it. Clean up your holding area. Do not leave personal items behind. Be the person the locations department does not have to clean up after.