The Complete Film Production Handbook - (Chapter 17 Safety)

Chapter 17
Safety
SAFETY PROGRAMS would be smart to adopt these industry-wide safety guide-

lines regardless, because there is nothing more important
This is one of those chapters that may be boring to read, than the well-being of your cast and crew. And being safe
but the information it contains is vital to know. Safety is is a conscious effort we all make to protect ourselves, our
serious business, and like your parents might say, “it’s co-workers and our workplace.
for your own good!” The Safety Board bulletins (numbered in succession)
In an effort to promote a safer work environment, detail safety precautions relating to specific potentially
numerous states have enacted legislation implementing hazardous situations and activities. Most of the unions,
injury prevention programs, the training of employees in guilds, studios, etc. use these bulletins as the basis for their
general safe and healthy work practices and the adoption own safety program, the most recognized being the pro-
of occupational safety and health standards. ducer’s On Production Injury and Illness Prevention
In addition to state safety guidelines, the AMPTP, Program (IIPP), which is designed to comply with state
various unions and guilds, major television networks and and Federal OSHA guidelines (or other local, provincial
studios and many independent production companies have or national safety requirements). Specifically, the follow-
adopted their own safety programs, many in conjunction ing eight elements should be part of any safety program:
with an Industry-Wide Labor-Management Safety Board.
Sponsored by CSATF, an Industry Wide Labor-Manage- 1. Delineation in writing as to who is responsible for
ment Safety Committee meets monthly in the Los Angeles implementing the program (generally the UPM,
although all department heads are responsible for the
area to draft, update and disseminate a series of industry-
action of their employees)
related Safety Bulletins. CSATF also administers the
Safety Passport Program, which offers health and safety 2. Enforcement of safe work practices (zero tolerance for
breaking the rules)
training to union and guild members. Upon completion of
3. Communication (safety meetings, call sheets, AMPTP
the General Safety Passport course, each worker is issued
Safety Bulletins, MSDS)
a Safety Passport, which contains the person’s photograph,
4. Hazard assessment and inspection (location scouts, etc.)
name, address, emergency contacts and other pertinent
5. Investigation of injury or illness (after accidents)
information such as union affiliation. As a person receives
6. Correcting unsafe or unhealthy conditions (correct as
training, that training is documented in the Passport as well
soon as possible)
as the Industry Experience Roster. For those working in
7. Record keeping (document as much as possible)
Southern California who would like more information on
8. Training (safety pass, job-specific, when new hazards
Passport Health & Safety courses, contact your local
arise)
business agent or call CSATF at (818) 995-0900. If you’re
Copyright © 2010. Taylor & Francis Group. All rights reserved.
not from the Los Angeles area, check with the unions and/ Industry safety programs require that a copy of the
or guilds closest to you to see what type of safety training company’s safety manual be available at each work site.
is currently being offered in your area. Safety posters and emergency procedures (including emer-
Another aspect of the industry-wide safety program is gency numbers) must also be posted at each work site.
that under the rules published by the Federal Motor Departmental safety guidelines and any applicable forms
Carrier Safety Administration and the Department of are given to each department head.
Transportation, studio drivers (those who possess a com-
mercial class drivers license and who perform safety-
sensitive functions) are subject to random testing for SAFETY MEETINGS
alcohol and controlled substances. This program is also
administered by CSATF. Safety meetings should be held the first day of each new
If you’re not working on a union show or for a studio location and on days when activities involve stunts,
or production company that has a safety program, you special effects, aircraft, wild animals or other potentially
#2010 Eve Light Honthaner. Published by Elsevier Inc. All rights reserved.
doi: 10.1016/B978-0-240-81150-5.00017-9 311
Honthaner, Eve Light. The Complete Film Production Handbook, Taylor & Francis Group, 2010. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/nyulibrary-ebooks/detail.action?docID=535150.
Created from nyulibrary-ebooks on 2023-04-03 05:32:51.
312 The Complete Film Production Handbook
hazardous conditions; and all essential personnel should hazardous conditions and concerns; (4) ensure the docu-
participate. (Note that some studios and networks require mentation of safety program activities; (5) deal with emer-
that a safety meeting be held each day.) All safety meet- gencies and serious accidents; and (6) deal with OSHA
ings should be documented on the daily production report inspectors and other safety investigators. The DGA pro-
or a specific Daily Departmental Safety Meeting Report vides their members with detailed guidelines relating to
form (see sample form at the end of this chapter). Poten- their individual areas of safety management.
tially hazardous situations must be clearly identified on During construction (prior to the start of principal
the call sheet and marked at the spot, if possible. If appro- production), the construction coordinator is responsible
priate, an AMPTP safety bulletin or other special notifica- for set safety. He continues to administer construction
tion addressing the particular hazard should be attached to safety throughout production as long as construction con-
the call sheet or posted at the location. In all cases, every tinues. In the production office, the production coordinator
attempt should be made to eliminate any hazardous situa- is responsible for keeping and distributing safety manuals
tion before it becomes a danger to cast and crew. as required, keeping a file of completed safety reports and
securing the appropriate safety bulletins to be attached to
call sheets when needed.
SAFETY TRAINING
In addition to the Safety Passport Program mentioned
earlier, basic safety training should be introduced on SAFETY BULLETINS
each new film by emphasizing the company’s intent and
attitude toward safety and by familiarizing new employees At CSATF’s website, www.csatf.org/bulletintro.shtml,
with all company safety policies, rules and procedures. you’ll find a complete set of safety bulletins issued by
New employees should be provided with written job the Industry-Wide Labor-Management Safety Committee.
descriptions and safety procedures pertaining to their spe- Download the latest versions of each of the bulletins, print
cific areas of responsibility, reinforcing actual on-the-job and attach copies to your daily call sheets whenever
training. Employees should be informed of all potential appropriate. And make sure that cast and crew members
exposure to any major hazards, ensuring that they fully whose work and areas of responsibility involve the activ-
understand the degree of hazard and all necessary pre- ities covered in the bulletins are fully aware of the detailed
cautions. After initial orientation and training has been guidelines they contain.
completed, employees’ work habits should be periodically The following is a complete list of safety bulletins.
evaluated, and all safety training and orientation should be
documented.
General Code of Safe Practices for
Production
DESIGNATED AREAS OF RESPONSIBILITY
1. Recommendations for Safety with Firearms and
The DGA has deemed that unit production managers shall Blank Ammunition
have the overall responsibility for administering the On 2. Special Use of Live Ammunition
Production Injury and Illness Prevention Program (IIPP) 3. Guidelines Regarding the Use of Helicopters in
from pre-production through completion of principal Motion Picture Production
photography, and that the First Assistant Director function 3A. Addendum “A” – Guidelines for External Loads –
as the On-Set Safety Coordinator. The delegation by the Helicopters
UPM of authority to others in order to effectuate the pur- 4. Communications Regarding Stunts
poses of the IIPP does not alter such responsibility. The 5. Safety Awareness
UPM, First and Second assistant directors are asked to 6. Animal Handling Rules for the Motion Picture
meet with the person responsible for the overall studio or Industry
production company IIPP. In addition to, or in lieu of such 7. Recommendations for Diving Operations
a meeting, some studios or production companies may 8. Guidelines for Insert Camera Cars
assign an individual to a specific production to assist in 8A. Addendum “A” – Process Trailer/Towed Vehicle
safety coordination. 8B. Addendum “B” – Camera Boom Vehicles
The UPM and first and second assistant directors are 8C. Addendum “C” – Power Line Distance Requirements
each assigned different areas of responsibility in the 9. Safety Guidelines for Multiple Dressing Room Units
administration of the IIPP. Together, they must: (1) make 10. Guidelines Regarding the Use of Artificially Created
sure the entire shooting company is thoroughly familiar Smokes, Fogs, and Lighting Effects
with the safety program; (2) ensure that the safety program 11. Guidelines Regarding the Use of Fixed-Wing Aircraft
is working; (3) troubleshoot as necessary, addressing all in Motion Picture Production
Chapter | 17 Safety 313
11A. Addendum “A” – External Load Guidelines – Procedural Guidelines

Fixed-Wing Aircraft
12. Guidelines for the Use of Exotic Venomous Reptiles 1. Special Procedures For Minors Performing Physical
13. Gasoline Operated Equipment Activities
14. Code of Safe Practices for Parachuting and Skydiving Informational Fact Sheets
15. Guidelines for Boating Safety for Film Crews Safety & Heath Awareness Sheet – Guidelines for
16. Recommended Guidelines for Safety with Pyrotech- Handing Freshly Painted Backdrops and Other
nic Special Effects Graphic Arts
17. Water Hazards Safety & Heath Awareness Sheet – Photographic
18. Guidelines for the Safe Use of Air Bags Dust Effects
19. Guidelines for the Use of Open Flames on Motion
Picture Sets
20. Guidelines for the Use of Motorcycles
21. Guidelines for Appropriate Clothing and Personal GENERAL SAFETY GUIDELINES
Protective Equipment FOR PRODUCTION
22. Guidelines for the Use of Elevating Work Platforms
Your production’s safety program should include
(Scissor Lifts) and Aerial Extensible Boom Platforms
the following general safety guidelines in addition to
22A. Addendum “A” – Power Line Distance Requirements
the Injury & Illness Prevention Program. Although most
23. Guidelines for Working with Lighting Systems and
are common sense, others are derived from federal,
Other Electrical Equipment
state or local laws and regulations. Failure to follow
these guidelines and the IIPP could not only result in
23B. Addendum “B” – Basic Electric Safety Precautions
serious injury, but could also cost valuable produc-
for Motion Picture and Television Off Studio Lot
tion time and expense due to delays and/or shutdowns
Location Productions by City of Los Angeles Mayor
enforced by either regulatory agencies or management
Richard Riordan
personnel.
23C. Addendum “C” – Working with 480 Volt Systems
As you know, your working conditions may change
24. Recommended Safety Guidelines for Handling of
from day to day, especially on location. To reduce the risk
Blood and Other Potentially Infectious Materials
of accidents, be aware of your work environment and the
25. Camera Cranes
equipment that’s being used. Pay special attention to call
sheets as they often contain important safety information
26. Preparing Urban Exterior Locations for Filming
for the next day’s shoot. And if you have any questions
27. Poisonous Plants
or concerns, or notice anything you believe could be
28. Guidelines for Safety Around Railroads and Rail-
hazardous to the cast and crew, don’t hesitate to notify
road Equipment
your supervisor or call the producer.
29. Guidelines for Safe Use of Hot Air Balloons
29A. Addendum “A” – Guidelines for External Loads –
Hot Air Balloons
30. Recommendations for Safety with Edged and General Rules
Piercing Props
31. Safety Awareness When Working Around Indige- l Obey all “No Smoking” signs. Smoking is not permit-
nous Critters ted on any stage. Observe designated smoking areas
32. Food Handling Guidelines for Production and always extinguish cigarettes in butt cans. Dispose
32A. Addendum “A” – Health Advisory of all other trash properly, not in butt cans.
33. Special Safety Considerations when Employing l Wear appropriate clothing and any necessary protec-
Infant Actors tive equipment. A shirt and shoes should be worn at
34. Working in Extreme Cold Temperature Conditions all times. Don’t wear loose clothing, and long hair
34A. Addendum “A” – Wind Chill Charts should be tied back if working around machinery.
35. Safety Considerations for the Prevention of Heat Illness Nonessential jewelry should be left at home. Eye
36. Guidelines for Miniature Remote-Controlled Cam- and/or ear protection must be worn when operating
era Helicopters equipment or performing other work where damage
37. Seat Belts and Harnesses to sight or hearing could occur.
38. Guidelines for Inclement or Severe Weather l Don’t work while under the influence of illegal drugs
39. Guidelines for Using Foam(ed) Plastics in Set and or alcoholic beverages. Medication that might interfere
Prop Construction with your alertness or ability to work should be used
40. Guidelines for Non-Camera Utility Vehicles only under the direction of your physician. If you feel
any medication is impairing your work, discuss this Hazardous Materials

with your doctor. Don’t put yourself or your coworkers
at risk. Fuels, explosive materials, solvents, paint products, acids,
l Pranks and horseplay should be kept in check. Dis- compressed gas cylinders, aerosol cans, isopropyl alcohol,
tracting crew members operating tools or working with glues, resins, dyes, certain make-up products, lubricating
specialized equipment can result in accidents. oil and mineral oil are just some of the substances that fall
l Maintain clear walkways and exit passageways. under the category of hazardous materials (or “dangerous
Maintain at least a four-foot perimeter around stage goods”). They’re in a class of materials that are capable
areas. Keep all exit doors unlocked when working. of posing a significant risk to health, safety or property
All overhead equipment, fixtures and props should if not handled properly.
be properly secured with safety wire if needed. These substances should be stored in approved con-
Cables on the floor or ground should be ramped in tainers (UL-listed flammable cabinets or explosive con-
foot traffic areas. Fire extinguishers, hoses and tainers) and not be allowed to accumulate on stage
hydrants must remain accessible at all times. floors, under platforms or in other work areas. Eating,
l Familiarize yourself with emergency procedures for drinking and smoking should be prohibited in areas where
each location, and be aware of emergency evacuation hazardous substances are present. It’s also imperative to
routes. dispose of these materials in an approved method by a
l Remain aware of your surroundings. That includes all certified hazardous waste hauler.
personnel working above and below you. All overhead Material Safety Data Sheets (MSDS) should be obtained
equipment fixtures and props should be properly from the manufacturer for all such substances. They should
secured. be reviewed and kept on file, and proper handling and
l Maintain a neat, clean and orderly work area. storage procedures should always be observed.
l Make sure that all visitors remain a safe distance from The shipping dangerous goods is highly regulated by
construction and filming areas. the FAA and the federal government. These goods must
l Attend all on-production, off-production and/or indi- be declared, identified, classified, labeled and packed by
vidual department safety meetings. someone specifically trained and licensed to handle and
l Production days can be long and grueling, so make ship hazardous materials. Nothing happens until material
sure you’re getting adequate sleep. Exhaustion can safety data sheets are submitted to your authorized packer
cause accidents too. and shipper. Check with your Safety representative or
l Report all accident, injuries and illnesses to your shipping company to get more information on the proce-
department head or the responsible safety person dures for shipping these substances – including all restric-
immediately. tions, regulations, time frames and costs. And although
most dangerous goods can be safely transported by air if
they’re in approved quantities and properly packaged and
handled, you’re much better off purchasing these materials
Lifting and Moving on location (as long as they’re available) than to ship
Don’t attempt to lift excessive or awkward loads without them. (You’ll find more information on shipping danger-
getting help. Whenever possible, use dollies, carts, hand ous goods in Chapter 22.)
trucks, etc. If an object is too heavy to move without
strain, ask for help! Proper lifting techniques can help
prevent back injuries and other strains (lift with your legs,
Hand Tools and Related Equipment
not your back). Use the right tool for the job. Ensure that all equipment is
in proper working order and that protective guards are in

place and in good condition. Tag and report any damaged
Common Fall Risks (Catwalks, or malfunctioning equipment. Store all equipment in the
proper manner and place. Avoid areas where others are
Runways, Floor Openings, Guard
using power tools unless your job requires you to be there.
Rails, Scaffolds and Stairwells) Watch for flying debris.
Stair railings and guard rails are required by law for any Don’t handle or repair tools, machinery or equipment
elevated surface or around pits or holes. Ensure that unless you’ve been trained and authorized by your supervisor.
lighting is adequate and warning signs are posted when Don’t use the top two steps of ladders. Make sure
necessary. Use safety harnesses or other fall protection ladders are in good condition and properly supported
equipment when needed, especially when operating above (don’t leave them standing against walls – secure them).
ground level or outside areas with guard rails. Ladders should be properly stored when not in use.
Filming Equipment (Booms, Camera safety bulletins must be attached to the call sheet and
and Insert Cars, Cranes, Dollies, etc.) reviewed at the safety meeting.
Effects involving pyrotechnics must be noted in
Use the proper equipment for the job. Be aware of and advance on the call sheet. Permits must be obtained in
observe all load capacities. Never allow more than nine advance as required. Performance must be by qualified,
people (including the driver) on an insert car. Operators licensed persons only. Regulatory agencies must be noti-
and passengers of all vehicles should always use safety fied in advance as required by permit.
belts or harnesses. Appropriate safety equipment – eye, ear protection,
shields, etc. – must be provided as needed to protect cast
Filming Vehicles (Aircraft, and crew. A planned escape route must be kept clear. Only
Helicopters, Cars, Trains, etc.) persons necessary for the shot should be in the area.
Be especially cautious when walking, driving or traveling

Smoke
in congested areas. Proceed slowly and watch for sudden
movement. Be cautious when working around helicopters. Be aware that the use of atmospheric smoke is regulated.
Remain at least 50 feet from helicopters unless you’re Efforts should be made to reduce smoke where possible.
instructed to be closer. Under no circumstances should you Provide adequate ventilation and respirators where needed.
approach a helicopter or aircraft without permission from the
ground safety contact or the pilot. Whether the rotors are Firearms
turning or not, always approach and leave a helicopter from
the front. Never walk near or around the tail rotor of a heli- Treat all firearms as if they’re loaded. Don’t handle
copter. And no smoking is allowed within 50 feet of aircraft. firearms unless required and qualified to do so. Follow
The use of aircraft, trains, cars or boats may require the direction of the property or weapon master at all times.
special permits and/or operator certification. All vehicles The use of firearms may require special permits and certi-
and their safety equipment must be inspected on a daily fications. Know all operating features and safety devices.
basis by qualified personnel. All firearms must undergo safety inspections by qualified
personnel. Live ammunition must not be used!
Electrical Safety
Animals
Ground and properly maintain all electrical equipment and
wiring, use only for its intended use and maintain suffi- Animals are unpredictable. Animal trainers should address
cient access and working space around electrical equip- the cast and crew regarding safety precautions that will be
ment. Be cautions around water. DC may be required for in effect and to answer questions about safety. Don’t feed,
work above, in or near water. pet or play with any animal without the permission and
direct supervision of the trainer. When working with ani-
mals, the set is to be closed to outside visitors and so noted
Water Hazards on the call sheet.
All cast and crew members working on or above water
should wear life vests or other safety equipment. Safety Environmental Concerns
lines, nets, divers, observers or other precautions should
be taken when working in rivers, streams or other bodies Your location should be free of hazardous materials or
of water with currents. chemicals hazards. All hazardous waste generated by the
Obey boat crew members’ instructions at all times. production company (including paint) must be disposed
Observe capacity limits on all boats. Persons not essential of properly. Proper documentation of the transportation
for filming should not be on the water. Know as much as and disposal of hazardous materials must be maintained.
you can about the water – quality, animal life or other hazards. If in doubt, ask. Read more about environmentally
responsible filmmaking in Chapter 31.
Stunts and Special Effects
Preparing for an Emergency
Stunts and special effects require an on-site dry run or
walk-through with all involved parties before filming. l Familiarize yourself with emergency procedures for
The walk-through, safety meeting and rehearsal should each location.
be documented on the daily production report. It’s the l Keep a flashlight nearby and ready to use. Check it
policy that all stunts and effects be reviewed by all frequently to make sure the batteries are fresh.
participants prior to execution to help ensure that they’re l Keep other personal supplies (protein bars, water, an extra
performed in the safest manner possible. The appropriate jacket and pair of shoes, etc.) in a drawer or backpack.
l Maintain clear fire aisles around the perimeters of all l When the speed of the vehicle will be greater than
stages. normally safe for the conditions of the driving sur-
l Know the locations of available fire extinguishers and face, or when other conditions such as obstacles or
first-aid kits. difficulty of terrain will exist, or off-road driving
l Be aware of more than one way to exit any location or (other than normal low-speed driving for which
work area. the vehicle was designed) will occur.
l All disaster plans should include contingencies for l When any aircraft, fixed-wing or helicopter is
evacuation, transportation, food and shelter. flown in close proximity to the vehicle, creating a
l Know where the nearest available medical attention is hazardous driving condition.
available. l Whenever high speed or close proximity of two or
more vehicles create conditions dangerous to the
In an emergency:
drivers, passengers, film crew or vehicles. Nothing
l Protect yourself first before assisting others. herein shall require the performer to be doubled
l Think before reacting and take a deep breath. where the performer has the special expertise to
l During an earthquake, look for a place to safely “duck, perform the sequence in a safe manner.
cover and hold.” l When for safety reasons a performer is doubled on-
camera as the driver of a vehicle, the double shall
Make sure all cast and crew members receive a copy of
qualify as a stunt performer under Schedule H of the
these safety guidelines and that all safety procedures,
SAG Agreement. This would also apply to passengers
bulletins and programs (as well as local, state and federal
in a vehicle who must be doubled for their safety.
regulations) are adhered to. All employees should be
l When stunts are required, a person qualified in planning,
required to sign an Acknowledgment of Safety Guidelines
setting up and/or performing the stunt must be present on
(sample included in this chapter) attesting to having
the set. Persons involved in the planning and execution of
received, read, and understood these procedures.
a stunt shall be entitled to inspect any vehicle, mechanical
All studios and production companies should provide
device and/or equipment to be used in the stunt on the day
their production units with a supply of Safety Checklists
prior to its use, provided it’s available. In any event, such
and Worksite Safety Reports to be filled out on a daily
persons shall have reasonable time for such inspections.
basis. Other forms have been devised to note safety con-
No payment shall be due for any inspection. The non–
cerns while breaking down a script and for documenting
stunt performer shall have the opportunity to consult with
safety meetings, training sessions and various safety
this person before being required to perform a stunt.
inspection and compliance measures. If the production
l The stunt coordinator shall notify the Guild whenever scri-
company you’re working for can’t supply you with these
pted stunts are planned involving non–stunt performers.
forms, design your own that will specifically address the
l The producer must always get the performer’s consent
safety concerns pertaining to your production.
before asking the performer to engage in a stunt or
hazardous activity. They do not have to agree; and
SCREEN ACTORS GUILD – SAFETY they may always request a double.
REGULATIONS l All reasonable requests and requirements for safety
equipment in connection with the performance of
l A qualified first-aid person must be present on all sets stunts shall be complied with by the producer or the
where hazardous work is planned. The producer shall producer’s representatives on the set or location.
properly equip this person, establish the capabilities l Equipment provided by the producer, for example,
of nearby medical facilities and provide transportation autos, cycles, wagons, etc., shall be in suitable repair
and communication with these facilities. for the safe and proper performance of the stunt.
l Where any of the following conditions are planned as l Smoke work must be approved by the performers
part of a driving sequence and special expertise is involved at the time of booking or prior to the work. If
necessary in order to perform such driving sequence in a this does not occur, a performer may refuse the work for
safe manner, the on-camera driver shall qualify as a stunt legitimate health reasons. Material Safety Data Sheets
performer under Schedule H of the SAG Agreement. must also be available on the set when smoke is used.
l When any or all wheels will leave the driving
surface.
l When tire traction will be broken (skids, slides, etc.). WORKING UNDER HAZARDOUS
l When the driver’s vision will be substantially im- CONDITIONS
paired by dust, spray (when driving through water,
mud, etc.), blinding lights, restrictive covering over In addition to the SAG regulations listed previously, other
the windshield, smoke or any other conditions that unions and guilds impose their own regulations governing
would substantially restrict the driver’s normal vision. their members when they work under hazardous
conditions. Many potentially dangerous situations require Under federal law, unwelcome sexual advances,
productions to make salary adjustments (pay bumps) for requests for sexual favors and other verbal or physical
employees working under these conditions. The amount conduct of a sexual nature constitute sexual harassment
of the pay bump will vary depending on the union/guild when: (1) submission to such conduct is made either
and the dangerous activity. Pay bumps are generally paid explicitly or implicitly a term or condition of an indivi-
for aerial or submarine work, working in (or under) water dual’s employment, (2) submission to or rejection of such
or under exceptionally cold conditions. Bumps are paid conduct by an individual is used as the basis for employ-
per occurrence with a maximum daily cap. Check your ment decisions affecting such individual, or (3) such con-
guild and union contracts to find specific regulations relat- duct has the purpose or effect of unreasonably interfering
ing to any potentially hazardous work you’re planning. with an individual’s work performance or creating an
intimidating, hostile or offensive working environment.
This can include verbal behavior such as unwanted sexual
ADVICE FROM AN EXPERT comments, suggestions, jokes or pressure for sexual
favors; nonverbal behavior, such as suggestive looks or
In talking with Jim Economos, Vice President of Produc-
leering; and physical behavior, such as pats or squeezes
tion Safety at DreamWorks about this chapter, he strongly
or repeatedly brushing against someone’s body.
suggests that filmmakers be keenly aware of the following
Although many assume that sexual harassment involves
three areas of concern.
a male boss and a female employee, this isn’t always the
l Asbestos: stay away from it! Know what it is and what case. Sexual harassment often involves co-workers, other
it looks like. If you’re considering shooting in a build- employees of the company or other persons doing business
ing that was built before 1980, chances are that it has with or for the company. It’s against the law for females to
or had asbestos. So if you’re unsure, ask. This is a fed- sexually harass males or other females, as well as for males
eral issue, and you don’t want to injure anyone or put to harass other males or females.
yourself in a position to be sued. Anyone who is being sexually harassed should, if
l Logistics: make sure you have easy access to your possible, confront the harasser and ask him or her to stop.
shooting locations – that you can park your trucks If this doesn’t stop the behavior, the UPM should be
close-by and easily get your gear in. The logistics of informed of the situation as soon as possible. If, for what-
making this happen may be a location issue, but it ever reason, the UPM can’t be told, the producer should be
can easily turn into a safety issue if proper access to informed immediately. Sexual harassment or retaliation
a location isn’t provided to your crew. can be reported in writing or verbally and may also be
l Regulatory Issues: do your due diligence when it comes reported by someone who isn’t the subject of the harass-
to EPA (Environmental Protection Agency), DEQ ment. If the UPM or producer is unable to curb the
(Department of Environmental Quality) and AQMD unwanted behavior, the situation must be reported to the
(Air Quality Management District) guidelines in the studio or production company, and an investigation will
state where you’re filming. If in doubt, ask your film be conducted. Where evidence of sexual harassment or
commissioner. If you’re working in a river, find out if retaliation is found, disciplinary action, up to and inclu-
it’s regulated. If you’re filming near wildlife, find out ding termination may result. If an employee is found to
what the restrictions are. If you think you can get away have engaged in sexual harassment, or if you as a manager
without following proper regulatory guidelines, think know about the conduct and condone it, you may also be
again, because these types of situations have a way of personally liable for monetary damages.
coming back and biting you in the butt big-time.
Jim’s job is to make sure that the film units under his super-
vision remain safe, and for those of you who don’t have the “ON LOCATION” – PERSONAL SAFETY
luxury of having a safety executive or supervisor assigned to
CONSIDERATIONS AND SUGGESTIONS
your show, it becomes your responsibility to make sure that
no one on your cast or crew is injured. So do your homework This information was prepared by Al Marrewa, president
and know what you have to do to keep everyone safe. of Powerflex USA, Inc. of Los Angeles, California.
SEXUAL HARASSMENT
Visit Locations Prior to First Day
In promoting practices that provide for a safer and health- of Shooting
ier work environment, the matter of sexual harassment
must be addressed as well. It’s imperative to inform your Familiarize yourself with your locations – streets, build-
entire cast and crew that sexual harassment won’t be toler- ings, police and fire departments, hospitals, gas stations,
ated on your production. restaurants and pay telephones. Know the location.
Gang-Occupied Locations l When dealing with street/neighborhood people, be

aware of everything around you (i.e., people, physical
l Notify the police department and/or the sheriff’s environment).
department gang detail unit of your activities in the
area. Request an increase in security and visibility. If you get into a precarious situation, ask yourself the
l Know which gangs can be found in the location area. following questions:
l Suggest to those in power that filming be avoided on l Am I outnumbered?
Friday and Saturday nights. l Is he/are they outnumbered?
l Remember that gang members can be as young as 12 l Am I concerned?
to 13 years old. l Can I get to safety if needed?
l While on location, avoid wearing red/blue/black cloth- l Are tempers increasing?
ing, such as caps, bandannas, jackets (anything similar l Is he/are they under the influence of alcohol or drugs?
to gang attire). l Can I see both of his hands (or are they hidden?)
l While on location, be aware of others wearing red/ l Can I see a weapon?
blue/black clothing, such as caps, bandannas, jackets l How much distance is between this person and myself?
or team clothing/colors. l Are my actions threatening/challenging him/them?
l Be aware of two or more individuals wearing similar l Do I feel physically threatened?
clothing of any kind. Many gang members will follow a l What/how am I feeling right now?
particular dress code, including having similar haircuts. l Am I prepared to fight?
l When gang members are used as extras, notify the
police or sheriff’s gang detail unit in advance. Request
additional security support. Conflict Resolution
l Be aware of a vehicle with three or more occupants
l Treat the other person with respect.
that is parked or moving slowly down a street or alley.
l Listen until you understand the other person’s point of view.
l If nearby gunfire breaks out at any time, immediately
l Express your own views, needs, feelings.
drop to the ground, face first. Stay down until gunfire
l Use body language to communicate with the other
ceases. Then, get to a safe place.
person (i.e., face him or her directly/maintain an
“open” position/make eye contact).
Additional Suggestions l Avoid sarcasm.
l Negotiate.
l Whenever possible, be with other people from your
group or company. There is safety in numbers.
l Whenever possible, stay in sight of other group or Self-Defense
company members.
l Know how you appear to others at all times. Do you stand Self-defense includes the following:
out in a particular area because of your race, sex or dress? l Awareness
l Never wear expensive or showy jewelry or clothing l Assertiveness
(i.e., watch, rings, bracelets, necklace, leather jacket). l Communication (verbal and nonverbal)
l Carry small amounts of cash at any time. l Instinct
l Whenever possible, use a buddy system while on location l Intuition
(“I’ll keep an eye on you, and you keep an eye on me”). l Planning
l Consider carrying a high-powered whistle with you at all l Preparation
times. This can be used to notify others in an emergency. l Teamwork

My thanks to Jim Economos for his help with this
Taking Action
chapter and to Al Marrewa, whose advice remains as
l Always walk down the middle of a street, especially at relevant today as it was several years ago when he first
night; walking on sidewalks close to buildings, alleys, allowed me to use it in an earlier edition.
bushes and hidden areas can be dangerous.
l If you notice a group of men staring at you, glancing at
you one at a time or pointing toward you – run or walk FORMS IN THIS CHAPTER
away quickly. (Know where safety is.) If you must walk
l Acknowledgment of Safety Guidelines
near them, show no fear. Show confidence in your walk
l Production Safety Report
and don’t stop. You may choose to look directly at one of
l Daily Departmental Safety Meeting Report
them, straight in the eye, acknowledging confidently
l Emergency Information Form (to be posted on the set
that you see them. Remember, this should be a non-
at all times)
threatening gesture.
PRODUCTION SAFETY REPORT

(To be completed by the 1st AD or 2nd AD on a daily basis and turned in to the Production Office)
SHOW: SHOOTING DAY#:
DATE: TODAY’S LOCATION:
WAS TODAY’S FILMING/WORK SITE INSPECTED? YES NO N/A
By (Name): Title:
Note what, if anything, was found and any changes/corrections made:
WAS THE CAST AND/OR CREW NOTIFIED OF ANY POTENTIAL SAFETY CONCERNS? YES NO N/A
By (Name): Title:
Notified of:
WERE INDIVIDUAL CAST AND/OR CREW SAFETY MEETINGS HELD? YES NO N/A
(Briefly note what was discussed for each area)
Special Effects:
Stunts:
2nd Unit:
Rigging Crew:
Cast:
Extras:
Other:
WAS ANY SAFETY TRAINING FOR CAST AND/OR CREW HELD? YES NO N/A
What type:
Received by (Name): Title:
WAS ANY SPECIAL SAFETY EQUIPMENT USED? YES NO N/A
What type:
Received by (Name): Title:
WERE SAFETY BULLETINS DISTRIBUTED? YES NO N/A

Which ones:
To whom:
WERE THERE ANY ACCIDENTS/INCIDENTS? YES NO N/A

Attach investigation report(s)
ADDITIONAL COMMENTS:
SIGNED POSITION
DAILY DEPARTMENTAL SAFETY MEETING REPORT
SHOW:
DATE: SHOOTING DAY#:
TODAY’S LOCATION:
DEPARTMENT:
WAS A DEPARTMENTAL SAFETY MEETING HELD BEFORE SHOOTING? YES NO
WAS THE DAY’S WORK AND REQUIREMENTS TO COMPLETE IT BY

YOUR SPECIFIC DEPARTMENT DISCUSSED? YES NO
WERE ANY SAFETY HAZARDS OR CONCERNS ABOUT SAFETY

RELATED TO THE DAY’S SHOOT DISCUSSED? YES NO
SPECIFICALLY, WHAT SAFETY CONCERNS WERE DISCUSSED?
WERE SAFETY GUIDELINES AND PROCEDURES RELATED TO THESE

CONCERNS DISCUSSED? YES NO
WERE SAFETY BULLETINS ATTACHED TO THE CALL SHEET TODAY? YES NO
HAS YOUR ENTIRE CREW REVIEWED THE SAFETY SHEETS? YES NO
WERE ANY ADDITIONAL CONCERNS REGARDING THE DAY’S WORK

ADDRESSED BY THE CREW? YES NO
IF SO, PLEASE EXPLAIN THE CONCERNS AND HOW THEY WERE

ADDRESSED:
SIGNED POSITION
EMERGENCY INFORMATION
(To be posted on the set at all times)
SHOW: DATE:
PRODUCTION CO:
PROD. OFFICE PHONE NO: FAX#:
TODAY’S LOCATION:
ADDRESS:
LOCATION PHONE NOS:

PROPERTY OWNER(S)/MANAGER:
OWNER/MANAGER’S PHONE NO:
ESSENTIAL PHONE NUMBERS EMERGENCY CALLS ONLY: 911

POLICE: FIRE:
NEAREST EMERGENCY MEDICAL FACILITY:
EMERGENCY ROOM PHONE NO:

Emergency Telephone Procedures:
Indicate if you have a medical or fire emergency that requires an immediate response, then give the following
information:
· Type of emergency (fire, medical, police or other) and related details (persons involved, nature of injuries, etc.)
· Location of emergency (including building, floor and room numbers)
· Your name and the telephone number you are calling from
Note: Do not hang up first as the operator may require additional information from you.
UPM:
PHONE: CELL:
SET MEDIC:
PHONE: CELL:
LOCATION MANAGER:
PHONE: CELL:
ON-SET SAFETY COORDINATOR:

PHONE: CELL:
CONSTRUCTION SAFETY COORDINATOR:

PHONE: CELL:
PRODUCTION SAFETY CONSULTANT:

PHONE: CELL:

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The Complete Film Production Handbook - (Chapter 17 Safety)

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Chapter 17

SAFETY PROGRAMS would be smart to adopt these industry-wide safety guide-

11A. Addendum “A” – External Load Guidelines – Procedural Guidelines

any medication is impairing your work, discuss this Hazardous Materials

in proper working order and that protective guards are in

Be especially cautious when walking, driving or traveling

Gang-Occupied Locations l When dealing with street/neighborhood people, be

times. This can be used to notify others in an emergency. l Teamwork

PRODUCTION SAFETY REPORT

SHOW: SHOOTING DAY#:

DATE: TODAY’S LOCATION:

WAS TODAY’S FILMING/WORK SITE INSPECTED? YES NO N/A

Note what, if anything, was found and any changes/corrections made:

Received by (Name): Title:

WAS ANY SPECIAL SAFETY EQUIPMENT USED? YES NO N/A

Received by (Name): Title:

WERE SAFETY BULLETINS DISTRIBUTED? YES NO N/A

WERE THERE ANY ACCIDENTS/INCIDENTS? YES NO N/A

DAILY DEPARTMENTAL SAFETY MEETING REPORT

DATE: SHOOTING DAY#:

WAS THE DAY’S WORK AND REQUIREMENTS TO COMPLETE IT BY

WERE ANY SAFETY HAZARDS OR CONCERNS ABOUT SAFETY

SPECIFICALLY, WHAT SAFETY CONCERNS WERE DISCUSSED?

WERE SAFETY GUIDELINES AND PROCEDURES RELATED TO THESE

WERE SAFETY BULLETINS ATTACHED TO THE CALL SHEET TODAY? YES NO

HAS YOUR ENTIRE CREW REVIEWED THE SAFETY SHEETS? YES NO

WERE ANY ADDITIONAL CONCERNS REGARDING THE DAY’S WORK

IF SO, PLEASE EXPLAIN THE CONCERNS AND HOW THEY WERE

LOCATION PHONE NOS:

ESSENTIAL PHONE NUMBERS EMERGENCY CALLS ONLY: 911

EMERGENCY ROOM PHONE NO:

ON-SET SAFETY COORDINATOR:

CONSTRUCTION SAFETY COORDINATOR:

PRODUCTION SAFETY CONSULTANT:

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