{"product_id":"call-sheets","title":"Call Sheets","description":"\u003cp\u003e\u003cstrong\u003eGet Certified in Production Call Sheets for Film and TV Series \u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eTaught by Korey Pollard, Producer and DGA Unit Production Manager\/First Assistant Director \u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eA call sheet is a document generated daily by the production department that details every aspect of who and what is required for any given day of shooting and when and where they need to be – it is the heartbeat of a production day. The line producer, working closely with the first assistant director, creates a schedule for each day of shooting and that is turned into a daily call sheet containing all the details and elements required each day.\u003c\/p\u003e\u003cp\u003eThe call sheet is a document that keeps track of every element required each day. This document is very important not only for communicating to the cast and crew the daily plan and what is required of each department but it also keeps track of exactly who and what needs to be on your set and when.\u003c\/p\u003e\u003cp\u003eThis certification course will teach you how the various iterations of schedule documents are used in preparing the call sheet, how the call sheet is made, and how to read and utilize the call sheet to have smooth and organized days of production.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eThe course will cover:\u003c\/strong\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eAn Overview\u003cul\u003e\n\u003cli\u003eHow to read a call sheet from top to bottom front to back\u003c\/li\u003e\n\u003cli\u003eWhere the elements from a script and a schedule belong on the call sheet and why\u003c\/li\u003e\n\u003cli\u003eHow to anticipate estimated hair, makeup and wardrobe times on a call sheet and how those times affect the call times each day \u003c\/li\u003e\n\u003cli\u003eWhat the basic cast and crew turnaround (rest periods) are and how they affect each day\u003c\/li\u003e\n\u003cli\u003eThe importance of approving the preliminary call sheet and why it needs to get out to the crew as early as possible the day before a production day\u003c\/li\u003e\n\u003cli\u003eThe importance of accurate information on the call sheet for your crew and the liability issues created by missing production elements, cast and crew members\u003c\/li\u003e\n\u003cli\u003eWhen is a revised call sheet necessary and why?\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003eHow does the 2nd AD start prepping the call sheet?\u003cul\u003e\u003cli\u003eHow to prep and approve the call sheet.  \u003cul\u003e\n\u003cli\u003eWhat should the line producer be looking for on the call sheet and why? \u003c\/li\u003e\n\u003cli\u003eReading the call sheet with other departments in mind. \u003c\/li\u003e\n\u003cli\u003eCross referencing notes from the shooting schedule from various meetings and confirming they are on the call sheet.\u003c\/li\u003e\n\u003cli\u003eHow to determine which department head can best answer your questions about the call sheet element and manpower needs.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003eWorking with the Team on the call sheet\u003cul\u003e\n\u003cli\u003eWorking with the director, director of photography and assistant director on the call sheet for estimated shooting hours\u003c\/li\u003e\n\u003cli\u003eCommunicating with all the various departments about manpower and special equipment needs\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp style=\"background: rgba(255, 255, 255, 1)\"\u003e \u003c\/p\u003e\u003cp style=\"background: rgba(255, 255, 255, 1)\"\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003e\u003cimg src=\"https:\/\/stage32.myabsorb.com\/files\/98b3def6-307c-46ea-b5eb-d48086839534\/Public\/Courses\/3b2379f1-a554-4c9f-90de-b8edb8229f85\/Korey.png\" style=\"width: 300px; display: block; vertical-align: top; margin: 5px auto 5px 0; text-align: left\"\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eAbout the Instructor\u003c\/strong\u003e\u003c\/p\u003e\u003cp style=\"margin-top: 0; background: rgba(255, 255, 255, 1)\"\u003eThis certification module is taught by Korey Pollard, producer, DGA unit production manager\/first assistant director with over two decades in the business on over 60 film and television productions. His television and film credits include Emmy-winning \u003cem style=\"box-sizing: border-box\"\u003eAmerican Crime Story \u003c\/em\u003e(FX), Emmy-nominated \u003cem style=\"box-sizing: border-box\"\u003eTom Clancy's Jack Ryan\u003c\/em\u003e (Amazon), \u003cem style=\"box-sizing: border-box\"\u003eNashville\u003c\/em\u003e (ABC),\u003cem style=\"box-sizing: border-box\"\u003e Seal Team\u003c\/em\u003e (CBS), \u003cem style=\"box-sizing: border-box\"\u003eBig Sky\u003c\/em\u003e (ABC), the critically-acclaimed show \u003cem style=\"box-sizing: border-box\"\u003eMonk\u003c\/em\u003e (USA), \u003cem style=\"box-sizing: border-box\"\u003eDeadwood\u003c\/em\u003e (HBO), \u003cem style=\"box-sizing: border-box\"\u003eHouse \u003c\/em\u003e(FOX), \u003cem style=\"box-sizing: border-box\"\u003eGrey’s Anatomy\u003c\/em\u003e (ABC), \u003cem style=\"box-sizing: border-box\"\u003eBoomtown\u003c\/em\u003e (NBC), and \u003cem style=\"box-sizing: border-box\"\u003eCSI\u003c\/em\u003e (CBS) and dozens more.\u003c\/p\u003e\u003cp style=\"margin-top: 0; background: rgba(255, 255, 255, 1)\"\u003eFilm credits include \u003cem style=\"box-sizing: border-box\"\u003eOnce Upon a Time in Mexico\u003c\/em\u003e, \u003cem style=\"box-sizing: border-box\"\u003eSpy Kids 2\u003c\/em\u003e, \u003cem style=\"box-sizing: border-box\"\u003eAnd Starring Pancho Villa As Himself\u003c\/em\u003e, \u003cem style=\"box-sizing: border-box\"\u003eThirteen Days\u003c\/em\u003e, \u003cem style=\"box-sizing: border-box\"\u003eWaterworld\u003c\/em\u003e, \u003cem style=\"box-sizing: border-box\"\u003eClear \u0026amp; Present Danger\u003c\/em\u003e, \u003cem style=\"box-sizing: border-box\"\u003eEye For An Eye\u003c\/em\u003e, \u003cem style=\"box-sizing: border-box\"\u003eG.I. Jane\u003c\/em\u003e, \u003cem style=\"box-sizing: border-box\"\u003eThat Thing You Do\u003c\/em\u003e, and \u003cem style=\"box-sizing: border-box\"\u003eStand By Me\u003c\/em\u003e, among many others.\u003c\/p\u003e\u003cp style=\"margin-top: 0; background: rgba(255, 255, 255, 1); box-sizing: border-box; font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; widows: 2; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0\"\u003eHe also holds a position on The First Assistant Director\/Unit Production Manager Committee of The Directors Guild of America.\u003c\/p\u003e\u003cp style=\"margin-top: 0; background: rgba(255, 255, 255, 1); box-sizing: border-box; font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; widows: 2; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0\"\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"margin-top: 0; background: rgba(255, 255, 255, 1); box-sizing: border-box; font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; widows: 2; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0\"\u003e\u003cem\u003e\u003cstrong\u003e(Payment plans available at checkout)\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e","brand":"Stage 32","offers":[{"title":"Default Title","offer_id":48630756442419,"sku":"","price":299.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0700\/7728\/4659\/files\/Certification_20Website_20Graphics-49_4d40bd57-9bc3-4f77-b882-090d5df34220.png?v=1783321536","url":"https:\/\/stage32.myshopify.com\/products\/call-sheets","provider":"Stage 32","version":"1.0","type":"link"}