This page provides a sample email template productions may use when communicating with actors regarding audition invitations, scheduling, and related casting information.
Professional communication with actors is important because casting often forms a performer’s first impression of a production and its organization. Clear, respectful, and well-structured communication helps productions present themselves professionally while reducing confusion during the audition process.
Sample Messaging
Below is a sample email to send to potential actors during the casting process. Be sure to also attach a character breakdown and a copy of the script (or sides). Also be sure to copy the show’s Producer, so that they have the email for their records.
Dear (actor’s name),
My name is (your name) and I am a film student at the FSU College of Motion Picture Arts. I am casting a short film entitled (film’s title) that shoots on (shooting date). It is the story of (describe the film).
I saw your audition on our casting website and I would love it if you would consider auditioning for the role of (character name). I have attached a casting breakdown and a working copy of the script, along with the pages I would like you to prepare for the audition.
I am hoping to hold auditions on (audition date). If you are unavailable at this time, we can schedule another time that works for you. Please call me at (your cell phone number), or reply to this email if you are interested in auditioning for the role.
Thanks so much for your interest in working with the film school.
Regards,
Your full name Your crew position Your email Your cell phone number
This page provides a sample email template productions may use when informing actors that they were not selected for a role following auditions or callbacks.
Professional follow-up communication is important because casting processes involve significant time and effort from performers. Thoughtful and respectful correspondence helps productions maintain professionalism, build stronger relationships within the acting community, and reinforce industry-standard communication practices.
Sample Messaging
Below is a sample email to send to actors who you auditioned but did not cast in the film. Do not send regret emails until you are sure that the actor you have cast is 100% locked for the role. Make sure you also copy the Producer of the show, so that they have the email for their records.
Dear (actor’s name),
Thank you so much for coming to audition for the FSU film, (title of film). We appreciate the time and effort given for this project. Unfortunately, we will not be able to use you at this time, but we hope to see you again soon as we enjoyed meeting you and seeing your work.
Sincerely,
Your full name Your crew position Your email Your cell phone number
Auditions are the formal process through which productions evaluate actors for potential casting within a project. This process may include initial auditions, callbacks, readings, chemistry tests, or other performance evaluations used to assess suitability for specific roles.
Careful casting is important because performances play a central role in the success of a film and significantly affect the collaborative dynamic of the production process. Well-organized auditions help productions make stronger creative decisions while allowing directors and producers to evaluate not only performance quality, but also professionalism, communication, preparation, and collaborative potential.
Contacting actors
To set up an audition, actors should be contacted by email (see sample email) and sent a copy of the script along with the role you would like them to read for. Five-to-seven actors per role. You should then follow-up with a phone call to make a personal connection and make sure there is no confusion about your expectations. Let them know what pages of the script you would like them to prepare for the audition.
Selecting sides for auditions
Sides should ideally have two characters, but no more than three.
The best sides give the actor a chance to act and react. Therefore, exposition is not a good choice.
Do not choose scenes that are primarily action. If you must see an actor move, give them an improv that is directed (called out).
Sides should be no more than two minutes, preferably closer to one minute.
Sides may be from a script that is not your own if it contains similar characters and situations.
Sides may be specifically written for audition purposes to satisfy the recommendations above. For example, if your character does not speak, you could write an interview of that character for sides. This is a good way to verbalize how a character is feeling. Or, think about if you were making your film into a longer form piece. What scenes do you wish you could write? Write them for sides!
Rehearsals provide actors, directors, and key collaborators with dedicated time to explore performances, blocking, character relationships, scene structure, and production planning before filming begins.
Rehearsal time is valuable because it allows productions to identify creative and logistical challenges before arriving on set under tighter time constraints. Strong rehearsal practices can improve performances, strengthen communication between actors and directors, and help productions work more efficiently during principal photography.
Preparation
Prepare to work with your actors by clarifying your choices and jotting down possible objectives and strategies (active verbs) in your script. Actors want to respect their director. After all, they must put a lot of faith and trust in them. The director is the eyes and ears of the actor. This is true much more in film than it is in theater. The easiest way to lose their respect is to be unprepared and not know what the film is about or what you want from the actors. So do your homework!
Step 1: Table Read
This is the time to share your directorial vision (and those of your creatives) and the only time you should speak intellectually about the script.
Make sure the actors know what your vision is and how the other creative elements will be handled as well as how you see them fitting in to the overall theme (spine).
Discuss backstory, motivations, objectives, obstacles, etc. with the actors and listen carefully and respectfully to their input. It is their job to contribute creatively. Ask the actors to work on preparing their roles based on this information.
Step 2: Second Rehearsal
This is the time for experimentation. Try different approaches with your actors and ask them to take risks. This is a time to try improvisation and trust exercises to build up the relationship between and with your actors. Keep an open mind. You may be surprised.
Don’t ask for film worthy performances. This will make your actors stale when they get to set and not allow them to make discoveries.
This is the time for emotional exploration and connections (relationships). It is also a time to get to know your actors and their process so that you can determine what directions and approach will work best for them. You can also identify any quirks they have that will need to be addressed on set.
Step 3: On-set Rehearsals
Forget it all and make sure your actors are listening and making connections.
During the shoot it is very important to make sure your actors feel safe and supported. They must feel that you are in control and since they put their trust in you, they rely on you to be their eyes and ears.
Actors need feedback! And they don’t want you to accept less than quality work. It is their face up on the screen and they want you to help them be great. You should speak with them before every take to remind them of their scene objectives and what happened the moment before. This is especially important when you shoot out of sequence. You should also give them feedback after every take even if just to say, we messed up sound so we need to do it again. Otherwise, they will think they did something wrong and spend the whole next take worrying about it. Also, let them know what the next shot is so they can relax.
The most important thing for the actor on set is for them to really listen to their partner and respond in the moment. Your job is to make sure they do that, and that they do it within the technical considerations of the shot.
This resource provides approaches, techniques, terminology, and communication strategies that directors may use when working with actors during rehearsals and production.
Directing actors requires more than simply communicating blocking or line readings; it depends heavily on trust, collaboration, emotional clarity, and effective creative communication. Developing stronger actor-director communication skills helps productions create more nuanced performances while supporting healthier and more productive collaborative environments on set.
Action Verbs
An action verb is transitive and requires an object. It is something you do to someone or something else; “to be” is never an action verb. This list is a starting off point for you to develop your own list of action verbs.
to accuse to admire to admonish to adore to amuse to annoy to apologize to appease to applaud to attack to avoid to bask to beg to belittle to bestow to boast to brag to brood to brush off to buddy up to butter up to cajole to caress to celebrate to challenge to charm to check out to coax to comfort to command to confess to confide to confront to congratulate to convince to cuddle to defend to deify to demand to destroy to dis to discard to discover
to dismiss to distract to elicit to embrace to entertain to entice to erupt to escape to examine to explode to exult to flatter to flaunt to flee to flirt to gloat to grieve to hide to idolize to ignore to impress to incite to inspect to instruct to invade to invite to lead to lure to manipulate to mimic to mock to mother to mourn to ogle to overpower to patronize to perform to persuade to pester to plead to ponder to pounce to preen
to prepare to primp to probe to protect to provoke to put down to question to reach out to reason with to reject to rescue to retreat to ridicule to savor to scold to scrutinize to search to seduce to seethe to shock to show off to sneak to soothe to stalk to startle to strut to surrender to tantalize to taunt to teach to tease to tempt to test to threaten to toss off to triumph to ward off to warn to welcome to withdraw to worship to yearn
Refer to Marina Calderone’s Actions: The Actor’s Thesaurus (book/app) for more examples.
Other Directing Strategies
Acceptable directions for actors that are not clarifying a beat objective through the use of an active verb include:
Do this scene AS IF you are __________ (e.g., in a funeral procession, on the floor of the stock market, at a prayer meeting, in a bread line, in front of a firing squad, etc.) Events are dynamic and spur the imagination, and actors’ imaginations are the best tools they have. Ask an actor to use “the magic if” and to find an event or relationship from their own lives they can connect to the character or situation imaginatively and emotionally. It is not necessary that you know it or that they share it with you.
Asking the WHO, WHAT, WHERE, WHY, HOW, and WHEN questions. These questions clarify the circumstances, the super-, scene- and beat-objectives, the motivations, and the strategies of the character in an easy-to-understand format.
Directing the actor to “Keep it simple,” “Think it, don’t show it,” or “Listen to them. Really listen.”
Use FACTS. Facts are objective and help to clarify circumstances.
Use SENSORY IMAGES (sight, sound, feel, taste, smell). Images allow the actor to use recall to make a situation real to them.
Use PHYSICAL TASKS. Physical tasks are kinetic (energy in motion) and allow the actor to create a multi-layered approach as well as provide focus.
THE MOMENT BEFORE. What just happened before this scene takes place? How does that impact what is about to take place?
Avoid
Avoid asking for moods or results from an actor. Instead, clarify objectives and give active verbs to work with.
Avoid asking an actor to “bring it up.” Instead examine whether the stakes are high enough to motivate the behavior, and if not, raise them or use the “as if” scenario.
Avoid asking an actor to “bring it down.” Instead ask them to listen to their partner and not anticipate what is coming next or to keep it simple and respond truthfully.
Avoid giving line readings to an actor. Remember, the line is unimportant. The motivation for the line is important. Make sure the actor is clear on what the motivation and objective is for the line and ask them to only think of that.
Avoid telling an actor how their character should be feeling or give character judgments. Remember, all characters’ actions are justified to them, even and especially, “villains”!
Avoid using adjectives or adverbs when giving directions. Always use VERBS!
The safety of working animals and the persons working on such productions shall be of primary concern. This page outlines the policies, approval procedures, and safety expectations governing the use of animals in student productions.
Animals introduce additional safety, welfare, liability, and logistical considerations that require careful planning and oversight before filming can take place. Clear procedures help productions protect both the animal and the crew while ensuring that productions approach animal-related filming responsibly and within school guidelines.
FSU Animal Care and Use Committee
Producers are required by Florida State University policies to file a request for review of animal use by the Animal Care and Use Committee (ACUC).
This request must be submitted well in advance of the start of the production, as it will usually take a number of weeks for a request to be approved. If a production does not receive approval from the ACUC in time for production, the use of an animal is not permitted.
Animal Wrangling
Animals are unpredictable and only qualified professional trainers and/or wranglers should be allowed to work with animals on productions. Defer to the animal trainers at all times and do not feed, pet, or play with any animal without the permission and direct supervision of its trainer.
Notice shall be given prior to shooting, on the call sheet and safety bulletin, that animals are working.
It is the responsibility of the trainer to convey to the cast and crew specific safety concerns relative to the animals being used. The trainer shall address the cast and crew (including the parent and/or guardian of any children on the set) regarding safety precautions while animals are on the set (e.g., maintain a safe distance from wild and exotic animals, no feeding, no running, escape routes, etc.)
A “closed set” notice should be posted on all stages where animals are working and every effort should be made to maintain a closed set where animals are working on location.
Equipment safeguards
An easily accessible area shall be available for loading and unloading animals.
Equipment operated in conjunction with working animals should be in a safe operating condition as determined by the trainer and/or wrangler in conjunction with the property master.
Scenery and props should be secured. Objects (e.g., ladders, pedestals, etc.) that easily tip over can startle the animals.
All hitch rails shall be fastened in the ground in such a manner that the tugging of a frightened horse cannot pull them loose (e.g., sleeve installation). On a stage, hitch rails will be bolted or fastened in a rigid manner.
Basic animal safety equipment such as fire extinguishers, fire hoses and nets should be readily available. An easily accessible area shall be available for loading and unloading animals.
The smell of alcohol has a disquieting effect on animals. All precautions shall be taken in that regard when animals are working.
Medical safeguards
The trainer or person supplying the animal shall be responsible for obtaining all necessary inoculations, permits, licenses, and medical safeguards.
Depending on the types of animals being used, and the filming location, consideration should be given to providing onsite emergency medical transportation, with qualified medical personnel, up to and including advanced life support, as necessary.
Extreme caution should be taken when using exotic venomous reptiles. The proper antidote (anti-venom) should be selected depending upon the type of reptile. Location of the antidote shall be predetermined and printed on the call sheet.
The American Humane Association (AHA) guidelines on the treatment of animals used in film making state that a tranquilization and/or sedation on set for the sole purpose of film making is prohibited. As a safety backup, consideration should be given to the availability of tranquilizing equipment. Potentially dangerous or complicated animal action should warrant the presence of a qualified veterinarian.
The smell of alcohol has a disquieting effect on animals. All precautions shall be taken in that regard when animals are working.
Large animals
Under no circumstances should horse falls be accomplished by tripping or pitfalls.
Horses being used on a production shall be properly shod for the working surface (e.g., borium, rubber shoes, etc.).
There should be two handlers for each large undomesticated animal such as a large cat or carnivore (mountain lion or larger).
Safety bulletins
The Industry-Wide Labor-Management Safety Committee provides the following safety bulletins related to animal use:
6
Animal Handling Rules for the Motion Picture Industry
12
Guidelines for the Use of Venomous Reptiles
31
Safety Awareness When Working Around Indigenous Wildlife
Download the relevant bulletins for your production here.
The use of weapons requires the utmost attention to safety protocols and special clearances from the Head of Production (HOP) and the local police. This page outlines the policies, approval procedures, and safety requirements governing the use of prop firearms or other weapons in student productions.
Weapons-related activity introduces significant safety, liability, public communication, and operational concerns that require careful oversight and planning. Strict procedures help productions reduce unnecessary risk, communicate clearly with faculty and staff, and maintain safer working environments for cast, crew, and the surrounding community.
Limitations on Use
When prop weapons are used, it involves a substantial amount of extra time and planning to ensure the safety of everyone on set.
For these reasons, the use of prop weapons is only permitted on advanced-level projects — F3, FC, M2, M3, MC — where students have sufficient time and training to acquire a weapon use authorization and coordinate the production safely.
Prop weapons are not permitted on F1 and M1 projects, or for class homework assignments.
Important Guidelines
Treat all weapons as though they are loaded and/or ready to use. Do not play with weapons and never point one at anyone, including yourself. Follow the directions of the Property Master and/or Weapons Handler regarding all weapons.
The use of firearms and other weapons may require special permits and/or operator certifications. Anyone that will be using a weapon shall know all the operating features and safety devices. All weapons must undergo thorough safety inspection, testing and cleaning on a daily basis by qualified personnel.
Anyone handling a weapon shall receive the proper training and know all operating features and safety devices.
If weapons are used in filming, the designated Weapons Handler must meet with cast and crew and inform them of the safety precautions in effect and answer any questions. Specific safety bulletins for the type of weapon being used must also be attached to call sheets.
Prop Weapons Protocol
If you are planning on using prop weapons (handgun, shotgun, rifle, etc.), you must follow this protocol:
If filming in the City of Tallahassee: Sgt. Jon Schulze of the Tallahassee PD at jonathonschulze@talgov.com. If filming outside the city, you’ll need to find the contact information for the police or sheriff’s department that has jurisdiction over the location where you plan to film.
Lieutenant Edwin Jacob of the FSU PD at ejacob@fsu.edu (even if you’re filming outside city limits).
Once you have made contact with the local jurisdiction and received a response, the approval process will be determined. The PD approval may be in the form of an email. If so, you are to save a copy of the email as a PDF and include it with the Authorization Request when submitting delivery.
If you are using a weapon such as a knife or other potentially dangerous or hazardous prop, the process may be the same, but contact the HOP directly to discuss next steps.
On the Day of Filming
Announce weapon use at the top of the day safety meeting, and again when the new deal / set up for the scene involving the weapon begins.
If filming within Leon County (regardless of PD or Sheriff Jurisdiction): 30 minutes prior to camera roll on any scene involving the weapon, you must always call the CDA (Tallahassee Leon County Consolidated Dispatch Agency) at 850-606-5800. This is to inform them that the scene is about to be filmed. This must only be done when you are sure of the filming schedule. If you are filming close to campus (within a three-mile radius) please also call the FSU Non-Emergency line at 850-644-1234, and let them know you’re about to film.
If filming outside Leon County, follow the guidelines provided by the authorizing agency, which should include contacting their local dispatch or non-emergency numbers. But you should plan to ask and find out what their process is.
This process should be followed whether you’re filming in a public location or a private location, and whether filming indoors or outdoors.
Safety bulletins
The Industry-Wide Labor-Management Safety Committee provides the following safety bulletins related to weapons:
1
Recommendations For The Use Of Firearms, Blanks, And Dummy Rounds
2
Prohibitions And Special Restrictions On The Use Of Live Ammunition
30
Recommended Guidelines for Safely Working with Edged, Piercing, and Projectile Props
Download the relevant bulletins for your production here.
This page outlines the safety procedures, approval requirements, and production considerations associated with filming around water or in environments involving water-related hazards. The procedures are recommended for all water work, including, but not limited to ponds, rivers, lakes, swamps, bogs, oceans, pools, and tanks, or any other unduly wet work environment.
Water environments can introduce serious safety risks related to drowning, slipping, electrical hazards, environmental exposure, weather conditions, and equipment operation. Careful planning and oversight help productions identify hazards early, implement appropriate safety measures, and conduct filming more responsibly.
Identification of potential contaminants or hazards
Know as much as you can about the body of water you’re working on or in, including its natural hazards and animal life. The Production Company, Location Manager or the Safety Coordinator should have all relevant information.
The Producer should identify and make known prior to actual filming, all available knowledge regarding currents and natural or man-made hazards, including sub-surface objects, underwater life, and contamination. Upstream activities, such as dams, waste disposal sites, agriculture, chemical plant dumping sites, flash flood dangers, etc. should also be evaluated. If a potential safety hazard is found to exist, the Producer should take appropriate steps to mitigate the hazard.
Prior to personnel entering a body of water, a determination should be made that the water quality meets the applicable regulatory standards for recreational full body contact. Samples of the water should be taken and analyzed for any potential environmental concerns and/or health hazards. If it is determined that a body of water is contaminated or hazardous, the contamination or hazard should be neutralized or the site shall be avoided.
Extreme care should be taken regarding dangerous marine life, including reptiles.
All personnel should be advised to keep all potential contaminants away from the water, including paints, thinners, repellents, gasoline, oils, etc.
Notifying and protecting personnel
All personnel scheduled for water work shall be notified in advance via the Call Sheet. Personnel who are uncomfortable working in or around water should notify their supervisor prior to that day’s call.
All personnel working in or around water shall be provided with the appropriate water safety devices, such as life vests or other water safety gear when appropriate. (See Safety Bulletin: Recommendations for Diving Operations.)
When necessary, the Producer should implement a plan to account for personnel in the water, such as a “buddy” or a check in/check out system.
The Producer should take steps to prevent hyperthermia (elevated body temperature) and hypothermia (reduced body temperature).
Provisions for post-immersion washing should be available.
Lighting and electricity
Special care must be used whether AC or DC electricity is used in or around water. All electrical cables and lights in close proximity to water shall be properly secured to prevent tipping and falling. All wiring, electrical equipment and devices that will, or may be, subject to a submerged condition should be approved for underwater use, be watertight, have no exposed live connections and be constructed such that there is no shock hazard under any likely conditions of use. All applicable provisions of the National Electric Code should be followed. Local regulations may be more restrictive and should be consulted.
When lighting, electrical distribution, or any electrically powered equipment is used in close proximity to water or can make contact with water, the use of GFCI should be evaluated by a qualified person. This includes all areas where water hazards exist. When persons, wardrobe, props, or equipment are wet, the need for GFCI protection should be evaluated.GFCIs should not be used on circuits where removal of power may create a greater hazard, such as airbags, decelerators, emergency egress lighting, etc.
All electrical connections should be made by, or under the supervision of, a qualified person.
Other considerations
Safety lines, nets, watch safety personnel and/or divers should be used when filming in rivers or other bodies of water where potentially hazardous conditions could exist (e.g., swift currents, thick underwater plant life, or rocks).
When necessary for personnel to work in fast-moving rivers, downstream safety pickup personnel and safety equipment should be stationed for downstream emergency rescue.
When using watercraft, be aware of load and rider capacity limits. Only required personnel should be on watercraft; all others should remain on land. (See Safety Bulletin: Guidelines for Boating/Watercraft Safety.)
Safety bulletins
The Industry-Wide Labor-Management Safety Committee provides the following safety bulletins related to water hazards:
7
Recommendations For Diving Operations
15
Guidelines for Boating/Watercraft Safety for Film Crews
17
Water Hazards
Download the relevant bulletins for your production here.
This page outlines the approval procedures, safety expectations, and operational requirements governing stunts, practical effects, atmospheric effects, and other special effects-related production activity.
Stunts and special effects can introduce elevated physical, technical, environmental, and safety risks that require careful planning and oversight before filming takes place. Clear procedures help productions evaluate risks appropriately, coordinate necessary safety measures, and maintain safer working conditions for cast and crew during complex activity.
Approvals
All stunts and special effects must be reviewed by all participants and must be approved by faculty prior to execution to help ensure that they are performed in the safest manner possible. It is the Producer’s responsibility to make sure that the faculty has fully approved any such activities prior to the start of shooting, and any production plans that involve stunts or special effects must be described in detail at the show’s Director’s Prep.
This includes, but is not limited to:
any form of running, jumping, climbing, balancing, or falling actions that are required of actors or stunt personnel;
any fight scenes;
any use of real or prop weapons;
any use of edged or piercing props;
any scenes involving the driving of vehicles;
any operation of potentially dangerous equipment;
any scenes involving animals;
any use of pyrotechnics, explosives, squibs, or fire;
any scenes involving potential water hazards;
any scenes involving potentially hazardous materials.
Stunt coordination
A qualified stunt coordinator must be in charge of all aspects of a physical stunt, including script review, planning, site selection, preparation, testing, rehearsal, modification, and recommendation of the qualified personnel and equipment to be utilized to perform the stunt.
When a Producer requires a performer to perform a stunt or stunt-related activity, an individual qualified by training and/or experience in planning, setting up, and/or performance of the type of stunt involved must be engaged and present on the set. No performer without the requisite training and/or experience shall be required to perform a stunt or stunt-related activity without an opportunity for prior consultation by the performer with such qualified individual. A performer must consent to participation in the stunt prior to its performance.
Advance notice is to be given to stunt personnel in order to plan a safe stunt. If changes are made to these plans, the Producer is to provide sufficient time to safely accommodate the changes and obtain faculty approval for the changes.
An on-site safety meeting, including all participants and others involved, must precede the performance of all stunts. This meeting must be documented and must include a “walk-through” or “dry-run” with the stunt coordinator and/or effects people. An understanding of the intended action, possible deviations, and authority to abort should be made clear. Before rolling cameras, should any substantive change become necessary, the First Assistant Director will again call all persons involved in the stunt to another meeting to confirm everyone’s understanding and agreement to said change(s), and faculty approval must again be obtained.
Under no circumstances should a stunt or special effect be improvised on set without prior faculty approval. Failing to adhere to this policy may result in immediate dismissal from the College of the Producer and any other students deemed responsible for the violation.
Appropriate Personal Protection Equipment (PPE) and/or other safety equipment must be provided to the cast and crew as needed. Wardrobe, hair, and make-up should be presented in sufficient time to determine if such items will impact the execution of the stunt. Final safety approval rests with the stunt coordinator and/or qualified individual.
The stunt coordinator and/or qualified individual shall determine whether safety requires the exclusion of non-essential crew from the stunt area. Perimeter control should be established and maintained. Traffic control procedures shall be reviewed, and special attention should be paid to driving sequences where unauthorized personnel could enter the area. The stunt coordinator and/or qualified individual should be involved in safe placement of cameras, camera operators and all essential crew. There must be a planned escape route and each person involved should personally check all escape routes.
Pyrotechnics, explosives, and fire
Special effects involving pyrotechnics, explosives and/or fire must be noted in advance on the call sheet. Properly licensed individuals must perform all such effects. The necessary permits must be obtained and the appropriate regulatory agencies notified. Explosives must be stored and disposed of properly.
Radios, cell phones, personal electronic devices, transmitting equipment, and remote control equipment should not be used around pyrotechnic or other explosive devices.
Safety bulletins
The Industry-Wide Labor-Management Safety Committee provides the following safety bulletins related to stunts and special effects:
4
Stunts
4A
Specialized Activities
14
Parachuting and Skydiving
16
Recommended Guidelines for Safety with Pyrotechnic Special Effects
18
Guidelines for Safe Use of Stunt Air Bags, Boxes or Other Freefall Catch Systems
19
Recommended Guidelines for the Use of Open Flame on Production
Download the relevant bulletins for your production here.
Film productions frequently rely on lighting systems, power distribution, generators, cabling, and electrical equipment that can create serious hazards if handled improperly. This page outlines the safety procedures and operational expectations governing electrical work and power usage during production activities.
Electrical safety practices are essential because improper equipment handling can result in injury, fire, equipment damage, or unsafe working conditions for the crew. Clear safety standards help productions work more responsibly while reinforcing professional expectations related to training, communication, and on-set safety awareness.
General safeguards
All electrical systems and electrically energized equipment are potentially hazardous, whether Alternating Current (AC) or Direct Current (DC), whether 50 volts, 120 volts or higher. Therefore, electrical equipment should only be used for its intended purpose and only qualified personnel with the appropriate technical knowledge should perform electrical work.
Properly maintain all electrical equipment and wiring. Visually inspect the condition of the plug, cable, and equipment for any signs of excess wear, frayed cables or exposed current-carrying parts. DO NOT USE any equipment that is damaged.
Verify all equipment is in the OFF position prior to plugging or unplugging to avoid creating an arc at the receptacle. Wear protective gloves to avoid injury from a possible flash created by a short-circuit in the equipment.
Do not pull on the cord when unplugging equipment. This can cause one or more of the wires to pull out of its termination in the plug. Always grasp the plug firmly to unplug.
All persons working on or near energized electrical equipment shall wear Personal Protective Equipment (PPE) appropriate for the level of electrical hazard to which they are exposed. This PPE may include non-melting, long-sleeved shirts and long pants, or other Arc Rated (AR) clothing, and closed-toed, nonconductive-soled shoes and Safety Glasses. Garments made from synthetic materials not manufactured specifically for electrical work, such as polyester and nylon, are not suitable to protect from electrical hazards.
Alternating Current and Direct Current
When using both AC and DC systems in the same location, each system must be clearly identified as AC or DC. Always verify that you are not plugging AC equipment into DC systems or DC equipment into AC systems.
All AC electrical systems shall be grounded. All grounded equipment should be tested for continuity between the ground pin on the plug and the metal parts of the equipment before it is put into service. In addition, all cables should be tested for continuity of the ground, neutral and phase conductor
Connecting to house power (tie-in)
Connecting to a premises/house electrical power source, such as a panel board or switchboard, can create the risk of a serious or fatal accident. Such connections shall only be made by a qualified person.
Connecting to an energized system is strongly discouraged. Always consider exposed electrical parts to be energized until you have verified they have been de-energized and locked out/tagged out.
Keep electric panels accessible at all times. There should be no obstructions or storage within three feet (3’) of a panel. Fuses should only be replaced by qualified personnel. When replacing a blown fuse, be sure to select a fuse of proper voltage, interrupting capacity, and amperage for the application.
Prior to a qualified person connecting to a premises/house electrical power system, the following requirements, among others, must be adhered to:
Determine if the electrical system voltage is compatible with the equipment to which it will be connected.
Calculate the electrical panel’s existing maximum ampere load to determine if the remaining capacity is sufficient for the additional equipment being connected.
Use a properly sized circuit breaker or fusible disconnect switch to connect a distribution system to the premises/house electrical power system.
The rated interrupting capacity of the circuit breaker or fuses must meet the available interrupting capacity at the point of connection to the premises/house electrical power system.
Use only approved lugs or devices to connect to the panel bus.
Never use “Alligator” type clamps.
Never connect ahead of the main circuit breaker, fuse box, or meter.
If required, obtain a permit to remove a panel cover.
Use suitable barriers, partitions, or other means to limit access to the connection to protect against accidental contact with energized parts and unauthorized entry into the arc-flash boundary by unauthorized persons or objects.
Replacement of all panels, covers and screws must be done by a qualified person immediately after disconnecting from the premises/house electrical power system.
Generators
Only a qualified operator shall operate a generator. Approach to exposed connections on portable and vehicle mounted generators should be physically restricted or barricaded to non-qualified persons.
The generator should have as much open space as possible on all sides to allow maximum ventilation and minimum interference. Make sure exhaust fumes are ventilated away from enclosed areas, personnel, and air intake ducts, such as trailers and buildings. Be aware of hot surfaces when working around a generator. It is important that all generating sets be protected from the elements and from unauthorized access.
A fire extinguisher specific for the generator unit must be present and readily accessible outside the generator enclosure.
Location and environmental considerations
Cables and devices should be protected from water and from foot and vehicle traffic damage. Electrical distribution systems should be elevated in such a manner that they will not come in contact with running or standing water. When it is necessary to have electrical distribution systems and devices which come into contact with water, such systems shall be designed and listed for use in water.
Remember that lights placed too closely to props, sets and other materials may pose a fire risk and, therefore, make sure that lights are placed far enough away to alleviate risk.
Overhead clearances must be observed and maintained at all times. This applies to ladders, scaffolds, booms, forklifts, aerial lifts, scissor lifts, cranes, rigging, sets, truss work, backdrops and other equipment that could come in contact with power lines.
To prevent electrocutions and injury resulting from contact between overhead power lines and conductive tools, materials, or scaffolds, OSHA recommends that employees be informed that most overhead, high voltage power lines are not insulated and, when in doubt, employees should assume that power lines are not insulated.
Employers should notify the utility company when work must be performed under and/or near overhead power lines where clearances cannot be maintained. In such situations, utility companies should de-energize the power lines or temporarily move or cover them with insulating hoses or blankets before any work is initiated.
Emergency Response
If an electrical accident occurs, notify emergency medical personnel and activate the Emergency Action Plan.
An Emergency Action Plan should include the following items:
Location, method and any necessary tools required for emergency power disconnection
Emergency Medical Services on hand or readily available with working means of contact
Exact location of where the work is being performed
Identification of CPR Trained Personnel
Location of available AEDs
Do not approach any electrical accident until you have been notified by qualified personnel that it is safe to approach.
Properly secure the accident area while maintaining a safe distance to prevent the possibility of additional victims.
DO NOT touch or approach a victim of electric shock while he or she is being shocked. If safe to do so, turn off the power.
Trained personnel should follow proper procedures for Cardiopulmonary Resuscitation (“CPR”) and Automated External Defibrillator (“AED”) use.
Since the possible effects of electrical shock can manifest hours after the event, any victim of electric shock must be evaluated by a qualified medical professional.
Safety bulletins
The Industry-Wide Labor-Management Safety Committee provides the following safety bulletins related to electrical safety:
23
Guidelines for Working with Portable Power Distribution Systems and Other Electrical Equipment
23A
Power Line Distance Requirements
23B
Basic Electrical Safety Precautions for Motion Picture and Television Off Studio Lot Location Productions
23C
Working with 480 Volt Systems
23D
Common Motion-Picture/Television Tasks and Associated Personal Protective Equipment
23E
Guidelines for Meeting National Electrical Code (NEC) Grounding Requirements for Portable Generators Supplying Portable Equipment in the Motion Picture and Television Industry
Download the relevant bulletins for your production here.