[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"doc-seo-263197-105":3,"detail-sidebar-cat-1-en-105":81,"doc-detail-263197-en":127},{"code":4,"msg":5,"data":6},0,"ok",{"site_id":7,"language":8,"slug":9,"title":10,"keywords":11,"description":12,"schema_data":13,"social_meta":74,"head_meta":76,"extra_data":78,"updated_unix":80},105,"en","setiquette-a-guide-to-working-effectively-on-the-set-third-edition","Setiquette - A Guide to Working Effectively on the Set - Third Edition","","Setiquette is a practical professional guide for members of the International Cinematographers Guild, IATSE Local 600, focused on working effectively on film and video sets. It presents rules of professional conduct attributed to Bill Hines, detailing practices to encourage and practices to avoid, covering responsibility, communication, preparation, safety, staffing expectations, and appropriate on-set behavior. The guide also defines roles across camera classifications, outlining duties and divisions of work for the camera crew and related personnel.",{"@graph":14,"@context":73},[15,34,56],{"@type":16,"itemListElement":17},"BreadcrumbList",[18,23,27,31],{"item":19,"name":20,"@type":21,"position":22},"https://docshare.wps.com","Home","ListItem",1,{"item":24,"name":25,"@type":21,"position":26},"https://docshare.wps.com/template/","Template",2,{"item":28,"name":29,"@type":21,"position":30},"https://docshare.wps.com/template/letters/","Letters",3,{"item":32,"name":10,"@type":21,"position":33},"https://docshare.wps.com/template/setiquette-a-guide-to-working-effectively-on-the-set-third-edition/263197/",4,{"url":32,"name":10,"@type":35,"image":36,"author":41,"headline":10,"publisher":44,"fileFormat":47,"inLanguage":8,"description":12,"dateModified":48,"datePublished":49,"encodingFormat":47,"isAccessibleForFree":50,"interactionStatistic":51},"DigitalDocument",{"url":37,"@type":38,"width":39,"height":40},"https://docshare.wps.com/thumbnails/setiquette-a-guide-to-working-effectively-on-the-set-third-edition/263197.png","ImageObject",442,249,{"name":42,"@type":43},"Maeve","Person",{"url":19,"name":45,"@type":46},"DocShare","Organization","application/pdf","2026-11-01","2026-09-14",true,{"@type":52,"interactionType":53,"userInteractionCount":55},"InteractionCounter",{"@type":54},"ViewAction",7,{"@type":57,"mainEntity":58},"FAQPage",[59,65,69],{"name":60,"@type":61,"acceptedAnswer":62},"What are the core practices to be encouraged on set according to the guide?","Question",{"text":63,"@type":64},"The guide emphasizes knowing craft responsibilities, reporting to the correct superior, staying prepared and equipped, maintaining professional and considerate conduct, following appropriate set tone, and reading scripts and schedules. It also stresses safety and immediate communication of technical or staffing issues.","Answer",{"name":66,"@type":61,"acceptedAnswer":67},"What behaviors does the guide advise avoiding during production?",{"text":68,"@type":64},"It advises avoiding habitual lateness, arriving unkempt, doing only the minimum, disrupting production through other activities, using company materials without permission, leaving assigned posts without approval, and passing blame. It also discourages open hostility, unreasonable verbal abuse or excessive demands, and ingesting impairing substances.",{"name":70,"@type":61,"acceptedAnswer":71},"Who is the guide for and how does it define responsibilities for camera roles?",{"text":72,"@type":64},"The guide is for members of the International Cinematographers Guild, IATSE Local 600, including specific camera crew classifications. It provides definitions of job requirements and protocols by classification, including director of photography duties such as supervising technical crew and overseeing multiple types of photography.","https://schema.org",{"og:url":32,"og:type":75,"og:title":10,"og:site_name":45,"og:description":12},"article",{"robots":77,"canonical":32},"index,follow",{"doc_id":79,"site_id":7},263197,1792168134,{"code":4,"msg":82,"data":83},"success",[84,89,94,99,104,109,114,118,123],{"id":85,"doc_module":22,"doc_module_name":25,"category_name":86,"show_sort_weight":87,"slug":88},11,"Presentations",90,"presentations",{"id":90,"doc_module":22,"doc_module_name":25,"category_name":91,"show_sort_weight":92,"slug":93},12,"Resumes",80,"resumes",{"id":95,"doc_module":22,"doc_module_name":25,"category_name":96,"show_sort_weight":97,"slug":98},14,"Invoices",70,"invoices",{"id":100,"doc_module":22,"doc_module_name":25,"category_name":101,"show_sort_weight":102,"slug":103},15,"Posters",60,"posters",{"id":105,"doc_module":22,"doc_module_name":25,"category_name":106,"show_sort_weight":107,"slug":108},16,"Social Media",50,"social-media",{"id":110,"doc_module":22,"doc_module_name":25,"category_name":111,"show_sort_weight":112,"slug":113},17,"Forms",40,"forms",{"id":115,"doc_module":22,"doc_module_name":25,"category_name":29,"show_sort_weight":116,"slug":117},18,30,"letters",{"id":119,"doc_module":22,"doc_module_name":25,"category_name":120,"show_sort_weight":121,"slug":122},21,"Paper Templates",5,"papers-templates",{"id":124,"doc_module":22,"doc_module_name":25,"category_name":125,"show_sort_weight":4,"slug":126},158,"General","general-158",{"code":4,"msg":82,"data":128},{"doc_id":79,"user_id":129,"nickname":42,"user_avatar":130,"doc_module":22,"category_id":115,"category_name":29,"doc_title":10,"doc_description":12,"doc_content":131,"file_id":132,"file_url":133,"file_type":134,"file_size":135,"view_count":55,"is_deleted":4,"is_public":22,"is_downloadable":22,"audit_status":22,"page_count":136,"language":137,"language_code":8,"site_id":7,"html_lang":8,"table_of_contents":138,"faqs":139,"seo_title":140,"seo_description":12,"update_tm":141,"read_time":90},5909877438554,"https://ap-avatar.wpscdn.com/avatar/5600025385ad2bf12a7?_k=1778553567797529272","The International Cinematographers Guild IATSE Local 600  \nSetiquette  \nA Guide to Working Effectively  \non the Set  \nfor Each Classification in The Cinematographers Guild  \nIncluding definitions of the job requirements and appropriate protocols for each member of the camera crew and for publicists  \nThe International Cinematographers Guild IATSE Local 600  \nSetiquette  \nA Guide to Working Effectively on the Set for each Classification in The Cinematographers Guild  \nCONTENTS  \nRules of Professional Conduct by Bill Hines (page 2)  \nPractices to be encouraged, practices to be avoided  \nDirectors of Photography compiled by Charles L. Barbee (page 5) Responsibilities of the Cinematographer (page 7)  \n(adapted from the American Society of Cinematographers)  \nCamera Operators compiled by Bill Hines (page 11)  \nPedestal Camera Operators by Paul Basta (page 12)  \nStill/Portrait Photographers compiled by Kim Gottlieb-Walker (page 13)  \nWith the assistance of Doug Hyun, Ralph Nelson, David James, Melinda Sue Gordon and Byron Cohen  \n1st and 2nd Camera Assistants complied by Mitch Block (page 17) Loaders compiled by Rudy Pahoyo (page 18)  \nDigital Classifications  \nPreview Technicians by Tony Rivetti (page 24)  \nNews Photojournalists compiled by Gary Brainard (page 24)  \nEPK Crews by Charles L. Barbee (page 26)  \nPublicists by Leonard Morpurgo (page 27)  \n(Unit, Studio, Agency and Photo Editor)  \nEdited by Kim Gottlieb-Walker  \nThird Edition, 2011 (rev. 5/11)  \nRULES OF PROFESSIONAL CONDUCT by Bill Hines, S.O.C.  \nThe following are well-established production practices and arepresented as guidelines in order to aid members of the International Cinematographers Guild, Local 600, IATSE, function more efficiently, effectively, productively and safely performing their crafts, during the collaborative process of film and video cinematic production.  \nPRACTICES TO BE ENCOURAGED  \nKnowing and properly practicing one's craft responsibilities;  \nKnowing to whom one is directly responsible and adhering to that relationship;  \nThoroughly knowing, understanding and performing one's craft duties in a professional manner;  \nKeeping current on the latest equipment, accessories, expendables and production techniques;  \nAssisting one's immediate superior to the greatest extent possible at all times;  \nHelping one's crew associates in their duties in any way possible, when called upon;  \nAlways presenting oneself in a professional and considerate manner to crew, cast and staff;  \nBeing at one's assigned post, prepared to perform craft duties, at all times while at work, unless specifically excused;  \nDressing in attire appropriate to the type and location of the production;  \nMaintaining a subdued talk/noise/behavior level on the set or shooting site Be aware and conform to the appropriate tone of the set and take extraneous conversations elsewhere;  \nHaving the camera equipment checked, assembled, adjusted and ready to roll at the earliest possible time for each set-up;  \nImmediately advising one's superior of any perceived technical omission or commission which may have occurred during production and which could have an adverse effect on the image-capture  \nprocess;  \nImmediately reporting any potential safety problem to one's category crew chief;  \nImmediately calling one's category crew chief's attention to a possible staffing shortage or irregularity;  \nMaking sure all members of the camera crew on the set including still photographers are members of Local 600;  \nBacking one's subordinates to the full extent during the production process;  \nHelping subordinates achieve greater understanding and competence in their work;  \nGiving credit where, when and to whom credit is due for superior job performance or other invaluable job contribution(s);  \nRecognizing professional competence and showing mutual respect for other professionals on the production;  \nReading and familiarizing yourself with the script, story-boards and production schedule.  \nPRACTICES","cbCairVbVLC3njEi","https://ap.wps.com/l/cbCairVbVLC3njEi","pdf",190853,33,"English","# Rules of Professional Conduct\n## Practices to be encouraged\n## Practices to be avoided\n# Staffing and Role Definitions\n## Minimum photographic staff\n## Director of Photography: responsibilities and divisions of work\n# Classification-Specific Sections\n## Camera Operators\n## Pedestal Camera Operators\n## Still/Portrait Photographers\n## 1st and 2nd Camera Assistants\n## Loaders\n## Digital Classifications\n## Preview Technicians\n## News Photojournalists\n## EPK Crews\n## Publicists","[{\"question\":\"What are the core practices to be encouraged on set according to the guide?\",\"answer\":\"The guide emphasizes knowing craft responsibilities, reporting to the correct superior, staying prepared and equipped, maintaining professional and considerate conduct, following appropriate set tone, and reading scripts and schedules. It also stresses safety and immediate communication of technical or staffing issues.\"},{\"question\":\"What behaviors does the guide advise avoiding during production?\",\"answer\":\"It advises avoiding habitual lateness, arriving unkempt, doing only the minimum, disrupting production through other activities, using company materials without permission, leaving assigned posts without approval, and passing blame. It also discourages open hostility, unreasonable verbal abuse or excessive demands, and ingesting impairing substances.\"},{\"question\":\"Who is the guide for and how does it define responsibilities for camera roles?\",\"answer\":\"The guide is for members of the International Cinematographers Guild, IATSE Local 600, including specific camera crew classifications. It provides definitions of job requirements and protocols by classification, including director of photography duties such as supervising technical crew and overseeing multiple types of photography.\"}]","Setiquette - A Guide to Working Effectively on the Set - Third Edition | PDF",1789367732]