Finally, everything is coming up Milhouse and the stars have aligned, it’s the day (or week) before your shoot.
I like to send out a message the day before touching base with everyone to make sure everything is all set for the next day; check that everyone has their tests, the crew know their roles & call times. Note: Ideally performers would arrive after crew so they don’t have to wait around for set up.
Let’s do this in point form:
- The first and most important items are, release forms, payment and ID – Do all 3 at the same time BEFORE you start shooting. I’ve uploaded a 2257 form 2257_release, this is a standard form that is used industry wide, but there are variations, this is just an example. These are legal documents, and should be filled out neatly and correctly by your performers. Take time to explain the form, ESPECIALLY if the performers are new and give them the option to ask questions. Be sure to go through the forms with a fine tooth comb, mistakes are often made and you don’t want to risk the viability of your shoot because a performer hasn’t known to use their birth name on a legal document.
2. Taking the ID Photos is another serious legal obligation. BEFORE you start shooting you need to sight and take photos of 2 forms of CURRENT ID, this means in the relevant expiry dates. Valid forms of ID are, at least 1 photo ID eg. passport or drivers licence and 1 other ID, in Australia either Medicare card or bank card. You will need to take high res photos of the performer holding them, they’ll need to be readable and in focus. This keeps you out of jail, so don’t fuck it up.
– Have a good filing system on your computer and keep these, they prove that you are shooting people over 18. If you are on-selling the content, distributors will always ask you for this.
3. Now is a good time to pay your performers (given you are paying cash). Be transparent – give them a chance to count it.
4. Talk your performers through the day -what is going to happen and when. * This is a good time to check in with your performer and give them an ‘out’. It’s important that they know they are in control of the shoot and they can pull it if they need/ want to.
5. Introduce your performers to crew: who does what. Who will be in the room for the sex scenes and are they OK with that! Just another note on crew. On adult sets (we believe) it’s not cool for your mates or non-essential people to just drop by. I’ve even heard of directors kids ‘dropping by’, I cant tell you how uncool or unethical this is. You have a obligation to keep your performers in a safe, confidential and uncompromising position. Also, vibe man, don’t fuck with the vibe and mood of the people that are about to fuck on camera – for you.
6. Food. On any shoot longer than 3 hours we feed people. Obviously it’s important to consider dietary requirements, but maybe less obvious (unless maybe you’ve been a performer yourself) to avoid garlic, pickled onions and anything that makes for smelly breath. Try to get food that less stodgy and heavy and will make people tired or lack energy. Get healthy stuff that makes everyone feel el pumped. At Lightsouthern we consider catering as important a job as directing – this is not a time to skimp or leave it up to the runner – after a long day of shooting nothing makes cast and crew more pissed off than a substandard lunch or dinner. Especially on full day or overnight shoots.
6 ITEMS – that’s it. There’s no excuse not to do it.
Making your models comfortable will go a long way in getting them back for shoot #2, as does being a good person.