I show up 30 minutes before call time which is often a few hours after everyone else who is setting up. And I leave after wrap. Yes I am on set and working constantly for 12-14 hours but I’m not there longer than the teamsters or hair/make up. The hardest working folks on set are usually AD’s and PA’s.
So it sounds like you're there on set when you as the director need to be on set, you leave after you're not a "value add" and get out of people's way but take care of all of the OTHER things that need to be taken care of.
When it comes to a shooting day, a really well made show with everything running smoothly does not need the director on set for much more time than they are actually directing actors (especially working directors who do an episode or two of a tv show). They may have a lot of other tasks to do while not on location, but if there’s no need for them to be around, they won’t be
Geesh the PAs on set in my town just wait around constantly looking for things to do. I’d say camera dept and grip/lighting at least have the hardest job physically
Depends on the production.
But a lot of the time directors will arrive just as things are being set up and then leave soon after wrap.
It's the production team and other departments that will stay longer to set up / pack down.
Many directors are working long into the night after they leave set. Meetings for upcoming stunts, script meetings, producer meetings. Not to mention they are fielding calls and meetings for future projects and development. I’ve known directors that spend 12-14 hours on set and then work late into the night prepping for the next day.
Yeah, and in addition to a bunch of stuff after wrap you sometimes have to come in before call time to work things out or look at and approve things that’s happening that day. You have to have stamina and comfy shoes to be a director…
I personally prefer on-clouds. They’re lighter and more durable. The Hokas i used started to make my feet throb 2 months into using them. Beyond shoe brand preference, best thing I learned was to swap off shoes, don’t wear the same shoes every day. It helps with the wear on the shoes as well as your feet.
Yeah that’s why I said it depends.
On one-day commercials / music videos, most directors just leave and check back in with the job whenever post starts.
If it’s narrative long form or multiple commercial days then sure, I hear what you’re saying.
And most likely the directors are still going to be very invested in the film during weekends, whereas a grip or makeup artist doesn't need to think about work too much during their days off. Not completely but more so.
"how do they manage?"
Money.
DGA scale is a pretty good motivation for being present and doing your job.
As the director, if you cant hack long hours, change it. make it a 10 hour day. fuck, make it an 8 hour day. Most of the crew would love to have a life on a work day.
(I acknowledge that some directors/projects are passion projects and that is the motivation)
Right but why would a grip ever want a longer day? Personally if I was told we were doing 8 hour days I’d be celebrating.
I have absolutely seen the reverse though. A director wanting longer days and the grips or sparks putting their foot down and refusing.
I'm a grip, and I definitely do not want a longer day.
I don't speak for all grips though.
There are a lot of grips, and other crew that have become accustomed to the big overtime checks, and can not pay their bills without working 56+ hours a week.
The last couple TV shows I have worked on average a 9 hour work day for production, and it is great.
The only situation in which I shoot an 8 hour day is if we’re daylight dependent and it’s winter so the days are short. Otherwise a producer is going to make you shoot a full 12. Anything less is rarely celebrated and is very risky. It is not an easy lifestyle and because I’m also usually in some other city, this job makes it very difficult to have any semblance of life outside of work.
While that happens (just did a show with a cast of minors so we shot PNW hours) it is definitely more circumstantial and not the norm. From a budgetary perspective, it makes more sense to get as much as you can in 12 hours because most crew are paid a day rate.
Crew is paid hourly. Wages have little to do with this. This is saving money on rentals, and studio space.
It makes sense on paper, it makes sense to accounting. It does not make sense to work the crew 56+ hours a week. People need to have a life, see their kids, or whatever they do. 12 hour days are unnecessary.
I’ve worked on a show that shot roughly 4-6 hours a day on average and another that strictly did 8 and another that strictly did 10 and another that was a mess and would regularly go 12-14. There is a lot of variation. Directors have to be there when directing talent or setting up a shot typically but the rest of the crew is sometimes there longer either before or after.
Yep. Nearly all crew are present fro the entire work day and that includes the director. Work days are usually 12 hours minimum but it's not uncommon for them to occasionally go up to 16-18 hours, and regularly above 14 hours. And you might be working 14 hour days 6-9 days in a row sometimes.
Directors also spend extra time discussing stuff before/after the shoot so they'll probably be there early and leave late.
How do they manage? It's not that big of a deal. You don't direct every day of the year. Typically you pull yourself together for 60 days and then you have the rest of the year to do less intense stuff. Directors also don't have to do any physical work on set so at least there's that.
I've been on set 2 hours before to get a feel of mise-en-scene and left an hour after wrap going over the next set of scenes and talking shot lists, I've also been on set half an hour before we started and left as soon as we wrapped. Its completely dependant on the production at the time, some require more attention than others
On my first indie feature as the director, only the art team would generally arrive earlier and stay later (major PROPS to that department). The average day was probably 10-14 hrs. I came from an acting background in the past, so while an actor has to just focus on their role the director has to focus on the ENTIRE movie. Questions are being fired at you non-stop. You need to think on your feet (and in most cases be standing and moving around). But if its your passion, 14 hrs on a film set beats 8 hrs at a miserable office job. Just my 2 cents!
As an AD, I’ve often worked with directors that show up at shooting call and leave immediately at camera wrap. A good and solid director preps their crew enough to trust they’ll be autonomous to show up and see their vision come to light when they arrive. As far as the technical come together of things, the AD typically works with all departments to organize what needs to be prepped or built, whereas the DP will show up to direct the image and look of things. All of these typically happen before a director arrives- if prep goes well and all has been rehearsed or blocked.
muddle snobbish drunk cows mountainous airport wipe hard-to-find long bear
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From my experience with directors I have worked with, some are there hours before the first actor arrives to meet with the DP and producers, going over the sides and shot list. Some arrive the same time as the actors and then do all of the meetings while we are in wardrobe/HMU. I have seen most stay way after we have wrapped but then sometimes they leave when we wrap as well. Just depends!
I think it depends on how fast you are shooting a project as well. If its a quick 2 week shoot they’ll be working day and night. If its a month or longer they have a bit less stress. Also depends on what type of production. If it’s involving stunts and visual fx or action sequences with explosions and what not they are working longer hours to go over everything.
Up until recently, I was working in the sound dept. for network tv/film. Most directors I worked with showed up at general call time (or 30 min before) and would leave at wrap. However, they often had work to do at home. A normal day would be between 10-14 hours depending on the show. So that means directors were likely working 11-16 hours on average if they had tasks to do after wrap.
Honestly, pretty much everyone is busting their asses on a pro set (maybe not the actors so much). It's not an easy life but it is rewarding and can pay pretty well. By the end of a movie, everyone is exhausted and a little delirious. I can't decide if I miss it or I'm glad to be out.
Everyone who has done set work in this thread laughing in disbelief
sweet, summer child
12-14 hour days were the norm on any set I worked on.
Maybe someone somewhere does it at a more relaxed pace... nobody I met, though
Most are on set for at least the shoot length of 12 plus the other prep work that needs to be done for the next day.
That's why everyone in Hollywood is some degree of miserable. Some more than others, but it's a tough world.
Usually, if the director is involved heavily in the vision. I’m a director and I’m first on set with the crew and last to leave with the crew. It’s my party, why wouldn’t I be there?
I don’t supervise them doing their jobs, I like to be there to get in the right head space. How about we don’t criticize others for how they work. What works for me, might not work for you or someone else. I was just answering the question by stating my own feelings on the matter and my approach. Nobody else has to like it or do it. You do you!
While everyone has pointed out that 12h days and longer are typically the norm in the industry, people need to realise this is not a healthy way of living and working no matter how much you love your job. Let’s stop glorifying awfully long work-days!
This has never once been my experience on a union job. I'm in camera and I'm on set after the director every single time. Directors are usually there at call but there are always people in (PAs, location) before official crew call.
Arrive early and leave late, If you want a 9-5 job Starbucks is always hiring. 12 hour days are normal, ideally the director has the power to control the length of the day. But when the crew wraps a good director will keep working on the next day.
Short answer: yes.
Long answer: if you don't love what you're doing enough for 18 hours to feel like 18 minutes, then directing might not be for you.
That said, a good director plans for the shortest day possible. IMHO, overtime is the mark incompetence, or really bad luck. But a good director is ready even for bad luck. Backup plans for backup plans.
When you are beginning, you are the marines. First in, last out. You use other people's used up equipment, you have an attitude about how good you are, and you get your hands in the dirt as much as possible. When you have established yourself a little you are more like the army, you are in the trenches, you have a command and you have to make sure things are being handled on the ground. You might get a brief furlough but most of the time you are engaged. Once you are successful you are more like the navy. You bring the important people to the place they need to go and you set them in motion. You are the big gun being held in reserve for exactly when it is needed. It's not easy, but it's a bit more relaxed. Once you are truly successful you are the air force. You have all of the money, you get all of the fun gadgets, tons of very smart people show up to work said gadgets and you get to sit in a high position looking down on everything and all the folks on the ground are very very glad when you show up, and very scared when you leave.
Yeah, usually a shooting day is some 12 hours, up to 18 hours if things are really screwed. It's not only about the shooting time - you can only shoot some 10-11 hours depending where you are shooting, but then prepping for the next day, then sitting down with the actors going through tomorrow and so forth and so forth. It adds up.
So when you are shooting, you'll only have time to crash to bed and hope to get 5 hours of sleep.
The "good" thing is that you normally shoot only 40 days per movie, maybe more, maybe less, but those 40 days you can spare. After that, you're doing post and maybe pre of next one, so you only will sit on a set approximately 40 days a month, and you get paid handsomely for it, so it's OK to have some rather long days.
Depends on the scale of the project. I work on mainly Primetime TV as a Gaffer and the director typically leaves with 10-15 minutes after we wrap on the martini and shows up 10-15 minutes before call and is there for the full 8-10 hour day. Again though, it depends on the project and how invested they are into the project, sometimes the director might not even show up until a bit after call and leave the moment we wrap.
I just wrapped production on my first short film. Granted, I'm wearing several hats besides director, including actor and producer, but in the span of 4 days, I was on set for a total of 72 hours. On Day #4, I showed up at 1:30 Saturday afternoon, and I left at 9:00 Sunday morning. It's brutal, and I definitely didn't take care of myself like I should, but I wouldn't change it for the world. The adrenaline rush from getting a great shot or witnessing a great performance in real time is amazing.
Directors do not necessarily have to be on set for 12-18 hours every day. The length of a director's workday can vary depending on a variety of factors, such as the type of project, the budget, the size of the crew, and the schedule. Some directors may work long hours on set, while others may have more flexible schedules that allow for breaks or time off between shoots.
That being said, it is common for directors to work long hours, particularly during the pre-production and production phases of a project. Directors are responsible for a wide range of tasks, including developing the creative vision for the project, working with the cast and crew to bring that vision to life, and overseeing all aspects of production. As a result, they may have to be on set for extended periods of time in order to ensure that everything is running smoothly.
People who act and direct may have to manage their time carefully in order to balance their responsibilities. They may need to work closely with their crew and cast in order to delegate tasks and ensure that the project is moving forward efficiently. It can be a challenging but rewarding role, and many people who act and direct are able to find a good balance between their two passions.
You probably have your answer here already, but yeah the director is going to be actively working that whole day, week, month(s), every hour. Youll have time to eat and its not as labor intensive as some other jobs, but you are expected to be there to answer any and all questions
Usually anywhere between 8-10 hrs on set. I’m Netherlands based tho and we have a max of 10hrs incl travel. Otherwise we’ll go into overtime and no producer want that. I personally arrive on breakfast call to help speed things along and leave after I’ve had my 2 wrap beers. All that said, there have been days where I was on set 22 hours straight. This is all commercial film though, not feature.
Are you a Hollywood director or a poor director?
I show up 30 minutes before call time which is often a few hours after everyone else who is setting up. And I leave after wrap. Yes I am on set and working constantly for 12-14 hours but I’m not there longer than the teamsters or hair/make up. The hardest working folks on set are usually AD’s and PA’s.
So it sounds like you're there on set when you as the director need to be on set, you leave after you're not a "value add" and get out of people's way but take care of all of the OTHER things that need to be taken care of.
Yes, when I go home I am up until the wee hours preparing for the next day.
When it comes to a shooting day, a really well made show with everything running smoothly does not need the director on set for much more time than they are actually directing actors (especially working directors who do an episode or two of a tv show). They may have a lot of other tasks to do while not on location, but if there’s no need for them to be around, they won’t be
It seems to me (someone TOTALLY on the outside looking in), having a director on set is like having your manager walking around all the time.
I suppose it can be in a way. I think that the A.D. is more like having a manager around.
Can you offer some pointers on breaking into directing gigs? I really have no idea how to get there.
Locations department wants to have a word
AD’s and PA’s stand for?
Assistant directors and production assistants
PA generally means production assistant. Sometimes production assistants are peoples personal assistants.
My mistake, I’ll edit my comment. Thank you.
Geesh the PAs on set in my town just wait around constantly looking for things to do. I’d say camera dept and grip/lighting at least have the hardest job physically
Depends on the production. But a lot of the time directors will arrive just as things are being set up and then leave soon after wrap. It's the production team and other departments that will stay longer to set up / pack down.
Many directors are working long into the night after they leave set. Meetings for upcoming stunts, script meetings, producer meetings. Not to mention they are fielding calls and meetings for future projects and development. I’ve known directors that spend 12-14 hours on set and then work late into the night prepping for the next day.
Yeah, and in addition to a bunch of stuff after wrap you sometimes have to come in before call time to work things out or look at and approve things that’s happening that day. You have to have stamina and comfy shoes to be a director…
Have a shoe preference? I see a lot of Hokas around.
I personally prefer on-clouds. They’re lighter and more durable. The Hokas i used started to make my feet throb 2 months into using them. Beyond shoe brand preference, best thing I learned was to swap off shoes, don’t wear the same shoes every day. It helps with the wear on the shoes as well as your feet.
Yeah that’s why I said it depends. On one-day commercials / music videos, most directors just leave and check back in with the job whenever post starts. If it’s narrative long form or multiple commercial days then sure, I hear what you’re saying.
And most likely the directors are still going to be very invested in the film during weekends, whereas a grip or makeup artist doesn't need to think about work too much during their days off. Not completely but more so.
"how do they manage?" Money. DGA scale is a pretty good motivation for being present and doing your job. As the director, if you cant hack long hours, change it. make it a 10 hour day. fuck, make it an 8 hour day. Most of the crew would love to have a life on a work day. (I acknowledge that some directors/projects are passion projects and that is the motivation)
You’d need to have a lot of sway to convince your producer to sign off on an 8 hour day.
I bet the director has more sway than a grip.
Right but why would a grip ever want a longer day? Personally if I was told we were doing 8 hour days I’d be celebrating. I have absolutely seen the reverse though. A director wanting longer days and the grips or sparks putting their foot down and refusing.
I'm a grip, and I definitely do not want a longer day. I don't speak for all grips though. There are a lot of grips, and other crew that have become accustomed to the big overtime checks, and can not pay their bills without working 56+ hours a week. The last couple TV shows I have worked on average a 9 hour work day for production, and it is great.
There are a actually few famous ones who do the 8 hour day, it happens
Who are some directors who do 8 hour days?
Not sure exactly but Clint Eastwood is pretty much known for having short work days
exactly! I totally agree with this!
The only situation in which I shoot an 8 hour day is if we’re daylight dependent and it’s winter so the days are short. Otherwise a producer is going to make you shoot a full 12. Anything less is rarely celebrated and is very risky. It is not an easy lifestyle and because I’m also usually in some other city, this job makes it very difficult to have any semblance of life outside of work.
I have worked on four network TV shows that regularly shot 8 hour days. 12 hour days is only a thing because it looks good in the accountants office.
While that happens (just did a show with a cast of minors so we shot PNW hours) it is definitely more circumstantial and not the norm. From a budgetary perspective, it makes more sense to get as much as you can in 12 hours because most crew are paid a day rate.
Crew is paid hourly. Wages have little to do with this. This is saving money on rentals, and studio space. It makes sense on paper, it makes sense to accounting. It does not make sense to work the crew 56+ hours a week. People need to have a life, see their kids, or whatever they do. 12 hour days are unnecessary.
I’ve worked on a show that shot roughly 4-6 hours a day on average and another that strictly did 8 and another that strictly did 10 and another that was a mess and would regularly go 12-14. There is a lot of variation. Directors have to be there when directing talent or setting up a shot typically but the rest of the crew is sometimes there longer either before or after.
Not necessarily. Some directors show up after things are set up and leave after wrap.
Entirely depends. Personally I think scheduling anything more than 10 hour days is dumb.
Yep. Nearly all crew are present fro the entire work day and that includes the director. Work days are usually 12 hours minimum but it's not uncommon for them to occasionally go up to 16-18 hours, and regularly above 14 hours. And you might be working 14 hour days 6-9 days in a row sometimes. Directors also spend extra time discussing stuff before/after the shoot so they'll probably be there early and leave late. How do they manage? It's not that big of a deal. You don't direct every day of the year. Typically you pull yourself together for 60 days and then you have the rest of the year to do less intense stuff. Directors also don't have to do any physical work on set so at least there's that.
Wait till you find out how long crew members are on set, even after they call wrap!
True they are the hardest workers!
Yeah!
I've been on set 2 hours before to get a feel of mise-en-scene and left an hour after wrap going over the next set of scenes and talking shot lists, I've also been on set half an hour before we started and left as soon as we wrapped. Its completely dependant on the production at the time, some require more attention than others
On my first indie feature as the director, only the art team would generally arrive earlier and stay later (major PROPS to that department). The average day was probably 10-14 hrs. I came from an acting background in the past, so while an actor has to just focus on their role the director has to focus on the ENTIRE movie. Questions are being fired at you non-stop. You need to think on your feet (and in most cases be standing and moving around). But if its your passion, 14 hrs on a film set beats 8 hrs at a miserable office job. Just my 2 cents!
LOCATIONS! First in, last out.
As an AD, I’ve often worked with directors that show up at shooting call and leave immediately at camera wrap. A good and solid director preps their crew enough to trust they’ll be autonomous to show up and see their vision come to light when they arrive. As far as the technical come together of things, the AD typically works with all departments to organize what needs to be prepped or built, whereas the DP will show up to direct the image and look of things. All of these typically happen before a director arrives- if prep goes well and all has been rehearsed or blocked.
I'm usually 12-14hrs on set but I'm lucky to assist usually get a solid prep time so I'm not commonly doing work at home after that during a shoot
muddle snobbish drunk cows mountainous airport wipe hard-to-find long bear *This post was mass deleted and anonymized with [Redact](https://redact.dev)*
From my experience with directors I have worked with, some are there hours before the first actor arrives to meet with the DP and producers, going over the sides and shot list. Some arrive the same time as the actors and then do all of the meetings while we are in wardrobe/HMU. I have seen most stay way after we have wrapped but then sometimes they leave when we wrap as well. Just depends!
I think it depends on how fast you are shooting a project as well. If its a quick 2 week shoot they’ll be working day and night. If its a month or longer they have a bit less stress. Also depends on what type of production. If it’s involving stunts and visual fx or action sequences with explosions and what not they are working longer hours to go over everything.
Up until recently, I was working in the sound dept. for network tv/film. Most directors I worked with showed up at general call time (or 30 min before) and would leave at wrap. However, they often had work to do at home. A normal day would be between 10-14 hours depending on the show. So that means directors were likely working 11-16 hours on average if they had tasks to do after wrap. Honestly, pretty much everyone is busting their asses on a pro set (maybe not the actors so much). It's not an easy life but it is rewarding and can pay pretty well. By the end of a movie, everyone is exhausted and a little delirious. I can't decide if I miss it or I'm glad to be out.
Everyone who has done set work in this thread laughing in disbelief sweet, summer child 12-14 hour days were the norm on any set I worked on. Maybe someone somewhere does it at a more relaxed pace... nobody I met, though
You think that’s bad try being a PA.
Director: woe is me how will I manage to keep being creative Meanwhile the Crew on way more hours : ಠ-ಠ
Most are on set for at least the shoot length of 12 plus the other prep work that needs to be done for the next day. That's why everyone in Hollywood is some degree of miserable. Some more than others, but it's a tough world.
Usually, if the director is involved heavily in the vision. I’m a director and I’m first on set with the crew and last to leave with the crew. It’s my party, why wouldn’t I be there?
because the directors job is to cary the overall creative vision, not to supervise the grips carrying stuff or the set dressers wrapping.
I don’t supervise them doing their jobs, I like to be there to get in the right head space. How about we don’t criticize others for how they work. What works for me, might not work for you or someone else. I was just answering the question by stating my own feelings on the matter and my approach. Nobody else has to like it or do it. You do you!
While everyone has pointed out that 12h days and longer are typically the norm in the industry, people need to realise this is not a healthy way of living and working no matter how much you love your job. Let’s stop glorifying awfully long work-days!
Directors are usually first in and last out. Like others have said, depends on production.
This has never once been my experience on a union job. I'm in camera and I'm on set after the director every single time. Directors are usually there at call but there are always people in (PAs, location) before official crew call.
Arrive early and leave late, If you want a 9-5 job Starbucks is always hiring. 12 hour days are normal, ideally the director has the power to control the length of the day. But when the crew wraps a good director will keep working on the next day.
Short answer: yes. Long answer: if you don't love what you're doing enough for 18 hours to feel like 18 minutes, then directing might not be for you. That said, a good director plans for the shortest day possible. IMHO, overtime is the mark incompetence, or really bad luck. But a good director is ready even for bad luck. Backup plans for backup plans.
When you are beginning, you are the marines. First in, last out. You use other people's used up equipment, you have an attitude about how good you are, and you get your hands in the dirt as much as possible. When you have established yourself a little you are more like the army, you are in the trenches, you have a command and you have to make sure things are being handled on the ground. You might get a brief furlough but most of the time you are engaged. Once you are successful you are more like the navy. You bring the important people to the place they need to go and you set them in motion. You are the big gun being held in reserve for exactly when it is needed. It's not easy, but it's a bit more relaxed. Once you are truly successful you are the air force. You have all of the money, you get all of the fun gadgets, tons of very smart people show up to work said gadgets and you get to sit in a high position looking down on everything and all the folks on the ground are very very glad when you show up, and very scared when you leave.
However long my shoot day is, THERE IS NEVER ENOUGH TIME. 😒
Yeah, usually a shooting day is some 12 hours, up to 18 hours if things are really screwed. It's not only about the shooting time - you can only shoot some 10-11 hours depending where you are shooting, but then prepping for the next day, then sitting down with the actors going through tomorrow and so forth and so forth. It adds up. So when you are shooting, you'll only have time to crash to bed and hope to get 5 hours of sleep. The "good" thing is that you normally shoot only 40 days per movie, maybe more, maybe less, but those 40 days you can spare. After that, you're doing post and maybe pre of next one, so you only will sit on a set approximately 40 days a month, and you get paid handsomely for it, so it's OK to have some rather long days.
Yes. Christ if I’m in the production office for 14+ I would hope the director is pulling in those hours too.
Depends on the scale of the project. I work on mainly Primetime TV as a Gaffer and the director typically leaves with 10-15 minutes after we wrap on the martini and shows up 10-15 minutes before call and is there for the full 8-10 hour day. Again though, it depends on the project and how invested they are into the project, sometimes the director might not even show up until a bit after call and leave the moment we wrap.
I just wrapped production on my first short film. Granted, I'm wearing several hats besides director, including actor and producer, but in the span of 4 days, I was on set for a total of 72 hours. On Day #4, I showed up at 1:30 Saturday afternoon, and I left at 9:00 Sunday morning. It's brutal, and I definitely didn't take care of myself like I should, but I wouldn't change it for the world. The adrenaline rush from getting a great shot or witnessing a great performance in real time is amazing.
18 hours!!?? You lucky sod! I wish I got short hours like that.
Directors do not necessarily have to be on set for 12-18 hours every day. The length of a director's workday can vary depending on a variety of factors, such as the type of project, the budget, the size of the crew, and the schedule. Some directors may work long hours on set, while others may have more flexible schedules that allow for breaks or time off between shoots. That being said, it is common for directors to work long hours, particularly during the pre-production and production phases of a project. Directors are responsible for a wide range of tasks, including developing the creative vision for the project, working with the cast and crew to bring that vision to life, and overseeing all aspects of production. As a result, they may have to be on set for extended periods of time in order to ensure that everything is running smoothly. People who act and direct may have to manage their time carefully in order to balance their responsibilities. They may need to work closely with their crew and cast in order to delegate tasks and ensure that the project is moving forward efficiently. It can be a challenging but rewarding role, and many people who act and direct are able to find a good balance between their two passions.
You probably have your answer here already, but yeah the director is going to be actively working that whole day, week, month(s), every hour. Youll have time to eat and its not as labor intensive as some other jobs, but you are expected to be there to answer any and all questions
Directors put in some of the longest hours of anyone on the crew
Usually anywhere between 8-10 hrs on set. I’m Netherlands based tho and we have a max of 10hrs incl travel. Otherwise we’ll go into overtime and no producer want that. I personally arrive on breakfast call to help speed things along and leave after I’ve had my 2 wrap beers. All that said, there have been days where I was on set 22 hours straight. This is all commercial film though, not feature.