Production assistant

A production assistant, also known as a PA, is a member of the film crew and is a job title used in filmmaking and television for a person responsible for various aspects of a production. The job of a PA can vary greatly depending on the budget and specific requirements of a production as well as whether the production is unionized.

Production assistants on films are sometimes attached to individual actors or filmmakers.

In unionized television and feature film, production assistants are usually divided into different categories. Variations exist depending on a show's structure or region of the world.

Commercial Set PAs share the same responsibilities as their Television and Feature Film counterparts (see "Set PAs" above), but also inherit additional responsibilities traditionally encompassed by other departments in the television and feature film structure. These responsibilities range from providing both critical and mundane production support equipment such as dollies, cranes, director's chairs and pop-up tents to standing in for talent and even filling in for other departments who might be shortstaffed. It is not atypical for a commercial set PA to be seen handling trash one minute, and the next minute assisting the electricians or grips with a set-up. A select group of commercial set PAs are given the responsibility of driving and managing the production and camera cube trucks. This responsibility is often given to the more senior PAs because it provides several extra days of pay.

Set PAs in commercials are more commonly hired by the production coordinator and/or production manager as opposed to an AD or key set PA. However, many commercial ADs will also perform this responsibility.

Standard rate for a commercial PA in the Los Angeles area is a flat rate of $200 per day. On February 1, 2008, benefits for qualifying freelance PAs became available through the Producer's Health Benefits Plan.

With the exception of Quebec, in North America, no union currently exists for production assistants, but the affiliation of a production with a union (or unions) can affect the job responsibilities of a PA. Less unionized film productions have more positions that can be serviced by non-union personnel; consequently, PAs on such productions may take on a greater variety of non-traditional duties. Examples of this would be a PA setting a light bounce (grip department) or driving a passenger van (teamster/transportation department). PAs on a union production generally have less variety in their job duties whereas a non-union PA can be asked to perform any kind of task by a department head.

In British Columbia, which has the third largest film and television production sector in North America, PAs are represented by the Directors Guild of Canada. Production assistants represented by the DGC work in the Locations Department and work both on and off set with duties including locking up the set, traffic control, echoing rolls, firewatching, and liaising with the public and location owners. The Key-PA is in charge of all the PAs and is the 1st ADs' right-hand man when it comes to do with the on set aspects regarding a location. From this position DGC PA's can move up through the Locations Department or the Assistant Direction (AD) Department as either a Training Locations Manager (TAL) or a Training Assistant Director (TAD), respectively. Office production assistants work in the production office as an Office PA and they work for the Production Manager, Production Coordinator, Assistant Production Coordinator, and / or other office staff in maintaining the work-flow in the office. From this position, Office PAs can work their way up through the office by becoming an Assistant Production Coordinator (APOC), which is unionized under IATSE 891. Pay for PAs according to the DGC Collective Agreement in BC is $283.93 (non-key) to $290.28 (key) for a 15-hour day. An 8-hour day is approximately $117.00.