Unit Manager
Overview: The unit manager is responsible for the unit base and on-set logistics during filming. The “unit base” is the area near a filming location where production vehicles park and essential facilities (like dressing rooms, toilets, catering, generators) are set up. The unit manager’s job is to secure suitable unit base locations and then coordinate all the practical needs of the crew on the day of shooting – from power and water to waste management and crew transport between base and set. They report to the location manager/supervising location manager, but focus specifically on running the “base camp” and ensuring the crew has everything they need when they’re off-set. In essence, if the location manager is handling the location site itself, the unit manager is handling the support area and overall logistics that keep the shoot running day-to-day.
Key Responsibilities:
Planning unit bases: Determine how many unit base areas the production will need (sometimes multiple if the shoot moves around) and find suitable locations for each. A good unit base has enough space for all trucks and trailers, is ideally close to the filming location, and has necessary access (wide gates, strong ground for heavy vehicles, etc.). You’ll scout possible parking lots, fields, or open areas that could serve as unit bases – taking photos, making notes on capacity and any permits or fees required. Once you identify the right spot, secure it by booking or obtaining permission from the owner or local authorities. For example, you might arrange with a city to use part of a public car park for the crew vehicles. Coordinate with councils or permit offices to reserve these spaces and handle any required payments. Keep the production manager or location manager updated on which bases you’ve secured and inform them (and the crew) of any limitations (like “we must be out of the parking lot by 10pm each night”). Leading up to the shoot, maintain communication with the unit base owners (whether it’s a private lot owner or city officials) – update them if schedules change and make sure the base will be ready and accessible when needed.
Setting up site infrastructure: Organize all facilities and services needed at the unit base and on set for a smooth shoot. Well before filming starts each day, you’ll ensure that essential things are in place: parking plans for all production vehicles (draw up a map or list of which vehicle parks where, to maximize space and efficiency), power supply (coordinate generators or mains power hookups for the base and set if available), water supply (for things like make-up trailers or crew water stations), and lighting (set up tower lights or work lights around the unit base if there will be activity during dark hours). Arrange for waste management – e.g. have skips (dumpsters) delivered, or schedule trash collection, so that garbage from catering or set is dealt with daily. Essentially, you’re creating a miniature village that supports the film crew, and you need to think of everything: toilets (often a “honeywagon” trailer or portable loos) positioned conveniently but out of shot, a base for catering to cook/serve meals, and possibly tents or pop-up shelters if the crew needs cover from sun or rain. You’ll often do a night-before setup: coming to the unit base location the evening prior (or very early morning) to position generators, lighting towers, the honeywagon, and to con off the parking area so it’s ready for the production vehicles when they arrive.
Coordinating with other departments: Work closely with other teams to understand their logistical requirements at both the unit base and the set. For example, talk with the construction and art department to know when they need to bring set pieces in or out of a location so you can plan access and any extra hands or equipment (like a forklift) at the base. Coordinate with the rigging/electrical team if they require specific placement for generators or cable runs from the base to set. If the production is wrapping one location and moving to another, coordinate with those wrapping crews to time out the use of shared resources (like trucks or generators moving between places). Collaborate on scheduling: ensure that if, say, the costume and make-up trucks need to be operational by 5am, you unlock and power the unit base well before that. Also, work with the location manager to develop a broad logistics plan for each filming location – basically a plan that covers where everything goes and what the procedure is for day-of operations, including backup plans if something goes wrong (e.g. if the primary access road to the base is suddenly blocked, have a secondary route). Your job touches a lot of departments, so constant communication is key: attend production meetings where logistics are discussed, update everyone on base arrangements, and adjust plans as other departments’ needs evolve.
Sourcing equipment and supplies: Identify and procure all the supplies needed to set up and run the unit base. This could involve renting equipment like generators, tower lights, mobile heaters or air conditioners (depending on weather), tents, tables and chairs for catering areas, crowd barriers, and trackway (temporary roadway mats) if the base is on soft ground to prevent vehicles getting stuck in mud. Also arrange for fuel deliveries if generators and vehicles will need refueling, waste disposal services (maybe a company to empty the toilets or haul away garbage), and any consumables (like diesel, water, or office supplies for the unit base). You’ll usually gather quotes from several vendors to get good rates and ensure they can meet your schedule, then choose and book the suppliers. Once selected, you’ll coordinate delivery times and make sure each supplier knows where to go and who to check in with on arrival. Keep records of all these orders and contracts, as you’ll likely be managing the budget for unit base supplies as well (in line with what the supervising location manager or production manager has set).
Equipment management and inventory: Maintain an up-to-date list of equipment at the unit base and implement a check-in/check-out process for anything borrowed or rented. For instance, if you hand out walkie-talkies or cones to marshals, note how many and ensure they all come back. Oversee the safe receipt and return of all hired or loaned gear – everything from generators to portable toilets has to be accounted for. If you notice something missing or damaged, report it and arrange for a replacement or repair. Equip the location truck (or unit van): often the unit manager is in charge of a vehicle that carries location department supplies (tools, tapes, cleaning gear, first aid kit, etc.). Make sure this truck is fully stocked each day with the essentials the crew might need on location. Keeping the unit base well-stocked means anticipating needs: extra bulbs for tower lights, spare batteries for flashlights, rain ponchos for PAs, or whatever the situation might call for.
Night-before prep for shoot day: Typically, the unit manager arrives before almost anyone else to get things ready for the filming day. The evening or early morning before a shoot, you will physically set up the unit base: park the honeywagon (mobile restroom trailer) and other facilities in their designated spots (ensuring they’re level and functioning), lay out traffic cones or signage to guide cast and crew when they arrive, and maybe power up generators so that trailers have electricity (like lights and A/C) when the crew comes. Set up the catering area with tables, garbage bins, and any needed lighting or heating. Also, lay out safety measures: for example, put down mats or cable covers where cables will run, set up light towers to illuminate dark pathways, and secure any trip hazards. Essentially, you transform an empty lot into a fully functional base camp ready for a couple hundred people to use. This prep work is often done when it’s dark or very early, so you need to be self-sufficient and thorough – using checklists to ensure no key element is forgotten (imagine if the crew arrives and the toilets are locked or there’s no drinking water – your goal is to prevent issues like that).
Managing budget and costs: Keep track of unit base-related expenditures and work to stay within the allocated budget. This means monitoring costs for rentals (toilets, generators, etc.), fuel, catering support, and any purchases of supplies. If you see that one area is trending over budget – for example, perhaps generator fuel costs are higher than anticipated – you might discuss with production on how to economize (maybe shutting down a generator during lunch breaks, etc.). You may also negotiate with vendors if unexpected needs arise, trying to get good deals or adjust services without extra cost. Document all spending and periodically report to the supervising location manager or production accountant with updates. Being cost-conscious is important: you want to provide everything the crew needs, but also find efficient solutions (like using a local water source instead of trucking in water, if possible) to save money.
Running on-set and base logistics during filming: Once the shooting day is underway, the unit manager essentially runs the show behind the scenes. Station yourself where you can be accessible (often at the unit base or moving between base and set). Coordinate the unit team (location PAs, runners, parking attendants) on set: assign them duties like directing vehicles, keeping the base tidy, or shuttling people from base to set. Check in with the ADs, costume, and make-up departments frequently to make sure they have everything they require at base – for example, if make-up needs more water or costume needs a rack moved, you handle it. Ensure signage and notices around the base and the approach to set are clear: everyone should know where they can and cannot go, which areas are off-limits, and any special instructions (like “Quiet – Filming in Progress” signs). Communicate the daily call times or any updates to the security team as well, so security knows when to expect movement and when to lock up. Throughout the day, be in touch with all departments to match resources to needs: if lunch is running late, maybe arrange a coffee/snack station to keep people happy; if a lot of people need to shuttle from base to set quickly, coordinate extra transport runs. You’re also the go-to for problem-solving on set logistics: for example, if the crew needs to suddenly move to a second location, you quickly organize the transport and base setup for that. Or if the weather turns and an easy-up tent is needed on set, you get one there immediately.
Transport and movement coordination: Implement and oversee the transport plan for moving people and equipment between the unit base and the filming set. This might involve scheduling minibuses or vans to ferry cast and crew if the base is not walking distance, or coordinating with the transport captain to ensure cast cars arrive at set on time. If the location has limited access, you might run a shuttle system (e.g., only 4x4 vehicles can reach a remote set, so you ferry crew in smaller groups). Keep an eye on this throughout the day – ensure no one is left waiting too long for a ride and adjust if necessary (add an extra van during peak times like wrap or meal breaks). If some departments need to move back and forth frequently (like makeup running from set to their trailer), try to station a dedicated vehicle or driver for them. You’re effectively the traffic controller for the production’s internal transport.
Maintaining site cleanliness and safety: Oversee cleanliness and waste at both the unit base and on set. Make sure bins are placed in convenient spots and emptied regularly – you might assign crew or PAs to trash duty during lunch and at day’s end. If any spillage or mess occurs (like mud tracked into a building or a fuel leak near a generator), handle it promptly: cordon it off and get it cleaned to avoid accidents or damage. Keep the area behind the camera safe and tidy – that means ensuring equipment cases aren’t cluttering emergency exit paths, cables are taped down or channeled safely, and any additional lighting (like the set’s work lights) is positioned to prevent dark hazards. Monitor power needs: ensure that departments that need electricity have it when they need it – if multiple units are drawing power, watch that generators don’t overload and arrange refueling before they run low. Basically, you’re constantly checking that the base and set support systems are running smoothly (like a backstage manager for the production).
Handling issues and damage control: If any issues or complaints arise – perhaps a crew member notes a damaged fence when parking, or a local resident is upset about noise at the base – address them immediately. For damage, take photos, report it to the location manager, and if possible, speak to the property owner to apologize and assure them it will be fixed or cleaned (often you’ll handle minor fixes on the spot, like filling in ruts caused by truck tires or cleaning a driveway). If someone nearby complains, try to resolve it amicably: explain the situation, adjust what you can (maybe move a light that’s shining toward someone’s window or ensure noisy work wraps earlier in the evening), and let the location manager know. Being proactive in these situations helps maintain goodwill and can prevent a small complaint from escalating.
Health and safety compliance: Ensure that health and safety practices are followed in all unit base and logistical operations. This means implementing the safety measures outlined in risk assessments: for example, if the risk assessment says “all cables must be covered to prevent trips,” double-check that it’s done. Make sure fire lanes around the unit base are kept clear (in case emergency vehicles need access). If you’re on a public road or lot, ensure your team wears high-vis vests and uses proper traffic management when guiding vehicles. Brief your unit team at the start of the day about any hazards and the plan for safety (like pointing out where fire extinguishers are, or reminding them to stay hydrated in hot weather). Work in line with all safety guidelines and encourage a safe working environment – this can be as simple as enforcing that people drive slowly in the base area, or making sure lights are turned off before refueling a generator. You’re responsible for the well-being of the crew when they’re off-set as well, so keep alert for safety issues and address them immediately.
Key Skills and Attributes:
Logistical coordination: Exceptional organizing and planning skills. A unit manager must coordinate a lot of moving parts – literally (trucks, vehicles) and figuratively (schedules, resources). You should excel at planning layouts (where things go) and schedules (when things happen) for the unit base and ensuring these plans are executed. Thinking ahead is crucial: anticipate what the crew will need before they need it.
Resourcefulness: Ability to problem-solve on the fly and be resourceful. If a solution isn’t immediately obvious (like the generator won’t start or you unexpectedly need more parking), you’re the person who finds one – whether it’s calling in a backup, re-shuffling the setup, or quickly negotiating use of an adjacent lot. You often operate a bit independently from the main set, so you have to trust your own judgment and creativity to fix issues on site.
Communication and leadership: Strong communication skills to coordinate with various departments and lead your own unit team. You’re giving instructions to PAs and marshals, coordinating with ADs and location managers, and also dealing with external contacts (security, vendors, local authorities). Being clear, direct, and friendly helps everything run better. As a leader at the unit base, you need to motivate your team (often junior crew members) to work efficiently and safely. Good communication also means listening – being approachable if someone from the crew has a request or a concern about the base.
Teamwork and collaboration: Although you’re somewhat autonomous in handling the base, you’re still part of the locations department and the wider production team. Being a team player means you collaborate closely with the location manager, assistant location managers, and others. You coordinate especially with the transport captain and 2nd AD, so developing a good rapport with them is beneficial. You also work alongside catering, facilities (like the people who maintain the trailers), and security – treating them with respect and working together makes the day smoother for everyone.
Stamina and calm under pressure: The unit manager’s day starts before the crew arrives and ends after they’ve left. It’s physically and mentally demanding work – you might be dealing with heavy gear, lots of walking around the site, and constant problem-solving. Physical stamina and the ability to stay focused through a long day are important. Also, things can get hectic (imagine multiple radios crackling with different issues at once); you need to remain calm, prioritize tasks, and not get overwhelmed. A calm demeanor also reassures the crew that everything is under control at base.
Negotiation and budgeting: You often handle negotiations for services and equipment rentals. Being able to negotiate good rates or flexible terms with suppliers (and perhaps city officials for base locations) is useful to stay on budget and adapt to changes. You also keep an eye on costs, so you should be comfortable managing a budget subset, tracking expenses, and making cost-saving suggestions if needed.
Attention to safety and detail: A good unit manager is detail-oriented, especially regarding safety and setup details. Small things like a misplaced cone or a poorly lit step can cause accidents or delays. You need to catch those details – ensure nothing is left unchecked when setting up the base and that all safety measures are in place. Similarly, tracking which crew shuttle is where or how many meals were served might seem minor, but it’s part of the detailed oversight that keeps operations smooth.
Flexibility and adaptability: No two days are exactly the same in production. You might plan for one layout and then the director decides to shoot the scene from the opposite side, meaning the crew base has to adjust. Or sudden weather changes could alter your needs (like bringing in heaters or fans). Being flexible and quick to adapt your plans without fuss is key. You should also be open to feedback – maybe a crew member suggests a better way to arrange the base; being able to listen and implement good ideas shows you’re focused on what works best, not just sticking to one way.
Integrity and reliability: The crew relies on you heavily – if you say the generator will be running at 5am, it needs to be running. Being reliable and following through on all responsibilities builds trust. Also, since you might handle petty cash or vendor payments, strong integrity is a must. You interact with local community and vendors as well, so you represent the production; acting professionally and ethically in all dealings is important. People should know that when the unit manager is on it, it’ll be done right.