Picking the set
The 1st AD looks through the stripboard for interior scenes that can move easily. A strong candidate has four things going for it: the location is near the exterior, set dressing can stay in place for weeks, the cast are already working or could be called on short notice, and the scene doesn't depend on story continuity that hasn't been shot yet.
On a fictional feature with a week of beach exteriors, the AD might choose INT. BEACH HOUSE - LIVING ROOM, scenes 61 and 63 (2 1/8 pages total), featuring cast 1 and 2, who are already working the beach days. The house is a rental a mile from the beach, and the art department dresses it on day 1 and leaves it.
On paper
A call sheet with a cover set might include:
| Sc. | Set | D/N | Pgs | Cast | Location |
|---|---|---|---|---|---|
| 24, 26 | EXT. BEACH - DAY | D | 4 3/8 | 1, 2, 6 | Leo Carrillo lot 3 |
| COVER SET | |||||
| 61, 63 | INT. BEACH HOUSE - LIVING RM | D | 2 1/8 | 1, 2 | 312 Pacific Ct |
Notice the cover pages (2 1/8) are fewer than the planned exterior pages (4 3/8). Covers rarely match the planned day, and the rest of the lost exterior work has to go somewhere later in the schedule. The AD should already know where.
Mistakes with cover sets
Using the cover set early for something else is the most common. If the beach house scenes get shot on day 3 because a day went fast, there's no cover left for days 4 and 5. Once a cover set is shot, the AD needs to name a new one on the next call sheet.
Another is picking a cover whose cast isn't around. If the cover scene needs cast 9, who lives two hours away and isn't on hold, switching won't happen in time. Anyone who must be available for cover should be marked on the day out of days and in the deal.
A soundstage set is the most dependable cover, and some productions build a small stage set for that reason. The broader decision about when to call cover is covered under weather cover, and there's a longer guide at cover sets and weather cover.