APA Rules and Recommendations for Using Animals in Filmed Media

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Things to Consider Before Filming with Animals:

It is our policy to take things individually on a case by case basis, we realize there are many variables and we strive to be collaborative in our safety efforts. There are some things that are not negotiable because there are laws we must work within. There are also some “rules” in which we are adamant must be followed for safety purposes. We hope these suggestions, laws and rules are helpful in planning your productions. These suggestions are also subject to change based on necessity or situations that may arise without our former knowledge. We recognize that every production and situation is different and we base all animal-action decisions on a case by case basis, whenever possible.

Laws That May Apply When Working With Non-Domestic Species:

As of Jan 2, 2005, the State of California has deemed illegal any declawing of wild or exotic cats. It further states that an animal may not be transported to another state for declawing and then return to work in California. If an animal has been declawed before the ban, they may continue to work on set; however, paperwork to show this is the case should be made available. In such a case, the animal should show no sign of discomfort or lameness due to the prior declawing.

Click to access declaw_tooth.pdf

The U.S. Department of Agriculture (USDA) also has a regulation stating that primate or exotic and wild (indigenous) animals may not be declawed or defanged as of August 2006.

Migratory Bird Treaty Act: Under this law the taking, killing or possessing migratory birds is unlawful unless permitted by written regulations.  It is unlawful to take, possess or transport any migratory insectivorous bird or migratory non game bird.

Cock-fighting is illegal in most states and the use of cock-fighting paraphernalia is also illegal. Scenes must be simulated but the birds are not allowed to even make contact due to the perception.

APA advises that open dialogue always be strived for in the best interest of the production and the safety of the animals. We recognize that every scene should be looked at individually and advise that the best practices to achieve the objective should be used.

General Principles For Wildlife:

Primates, in particular, apes, working on set are a controversial topic among many animal rights activists. The reasons for this include; past inappropriate training methods, lack of retirement facilities for apes once they are not hand-able (which generally occurs between 8-10 years of age) and the removal of babies from their mothers at an early age. We would recommend fully researching this topic and diligence before considering these particular species.

Elephants are another controversial species for use in film. We believe if they are humanely handled and trained, elephants enjoy working with people. The use of bull hooks (or ankus) is prohibited in some cities and states. It is our belief that bull hooks are simply tools, such as bridles, reins, leashes, collars and dressage whips and their use is not inherently cruel. Most often, they are used as a guide for a smaller mammal (a person) to tell a larger animal (an elephant) what it is they want them to do. They were devised to create space between elephant and handler while working inside a building. In general, the use of elephants in film is not done in the U.S at the moment. However, there may be other countries where working elephants may be used for productions. The humane use of a bull hook must be observed at all times. This means no hitting, poking, jabbing or any use that is done in a rough manner.

The use of harsh training methods such as electric shock collars or electric devices is prohibited for all species of animals.

Non-domestic animals are highly sensitive, working with them requires a production to pay particular attention to their needs and safety for all involved is paramount.

Pay attention to the instructions given by the trainers. There should be minimal people on set when the animals actually work.

Care should be taken to keep loud noises, bright lights and excessive movement to a minimum. These things can be stressful for non-domesticated animals while on set. Typically, a Closed Set is the best way to accomplish it.

Sufficient prep should be given and the animals should not be rushed to perform. Oftentimes they simply need time to settle in and get comfortable, pushing them past this limit is not advised.

Certain City, State and Federal permits may be needed to work with exotic or wild animals. This is the responsibility of production to make sure these proper permits are in place.

There are also federal laws that exist in working with certain native species, which may be prohibited (for instance; working with Golden eagles or Red-tailed hawks). Please contact us for specifics.

It is advisable to check USDA licensing and research potential trainers for violations under their permits before hiring. Please do your own research and thoroughly vet trainers or wranglers before hiring.

When potentially dangerous animals are working on set, there should be an emergency plan which should be discussed before filming begins, safety meetings with cast and crew and all others involved are paramount in accomplishing this.

All animals used should be of good health and weight, excessively thin or animals in poor health will not be considered fit for filming purposes. This includes non-domestic animals.

Adequate caging is required for all animals on set. Sufficient water, resting area and shelter must be given.

Indigenous wildlife, present at locations, cannot be moved or manipulated for filming. If planning to film native wildlife in natural settings, production should be prepared to be patient to capture the necessary action. They should not be manipulated, scared or in any way change their natural behavior for filming purposes. Wildlife also cannot be moved if “in the way” such as bird nests, noisy birds, etc. A snake wrangler should be present to safely remove (and release) any snakes found on or near the set.

Releasing wildlife may require pertinent permits as well as the animals being sufficiently prepared to survive on their own. It is not acceptable to simple release pen-raised birds for filming that are not equipped to survive outside of their cages. Certain wildlife, including those considered invasive (non-native) may not be released. Please check with Fish & Wildlife as well as APA before considering such scenes.

Planning and preparation before filming are important to the success of a day of filming with animals. In this section, you will find important information to help plan and prepare for filming with animals.

GENERAL RECOMMENDATIONS:

APA recommends that productions hire professional movie animal handlers.  Private party animals can be used in some instances, but in general, professional animal handlers have the experience and knowledge of the film industry and the animals in their care. This simple step can save a production a lot of heartache. If private party animals are used, a professional trainer should be coordinating.

All animal handlers should be licensed through all governing agencies required to own and exhibit the animals they are working on set.

The animals should be provided adequate rest periods during the filming day.

Length of time animals may be used or the amount of rest periods require will depend on many factors; including weather, sufficient prep and condition of the animal, animal action and number of takes necessary.  Special care will need to be taken when excessive heat, cold, high winds or storms are in effect.

Some action requires extra care: such as stunts, animals wearing costumes or make-up, animals that are normally adversaries (such as rabbits and dogs) should be reviewed before filming to ensure the safety and comfort of the animals used.

If it is necessary to use taxidermy animals or animal parts, proper documentation may be required that show such animals were not killed for use on the production.  Productions should obtain dead animals from a reputable source.

Productions must provide adequate housing for animals.

APA’s Animal Safety Coordinators should be granted access to all temporary off-set and on-set housing.

HORSES:

Horses have historically been (and remain) the animals most at risk on set. This is due to many different factors. More horses have been killed on set, historically, than all other animals combined. This is why it is imperative to take any horse action very seriously. Oftentimes the action they are required to do is intense, such as; racing, pulling wagons, performing stunt falls, being ridden at a gallop. chariot racing, battle scenes and being handled by those who may be inexperienced as riders. APA suggests hiring only professional wranglers, stunt riders and actors who are competent riders and plenty of planning when intense action is required.

In addition, horses are prey animals, which means their instincts will be fight or flight when frightened. They can bite, kick, run away, buck, rear, spook and run into people on set. A safe distance should always be given to horse actors on set. No crew member of members of the public should pet or touch the horses unless given prior permission. It is imperative that productions take the use of horses seriously and work closely with your equine expert, the Animal Safety Coordinator, while on set and during prep.

There are laws that pertain to utilizing horses on set. The Animal Welfare Act (AWA) states that horses may not be overworked, overridden or overloaded. In addition, state and local animal cruelty laws may apply. In the UK, two agencies provide protection services for animals: The Royal Society for the Prevention of Cruelty to Animals (RSPCA) and the Animal Welfare Consultancy (AWC). Please check the laws for each individual country where they may apply to you.

The Federal Horse Protection Act, prevents horses from being sored on their legs to achieve a limp or certain gait. Screws in hooves, devices that cause a limp, stacked shoes, caustic chemicals, chains and any other similar devices are illegal under this Act and will not be permitted. Any actual limp shown on film must be trained or humanely “cheated”, without utilizing any of these devices or practices.

All horses must be properly shod for the action they are required to do. Barefoot horses may be used under most circumstances. Horses without shoes generally work best on dirt, sand or asphalt. Shoes may be required if there is icy conditions, if they are working on concrete or rocky areas. Special shoes such as borium shoes, rubber shoes or boots may be necessary on slippery surfaces, concrete or hard or rocky ground.

Horses should have access to shelter, water and rest periods throughout the day. No animal will be allowed to stand in full sun if the temperature is above 85 degrees, shade must be provided. If snowy, windy or extreme cold, horses will need shelters and blankets in most instances. In difficult weather, wranglers should insure there are enough animals to “rotate out’. In extreme weather, such as high heat, production should schedule intense scenes in the early morning or late afternoon for safety purposes. Harnesses, bridles and saddles should be removed during lunch or while the horses are not working. At minimum, bridles should be taken off and halters used to tie to trailers during rest times. Girths and cinches should be loosened. Water should be offered throughout the day.

Horses should not be tied by the reins; a secure halter should be used instead. If the scene calls for a rider to tie up by the reins at a hitching rain, reins can be looped around the rail loosely.

In addition, horses should be tied to a solid object (properly secured to the ground) with a slip knot that is easily un-done for safety purposes. Please insure that hitching rails where horses are to be tied are securely fastened to the ground so they cannot be pulled up if the horses pull back. Do not scare horses while tied, no loud effects, crashes or other extreme action that may cause them to react and pull back.

It is sometimes common for cast & crew to enjoy riding and consider a day working with horses as their opportunity to do so. Horses should not be ridden by crew or cast in any way that is not necessary and excess running and “horse play” in addition to the required action, should not be occurring. Wranglers giving lessons and working directly with the talent on their skills does not apply to this rule. Horses should always be walked back to “A” Mark while shooting.

Stallions may be used, but should only be handled by competent and experienced handlers. If stallions cause problems with other horses on set by their behavior, they will be asked to be removed from set. Geldings are preferred on set but not required.

An animal that requires tranquilization on set is an animal that should not be there. Drugging horses can be dangerous for handlers, cast and crew and the horses themselves. This should not be considered unless an emergency arises. Sedation for filming purposes alone is not allowed. Signs that a horse may have been sedated include: droopy lips, eyes closed, dropped penis, unsteadiness, indifference to surroundings, shaking or tripping. If the Animal Safety Coordinator notices these behaviors, they may choose to pull the horse immediately. Sedation should only be done by a veterinarian, as a precise dose is critical for for safety. Such drugs can stay in a horses system for 24 hours and can cause kidney and liver damage over time. Acepromazine (Atravet®, PromAce®) is what is generally used for sedation purposes. Sedation during hot weather, with senior animals or an overdose may, in some instances, lead to death.

Horses should never be left unattended, whether tied to a trailer or inside a trailer. At least one wrangler or trainer must stay back with any horses that are not working. If the Animal Safety Coordinator notices horses left unattended, she will request that a wrangler or handler stay back with the horses at the trailer.

These Rules and Regulations are meant to guide and assist you in setting up scenes and scenarios with horses on set. However, it is always up to the discretion of the Animal Safety Coordinator to assess animals and make decisions regarding their fatigue level, their soundness. their training level and their appropriate use in any scene in which they are utilized. They may pull animals if they see any of those factors in animals being used.

RIDING AND STUNTS:

Horseback riding is considered an inherently risky activity; it can result in injury, both serious and permanent, including death. Safety is of the utmost importance. Many people overestimate their riding abilities and this can cause dangerous problems. It is the responsibility of the wrangler, the production company and the APA Coordinator to insure the person riding is, at least, of minimum competency. This often requires riding lessons in order to achieve such competency. Wranglers will generally give riding lessons to talent that requires it. The Animal Safety Coordinator will also be involved in the decisions that decide if a person is competent for the action required. A rider who is not minimally competent poses a safety risk on set to himself, the horses and to crew.

Using wranglers as stunt doubles or back-up riders greatly diminishes this concern. This should be done wherever possible.

Inexperienced riders are often “heavy-handed” pulling, yanking and being excessively rough with the reins and the horse’s sensitive mouth. This will not be permitted. Mild snaffle bits are preferred whenever possible. Harsh bits and spurs do not belong on film sets.

Horses are easily tripped by wires, cables, uneven ground, holes and other obstacles in their path. Routes where horses are used should be free of all things mentioned. In particular, when a scene calls for a horse to move at speed through the area, it should be thoroughly checked for rocks, dips, uneven ground and other hazards before the run occurs. The Animal Safety Coordinator will check each route for such issues before a rehearsal is permitted.

Horses should be trained and accustomed to the style or type of riding required on camera. In other words, if a scene calls for jumping, a hunter-jumper type horse should be used. If it requires working with cattle, cutting horses would be best. Using the correct horse with the proper temperament and training, helps mitigate risk and minimize possible accidents.

STUNTS INVOLVING HORSES:

There should be collaboration between wranglers, trainers, APA Safety Coordinators and production well before a stunt is executed. Stunts may include: riding at a high speed with other horses, horse falls, pulling a large wagon, racing scenes, trick riding or horses at liberty. The idea is to have the stunt well-planned so that it may only need to be done once or at least, minimally. Sufficient planning, open discussions and having all involved be in agreement with planned action is key.

Horses should not drag ropes long enough to trip over, fatalities have occurred when horses have stepped on long ropes and fallen. Long ropes that horses can trip on will not be permitted.

The use of blanks in guns can cause damage and discomfort when used close to the horse’s head. Quarter-loads should be used if completely necessary, although adding the “gunshot” in post is highly preferable. Gun should never be fired directly at, or near the horse’s head. The use of guns, blanks, walnut shells, etc. will require a more thorough discussion before their use is authorized. If blanks are to be used, they must not be more than 1/4 loads to minimize noise and discomfort.

All props such as knives, sabers, or swords should be made of rubber or balsa wood for safety.

In Jumping scenarios, the horse must be trained to jump sufficiently. Jumps should be “break-away”, as in the first pole must come down if hit by the horse going over. Solid fences, such as utilized in eventing, will not be allowed.

Horses should always be sufficiently trained and well-prepped for any stunts done on set. Safety meetings should always be held before a stunt and involve all relevant personnel, including APA Animal Safety Coordinators. Everyone on the team should understand exactly what will transpire, step by step.

Rodeo Scenes

Rodeo scenes should be simulated. Although there are some events that are not considered extreme action (barrel racing) much of the action in rodeo events involves some risk and should be discussed with wranglers and APA well in advance. It is advisable to film actual rodeo scenes at sanctioned rodeos (PRCA) rather than try to re-create such action. Be advised that some rodeo action is considered cruel to animals by many people, in particular, calf roping, steer wrestling and team roping. In general, it is best to simulate these scenes as much as possible and use stock footage where it is available. None of these events will be allowed to be recreated for filming purposes.

Animals used in rodeo scenes must be used for that particular event and purposefully bred for it. They must understand and be conditioned for the action in which they are being asked to perform.

Any animal that becomes excessively agitated while in a chute waiting to work (rearing, panicking, calling out) must be immediately let out and not used again.

Allowing camera equipment, people or other animals (except for pick-up riders) will not be allowed. Animals must only be used once for the designated event/shot.

Sharp, stationary spurs will also not be allowed. Calf roping or “heading” and “heeling” team roping where both the horns and the legs are roped must be simulated. No animal will be allowed to be “tied-down”. Wild Horse races and goat tying are not permittable.

Barrel Racing will be allowed but the horses must be adequately trained to understand the pattern and footing must be appropriate. If any horses trips or falls, accommodations must be made to fix the footing.

Horse Falls and Rearing Animals

Horses should be sufficiently trained to do such action as laying down, rears and falls. These actions should never be manipulated or wrangled to get the action. Excessive use of whips or ropes will not be permitted to achieve such action. Harsh bits, excessive “yanking” or quickly pulling the horses head to the side will not be permitted.

Horse falls in general, are not commonplace in film today. The risk to horses can be great and there is generally a lot of manipulation to encourage the horse to “fall”. Horses do not naturally feel comfortable falling. Special exceptions may be made if the “fall” is not at speed. Each scene or fall requirement shall be discussed on a case by case basis and must be approved by APA.

Horse falls are considered extreme action and if designated to be safe, horses should not ever be required to do it more than once. The ground should be sufficiently prepped and soft for such falls. Peat moss and sand are appropriate substances to prepare the ground. Rocks and other hard objects should be removed. The speed of the horse leading up to the fall should be considered. In general, the faster a horse is moving, the harder he will fall. Horses should only be traveling at the minimum speed necessary to achieve the action required. Galloping horses will not be allowed to perform horse falls. Reversing cameras, CGI, the use of mechanical horses are recommended in such instances.

Stampedes

Stampede scenes require a lot of prep and discussion. The animals running together must be familiar with each other as a “herd”. The animals must not be allowed to escape the set at any time. If this happens, the scene will not be allowed to move forward. Sufficient plans, panels and outriders must be utilized. The ground should be free of rocks, holes and other dangerous objects. Cables and overhead obstructions should be removed.

The route should be prepped at slow speeds to allow the animals to become accustomed to it. Adequate wranglers on either end of the route should be utilized. The area should be fully secured, either by fencing, buildings or adequate wranglers on horseback.

No stampedes may occur next to cliffs, lakes or drop-offs in the terrain. In some cases, panels, fences or other confinement methods may be required. Stampede scenes must be adequate controlled, no animal will be allowed to escape. If this occurs, the action must stop and the problem remedied before moving forward. Any vehicles following or next to the stampede must follow the rules for distances with camera cars.

Baby animals and pregnant animals will not be allowed to run in any kind of stampede scene.

Horse Racing Scenes

For horse racing scenes, it is recommended that horses trained for movie work, instead of actual racehorses, be used. Actual race horses are not trained or comfortable standing in shoots while camera’s get ready. They are used to being let out almost immediately after entering. Racing scenes should be simulated. Horses should be sufficiently prepped to stand in starting gates and have sufficient training to stop on the track if asked. Actual racehorses are rarely appropriate for such scenes, lacking these basic training safety procedures. Horse racing scenes can be shown either using stock footage or by filming an actual race, documentary-style, without any interference with the action as it normally is done. Minimal takes should be done if horses are breaking out of gates or running at speed. No horse may be used more than three times (may be less depending on weather, footing and condition of horses) and it is in the Animal Safety Coordinator’s discretion, to pull horses that appear lame, excessively stressed or not properly trained for the action.

Horse racing scenes should utilize sufficient outriders, mounted spotters and the use of camera car or insert vehicles on the track with performing horses should be avoided when possible. If there is a camera car on the track behind the horses running, it must stay a minimum of 300 feet away from running horses. If animals are not at speed, 200 feet will be the minimum distance. Horses can change directions in a second and this must always be kept in mind. Only professional, precision drivers should drive a camera car in such instances. Camera cars will never be allowed to be used while moving head on towards running animals.

Russian Arms: these camera extensions can be extremely dangerous to running horses, as they move around in a circle, in every direction, while attached to a moving truck. A camera attached to a Russian Arm may not be any closer than 50 feet to an animal when alongside them and the distance may even be farther if necessary. Circumstances of the use, including terrain, speed, footing and preparedness of the horses will all be taken into consideration. A taped off area or some kind of marker, helps to keep the camera car moving forward at the same distance.

When following the horses at speed, the camera car/arm must stay a minimum of 300 feet away. If not at speed, 200 feet is sufficient. At no time is a camera car allowed to go the opposite direction, head on, to any running animal.

Horses behavior will be watched very closely for any changes, spooks or unsafe changes in direction and distances may be increased if this occurs. The Animal Safety Coordinator must have a radio so that they might immediately communicate to the driver/crew on the camera car.

Sufficient cooling methods should be prepared for use during hot weather and intense running or stunt work with horses, including hoses for rinsing off horses and ice where appropriate. If the weather is excessively hot (over 90 degrees Fahrenheit), the horses may only be allowed one run. Water shall be readily available at all times. Horses, like people, are susceptible to heat stroke and heat exhaustion. Water and shade must be Close To Set, not half a mile down the road.

Horses used must be Sound for the action required. Lame horses are not appropriate for use on set. Some lameness’s are subtle. Hind end lameness, arthritis and uneven cadence may show lameness that others may not see. The Animal Safety Coordinator will report any lameness he/she sees and may pull the horse appropriately, if showing lameness.

A veterinarian should be on set for all intense action scenes, including but not limited to; stampedes, racing scenes, rodeo scenes, etc. Please consider while working on location that a vet may be hours away. If unable to secure a vet to be on set during intense action, an on-call vet who is notified and on stand-by, can be utilized but must not be more than a half an hour away from the location.

Chariot Racing Scenes

Chariots must be light and designed in a safe manner, with tires that easily move forward with the horses. Only trained drivers, experienced in chariot racing may drive a chariot.

Chariots must not touch each other in group scenes where multiple horses are pulling a chariot. In addition, they may not have “close calls” and drive erratically in front of another chariot. These kind of “chaos” scenes must be simulated and done in multiple takes.

Footing is key when working with harnessed horses and chariots. Deep sand, slippery matted areas, rocks or uneven ground will not be permitted. Horses must be fully trained and accustomed to pulling the chariots. If they show signs of agitation by rearing, bucking, head tossing or becoming excessively anxious and “jigging”, they will likely need to be removed and replaced by a more suitable horse.

Harnesses and all tack must fit appropriately and not cause any rubbing or hair loss. Rest breaks must be used if they are standing by on set or working for a long period of time.

Drivers must not have their vision impaired and must be able to see their routes at all times. Routes must be watered down to prevent dust, which may also impair vision.

Having adequate back-up horses is crucial. If working at speed, horses will need rest and cannot work the entire day. Harnesses should be removed at lunch or when not working and horses should be fed, watered and rested.

Drones

The use of drones in filming has become more prolific. Drones may be used with horses but the following guidelines will be utilized. The Animal Safety Coordinator should always be involved in any safety meeting regarding the use of drones on set. The Coordinator must also have a radio, in which they can communicate to both the drone operator and production.

Horses must be prepped and desensitized to drone work. All drones should start at least 100 feet at minimum above the horses during prep to gauge behavioral reactions. Work shall begin slowly to gauge how the horses will react to the drone overhead. At no time should the drone be lower than 40 feet above the animal. If beside the animal, minimum distance is 30 feet. These distances may be even less if the horses show fear, spook or try to duck out of planned route.

Drones should start and land at a reasonable distance from the horses. If a horse shows fear or spookiness or refusal to move forward, drone work must cease or remain higher than the stated distances.

General Considerations

Pregnant animals should never be used for filming unless the scene calls for a birthing scene and in that case, it must happen naturally and be discussed with APA and all relevant parties well in advance.

All training tools, including the use of whips must be used humanely. Excessive whip use will be considered inhumane. Hitting horses will not be tolerated. In particular, even while cueing for a rear, a horse may not be hit in the face at any point. Whipping of horses is not permitted. If whips are to be carried, such action must be simulated only.

Horses should not be used “as couches” and sat on all day by the wranglers. This is permissible if they are working as pick-up animals for safety but otherwise, wranglers should stand down and rest the horses back whenever possible.

Hobbles are an acceptable practice for some but they can be problematic. They have been utilized on set for many decades but fairly recently their use has been questioned in regards to horse safety. They should only be used when not doing so poses a safety risk, such as, the distance required means the wranglers cannot hold the horses (such as a large pasture or meadow).Horses must be sufficiently trained to wear hobbles and wranglers should stand near by in case a horses becomes startled or spooked and attempts to “run away”. Horses can and will easily fall under these circumstances. If at any time the horse attempts to run away or fall, the hobbles must be immediately removed and the horse shall not be used again.

Harnessed Animals

When filming with carts, wagons, stagecoaches or other such conveyances, horses should be sufficiently trained and prepped for the action required. Wranglers should be driving the teams whenever possible and must be highly experienced. When speed is involved with such action, this should be considered intense action and handled as such by APA and wranglers involved. Large conveyances should have working brakes. Driving wagons, stagecoaches or any rig should not be done around cliffs, while going downhill or on uneven, unsafe ground. Route must be completely walked to make sure footing is safe and appropriate.

Harnesses must be in good shape, no cracking or old leather will be allowed. Harnesses must also be properly fitted, they must not rub, cause hair loss or sores.

Wagons, or any conveyance, may not be excessively heavy and any “cargo” must be light and easily pulled. The weight of the conveyance must always be considered. Heavy wagons will not be allowed if the horses struggle to move them initially and the use of whips to push them forward despite the heaviness and difficulty, will not be allowed.

T-stands, or sawhorses, should be used if horses need to stand by while harnessed for any length of time, taking the pressure off of their necks.

Cast and crew should take care not to approach any wagon or conveyance without permission. Never stand directly in front of a wagon or any conveyance. Make sure the driver/wrangler knows you are approaching the conveyance. Horses wearing blinders while harnessed can be easily startled. There is few things more terrifying or dangerous then a bolting horse attached to a vehicle with wheels.

If horses must perform intense action while harnessed (such as galloping, breakaway teams or wagons etc.) there must be safety meetings with all involved before such scenes are filmed.

Water crossings pose many dangers to harnessed animals in particular. Water crossings should be considered intense action and discussion with APA is recommended during the planning stages for such scenes. Horses have been killed during such scenes, so there are many factors to consider before this action is considered safe, sufficiently prepped and ready for filming. Water must Not be higher than the animals belly and will not be considered safe if fast moving.

Intense horse scenes should be properly prepared with everyone involved (full crew) on set, rehearsals ranging from walk through to ¼ speed to full speed.

REALITY SHOW FILMING:

Reality shows pose their own significant challenges. Oftentimes the action is unscripted, making it difficult to sufficiently prepare the animals for filming. Generally though, despite how “spontaneous” the action appears on film, time should be taken to be sure the animals are considered before the cameras roll.

Whenever possible, action to be shot should be rehearsed. APA should be involved, particularly where there might be a live audience, live band, flashing lights, etc. It is suggested that care is taken to minimize the loud noises as much as possible.

As in every situation, the animals should know what to expect. If they become frightened or aggressive, they should be removed from set. All animals should be safely contained while working, (i.e. caged, on leashes, halters, etc.)

It should be understood by everyone involved in the production that if necessary, animal trainers are allowed to step in for safety purposes. There should be a plan in place for any escaped animal. Filming should come to a complete halt if this occurs.

Excess handling by cast and crew is discouraged. For many animals, simply the transport, preparation and shoot itself is enough to tire them.

Safety meetings including all who are involved, including APA Coordinators should happen before any filming occurs. Animals should not be brought to set until all is in place for filming. They should not be used as “stand-ins”.

Food should not be brought to set or be eaten around animals while on set. Typically, minimal crew is always ideal.

DOGS:

Dogs are truly man’s best friend. There is no animal on the planet that has an innate desire to please people like a dog has. They enjoy working and can be very rewarding to have on set. However, there are a number of pertinent laws you should be aware of as well as special considerations for our companion animals. Please consider the following suggestions.

Puppies must be a minimum of 8 weeks old to transport and use for commerce. We prefer that puppies and kittens be at least 9 weeks and have two vaccines before working. Waiting until  the animal is 10-12 weeks is preferable but not strictly enforced. This is a current federal law and USDA requirement. Puppies younger than 8 weeks will not be allowed to be transported or used for filming. This recommendation is up to our discretion. Professional companies and trainers are recommended here. We will be more amenable to younger puppies if we are working with known, trusted trainers. All puppy safety protocol, such as keeping different litters separate, minimal handling except for actors when needed and documentation of ages will be enforced.

All dogs’ should have pertinent vaccinations and documentation may be required.

USDA exhibitor’s license is required for all those using dogs for commerce.

Dogs should be sufficiently prepped for the action required on set. They should be prepped to work together if situation calls for them to do so. Any signs of aggression should be considered inappropriate and dog should not continue working on set.

All dogs’ should have adequate rest throughout the day. They should be sufficiently crate-trained to accomplish this. Dogs, despite their nature, need downtime while on set and should have time away from people in order to accomplish this if needed.

As with all animals used on set, extreme temperatures may require extra care. In particular, dog’s paws are vulnerable to extreme heat or cold. Booties, paw wax or alternate scheduling should be considered in extreme heat or cold weather.

CATS:

Cats are very different animals then our friends, the dog. They are independent and typically work best for food motivation. They are often skittish on set and care should be taken to keep their nature in mind while working with them.

Cats should have appropriate room in their crates for food, water, litter and rest.

Working cats outside without a harness can be challenging. Cats should be sufficiently prepped for this action and it is recommended that there always be a plan to contain them within the area for safe filming. Harnesses can help with this but cats should be accustomed to wearing them.

Cats should be of good weight and health to be considered for filming purposes.

Snarls and other displays of “aggression” should be sufficiently trained and not over-used on set.

Noise should be kept to a minimum on set. Cats are easily startled and may run off if frightened. They can climb and hide in very small spaces and sound stages can be difficult to navigate if an animal decides to do so. Please consider this when working with cats on set.

BIRDS:

Birds can be separated by groups such as caged birds, flocks of birds and wild birds. There may be pertinent laws in regards to certain species of bird that cannot be used for filming purposes (such as protected species like the Golden Eagle or other native birds). Please check with us before filming.

Cock-fighting, and all of the paraphernalia associated with it, is illegal in all 50 states. Even simulating cockfighting can be an issue. Please check with APA for the best way to proceed while attempting to film scenes involving birds (or any animals) fighting.

Care should be taken that caged birds not be subject to dry ice, smoke effects or other inhalants while on set. Birds have air sacs for breathing, not lungs and they are extremely sensitive to such special effects.

Caged birds should not be stacked upon one another unless there are dividers between caging.

Care should be taken with flocks of birds (such as pigeons, doves etc.) to ensure there are no natural predators around before releasing them.

All birds scheduled to be released should be of the homing-type. They should be banded and prepped sufficiently to return safely home. They should also not be released late in the afternoon but at least three hours before sundown.

Tethers should not be used in the case of passerines (smaller bird species). If tethers are to be used, the birds must be sufficiently trained before using them. Monofilament should not be attached directly to the leg but instead to a type of jess that is wide and comfortably placed on the leg of the bird.

Birds are easily chilled in rainy or windy weather. It is advised not to subject birds to these conditions.

Glass panes, windows and other clear barriers should not be used around loose birds. They are easily confused by such surfaces and will injure or kill themselves trying to get through them.

SPECIAL EFFECTS AND COSTUMING:

The use of costumes on animals should be sufficiently prepped. The animals should not have restricted breathing, ease of movement or eyesight. Care should be taken to ensure animals do not overheat as well.

All use of make-up or other “painted” substances should be natural-based and not toxic.

Balsa-wood, breakaway glass, rubber sabers and knives should be used when working with animals for safety purposes. Spurs while riding should only be used by those who are competent in their use while riding, spurs should be dull and not sharp. If a rider is excessively spurring or not able to control them while riding, rubber spurs should be considered.

Please be sure to check that the location for filming is free of glass, sharp objects, holes that may cause problems with footing, etc.

The use of gunfire can cause considerable fear and discomfort for animals while filming if care is not taken. Best practices for industry filming require that all gunfire use around animals (and crew) should be ¼ loads. There are many factors to consider while using gunfire on set. Animals should be as far away from the sound as possible. They must be sufficient prepped and gunfire and other loud noises should be used minimally. It is best if the gunfire sounds be simulated if at all possible.

Even when using ¼ loads or “blanks” it is not acceptable to point a gun directly at an animal at close range.

Squibs should also be strategically placed for safe use around animals. Any explosions should be minimal and performed away from the animal. Animals should be sufficiently prepped around explosions and not be excessively frightened by them. Scaring animals on set to achieve the desired shot is not ethical.

Open pits of fire or the use of torches should only be used around animals sufficiently prepped to work around them. In particular, animals with long tails or hair should be not be loose around any open flame for safety purposes.

Wind machines can be used but care should be taken to ensure that dust or other debris not be inhaled or cause such debris to get into animals sensitive eyes. As always, animals should be sufficiently prepped for such action.

Mortars have a debris field that can be dangerous. Animals should be sufficiently distanced from these explosions. In addition, only smooth contents should be used when building or preparing mortars.

CAMERA CARS OR INSERT VEHICLES:

When using any type of moving vehicle or camera mount on a moving vehicle, a Risk Assessment should be performed before filming to ensure all safety elements are identified.

Camera Vehicles must maintain a safe speed and safe distance, depending on surface and conditions, which will allow the driver of the vehicle to stay in control and react quickly to a change in conditions or the location of the animal.

A safety meeting should occur between all pertinent parties and all should be in agreement   before proceeding.

Rain, snow, mud and ice can all cause changes to safe driving conditions and decreased braking ability. Routes should be sufficiently wet-down to keep dust down so that visibility is always fully achieved.

Safe distances and speed must be set based on numerous factors, including the species of animal used, the animal action, the type of vehicle used, as well as terrain and climatic conditions.

All animals must be trained and acclimated to these vehicles, and all rehearsals must be conducted at slow speeds, gradually building to the desired speed required for filming.

Safe areas or bail out areas must be available along the route of filming should there be a need to abort the action.

Vehicles should never track directly toward or behind an animal.  Animals can be unpredictable and suddenly stop or change course. Vehicles following too closely can be hazardous in these situations.

An adequate number of spotters should be in place along the route of travel and they should have the ability to communicate any potential hazards.  A spotter should also ride on or in the insert vehicle whenever possible.

Animals should never be boxed in using multiple camera cars. It is advisable to shoot one moving vehicle at a time when working with animals for safety.

FISH:

Despite claims to the contrary, fish do feel pain and stress. Fish can be some of the most misunderstood creatures on set. Oftentimes they are obtained by the Props department, and there is no professional aquarist on set. This is not recommended for various reasons. Please consider the following suggestions when using fish.

When setting up aquariums, please use professional aquarists. Salinity, oxygenation, ph levels and other considerations are key to keeping fish healthy and safe.

Fish can be used very briefly, out of the water. The species used for such filming should be hardy species. Fish should not be kept out of water for more than 20 seconds at a time. Fish should be rotated for such scenes and not used more than twice individually.

Loss of electricity on set has been detrimental for many fish over the years in our experience. Please remember to keep on all pertinent power to assure that the filtration systems can work adequately. It is recommended that back-up generators also be utilized.

Fish should not be hooked for scenes. All fishing scenes should be simulated.

When working in natural lakes or other bodies of water, local rules and laws may apply. Please check with the appropriate authorities before doing so.

Tropical and saltwater fish are particularly delicate. Please be sure to use professionals when working with these type of fish. They require special care, set-up and maintenance.

Productions should be aware that adding props or any other objects to tanks, pools or other bodies or water can change the pH and may cause harm to fish. Any changes to the existing bodies of water already set up should be discussed beforehand.

INSECTS AND SPIDERS:

No animal (or insect) may be killed simply for the purposes of filming.

Please use a professional insect wrangler, who specializes in such creatures, they are masters at getting the shot and keeping, collecting and handling the insects.

Insects may be sensitive to certain substances, such as fog, dry ice, smoke and other inhalants. Please keep this in mind when working with insects.

APA recommends only professional animal handlers be used for any reptiles or amphibians while on set. Care and handling of such delicate creatures is species-specific and complex.

REPTILES AND AMPHIBIANS:

Dry ice or special effect fog may not be used. These inhalants are typically dangerous around such animals. Chemicals are also toxic and care should be used not to have them around the animals.

If water is to be used for amphibians, it should be clean, free of chemicals and the animals should be easily caught between takes with a minimum amount of stress. Frogs or other reptiles/amphibians are not props and should be handled or considered such for filming purposes.

Warming or cooling animals for filming purposes can only be done when absolutely necessary and only by experienced professionals.

Rattlesnakes and other snakes may not be killed if found on location. APA recommends a professional snake wrangler be on set at all times to remove and re-release the animals at a suitable location.

RABBITS AND OTHER SMALL MAMMALS:

This module includes rabbits, guinea pigs, ferrets, chinchillas, rats, mice, hamsters, gerbils,
hedgehogs, sugar gliders, and other small exotic mammal species used in production.
Rabbits and other small exotic mammals are commonly used in film, television,
commercials, print work, and live productions. Although these species are generally easy to
transport, they require specialized handling, husbandry, and environmental considerations while
working on set. Their small size, prey instincts, and unique anatomy and physiology make them
particularly susceptible to stress, injury, overheating, and environmental hazards commonly
encountered during production.

Many small exotic mammals may not outwardly display fear or discomfort. Rabbits, in
particular, often respond to stressful situations by becoming quiet and motionless rather than
vocalizing or resisting. Instead of assuming that a quiet rabbit is relaxed or comfortable, the
Animal Safety Coordinator (ASC) should become familiar with each rabbit’s normal behavior
and monitor for subtle changes throughout the production day.

This module focuses on the practical knowledge necessary to recognize potential welfare
concerns, evaluate filming conditions, communicate effectively with trainers and production, and
help ensure the safety of both animals and people throughout production.

PART I: RABBITS

Rabbits require special consideration due to their anatomy, physiology, and behavior. Unlike
many domestic species, rabbits are prey animals that instinctively conceal signs of fear, pain, and
illness. Their welfare depends upon careful observation, proper handling, and minimizing
unnecessary stress throughout the production day.
Because rabbits frequently mask signs of discomfort, the ASC should observe the rabbit
carefully upon arrival and continue monitoring its behavior throughout filming. Changes in
posture, appetite, respiration, or activity level may represent the earliest indication that the rabbit
is becoming stressed or medically compromised.
Rabbit work should never be rushed. Sufficient time should be allowed for rehearsals,
technical adjustments, and acclimation before filming begins. All lighting, camera placement,
blocking, focus marks, and set adjustments should be completed before the rabbit is brought to set.
Limiting the amount of time rabbits spend waiting under production conditions reduces
unnecessary stress and allows animal work to proceed more efficiently.

Prior to Filming with Rabbits

Prior to filming, the ASC should meet with the trainer to review the planned animal action,
discuss any species-specific considerations, and identify potential safety and welfare concerns.
Review the day’s schedule, anticipated environmental conditions, special effects, and any
interaction the rabbit is expected to have with performers or other animals. The ASC should
become familiar with the rabbit’s normal temperament and behavior before filming begins, as
changes from that baseline are often the earliest indication of a welfare concern.
When possible, observe a rehearsal before the rabbit is brought to set. Rehearsals provide an
opportunity to identify potential hazards and allow production to make adjustments before
exposing the rabbit to unnecessary activity. If changes are made to the planned action, camera
placement, props, or performer interaction, discuss these changes with the trainer before filming
continues. Only positive reinforcement training methods are acceptable. Rabbits should never be
frightened, forced, physically coerced, or deprived of food or water in order to obtain a desired
behavior.

A safety meeting involving production, trainers, performers, and the ASC should be held
before animal work begins. Review emergency procedures, escape plans, special effects,
environmental hazards, and any restrictions related to the rabbit’s planned action. All personnel
should understand that only the trainer is responsible for directing the rabbit’s performance and
retrieving the rabbit should it escape.

Rabbit Holding Areas

Holding areas should provide rabbits with a quiet environment away from unnecessary
production activity. Holding should be located away from generators, loudspeakers, heavy foot
traffic, construction activity, theatrical smoke, and other airborne irritants.
Holding enclosures should be clean, secure, well ventilated, and appropriately sized to allow
the rabbit to rest comfortably. Rabbits should have continuous access to fresh water and good
quality grass hay while in holding.
Predator species including dogs, cats, birds of prey, reptiles, and unfamiliar wildlife should
not be housed immediately adjacent to rabbits. The sight, sound, or scent of predators can
contribute to unnecessary stress even when direct interaction does not occur.
The ASC should verify that holding areas are protected from excessive heat, direct sunlight,
heavy rain, strong winds, and other adverse weather conditions. Rabbits should never be left
unattended inside parked vehicles or enclosed trailers.

Weather and Environmental Conditions

Healthy rabbits generally tolerate cool temperatures better than excessive heat, provided they
remain dry, sheltered from wind, and are gradually acclimated to seasonal conditions. The ASC
should evaluate weather conditions before filming begins and continue monitoring temperature,
humidity, sunlight, and ventilation throughout the production day. Environmental conditions
may change rapidly, particularly during outdoor productions or when filming under studio

lighting, and should be reassessed whenever the filming location, weather, or production
schedule changes.
As ambient temperatures approach or exceed 75°F (24°C), particularly when combined with
elevated humidity, direct sunlight, or limited air movement, the ASC should increase observation
of rabbits and discuss environmental conditions with the trainer. Additional shade, ventilation,
more frequent breaks, and minimizing unnecessary time on set may be appropriate depending on
the individual rabbit, the planned animal action, and prevailing environmental conditions.
When ambient temperatures approach or exceed 80°F (27°C), rabbits become increasingly
susceptible to heat stress, especially when exposed to high humidity, prolonged direct sunlight,
inadequate ventilation, or extended periods under production lighting. The ASC should work closely with production and the trainer to minimize time on set, return rabbits to a climate-
controlled holding area, and ensure adequate opportunities for rest.

If environmental conditions cannot be adequately controlled or a rabbit begins exhibiting
signs consistent with heat stress, the ASC should discuss postponing, modifying, or
discontinuing the planned animal action with production and the trainer until conditions improve.
The ASC should also consider the temperature of filming surfaces, not just the surrounding
air. Asphalt, concrete, artificial turf, metal platforms, vehicle hoods, rocks, and other materials
exposed to direct sunlight can become significantly hotter than the ambient temperature and
should be evaluated before rabbits are placed on them.
Heat stress is a medical emergency requiring immediate attention. Rabbits have a limited
ability to dissipate heat because they do not sweat and rely primarily on increased blood flow
through their ears and changes in respiration to regulate body temperature. Once these
mechanisms are overwhelmed, body temperature can rise rapidly.
The ASC should immediately notify the trainer if a rabbit exhibits signs consistent with heat
stress, including rapid, labored, or open-mouth breathing, warm ears with prominent blood
vessels, lethargy or weakness, reluctance to move, loss of coordination, collapse, or
unresponsiveness.
If heat stress is suspected, filming should stop immediately while the trainer initiates
appropriate cooling measures and veterinary care is sought as necessary. Supportive measures
may include moving the rabbit to a cool, well-ventilated or air-conditioned area, applying cool
compresses or wrapped ice packs to the ears or body as directed by the trainer, and minimizing
handling and stress while arrangements are made for veterinary evaluation. Cooling should be
gradual, as excessively cold water or direct application of ice may be harmful.
Careful planning, appropriate scheduling, frequent breaks, access to climate-controlled
holding, and minimizing unnecessary time under production lights remain the most effective
methods of preventing heat-related illness.
Cold weather also presents welfare concerns. Although healthy rabbits generally tolerate cool
temperatures well, prolonged exposure to heavy rain, strong winds, damp conditions, or extreme
cold should be avoided. Holding areas should remain dry, sheltered, and protected from adverse
weather, and wet rabbits should be dried promptly by the trainer before continuing work.

Evaluating the Set for Environmental Hazards

Before rabbits are brought onto the set, the ASC should inspect both the filming area and the
route the rabbit is expected to travel between holding and the set. Many hazards that present little
concern for larger animals may pose significant risks to rabbits due to their small size, natural
curiosity, and tendency to investigate unfamiliar objects by chewing. Particular attention should
be given to electrical cables, extension cords, communication wires, moving camera equipment,
slippery flooring, small openings beneath scenery, sharp edges, open doors, elevated surfaces,
and any toxic plants or unsafe set dressing accessible to the rabbit.
Electrical cables, extension cords, and communication wires should be secured when
possible. Rabbits naturally explore unfamiliar objects with their mouths and may chew exposed
cables if given the opportunity.
Flooring should provide secure footing throughout the rabbit’s working area. Highly polished
concrete, tile, epoxy-coated floors, plastic sheeting, freshly painted surfaces, or wet areas may
increase the risk of slipping or injury. When necessary, rugs, rubber matting, artificial turf, or
other appropriate non-slip surfaces should be used to improve traction while remaining suitable
for the scene. Rabbits should not be expected to work on surfaces where slipping or loss of
footing is likely.
Rolling equipment should never move unexpectedly while rabbits are on set. Communication
between departments is essential whenever camera dollies, cranes, rolling carts, wagons, or other
equipment are moved in areas where rabbits are working.
Before rabbits are released onto the set, identify and secure any gaps beneath scenery,
platforms, flats, risers, or other structures. Open doors and unsecured exits should be monitored
throughout filming to reduce the risk of escape. The intended route between holding and the
filming area should remain free of unnecessary obstacles, including apple boxes, sandbags, or
other equipment that could obstruct the rabbit’s movement. Rabbits can disappear into
surprisingly small spaces, making retrieval difficult, delaying production, and potentially placing
the animal at risk.
Whenever rabbits are expected to enter baskets, boxes, furniture, drawers, cages, wagons, or
other props, each item should be carefully inspected before filming. Remove or cover exposed
staples, nails, splinters, protruding wire, loose fabric, unstable lids, or other conditions that could
cause injury. Props should also be checked for toxic plants, floral foam, preserved moss, or other
materials that could be chewed or ingested. If food is used during filming, confirm with the
trainer that every item accessible to the rabbit is safe and appropriate for that individual animal.
Outdoor filming presents additional considerations. Rabbits should never be released onto an
unfenced or uncontrolled outdoor location with the assumption that they will remain where they
are placed. Even rabbits that have remained calm during rehearsal may react unexpectedly once
filming begins. Unexpected stimuli such as aircraft, drones, loud vehicles, wildlife, birds of prey,
or sudden production activity may startle rabbits and cause them to flee without warning.
When possible, crew movement in the immediate filming area should be minimized while
rabbits are working outdoors to reduce the likelihood of startling the animal or complicating
retrieval should an escape occur.

Temporary fencing, x-pens, visual barriers, or other appropriate containment methods should
be used outside the camera frame to provide an additional margin of safety. The ASC should
discuss escape prevention with the trainer before filming begins and ensure an emergency
retrieval plan is established should the rabbit leave the filming area.
In the event a rabbit escapes during filming, cast and crew should remain calm and avoid
attempting to chase or capture the animal. Pursuit by multiple people may increase the rabbit’s
fear and cause it to run farther from the filming area. Retrieval should be left to the trainer unless
assistance is specifically requested. Production should stop movement of vehicles and equipment
until the rabbit has been safely recovered.

Observing Rabbit Behavior

Understanding normal rabbit behavior allows the ASC to recognize subtle changes that may
indicate stress, discomfort, or illness during filming.
A relaxed rabbit may loaf comfortably, stretch out, clean itself, eat hay, explore its
surroundings, or display normal behaviors such as binkies or flopping when comfortable with its
environment. Conversely, frightened rabbits often become very still. Freezing is a normal prey
response and should not be mistaken for relaxation. A rabbit that appears calm should not
automatically be assumed to be comfortable. Other signs of stress may include crouching close
to the ground, widened eyes, rapid breathing, repeated attempts to hide or escape, reluctance to
move, or hind foot thumping.
Rabbits may also exhibit more subtle behavioral changes before obvious signs of distress
develop. A rabbit that suddenly stops exploring, becomes reluctant to move, repeatedly attempts
to position itself beneath furniture or props, or remains unusually alert with its attention fixed
toward a particular sound or activity may be responding to environmental stress. Likewise,
rabbits that normally interact confidently with their surroundings may become hesitant or
reluctant to perform rehearsed behaviors when they are becoming fatigued, uncomfortable, or
frightened. Behavior should always be interpreted in the context of the individual rabbit. The
trainer remains the best resource for identifying behaviors that are normal or unusual for that
specific animal.
Changes in appetite should always be taken seriously. A rabbit refusing hay or favorite foods
during production may be exhibiting one of the earliest signs that something is wrong. A rabbit
that suddenly becomes less responsive, adopts a hunched posture, or appears reluctant to perform
rehearsed behaviors should be evaluated by the trainer before filming continues.
Teeth grinding should also be interpreted carefully. Gentle tooth purring may occur when
rabbits are relaxed while being gently stroked. Loud or persistent tooth grinding, particularly
when accompanied by decreased appetite or abnormal posture, may indicate discomfort or pain.
Following a stressful event, rabbits should be given an opportunity to recover before
additional filming continues. A rabbit that appears physically unharmed may still require time to
return to its normal behavior after exposure to loud noises, repeated handling, or unexpected
production activity. Resuming normal behaviors such as eating hay, exploring, or resting
comfortably often indicates that the rabbit has settled back into its normal routine.

Because rabbits instinctively conceal signs of illness, the ASC should look for changes from
the rabbit’s normal behavior rather than waiting for obvious clinical signs to develop.

Recognizing Rabbit Welfare Concerns

Because rabbits instinctively conceal signs of pain and illness, the ASC should become
familiar with each rabbit’s normal behavior before filming begins. Changes from that normal
behavior are often more significant than the behavior itself.
Notify the trainer immediately if a rabbit exhibits any of the following:

• Refuses hay or other normally accepted food
• Becomes unusually quiet or unresponsive
• Adopts a persistently hunched posture
• Shows loud or persistent tooth grinding
• Exhibits rapid or labored breathing
• Experiences difficulty walking or bearing weight
• Shows repeated escape attempts or extreme fear
• Develops obvious bleeding or traumatic injury
• Appears weak, collapses, or experiences seizure activity
• Is reluctant to perform behaviors it completed comfortably during rehearsal
  ASCs are not expected to diagnose medical conditions. Their responsibility is to recognize
  changes in behavior or condition, communicate concerns promptly, and recommend pausing
  filming until the trainer has evaluated the rabbit.

Proper Rabbit Handling

Improper handling represents one of the greatest risks to rabbits working in filmed media.
The ASC should observe all handling performed by trainers, performers, photographers, and
other personnel throughout the production day to ensure rabbits are handled safely and
appropriately.
Unlike dogs and cats, rabbits possess lightweight skeletons and powerful hind limbs. If a
rabbit struggles while unsupported, severe spinal injuries or fractures can occur. Proper handling
techniques are essential to protect both the rabbit and the handler.
Rabbits should never be picked up by the ears, scruff of the neck, legs, or loose skin. These
techniques do not provide appropriate support for the rabbit’s body and significantly increase the
risk of injury.
When lifting a rabbit, one hand should support the chest beneath the forelimbs while the
other fully supports the hindquarters and pelvis. The rabbit should be held securely against the
handler’s body to help the animal feel stable and reduce struggling. Rabbits should never be
carried with their hindquarters unsupported or allowed to dangle.

If a rabbit begins struggling while being held, it should be calmly lowered to the floor or onto
a secure surface as soon as possible rather than being restrained more tightly. Attempting to
overpower a struggling rabbit can increase the risk of injury to both the rabbit and the handler.
Repeated lifting and unnecessary transfers between multiple people should be avoided.
Rabbits should remain on the ground or another secure surface until required for filming.
Before filming begins, observe the trainer demonstrate proper handling techniques to any
performer required to pick up or carry the rabbit during the scene. If handling appears unsafe,
discuss concerns with the trainer before cameras roll.

Rabbit Action

Rabbit action should be limited to behaviors the rabbit has previously been trained and
conditioned to perform. Production should avoid introducing new behaviors or making
significant changes to planned action without discussing them with the trainer.
When possible, all technical rehearsals should be completed before the rabbit is brought to
set. Lighting adjustments, camera placement, focus marks, prop placement, and actor blocking
should already be established. Rabbits should not remain on set while departments continue
making technical adjustments.
Common rabbit action may include sitting quietly, hopping short distances, eating, entering
or exiting props, being carried by performers, riding in baskets or wagons, or interacting with
other animals. Although these behaviors appear relatively simple, they should never be rushed.
Repeated takes should be minimized when possible. Fatigue and stress can accumulate
throughout the production day even when the rabbit continues performing successfully. If
multiple resets become necessary, consider returning the rabbit to holding while technical
adjustments are completed.

Working with Rabbits and Human Talent

Many productions require human talent to hold, carry, pet, or otherwise interact with rabbits.
When possible, performers should receive instruction from the trainer before filming begins.
Sufficient rehearsal time should be allowed so both the performer and rabbit become comfortable
with the required action.
The ASC should observe performer interaction throughout filming. Performers unfamiliar
with rabbits may unintentionally support them incorrectly, hold them too tightly, allow the
hindquarters to hang unsupported, or make sudden movements that startle the rabbit. When
rabbits are carried during walking scenes, coordinators should pay close attention to footing,
camera cables, stairs, doorways, and any obstacles that could cause a performer to trip while
holding the animal.
Children require particularly close supervision. Although child performers are often gentle
and enthusiastic, they may unintentionally squeeze rabbits, become distracted during filming, or
lose their balance while carrying the animal. The trainer should remain immediately available
whenever children are handling rabbits.

Performers should never improvise interaction with rabbits beyond what has been rehearsed.
Seemingly minor actions such as lifting the rabbit higher, changing how it is held, passing it to
another performer, or carrying it for longer than planned should be discussed with the trainer
before filming.
Rabbits should not be passed among cast or crew for personal photographs, publicity, or
social media between takes. Unnecessary handling increases stress, prolongs the amount of time
rabbits remain on set, and may increase the risk of improper handling or accidental injury.
Rabbits should be returned to the trainer or holding area once the planned animal action has been
completed.

Working with Rabbits and Other Animals

Rabbits should never be placed into situations where they are likely to experience
unnecessary fear or where physical contact creates an unacceptable risk. Scenes involving rabbits
and other animal species require careful planning.
Although trained dogs and cats may be accustomed to working around rabbits, rabbits may
still perceive them as predators. The ASC should observe both species throughout the interaction
and remain alert for subtle signs of stress. Particular attention should be given to interactions
between rabbits and dogs, even when the dogs have previous experience working with rabbits. A
dog that appears calm may still exhibit instinctive predatory behavior if a rabbit suddenly runs or
startles. Likewise, rabbits may perceive even stationary dogs as potential predators.
Rabbits should not be housed adjacent to predator species or brought to set until immediately
before filming. Camera angles, barriers, editing techniques, or visual effects should be
considered whenever they can safely achieve the desired shot while maintaining an appropriate
level of separation and reducing stress to the rabbit. Rabbits should never be intentionally frightened to obtain
a desired reaction or movement. Chasing, startling, or encouraging predator-
prey behavior for filming is not acceptable.

Whenever rabbits interact with another animal, trainers for both species should remain
immediately available throughout the scene. The ASC should maintain open communication
with both trainers throughout filming and recommend pausing the scene if either animal exhibits
signs of stress, fear, or behavior inconsistent with rehearsal.

Rabbits and Special Effects

Special effects require careful planning whenever rabbits are present. Atmospheric haze,
theatrical smoke, fog effects, wind machines, artificial snow, rain effects, bubbles, confetti,
flashing lights, loud music playback, pyrotechnics, blank gunfire, and sudden explosions may all
influence behavior and cause stress to the rabbit. Rabbits should be gradually introduced to any
special effect during rehearsal before filming begins. Observe the rabbit’s response carefully
before proceeding with the planned scene.
If atmospheric haze or smoke effects are used, discuss the planned duration, concentration,
ventilation, and exposure time with production and the trainer before filming begins. Rabbits
should not remain unnecessarily exposed while departments continue technical work or camera
adjustments. If any special effect causes the rabbit to freeze, repeatedly attempt escape, refuse
food, breathe more rapidly than normal, or otherwise alter its normal behavior, filming should
pause while the trainer and ASC evaluate whether modifications are necessary.

Production Delays and Rabbits

Production delays are common and often present a greater welfare concern than the actual
animal action. The ASC should communicate with the trainer and production whenever
significant delays occur to determine whether the rabbit should remain on set or be returned to
holding.
Rabbits waiting quietly on set are not necessarily resting. Even motionless rabbits remain
aware of surrounding activity and may experience prolonged stress despite appearing calm.
When possible, rabbits should be returned to their holding area if lighting adjustments, camera
changes, equipment moves, or other production delays are expected to continue for more than a
brief period.
During production delays, the ASC should verify that rabbits have access to fresh water and
grass hay while in holding and continue to monitor environmental conditions, including
temperature, ventilation, and noise levels. Avoid repeatedly bringing rabbits to set before they
are needed. Careful communication between departments may significantly reduce unnecessary
waiting time and repeated handling.

Wrapping Rabbits

At the completion of filming, rabbits should be returned promptly to their holding area unless
further animal action is immediately scheduled. Before wrapping the animal for the day, the ASC
should confirm with the trainer that the rabbit has recovered from filming activities, has access to
fresh water and appropriate food, and is prepared for transportation.
Any issues observed during filming, including changes in behavior or environmental
conditions, should be discussed with the trainer before production wraps. Although trainers are
responsible for the rabbits’ care and handling, the ASC plays an integral role in identifying
potential hazards, recognizing subtle changes in behavior, and working collaboratively with
trainers and production to prevent welfare concerns before they become emergencies.
Whenever concerns arise, it is preferable to pause, evaluate, and modify the planned animal
action than to proceed with unnecessary risk. Successful rabbit work should not be measured
solely by obtaining the desired shot, but by ensuring that every rabbit leaves the set in the same
healthy condition in which it arrived.

PART II: OTHER SMALL EXOTIC MAMMALS

Many of the general principles discussed in the rabbit section also apply when working with
other small exotic mammals. Although each species presents unique handling, behavioral, and
husbandry considerations, the ASC’s responsibility to evaluate the filming environment, monitor
animal welfare, communicate with trainers and production, and recognize potential safety
concerns remains the same. The following sections highlight the species-specific considerations
most likely to affect animal safety and welfare while working on set.

GUINEA PIGS:

Guinea pigs are social, ground-dwelling rodents that generally tolerate handling well but
remain prey animals that may become stressed by excessive noise, unfamiliar environments,
repeated handling, or prolonged restraint. Unlike rabbits, guinea pigs frequently communicate
through vocalizations, and changes in their normal sounds or behavior may provide early
indications of stress. The ASC should become familiar with each guinea pig’s normal activity
level and vocalizations throughout the production day.
Handling: Guinea pigs should always be lifted with both hands while fully supporting the
chest and hindquarters. They should never be picked up by the limbs. Since they generally do not
jump unexpectedly like rabbits, handlers may underestimate the importance of secure support.
Children and inexperienced performers should receive instruction before handling.
Holding Areas: Guinea pigs are highly social animals and, when possible, compatible
individuals should remain housed together. Continuous access to grass hay and fresh water
should be provided while in holding. Holding areas should be protected from excessive noise,
direct sunlight, predator species, and drafts.
Species-Specific Production Considerations: Guinea pigs are susceptible to heat stress and
should not remain under production lights or in direct sunlight longer than necessary. They are
also unable to synthesize vitamin C and should remain on their normal feeding schedule
throughout the production day. Since guinea pigs are poor climbers, elevated props, furniture, or
unstable platforms should be carefully evaluated before filming.
Signs of Stress or Distress: Repeated vocalization associated with handling, refusal to eat,
persistent hiding, rapid breathing, lethargy, reluctance to move, weakness, or evidence of injury
should be communicated to the trainer promptly.

FERRETS:

Ferrets are intelligent, highly inquisitive carnivores that constantly investigate their
surroundings. Their curiosity, agility, and ability to squeeze through remarkably small openings
make escape prevention one of the ASC’s primary responsibilities. Ferrets are often comfortable
around people but may become overstimulated by excessive activity or repeated handling.
Handling: Ferrets should be fully supported during handling. They should never be carried
by the tail. Observe interactions carefully if performers are unfamiliar with handling them.
Holding Areas: Holding should provide secure escape-proof housing away from excessive
heat and direct sunlight. Hammocks, tunnels, or familiar bedding may help reduce stress.
Species-Specific Production Considerations: Carefully inspect the set for cabinets, crawl
spaces, vents, drain openings, gaps beneath scenery, and furniture where ferrets may disappear.
Remove small objects that could be chewed or swallowed. Because ferrets naturally investigate
with their mouths, particular attention should be given to electrical cords and props.
Signs of Stress or Distress: Persistent escape attempts, hiding, excessive lethargy, rapid
breathing, weakness, decreased responsiveness, vomiting, or evidence of injury should be
communicated to the trainer promptly.

CHINCHILLAS:

Chinchillas are quiet, sensitive prey animals native to cool mountain environments. Their
exceptionally dense fur makes them one of the most heat-sensitive mammals encountered on
film sets. They generally tolerate gentle handling but may become stressed by excessive heat,
humidity, loud noises, and repeated restraint.
Handling: Chinchillas should always be fully supported during handling and should never be
lifted by the fur. Improper handling may result in fur slip, a natural defense mechanism in which
patches of fur are released.
Holding Areas: Holding should remain cool, dry, well ventilated, and protected from direct
sunlight. Dust baths should be provided according to the trainer’s normal husbandry schedule but
removed from the filming area unless required for the scene.
Species-Specific Production Considerations: Chinchillas should generally work only in
climate-controlled environments. Water effects, heavy atmospheric moisture, or prolonged
humidity should be avoided because their dense coats dry very slowly and predispose them to
overheating.
Signs of Stress or Distress: Panting, warm ears, lethargy, reluctance to move, weakness,
persistent hiding, or evidence of injury should be communicated to the trainer promptly.

RATS AND MICE:

Rats and mice are intelligent, agile rodents commonly used in filmed media. Although
similar in appearance, rats are generally more confident and investigative, while mice are often
more cautious and easily startled. Both species are capable of entering remarkably small
openings and may escape quickly if appropriate containment measures are not in place. Because
of their size, the ASC should remain particularly aware of foot traffic, rolling equipment, and
small gaps throughout the filming environment.
Handling: Rats and mice should be handled calmly and gently while fully supporting the
body. They should never be lifted solely by the tail. Repeated transfers between handlers should
be minimized, and inexperienced performers should receive instruction from the trainer before
handling the animals.
Holding Areas: Holding enclosures should be secure, escape-proof, well ventilated, and
protected from excessive noise, direct sunlight, adverse weather, and predator species.
Appropriate food, fresh water, and familiar nesting material should remain available.
Species-Specific Production Considerations: Rats and mice naturally investigate
unfamiliar environments by climbing, squeezing into small spaces, and exploring with their
whiskers and noses. The ASC should inspect the set carefully for floor penetrations, open
cabinets, gaps beneath scenery, exposed wiring, and other potential escape routes before filming
begins. Particular attention should also be given to rolling carts, camera dollies, and heavy foot
traffic, as these animals can easily be overlooked because of their small size.
Signs of Stress or Distress: Persistent hiding, rapid breathing, refusal to eat, decreased
activity, repeated escape attempts, excessive vocalization during handling, weakness, or evidence
of injury should be communicated to the trainer promptly.

HAMSTERS AND GERBILS

Hamsters and gerbils are small prey animals that require gentle handling and secure
containment while working on set. Although often grouped together, their natural behaviors
differ considerably. Hamsters are generally solitary and many domestic species are naturally
most active during the evening and nighttime, while gerbils are highly social, active diggers that
often benefit from remaining with compatible companions.
Handling: Hamsters and gerbils should be handled gently while fully supporting the body.
Hamsters should not be awakened abruptly for filming, as they may become startled or defensive
when disturbed from sleep. Gerbils should never be lifted by the tail, as serious injury may
occur.
Holding Areas: Secure enclosures should provide appropriate bedding, food, fresh water,
adequate ventilation, and protection from excessive noise, direct sunlight, adverse weather, and
predator species. Compatible gerbils should remain housed together when possible.
Species-Specific Production Considerations: Because of their small size and agility, both
species are capable of escaping through surprisingly small openings. The ASC should carefully
inspect the filming area for potential escape routes before the animals are brought to set.
Elevated props, unstable scenery, and prolonged restraint should be avoided.
Signs of Stress or Distress: Rapid breathing, persistent hiding, refusal to eat, repeated
escape attempts, lethargy, weakness, abnormal posture, or evidence of injury should be
communicated to the trainer promptly.

HEDGEHOGS

Hedgehogs are generally quiet, solitary mammals that commonly respond to unfamiliar
situations by curling into a tight defensive posture. This normal protective behavior should not
be mistaken for aggression. Although they often tolerate gentle handling once acclimated, they
may become stressed by excessive handling, loud noises, unfamiliar surroundings, or sudden
disturbances.
Handling: Hedgehogs should be handled calmly while supporting the body. Allow the
animal to uncurl naturally rather than forcing it open. Repeated unnecessary handling should be
minimized, particularly between takes.
Holding Areas: Holding areas should provide secure containment, appropriate
environmental temperatures, adequate ventilation, fresh water, appropriate food, and quiet
surroundings where the animal can rest comfortably between scenes.
Species-Specific Production Considerations: Hedgehogs are primarily nocturnal and may
be less active during daytime filming. They are also susceptible to cold temperatures, which may
contribute to torpor, an abnormal hibernation-like state that can become life-threatening.
Appropriate environmental temperatures should therefore be maintained throughout the
production day.
Signs of Stress or Distress: Remaining tightly curled for prolonged periods after
disturbance, lethargy, weakness, rapid or labored breathing, refusal to eat, abnormal gait, or
evidence of injury should be communicated to the trainer promptly.

SUGAR GLIDERS

Sugar gliders are highly social, arboreal marsupials that are capable of climbing and gliding
considerable distances. Their natural tendency to move vertically distinguishes them from most
other small mammals commonly encountered on film sets. Because they are highly active,
intelligent, and strongly bonded to their social group, careful planning is essential whenever they
are used in production.
Handling: Sugar gliders should be handled gently while fully supporting the body. Repeated
restraint should be minimized, and performers unfamiliar with the species should receive
instruction from the trainer before handling the animal.
Holding Areas: Compatible sugar gliders should remain housed together while in holding.
Enclosures should provide secure containment, climbing opportunities, appropriate nesting areas,
fresh water, and protection from excessive temperatures and unnecessary production activity.
Species-Specific Production Considerations: The ASC should evaluate overhead hazards
as carefully as ground-level hazards before filming begins. Lighting grids, curtains, rigging,
elevated scenery, and other climbing opportunities should be assessed to reduce escape risks.
Because sugar gliders are naturally nocturnal, bright lighting and daytime filming may require
additional acclimation, shorter working periods, and more frequent rest breaks.
Signs of Stress or Distress: Persistent vocalization, repeated escape attempts, rapid
breathing, lethargy, weakness, refusal to eat, abnormal climbing behavior, or evidence of injury
should be communicated to the trainer promptly.

OTHER SMALL EXOTIC MAMMAL SPECIES

Other small mammal species may occasionally be encountered during production. Although
each species presents unique behavioral, environmental, and husbandry requirements, the general
principles discussed throughout this module remain applicable. The ASC should communicate
with the trainer before filming begins to identify any species-specific considerations related to
handling, housing, environmental conditions, transportation, diet, or the planned animal action.
Handling: Follow the trainer’s handling instructions and observe all interactions carefully.
Handling techniques appropriate for one species should not be assumed to be appropriate for
another.
Holding Areas: Verify that holding areas are secure, appropriately sized, well ventilated,
protected from adverse weather, and suitable for the individual species’ environmental and
behavioral needs.
Species-Specific Production Considerations: Discuss any unique escape risks,
environmental requirements, special effects concerns, or behavioral considerations with the
trainer before filming begins. Whenever unfamiliar species are used, additional planning may be
necessary to ensure appropriate safety and welfare precautions are in place.
Signs of Stress or Distress: As with all animal species, changes in normal behavior,
appetite, posture, respiration, responsiveness, mobility, or evidence of injury should be
communicated to the trainer promptly. Careful observation and proactive planning are the most
effective tools for promoting animal safety and welfare throughout production.

Please contact us with any questions or comments you have in regards to our Things to Consider for Filming with Animals document. It is a living document and may be subject to additions, changes and revisions. Careful planning while in the pre-production phase of filming is always recommended. Please consider having APA with you in all stages of filming to ensure both safety of the animals and perception issues with the public.