麻豆约拍

Timber

Any timber used in construction must be fire retardant. Any materials used as part of the set, scenery and stage must be:

• Non-combustible material such as metal, masonry etc.
• Timber, hardboard or plywood treated by a process of impregnation which meets the 鈥榮urface spread of flame鈥� rating of Class 1 (BS 476-7) or Class C-s3.d2 (BS EN 13501-1)
• Timber framing of minimum 22mm nominal thickness
• MDF, plywood or chipboard not less than 18mm thick.

Any plywood, hardboard, chipboard or MDF that does not meet the above dimensions must be branded with a recognised stamp to certify the standard of flame retardancy achieved. Where the stamp is not visible, certificates must be obtained by the set designer / set construction company and retained in the production safety file.

Furniture and Bedding

• All furniture and bedding used in must be treated and tested to ensure that it is fire retardant in accordance with BS 7176.
• Notwithstanding the above, if items were purchased after the introduction of the Furniture and Furnishings Regulations in 1988 and are appropriately labelled then it would be reasonable to use these items for the short durations in which they are put to use even though this is a non-domestic setting.
• Any furniture constructed between 1950 and 1988 will contain highly combustible and toxic polyurethane foam and must not be used under any circumstances unless it is treated to a suitable fire retardant standard.
• Any furniture that pre-dates 1950 will not contain polyurethane foam and may be used without additional treatment to the upholstery or covering.

Curtains, Drapes and wall-hangings

All curtains and drapes used within sets must be fire retardant. Any materials used as part of the set, scenery and stage must be:

• Non-combustible material
• Inherently flame retardant fabric
• Durably treated flame retardant fabric
• Fabrics rendered and maintained flame retardant by a non-durable process provided that it is re-applied as appropriate in accordance with the manufacturer鈥檚 instructions
• Appropriate certificates must be obtained by the set designer and retained in the production safety file
• Some flame retardant treatments may cause dermatitis or irritation to sensitive skins. It may therefore be permissible for sheets in contact with naked skin not to be treated provided that the sheets are kept clear of all potential ignition sources throughout the production
• Wallpaper and any synthetic substitute must be pasted to a flame-resistant surface in a manner which excludes any air space between the material and the surface to which it adheres
• All carpets must conform to BS 4790 (Hot Nut Test)
• Carpets may only be attached to a substrate which conforms with BS 476 Part 7 Class 1 and must be firmly fixed. They should not be used in the vertical plane (other than standard stair risers) unless fire tests have shown that they can be safely used in this way
• Floor paints must be, and (as far as practicable) other paints should be, water based.

Polystyrene

• The use of polystyrene block scenery should be avoided whenever possible. Decorative items and props made of expanded polystyrene must be enclosed by a non-combustible skin of, for example, plastered scrim, Artex or Rosco Foamcoat and care taken that this skin is maintained undamaged.
• The specification for polystyrene light reflecting boards used during filming and stored within the set should be consulted to confirm that the items conform to Class 1 fire retardancy. Where light reflection panels do not meet this standard they should be kept sufficiently away from light units with a high temperature and should not be left unattended when in use.

Please also see our Safety Shorts on  and 

Motor vehicles that are brought inside buildings can create the potential for rapid fire development.

Vehicles must be arranged so as to maintain free, immediate and unobstructed access to all exit routes. Liquid- or gas-fuelled vehicles, boats or other motor-craft should not be located indoors other than as follows:

• Batteries should be disconnected. If this is practically unachievable then a trained Fire Marshal should be stood by during production
• The quantity of fuel in the tank should not exceed the reserve indicator on the fuel gauge (or 1L where there is no indicator)
• Fuel tanks and filler openings should be closed and sealed to prevent tampering
• Vehicles, boats or other motor-craft must not be fuelled or decanted within the building.

Pyrotechnics

• A supervisor from a compotent contractor (contact 麻豆约拍 Safety) or from the BECTU Joint Industry Grading Scheme (JIGS) must be appointed at the earliest opportunity.
• A specific risk assessment and method statement from the supervisor must be received in plenty of time. The risk assessment and method statement must be read carefully and questions raised on any unclear areas.
• The contents of the risk assessment must be shared with key production members and any third party contractors involved. Key points to look out for in the information provided by the supervisor will include transport, storage, equipment used, exclusion areas, misfires and fire safety.
• Off the shelf smoke machines and hazers can be operated without the use of an SFX supervisor provided that there is an experienced crew member with specific training on that machine and subject to the risk assessment deeming that the risk is acceptable. Training by the association of stage pyrotechnics or the 麻豆约拍 smoke effects course are the benchmark for competency.

* Please also see our Safety Guideline on Special and Physical Effects

Flame Effects in Studios using LPG

• All flame effects using LPG must be done by a competent contractor (contact 麻豆约拍 Safety).
• Any piping used to supply LPG should be of approved construction, of minimal length and in good condition. Flame arrestor devices should be incorporated where appropriate
• Control systems should include a 鈥楧ead-Mans Handle鈥� or equivalent in the form of a foot pedal
• There should be dual valve isolation for the supply to the burners, one valve local to the burners and one local to the accumulator. The accumulator valve should remain closed until just prior to the flame effect. The valve at the burner should remain closed until the igniter is operating and should close if the igniter stops operating
• The accumulator should be charged with gas only
• The accumulator and LPG cylinders should each be fitted with a pressure relief valve
• There should be no low points in the vicinity of the equipment where leaked gas could collect
• Spare LPG cylinders should not be stored in studios or other indoor lotions
• Risk assessments should consider how close performers and other persons can be to the burners when the flame effect is operated. This should be a minimum of three metres and greater depending on the size of the burners
• Fire alarm arrangements will need to be considered if isolation of automatic fire detectors is required. Facilities managers and security staff need early cooperation to ensure only minimum disruption to coverage is maintained.

If possible use electric cookers:

• All new electrical hobs or ovens, which aren鈥檛 powered by a normal 13Amp square pin plug, are to be installed by a qualified electrician and a safe installation certificate issued
• All mains powered portable appliances are to have been subject to portable appliance inspection and testing by a competent person within the previous 12 months 鈥� with test labels placed on them and/or adequate records kept.

If portable gas supply is necessary then:

• All new natural gas or LPG-powered hobs or ovens are to be installed by a Gas Safe registered plumber, with a safe installation certificate issued
• Pipe-work, should be by gas-safe registered engineer except that cylinders can be connected and disconnected using 鈥渂ayonet鈥� type fittings
• Where liquid petroleum gas (LPG) cylinders are used to fuel hobs or cookers, avoid using excessively large cylinders which increase the risk from fire / explosion and also present a significant manual handling risk - typically 6-11kg cylinders should suffice
• Only one LPG cylinder is to be on set at any one time - spare cylinders should be kept in a suitable store outdoors (i.e. a secure housing or cage with plenty of natural ventilation)
• When not being used, the LPG cylinder valve is to be switched to the 鈥榗losed鈥� position, and at the end of the filming day, the cylinder is to be removed from the set and returned to the designated store
• The cylinder location should be well ventilated 鈥� avoid areas where leaking gas can accumulate 鈥� such as pits, voids underneath set floors
• Gas hobs to be lit with a battery powered ignition spark lighter 鈥� matches or cigarette lighters should not be used.

The following fire safety precautions are to be provided on set:

• Fire extinguishers 鈥� there should be at least one water fire extinguisher present (for general combustible materials) and one carbon dioxide or wet chemical extinguisher (for electrical or hot liquid / metal fires) 鈥� these should be under a maintenance contract
• Fire blanket 鈥� there should be at least one fire blanket close to each cooker / hob, ideally provided in a quick release housing
• Adequate means of escape 鈥� at any point on the set you should be able to turn your back on the fire and make your escape to outside without being obstructed. Fire exits should ideally open in the direction of escape and be easily 鈥榦penable鈥� from within. Battery powered lighting (e.g. torches) may be needed if working during hours of darkness
• Muster location - a suitable muster location is to be identified in a safe location away from the premises
• Fire wardens 鈥� are to be appointed to check these precautions are being maintained, to fight a fire if safe to do so, to instigate an evacuation where necessary, to call the Fire Brigade and carry out a roll call. Fire Wardens will have been trained within previous 12 months (training is given regularly at 麻豆约拍 Bristol). There is to be at least one nominated fire warden on set at any one time.
• Unoccupied set / kitchen - no items are to be left on hot hobs or in ovens.

Please also see our Safety Shorts on  and 

Cigarette smoking is prohibited inside all UK workplaces, except that in England smoking is permitted on sets where it forms an essential part of the storyline (see 麻豆约拍's Smoke Free Policy for guidance via Gateway search).

Where it occurs on set, steps must be taken to minimise the ignition risk:

• only light cigarettes when needed
• ensure a means for fighting a fire is present (e.g. water extinguisher)
• consider the risk of triggering smoke detectors and initiating a premises evacuation - any disabling of detectors must be in accordance with local premises permit procedures which ensures the detectors are reinstated once filming with cigarettes is complete
• ensure cigarettes are fully extinguished in a suitable ashtray which is then disposed of separately from normal waste paper refuse.

To avoid surreptitious smoking in the workplace, designated smoking areas should be available in accordance with premises fire risk assessments.

The combination of faulty electrical supplies and faulty electrical appliances continues to be the biggest cause of accidental fire in the UK in buildings other than people鈥檚 homes. The number of fires resulting from the misuse of electrical appliances increases this percentage even further. Fires may be caused by:

• Faulty fixed-wiring electrical installation
• Overheated electrical cables due to overloading circuits or coiled reels
• Incorrect installation of electrical equipment
• Damaged, faulty or misused electrical equipment
• Combustible materials too close to heat generating equipment, lighting etc

All electrical systems have to comply with the Law in the form of the Electricity at Work Regulations 1989. Compliance is usually achieved by following the IET Wiring Regulations (BS 7671) 鈥� often known as 鈥楾he 17th Edition鈥�. Temporary electrical systems, no matter how small, also need to comply with BS 7909, a code of practice for temporary electrical systems published by BSI.

Further guidance on the provision of electrical supplies and electrical installations may be found under the Electrical Safety 麻豆约拍page - it covers operational electrical equipment and systems, including the requirements for the distribution of electricity in a temporary environment, particularly on location or in studios.

The law also requires that work equipment is maintained in an efficient state, in efficient working order and in good repair. Electrical appliances and extension leads must be checked and maintained as follows:

• Regularly check electrical leads for damage. Do not use any defective electrical equipment, quarantine it and report it
• Make sure electrical equipment is PAT tested
• Uncoil extension leads fully before use and do not 鈥榙aisy chain鈥� leads (add extension leads into other extension leads to make them longer)
• Ensure heating equipment is safe to use
• Do not use equipment that gives off unusual heat or smells odd. If in doubt have it checked and repaired or replaced
• Ensure equipment is maintained in line with manufacturers鈥� recommendations
• Don鈥檛 cover any electrical equipment which gets warm in normal use 鈥� such as power supplies for laptops
• Do not obstruct the vents of electrical equipment that are provided to allow the dissipation of heat
• Do not place heat producing equipment such as lighting in close proximity to easily ignitable combustible items.

Further guidance on the 鈥楨lectrical Safety of Portable Appliances鈥� may be found under Safety of electrical equipment and appliances.

Designers, including set designers, gaffers, construction managers and others with design responsibility, are required to ensure that all occupants will be able to make their way to a place of safety without hindrance in the event of a fire.

To that end the law requires the provision of a means of alerting occupants to a fire, adequate means of escape from the premises in case of fire and suitable measures to ensure that the means of escape can be safely and effectively used at the critical time.

The following paragraphs offer guidance on the provisions required within studios over and above those that are provided by the facilities management for the building as a whole.

Fire detection and alarm

The means for detecting fire and raising the alarm is essential, particularly where the automatic fire detection in studios is to be isolated during production, or is shielded by false-ceilings formed within the set construction.

• In many cases detection will be easily achieved by human means (sight and smell) and a manual method of raising the alarm will be all that is required. This may be achieved by shouting 鈥楩ire鈥� in small rooms or spaces or by utilising the existing manual fire alarm call-points where they are provided. Where this is not available then rotary gongs or air-horns may be appropriate as a short-term measure
• If there are areas within the set or studio that are likely to be unoccupied for significant periods during which a fire could develop undetected by human senses then automatic fire detection should be considered. This may be by way of battery operated radio-linked detectors temporarily distributed as necessary to ensure that the alarm is raised and evacuation initiated as soon as practicable. (Note 鈥� talk to your safety advisor for recommendations if you think this option may suit your production).

Emergency Lighting

Emergency lighting will often already be installed in many studios in accordance with BS 5266-1, but the provision of the lighting is unlikely to be sufficiently robust to meet the fluid and specific requirements encountered in changing set layouts.

• In the event of the building having to be evacuated because of an emergency, such as a fire, it is essential that occupants can see to leave the premises safely. Adequate lighting is necessary for the occupants to see their escape routes and to negotiate hazards such as steps and changes in level. It is also important that escape route signs and fire facilities are illuminated.
• Where sets have been provided with barriers to light such as false ceilings the studio emergency lighting is unlikely to penetrate the set in the event of a failure of the lighting sub-circuit resulting from a fire. Similarly changes of level on stepped and ramped platforms in audience or band seating areas may potentially be shielded from emergency lighting units fitted at ceiling level within the studio by temporary walls, curtains or drapes.
• Additional emergency lighting units will be required to illuminate any parts of the escape route that may be shielded from the permanent emergency lighting units as a result of set construction. Particular attention must be given to any changes of level and changes of direction along the route.
• The 鈥楩ire Lane鈥� in each studio should be provided with 鈥榤aintained鈥� emergency lighting that will keep the escape route illuminated at all times.
• As a rule of thumb, emergency escape lighting should be provided in the following locations:

1. Escape routes and exit doors
2. Stairways and changes of level
3. Changes of direction
4. Open-plan areas if they exceed 60m2
5. Near fire extinguishers and manual call-points
6. To illuminate safety signs
7. Areas of special hazard (such as cooking or special effects locations for example).

Fire exit signage

Fire Exit signs are required above exit doors. Directional Fire Exit signs are also required around the outer perimeter of studios where the location of the exit doors is not clearly visible from all areas.

• If sets constructed within the studio are such that the way out of the set in the event of a fire is not immediately obvious then additional signage should be provided within the set itself
• If, on leaving the set, the location of the nearest exit door from the studio is not immediately obvious due to positioning of adjacent sets, storage or equipment then additional directional signage will be required. The signage should be sufficient so that once a person reaches a sign, the next will be clearly visible from that point enabling them to find their way to the nearest escape route from the building safely
• Additional spaces, such as marquees, will require signage to be provided in accordance with the Health and Safety (Safety Signs and Signals) Regulations. If Fire exit signs become obscured by the provision of internal dressing rooms, drapes etc then additional directional signage will be required as above.

Fire extinguishers

Fire extinguishers should be provided around the outer perimeter of studios adjacent to the exit doors. There will be occasions, however, where additional extinguishers are required.

• Occupants should not need to travel more than 30m in order to reach a Water or Foam fire extinguisher. If the set construction is such that this distance is exceeded then additional extinguishers should be provided at strategic locations and placed on floor stands.
• If live fires are to be used on set, such as within cooking productions, then additional equipment such as a CO2 extinguisher and a fire blanket should be provided in each of the cooking areas. A further wet Chemical extinguisher should be provided to address the higher risk if deep fat frying is also to take place in an on-set kitchen. These extinguishers must not be placed too close to the cooking area, and must not be hidden. They may be placed out of camera shot but they should be positioned on the nearest route away from the activity.

Fire safety provisions used as props

There are occasions when fire safety provisions, such as 鈥楩ire Exit鈥� signs and fire extinguishers for example, are used as props within a production.

• 鈥楩ire Exit鈥� signs may only be used in a production if they direct occupants towards the actual fire exit for the set or studio. They must not be used in a way that will direct occupants away from the place of safety in the event of a fire.
• Fire extinguishers use as props distributed around a production set must be readily available for use if required. In the event of a fire on-set there is a likelihood that occupants may pick up these extinguishers in the first instance because they are obvious and in line of sight. All extinguishers, whether provided within the building or provided as a prop, should be fully charged, in-date and 鈥榣ive鈥� so that they are available for use even if they are not the extinguishers specifically provided as part of the studio protection.
• An exception is drawn where the use or misuse of extinguishers is part of the production itself. In this situation all occupants must be made aware of any extinguishers that are not to be used for actual fire-fighting purposes.

Escape Routes

• Fire lanes should be maintained around the perimeter of each studio with a minimal clear width of at least 1200mm from scenery or cyclorama. Where the fixed fire lane within a given studio is less than 1200mm then suitable control measures will need to be introduced to manage the risk appropriately and the Risk Assessment updated as necessary.
• Openings in cyclorama and sets should be made for fire escape routes. Two or more openings wide enough for the number of persons within the cyclorama should be provided.
• At least three metres should be maintained between the audience rostrum and any scenery to allow cameras to move forward in the event of an evacuation. Audience rostra layout and construction should be approved by a competent person.

Travel distances

• Other than for audience seating areas should not exceed 18m in a single direction, or 45m where alternative escape routes are available. Where more than one escape route is provided from the set or studio they are classed as alternative exits if they are located such that occupants can turn their back on fire and walk away towards a place of safety.
• In higher risk areas, such as those that house significant ignition sources, an accumulation of combustible items or raised platforms for wheelchair users, the travel distance should not exceed 12m to a point at which access to alternative routes become available.

Audience Seating

• Seats must be constructed and dressed in flame proof/retardant materials
• The width of seats should be at least 500mm, or 450 mm if seats do not have arms. This may be uncomfortable for some and better practice would be to increase these widths to 550mm and 500mm respectively
• The minimum distance between rows of seats from back to back should be 760mm, although this may be reduced to 600mm if the seats do not have backs.
• There should be at least 300mm distance between back of one seat and the front of the seat behind
• There must be no more than 7 seats in a row where the gangway is on one side only, although this may be increased to 11 seats in a row if the gap between rows is at least 400mm
• There must be no more than 14 seats in a row where there are gangways at both ends of the row, although this may be increased to 28 if the gap between rows is at least 500mm wide
• Where the number of seats exceeds 50 there should be no loose seating 鈥� seats should be fixed together in blocks of between 4 and 12
• Where the number of seats exceeds 250 the end seats in rows should be fixed to the floor or to 2 adjacent rows using chamfered floor bars (but not across gangway)
• The number of seats must not exceed the capacity of the escape routes from the set itself or from the studio
• Black drapes and other fabrics surrounding the seating must be fire retardant to prevent the spread of flame
• Every escape route should lead to a place of safety
• Escape routes must not be convoluted or obstructed
• Where there are two exits then maximum travel distance to the exit should be no more than 32m. If there is only one exit then maximum travel distance should be no more than 15m to the exit.
• Width of gangways must be calculated for the number of seats served but must never be less than 1.05m, must be of uniform width and must not be obstructed.
• Stairways serving upper seating levels should be at least 1100mm wide and of uniform width.

Also see our Safety Guideline: Seating Audiences Safely.

Studio Capacity

The safe capacity of a studio is the lower of two calculations 鈥� the maximum number of persons based upon the available floor space and the maximum number of people based upon the exit capacity.

The maximum capacity of a venue calculated by exit capacity alone must take into account the fact that one escape route (the largest route) may be blocked by fire. The occupancy based on exit capacity will then take into account all remaining doors provided that they do not open into the same enclosure as the discounted door.

• The number and size of exits from the set or studio should be sufficient to allow the evacuation of all occupants when one of the exits is obstructed by fire or smoke
• If only one escape route is provided then the number of people in the set or studio must not exceed 60 persons
• For up to 120 persons per door, the door widths must be at least 850mm wide
• For up to 250 persons per door, the door widths must be at least 1050mm wide
• Where door widths exceed 1050mm the capacity of the door may be assessed by dividing the clear width (mm) by a factor of 4.1. So a set of double doors with a width of 1500mm, for example, will be capable of allowing safe egress for up to 365 persons.

The maximum capacity of a venue calculated by the available floor space alone is derived by dividing the area of the set or studio by the appropriate floor space factor for the use to which it is being put.

• When in doubt, the area of the room is measured from wall to wall (not from the edge of the fire-lane) and the generic factor of 1.5m2 per person is applied to studios. This is a typical floor space factor for television, film and recording studios and higher or lower factors might be more appropriate depending on the circumstances of the intended use (such as seated or standing audiences)
• Where the specific set layout is known, including raised platforms, whether people are sitting, standing, dancing etc, then a more accurate assessment may be made of the floor capacity based upon figures provided in BS 9999 or in 鈥楾echnical Standards for Places of Entertainment鈥�. This may provide a higher or lower capacity than that produced by the generic calculation because it will be based upon actual data rather than assumed data. Unless these calculations are carried out then the maximum capacity of the studio must not exceed the generic factor of 1.5m2 per person.

Stairways within Studios

Where raised platforms, rostra or mezzanine levels are introduced into the studio as part of a production the stairs providing egress from the raised area must be suitable for escape purposes for all occupants on the higher level(s).

• There should always be at least two stairways from the upper level unless the number of persons intended to use that level is less than 60. The alternative stairways should be positioned at opposite ends of the raised level to allow occupants to turn their back and walk away in the event of one of the stairways becoming impassable as a result of fire or smoke
• Stairways should not be less than 1100mm and not greater than 1800mm in width. Where wider stairways are required they must be at least 2200mm wide so that they can be subdivided into 1100mm widths with a central rail
• Where more than one stairway is provided from any given higher level, each 1100mm width stairway will be sufficient for up to 229 persons, although one stair should always be discounted when calculating numbers. If greater numbers are required then additional stairways should be provided or the stairways should be increased in size in accordance with the guidance given in BS 9999
• Stairways should be of even width and should not narrow into funnels so as to cause occupants to compress on their journey to a final exit.
• Stairways should descend towards the exit doors from the studio and not away from them
• Stairways should be positioned such that the travel distance from the raised platform to nearest the fire exit door from the studio does not exceed those stated under 鈥楾ravel Distances鈥� above
• A continuous handrail should be provided to all stairways, including where two or more steps are installed, at the height of between 900mm to 1000mm above the pitch line
• Consideration should be given to providing lower (second) handrails to assist children and short or infirm people. Lower handrails should always be installed in premises frequently occupied by children. The lower handrail should be located between 550mm and 650mm above the pitch line of the stair or the ramp surface
• Stairs and steps 1100mm or wider should be provided with a handrail on both sides.

All accessible areas must offer adequate escape provisions for those with significantly impaired mobility.

• Door widths must be sufficient to allow wheelchair users to manoeuvre easily through the escape route and door thresholds must be sufficiently level to ensure that escape is not inhibited
• Ramps must be provided for any change of level in the escape routes used by those with severe mobility difficulties. Reliance upon electrical or mechanical devices, such as platform lifts, is not acceptable for means of escape purposes
• Ramps should not exceed the following gradients:

1. Length of ramp 鈥� 10m Maximum gradient 1:20
2. Length of ramp 鈥� 5m Maximum gradient 1:15
3. Length of ramp 鈥� 2m Maximum gradient 1:12

• Able-bodied members of the staff should be designated to assist disabled people to ensure their safe evacuation. Plans should be drawn up and tested and additional assistance such as tactile indicators for the blind and visual indicators for the deaf provided where necessary.

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