The last day of a movie is always filled with busy work. Stuff that got shoved somewhere in the set weeks ago has to be found, sorted (the gaffer has his own equipment, the stage has it's own equipment, and there's a rental house package as well. Over the course of a movie this all tends to get jumbled up no matter how careful you are), and packed.
Since there's a wrap crew coming in, what we had to do was pretty minimal, but it's nice to help the brothers out a bit, and production wants the gaffer's stuff off rental ASAP.
The main thing we had to do today was de-rig all the Kino Flos and change out the tubes. For the elevator and hallway sets on this movie, they used 'cool white' tubes in the kinos, which on film have a greenish tint to them (that weird color light in the parking garage scenes in Fight Club was cool white tubes). This is a great effect if you want it, but most folks carry color balanced tubes in their kinos, so they have to get changed back before they're returned.
Kino Flos are the devil - they're fluorescent lamps that are a great idea on paper (lightweight, easy to rig, nice even soft light), but are a HUGE pain in the ass in practice - they have a lot of parts to them (housing, reflector, fluorescent tubes, plastic grid which breaks easily, lamp harness, ballast, mounting plate, head feeder - all of which get lost if they're not inventoried every 90 seconds*), and since nearly everyone takes them apart (in order to tape the tubes to a wall or cannibalize for parts when the lamps break), at the end of the show, they have to be completely disassembled and sorted in order to make sure that all the parts of each lamp come from the same rental source.
What I really want to do with Kino Flos is throw them into the nearest dumpster, but I don't think the gaffer would like that. They're expensive and I'm pretty sure his insurance doesn't cover damage done by frustrated employees.
We got them all sorted and packed (except, of course, the ones that were working in the set that we were shooting. Those, the wrap crew will have to get), and it was only a 10.5 hour day - mostly due to the director needing to go to some awards ceremony right after work.
I've got a one day weekend (get up, get coffee, do laundry, script meeting for the TV show, try to clean the house, and then go back to sleep), and then I'm back to work (on something else, of course) on Monday.
* While I'm on the subject - Kino Flos are responsible for set lighting having to carry C-Stands in our rental package. I fucking hate C-Stands. They're grip stands and are designed to be versatile enough for a million uses (the name is short for "Century Stand", supposedly because there's a hundred different ways to set them up), but they're hard to set properly (if you do it wrong, the stand falls over and breaks your light) and drive electricians nuts.