Film Crew

special make up effects

artist has expertise in combining make-up with special effects, such as squibs—small explosive devices that, when detonated, simulate the effect of a bullet, puncture wound, or small explosion.

Carpenter's Assistant

reports to the Carpenter and helps build the

location manager

scouts out locations for shooting and arranges for permission to shoot in specific places.

Executive Producer

secures financing for a film. This person usually oversees business aspects but often has little actual involvement with the day-to-day operations of the filmmaking.

Administrative preparation

that includes arranging for people to be paid to ordering film and getting permits to shoot on location.

sound designer

oversees all the audio elements of a motion picture; similar to what a Production Designer does for the visual elements.

actors

play the character roles in the film. Some are well- known stars; many are newcomers.

full feature crew for camera:

*Director of Photography *camera operator *focus puller *clapper loader *dolly grip

Above the line (Main People)

*director *production designer *writer *producer *composer *editor *director of photographer *actors *1st assistant director

low budget crew for camera:

*director of photography *focus puller/loader

The full feature crew for lighting:

*gaffer *best boy *lighting crew *key grip *grip crew

the low budget crew for lighting:

*gaffer *lighting technician *key grip *best boy

the full feature crew sound:

*sound mixer *boom operator

the low budget crew for sound:

*sound mixer *boom operator

low budget crew

*the director of photography manages lighting and operates the camera

Costume Designer

- conceives and draws designs for the costumes to be worn by the actors in the movie -must be approved by the Art Director, Director, and Producer before going to the Seamstress, the person who actually makes the costumes

director

- interprets the script and unifies the components of the film into something that bears his or her signature. -must be able to lead and control people -not only oversees actors, but also advises the Director of Photography, instructs the major technical people, administrates the flow of people, consults on budgets, and deals with outside pressures

clapper-loader (second assistant (cameraman)

- loads the camera with a new roll of film as needed, and operates the clapper board (clapboard for short)—a small hand-held chalkboard filmed at the beginning of each take. -. It is vital that all the information is on the clapperboard and that it is easily read. -keeps the inside of the changing bag or, on a big picture, the darkroom should be immaculately clean to keep dust and hairs off the film. -The inside of the changing bag or the darkroom should be cleaned several times a day. -The lab report sheet must be both legible and accurate or it will be impossible to find the appropriate piece of negative when it's time for negative cutting. -On most motion pictures, the Production Office keeps a very close eye on the daily camera report sheets. -This is because the shot footage must be logged to see if the production is on budget in this area and to see how much footage is being entered in the "waste" column.

Seamstress

- makes the costumes based on the approved costume designs.

technical advisor (consultant)

- may be hired by the Director for his or her expertise in a particular field to make sure that the movie portrays the particular events or situation accurately.

sound recordist

- operates the sound-recording equipment on a set -Until recently, a Nagra recorder with a 1/4-inch tape was standard equipment; today digital audiotape, or DAT, is used. DAT is easier to synchronize and edit, and requires no Dolby or other noise reduction.

set dresser

- physically places the objects and furnishings—furniture, rugs, lamps, draperies, paintings, books, etc.—on the movie set, making it ready for shooting. The Set Dresser takes orders from the Set Decorator.

Art Director

- reports to the Production Designer, and ensures that the actual location or set looks the way the Production Designer visualized it. -oversees the artists and craftspeople who build the sets, and is also responsible for costumes, make-up, and props.

camera operator (aka cameraman)

- rolls the camera and stops it on cue, as instructed by the Director of Photography. -responsibility is to achieve smooth camera movement and produce satisfactory pictorial images. - not only has to make sure not to bump the camera into other equipment while shooting, but also must be aware of how far the camera can tilt when filming a shot and where the boom—the pole that holds the microphone above a scene— is located so that it doesn't get in the shot.

still photographer

- takes the still photographs that are used in publicizing the movie. Stills and instant photos are also used to help maintain continuity.

Second Assistant (also Second Assistant Director or Second A.D)

- the assistant of the Assistant Director, oversees the movements of the cast and prepares the call sheets—a list of actors who will be required for each scene, and when these actors will be needed -tends to be a liaison between the set and production office. -There can also be a Third Assistant (also Third A.D. or Second Second Assistant), who also assists the Assistant Director.

swing gang

- which reports to the Lead Man, is sent out to bring all the objects needed for the production back to the set.

trainer (wrangler)

- who has either taught the animal to perform certain acts or entices the animal to perform by offering morsels of food. -Several look-alike animals are often used for the same role - Clever editing makes an animal's random movements seem like they have a purpose.

Lead Man (aka assistant set decorator)

- who reports to the Set Decorator, takes the lead in tracking down various artifacts needed to decorate the set.

stunt person (stunt performer)

-a specialist actor, actually performs stunts, which are often risky pieces of physical action. -range from fight scenes to a fall from a cliff to a head-on collision with an oncoming truck. -Many stunts are actually less dangerous than they appear because of appropriate camera angles, lenses, and editing.

Cost are divided into

-above the line -below the line

focus puller

-adjusts the focus of the lens as the actor moves closer to or further from the camera, or when the camera moves during a dolly shot. -Keeping the main action sharp is the prime responsibility -marks the actors' positions on the floor with tape, and measures the distance between the lens and significant points in a traveling shot in order to attain a smooth "follow focus" during the take—a continuous recorded performance of a scene. -is responsible for setting the "Stop" as directed by the Director of Photography. -task to build the camera each morning and to put it away after shooting is finished. -must keep the lenses scrupulously clean and carry out any front line maintenance on the camera and its associated kit.

make up supervisor (make up artist)

-an individual in charge of make-up applied directly on the skin of an Actor for cosmetic or artistic effect. - Actor is made up before filming, but sometimes the make-up wears off during filming and new make-up must be reapplied. -The job of the Make-up Supervisor is to maintain the appearance of the Actor's make-up throughout the filming.

assistant cameraman (aka assistant camera operator or 1st assistant cameraman)

-assists the Camera Operator. - This person maintains and cares for the camera as well as prepares an accurate camera log (also called camera report or dope sheets)—a record sheet that gives details of the scenes that have been filmed. -may also perform the duties of a Focus Puller and/or a Clapper-Loader.

Production Finance Person

-breaks down expenses and records expenses for every item for the production to keep the production within budget.

below the line

-can equate to 25% of the budget. -over everyday expenses to keep the production moving. - are everything else, including crew, food costs during the shoot, housing, transportation, cameras, film stock and processing, editing, special effects, costumes, lighting, sets, props, and miscellaneous expenses.

Above the line

-costs equal to 75% of the budget. -They are negotiated before production and are considered fixed costs. -include salaries for the top creative talents and any rights to a book, play, or article. -These are considered "fixed costs" because once they are negotiated, they won't change during production.

screenwriter

-creates a screenplay either based on previously written material -may write a screenplay on speculation then try to sell it -may be hired by a producer or studio to write a screenplay -not uncommon for more than one screenwriter to work on a script

Concept Artist

-designs, plans, and sketches what the film will look like. - prepares the storyboard—a series of sketches that are used to visually illustrate the script. -The sketches depict the key shots in the scripted scenes, including the framing, camera angle, blocking, character movement, as well as basic props and sets -also envisions and designs sets, characters, and costumes -often produce many thumbnail (small) sketches of different versions of objects or characters that are to appear in the intended film. -works closely with the Director, Producer, Director of Photography, and the entire art department.

gaffer (aka chief lighting technician)

-heads up the crew responsible for lighting and other electrical matters during filming. -reports to the Director of Photography and makes sure that his or her orders are carried out.

lighting crew (aka lighting technicians or electrician)

-is a group of technicians who install, operate, and maintain lighting. - retrieve the particular light that the Gaffer asks for, put it in position, raise or lower it, and wait for orders from the Gaffer to turn it on or off. - If necessary, they add diffusing material in front of the light or adjust the width of the light beam by opening or closing the light's barn doors—black metal shutters attached to the light unit.

Additional camera (or B camera)

-is an extra Camera Operator who is sometimes needed for filming complicated action sequences, stunts from a different angle, or additional scene coverage with a second camera.

stand in

-is an individual who is similar in body structure and looks to the star Actor in a film and who takes that Actor's place during a lengthy setup—the placing of cameras, lights, and microphones—so the Actor can get ready for the filming itself.

producer

-is given control over the entire production of a motion picture and is ultimately held responsible for the success or failure of the motion picture project; - this person is involved with the project from start to finish. -organize and guide the project into a successful motion picture. -would be the person who accepts the Academy Award for best picture, should the movie win one. -organizes the development of the film, and is thus quite active in the pre-production phase.

Director of Photography (DP, DOP, Cinematographer)

-is responsible for the quality of the photography and the cinematic look of the film. -transforms the Screenwriter's and Director's concepts into visual images. -creates the appropriate mood, atmosphere, and visual style of each shot to evoke the emotions that the Director desires. -determines the camera angles, shot composition, and camera movement for every shot. - orders the lights and cameras to be set up in such a way to attain the desired effect.

best boy

-is the assistant to the Gaffer. This person orders all necessary lighting equipment and oversees the lighting crews.

Set Designer

-often a draftsman with architectural training, sketches plans and lists specifications for building sets based on the verbal descriptions or rough sketches provided by the Art Director. -Because of the high cost of constructing sets, the set designer plans to build only what the camera can see.

boom operator

-operates the boom—a long, adjustable bar used to position a microphone during filming. - the microphone can be positioned above the actor's head, picking up dialog while remaining out of the camera's field of view. -must correctly position the boom microphone to record all the actors, which means pointing the mike at the actor who is talking, anticipating when the next actor will speak, and swiveling the microphone over to him or her.

third man (aka cable operator or cable person)

-operates the second microphone, if one is needed in a scene where actors stand far apart. - also handles all the cables related to sound-recording equipment—laying the cables, taping them, and tending the cables to follow the camera. -individual is in charge of noise abatement—discovering the extraneous noises, such as a refrigerator motor, a creak in the floor, or rustling clothing, and eliminating or minimizing them.

key grip

-reports to the Director of Photography, oversees work with all of the camera support equipment on the set. This person supervises the Grips, who can number from five to fifteen.

hair supervisor (aka hairstylist or hairdresser)

-responsible for maintaining Actors' hairstyles during filming.

line producer

-runs the day-to-day operations. -This person makes the deals for locations and transportation, secures extras for scenes, orders equipment, gets accommodations for the cast and crew when they're on location, and is on the set every day to ensure the production runs smoothly. -is generally employed from pre-production through post-production and reports to the Producer.

genny operator

-sets up and operates a generator—a machine by which mechanical energy is changed into electrical energy.

second unit director

-stages large-scale action sequences that often deal with complex special effects and the participation of many extras, stunt persons, and animals.

Casting Director (aka Casting Associate

-suggests and evaluates potential actors appropriate for the film, sets up meetings with the actor and the Producer and/or Director, and often helps negotiate the terms of a proposed contract between the actor's agent or attorney and the Producer. -helps negotiate the terms of a proposed contract between the actor's agent and the Producer.

carpenter

-takes orders from the Construction Coordinator and constructs the set to given specifications.

set decorator

-who often has interior design experience, finds the appropriate objects to place within a set to make it look real, according to need, whether it's a businessperson's office or a hermit's shack.

construction coordinator

-who reports to the Art Director, supervises the construction of a film's set to the Set Designer's specifications -The actual construction of a set can take many weeks or months, depending on the size and complexity of the required set. - One decision that needs to be made is whether to shoot on location or on a set. This decision is made by the producer and/or director on a sequence-by-sequence basis.

Assistant Director (aka A.D, First Assistant, or First A.D)

-who was involved in pre-production, has a major role in production. -prime responsibility during this stage is to light the set. - may be left to decide the "look" of the film for him or herself or, after meetings with the Director and usually the Art Department, he/she may be left to light the set as he/she sees fit. - is responsible for all matters pertaining to the photography of the film: lighting, exposure, composition, cleanliness, etc. -will often "nominate" the crew; that is, he/she makes a list of first and second choice people to be offered the job.

Production Designer

-works closely with the Director to make sure that the Director's creative vision can be put on film. -heads the Art Department, is an artist responsible for creating the overall visual appearance of the film—the proper feel, the appropriate costumes, the right setting.

grip

-works on the set with all of the camera support equipment - prepare camera mounts so a scene can be filmed from whatever vantage point the Director of Photography desires. -This might require organizing and securing the equipment needed to film from a moving car. - Or this might necessitate erecting scaffolding for a high point of view. -work closely with the Electricians and Lighting Crew who set up the lights.

dolly grip

-works with the dolly—a small four-wheeled truck that rolls along carrying the camera, some of the camera crew, and occasionally even the Director. -lay dolly tracks, railings that guide the dolly in tracking shots outdoors. -during the actual shooting they push the dolly into the proper position at the appropriate moments.

script supervisor (aka continuity person)

-writes down very specific notes of every scene during filming so that he/she can look back at the notes during a later scene to check that all of the details are correct. -makes sure everything looks the same from one shot to the next. - also keeps track of the number of pages and scenes covered in a day, the number of setups, the estimated screen time, and notes how the filmed scenes deviated from the script—for example, how the dialog spoken by the actor differed from the written one.

Below the line people (other people)

1. camera/lighting -camera operator -gaffer -grip/electronic 2. art -D.P 3.Sound -automatic D.R -they replace the lines

Financial preparation

includes budgeting the film and finding the money to pay for it.

physical preparation

includes building sets, making costumes and arranging props

creative preparation

includes script writing to designing special props

stunt coordinator

is responsible for choreographing stunts and making sure the stunt is relatively safe, but still realistic.

special effects coordinator (aka special effects supervisor)

makes sure the special effects crew properly sets up effects according the Director's wishes.