Production

PRODUCTION

During production, the actual film is shot. Many additional people and talents are involved:

The Director of Photography (also DP, DOP, or Cinematographer), who was involved in pre-production, has a major role in production. The prime responsibility during this stage is to light the set. Depending onthe style of the Director, the Director of Photography 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 theset as he/she sees fit. Alternatively, the Director may have very firm ideas as to how the film should look, and if so, the Director of Photography must fulfill these wishes. The Director of Photography has to setan example for the rest of the unit. Time keeping, crew behavior, dress, and manners all come, at least in part, from the Director of Photography and so set the standard for the professional approach of the crew. The Director of Photography is responsible for all matters pertaining to the photography of the film: lighting, exposure, composition, cleanliness, etc. The Director of Photography will often “nominate” the crew; that is, he/she makes a list of first and second choice people to be o†ered the job. If crew members are “nominated” by the Director of Photography, then the Director of Photography is responsible for them andwill have to fire them they are not up to the required standard. The up side of this is that Director of Photography usually gets the crew he/she wants.

The Assistant Director (also A.D., First Assistant, or First A.D.) controls the shooting schedule and is responsible for keeping the production on schedule. By assuming responsibility for the routine tasks, such asthe call (summoning the actors, crew, and logistical support to the correct place at the right time), the Assistant Director allows the Director to focus on the creative aspects of the film. The Assistant Directormaintains order on the set, which is hopefully achieved by yelling "Quiet on the set!" The Assistant Director even has assistants of his/her own.

The 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 berequired for each scene, and when these actors will be needed. The Second Assistant tends to be a liaison between the set and production o‡ce. There can also be a Third Assistant (also Third A.D. or SecondSecond Assistant), who also assists the Assistant Director.

The Second-Unit Director stages large-scale action sequences that often deal with complex special e†ects and the participation of many extras, stuntpersons, and animals.

What would a motion picture be without its Actors? Actors play the character roles in the film. Some are well- known stars; many are newcomers.

A 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 theActor can get ready for the filming itself.

A Stunt Person (or Stunt Performer), a specialist actor, actually performs stunts, which are often risky pieces of physical action. Stunts range from fight scenes to a fall from a cli† to a head-on collision with anoncoming truck. Many stunts are actually less dangerous than they appear because of appropriate camera angles, lenses, and editing.

The Make-up Supervisor (or Make-up Artist) is an individual in charge of make-up applied directly on the skin of an Actor for cosmetic or artistic e†ect. The Actor is made up before filming, but sometimes themake-up wears o† 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.

The Hair Supervisor (also Hairstylist or Hairdresser) is responsible for maintaining Actors' hairstyles during filming.

The Camera Operator (or Cameraman) rolls the camera and stops it on cue, as instructed by the Director of Photography. The Camera Operator's responsibility is to achieve smooth camera movement andproduce satisfactory pictorial images. To do so, the Camera Operator 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 tiltwhen 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 shotThe Assistant Cameraman (also Assistant Camera Operator, FirstAssistant 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 sheetthat gives details of the scenes that have been filmed. On many camera crews, the Assistant Cameraman may also perform the duties of a Focus Puller and/or a Clapper-Loader.

The Clapper-Loader (or 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 thebeginning of each take. The “clapper” part of the job is deceptively simple. It is vital that all the information is on the clapperboard and that it is easily read. It is critical that the Clapper-Loader keeps the inside of thechanging bag or, on a big picture, the darkroom should be immaculately clean to keep dust and hairs o† the film. The inside of the changing bag or the darkroom should be cleaned several times a day. Perhapsthe most important responsibility of the Clapper-Loader is the paperwork. 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 Once 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 inthis area and to see how much footage is being entered in the “waste” column. A reputation for good paperwork is the most common reason for a Production Once to approve the Director of Photography’snomination of a Clapper-Loader.

An Additional Camera (or B Camera) is an extra Camera Operator who is sometimes needed for filming complicated action sequences, stunts from a di†erent angle, or additional scene coverage with asecond camera.

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

The 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 tosynchronize and edit, and requires no Dolby or other noise reduction.

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

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

The 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.

A Grip works on the set with all of the camera support equipment. Grips prepare camera mounts so a scene can be filmed from whatever vantage point the Director of Photography desires. This might requireorganizing and securing the equipment needed to film from a moving car. Or this might necessitate erecting sca†olding for a high point of view. Grips work closely with the Electricians and Lighting Crew who set upthe lights.

The 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. If necessary, Dolly Grips lay dolly tracks, railingsthat guide the dolly in tracking shots outdoors. During the actual shooting, Dolly Grips push the dolly into the proper position at the appropriate moments.

The 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 ofthe Focus Puller. Before shooting begins, the Focus Puller 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 attaina smooth "follow focus" during the take—a continuous recorded performance of a scene. The Focus Puller is responsible for setting the “Stop” as directed by the Director of Photography. In addition, the Focus Puller is concerned with the camera itself. It is the Focus Puller’s task to build the camera each morning and to put it away after shooting is finished. The Focus Puller must keep the lenses scrupulously clean andcarry out any front line maintenance on the camera and its associated kit. The Focus Puller rarely leaves the camera. The Camera Operator must be free to go o† with the Director and the Director of Photographyto discuss the coming set-ups. The Clapper-Loader brings the Focus Puller the bits of kit needed to build the camera for the next shot. You could say that during the shooting day, the camera “belongs” to theFocus Puller. At the end of every “printed” take, the Focus Puller is responsible for giving whoever is on continuity the details of the shot. This includes the focal length of the lens, the focus setting, and the stop.

On any professional film set, the camera crew must always arrive at least half an hour before the call on the call sheet. The camera must be built and ready on the tripod or dolly before the call time and should bepositioned roughly where the first shot of the day is expected.

The Script Supervisor (or 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.The Script Supervisor makes sure everything looks the same from one shot to the next. The Script Supervisor also keeps track of the number of pages and scenes covered in a day, the number of setups, theestimated screen time, and notes how the filmed scenes deviated from the script—for example, how the dialog spoken by the actor di†ered from the written one.

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

The Gaffer (or Chief Lighting Technician) heads up the crew responsible for lighting and other electrical matters during filming. The Ga†er reports to the Director of Photography and makes sure that his or herorders are carried out.

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

The Lighting Crew (also Lighting Technicians or Electrician) is a group of technicians who install, operate, and maintain lighting. They retrieve the particular light that the Ga†er asks for, put it in position, raise orlower it, and wait for orders from the Ga†er to turn it on or o†. If necessary, they add di†using material in front of the light or adjust the width of the light beam by opening or closing the light's barn doors—blackmetal shutters attached to the light unit.

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

FULL CREWS AND LOW-BUDGET CREWS

The structure of the technical crew varies from film to film, depending on the budget and the requirements of the script. Below are the two most common combinations of crew members.

Odd Jobs

DoP Activity and thoughts:

HerStudent-Generated Images and Video as a Facilitator of Metacognitionome words about the job and what it is:

5 shot project:

Now let's start thinking about some shots:

Phone tip:

Rigs, dolly, cranes, and jibs

Sound Recordist

For Homework you have to record at least 25 sounds. Try to do them all as a challenge. The person with the most points will get a prize. You must label or catalogue your sounds somehow and they must be live recordings.

1. Pigeon cooing (10 points)

2. Person speaking on the cell phone (5 points)

3. Door buzz on a bank or store (10 points)

4. Train coming into or leaving the station (10 points)

5. The sound of a city bus (10 points)

6. Car horn (5 points)

7. Ambulance, police or fire truck siren (20 points)

8. Public announcement on a loudspeaker (10 points)

9. Children laughing (5 points)

10. Balloon popping (20 points)

11. Basketball bouncing (10 points)

12. Sound of an escalator (10 points)

13. Vehicle tires squealing (10 points)

14. a soda can opening (5 points)

15. Hiss of a soft drink bottle being opened for the first time (10 points)

16. Soft drink can being crushed under someone’s foot (10 points)

17. Hot coffee being poured (10 points)

18. The sounds of Latin music (5 points)

19. Truck motor (5 points)

20. Garbage truck throwing bags(20 points)

21. Woman singing (10 points)

22. A musical instrument being played (10 points)

23. The sound of change (coins) (10 points)

24. The voice of a street vendor or street booth (20 points)

25. The sound of a cappacino machine (10 points)

26. Bicycle bell (20 points)

27. A computer being booted up (10 points)

28. The sound of tap shoes (30 points)

29. Running water (5 points)

30. The sound of someone rapping (10 points)

31. Guitar or violin strings being plucked (5 points)

32. A plastic bucket being drummed (5 points)

33. The sound of piano keys (5 points)

34. A group of people singing (5 points)

35. A person singing opera (20 points)

36. A person singing a show tune (10 points)

37. A person performing rap (10 points)

38. An organ playing (5 points)

39. The sound of bagpipes being played (20 points)

40. Someone playing a harmonica (10 points)

41. A person (or group of people) speaking in Mandarin (20 points)

42. A person (or group of people) speaking in Polish (20 points)

43. A person (or group of people) speaking in Spanish (20 points)

44. A person (or group of people) speaking in Russian (20 points)

45. A soccer ball being kicked (5 points)

46. The click of mahjong tiles (10 points)

47. The shaking of dice (5 points)

48. The sounds of a barbershop or hair salon (10 points)

49. Sounds recorded in a restaurant (10 points)

50. Bells (10 points)

51. The audio environmental sounds of a library (20 points)

52. The audio environmental sounds of a bookstore (10 points)

53. Birds chirping (10 points)

54. A vending machine operating (10 points)

55. Food being cooked (20 points)

56. Traffic in an intersection (15 points)

57. Weights clanking in a gym (10 points)

58. The sounds of a cash register (10 points)

59. People laughing (5 points)

60. A computer booting up (5 points)