film crew and movie jobs

8/6/2019 Film Crew and Movie Jobs

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Film Crew and Movie Jobs

The key to making a great film is the proper hiring of the crew. Each position is vital to anorganized and productive set, so that creativity can happen. Filmmaking is the greatest form ofcollaboration, and you are only as strong as your weakest link. As Robert Altman says, "90% ofthe Director's job is making sure the right film crew and cast is hired."

HIRING YOUR CREWRules of the Trade - Hiring the Best Crew You Can

PRODUCTION MANAGER (PM)Organizes, budgets, schedules and prepares the entire film production for the film crew. Mainresponsibility is to blueprint the entire shoot by breaking down the shooting schedule, whilecoordinating the budget so that the goals of the Producer and Director fit within their means.Duty is to finish the production on time and on budget.

PRODUCTION COORDINATOR/PRODUCTION SECRETARYAssists the Production Manager in the organizational tasks of the production office. Facilitatesthe flow of production documents to the appropriate production teams. Main liaison for the

entire film crew.

FIRST AND SECOND ASSISTANT DIRECTORS (1st AD, 2nd AD)In pre-production, the 1st AD assists the PM in organizing film crew, breaking down the script,and preparing the production board and shooting schedules. In production, the 1st AD assiststhe Director with on-set production details and coordinates and supervises activities of castand crew. 1st ADs also run theProduction MEETINGS.

The 2nd AD serves as helper to the 1st AD. They are in charge of preparing daily call sheets,handling extras requisitions and other required documents. They also prepare the dailyproduction report at the end of each shooting day, distributing scripts and changes to cast andcrew, distributing extras vouchers, communicating advance scheduling to cast and crew,aiding in scouting and managing locations, and facilitating transportation of equipment andpersonnel. They always coordinate with the production staff so that everyone, including castand crew, are ready at the beginning of the day.

SCRIPT SUPERVISORA Script Supervisor (or continuity person) is the Editor's representative on set. Films are shotout of sequence, and one of the Script Supervisor's primary functions is to ensure that visual(and audio) continuity is maintained. This means advising the Director and key crew oneverything from the props to wardrobe to dialogue to eyelines, and any of the other factorsthat will affect an edit. In pre-production they coordinate with all concerned departments inadvance to plan for any potential continuity issues, and they work after wrap to create adetailed as-read lined script with notes for the editor. Their primary function in the largersense is to save the production money and time through communication, organization andtroubleshooting.

DIRECTOR OF PHOTOGRAPHYCreates the visual mood of the film. They are in charge of the camera department andgive instructions to the grip and gaffer. In pre-production will break down the script with theDirector and design individual scenes, including set-ups, lighting and camera requirements atthe set or on location.

FOCUS PULLER (also known as 1st Assistant Camera)Responsible for keeping the camera s focus during a shoot. Measures the distance between the camera and the main object and dissects the proper stops that require focus. Perhaps one
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of the most important positions on set because this extremely difficult job needs to be doneprecisely or else the film will be out of focus.

ASSISTANT CAMERA OPERATORResponsible for handling all camera equipment and the camera van, properly storing film,loading film into magazines and the camera, making sure the camera is in perfect working

condition, filling out the slate with the correct information and transporting exposed filmsafely to the lab.

GRIP PERSONNELThey work under the instructions of the Director of Photography, and under the supervision ofthe Key Grip. Responsible for the rigging, mounting and construction of all camera and lightingsupport equipment, including stands, boxes and flags. The Dolly Grip is in charge of the tracks,dolly and supporting equipment.

GAFFER AND ELECTRICIANSIn charge of all electrical equipment, the lights and the generator, as per thegaffer instructions of the Director of Photography. Once the scene is blocked, the Director ofPhotography instructs the Grip and Gaffer on how to set up their equipment to achieve theappropriate mood.

SOUND CREWTwo on-set positions, the Sound Mixer/Recordist and the Boom Operator, are responsible forgrabbing the on-set location sound for editing, including the surrounding area sounds and theactors' dialogue. Of a on-set film crew of many, only 2 positions center on the art of sound.

PRODUCTION DESIGNER (ART DIRECTOR)Responsible for the overall look of the film, in collaboration with the director. Creates theenvironment of the film. Works with the props, set builders, Location Manager, costume,makeup and hair stylists to make that happen.

PROPERTY MASTERIn charge of all props needed during each scene of production.

SET DRESSERResponsible for renting or purchasing all materials needed to dress a set or location to give itthe required look.

WARDROBEBesides designing and sewing the wardrobe for cast members, the Wardrobe Person is in chargeof all wardrobe rentals and purchases. Collaborates with the Production Designer on the overallcostume design for each cast member.

PRODUCTION ACCOUNTANTAll funds needed for rentals or purchases, once approved by the Production Manager, areprocessed by the Production Accountant, who is authorized to release funds or issue checks.

Examines all expenses and evaluates their appropriateness. Is in charge of issuing the crew s, and perhaps the actors', paychecks. Each department is responsible for wrapping and properlyreturning rented equipment, props and wardrobe after production. The accountant paysoutstanding balances, which are invoiced after completion of principal photography.

Continuity to the above like oa production manager ( art director)

Production Design - the domain of the art director - is the

visual art and craft of cinematic storytelling. The most
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important job that no one outside teh industry knows about

The art director renders the screenplay in visual metaphors, a colorpalette, architectural and period specifics, location designs and sets. It

also coordinates the costumes, makeup and hairstyles. They create a

cohesive pictorial scheme that directly informs and supports the storyand its point of view

SETTINGS ARE NOT MERELY BACKDROPS FOR THE ACTION, BUT

SYMBOLIC EXTENSIONS OF THE THEME AND CHARACTERIZATIONS

REAL ISN'T ALWAYS BEST FOR THE FILM; CREATING A WORLD

WITH ITS OWN INNER LOGIC AND TRUTH IS.

FINDING THE LOOK OF THE FILM

-The looks of a film comes out of the content and the director'sconception of the story.

-A working metaphor, a specific psychological, atmospheric andemotional image of what you want to visually project

-What emotional impact does the story have?-How does the environment of the narrative reflect the character?

-What is the psychological nature of the story?

-How can the atmosphere of the architecture and physicality of thesettings contribute to telling the story visually?

-What is the art director's attitude toward the story?-What is the art director's point of view?

THE PRODUCTION DESIGNER'S VISUALIZATION TEAM

THE ART DEPARTMENT-Nucleus of the Art Department staff consists of the art director, set

designer, set decorator and property master followed by a supportstaff.

-Support staff includes the buyer, construction coordinator,

construction crew, production illustrator, scenic artist, set dresser,greensman, draftsman, location manager, painters, carpenter and

location scout.

CLICK HERE for Notes on Storyboarding

Art Director

-Runs the show during production-Responsible for dealing with vendors and the logistics of getting

materials to and from the set
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-The Property Master includes items that will give the film distinction

Special Effects-Digital technology has made a tremendous impact on production

desinging.

-CGI is employed for budgetary and logistical reasons. To createdimpossible shots and to augment, change and enhance

Constuction Coordinator

-Responsible for the building of sets, follows the working drawings

drafting of the art department and supervises the construction crew-The set is built around the idea that cameras will be shot around it so

therefore wild walls can be moved around for a specific shot

Construction Crew

-The construction crew is made up of many artisans-Carpenters and painters are the key to a great set

Location Scout/Manager

-Searches for the places indicated in the script-Takes still photos and shoots video to aid in the search process

-Once location is selected, a deal is struck with the owner or managers

of the property

Costume Designer-Creates or selects the clothing to be worn by the actors

-Color and texture concept will be established and agreed with theProduction Designer and Director-Most Art Directors will let the Costume Designers work from their own

inspiration based on their interpretation of the story and characters-Different Actors will look good in certain costumes

Scenic Artist-Art department specialist who creates all painted backgrounds, prop

paintings, signage, any illustrative material, magazine covers, bookjackets and murals indicated by the story

Production Illustrators

-Artists who pain or draw a conception of the Production Designers

ideas for a set-A full color description of sets and character's look can sell a film

Draftsman

-Makes technical drawingsthat detail a plan to build a set


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-LIke drafting for architecture

Set Dresser-Works under the supervision of the set decorator and is responsible

for laying the decor on set

-Have a great sense of style

The Production Designer supervises the entire design team. Artand commerce go hand in hand in moviemaking; A Production

Designer must carefully plan and budget so the film gets the look it

deserves-The blueprint for the production process included detailed information

concerning use of the camera, the physical action and dialog-The Production Designer breaks down the script into individual

components determining the days in the shooting schedule each scene

and each shot is to be photographed

The Pschological Nature of Production Design-Environments can have a metaphysical impact on how the audience

perceives the story and the characters-How do you want the viewer to feel?

-The atmospheric qualities of the sets, location and environments are

essential in establishing a mood and projecting an emotional feelingabout the world surrounding the film

-Takes an idea and translates it visually to communicate or commentupon the themes of the story

-A visual metaphor may act on the subconscious level, presentingsubtle layers of poetic imagery that can impart ideas, concepts andsignificance in the narrative

RESEARCHING

The art director must be specific and precise in a number of areas:

-Authenticity-Emotional truth of the story and the characters, through the

environment-Interpreting the director's intent

-Details and details within details-Ask what is needed for each sceneRESEARCHING IS A TIME FOR DISCOVERY

An art director should have a romance with color.

Continuation for the story boards link History of Storyboards


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During the filming of his legendary movie Hell s Angels , producer, director, and aviator Howard Hughes was faced withaddressing the first multi-million dollar budget in film history,the advent of sound in film, the use of multicolor, and most

importantly to his mind, how to shoot one of the most dynamicand outrageously dangerous scenes in cinematic history.Scenes involving the recreation of the glorious air battles thatwere fought over the skies of WWI Europe. Hughes, if anythingwas the master of the long-term plan and in order to succeedwith bringing this, and his vision to the screen, he needed tolay his master plan out clearly; as much for himself, for hisown clarity and hierarchy of needs, as for his entire productioncrew. This is arguably where the firstsequential storyboards were used in motion pictures. Of

course, up until this time, singular artistic impressions,sketches, production designs and illustrations for film were infull use but none so far had been developed into framedcontinuous order, a blue print for the film before-it-was-filmed.And Hugh s Hell s Angels was a unique situation that demanded its precise arrangement and balance between story,action, effects, screen direction, cost concerns, teamwork andsafety to be clearly stated (safety fell tragically short of themark as three stunt pilots died and Hughes himself flew the

final sequences when others refused). But from this point onthe storyboard was to become an integral part of a great manyfilm director s vernacular and process. As an example, years later, renowned for his precise directorial style, AlfredHitchcock would also pick up the pencil and use thestoryboarding process to solidify his vision for most if not all ofhis feature films. Having studied art and illustration, andbeginning his film career working as an Art Director, Hitchcockhad become a sharp draftsman and visualist, thus allowing him

to draw many of his own storyboards to a high degree ofrefinement. Some might say the boards themselves wereworks of art. This was the perfect synthesis betweenthe director as storyteller, the script, and the final film.

Others too, had similarbackgrounds and found the process a natural one. Ridley


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Scott: art school, illustration, art director, then director.Hisstoryboards were to become so synonymous with hisfilmmaking that they would affectionately be known andreferred to by his crew as the Ridley-O-Grams . Terry

Gilliam was also an illustrator and animator andhisstoryboards can be found attached to almost all of the DVDsof his films today, as part of the making of or extras features. His drawing style uses a loose, comical technique,perfect to convey his whimsical, mad aesthetic, which informsmuch of the images and angles found in all of his films, notleast of which, the film Brazil.

In the arena of animation, Director Brad Bird, perhapsillustrates the full circle of storyboarding and the degree to

which the process can be taken. After years of training as astoryboard artist at Disney, schooled through the Disneyprocess of storytelling through character, Bird s feature film debut as writer-director was The Iron Giant and later the hitfilm The Incredibles, both highly creative and successful films.The process of boarding for the latter actually became thewriting process whereby the story meetings and pitch sessionswere used to find the film through drawing it as they went,allowing the story to evolve before them.

As some screenwriters say, writing is re-writing , B rad Birdechoes that sentiment within his own variation,

Storyboarding is re-storyboarding . And for the live action film director the context of this article re-storyboarding, can save much gnashing of teeth and heartache (i.e.: money andtime) by avoiding re-shooting. Or worse, not achieving the shot, scene, sequence or film you originally envisioned.

On a final note to this brief history of storyboarding: To my

mind, the truly first storyboard artist where working away inthe caves of Lascaux, France during the Upper PaleolithicPeriod. Painting their story in graphic terms on the rock wallsin a sequence of events, around characters, the hunt, thechange of day, migration, all in order to visualize things asthey where or things as they where to be. It gets better. Most


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recently, and quite amazingly, science made an additionaldiscovery: the actual locations of the paintings themselveswere all at points of highest acoustical effect within he cavesystem suggesting, therefore, they were either chanting or

singing while drawing or perhaps even while viewing the caveart. Seems like a soundtrack to me!

When Pablo Picasso first laid eyes on these cave walls andtheir drawings he said, we have invented nothing!

They Could Draw, But I Can t!

I ve talked about some heavy

hitters and big films no doubt. Butsince this is an article written forthe independentfilmmaker/director I will make theassumption that there is little to nobudget with which to hire aprofessional board artist. And theycan be expensive! Therefore you ll be relying on your own skills andmany might feel that in order tostoryboard you have to maintain acomic book artist or illustrator s

skills in order to do it effectively. This can t be further from the truth in my estimation.

Where it is true that a little graphic hand-eye skill can behelpful, it really relates to time. It takes time to draw highlyrefined, detailed boards regardless of your skill level and thatis not cost effective unless you have money with which to buy

the time you need. When you storyboard, or hire a storyboardartist, you are manipulating time by condensing thecommunication process to a pictorial simplification of amultitude of complicated factors. This can be achieved, inmany cases, as simply as .a cave drawing. But in an aspect ratio.


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For example, Martin Scorsese drew his ownboards for Taxi Driver. That was a manic production schedule.His (storyboards) were stick figures. Literally. But, thefilms Cinematography, Michael Chapman (who equally needs

little introduction) was quoted as saying that they were thebest boards with which to work. Simple, to the point. They toldthe story and got out of the way.

There is also this to discuss. I worked as a camera assistantmyself for a number of years and once, speaking to a now-A-list camera operator, we were discussing storyboards. He hadworked with incredibly well drawn comic book-like storyboards before and wasn t sold by their wow factor.He said this, I m an filmmaker too. What I do. When the

boards are picture-perfect, where does my interpretation fit in?I thought he made quite a valid point. Just enough and not

too much, leaves room for the other collaborators to feel freeto have their own feelings, ideas and thoughts about the filmyou re making. And this can only make the film better .

If you re still not convinced (there must be some auteurs out there) I would suggest taking a life drawing course. Mylife-drawing instructor said to me, the human body has

every form in nature that you can draw . He meant the circle, the S-curve and the perceived straight line. He continued, If you can draw the human form, you can draw anything . I would also suggest find a place that offers quick-sketching lifedrawing (short poses 1 to five minute posses) to developspeed and intuition. And the verybasic of perspective drawing: One,two and three-point perspective.

The Disney life-drawing instructor,

Glenn Vilppu, has a stellar series ofbooks and DVDs online. I think hismethod and materials are anexcellent starting point.

What Can I Achieve With Storyboards
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1. Cost effective, accurate planning2. Perceive possible continuity problems before they happen3. Communication between departments4. By having a plan, you can take advantage of happy

accidents during filming and stay within the necessities of

the scene.5. Show by doing: convince yourself and others of thesoundness of your concepts and ideas. If that doesn t work, get new ones.6. Storyboards can be a way for Directors to rehearse themselves. Or doing the homework. 7. Artistic and aesthetic vision remains consistent. Orinconsistent, but by design.8. Screen direction (a very little talked about or acknowledge

subject)9. Stunts and special equipment planning10. Special effects, CGI, etc11. Develop a style by in camera edits as opposed to adhering to standard coverage.12. Sales tool for funding.13. Simple inspiration. The what if factor for all creative heads.14. The freedom to experiment without causing the producer

to stroke-outCLICK HERE for Notes onFilm Directing SHOTS

A Thought For The Storyboard Artists

Those 14 advantages above are just afew off the top of my head. But I wouldsay, in a word directly to potentialstoryboard artists, beyond the obvioustechnical advantages that a storyboardartist brings to a production there arealso the intangible factors. In my

experience as a storyboard artist I have, at times, forgedstrong bonds with directors. A storyboard artist works veryclosely with a director and during periods of great pressure,
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most especially on tighter budgeted films. The goodstoryboard artist is not the person who comes out of theirbasement, a brilliant but strange, reclusive artist,imposing their habits, nuances and maybe film knowledge.

Rather, it is about being malleable, receptive and amedium for someone else s expression of creati vity andvision. It s a very supportive and therefore privileged place to be in film. Only then can you say you ve

collaborated on a film as a board artist and I would suggest that the boards themselves regardless of draftsmanship should reflect that suc cessfully.

The other suggestion would be to find a way to work for awhile on set. You will discover the language of production

and be able to infuse your work with the controllingfactors of filmmaking. From the floor up. Furthermore,Producers will also feel more inclined to hire you giventhat your boards won t be flights of fancy but will reflect the concerns for which, in the end, they are responsible.

Even if your boards don t improve from this artistically, your communication with directors certainly will, and youcan get to drawing faster and that builds skill. In the end,

Storyboards are just one step in many that bring thenecessary cohesion of like-minds to focus on a picture.

Let The Games Begin

Almost every director, at some point, draws a film frame toillustrate an idea. The storyboard happens with the last frame,the one finishing their idea, is drawn. The in between is thetelling. This is all you need to get started. But to developshooting boards, ones that you can take to the floor and film,

you need to have lined up certain basic elements.

1. Location. Either with digital photos, sketches or overheadplan-view, have your location and sets at the ready.2. Develop an overhead view (like an architects diagram) ofyour blocking and staging. Use symbols for camera, characterand elements.


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3. By understanding the geographic and architecturalconstraints you ll be establishing your boards within a dramatic context and you wouldn t have to resort to a series of talking heads.

4. By combining both storyboards and over-head plans ofcamera movement etc on the same page you will be able to fill out in broad terms a clear series of images that will help toexplain your intentions. Each can explain the other, shouldclarity wane.5. Before you draw a single frame, let your mind wander overthe pictures you have, the diagrams and drawings. This isrehearsal.6. Draw this as though watching an ant colony.7. Draw your camera angles.

8. Then you can begin by drawing rough sketches (later tofinish) or draw the frames of what you have seen yourcameras capture.9. Add footnotes to help explain either of these two elements.You now have three elements with which to explain your ideas:Frames, Plan view, Notes10. Find inspiration from all around you. Art, Photography,magazines, comics, whatever it takes to create a series offrames that expresses your story but also your dramatic

intent.

This is just the start, there are dozens of other approaches, awide variety of tricks -of-the-trades (blue penciling,photocopying, duplicating etc), which are time savers andother approaches, but the fundamentals are really quite basic.You simply draw, as directors, the story you see as the scripttakes it affect. The effectiveness of your storyboards occurswhen others see the same story. To dive further into theprocess there are dozens of trade books and DVD extrafeatures to watch. But like anything, you learning by doing.

The Following storyboards are from various productions onwhich I ve worked. I m going to show you the bumps andbruises in order show process as well and try and illustratesome of the ideas and points I ve been writing about. To end,


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I d like to paraphrase Alfred Hitchcock: You have a frame. Close your eyes and fill it.

Matthew Taylor is an independent film director, screenwriterand professional storyboard artist currently living in Toronto,Canada.Contact: [email protected]

The Following is a Set of boards drawn fora Car Crash on a Film
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