Film Crew Handout

Total Page:16

File Type:pdf, Size:1020Kb

Film Crew Handout Film Crew Roles *=a role that should be filled *Director Responsible for overseeing the creative aspects of a film. This role includes controlling the content and flow of the film's plot, directing the actors, organizing and selecting filming locations, and managing technical details. *Production Manager/Coordinator Supervises the physical aspects of the production (not the creative aspects) . Including personnel, technology, budget, and scheduling. She/he is the information nexus of the production, responsible for organizing all the logistics. *Script Supervisor Also known as the “continuity person” She/he makes notes on every shot, and keeps track of props, blocking, and other details to ensure continuity from shot to shot and scene to scene. Notes are given to the Editor to expedite the editing process. *Director of Photography She/he is the chief of the camera and lighting crew of the film. This person makes decisions on lighting and framing of scenes in conjunction with the film's director. Post-production supervisor This person is responsible for the post production process. Not a creative role, but is important. Production Designer Responsible for creating the physical, visual appearance of the film settings, costumes, properties, character makeup, all taken as a unit. Production Sound Mixer This person would be head of the sound department on set, responsible for recording all sound during filming. Film Editor Film editor assembles the various shots into a coherent film with the help of the director. Visual Effects Supervisor Visual effects refer to post-production alterations to the film's images. Set Decorator In charge of the decorating of a film set which includes the furnishings and all the other objects that will be seen in the film. Props Master Prop master is in charge of finding and managing all the props which appear in the film. Costume Designer The costume designer is responsible for all the clothing and costumes worn by all the actors that appear on screen. .
Recommended publications
  • Different Dimensions, Philosophies and Techniques of Filmmaking
    Different dimensions, philosophies and techniques of filmmaking from a spontaneous one-day film idea to an Independent Film Production of a series ISWI 2021 & DITS - Production 02. June 2021 Who are we? TeamFnD “Freedom and Dependency” We are a student initiative of students of the TU Ilmenau and an independent film production. Together with professional filmmakers, national and international musicians, dancers and artists we currently producing a series called “Dancing in the Shadow” here in Ilmenau. Tamara K. Anastasiia S. Film Marketing & PR, Film Producer, Student at TU Ilmenau Alumni TU Ilmenau Lucas M. Cam Operator, Student at TU Ilmenau What’s the Workshop about? I. One-day film with a Smartphone II. Semi professional Shooting project III. Independent Film Production of a Movie IV. Dancing in the Shadow - Our production I. One-day film with a Smartphone What you need: ● content idea ● mobile phone ● smartphone stabilizer ● big plus: extra light & microphone ● an impression of how the final video should look like microphones for better sound lights stabilizer: gimbal and/or tripod I. One-day film with a Smartphone Useful advices Preparation ● hold cell phone straight ● What should be in the video? ● always film in landscape format, so 16:9 Objects? Persons? ● bring depth into the picture ● What should happen? Actions? ● objects in the foreground ● Write a shotlist for your sequence ● consistent movements and visual concept ● think about the transitions II. Semi professional Shooting project Preproduction Production Postproduction ● develop the story ● “less is more” - film with a ● use a good editing software ● create a storyboard to small crew, a few actors and (the best free one is Davinci visualize the ideas with minimal equipment Resolve which includes ● find actors, crew, location, ● Equipment: DSLR on a tripod professional Features) equipment or small gimbal with good ● build up all of that with a lenses a decent external ● organize the footage minimal budget microphone and 2-3 softboxes ● raw-cut the whole film or LED Panels.
    [Show full text]
  • South Africa's Official Selection for the Foreign Film Oscars 2006
    Production Notes The UK Film & TV Production Company plc The Industrial Development Corporation of South Africa The National Film & Video Foundation of South Africa in association with Moviworld present A UK/South African Co-production TSOTSI Starring Presley Chweneyagae, Terry Pheto, Kenneth Nkosi, Mothusi Magano, Zenzo Ngqobe and ZOLA Written and Directed by Gavin Hood Based on the novel by Athol Fugard Co-produced by Paul Raleigh Produced by Peter Fudakowski WINNER – EDINBURGH FILM FESTIVAL 2005 THE STANDARD LIFE AUDIENCE AWARD THE MICHAEL POWELL AWARD FOR BEST BRITISH FILM South Africa’s official selection for the Foreign Film Oscars 2006 For all press inquiries please contact: Donna Daniels Public Relations 1375 Broadway, Suite 403, New York, NY 10018 Ph: 212-869-7233 Email: [email protected] and [email protected] IN TORONTO: contact Melissa or Donna c/o The Sutton Place Hotel, Hospitality Suite 606, 955 Bay Street, Toronto, on M5S 2A2 main #: 416.924.9221 fax: 416.324.5617 FOR ALL PRESS MATERIALS/INFO : www.tsotsi.com A message from the playwright and author of the novel TSOTSI ATHOL FUGARD 2 CONTENTS: LETTER FROM AUTHOR OF 'TSOTSI' THE NOVEL 2 UK AND TRADE PRESS QUOTE BANK 4 SHORT SYNOPSIS 6 LONGER SYNOPSIS 6 MAKING “TSOTSI” - BACKGROUND NOTES and QUOTES 8 THE TERM “TSOTSI” - ORIGINS AND MEANINGS 13 KWAITO MUSIC - ORIGINS 15 BIOGRAPHIES: ATHOL FUGARD - AUTHOR OF THE NOVEL “TSOTSI” 17 GAVIN HOOD - SCREENWRITER / DIRECTOR 18 PETER FUDAKOWSKI - PRODUCER 19 PAUL RALEIGH - CO-PRODUCER 20 PRESLEY CHWENEYAGAE - TSOTSI 21 ZOLA – FELA 21 TERRY PHETO - MIRIAM 21 KENNETH NKOSI - AAP 21 MOTHUSI MAGANO - BOSTON 22 ZENZO NGQOBE - BUTCHER 22 CAST, CREW AND MUSIC CREDITS 23-31 CONTACT INFO 32 3 TSOTSI “Tsotsi” literally means “thug” or “gangster” in the street language of South Africa’s townships and ghettos.
    [Show full text]
  • 7 1Stephen A
    SLIPSTREAM A DATA RICH PRODUCTION ENVIRONMENT by Alan Lasky Bachelor of Fine Arts in Film Production New York University 1985 Submitted to the Media Arts & Sciences Section, School of Architecture & Planning in Partial Fulfillment of the Requirements for the Degree of MASTER OF SCIENCE at the Massachusetts Institute of Technology September, 1990 c Massachusetts Institute of Technology, 1990 All Rights Reserved I Signature of Author Media Arts & Sciences Section Certified by '4 A Professor Glorianna Davenport Assistant Professor of Media Technology, MIT Media Laboratory Thesis Supervisor Accepted by I~ I ~ - -- 7 1Stephen A. Benton Chairperso,'h t fCommittee on Graduate Students OCT 0 4 1990 LIBRARIES iznteh Room 14-0551 77 Massachusetts Avenue Cambridge, MA 02139 Ph: 617.253.2800 MITLibraries Email: [email protected] Document Services http://libraries.mit.edu/docs DISCLAIMER OF QUALITY Due to the condition of the original material, there are unavoidable flaws in this reproduction. We have made every effort possible to provide you with the best copy available. If you are dissatisfied with this product and find it unusable, please contact Document Services as soon as possible. Thank you. Best copy available. SLIPSTREAM A DATA RICH PRODUCTION ENVIRONMENT by Alan Lasky Submitted to the Media Arts & Sciences Section, School of Architecture and Planning on August 10, 1990 in partial fulfillment of the requirements for the degree of Master of Science ABSTRACT Film Production has always been a complex and costly endeavour. Since the early days of cinema, methodologies for planning and tracking production information have been constantly evolving, yet no single system exists that integrates the many forms of production data.
    [Show full text]
  • List of Non-Exhaustive Crew Titles That Will Be Considered for Funding
    List of non-exhaustive crew titles that will be considered for funding: Director Best boy (lighting) Key make-up artist Producer Lighting technician / Electrics Special make-up effects Artist Line producer Grips (SFX makeup) Production assistant Key grip Make-up supervisor Production managements Best boy/Best Babe (grip) Make-up artist Production manager Dolly grip Key hair Assistant production Production sound Hair stylist manager Production sound mixer Special effects Unit manager Boom operator Special effects supervisor Production coordinator Second assistant sound Stunts First assistant director Art department Stunt coordinator Second assistant director Production designer Film editor Accounting Art director Editorial[edit] Production accountant Line Standby art director Negative cutter Producer Assistant art director Colorist Location manager Set designer Telecine colorist Assistant location manager Illustrator Visual effects[edit] Location scout Graphic artist Visual effects Unit publicist Set decorator Visual effects producer System administrator Buyer Visual effects creative Continuity Leadman director Script supervisor Set dresser Visual effects supervisor Script Writers Greensman Visual effects editor Casting Construction Compositor Casting director Construction coordinator Matte painter Cast PA Head carpenter Sound and music Drivers Carpenters Sound designer Camera and lighting Studio hands Dialogue editor Director of photography Propmaker Sound editor Camera Scenic Re-recording mixer Camera operator Key scenic Music supervisor First assistant camera Property Foley artist Second assistant camera Propmaster Conductor/ orchestrator Film loader Weapons master Score recorder/ mixer Digital imaging technician Costume department Music preparation Steadicam operator Costume supervisor Music editor Motion control Key costumer Previs technician/Operator Breakdown artist Animation Lighting Costume buyer Gaffer Cutter .
    [Show full text]
  • Duties of a Cinematographer in Creating a Film
    Journal of Literature and Art Studies, July 2016, Vol. 6, No. 7, 824-827 doi: 10.17265/2159-5836/2016.07.013 D DAVID PUBLISHING Duties of a Cinematographer in Creating a Film Ikboljon Melikuziev State Institute of Arts and Culture, Tashkent, Uzbekistan The present article deals with the duties, role and methodical peculiarities of a cinematographer in creating a feature film. The development of creating artistic works in the high creative level and its process is comparatively analyzed within the progress of the Uzbek cinematography. Keywords: cinematographer, film director, critic, image, lightness, recurs, production, picture, plastics, rhythm, composition, editing, scenario, method Introduction The art of cinematography has not been studied widely. It is very difficult to express the description of a film by words. One must see the picture and just for this case a cinematographer’s artistic activity of many years needs careful study. They say, it is not written much about a cameraman’s work yet. In our opinion, the essence of their creativity involves expressing the method, plastics and descriptive decision of a ready feature film. The film supposedly is connected only with the name of a director as a single filmmaker. While criticizing a film they usually speak just about a director and leading actors. You can hardly find anything about a cameraman’s work. Naturally, it is not enough. However, a cameraman’s work spent for artistic picture demands a serious analyses and careful study. Undoubtedly, the right stylistics, artistically completeness of the form which strengthens the effective power of a feature film and accepting the film by the audience depends on the cinematographer’s skills.
    [Show full text]
  • Usc Sca Ctpr 507 Production I -‐ Fall 2011
    USC SCA CTPR 507 PRODUCTION I - FALL 2011 COURSE DESCRIPTION and OUTLINE (Section 18603 – Pollard/KositcHek) 4 units INSTRUCTORS: Cinematography: Robert KositcHek Email: [email protected] Phone: (310) 315-9465 Day/Time: Mon, 2:00 – 5:00 Location: SCA Stage 2 Producing/Directing: StU Pollard Email: [email protected] Phone: (310) 344-9380 Day/Time: Mon/Wed, UsUallY 2:00pM – 5:50pm (see Course Outline below) Location: SCA 362 Office Hours: By AppointMent OnlY SA: Christine Moitoso Phone: (209) 484-7508 Email: [email protected] WitH facUltY gUests: Editing: Reine-Claire Dousarkissian / 310-435-8216 / [email protected] SoUnd: Midge Costin / 310-890-2353 / [email protected] SoUnd: Doug Vaughan / 310-413-9181 / [email protected] Required text book: Voice & Vision, Second Edition: A Creative Approach to Narrative Film and DV Production by Mick Hurbis-Cherrier AtHletic SHoes and long pants MUST be worn to all CineMatograpHY classes USE OF LAPTOPS, CELL PHONES, TABLETS, ETC. NOT ALLOWED DURING CLASS Hello and welcome to 507! There is no better way to learn how to make a picture, than actually going through the process of doing it… Be patient and open to new ideas as you embark on this creative and personal journey of discovery. OVERVIEW: Production I (CTPR 507) is about ideas and your ability to communicate effectively through the language of cinema. It combines introductions to the five major disciplines within the cinematic arts: producing, directing, editing, cinematography, and sound with guided opportunities to create individual and small group projects. Students will make two short HD projects as part of an exploration of visual storytelling, as well as shoot a directing an exercise in the Fundaments of Directing (production students only).
    [Show full text]
  • The Underrepresentation of African Americans and the Role of Casting
    Grand Valley State University ScholarWorks@GVSU Undergraduate Research School of Communications 1-17-2017 The ndeU rrepresentation of African Americans and the Role of Casting Directors Chantal Suhling Grand Valley State University, [email protected] Follow this and additional works at: http://scholarworks.gvsu.edu/com_undergrad Part of the Film and Media Studies Commons, and the Gender, Race, Sexuality, and Ethnicity in Communication Commons Recommended Citation Suhling, Chantal, "The ndeU rrepresentation of African Americans and the Role of Casting Directors" (2017). Undergraduate Research. 1. http://scholarworks.gvsu.edu/com_undergrad/1 This Open Access is brought to you for free and open access by the School of Communications at ScholarWorks@GVSU. It has been accepted for inclusion in Undergraduate Research by an authorized administrator of ScholarWorks@GVSU. For more information, please contact [email protected]. Running head: AFRICAN AMERICANS, CASTING DIRECTORS AND HOLLYWOOD 1 The Underrepresentation of African Americans in Hollywood and the Role of Casting Directors Chantal Suhling Grand Valley State University AFRICAN AMERICANS, CASTING DIRECTORS AND HOLLYWOOD 2 Abstract Films are cultural products, which reflect the existing and often underlying ideologies in a culture. In the American culture the two dominant ideologies are white normativity and patriarchy, which reinforce historical ideas, beliefs, and stereotypes about minorities. These ideologies are reflected in media. With the Oscars right around the corner, the
    [Show full text]
  • The Legality of and Shift in Racial Preferences Within Casting Practices
    William & Mary Journal of Race, Gender, and Social Justice Volume 26 (2019-2020) Issue 1 First Amendment: Marketplace Morass: Free Speech Jurisprudence and Its Interactions Article 6 with Social Justice November 2019 Who Tells Your Story: The Legality of and Shift in Racial Preferences Within Casting Practices Nicole Ligon Follow this and additional works at: https://scholarship.law.wm.edu/wmjowl Part of the First Amendment Commons, Labor and Employment Law Commons, and the Law and Race Commons Repository Citation Nicole Ligon, Who Tells Your Story: The Legality of and Shift in Racial Preferences Within Casting Practices, 26 Wm. & Mary J. Women & L. 135 (2019), https://scholarship.law.wm.edu/ wmjowl/vol26/iss1/6 Copyright c 2020 by the authors. This article is brought to you by the William & Mary Law School Scholarship Repository. https://scholarship.law.wm.edu/wmjowl WHO TELLS YOUR STORY: THE LEGALITY OF AND SHIFT IN RACIAL PREFERENCES WITHIN CASTING PRACTICES NICOLE LIGON* INTRODUCTION I. BACKGROUND OF HAMILTON II. TITLE VII AND BFOQ AS APPLIED TO CASTING CALLS III. THE FIRST AMENDMENT AS APPLIED TO HIRING DECISIONS IV. HOW DO PROTECTIONS FOR RACE-BASED CASTING APPLY WHERE CASTING GRANTS PREFERENCE TO WHITE ACTORS AND DISFAVORS MINORITIES? V. ARGUMENTS IN FAVOR OF SUBJECTING CASTING CALLS AND CASTING DECISIONS THAT DISCRIMINATE AGAINST MINORITIES TO LEGAL LIABILITY A. Equity B. Meritocracy VI. TACTICS OUTSIDE THE SCOPE OF LAW REFORM CAN BE MORE EFFECTIVE IN INFLUENCING CASTING PRACTICES A. The Creative Community, Especially Screenwriters, Has the Power to Change Casting Practices B. Audiences Can Help Influence Casting Practices C. Public Recognition May Help Encourage More Equitable Casting Opportunities CONCLUDING THOUGHTS INTRODUCTION When a 2016 casting call1 for the Broadway and touring musical productions of Hamilton specifically sought “non-white men and women ages 20s to 30s,”2 concerns arose regarding its legality.
    [Show full text]
  • Working with Actors | Cilect 1 Sponsors
    WORKING WITH ACTORS | CILECT 1 SPONSORS CONTENT Monday 16 November Many thanks to all our sponsors and supporters Conference Registration 6 Tuesday 17 November Keynote Addresses 8 Understanding Acting 12 Workshop 1 16 Workshop 2 18 Workshop 3 20 Workshop 4 22 CILECT Teaching Award 2015 Masterclass 1 24 HFF Tour Presentation 26 Wednesday 18 November Parallel Partner Presentations ADOBE 28 Parallel Partner Presentations ARRI EDC-16 30 Directing Acting 32 Workshop 5 36 Workshop 6 38 Workshop 7 40 Workshop 8 42 CILECT Teaching Award 2015 Masterclass 2 44 CILECT Prize 2015 46 Thursday 19 November CILECT Regional Associations Meetings 50 Perfecting Acting 52 Workshop 9 56 Closing Plenary Discussion 58 CILECT Teaching Award 2015 Masterclass 3 60 ARRI / OSRAM Presentation 62 Friday 20 November Leisure Time Options 64 Addresses 66 2 CILECT | WORKING WITH ACTORS WORKING WITH ACTORS | CILECT 3 Conference Schedule MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY 16 November 2015 17 November 2015 18 November 2015 19 November 2015 20 November 2015 KEYNOTE SPEAKERS PARALLEL PARTNER PRESENTATIONS Introduced by Stanislav Semerdjiev ADOBE CILECT Regional Associations 09.00-10.30 Bettina Reitz – President HFF, Germany Bill Roberts & Michael O’Neill Parallel Meetings Maria Dora Mourão – President CILECT ARRI EDC-16 Andreas Gruber – HFF, Germany Markus Dürr & Peter C. Slansky 10.30-11.00 Coffee Break Coffee Break Coffee Break UNDERSTANDING ACTING DIRECTING ACTING PERFECTING ACTING Presentations & Plenary Discussion Presentations & Plenary Discussion Presentations
    [Show full text]
  • The Roles of the Film Production Team Did You Know That Student
    The Roles of the Film Production Team Did you know that student filmmakers can win Oscars? Winners who went on to fame include Robert Zemeckis, Spike Lee, Trey Parker and John Lasseter. BY JACLYN BELL Did you know that student filmmakers can win Oscars? Winners who went on to fame include Robert Zemeckis, Spike Lee, Trey Parker and John Lasseter. They began by working with others on a production team. They also knew that in order to understand film as an art form, they had to consider the jobs of the numerous individuals who work together to make the film a reality. If you are an educator and filming in the classroom, consider teams of no more than 5 students. All the roles listed below can be shared by multiple students, thus making the learning all the more well rounded. Or, if you are making a film on your own, consider how you can combine the following roles throughout the filmmaking process, and think about who can assist you when you need help. Producer This person is essentially the group leader and is responsible for managing the production from start to finish. The producer develops the proJect from the initial idea, makes sure the script is finalized, arranges the financing and manages the production team that makes the film. The producer also coordinates the filmmaking process to ensure that everyone involved in the proJect is working on schedule and on budget. Without the producer at the helm, films do not get made. Director The director is primarily responsible for overseeing the shooting and assembly of a film.
    [Show full text]
  • FILM ASSOCIATE DIRECTOR At-Large Programmer Wisconsin Union Directorate
    FILM ASSOCIATE DIRECTOR At-Large Programmer Wisconsin Union Directorate Accountability: Union Council Report To: WUD Film Director ​ ​ Commitment: Average 8-12 hours weekly Term of Office: May 2020 – May 2021 ​ ​ Monetary Compensation: $30/month Wiscard stipend ​ General Description: The Film Committee is dedicated to the presentation of diverse, challenging programming as well as ​ educational and entertaining films to the University of Wisconsin campus community. The committee also serves as a learning experience for its members regarding the film industry, local film opportunities and leadership roles. The Film Committee researches, plans, coordinates, publicizes and manages up to seven nights of programming a week in the Marquee. The Film Committee also programs an outdoor blockbuster film series during the summer semester. In addition, the Film Committee may offer other special film events, free campus “sneak previews” of major studio releases, the Wisconsin Film Festival, special film series and a variety of other film programs. Associate Director Duties: 1. Aid and oversee WUD Film Committee volunteers in searching for challenging, out of the box programming and oversee volunteers in the programming buckets of HollyWUD (current and classic Hollywood blockbusters), Alternative (independent and documentary films), Marquee After Dark (cult/late night films), International (classic and contemporary international cinema), and special programming. 2. Attend mandatory weekly Film Committee Leadership Team and Film Committee meetings and hold general office ​ ​ hours. 3. Facilitate and oversee weekly subcommittee meeting(s). 4. Administer programming with a comprehensive understanding of fiscal responsibility. Provide overall direction for content and promotion of the program, with assistance from committee members. Offer a presentation of diversity, innovation, and quality in film exhibition.
    [Show full text]
  • Film Crew Film Crew
    FILM CREW FILM CREW The Film Crew … a typical crew engaged in a feature production. PRE-PRODUCTION During a feature production, a number of key people are brought into the project. The key roles and responsibilities include the following. The creative stage of pre-production begins with the Screenwriter. A Screenwriter creates a screenplay (a written version of a movie before it is filmed) either based on previously written material, such as a book or a play, or as an original work. A Screenwriter may write a screenplay on speculation, then try to sell it, or the Screenwriter may be hired by a Producer or studio to write a screenplay to given specifications. Screenplays are often rewritten, and it’s not uncommon for more than one Screenwriter to work on a script. A 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. The Producer's task is to organize and guide the project into a successful motion picture. The Producer would be the person who accepts the Academy Award for best picture, should the movie win one. The Producer organizes the development of the film, and is thus quite active in the pre-production phase. Once production (filming) begins, generally the role of the Producer is to supervise and give suggestions—suggestions that must be taken seriously by those creating the film. However, some Producers play a key role throughout the entire production process.
    [Show full text]