FAQ About Film Production — 1 Action Movie Makers Training

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FAQ About Film Production

By Philippe Deseck July 2016

Content

• About the Author

• What is a Producer?

• What is an Executive Producer?

• What is a Line Producer?

• What is a Supervising Producer?

• What is a Co-Producer?

• What is a Director?

• What is a Unit Production Manager?

• What is a 2nd Unit Director?

• What is an Action Director?

• What is an Assistant Director?

• What is a Director of Photography?

• What is a Script Supervisor?

• What is Sound Recordist?

• What is a Video Split Operator?

• What is a Key Grip?

• What is a Gaﬀer?

• What is a Safety Supervisor?

• What is a Stunt Coordinator?

• What is a Stunt Double?

• What is a Stunt Rigger?

• What is a Choreographer?

• When is a Stunt Co-ordinator required on your Production?

• An Example of all the Diﬀerent Departments that work on a Feature Film

About the Author

IMDB PROFILE: http://www.imdb.com/name/nm3455222/?ref_=fn_al_nm_1

Since a very young age Philippe has had a love for movies, particularly action movies from Hong Kong. Since 1994 Philippe has been actively involved in ﬁlm, TV and radio whilst living in Thailand. Philippe’s movie credits include Street Fighter - where he was ﬁrst introduced to stunt man Ronnie Vreeken, Operation Dumbo Drop and The Quest - where he met stunt man Alex Kuzelicki.

During the ﬁlming of these movies Philippe had the pleasure of working with the Thai stunt coordinator Kawee 'Seng' Sirikanerat, who’s work on The Beach and Rambo IV is highly regarded. Having lived in Thailand for over 5 years, Philippe has trained in Muay Thai, Tae kwon Do and Thai weapon training.

After living in Thailand, Philippe moved to Belgium and the UK where he started his own Video Production Company. Having the urge to become an Action Director, Philippe moved to Australia in 2001 where he worked and trained with some of the

best stunt performers and coordinators in Australia. Some of his credits include The Great Raid, At World’s End, Narnia: Voyage of the Dawn Treader, Iron Sky and The Killer Elite where he worked with Jason Statham and Robert Di Nero. Most recently he has doubled Todd Williams on San Andreas and worked on Pirates of the Caribbean: Dead Men Tell no Tales and Kong: Skull Island.

His involvement in the film industry has also allowed Philippe to acquire camera and editing skills, essential for filmmaking and performing. Consequently, Philippe has filmed and edited well over one hundred action scenes.

Philippe is graded as an Assistant Stunt Coordinator and has also been instructing Stunt Fighting and Stage Combat at the New York Film Academy Australia since it’s conception and has started his own company Action Movie Makers where he teaches actors and stunt performers the Art of Shooting and Performing Action.

Philippe’s dream is to work with Donnie Yen, whose work he has admired from a very young age.

FAQ About Film Productions

There is often a lot of confusion as to who is doing what on a film set. In order to shed some light on the matter, here are some definitions of job descriptions on a film production.

What is a Producer?

Film producers fill a variety of roles depending upon the type of producer. Either employed by a production company or independent, producers plan and coordinate various aspects of film production, such as selecting script, coordinating writing, directing and editing, and arranging financing. During the "discovery stage", the producer finds and acknowledges promising material. Then, unless the film is supposed to be based on an original script, the producer has to find an appropriate screenwriter.

For various reasons, producers cannot always supervise all of the production. In this case, the main producer may appoint executive producers, line producers, or unit production managers who represent the main producer's interests. The producer has the last word on whether sounds or music have to be changed, including deciding if scenes have to be cut. They are in charge of selling the film or arranging distribution rights as well. The producer's role can vary significantly from project to project, based on the circumstances and funding. They generally are in charge of things like hiring staff, creating filming schedules, checking and approving locations, and much more.

What is an Executive Producer?

Executive producer (EP) is one of the top positions in the making of a commercial en- tertainment product. Depending on the medium, the executive producer may be con- cerned with management accounting or with associated legal issues (like copyrights or royalties). In ﬁlms, the executive producer generally contributes to the ﬁlm's budget and usually does not work on set, in contrast to most other producers.

In films, an executive producer finances the film or participates in the creative effort, but does not work on the set. His/her responsibilities vary from funding or attracting

investors into the movie project to legal, scripting, marketing, advisory and supervising capacities. The crediting of executive producers in the film industry has risen over time. In the mid-to-late 1990s, there were an average of just under two executive producers per film. In 2000, the number jumped to 2.5 (more than the number of standard "producers"). In 2013, there were an average of 4.4 executive producers per film, compared with 3.2 producers.

What is a Line Producer?

A line producer is a type of film producer who is the key manager during daily operations of a feature film, advertisement film, television film, or an episode of a TV program. A line producer works on one film at a time. They are responsible for human resources and manages the staff and day-to-day operations, and the overseeing of each and every physical aspect that is involved in the making of a film or television program. The line producer can be credited as "produced by" in certain cases.

What is a Supervising Producer?

A supervising producer supervises the creative process of screenplay development and often aids in script re-writes. They can also serve in place of the Executive producers' role of overseeing other producers.

What is a Co-Producer?

A co-producer is a part of a team of producers that perform all of the functions and roles that a single producer would have in a single given project.

What is a Director?

A movie director is a storyteller who needs a lot of people, equipment, creativity and planning to bring his story to a movie audience. And in the process, the director has to hold on to the vision while dealing with temperamental artists, union contract re-

quirements, uncooperative weather, studio time, budget demands and a handful of other uncontrollable uncertainties.

While directing a movie can lead to a shiny Oscar, it also means taking on a lot of responsibility. Simply put, a director is responsible for a ﬁlm's overall vision. He has ﬁnal responsibility for the actors, the shots, the script, the props, the editing and much more.

In addition to being in charge, taking many roles and turning the vision of the story into a movie, a director needs to be ﬂexible enough to deal with unexpected chal- lenges and open to suggestions from cast and crew that could make the movie better.

The rewards are great for directors who can manage movie-making chaos and tell their stories well. Directors are usually paid 10 percent of a ﬁlm’s gross earnings, blockbusters that bring in $200 million or more can return a healthy cash reward for their directors.

But the ﬁrst step to fame and fortune, or at least a career as a movie director, is getting your foot in the door. And that takes education, experience and persistence.

What is a Unit Production Manager?

A unit production manager (UPM) is the DGA (Directors Guild of America) approved title for the top below-the-line staﬀ position, responsible for the administration of a feature ﬁlm or television production. Non-DGA productions might call it the production manager or production supervisor. They work closely with the line producer. Sometimes the line producer is the UPM. A senior producer may assign a UPM more than one production at a time.

A UPM is usually hired by a ﬁlm producer or television producer, and is responsible for managing the production and regulating the costs of delivering the expected ﬁlm or television show on budget at the end of principal photography. Based on a shooting script, the UPM will create a working budget during pre-production, prior to the start of principal photography, thereby charting a recommended budgetary course. Typically, a producer will oversee all the cost-related decisions, including above-the-line expenditures (especially during pre-production). However, the UPM is responsible for the more detailed planning and execution of the below-the- line costs (primarily for physical production).

What is a 2nd Unit Director?

While the director is in charge of his or her movie set, chances are he or she doesn't have a background in stunt work. When stunts are planned, practiced and ﬁlmed, the stunt coordinator is in control. The coordinator hires the stunt people he feels are best suited for the job, plans out the stunts, makes sure all safety protocols are fol- lowed and keeps the stunt crew working smoothly.

On many ﬁlms, stunt sequences are directed by a second-unit director. Because stunt scenes rarely involve the actual actors in the ﬁlm, the second unit can shoot those scenes while the director is shooting scenes with the movie's big stars.

Second-unit directors often have a background in stunt work, and many of them were stunt coordinators at one time. However, the second-unit director's focus is on shooting the scene, the stunt coordinator remains in charge of the stunts themselves.

Vic Armstrong was one of three stunt doubles for Harrison Ford on the Indiana Jones trilogy, even though Ford enjoyed doing his stunts himself. Armstrong looked so much like Ford that members of the cast and crew often mistook him for Ford. When Ford suffered a back injury making the second Indiana Jones film that required surgery, Armstrong filled in for him and filmed a good portion of Ford's stunts and fight scenes. Vic Armstrong has an amazing 2nd Unit track record ranging from James Bond movies to Rambo to name but a few.

The second unit will often shoot simultaneously with the other unit or units, allowing the ﬁlming stage of production to be completed faster.

The second unit has its own director and cinematographer. A key skill for a second unit director is to be able to follow the style being set by the ﬁlm's primary director.

What is an Action Director?

Asian production companies will hire an action director to direct the action scenes of the movie. The Action Director will usually play the role of a 2nd Unit Director/Stunt Coordinator/Choreographer. He usually comes with his own team such as Corey Yuen, Tony Ching Siu Tung, the Jacky Chan Stunt Team and Donnie Yen each specialising in a particular style of action. Tony Ching Siu Tung is known for his sword playing movies such as ‘Swordman II’, ‘Curse of the Golden Flower’, ‘Hero’, ‘Flying

Dagger’, ‘A Chinese Ghost Story’, ‘Shaolin Soccer’, ‘Belly of the Beast’, ‘Naked Weapon’ to name but a few. Corey Yuen is known for movies such as ‘Legend of the Red Dragon’, ‘X- Men’, ‘Kiss of the Dragon’, ‘The One’, ‘So Close, ‘The Transporter’.

An action director usually has many years of experience in putting action together for movies and solely works with the action of the movie whereas the director will mainly work on the drama part of the movie.

What is an Assistant Director?

The role of an assistant director on a film includes tracking daily progress against the filming production schedule, arranging logistics, preparing daily call sheets, checking cast and crew, and maintaining order on the set. They also have to take care of the health and safety of the crew. The role of an assistant to the director is often confused with assistant director but the responsibilities are entirely different. The assistant to the director manages all of the directors in development, pre-production, while on set, through post-production and is often involved in both personal management as well as creative aspects of the production process. Historically, assistant to director was a stepping stone to directing work; Alfred Hitchcock was an AD, as was James McTeigue. This transition into film directing is no longer common in feature films. It is more common now for an assistant to the director to transition to a production management or producer role than to directing.

Often, the role of assistant director is broken down into the following sub-roles:

• The first assistant director (first or 1AD) has overall AD responsibilities and supervises the second AD. The "first" is directly responsible to the director and "runs" the floor or set. The first AD and the unit production manager are two of the highest "below the line" technical roles in filmmaking (as opposed to creative or "above the line" roles) and so, in this strict sense, the role of first AD is non-creative. Their responsibility is to keep the production on schedule throughout the day, communicate to the entire crew, and to maintain the safety and security of the staff and shot itself. An assistant director must be very good at estimating how long a scene will take. (Sometimes a scene running a few pages long on the screenplay can be shot relatively quickly, while a half page emotional key moment may take all day).

• The second assistant director (second or 2AD) creates the daily call sheets from the production schedule, in cooperation with the production coordinator. The "second" also serves as the "backstage manager", liais- ing with actors, putting cast through make-up and wardrobe, which re- lieves the "ﬁrst" of these duties. Supervision of the second second assistant director, third assistant director, assistant director trainees, and the setting of background (extras) are parts of the "second's" duties.

• The second second assistant director (second second or 22AD) deals with the increased workload of a large or complicated production. For example, a production with a large number of cast may require the divi- sion of the aspects of backstage manager and the call sheet production work to two separate people.

• The third assistant director (third or 3AD) works on set with the "First" and may liaise with the "Second" to move actors from base camp (the area containing the production, cast, and hair and makeup trailers), or- ganise crowd scenes, and supervise one or more production assistants (PA). There is sometimes no clear distinction between a 2AD and a 3AD. Although some industry bodies such as the Directors Guild of America have deﬁned the roles in an objective way, others believe it to be a subjective distinction.

• The additional assistant director (AAD or Additional) or fourth assistant director (4AD or "fourth") or "key production assistant" (key PA) may have a number of duties. Most commonly, the AAD has two broad job functions. One is the contraction of the duties of an AD where the AD acts as both second AD and third AD simultaneously. For example, a production with a large number of cast may pass the 2AD call sheet production work to that of the AAD, especially when the 2AD is already performing the additional work of a third AD. The other main use of an AAD is as an adjunct to the 3AD and 1AD for logistically large scenes where more ADs are needed to control large numbers of extras. The "Additional" may also serve where the complexity of the scene or specialised elements within it (stunts, period work) require or are best served by a dedicated AD in most respects equal to a ﬁrst AD - directing and controlling a number of other ADs to direct action to the satisfaction of the 1AD and the director.

• A production assistant is one of the lowest crew in a film's hierarchy in terms of salary and authority. They perform various duties required of them by ADs. • The sub-roles of assistant directors differ among nations. For example, the distinction between second second AD and third AD is more common in North America. British and Australian productions, rather than having a second second AD, will hire a "second" 2AD experienced in the same duties, and trained to the same level, to allow a di- vision of the duties. 3ADs in Britain and Australia have different duties from a second second AD, and the terms are not synonymous.

What is a Director of Photography?

A cinematographer or director of photography (sometimes shortened to DP or DOP) is the chief over the camera and light crews working on a film, television production or other live action piece and is responsible for making artistic and technical decisions related to the image. The study and practice of this field is referred to as cinematography. The cinematographer selects the camera, film stock, lenses, filters, etc., to realise the scene in accordance with the intentions of the director. Relations between the cinematographer and director vary; in some instances the director will allow the cinematographer complete independence; in others, the director allows little to none, even going so far as to specify exact camera placement and lens selection. Such a level of involvement is not common once the director and cinematographer have become comfortable with each other; the director will typically convey to the cinematographer what is wanted from a scene visually, and allow the cinematographer latitude in achieving that effect.

What is a Script Supervisor?

A script supervisor (also called continuity supervisor) is a member of a ﬁlm crew and oversees the continuity of the motion picture including wardrobe, props, set

dressing, hair, makeup and the actions of the actors during a scene. The notes recorded by the script supervisor during the shooting of a scene are used to help the editor cut the scene. They are also responsible for keeping track of the film production unit's daily progress. The script supervisor credit typically appears in the closing credits of a motion picture and is listed on IMDB under miscellaneous crew. In the most basic description, the script supervisor is the editor's and writer's repre- sentative on set, as well as being the right hand aide to the director and the director of photography. It is the script supervisor's job to make sure that at the end of the day the film can be cut together. In that sense, they back up every department, monitor the script during shooting and make sure that errors in continuity do not occur that would prevent the film from being able to be compiled smoothly in the editing room. In pre-production, the script supervisor creates a number of reports based on the script, including a one-line continuity synopsis providing basic information on each scene such as the time of day, day in story order, and a one line synopsis of the scene. These reports are used by various departments in order to determine the most ad- vantageous shot order and ensure that all departments, including production, wardrobe, set dressing, hair and makeup, are in sync in regard to the progression of time within the story.

What is a Sound Recordist?

A production sound mixer, location sound recordist, location sound engineer or simply sound mixer is the member of a film crew or television crew responsible for recording all sound recording on set during the filmmaking or television production using professional audio equipment, for later inclusion in the finished product, or for reference to be used by the sound designer, sound effects editors, or foley artists. This requires choice and deployment of microphones, choice of recording media, and mixing of audio signals in real time.

Usually, the recordist will arrive on location with his/her own equipment, which nor- mally includes microphones, radio systems, booms, mixing desk, audio storage, head- phones, cables, tools, and a paper or computer sound logs. The recordist may be asked to capture a wide variety of wild sound on location, and must also consider the format of the ﬁnished product (mono, stereo or multi channels). The recorded produc-

tion sound track is later combined with other elements, i.e. eﬀects, music, narration, foley or re-recorded dialog by automatic dialogue replacement (ADR).

What is a Video Split Operator?

The video split operator, also known as the video assist operator, is the guy in charge of the "video farm." Basically, you're in charge of getting a video signal from the ﬁlm camera to a bank of video monitors that are used by the director, DP, and others to monitor the action. You'll also be in charge of recording the sources and oﬀering re- play of footage if it's requested. There are other responsibilities, but they depend on the shoot and the equipment used.

The signal comes through the viewﬁnder of the camera via a prism that "splits" the beam of light coming in through the lens. It then goes to a video adapter, which sends the signal to a processor at the video farm.

What is a Key Grip?

In US and Canadian ﬁlmmaking, the key grip supervises all grip (lighting and rigging) crews and reports to the director of photography

Before filming begins, the key grip attends location scouts and meets the director of photography to determine what additional tools (location-specific motor vehicles, dol- lies, cranes, mounts, etc.) will be needed, orders and prepares required equipment, and transports equipment to the filming location. Once on set, the key grip coordi- nates with the electric and camera departments alongside the director of photography to control lighting and camera movement and setup. As a supervisor, the key grip directs the crew of grips, many with specialised skills such as dolly grips, crane operators, or special equipment operators. The key grip is sometimes credited as the "first company grip”.

What is a Gaﬀer?

A gaffer in the motion picture industry and on a television crew is the head electrician, responsible for the execution (and sometimes the design) of the lighting plan for a production. The term gaffer originally related to the moving of overhead equipment to control lighting levels using a gaff. The gaffer's assistant is the best boy. Sometimes the gaffer is credited as Chief Lighting Technician (CLT).

What is a Safety Supervisor?

The Safety Supervisor is the person, engaged by the producer, after consultation with the stunt/SFX co-ordinator, to prepare, liaise, advise and supervise on all aspects of safety for cast and crew for each of the stunt/ action/SFX/hazardous action sequences.

If required by the Safety Report, and/or at the producer's discretion, after consultation with the stunt/SFX co-ordinator, proven specialist safety supervisor/s should be engaged for each of the stunt/action/SFX/hazardous action sequences. Unless recommended by the Safety Consultant in the safety report, such Safety Su- pervisor need not be engaged for the entire period of ﬁlming, but may be engaged only for the period of ﬁlming the particular stunt/ action/SFX/hazardous action sequence.

It is advisable that the stunt/SFX Co-ordinator or any other head of department is not the Safety Supervisor.

What is a Stunt Coordinator?

A stunt coordinator, usually an experienced stunt performer, is hired by a TV, ﬁlm or theatre director or production company to arrange the casting (stunt players and stunt doubles) and performance of stunts for a ﬁlm, television program or a live audience. In many cases, the stunt coordinator budgets, designs and choreographs the stunt sequence to suit the script and the director's vision.

At the Producer's discretion, several specialist stunt/SFX Co-ordinators may be engaged where special stunt/action/SFX/hazardous action sequences occur in the one production ie. water stunt, airborne stunt, horse stunts, karate, motor vehicle and so on.

The one, or several, stunt/SFX Co-ordinator/s need only be engaged for the speciﬁc periods of shooting during the production when these stunt sequences are to be ﬁlmed.

At the Producer’s discretion, the stunt/SFX Co-ordinator/s may be engaged for the du- ration of the production.

What is a Stunt Double?

A stunt double is a person who performs physical sequences for television or movies that may be too dangerous or challenging for an actor or actress to execute. Action scenes tend to rely on doubles for stunts such as ﬁghting scenes or jumping oﬀ build- ings, but they can also be used to do any feat an actor or actress cannot physically do for a role, such as horseback riding or swimming. A professional stunt double is usually highly skilled in a variety of physical abilities, such as karate, gymnastics, or climb- ing, that can help ensure his or her safety when performing stunts.

When a stunt double stands in for an actor or actress during a scene, it is generally ﬁlmed from a distance so it isn’t obvious to the viewing audience that a double is being used. Although stunt doubles don’t have any speaking parts or close-ups, they need to have some physical resemblance to the people they are standing in for so the switch appears seamless. Stunt doubles wear the exact clothing the people they por- tray and even wigs if necessary. An actor or actress may use the same stunt double for all of his or her movies, especially if the double is the same height and size. But the ﬁrst step to fame and fortune, or at least a career as a movie director, is getting your foot in the door. And that takes education, experience and persistence.

What is a Stunt Rigger?

A stunt rigger is one who works on ropes, booms, lifts, hoists and the like for a stage production, ﬁlm, or television show.

Before your Hero jumps from a building, is thrown by an explosion or flies through the air, suspended from a High-rise building , a team of specialised riggers will construct a safe, efficient and cost-effective execution of the stunt.

Stunt riggers may be Stunt Co-ordinators who have gained experience rigging their own co-ordinated stunts.

In the theatre and film industry, a wire rigger is a worker in the special effects/ stunts film crew who "flies" actors. They are responsible for rigging special harnesses to attached wires which in turn are run through a series of "blocks" (pulleys) to a control area where a wire rigger raises, lowers or traverses an actor wearing the harness. Wire riggers also rig up rails along which travels a "skate" from which the wire is attached. Many plays and feature films (e.g. Peter Pan, Harry Potter, Superman) use this technique.

What is a Choreographer?

Choreography is the art of designing sequences of movements in which motion, form, or both are speciﬁed. Choreography may also refer to the design itself, which is sometimes expressed by means of ﬁght action/dance notation. The word choreography literally means "dance-writing" from the Greek words "χορεία" (circular dance, see choreia) and "γραφή" (writing). A choreographer is one who creates choreographies. IMPORTANT!

When is a Stunt Coordinator required on your Production?

A Stunt Co-ordinator is needed on your production when a stunt and/or special eﬀect is required for any action which will, in the opinion of the Producer and/or the Safety Consultant and/or Stunt Co-ordinator, place people or property at risk.

An example of all the diﬀerent departments that work on a feature ﬁlm.

MEG - 2U SHOOT DAY #28

# PRODUCTION IN OUT # ART DEPARTMENT IN OUT # CAMERA IN OUT # COSTUME IN OUT Director n/c OFFSET 1 DOP o/c Costume Supervisor o/c 2nd Unit Director o/c 1 Art Director o/c 1 A Camera Operator 0730 Costume Coordinator o/c

Producer n/c Art Director - Vehicles o/c 1 B Camera Operator 0730 1 Costume Standby 0530 Producer n/c Art Director o/c 1 A Camera 1st AC 0630 1 Costume Dresser 0530 Producer n/c Art Coordinator o/c 1 B Camera 1st AC 0630 1 Costume Stby Assist 0530 Executive Producer n/c 1 Standby Props 0630 1 C Camera 1st AC 0630 1 Costume Dresser 0530

1 Producer o/c 1 Standby Props Assist 0630 1 A Camera 2nd AC 0630 1 Extras Costume Supervisor 0530

1 Unit Production Manager o/c 1 Onset Dresser 0630 1 B Camera 2nd AC 0630 1 Extras Costume Standby 0530

Production Coordinator 0800 1 Standby Painter 0630 1 B Camera 2nd AC 0630 1 Extras Costume Dresser 0530

Assist Prod Coordinator 0830 1 0630 1 C Camera 2nd AC 0630 1 Extras Costume Dresser 0530

Assist Prod Coordinator 0900 PROPS 1 Camera Trainee 0630 1 Extras Costume Dresser 0530

Assist Prod Coordinator 0800 1 Props Buyer 0630 1 Camera Trainee 0630 1 Extras Costume Dresser 0530

Production Secretary 0730 1 Props Buyer 0630 UNDERWATER CAMERA IN OUT 1 Extras Costume Dresser 0530 Production Runner 0630 DIT 1 Props Buyer 0630 1 Underwater DOP o/c MAKE UP & HAIR IN OUT

Production Runner 0730 ART PRACTICAL LX 1 Underwater Camera Op. 0630 1 Hair/Makeup Supervisor 0545

Production Assistant 0800 Chief Practical Electrics o/c 1 Wet Camera Assist 0630 1 Senior Hair/Makeup Artist 0545

1 Production Assistant 0730 Practical LX Electrician o/c D.I.T. IN OUT UNIT DEPARTMENT IN OUT Producer Intern o/c CONSTRUCTION 1 D.I.T 0630 1 Unit Manager 0430

1 UPM Intern 0730 Construction Manager o/c 1 Video Operator 0630 1 Best Boy Unit 0530

1 Assistant to Barrie.O per B.O. 1 Standby Carpenter 0630 1 Video Assistant 0630 1 Assistant Unit Manager 0430

1 Assistant to John. M per J. M. SET DRESSING 1 Data Wrangler 0630 1 Craft Services Manager 0500 1 Production Runner o/c Lead Set Dresser o/c GRIP IN OUT 1 Unit Assistant 0530

1 I.T. Support o/c Set Dresser o/c 1 Key Grip 0630 1 Craft Services Assistant 0530 1 I.T. Support o/c Set Dresser o/c 1 Best Boy Grip offset 0630 ADDITIONAL CREW IN OUT

ASSISTANT DIRECTORS IN OUT Assist Set Dresser o/c 1 Best Boy Grip onset 0630 Production Assist 0800

1 1st AD 0730 1 Assist Set Dresser 0730 1 A Camera Dolly Grip 0630 Production Craft Services o/c

1 Key 2nd AD 0530 1 Assist Set Dresser 0730 1 B Camera Dolly Grip 0630 8 Dive Crew x 8 per D.M

1 On Set 2nd 2nd 0530 DIVING IN OUT 1 Crane Grip 0630 1 Additional Prod Rigger o/c

1 Offset 3rd AD 0530 1 Dive Coordinator o/c 1 Flight Head Technician 0630 1 Additional Prod Rigger o/c

1 Onset 3rd 0530 SPECIAL EFFECTS IN OUT 1 Crane Tech 0630 1 Additional Prod Rigger o/c 1 Onset 3rd 0530 1 SFX Supervisor o/c 1 Trainee Grip 0630 5 Stunt Additional o/c

1 On Set PA 0530 1 SFX Assistant Supervisor 0600 RIGGING GRIPS IN OUT 6 Crane Drivers x 6 o/c

1 AD Intern 0530 1 SFX Onset Coordinator 0600 1 Key Rigging Grip 0630 1 Unit Assistant 0530

STUNT DRIVERS/ PAs IN OUT 1 SFX Senior Technician 0600 1 Rigging Grip 0630 1 Unit Assistant 0600

1 AD Translator / Stunts Driver 0540 p/up 1 SFX Senior Technician 0600 1 Rigging Engineer 0630 1 Makeup / Hair Artist 0545 1/2 day

1 PA / Stunts Driver 0530 p/up 1 SFX Senior Technician 0600 1 Rigging Grip 0630 1 Makeup / Hair Artist 0545 1/2 day

1 PA / Stunts Driver 0600 p/up 1 SFX Senior Technician 0600 1 Rigging Grip 0630 1 Makeup / Hair Artist 0545

1 PA / Stunts Driver 0525 p/up 1 SFX Technician 0600 PRODUCTION RIGGING IN OUT 1 Makeup Assistant 0545 1 Stunt Translator 0600 1 SFX Technician 0600 1 Head Rigger 0700 1 Makeup Assistant 0545 SCRIPT SUPERVISOR IN OUT 1 SFX Technician 0600 1 Rigger 0700 1 Makeup Assistant 0545 1 Script Supervisor 0730 SFX Technician o/c 1 Rigger 0700 1 Makeup Assistant 0545 ACCOUNTS IN OUT 1 SFX Technician 0600 1 Rigger 0700 1 Additional Grip 0600 Financial Controller o/c 1 SFX Technician 0600 ELECTRICS IN OUT 1 Additional Grip 0600

1st Assistant Accountant o/c 1 SFX Diver 0600 1 Gaffer o/c 1 Extras Costume Dresser 0530

2nd Assistant Accountant o/c 1 SFX Assistant 0600 1 Best Boy o/c 1 Extras Costume Dresser 0530

Art Dept Accountant o/c 1 SFX Tech 0600 1 Off Set Best Boy o/c 1 Extras Costume Dresser 0530 Payroll Accountant o/c EDITORIAL IN OUT 1 Senior LX Tech o/c Additional Safety 0700

Petty Cash Accountant o/c Editor o/c 1 Generator Operator o/c 1 Props Maker 0630 Accounts Clerk o/c 1st Assistant Editor o/c 1 Lighting Tech o/c 1 Set Dresser Assist 0630 Accounts Clerk o/c 1st Assistant Editor o/c 1 Lighting Tech o/c 1 Lifeguard 0830

VFX IN OUT Post Production Assistant o/c 1 Lighting Tech o/c 5 Chaperones 0900 1 VFX Producer o/c TRANSPORT IN OUT 1 System Tech o/c

1 Digital Production Supervisor o/c Transport Manager o/c RIGGING ELECTRICS IN OUT

1 VFX Coordinator Per SG 1 Transport Captain 0415 1 Rigging LX Gaffer o/c

1 Digital Coordinator o/c 1 Onset Transport Driver 0415 1 Rigging LX Lead Hand o/c

1 VFX Supervisor o/c 1 Onset Transport Driver 0930 1 Rigging Electrics Tech o/c

1 Data Wrangler Per SG 1 Onset Transport Driver 0930 1 Rigging Electrics Tech o/c

1 Data Wrangler Per SG 1 Waste removal Technician 0930 2U ELECTRICS IN OUT

1 VFX Set PA Per SG Transport Coordinator o/c 1 2U Gaffer 0700 1 VFX Set PA Per SG Transport P.A. o/c 1 2U Best Boy 0700

1 VFX PA Per SG LOCATIONS IN OUT 1 Lighting Tech 0700

1 VFX PA Per SG Locations Manager o/c 1 Console Operator 0700 SAFETY IN OUT Assit. Loc. Manager o/c STUNTS IN OUT

1 Water Safety Coordinator o/c 1 Location Assistant 0500 1 Stunt Coordinator o/c

1 Safety Supervisor MU 0600 1 Location Assistant 0530 1 Key Stunt Rigger o/c

SOUND IN OUT 1 Location Assistant 0530 1 Department Coordinator o/c 1 Sound Recordist 0730 1 Location Assistant 0500 1 Stunt Rigger o/c 1 Sound Utility 0730 1 Location Assistant 0530 1 Stunt Rigger o/c EXTRAS CASTING IN OUT 1 Utility Stunt o/c

Extras Casting Coordinator 0545 1 Utility Stunt o/c Extras Casting Assist 0545 1 Utility Stunt o/c

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