WHO’S WHO ON A FILM CREW 4.8 Who’s Who On A Film Crew ScreenScreenwest West 1 FILM FRIENDLY / SCREENWEST INTRODUCTION The key relationship for filming is between the screen production’s location manager and the local council’s Film Liaison Officer, and these two people should negotiate and confirm the details of filming in a council area. However, many departments in the screen production will have specific requests before and during location filming, and it’s useful to understand why the requests are being made, and what the responsibilities of key production personnel are. The location manager however remains the key channel of communication. All crew and cast have a duty of care in respect of occupational health and safety issues, and public safety issues. 4.8 Who’s Who On A Film Crew Screenwest 2 FILM FRIENDLY / SCREENWEST SECTION 4.8 WHO’S WHO ON A FILM CREW THE PRODUCER timing. The director has a key role in AD will re-schedule the production The Producer is the key person in choosing the actors and production to provide another opportunity to charge of the entire production. design and duties also include achieve the affected scenes. He or she will have selected the script editing, shot selection, shot Other duties include tracking the script, raised the finance, appointed composition, and editing. On some progress of filming versus the cast and key personnel and have large productions, a director will production schedule, observing oversight of both creative and delegate less important scenes to a all labour rules and location administrative aspects of the Second Unit Director. agreements and maintaining production. In many cases, several safety on the working set. producers work on different areas THE 1ST of the same film. Most important ASSISTANT DIRECTOR THE 2ND for location filming, the producer The 1st Assistant Director is the ASSISTANT DIRECTOR has responsibility for ensuring that producer’s representative on set, The 2nd Assistant Director is the all the relevant insurances and ensuring the film gets shot on time production office’s representative Occupational Health and Safety and within budget whilst at the on set, and the chief assistant (OHS) measures are in place. same time working to ensure the of the 1st AD, coordinating the vision of the director. The 1st AD is running of ‘back stage’ ensuring a THE DIRECTOR responsible for the scheduling of the smooth flow of cast are effectively The Director is usually the driving film and organises each shooting day managed through makeup, costume, artistic source behind the filming to make the best and most efficient rehearsals and publicity in order process and is the principal creative use of a location into what is known to appear on set on time. The 2nd artist on a film set, responsible for as the call sheet, and may have AD is responsible for information visualising the screenplay (or script) requests, for example, about time of distribution and reporting, cast while guiding the technical crew day to shoot sequences and traffic or notification and preparations during and actors in the fulfillment of that pedestrian control. They oversee the the shooting process, recording of vision. They oversee the artistic and day-to-day management of the cast all data relative to the working hours dramatic aspects of a production, and crew scheduling, equipment, of the crew and cast, preparation of including controlling the content and script, and run the set. A 1st AD may call sheets, production reports, and flow of the film’s plot, directing the also be responsible for directing other documentation. The 2nd AD performances of actors, selection of background action for major shots or is responsible for creating call locations and managing technical the entirety of relatively minor shots, sheets that let the crew know the details, such as the positioning of at the director’s discretion. If weather schedule and important details cameras, the use of lighting and the or other factors delay filming, the 1st about the next shooting day. 4.8 Who’s Who On A Film Crew Screenwest 3 FILM FRIENDLY / SCREENWEST THE 3RD makes sure all departments are ASSISTANT DIRECTOR doing their respective jobs within the The 3rd Assistant Director supports parameters of the budget. It is the the 1st AD on set and works with the production manager’s responsibility 2nd AD behind the scenes. They may to make sure the filming stays on also direct background action and schedule and within its day-to-day extras at the request of the 1st AD. budget. They directly supervise the production coordinator. The production manager often works THE SCRIPT SUPERVISOR under the supervision of a Line The Script Supervisor (or Continuity) Producer and it is not unusual for oversees the continuity of the a production to have both or production including costume, just one of these roles. props, set dressing, hair, make- up and the actions of the actors during a scene. Basically, the script THE PRODUCTION supervisor is the editor’s and writer’s COORDINATOR representative on set, as well as being The Production Coordinator is the the right-hand aide to the director information nexus of the production, and director of photography. They responsible for organising all the back up every department, monitor logistics. They will issue the daily call the script during shooting and make sheet. sure that errors in continuity do not occur that would prevent the film THE PRODUCTION from being able to be cut together SECRETARY smoothly in the editing room. The Production Secretary is responsible for the dissemination of THE LINE PRODUCER all film production documents to the The Line Producer is the liaison right people – shooting schedules, between the producer and the script amendments, call sheets etc. production manager, responsible for managing the production budget THE PRODUCTION and overseeing all the business ACCOUNTANT aspects of the physical production The Production Accountant manages of films. Line Producers oversee the money and works with the Line all other pre-production activities, Producer and Production Manager including hiring the production to ensure the production comes in team, setting up the production on budget and everyone gets paid. office, location scouting, ensuring Production accountants are often compliance with regulations assisted by Assistant Accountants and codes of practice, sourcing responsible for accounts equipment and suppliers, selecting receivable, accounts payable key crew, engaging supporting and on larger productions a artistes and contributors, and specialist Payroll Accountant. monitoring the progress of the art department and other production departments. During production, THE CASTING DIRECTOR Line Producers delegate the day- The Casting Director is responsible to-day operation of the production for hiring the actors and, in some office to the Production Manager cases, extras for the film. and Production Coordinator. THE UNIT PUBLICIST THE PRODUCTION The Unit Publicist works on location MANAGER during the production of a movie. The Production Manager supervises Duties includes setting up press visits the physical day-to-day operation and electronic press kit interviews. In of the production (not the creative addition, the unit publicist assembles aspects), including crew and the biographical materials and notes equipment, approves schedules about the making of the movie that and call sheets, approves purchase are later turned into the movie press orders & time cards, and generally kit or BTS (Behind The Scenes). 4.8 Who’s Who On A Film Crew Screenwest 4 FILM FRIENDLY / SCREENWEST Unit publicists are itinerant -- they Hair, Makeup and Wardrobe, Green THE DIRECTOR OF move from production to production Rooms as well as the toilets. They PHOTOGRAPHY and are on the production payroll. are also responsible for ensuring that The Director of Photography They report to the filmmakers and, if the location owners and residents (DOP) is the head of the Camera the film has a releasing studio, they are not overly inconvenienced by the Department, responsible for the also report to the publicity directors. film shoot. At the end of each day’s recording of a scene in the manner Once principal photography is filming, they clear away all rubbish desired by the director. The DOP over, the unit publicist moves on to and ensure that locations are left in creates the visual representation of another job. good order. They arrive at the unit script: camera, film stock, lenses, base before the rest of the crew on designing and selecting the lighting, the first day of filming, to liaise with THE LOCATION MANAGER directing the gaffer’s placement security staff (who may have been The Location Manager is initially of lighting; shot composition (in guarding the vehicles throughout the responsible for finding and securing consultation with the director), film night) and to organise the marking locations that fit the creative, grading. On location, the DOP out of parking areas using traffic budgetary and scheduling needs may, for example, wish to shoot at cones. If the location manager or of the production, and arranges a particular time of day or from a assistant is not on site on the filming technical scouts for the essential particular side of the road so that day, then the unit manager is the staff (grips, electric, camera, etc.) the actors and the setting are shown main contact for location issues. to see options which has been in the most appropriate light. With selected for filming. He or she night shoots, the DOP will have acts as the representative of the THE CATERER requests and requirements about the Production Company and negotiates The Caterer provides full breakfast, size and positions of the lights. with property owners, council and lunch and afternoon tea for the cast relevant authorities on location and crew.