By definition a tech scout is an on-location walk-through with your production’s department heads – think director, cinematographer, UPM, 1st AD, production designer, etc. – ahead of shooting at that particular location. This walk-through will give each department a chance to familiarize themselves with the location and the challenges it may bring. In other words, it’s a final preparation of the technical logistics associated with each major shooting location.

So, with terms like “department heads” and “technical logistics” being thrown around you’re probably thinking that a tech scout is something reserved for big budget movies, right? Wrong. They most certainly do it, but if you’re helming a low-budget indie production, you probably have even more incentives to do a tech scout before your shoot. Ask yourself this: Can I afford to rent my location for an extra day, if I encounter unforeseen circumstances? Will my lighting package be able to compensate for any changing conditions? Do I have the necessary means to do extensive ADR on noisy takes? No, you say? Then you better plan ahead.

Typically you will do your tech scout during prep week, about one week prior to the actual shoot, when all department heads are able to get together and finalize their preparations. However, if you have access to your locations even further ahead of time, there are benefits to visiting them.

During pre-production Joe did some initial location scouting and we rewrote scenes once we understood the layout and limitations of the locations available to us, so the script reflected accurately the locations we will be using. – Rachel Noll, writer/producer of The Storyteller

Once you have the script locked in, locations secured and shot lists made, you do the full tech scout of all major locations.

Producer, DP, Director, 1st AD, Production Designer, UPM, gaffer, key grip – they were all there. We wanted to make sure all the heads were clear on the limitations and possibilities of any given location, so we could all plan accordingly. Any limitations on power outlets or lighting sources, etc. we wanted to be able to make a note of, and also have an eye on the production design, possible areas for actor holding, for makeup and hair, and other details, so we were prepared come the day of the shoot. I think all the departments can benefit from a scout prior to the shoot, just to know what they are up against and to be able to plan contingencies or brainstorm creatively if things aren’t ideal or there are any surprises. – Rachel Noll, writer/producer of The Storyteller

Let’s break it down.

Producer – will be working with each of the department heads to accommodate any changes in budgeting due to the limitations or possibilities uncovered during the scout.

DP – will be making sure the planned camera movements will be possible. Are there narrow corners to turn? Will there be shots in harsh light? Your DP might change certain shots to accommodate the locations and retain the overall visual aesthetic.

Director – will be balancing the vision of the film with the circumstances and making any necessary changes in shots to stay as true to the original intentions as possible.

1st AD – is largely in charge of scheduling, background actors, callsheets and script breakdown, so any changes to either of these based on the limitations of the location will be noted and arranged accordingly. Is there a proper holding area for the background cast? Will shooting have to wrap an hour earlier than anticipated due to traffic conditions in the area – and what does that mean for the callsheet?

Production Designer – takes note of anything that needs to be dressed for the shots planned and anything on location that will add to or subtract from the environment she is trying to create. Also pay attention to details like whether the centerpiece executive boardroom conference table that’s been rented for a certain scene is able to fit through the doorframe and whether the colors of the the costumes are going to clash with the wall color.

UPM – the Unit Production Manager oversees all the off-set logistics, as well as day-to-day budgets and production personnel, so if a certain location calls for more lighting than initially planned for, the UPM needs to make sure this can be made available, is budgeted and operable with the hired crew – or make the necessary changes.

Gaffer – is the chief electrician on set and will need to make sure there are adequate power sources for the lights that will be brought in. Will a generator be needed? Are the outlets on separate circuits? What’s the maximum load for each outlet?

Key Grip – will in large part be responsible for making the director and DPs wishes come true, so if there is limited space on set or a shot calls for more equipment than can safely be utilized in a certain location, adjustments must be made in advance.

All of these obviously work together, which is why the tech scout is best done with all department heads at once and not separately. Filmmaking is a collaborative process and the tech scout is the perfect opportunity for everyone to contribute in order to make your film the best it can be.

Not only is it an important part of the final stages of pre-production, the tech scout is also a hell of a lot of fun – it’s great to get a chance to know your crew and to be impressed by what they do. And doing the tech scout also means that we are just days away from shooting – at last. – Joe Crump, writer/director of The Storyteller

In some cases you will need to do your tech scout months in advance, so every single aspect of your shots can be meticulously planned and rehearsed, like for the 2015 Academy Award winner Birdman. Because of the extremely difficult long shots used throughout the film, the crew prepared by drawing up a minimalist (but to scale) version of their theatre location in a warehouse and used that space to rehearse camera movement, cast movement and lighting for weeks before the actual shoot. Imagine pulling this off without diligent planning:

Follow the entire process of making a film – up close and personal – through the trials and triumphs of The Storyteller, as told in our on-going article series.

Previously on The Storyteller Series we discussed how breaking down the script is the first step in scheduling your production. Once that process has been completed the next step is to analyze those elements and build your schedule. How is this done?

Well, first you get an Assistant Director. The Assistant Director (or 1st AD) acts as a liaison between the director, producers, cast and crew. They are charged with keeping the production on schedule so the film is efficient. During pre-production, their duties include breaking down the script, assessing and securing locations, assessing actor availability, and working with the director to create a shooting schedule.

Sienna Beckman is the Assistant Director for The Storyteller.

We knew the 3 weeks that we were shooting, so obviously the location dates had to be within that time frame. But we had to work with each location’s schedule and availability, as well as actor availability and consecutive shooting days, etc. A lot of the locations have been very flexible and gracious about us using their space, which makes scheduling so much easier. - Sienna Beckman, 1st AD of The Storyteller

A thing to keep in mind as we’re breaking down the elements of scheduling your shoot is that while most aspects of your indie production might differ from those of a big budget movie, having a cast of A-list stars doesn’t necessarily equal long shoots; Phone Booth, a movie starring Colin Farrell, was shot in just 10 days.

Making Your Schedule: The Key Factors

Shoot Dates = The days of your production.

The idea of shoot dates includes both your general production timeframe, as in ‘we are shooting from May 1st to June 15th’, and what the schedule will be for each specific day.

Location Availability = When you can have access to a certain location.

As we’ve discussed, finding and securing locations is a key part of the the production process. Making sure that you can film in all of those lovely locations is where the need for a schedule becomes key. As very few films are shot in sequence* it’s important to note when each location is available and for how long. A certain location might be available during the whole production whereas another is only available one day.

Example: There are two locations in your script: A bank and an apartment. The bank may only permit you to shoot on the weekend, outside of normal business hours. However, the apartment is available at any point during the production. In this case you would prioritize securing and scheduling the bank location first because it has less availability.

*To shoot a film in sequence means that the first scene you shoot is the first scene in your script, the next scene shot is the second scene in the script and so on until the end. This is rarely done, because if you have a script where, say, two thirds of the film takes place in a grocery store, it isn’t time or cost efficient to shoot one scene, leave the store and then reassemble the cast and crew when it’s time for the next scene in the store. Better to shoot all the grocery store scenes at once.

Know that a locked shooting scheduled may have to be unlocked, if a location suddenly falls through – like in the case of the iconic quote “How do I do a film called The Old Mill when I don’t have an old mill?” from State & Main:

Actor Availability = Making sure the actors are there when you need them.

The AD needs to know if the casted actors have any commitments before or after the production that will affect their schedule. This is because they need to assess which actors are needed on which shoot dates. If an actor is on another movie, and can’t arrive until the second week of production, it would make no sense to schedule scenes that include that member of the cast in the first week of production.

Example: When making Marvel’s Civil War the main actor Chris Evans was needed for the majority of the shoot. However, Paul Rudd (Ant Man) was not. As Paul Rudd is constantly working, the Assistant Director needed to know when he (Paul Rudd) would be available during the Civil War production so that the scenes involving Ant Man could be scheduled around that.

When casting breakdowns are created, companies like Breakdown Services will ask for the Shoot Days so that the actor will know whether or not they are available. A range of dates is acceptable, since the detailed shooting schedule won’t be locked in until much later in the pre-production process.

Shooting Schedule = What scenes are going to be filmed on what day.

The most important things are shoot dates, location availability, and actor availability/travel/time constraints. Then once those factors are locked, I can go in and shuffle around the actual scenes within the days to create the most streamlined and efficient shooting schedule. - Sienna Beckman, 1st AD of The Storyteller

To build a schedule, the 1st AD will compare the key factors along with each element from the script breakdown. There is a variety of scheduling software and online templates that will aide in this process. The most well know is a program called Movie Magic.

I have used Movie Magic several times before for more complicated shoots (multiple units, foreign travel), but for smaller projects like these, Scenechronize is very comparable and is very easy to make quick changes in. I like both, but Scenechronize is a bit easier to learn and it’s a bit easier to manipulate the data entry. - Sienna Beckman, 1st AD of The Storyteller

Scenechronize is a web-based program, which has HUGE advantages for an indie production. The most obvious being that it’s accessible in any location where you can get online. This allows the AD to update the schedule while on set. It also allows all the different departments to have access to the schedule and know exactly what wardrobe, prop or other item pertaining to their department is needed on any given day.

Other Important Factors

The biggest factors have been the locations and the actor availability. Some things might shift around within certain days to accommodate for wardrobe changes or specific lighting/camera requirements. We will know more about that after doing our tech scouts in the week leading up to the actual shoot. – Sienna Beckman, 1st AD of The Storyteller

Example: Towards the end of Seth Brundle’s transformation in Cronenberg’s The Fly, Jeff Goldblum had to sit in the makeup chair for 5 hours. It wouldn’t have made sense to schedule a scene where he’s without makeup before doing one with the makeup.

Similarly, scenes that require big light changes, even if they take place in the same location need to be scheduled accordingly.

Example: On my short film Lucky Charm, there were several scenes that took place in a jewelry store. For two of those scenes, I wanted the same camera set up. Now, if those scenes both took place during the day, we simply would have shot them at the same time. However, one scene took place at night, the other during the day. Because of this we shot all the day scenes first, then broke the actors and the crew changed the lighting so that the set looked like it was now night time* and we shot the night scenes. Bonus info – shooting a night scene during the day is called shooting day for night and is something you want to make note of in your schedule.

The Storyteller is a unique movie in that they have had a very long pre-production process. This has an effect not only on the writer’s ability to sharpen the shooting script, but also for the Assistant Director to prep the production.

My job has just been a bit more spread out. It’s better for the production team to have a longer pre-production process, so they have time to sort out all the details. Most of what I’ve been doing is creating the first draft of the schedule, then making changes as more details are locked by production. It hasn’t affected me too much, but it has been nice to have the time to digest and absorb all the details of the shoot, so I feel prepared and ready when we actually go into production. – Sienna Beckman, 1st AD of The Storyteller

And production is officially underway! The Storyteller’s first shoot day was June 27th and will continue through July 16th. Join us next time when we discuss Tech Scouting. Until then, remember that even with the most meticulous planning, things can and will go wrong. Just ask Terry Gilliam:

You can get in touch with Joe on Facebook, Twitter or via email. He’d love to hear from you. Also check out the course he’s offering on Stage 32.

The 1^st Assistant Director position is widely regarded as the most difficult and least enviable on set. It is one fraught with compromises and negotiations; where politics and artistic visions collide with practical realities and necessities. What exactly does that mean and why is it that so few people seem to know how to do the job competently, let alone do it well.

It’s funny, really, how few people can define the job of the 1^st AD. If you can’t define it, how can you do it well? I have several Joe Bohnisms regarding film, the definition of a 1^st AD being one of them:

The job of the 1^st AD is to get the director as much quality footage as possible given the realistic confines of the production and ensuring the obtainment of enough footage to compile a complete film. Your job is to facilitate the scheduling of the film and the running of set in such a way as to maximize the amount of time getting quality footage in the can as opposed to losing time waiting on other elements that could have been prepared had you done your job more effectively.

Note that I didn’t say your job is to get a lot of footage. If the footage is of a quality so low then it doesn’t matter how much you get, it’s useless. I also didn’t say that your job is to just get quality footage. You need a full film. Eighty percent of an amazing movie is a movie that can’t be sold. So you have to work with your director and other department heads to know when to sacrifice, when to adapt, what’s important, and what can be lost. You are that mediator, the conscious in-the-ear of the director reminding him that while he may want to spend 3 hours on 1/8 of a scene, he still has 8 more pages to shoot today.

For me, I tend to talk in terms of “real estate.” We only have so many hours in the day to shoot. That time is “time real estate” and as a team we have to constantly be figuring out how to spend that shared real estate – with the 1^st AD being the accountant.

A Joe Bohnism to remember: “It’s the director’s film, the producer’s product, the DP’s picture, the PD’s world, and the 1^st AD’s set”. Why is this important? If the director decides he wants to spend 8 hours shooting an insert of a flower, that’s his choice. You can remind him as much as you want about time and what you still have left, but it’s his (or her, of course) film. Now, should that occur you obviously need to call your producer to set immediately to update them. Things in the modern age can get tricky though. Often times your director is your producer as well. In which case, do your job, have everything coming up 100% ready when the director wants to move on, and let the director worry about his film. Remember you work with the director for his film, but you work for the producer for their product.

Which leads to a pretty simple to state but hard to follow Joe Bohnism: “Not my job”. It’s easy, especially in the low budget world, to overstep your bounds. Do your job and do it well. Let’s say your director is a hot mess, you’re a director as well, and the cast is even looking to you for guidance and direction. Star actor comes up to you and says, “Joe, the director says I should do X but what do you think?” The answer is, always, “I’m not the director, you guys should have that conversation.” Don’t overstep your bounds because it will only lead to you stepping on toes and that leads to you not working again.

As much as filmmakers are professional and talented individuals, you have to remember you are the babysitter on set. You’ll find over and over that people will do their job and then be happy to sit around for hours if no one checks on them. You are the constant eyes and ears watching everything and striving to not waste a minute. Spend some time working in other departments and knowing them intimately.   That knowledge will allow you a short hand to communicate with all the department heads and to know when something doesn’t make sense. For example, your gaffer tells you it’ll take him an hour to light a scene but you know that’s not right because you’ve done it yourself before; you can say no way, it should only take thirty minutes so get it done or explain to me why I’m wrong.

The word no should not exist in your vocabulary. Your job is to facilitate the yes. The producer’s job is to come in and say “no, we don’t have the money for that” or:

Producer: “Joe, do we have the time to do that and make our day?”

Joe: “We can’t do that AND make our day. We can choose to drop something, or compromise something else and still make the day.”

Producer: “So no.”

You exist to make this movie happen as best as it can given the resources available to it, let the producer decide how those resources can be allocated, and you worry about running set efficiently and accommodating every need and want you can.

Which also leads to the difference between need and want. Often times you’ll experience a situation on set where an individual swears they need thing X. In reality, they want it and it order to get it they’re willing to sacrifice something they actually do need. Your job is to help them realize the difference. Remember, it’s not your job to decide what they need and want, it’s your job to help get them as much of both as you can.

By the nature of the job, you’re telling creative people they don’t have the time to be creative. You’re the big bad meany of the set. Be prepared to feel the tension that can come from that and let it go. The biggest problem that can arise here, is that all these creatives can have good, great, and wonderful ideas. Here’s the thing, good ideas usually come late and take time to execute. Time you may not have. If you have it, embrace the good ideas and make them happen. If not, then remember: Good ideas are the death of days (yup, another Joe Bohnism).

In summation, you have to be a yes man with conditions, a babysitter, a negotiator, a mediator, a boss, a jerk, and a friend. We work long days in high stress situations with a lot of ego, talent, silliness, and awesomeness swirling around into the awe inspiring cocktail we call filmmaking. Never forget that there are thousands upon thousands of people out there who would beg and plead to do what you are doing. So if you’re going to complain too much, you might as well just step aside and let the next guy take a shot. No? You don’t want to do that? Then hurry and get back to set. Picture’s up!

Image taken from the movie ‘Bullet’ on which Joe Bohn worked as Assistant Director.

As an actor, I’m fully aware that when I’m on set, I’m usually the least important person there. There’s the director, of course. Maybe a couple of producers in video village. There’s the 2nd AD. The set costumer. The DP. 1st AC. Gaffer. Best-Boy Electric. And my head just exploded. Not only did I forget everyone’s names, I also have no clue what it means when someone tells me he’s the gaffer.

All of these people – and many more – are essential in making your shoot go off without a glitch. But what does it all mean – and more importantly, what do they all do? Take a few minutes to learn this. It’ll be invaluable on set or whenever you’re with crew and don’t want to feel like a complete idiot. Trust me, I’ve been there.

The following list is courtesy The PCC Cinema Program:

PRODUCTION DEPARTMENT

Producer
A film producer creates the conditions for making movies. The producer initiates, coordinates, supervises and controls matters such as fundraising, hiring key personnel, and arranging for distributors. The producer is involved throughout all phases of the filmmaking process from development to completion of a project.

Casting Director
Works closely with the director to cast the film. Specific duties will include:
• Assist in the organization and administration of casting calls and auditions
• Assist in the recruitment and hiring of cast

Unit Production Manager
The UPM, under the supervision of the Exec Producer, coordinates, facilitates, and oversees the preparation of the production unit, including: all off-set logistics, day to day production decisions, locations, budget schedules and personnel. Specific duties will include:
• Prepare script breakdown and preliminary shooting schedule with the 1st AD
• Prepare and coordinate the budget
• Oversee search and survey of all locations and the completion of business arrangements for the same
• Assist in the preparation of the production with a mind towards efficiency collaboration
• Supervise completion of the production report for each day’s work, showing work covered and the status of the production, and arrange for distribution of that report to proper channels
• Coordinate arrangements for the transportation and housing of cast, crew, and staff
• Oversee the securing of releases and negotiations for locations and personnel
• Maintain a liaison with the local authorities regarding locations and the operation of the company

1st Assistant Director
During preproduction the 1st AD works in conjunction with the UPM in organizing the crew, securing equipment, script break down, stripboard (production board) prep, and shooting schedule. During production he/she assists the director with respect to on-set production details, coordinates and supervises crew and cast activities and facilitates an organized flow of production activity. Specific duties will include:
• Prepare script breakdown and preliminary shooting schedule with the UPM
• Aid in location business, as delegated by the UPM
• Check weather reports
• Prepare day-out-of-day schedules for talent employment and determine the cast and crew calls
• Supervise the preparation of the call sheet for cast and crew
• Direct background action and supervise crowd control
• Supervise the functioning of the shooting set and crew

2nd Assistant Director
The 2nd AD is the chief assistant to the 1st AD in conducting the business of the set or the location site. Specific duties will include:
• Prepare the call sheet, in conjunction with the 1st AD
• Prepare the daily production report, in conjunction with the UPM
• Distribute scripts, sides, changes, and call sheets to cast and crew
• Communicate advance scheduling to cast and crew
• Aid in location managing as required by the UPM, 1st AD, or Location Manager
• Facilitate transportation of equipment and personnel, under the supervision of the UPM
• Schedule food, lodging, and other facilities
• Supervise set and location wrap
• Maintain liaison between UPM and 1st AD
• Assist in the direction of background action and the supervision of crowd control

Script Supervisor
The script supervisor maintains a daily log of the shots covered and their relation to the script during the course of a production, acts as chief continuity person, and acts as an on-set liaison to the post-production staff. Specific duties will include:
• Maintain of log of all shots, including the following information: shot number(s) as seen on script, actual slated shot number(s), comments by director or DP, continuity information including digital stills references, tape/reel#, camera settings, date, time, production statistics, etc.
• Act as continuity person on set
• Daily cross-referencing with continuity stills photographer to ensure accessibility of continuity stills during production
• Maintain liaison with 2nd AD, provide information for daily production reports
• Provide editor, other postproduction staff with log of footage

Key Production Assistant
The key PA is the chief on-set/on-location assistant of the 1st AD in terms of set operations. Specific duties will include:
• Management of walkie-talkies, traffic cones, and other production staff equipment
• Management of other production assistants
• Assist in the direction of background action and the supervision of crowd control
• Assist in set lock-downs
• Assist in the functioning of the shooting set and crew

Production Accountant
The production accountant works closely with the UPM to maintain the production’s budget. Specific duties will include:
• Preparation of the budget, in conjunction with UPM
• Maintenance of production accounts
• Facilitate release of expenditures
• Accounting for costs, filling out cost reports

Location Manager
The location manager works with the UPM and the 2nd AD to manage the discovery and securing of locations. The locations manager maintains a liaison between the production and the local authorities, and obtains the necessary clearance and release for use of locations.

Publicist
Working closely with the executive producer, director, art director, and publicity designer, the publicist works to publicize and promote the film during all phases of production. Specific duties will include:
• Securing permission for and supervising placement of posters, flyers, and other promo ads
• Supervising the generation and distribution of press releases
• Maintaining a liaison with the press
• Assisting in fundraising activities

ART DEPARTMENT

Production Designer
Working under the supervision of the director and in coordination with the Art Director, the Production Designer develops, coordinates, facilitates, and oversees the overall design of the production, i.e. anything that will appear in front of the camera. The Production Designer acts as a supervisor to the makeup, hair, and wardrobe departments, and as a consultant to the camera, art director, special effects, and compositing departments. Specific duties will include:
• Early development of attitude boards for characters, locations, scenes, etc.
• Coordinate the work of the costume designer, production designer, and compositors with the DP and the director.
• Supervise the work of the publicity designer
• Supervise the creation of title sequences and credits

Art Director
Working under the supervision of the director and in coordination with the Production Designer, the Art Director develops, coordinates, facilitates, and oversees the design of the sets, whether on stage or practical locations. The Art Director supervises the work of the construction crew, set decorating crew, and property department in conjunction with the director and DP. Specific duties will include:
• Participation in location scouting recces
• Design of sets
• Supervision of set construction and dressing
• Coordination, via the art director, with the make up, wardrobe, camera, property, and compositing departments

Publicity Designer
Working under the supervision of the director and in coordination with the art director and the publicist, the publicity designer develops, coordinates, facilitates, and oversees the design of publicity materials including posters, promo shots, and the website. Specific duties will include:
• Design and implementation of production website
• Design of posters and other promotional materials
• Design of Electronic Press Kit materials
• Design of DVD

Key Makeup Person
The key makeup person applies and maintains the cast’s makeup. Specific duties will include:
• Applying makeup to cast members
• Maintaining actor’s makeup during shooting, in coordination with the script supervisor and the continuity stills photographer

Key Hairdresser
The key hairdresser dresses and maintains the cast’s hair. Specific duties will include:
• Dressing cast members hair
• Maintaining actor’s hair during shooting, in coordination with the script supervisor and the continuity stills photographer

Costumer Designer
The costume designer works under the supervision of the director and the art director to design, obtain, assemble, and maintain the costumes for a production. Specific duties will include:
• The development of costuming concepts and design of costumes
• Coordination with the art director, production designer, and DP
• The obtaining of all costume components
• The final assembly of all costumes
• The maintenance of all costumes

Set Costumer
The set costumer works as an assistant to the costume designer, helping to assemble and maintain the costumes, and also managing and facilitating the use of the costumes during production. Specific duties will include:
• Assist the costume design in design, obtaining, and assembly of costumes
• Organization, maintenance, and management of costumes
• Helping the actors change

Property Manager
The property manager works in coordination with the art director, production designer, and DP to gather, maintain, and manage all the props for a production. Specific duties will include:
• Seeking and obtaining props
• Maintenance and management of props

Set Decorator
The set decorator works closely with the art director, production designer, construction foreman, and DP to dress and decorate the sets. Specific duties will include:
• Painting, draping, arranging props
• Small-scale landscaping

CAMERA DEPARTMENT

Director of Photography
The DP, or Cinematographer, is the camera and lighting supervisor on the production. DP is in charge of the visual look and design of the entire movie. This means figuring out, with the Director during Preproduction, how to visually bring the script to life and how that should be photographed. DPs involvement is now pushing into postproduction as well to insure that the visual design is being executed or to help decide revisions to that design. Understanding the “workflow” of the imagery, and the creative and financial implications of that workflow from production through postproduction, is becoming increasingly crucial. Besides overseeing the work of the camera crew, the DP is also assisted by the grips and electricians in preparing the technical aspects of recording an image on film or CCD. Specific duties will include:
• Operation of cameras
• Coordination of lighting, angle, motion control, media, settings, etc.

Camera Operator
The camera operator assists the DP in camera operation. Specific duties will include:
• Operation of cameras
• Focus marking & pulling
• Maintenance and management of camera equipment

1st Assistant Cameraperson
The 1st AC assists the DP in camera operation and maintenance. Specific duties will include:
• Operation of cameras
• Slating & loading
• Focus marking and pulling
• Preparation, Maintenance and management of camera equipment

2nd Assistant Cameraperson
The 2nd AC assists the DP in camera operation and maintenance and works in coordination with the script supervisor in naming, slating, and logging shots and reels/tapes. Specific duties will include:
• Slating & loading
• Preparation, Maintenance and management of camera equipment
• Maintenance, labeling, logging, and safekeeping of reels/tapes

Continuity Stills Photographer
The continuity still photographer uses a digital still camera to establish continuity referents for each shot covered in a day of shooting. These shots are cross-referenced with the script supervisor’s log for accessibility on set. Specific duties will include:
• Taking pictures of each shot covered, with particular attention to in-point and out-point of a shot. This means a photograph should be taken before the director says “action,” and immediately after the director says “cut.” These photographs should not use a flash…
• Daily cross-referencing with script supervisor to ensure accessibility of continuity stills during production

Production Still Photographer
The still photographer documents the production by taking still photographs. These pictures are used for documentary and publicity purposes. Specific duties will include:
• Taking pictures of set operations, poster shots, portraits, etc

Documentary Videographer
The documentary videographer captures “behind the scenes” footage for the Electronic Press Kit and other documentary purposes. Specific duties will include:
• Filming set operations
• Filming interviews with cast and crew

ELECTRICAL

Gaffer
Also sometimes called the lighting designer, the gaffer is the chief electrician who supervises set lighting in accordance with the requirements of the DP. Specific duties will include:
• Lighting of sets and locations
• Maintenance and management of lights and lighting equipment
• Specialized electrical work such as generator operation

Best-Boy Electric
The best-boy electric is the chief assistant to the gaffer in the lighting of sets and the operation of electrical systems. Specific duties will include:
• Lighting of sets and locations
• Maintenance and management of lights and lighting equipment
• Specialized electrical work such as generator operation

Electrician
The electrician works under the direction of the Gaffer in the lighting of sets and the operation of electrical systems. Specific duties will include:
• Lighting of sets and locations
• Running electrical cabling and distributing all electrical power
• Maintenance and management of lights and lighting equipment
• Specialized electrical work such as generator operation

PRODUCTION SOUND

Mixer/Recordist
The mixer, aka recordist, is the on-set/on-location sound engineer responsible for the recording of production sound and any sync-related on-set sound mixing and playback. Specific duties will include:
• Supervising capture of audio onto various devices from various sources
• Maintenance and management of on-set sound equipment
• Assist in the recording of ADR, foley, & music during postproduction

Boom Operators
The boom operators work under the supervision of the mixer/recordist in the recording of production sound, holding mic booms, placing mics, holding cables, and operating various recording devices. Specific duties will include:
• Holding mic booms and cables
• Headphone monitoring of mics
• Mic placement, set-up, and tear-down
• Operation of recording devices

Sound Assistant
The sound assistant acts mainly as a liaison between the mixer/recordist and the script supervisor, managing and logging media assets. Specific duties include:
• Labeling, Maintenance and management of tapes and media.
• Report of tape/shot info to script supervisor for log
• Maintenance of tape logging forms

SET OPERATIONS

Key Grip
The key grip works with the gaffer in setting and cutting lights to creating shadow effects for the set lighting and supervises camera cranes, dollies, platforms, and “wild wall” movements according to the DP. Specific duties will include:
• Creating shadow, reflection, reduction, and diffusion effects
• Supervising dollie, crane, and other camera movement
• Maintenance and management of grip equipment

Best-Boy Grip
The best-boy grip is the chief assistant to the key grip, aiding him/her in rigging, cutting light, and carrying out camera movements. Specific duties will include:
• Assisting the key grip in light cutting, reflection, and diffusion
• Assisting in the various technical set operations required by the DP

Set Ops Grips
The set ops grips are assistants to the key grip, aiding him/her in rigging, cutting light, and carrying out camera movements. Specific duties will include:
• Assisting the key grip in light cutting
• Holding flags and bounces
• Laying dolly track
• Assisting in the various technical set operations required by the DP

Dolly Grip
The dolly grip is the chief grip responsible for operating the camera dolly, usually in conjunction with the best-boy grip. Specific duties will include:
• Operating the camera dolly

Construction Foreman
The construction foreman works in coordination with the art director, production designer, DP, and set dressers, overseeing the construction and demolition of sets, special equipment, car mounts and platforms. Specific duties will include:
• Coordination and collaboration with the production designer on the design of sets
• Supervision of the construction of sets
• The construction and implementation of special equipment such as camera jibs, dollies, or car-mounts
• The demolition of sets and equipment

Construction Grips
The construction grips aid the construction foreman in set construction and demolition. Specific duties will include:
• The construction of sets
• The demolition of sets

EDITORIAL

Editor
The editor works under the supervision of the director and executive producer to assemble the film. Specific duties will include:
• The assembly of the footage into successive cuts until a final cut is reached
• Assist the DP with color correction and other post-production effects
• The output of the final cut to several formats

Assistant Editor
The assistant editor works as an assistant to the editor, helping him/her with by logging and capturing footage, organizing and managing media in coordination with the script supervisor’s log. Specific duties will include:
• Logging and capture media
• Preparing offline edit timelines for the director
• Managing media in coordination with the script supervisor’s log
• Maintaining a system of backups
• Assisting with compression and multi-format output

COMPOSITING

Lead Compositor/Visual Effects Supervisor
The lead compositor works under the supervision of the director, DP, and art director and in coordination with the editor to design and implement compositing effects. Specific duties will include:
• Supervision of all compositing work
• Assist the art director and DP in the creative and technical design of composite shots
• Implementation of composite shots

Compositors
The compositors work under the supervision of the lead compositor and the art director to implement compositing effects. Specific duties will include:
• Digital scrubbing and cleaning
• Implementation of composite shots

POSTPRODUCTION SOUND & MUSIC

Sound Designer, a.k.a. Sound Editor
The sound designer, working in conjunction with the director, is responsible for the ideation and creation of the overall soundtrack of the film. The sound designer supervises the mix of music, dialogue, ADR, foley, and sound effects. Specific duties will include:
• Sonic mis-en-scene
• Realization of sound effects, textures, and landscapes
• Supervision of the mix for various output formats

Composer
The composer writes original music to be heard in the film, both diagetic and nondiagetic. Specific duties will include:
• Writing music as demanded in both pre and postproduction
• Supervising the recording of the music

Mixing Engineer
The mixing engineer, under the supervision of the sound designer, mixes the overall soundtrackinto its final mixes for a variety of output formats. Specific duties will include:
• Mixing sound in stereo and/or multi-channel formats, for home system and theatrical release
• Preparing final mixes for mastering
• Mastering audio

Foley Artist
The foley artist creates sound effects to accompany specific visual objects, movements, and sound sources, such as footsteps or punches. Specific duties will include:
• Generating and recording sounds to accompany specific on-screen sound sources