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... As many of you know, and some of you should, Theatre UAF will be assisting with the production of the independent film "Chronic Town" to be shot in Fairbanks in March 2007 (roughly March 4-March 24). The screenplay was written by a UAF graduate, Michael Hines, who received his MFA in English.
Theatre UAF will be partnering with the filmmaker to set up internships for our students. This internship will include everything from location scouting, and pre-production location management to on-site assistance in each of the separate film departments, including gaff (lighting), sound, camera, PA, and general hands-on-deck work. The film will be shot entirely in Fairbanks, AK. Students interested in being involved with this film shoot are encouraged to register for Theatre F417 Internship in Theatre Practice CRN 34991.
[ An informational meeting about the expectations of this internship will take place on Thursday November 17 from 1-2PM in the Theatre Greenroom (THEA 101). Permission by Instructor is required to register. ]
Or call it YOUR team. If you got it, YOUR people, you are on the way to become a professional. And I mean -- your writer, your camera person, your production manager. You have to have them, the souls, who believe in you. You have to get the best minds you can find. They have to be better than you in THEIR areas. And you have to trust them.
Try to keep at least the min crew: camera, director, producer/PM. More actors are involved, more crew you will need. Documentary style you can shoot by yourself (I still would advise to have Production Manager to save yourself time for cinematography, instead of making all the arrangements and so on).
I decided not to make a page on designers; use the theatre production pages in StageMatrix and SHOWS directories.
Assistant Camera (A.C.):
Responsible for the care and maintenance of the camera and all of its associated
pieces and parts. The first
A.C. works closely with the camera operator and the director of
photography at the cameras, while
the second A.C. loads the film and runs the slate. A director of
photography will often have a favorite A.C. with whom he or she prefers to work.
Assistant Director
(A.D.): An assistant to the director,
the first A.D. runs the set, plans the cost-efficient scheduling of
locations and talent, schedules the days’ shooting and is responsible for
carrying out the director’s instructions. The second A.D. signs actors
in and out, handles paperwork relating to the number of hours worked, and is
usually the person in charge of production assistants.
Art Director: Designs
and constructs sets for the production designer.
Associate Producer: The
top assistant to the producer, usually the intermediary between the
Producer and the shooting crew.
Best Boy:
The head electrician responsible for getting power to the set. Reports to the gaffer.
Camera Operator:
Runs the camera during shooting. On low-budget films, the D.P. may also serve as
the Operator.
Casting Director:
Responsible for supplying actors for the film. Works with the producer
and director.
Craft Services: Provides
snacks, soft drinks, coffee, etc.
Director: Controls
the action and dialogue in front of the camera. Translates the written word into
visuals and dialogue.
Director of
Photography (D.P.): Responsible
for the “look” of the film; works with the lighting director to
set-up shots and camera moves. The D.P. has the ultimate responsibility for
ensuring that each scene is properly recorded on film. Sometimes called the cinematographer.
Dolly Grip: Prepares
the camera dolly and associated hardware, and operates the dolly during the
shoot.
Editor:
Cuts the film and splices it together. There is usually more than one editor on
a large project.
Electrician: A
member of the electrical department; reports directly to the Best Boy.
Executive Producer: Arranges
financing, but may not be directly involved with the day-to-day productions of
the film. This is sometimes conferred upon a studio executive who works with
several projects simultaneously.
Foley Artist: A
sound effects artist who works on a special “Foley” stage where sound
effects are recorded to match visuals such as doors closing, feet walking, and
window breaking.
Gaffer:
Works with the D.P. and the lighting director to light the scene.
Handlesthe equipment.
Grip: Works
with the lighting and camera departments. The backbone of the film shoot, grips
are responsible for moving equipment and generally assisting the production
team. The key grip is the head of the grip department.
Line Producer:
Responsible for keeping the film’s costs down. Approves expenses, including
locations, actors, and crew.
Location Manager:
Scouts locations and negotiates use agreements with property owners. Works with
the transportation captain to make sure there is enough parking at the
location; works with local officials to coordinate shooting schedules, and is
responsible for the condition of the locations after shooting is finished.
Location Scout: Searches
for the perfect locations, both in terms of artistic and logistic
considerations. Often becomes the location manager once production has begun.
Mixer: Takes
care of all sound levels in a studio, on location and in post-production. Head
of the sound department.
Producer: Brings
a specific production together. Chooses the screenplay, arranges financing,
hires a director, helps in the casting process, and is responsible for the
day-to-day operation of the shoot. Is involved with the editing and all
post-production and may also consult on marketing and distribution.
Production Assistant
(P.A.): The runners, ‘gophers’
on the set. The job can include holding back onlookers, getting coffee,
answering phones in the production office, escorting actors to locations, acting
as a stand-in while a short is worked out, or performing any other tasks
required to make the production run more smoothly.
Production Designer: Responsible
for sets, props and costumes. Works closely with the director to determine the
overall ‘look’ of the film.
Production Manager
(P.M.): Makes the business deals,
including hotel/housing, crew hiring, equipment rental and budget management.
The P.M. works with the A.D. on scheduling and review production
reports. The P.M. signs checks.
Production Unit:
The team of the director, camera crew, lighting
department,sound crew, electrician and everyone else who
works on the shoot.
Screenwriter: Writes
a script, either from an original idea or from an existing book or story.
Script Supervisor: Keeps
track of how many takes are made of each shot and scene, how long they ran and
who was in them, and makes detailed notes about what took place, such as; was
her hat on or off? Was the glass half full or empty? This is important so scenes
can be recreated if they need to be re-shot. Also referred to as continuity.
Slate: A
board (usually black and white) placed in front of the cameras at the beginning
or end of each take of each scene, identifying the scene and take numbers.
Special Effects: Can
be either mechanical (breakaway chairs), or optical (in-camera effects like
speeding up the film), computer graphics, or a combination.
Stand-in: A
member of the production team who takes the place of the actor while the director,
D.P. and camera operator set up the shot. Usually a P.A.
Stunt Coordinators: Stages
the stunts and works with the stunt players. Responsible for the safety of all
involved in the filming of a stunt.
Talent Agent: Represents
actors, models and extras and tries to get them work on film, television, video
or still-print projects.
Transportation
Captain: Makes sure everyone gets
to the location. Responsible for all vehicle movement and parking. All drivers
report to the transportation captain.
Unit Manager/Unit
Production Manager (U.P.M.): Assists
the production manager or the company’s business manager with the
day-to-day financial operations of the shoot. Sometimes also functions as a location
scout.
Video Assist: Operates
a small video system called a video tap that records everything the camera is
recording. This allows the director to see what the camera operator sees thus
assuring that the shot looks the way it was planned to.
Wardrobe: Not
to be confused with the costume designer, the wardrobe department handles
the costumes on the set. Usually there is one department for men and one for
women.[ from Glossary ]
Glossary, Hyperlinked to the Subject pages
... come back to fix this page [aa]
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PS
If you can't inspire other people, you are not a director.
How many people work for you? Who does work on your movie right now, when you read it?
If you do not have a crew, while calling for auditions, you are in trouble.
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