I. The Script

Script Breakdowns:

• A breakdown sheet is a valuable tool that helps you organize and categorize your production details:

  • The crew

  • On-camera talent

  • Locations and sets

  • Props, wardrobe

  • Stunts

  • Explosives

• Each scene requires its own breakdown sheet, and includes any or all of the following components:

  • The script’s title and scene number

  • The date of the breakdown sheet

  • The page number of the script

  • Brief scene description

  • Cast with speaking parts

  • Makeup and hair:

    • Normal makeup and SFX, such as wounds or aging, wigs or facial hair

  • Wardrobe:

    • Any clothing pertinent to a scene, like an outfit or torn shirt

  • Set dressing or furnishings:

    • On-camera items on set are not handled by the character

  • Props:

    • Anything handled on-camera by a character in the scene, like a telephone

  • Special effects:

    • From explosions to blood packs to extra lighting

  • Stunts:

    • Falls, fights, explosions; may include a stunt coordinator

  • Special equipment:

    • Jibs, cranes, a dolly, Steadicams

  • Equipment:

    • Audio and video equipment and extras, grip, electricity, cables, etc.

  • Extras:

    • Any nonspeaking people in the scene or background

  • Day or night:

    • This determines the choices of equipment and gear

  • Vehicles:

    • On-camera cars or other vehicles in the scene or as background

  • Animals:

    • Any animal that appears in the scene comes with a trainer, or wrangler, who takes charge of the animal during production

  • Interior or exterior:

    • Shooting inside or outside

  • Location:

    • A constructed set or a real location

Production Book:

• The traditional production book is kept in a three-ring loose-leaf binder, with dividers for each section

• On a small project, the producer keeps their own book and updates it regularly

• On a larger production, usually, a production assistant (PA) or production coordinator is put in charge of making multiple copies of production books for the key production personnel, giving everyone the same updated information

Equipment List:

• Each member of the crew either provides their own equipment as part of the contract at an extra rate or gives an equipment request to the producer, prior to the shoot

• Special production equipment needs to be arranged in advance of the shoot, and might include:

  • Cameras and lenses, screens, tripods, batteries, video stock, etc.

  • Sound, extra mics, mixers, booms, windscreens, lavs, wireless bodypacks, etc.

  • Grip and electric with cables, extra power sources, generators, cords, gaffer’s tape, etc.

  • Walkie-talkies

  • A dolly and tracks

  • Additional cranes and jibs for cameras

  • Steadicam mounts

  • Explosive devices

  • HMI and other lights, gels, stands, and neutral-density gels

  • Camera cars

  • A video monitor for each camera

  • Teleprompters

The Look and Sound of Your Project:

• Your visual approach provides important clues to the viewer

• Shooting original footage is not your only option. Producers of all programming genres make clever use of components such as stock footage, stills, photos, archival or historical footage, text, documents, or graphics in postproduction either to augment or replace the original footage. These elements can also add visual and audio effects and textures to the overall look

• The audio impressions you create are no less important. Sound can create subtle, even subconscious effects; though an audience isn’t always conscious of what they hear, they get an audio impression

• The many elements of sound can be designed and enhanced in postproduction

• Sound design can contribute to your essential narrative beats, or it can be distracting if it’s not done well

• Elements that contribute to the overall visual aesthetics:

  • Lighting

  • Camera lenses and angles

  • Video or film stock

  • Wardrobe

  • Makeup

  • Props, and set design all contribute to the overall visual aesthetics

Storyboarding and Floor Plans:

• The next step is to plan out how you’re going to shoot each scene. A scene, for example, might call for one long shot, or it might require master shots, individual close-ups, pans, two shots, and cutaways. These shots are planned to fit together later in the editing process. By the time you actually shoot each scene, you will have totally planned it out

• Not all projects can be storyboarded; many reality-based shows are shot with little or no advance knowledge of the shooting circumstances

• Storyboards:

  • Sketches in numbered boxes that illustrate the details of the scene to be shot

  • Each drawing represents a scene or shot number from the script

  • When the image or camera angle changes, so does the content of the box

  • Most storyboards are minimal black-and-white line drawings, although they can be:

    • Full-color illustrations

    • Photographs

    • Animation

  • They save time and money by providing:

    • A visual synopsis of the scenes to be shot

    • The look and feel of the set or location

    • The location of one character to another and their actions

    • Colors, textures, and mood of a scene

• Floor plans:

  • Provide an overhead view of what you plan to shoot, as well as the space around it

  • In complex, highly detailed projects, a floor plan can augment or replace the storyboard

  • It shows where the cameras and microphones are placed, as well as the lights, the actors, furnishings, set walls, and more

  • A floor plan helps the various department heads see what’s needed for that scene

  • Because a floor plan shows the camera placements and shooting angles, it helps the DP plan how to best block the actors

Shot List:

• When the producer carefully studies the storyboards, they can then put together a shot list. This is a detailed list of each shot that’s part of a scene or specific sequence

• Most shot lists are made on set after a blocking rehearsal; when time allows, they’re ideally put together prior to the day of the shoot

• The shot list is distributed to the camera and audio crew, as well as to other crew members who are directly involved in the shoot

• The shot list uses a specific language that everyone understands to describe the shot that is needed:

  • ECU:

    • Extreme close-up

    • Eyes or mouth, or part of an object

  • CU:

    • Close-up

    • The whole face or the entire object

  • MS:

    • Medium shot

    • An upper torso or an object in part of its surroundings

  • MWS:

    • Medium wide shot

    • Most or all of a body or group of objects

  • WS:

    • Wide shot

    • An entire body or larger grouping of objects

  • EWS:

    • Extreme wide shot

    • Many bodies or shots of horizons, buildings, skylines, etc.

Production Meetings:

• Prior to the meeting, you’ll create an agenda and make copies of documents or plans to be discussed

• After the meeting, send out a memo and outline what was said and agreed upon

• Production meetings generally include key people like:

  • Producer(s)

  • Director

  • Line producer

  • Production manager

  • Whoever else you want to be involved

• Two areas stand out as particularly important, regardless of the size of your production:

  • The production meeting is called by the producer and invites any key positions

  • Go through the schedule together, step by step, and discuss

  • If your project is scripted, or benefits from rehearsal time, do a read-through of the script with the cast and crew

• Everyone’s encouraged to give notes or comments, while you:

  • Listen

  • Set priorities

  • Delegate jobs

  • Take care of business

II. The Talent

• Regardless of the genre, you’re producing, it’s virtually impossible to have a project without on-camera talent; they are the backbone of your story and can give your project credibility and energy, and provide a connection with a viewer

• Talent can apply to:

  • A world-famous actor

  • An on-camera news anchor

  • A game show host

  • Real-life subjects in a documentary who have never been on camera before

  • A man on the street

  • Children

  • Animals

  • Extras

Casting Talent:

• Casting Directors and Agencies:

  • Specialized talent agencies and casting directors work with producers and directors to help them find the right face, voice, or special skill for a project

  • Some casting professionals work only with actors, while others specialize in casting “real people” or extras for a crowd scene or atmosphere

  • The producer first contacts the casting director and outlines the project’s needs. Then the casting director calls agents, places ads, and/or posts notices for a casting call. Audition space is rented and times are set up. Auditions are held in a rehearsal or casting space; the producer may shoot videos and/or stills and review them later when he’s making final casting decisions

  • Casting directors keep files on their clients:

    • The actors’ resumes and headshots

    • A reel with examples of their work

  • Casting directors are familiar with:

    • Their clients’ skills

    • What other roles they’ve played

    • Their work ethic

  • A good casting director:

    • Maintains solid relationships with talent agents, other casting directors, and talent managers

    • Can often help in negotiating overall talent fees and work conditions

• Guerilla Casting:

  • For low-budget projects, you can post your own notices and hold casting auditions in spaces that are inexpensive or free:

    • Write a short description of the part(s) you’re casting, the audition date, time, and location, and a phone number or email address to get more information

    • Advertise your casting call in local newspapers and community penny savers

    • Many towns and cities have websites with cultural links. Surf these sites for possible venues to post your audition notice or to find talent

    • Attend local theaters, high school, and college plays, churches or synagogues, or youth groups that put on plays. Look for talented actors who stand out. Ask for permission to post a notice on their bulletin boards

    • Post an audition notice in local film, television, and new media schools

    • If you want “real people,” your local grocery stores, health clubs, block associations, PTAs, or hardware stores might have a bulletin board for posting your audition notice

    • Consult with other producers and directors who work regularly with talent

• Casting Calls and Auditions:

  • In an audition, you and/or your casting director will:

    • Find a comfortable space for auditions. The room should easily accommodate you, possibly a director, assistant producers, and the talent. Check the room temperature, the acoustics, the amount of light, and its overall comfort factor. If needed, set up extra lighting. Supply water and enough chairs. Assign someone other than the producer or director to read any additional parts with the actor. You also want an ample waiting area outside the audition room. Assign a “people person” to the waiting area to keep the talent relaxed. Provide water and snacks

    • Schedule the audition. It helps if you time the reading yourself - read the part(s) and see how long it takes to read it a couple of times, then add five to 10 minutes for conversation before and after. Consolidate the auditions by scheduling each actor for a specific time. Build flexibility into your plan; working actors often have several auditions a day, and some readings go longer than others

    • Keep a log of those auditioning. List their name, agent (if any), phone number, email address, and the part they’re auditioning for. Keep track of the talents’ photographs (headshots) and their resumes

    • Make the script available. While they’re waiting to read, give actors the pages from the script that they’ll be reading (also called sides). This gives them time to get comfortable with the audition material. Or ask them in advance to prepare a monologue for the audition

    • Videotape the audition. A taped audition gives you a chance to review an actor’s performance later, and compare it with other actors’ performances. Take close-ups of facial expressions and wide shots for the overall performance and body language. After each actor leaves, make notes and label each headshot and tape to avoid confusion

    • Be patient with children. They can be a casting challenge, regardless of their age or professional experience. Keep the environment calm and provide games, crayons, and books. Assign at least one PA to keep the kids occupied and the parents calm

    • Arrange for callbacks. After the auditions, you’ve hopefully found actors or talent who you want to see again for a second reading; these repeat auditions are known as callbacks. It’s not unusual to call an actor back two or three times. The general rule, especially if the actor is a member of SAG, is to pay the actor a fee after three callbacks. When you’ve narrowed your choices down, audition potential cast members together for a reading

    • Actors deserve respect. Any talent you have rejected is worthy of a polite phone call or personal email. They may not have been right for this project but could be perfect for another one in the future

Hiring Talent: Union or Non-union?:

• Most experienced and professional actors belong to unions such as SAG, AFTRA, and Actors Equity for theatre, which impose specific rules under which the actors work

• An independent producer, production company, network, or studio may take the steps necessary to become a union signatory, meaning they’ve agreed to comply with the guidelines and regulations of the union. And because a well-known actor can be the biggest selling point for your project, it’s often worth becoming a union signatory and paying the actor’s much-higher fees in exchange for the benefits you’ll see at the box office

• A low budget can limit producers, often requiring them to work with non-union talent, thus avoiding the:

  • Additional salaries

  • Expenses

  • Paperwork

  • Residuals

  • Pension

  • Welfare

Union Actors:

• Often, there may be a SAG representative on the set. They are employed by the union to resolve any contract disputes or member complaints and deal primarily with the producer on a day-to-day basis in this regard

• Most producers work closely with the unions and can negotiate the requirements which usually include:

  • Rate of pay:

    • Daily, weekly, or per-picture rates

  • Per diem:

    • When on location and away from home, a daily allowance to cover meals, transportation, and other production-related expenses

  • Speaking lines:

    • All on-camera parts with or without lines have their own pay scale

    • Additional recording and rerecording time may also be required at a later date

  • Screen credit:

    • The actor’s credit itself, its placement on the screen, the order of the name’s appearance among other actors, and other union or contractual agreements

  • Turnaround time:

  • Usually a 12-hour break of time between the end of one shooting day and the call time for the next day

  • Meals and breaks:

    • Talent must have regularly scheduled breaks to eat and relax

  • Wardrobe stipends:

    • A fee is paid to actors who provide their own wardrobe

  • Specific requirements:

    • Child actors work fewer hours than adults, and if they are absent from school, require a tutor, parent, or social worker to be with them at all times

  • Benefits:

    • Additional monies are paid to an actor for things like P&W (pension and welfare) and worker’s compensation

  • Travel:

    • There are specific guidelines detailing an actor’s flying status, such as first-class only, or no red-eye flights

Non-Union Actors:

• Actors who are not members of an actors’ union deserve the same respect and base salary, whenever possible, as those actors who are protected by their unions

• Producers are not required to pay them union benefits, and there are fewer restrictions for on-set hours or turnaround time

• Producers do have an ethical responsibility to treat everyone fairly, regardless of their union status

Real People:

• The popularity of reality-based programming, and the comparatively low costs of these shows, have increased the demand for talent who are “real people”

• Most have never appeared on-camera and are therefore not union members

• It’s up to the producer to play fair, go over all deal memos and contracts with the talent involved, and avoid any complications or potential claims later on

Stunt Actors:

• Some actors do their own stunts, but most use a stunt double for dangerous action like a fall from a building or a fistfight

• If a stunt is dangerous or complicated, a stunt coordinator is hired to plan and oversee the stunt actor’s work

• Most experienced stunt performers belong to stunt associations covered by SAG

Extras and Background:

• Most programs feature people milling in the background, walking on a street, getting into buses, driving cars, and eating at other tables in a restaurant scene. These extras add a layer of dimension and credibility to a shot

• Depending on the scene, extras can be professionals in SAG or are hired by casting agencies or nonprofessional locals

• Extras are scheduled and rehearsed just like actors with larger parts

Actors’ Staff:

• An actor might bring their own people into a production. In certain situations, the production pays these salaries and provides accommodations and workspace

• These extra personnel might include:

  • Hair and/or makeup:

  • Knows the cosmetic (and emotional) needs of the actor

  • Wardrobe designer or stylist:

    • Maintains the talent’s specific wardrobe “look”

    • Keeps track of clothing

    • Mends and cleans the clothing needed

  • Wrangler:

    • Has expertise in training or managing talent, and might be a wrangler for an animal or a child actor

  • Personal trainer:

    • Often a necessity when the part calls for an actor’s overall health, sex appeal, or specific physical demands of a part

  • Secretary or personal assistant:

    • Handles requests for personal appearances, correspondence, and phone calls, as well as production-related details

Rehearsals:

• Rehearsing Scripted and Narrative Content:

  • In actor-driven projects, rehearsal time gives the talent an extra advantage. Actors can get more comfortable with the script, the camera blocking, and fellow actors’ individual styles and rhythms

  • Depending on the project, the producer either hires a director who works directly with the talent or rehearses and/or directs the actors himself

  • Not all projects require or have time for rehearsals before shooting, and not all actors want to rehearse; each has their own approach

  • Directors know what they want in a performance, and it is their job to motivate actors to explore their character’s back story, create a specific regional accent, or use distinctive body language to explore the range of their roles

• Rehearsing Unscripted and Reality-Based Content:

  • Whenever possible, documentaries, reality-based shows, talk shows, and sports and live events can often benefit from a technical rehearsal

  • Many nonscripted shows depend on special sets

  • The producer employs their “dream team” to run through all the possible challenges they might encounter during the actual shoot

  • In most talk shows, producers often rehearse with stand-ins or run through special demonstration segments

  • Before the show begins taping, the producer does “look-sees” of every component of the show

• Blocking:

  • Once the action of the actor or “real person” has been determined, the next step is blocking the scene. Blocking looks at the camera’s placement in relation to the actors (or their stand-ins) and their sequences of steps and actions

  • It’s like choreographing a shot and involves the:

    • DP

    • Director

    • Camera operator

    • Lighting director (LD)

    • Lighting crew

    • Audio engineer

    • Producer

  • Blocking considers:

    • Furniture

    • Props

    • Greenery in the scene

    • The relationship between one actor and another

    • How the camera can capture it all

    • What the camera is shooting and from what angle

III. The Crew

• Hiring a full crew can be challenging to both novice and seasoned producers alike:

  • Ask other producers or filmmakers for their recommendations

  • Contact local production crews or national crew-booking companies and ask for crew reels to screen; these reels reveal a visual or aural approach that could be similar to your vision

  • Research television, new media, and film departments in universities that may have talented students who are eager for an opportunity to augment their experience, and may work for lower fees, even academic credit

The Key Production Department Heads:

• The director:

  • The director might be the technical director (TD) who, in a studio setting, works out of the control room. They are generally assigned to multicamera shoots, such as talk shows and live events, and among other responsibilities, direct each camera and “call the shots” as they come into the control room, often creating a line-cut, or rough edit, in the process

  • Under the Directors Guild of America (DGA) guidelines, the director, the AD, and the technical director fall into a separate fee category and pay scale

  • The director can be a strong creative force in the production, supervising the:

    • Writing

    • Casting

    • Rehearsing the actors

    • Crafting the overall aesthetic approach

• The director of photography:

  • The DP is often the first key position to be filled

  • The DP brings the creative vision of the producer and/or director to life

  • They can bring their own experienced people into the production, and helps outline a shooting schedule

  • The DP often owns their own equipment or has relationships with equipment rental companies

  • Whether they actually operate the camera themselves or supervise the camera operator(s), they mastered the essentials of:

    • Lighting

    • Formats of video and film

    • The use of cranes and dollies

• The production manager:

  • The role of the production manager (PM) or unit production manager (UPM) varies in each project, depending on its size and budget

  • Hired by the producer, the UPM might be in charge of breaking down the script and creating a schedule and budget from that breakdown. They keep track of costs and deal with paying the vendors

  • They might also:

    • Negotiate with and hire crew members

    • Supervise the production assistants

    • Arrange for equipment

    • Cover a range of essential details

    • Monitor the daily cash flow

    • Make the arrangements for travel, housing, and meals

    • Applies for shooting permits

    • Oversees releases and clearances

    • Supervises the production activity

• The assistant director:

  • The assistant director (AD) is the on-set liaison between the director, the producer and/or production manager, the crew, and the actors

  • They help to create the shooting schedule and keep the crew in sync with the day’s schedule

  • The AD might also be responsible for timing shows or segments during the taping

  • If there are scenes in which extras appear, they are often in charge of directing their actions

• The production audio engineer:

  • They either own their audio equipment or can lease what’s needed for the project

  • An audio engineer can capture the:

    • Clarity of dialogue

    • Background sounds

    • Special on-location audio

    • Other ambient audio

  • They know how to place and monitor microphones like:

    • Booms

    • Wireless

    • Small clip-on microphones

    • Windscreens

• The production designer:

  • The production designer creates a design for the overall look of the show and works closely with the producer and director to create an environment for the action

  • By finding out what camera shots and angles are planned, they design what will be seen in the camera’s framing

  • They may do all the jobs themselves or hire an art director whose job it is to take charge of building and painting the sets, and/or modifying existing locations

  • Often, a set decorator is also needed to locate items for the set such as:

    • Furniture

    • Lamps

    • Wallpaper

    • Rugs

  • The production designer and/or the art director also decide on:

    • Carpenters

    • Greens specialists

    • Prop masters

    • Painters

    • Other support crew

• The postproduction supervisor:

  • Their overall responsibility is to be well-prepared for the postproduction stage, consulting with the producer in making early decisions about postproduction details:

    • The choice of editor and the editing facility and the software program that’s best for the project

    • The sound designer and the audio mix facility

    • The graphics designer and facility

    • Other postproduction elements

  • In some productions, the postproduction supervisor comes on board during production and:

    • Sets up systems for screening the dailies

    • Organizes, labels, and stores the footage and audio elements

Key Players, Key Teams: The Script, and the Visual, Aural, and Support Teams:

• The Writing Team:

  • Writers and revisions:

    • During the writing process, the original scriptwriter(s) might be teamed up with new writers, replaced because of “creative differences” with the producer or writer, or leave the project because of prior commitments

    • The initial concept of the project can change as part of the creative process, or the client or network makes demands the writer isn’t willing to make

    • Script revisions are generally agreed on in the writer’s contract, either following WGA guidelines or on a fee-per-revision basis

  • Researcher:

    • Most projects require some degree of research

    • Researchers are valuable components in the news or fact-based programs for double-checking sources or backgrounds

    • They might be professionals, academics, or consultants who specialize in specific areas of knowledge, or who are adept at problem-solving

    • Researchers can also be production assistants or other administrative staff who are assigned to specific research needs

• The Visual Team:

  • Storyboard artist:

    • Working with the producer or director, and examining each scene of the script, the storyboard artist translates the visuals onto paper, either by hand or using a storyboarding software program

  • Lighting director:

    • The LD works with or doubles as the DP

    • In some cases, the LD is known as the key gaffer or chief lighting technician

    • They design the lighting for the production, plan where the equipment is best placed, and decide the best lights to use and their wattage

    • On set, the LD supervises the rigging of the pipes and the hanging of lights and also recommends scrims, gels, and patches for various lights

  • Camera operator:

    • Either working with the DP or as the DP, the camera operator shoots the scenes and works with blocking and framing, lighting, and lenses for each shot

    • They also work closely with the audio engineer to make sure that the best audio goes into the camera and onto the videotape or into digital storage

  • Assistant camera operator (AC):

    • The AC helps the camera operator, keeps cam-era batteries charged and available, changes and maintains lenses, and sets up and breaks down the camera equipment

    • The AC also slates each take, works closely with the script supervisor, is in charge of keeping track of tape/film stock, and completes the camera reports for the editor

  • Still photographer:

    • The photographer takes a number of still shots during rehearsal and behind the scenes, as well as on set, for purposes of providing publicity stills as well as creating a photographic archive of the production

  • Gaffer:

    • This lighting specialist works closely with the DP and cameras to set up lights, adjust them during the shoots, supervise and install various gels and gobos, and supervise the electric power sources or generators

  • Best boy:

    • An assistant to the gaffer

    • They work specifically with electrical cables and tie them in safely to a power source or generator

  • Key grip:

    • This main grip works with the physical aspects of setting up the shoot, which includes rigging light stands and C-stands that hold up silks or cycs (hanging background fabric or paper) and installing special equipment such as a dolly and dolly tracks, camera jibs, and cranes, and more

    • The key grip is also primarily responsible for overseeing safety procedures on set, especially in the presence of stunts and pyrotechnics, and supervises the crew of grips

  • Grip:

  • A grip’s responsibilities include pushing the dolly, operating cranes or camera cars, helping with other equipment needs, and setting up, adjusting, and taking down lights

• The Audio Team:

  • Boom operator:

    • In the audio department, the boom operator works very closely with the camera operator and aims the boom at the audio source without getting into the camera’s frame

    • Each camera has its own mic and boom operator

  • Audio mixer:

    • The audio mixer operates the console and separates each source onto a separate audio channel for postproduction mixing

    • The mixer might also “live mix” the sound as it comes into the console; this can make the postproduction audio mix easier or, in some cases, unnecessary

  • Audio assistant:

    • This member of the audio team keeps track of all audio equipment, changes and labels audio tapes, separates the microphone and audio cables from electrical cables, places mics on set or on talent, and often tapes the cables down either to hide them from the camera or to prevent people from tripping over them

• The Production and Administrative Team:

  • Production secretary:

    • As the liaison between the cast, the crew, the producer, and the UPM, the production secretary is often in charge of distributing paperwork such as call sheets, contacts sheets, schedules, paychecks, and other duties assigned per project

    • On smaller projects, the production secretary can also double as receptionist, PA, or even handle the catering

  • Script supervisor:

    • A vital asset to the director, the script supervisor checks that all the planned shots in the script have either been shot or deleted

    • Taking continual notes during the shoot, the script supervisor describes each shot in each scene and keeps notes on all takes

    • They note gestures or movements that need to match another shot

    • They look for matching dialects and dialogue, details in wardrobe, hair, and makeup, and what lens is used

    • The script notes also provide important references and directions for the editor to use later in postproduction

  • Location manager:

    • The location manager looks for and secures locations for the production, negotiates the location agreements and rates, takes care of shooting permits, parking, and on-location catering, and makes sure the location is in good condition after the shoot has wrapped

    • They are the liaison between the location and the producer

  • Catering manager:

    • They are in charge of providing water, coffee, tea, and snacks at all times, as well as arranging for a healthy hot meal at least every six hours

    • The catering manager sets up a table, cart, or vehicle for serving food as close to the production action as possible

  • Transportation manager:

    • The transportation manager is in charge of moving the cast, crew, and equipment from one location to another

    • The production may require the transportation manager to rent the proper vehicles for equipment as well as keep them operational and ready to move

  • 2nd assistant director (2nd AD):

    • This crew member, when needed, assembles the call sheets, sets the call times for the cast and crew, and tells the cast and crew where to show up and at what time

    • They may also direct any action in the background involving extras

  • 2nd-2nd AD:

    • If a situation calls for traffic or crowd control, they may be in charge

    • They also secure the set in whatever ways are necessary and works with the production secretary to coordinate the actors for their arrival on set

  • Production assistant (PA):

    • PAs are on set first, and they leave last

    • They’re available to help in all departments, to do whatever needs doing

    • Most location PAs must be able to drive, often large equipment trucks, understand local parking restrictions, and be trusted to guard expensive equipment

    • Office PAs keep track of budgets, copy and distribute the latest script revisions, help with auditions, take care of talent needs, and often go back and forth between the set/location and the main office

  • Interns:

    • Often college or high school students can work for a semester on a production for school credit while learning in the process

    • They require an intern supervisor to make sure they’re doing their assigned tasks and are also getting a positive and organized learning experience

    • Like PAs, they’re assigned to areas where help is most needed

• The Production Design Team:

  • Set designer (construction coordinator):

    • Works with the production designer and creates blueprints for the set(s), hires the crew to construct it, and supervises the assembly of sets, floors, ceilings, or moveable set pieces

  • Set dresser:

    • Finds, transports, makes, and/or paints all furnishings, including tables, chairs, appliances, or other furnishings that are part of the action on a set or location

    • May require working in advance of the next day’s shoot, and being on call during the shoot

  • Prop master:

    • Supplies all props that are handled as part of the shoot

    • They work closely with the script supervisor to maintain continuity

  • Assistants:

    • Depending on the project, each of the preceding may have one or more assistants working in various capacities

  • Wardrobe designer or stylist:

    • Designs the wardrobe “look,” as well as coordinates all wardrobes needed for the shoot with the production designer, buys or rents the wardrobe, measures and fits the talent, keeps all wardrobe elements in the order of the shooting schedule, and regularly cleans and repairs the clothing or costumes

    • They may sell the wardrobe items after the shoot has wrapped, or handles all wardrobe returns

  • Dresser:

    • Works with the wardrobe department to keep track of clothing

    • Helps the talent change clothing when needed

    • Some productions may require several dressers who often “swing” between wardrobe, makeup, and hair unless they are members of a union with regulations that prohibit this multiple workloads

  • Hairstylist:

    • On set during any scenes that involve talent

    • The hairstylist may create elaborate high-concept hairstyles, design and maintain wigs, or simply be on hand for touch-ups to maintain continuity from one scene to the next

  • Makeup artist:

    • Covers a range of needs from applying traditional cosmetic on-camera makeup to creating special effects such as wounds, prosthetics, facial hair, and more

    • The call time for makeup precedes the shoot time and requires an artist to have an on-set presence

• Additional Production Specialists:

  • The visual effects team:

    • Your project might need a visual effects designer who can create extraordinary effects

    • You might want animation or special graphic design for screen credits and a program title

    • As the producer, you’ll make an assessment of your production needs, and then consult with the designers prior to the shoot

IV. Scheduling the Shoot

• By using storyboards and sometimes a scheduling software program, the producer can calculate what gets shot, when, and where

• The end result is a concise, clear schedule that everyone involved can understand and follow

Shooting Format:

• The rapid expansion of technology in the production of content for TV and new media makes almost anything possible

• You can download your video onto the web with a simple click and can download video from the web into your computer

• If you want to project your finished video piece onto a theatrical screen, the final master can be transferred to a film print

Sets, Sound Stages, and Studios:

• Your project could call for a complex set or may require only a simple set on an inexpensive site

• Control is the main advantage of shooting on a sound stage. There’s a light grid and the lighting can be regulated without interference from clouds or reflections, and electric power isn’t an issue. Outside sounds are nonexistent, and no longer an issue

• A studio or sound stage may come empty, or be fully equipped

• Studios have different policies and rate structures. In most cases, rates can be negotiated

Locations:

• Location shooting can add a specific authenticity and mood to the production and it’s generally less expensive than a sound stage

• The goal of the production manager and/or producer is to group together all the shots needed in one location before moving the cast, crew, and equipment to the next location. This consolidation is called shooting out your location and is a primary saver of time, money, and everyone’s energy

• The producer considers what time is needed to break down the equipment in one location, move it all to the next location, and set up in the new location

• The location might be:

  • A static location:

    • Can be inside someone’s home, an office space, a classroom, a store

    • An outside shot of a building, garage, baseball field, etc.

  • A moving location:

    • Can include a character on a busy street or shooting a day-in-the-life sequence

    • B-roll (extra montage and background footage)

• Locations can have their downsides, too:

  • Space limitations for shooting, production equipment, and areas for the cast and crew

  • No parking space is available

  • Loud construction nearby

  • Involve:

    • Legal agreements

    • Permits

    • Insurance

    • Fees

Location Scout:

• It is the job of the location scout or manager to find locations, negotiate the best price, and draw up location agreements

• The location manager checks that:

  • Whenever possible, the locations are close to one another

  • The location can supply adequate electrical power; if not, a generator must be brought in

  • There is enough space to accommodate crew, talent, catering, and equipment

  • The necessary production equipment can fit into the location, and there are elevators, ramps, and/or loading docks

  • The location can be lit adequately, either with natural light or supplied light

  • The locations are right for the project and reflect a look and texture that’s compatible with the production:

    • The location scout takes stills or videos of the location for the producer

  • A signed location agreement with the owner (or legal representative) of the property is obtained:

    • Some locations charge a fee, but others are free

    • Verify that the production carries adequate liability insurance to cover any damages in the course of the production

    • At the completion of the shoot, the property owner signs a release agreement

  • The audio in the location has minimal noise interference from:

    • Traffic

    • Neighbors

    • Animals

    • Conversations

    • Machinery

    • Air conditioning

    • Schoolyards

    • Construction

Foreign Locations:

• Shooting in a foreign location can lend additional depth or mood to the project

• It might be part of the show’s plotline or theme

• Foreign locations can be less expensive if they offer professional local crews

• Locations such as Canada, South America, Eastern Europe, Australia, Iceland, and New Zealand can help the producer stretch the budget as well as provide viable locations

• In some countries, the weather patterns can also extend a shooting season

Exterior and Interior Shots:

• Most producers prefer to shoot their exteriors, or outside shots before they shoot anything else

• An exterior may be a master shot

• When these exteriors are shot, the production can move on to the interior, or inside shots, with more security

• The exteriors are necessary to establish where an interior shot is taking place. For example, when the outside of an apartment building is shown, we know that the next scene we see inside an apartment takes place in that building

Day and Night Shoots:

• A night shoot can be integral to the storyline - it creates dramatic textures and nuance. It can also increase your budget and overall workload.

• Following is a list of ways for the producer to ease this burden:

  • The look of nighttime can be achieved by shooting during the day, by blacking out or relighting the windows to give the appearance of the night behind the action

  • The producer can schedule all the night shoots consecutively, building in a break for the crew and talent before switching back to a daytime shooting schedule

  • A producer also might divide the day and night shooting into splits, a half-day and half-night schedule

Actors and Talent:

• Depending on the contract you’ve negotiated with the actors’ unions, actors must be paid overtime after they’ve worked for a specified number of hours, usually eight or ten. So, the crew sets up the equipment before the shooting starts and then breaks it all down after the actors have finished their work

• Other talent-related factors you want to take into consideration when you’re scheduling include:

  • Child actors:

    • Union rules require that children have a shorter working schedule, and must have a tutor, parent, or social worker with them at all times, especially if the talent is missing regularly scheduled school time

  • Animals:

    • Using an animal in a shoot requires a special trainer who can prompt it to do tricks and stunts, and who supervises the animal between takes

    • Whenever any animal is on set, the American Humane Association (AHA) must be notified. This mandate even extends to cockroaches

  • Extras and crowds:

    • The producer in charge of the extras will often audition them or find them through other means

    • Then, they will schedule their call time on set, arrange a comfortable waiting area, give them the proper release forms to fill out, and decide who needs wardrobe, hair, and/or makeup

    • While they wait for their scene, extras are provided with food, water, and bathroom facilities; they are usually rehearsed before the shoot

  • Stunts:

    • The stunt category can include tripping on the stairs, a car chase, explosions, gunshots, falls from buildings, and fist fights

    • An effective stunt requires careful design, test runs, and rehearsals, and is generally performed by professional stuntmen and women

    • Stunt work requires rehearsal time as well as fees and additional insurance

  • Convenience vehicles:

    • Some productions require mobile dressing rooms, portable bathrooms, and craft service trucks

    • The transportation captain is in charge of locating the vehicles, negotiating fees, and arranging for their call times on the production

    • If extra insurance is necessary, that information is given to the producer, line producer, or UPM

  • Meals and craft services:

    • Provide healthy snacks, coffee, tea, and water, and make them available at all times, close to the set or location

    • Give everyone a complete, healthy meal at least once a day, ideally every six hours

  • Security/crowd control:

    • If local police are not available, hire a private security company or assign a strong-willed and muscle-bound production assistant (PA) to keep the crowd at a reasonable distance

    • If any of the people milling around might be shot on camera, the person in charge posts a notice, stating that people may be on camera and they have a choice to stay and be photographed or to leave

The Timing of the Shoot:

• You want to keep the production on schedule, so when you’re scheduling, always try to pad your schedule with extra time and add money to the budget. This contingency safeguards the production if you should go over budget or need more time than you originally planned

• All the production elements just listed need to be choreographed into a seamless set of movements for each shooting day. For this to happen, the producer coordinates them, taking into consideration the extra time that’s needed for the:

  • Art department:

    • Building, painting, and delivering sets, furnishings, and props

  • Transportation department:

    • Vans or trucks for loading and transporting equipment, sets and set dressings, the crew, and the talent

  • Setup:

    • Prelighting and camera blocking, loading in sets, equipment, and furnishings

  • Break down:

    • Disassembling equipment and sets after the shoot are completed, and either taking much of it to the next location, disposing of it, or returning it

  • Hair/makeup:

    • Some actors or shots need additional prep time

Production Report:

• At the end of each day’s shoot, a summary of what was shot that day is compiled in the production report (PR)

• The production report is often (but not always) prepared by the same person who is responsible for the call sheet

• It includes:

  • Call times

  • Scene numbers

  • Deleted shots

  • Setups

  • Video and audio reel numbers

  • The crew members involved and the hours they worked

  • The locations

  • Meals served

  • Equipment and vehicles

  • Delays or accidents on the shoot

Summary

• Your project can only be as good as the people on your team. They are essential to your project and integral to the actualization of your vision. You want to work with people who believe in your vision, share your work ethic, and are compatible with you as well as with other members of the technical and creative crew. This team can bring your project to life when the production stage begins

Review Questions:

1. What are the primary elements included in a breakdown sheet?

2. How does a producer benefit by keeping a production book for each project?

3. What is the difference between a storyboard and a floor plan? How do they each augment a project?

4. What steps would you take to cast your project?

5. Who are the key production heads in most productions?

6. What does the location manager contribute to production?

7. Name five support crew members who you might use in your production

8. Discuss the pros and cons of shooting on location or on a sound stage

9. What is the difference between working with child actors and adult actors?

10. Name 10 areas of preproduction that are important to double-check