Filmmaking

Filmmaking is the process of making a film, from an initial story idea or commission through scriptwriting, shooting, editing and finally distribution to an audience. Typically it involves a large number of people and can take anywhere between a few months to several years to complete. Filmmaking takes place all over the world in a huge range of economic, social and political contexts, using a variety of technologies and techniques.

FILM CREDITS BY ROBERT GLATZER

Below the line go all the production people, the crew members, and the out-of-pocket costs of making the movie, like allocations for location rentals, building sets, purchasing or renting equipment, getting props, recording and editing the sound track, buying film stock and processing it in the laboratory, generating the optical and special effects (now often up to half the total production cost) and the like. The line is not a figure of speech. Every production is described as consisting of "above-the- line" and "below-the-line" costs. Now the fun begins. Who should be listed first? With a few exceptions, there's a predetermined order. The very first credit you see on the screen, just after the lights go down and the theater informs you that this is the feature presentation and you are fortunate enough to hear it in one or another version of Dolby sound, is the name of the studio (Buena Vista, Columbia, Universal, etc.), followed by the name of the production company that actually made the film (for example, Amblin), followed by the name of the investment group that hopes to make a fortune by backing the film (for example, a group of dentists in Minneapolis might call themselves "Whitecaps IV"), usually credited as "in association with." Then the director's first credit, usually "a film by (your name here)," or "a (your name) film." Then come the stars, and then comes the film's title. Sometimes the stars' and director's credits will be reversed, depending on the star's deal with the studio. Then (often) the featured actors, followed by the key production people the casting director, composer of music, production designer, editor, director of photography and then ... And then it gets sticky. We come to the writers and producers (the director will always get the final credit). The film "Quiz Show" listed 11 producers in the opening credits, although in fact there were 14, but three had asked to have their names removed. Variety's story reported that "it required several weeks to work out a viable device for listing all the credits which would be co-producers, executive producers, 'also produced by' producers and so forth. When one refused to go along with the settlement, the entire 'grid' had to be painstakingly reconstructed." Since no film requires 11 producers, much less 14, we can be pretty sure that we're seeing ego at work. Who are these people? Often they're friends, relatives, personal trainers or other hangers-on of the star whose names are added on as a part of the star's contract, a kind of big perk for the "little people." When the film has two or even three big stars, they all may want to do this. Thus the multiplicity of producer credits. When it comes to writers, though, the situation is different and more complicated. The Writers Guild of America allows only three writing credits on a feature film, although teams of two are credited as one, separated on the credits by an ampersand ("you & I"). However, if each of us works independently on the script (the most common system), we are separated by an "and" and credited as "you and I." But wait; you wrote the story on which the script is based, so you get "story by" credit, and your credit for the screenplay precedes mine, even if I wrote most of the script, except that if my script made substantial changes to your story, I'll get first "screenplay by" credit. If more than two of us worked on the screenplay, the credits will probably read something like "screenplay by you & I and he and she." You and I worked as a team, but he and she worked separately. It actually does have a certain logic to it, when you think about it. After all, the movie of "The Flintstones" had by various counts at least 35 and possibly as many as 60 writers who worked on the script. Somehow the system found a way to not list most of them, and for that we can be grateful. The Directors Guild of America permits a film to list only one director, even when it is known that two or more worked on it. Except in very rare cases (a death in mid-production, and it had better be in the very middle of mid-production) there is only one directing credit. This is very good for a director's ego, certainly for the one who gets the credit, but also for the one who doesn't particularly if he or she had started production and then been removed by the producer at the insistence of the star or the studio. The public won

Film Crew

Film Crew or Motion Picture Production Department Titles, Roles, Names, Positions.

ADR Editor

ADR is an acronym for automatic dialogue replacement. In this process the actors are called back during the post-production process to re-record dialogue that wasn't recorded properly during the shoot. The editor supervises this process and matches the newly recorded lines to the actor's mouth on film.

Art Director

The art director, or production designer, designs and supervises the construction of sets for a movie. This person needs to be well-versed in a variety of art and design styles, including architecture and interior design. He or she works with the cinematographer to achieve the right look for the production.

Assistant Cameraman

Often there is a first and second assistant cameraman. The first assistant cameraman is generally responsible for the maintenance of the camera. The first assistant cameraman also changes lenses, maintains focus during shots, marks the spots where actors will stand and measures the distance between the camera and the subject matter. The second assistant cameraman fills out camera reports and is often responsible for loading and unloading camera magazines, which contain the film. Also see film loader.

Assistant Director

The assistant director, also called the AD, or First AD, works to make the director more efficient. The A.D. plans a shooting schedule by breaking the script into sections that can be filmed in a single day and in the most efficient order. During filming the A.D. manages the set, helps line up shots for the director, calls for quiet on the set and coordinates the extras. The assistant director is often a member of the Directors' Guild of America.

Assistant Editor

An Editor that does final edits and credits. (I cant seem to find any information on an Assistant Editors Duties or what ACE means. Please email me if you have a better description.)

Background

Background is the term for the non-speaking extras seen in the background of a scene

Best Boy

There are actually two separate best boy positions -- the best boy/electric and the best boy/grip -- who are second in command to the gaffer and to the key grip. The best boy/grip is in charge of the rest of the grips and grip equipment. The best boy/electric is in charge of the rest of the electricians and the electrical equipment.

Body Make-up Artist

Union rules state that the body make-up artist apply any make-up below the actor's breastbone, or above the elbow (Also see make-up artist).

Boom Operator

The boom operator is a sound crew member who handles the microphone boom, a long pole that holds the microphone near the action but out of frame, allowing the microphone to follow the actors as they move.

Camera Operator

The camera operator is a member of the camera crew and runs the camera as instructed by the director and the cinematographer. The camera operator is responsible for keeping the action in frame, and responding quickly to the action as it unfolds.

Cinematographer

The cinematographer, or director of photography, or DP, helps create the look of a movie. The DP directs the lighting for each scene, helps frame shots, chooses lenses, selects film stock and ensures that the visual look of the film conforms to the director's vision. The cinematographer usually does not operate the camera on set as this is the duty of the camera operator.

Color Timer

The color timer works with the cinematographer. He or she works in the lab to correct and balance the color of the film to the director's wishes for the look of the scene.

Continuity Person

The continuity person keeps a record of how many times a scene was shot, how long the shot lasted, which actors were in the scene, where they were standing and any other intricate details. They try to avoid embarrassing mistakes like disappearing and reappearing items.

Costumer

The costumer, or wardrobe person, takes care of the costumes on the set, keeping them in good, clean condition, and making sure the right actor gets the right costume.

Craft Services

The people responsible for coffee, beverages and snacks on the set. They also perform various small chores.

Day Player

A day player is an actor hired on a daily basis. This actor only has a few lines or scenes. The day player must be notified that they are finished by the end of the day; otherwise they are automatically called back for another day of work.

Dialogue Coach

The dialogue coach helps actors learn their lines and master accents and dialects that are necessary for their roles.

Director

The director is responsible for all creative aspects of a movie. The director usually helps hire actors, decides on locations and plans the shots before filming begins. During filming the director oversees the actors and crew, sets up shots and keeps the movie on schedule and on budget. The director is usually hired by a producer, unless he or she is also producing the film.

Dolly Grip

The dolly grip places and moves the dolly track, then pushes and pulls the dolly along that track. The dolly is a cart that the camera and sometimes its crew sit on. It allows the camera to move smoothly from place to place during a shot.

Editor

The editor works with the director in editing the film. The director has the primary responsibility for editing decisions, but the editor often has significant input in the creative decisions involved in putting together a final cut of a movie. The editor often starts work while the film is still being shot, by assembling preliminary cuts from the daily footage. Increasingly, editors work on computerized editing consoles without touching the actual film.

Executive Producer

A title often abused in the film industry. Ideally the executive producer arranges for the film's financing and tries to keep the project on budget. Increasingly the executive producer credit is given as a perk to a powerful actor's agent or spouse, or some other person who made the project possible.

FX Coordinator

FX is film shorthand for special effects. The job of the FX coordinator differs from film to film. Special effects range from complicated computer animation to helping Superman fly to simple on-set logistics like making a shower work.

Film Loader

The film loader is a member of the camera crew in charge of loading and unloading the camera's film magazines. The film loader also keeps the loading room in good, clean condition.

Foley Artist

The foley artist creates sounds that cannot be properly recorded during the shoot. This often includes creating foot steps, thunder, creaking doors and even the sound of punches during a barroom brawl.

Gaffer

The gaffer is the chief electrician on the set, and is responsible for lighting the set according to the instructions of the cinematographer.

Hairdresser

The hairdresser is licensed to cut, color and style the hair of actors in a production. He or she also styles and cuts wigs when necessary. Usually the hairdresser provides all the necessary equipment and rents it to the production on a weekly basis.

Key Grip

The key grip is the chief grip on the set. Grips create shadow effects with lights and operate camera cranes, dollies and platforms as directed by the cinematographer.

Leadman

The leadman answers to the set designer and heads the swing gang (the people who set up and put away the set) and the set dressing department.

Line Producer

The line producer supervises the movie's budget. This includes unique expenses like a star's salary as well as daily costs like equipment rentals. The production manager reports his or her expenses and needs to the line producer.

Location Manager

The location manager reads the script, decides what locations are necessary for the film, then scouts for them. The location manager visits possible locations and takes pictures to help the director find the best setting. After locations are chosen, the location manager acquires all the permits and permissions necessary for filming.

Make-up Artist

The make-up artist is usually a licensed professional who applies any make-up to an actor above the breastbone to the top of the head and from the tips of the fingers to the elbow. Also see body make-up artist.

Matte Artist

The matte artist is a member of the special effects department who helps create locations that do not exist. He or she constructs backgrounds that integrate with the live action filmed on a set using backdrops, or computers.

Music Mixer

The music mixer is part of the team that prepares the final soundtrack for a movie. The music mixer carefully balances and mixes the film's musical score to integrate with the dialogue.

Negative Cutter

The negative cutter takes the negative of a movie and conforms, or matches, it to the final cut of the film as decided by the director, editor, producer, studio and anyone else who may be involved. Final prints of the film are made from this conformed negative.

Post-Production Supervisor

The post-production supervisor oversees the finishing of a film once shooting ends. He or she attends editing sessions, maintains quality control, and coordinates audio mixing, computer graphics, and all other technical needs.

Producer

The producer finds a script and develops it into a film project. He or she oversees the hiring of the director, actors and technical personnel. The producer also oversees script development and tracks the movie's financial condition during filming.

Production Assistant

Often called a gofer or a runner on the set, the production assistant (P.A.) performs small but essential tasks for the cast and crew.

Production Caterer

The production caterer provides all the meals for a production, especially for on-location shoots. The caterer makes sure that the food provided meets the needs of the cast, often including special items for the star of the movie

Production Manager

The production manager, or PM, makes business deals with the crew and arranges for the production's technical needs. This includes everything from obtaining the right technical equipment to renting accommodations for actors and crew.

Production Office Coordinator

The production office coordinator, (or POC, handles the production's office duties and stays behind when a production goes on location. He or she coordinates the crew, makes sure paperwork gets done and answers the phone. The POC also puts together new versions of the script as changes are made

Production Sound Mixer

The production sound mixer, or recordist, is in charge of recording sound during filming. This person is also responsible for mixing the various soundtracks into the film's composite soundtrack, which is then put onto the film with either a magnetic or optical stripe.

Property Master

The property master finds, maintains and places on the set all essential props for a scene. A prop is a moveable item that is essential to a scene.

Second Assistant Director

The second assistant director (second A.D.) is a liaison between the production manager and the first assistant director. The second A.D. usually works with the cast and crew and handles paperwork, including call sheets (who needs to be on the set and when), actors' time sheets and production reports. This person also helps the First A.D. place extras and control crowds.

Second Unit Director

The second unit director heads the second unit -- a separate production crew that shoots sequences to keep the production on scheudle. These can include background shots at remote locations, shots used for special effects and scenes that are not essential to the plot.

Set Designer

Set Dresser

The set dresser is responsible for everything on a set except props that are essential to the scene. The set dresser selects items like drapes, artwork, bed linens, dishes and anything else, to make the set a realistic environment.

Steadicam Operator

A Steadicam is a body frame that helps the Steadicam operator keep a hand-held camera steady. This allows the Steadicam operator to follow the action without the jerky movement seen in normal hand-held cameras. Steadicam operators need special training and require much strength and energy.

Story Editor

The story editor supervises several story analysts who work for the studios. The analysts read screenplays, books and other literary efforts looking for potential movies. The analyst then writes "coverage" (a synopsis) of the material. The story editor reviews the coverage and passes on promising prospects to the studio bosses for possible development into a motion picture.

Stunt Coordinator

The stunt coordinator lines up professional stunt people for the production. The stunt coordinator also organizes the safety equipment, and makes sure everything is safe and ready to go.

Transportation Coordinator

The transportation coordinator makes sure that actors, crew and equipment have some way of getting to the location shoot. He or she coordinates the use of everything from limos to semis.

Unit Production Manager

The Unit Production Manager or UPM reports the daily financial operation of a production to the production manager. Sometimes the UPM will scout for locations and help the production manager with overall planning.

Unit Publicist

The unit publicist makes sure the media are aware of a production by sending out press releases, arranging for interviews of cast and crew, setting up on-set visits and organizing media kits, which include publicity pictures, video and audio clips and plot summaries.

Visual Effects Director

The visual effects director's job varies according to the needs of the production. Sometimes the visual effects director helps with effects on the set. But he or she could also be called upon to supervise separate teams of effects technicians working away from the set.

Writer

The term "Written By" in the credits is a Writers Guild of America designation meaning "Original Story and Screenplay By." The writer creates and shapes an original story, or adapts a book, play or other work for use on the big screen. A script may go through many writers, so the Writer's Guild of America must often determine who gets screen credit as the Writer.