Casting Crew - Job Descriptions | Film Production

1. Movie Producer 
2.  The Producer runs the film making business as they help the screenwriter write the script, casting directors to find the cast, hire the crew for the production, and find the money to make the movie happen.  Have you ever wanted to know what all the crew jobs needed to make-up a movie, TV show, or commercial are?  Check out this list of Crew Positions and job descriptions!  Hopefully, if you were ever interested in joining the film/tv industry, then this will give you an idea of each of the crew members’ responsibilities.
3. Production Office
4. The production office is referred to as the “front office” and includes staff such as the production manager, production coordinator, and their assistants; the accounting staff; the assistant directors; sometimes the locations manager and assistants. The following are jobs within the production office:  Production Manager  Production Coordinator  Assistant Director (1st and 2nd)  Production Assistant  Script Supervisor
5. Production Office 
6.  Production Manager: 
7. Supervises the physical aspects of the production (not the creative aspects), including personnel, technology, budget, and scheduling. It is the production manager’s responsibility to make sure the filming stays on schedule and within its budget. The production manager also helps manage the day-to-day budget by managing operating costs such as salaries, production costs, and everyday equipment rental costs. 
8.  Production Coordinator: 
9. The information nexus of the production. Responsible for organizing all the logistics from hiring crew, renting equipment, and booking talent. 
10.  Assistant Director (1st and 2nd ): 
11. Assists the production manager and the director. Generally, in charge of overseeing the day-to-day management of the cast and crew, including scheduling, equipment, script, and the set. 
12.  Production Assistant: 
13. Assists the first assistant director with set operations. They also help in the production office with general tasks. 
14.  Script supervisor: 
15. The Script Supervisor is also known as a “continuity person” who keeps track of what parts of the script have been filmed. The Script Supervisor makes notes of any deviations between what the director filmed and what appeared in the script.
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17. Lighting/Electrical Department 
18.  Grips: 
19. The grips are the lighting and rigging technicians. They function as a cross between a mechanic and a construction worker on the set. 
20.  A grip’s job responsibilities include: working closely with the camera department, especially if the camera is mounted onto a dolly or crane; work closely with the electrical department to put in lighting setups necessary for a shot.  Grips do not work on the lighting (they are not technically electricians) but handle all other essential equipment.  Grips are responsible for all “rigging” on the set, including lighting equipment rigged over actors and crew, working with pulleys, steel cables, accountable for all safety on the film set as it relates to the material they work with on the production. There are several grip positions:
21. Grip Positions 
22.  Key grip: 
23. The foreman of the grip department. Overseas the work and responsibilities of all of the grips on the set. 
24.  Best boy grip: 
25. Assists the key grip but assumes more responsibility for the hiring and scheduling of the crew; oversees the rental of the equipment on the set. 
26.  Dolly grip: 
27. Operates the camera dollies or camera cranes. 
28.  Gaffer: 
29. Head of the electrical department (sometimes called the chief lighting technician). Works closely with the director of photography. 
30.  Best boy electric: 
31. Assistant to the gaffer. Generally responsible for the daily running of the lighting, hiring, and scheduling of the crew, coordinating the rigging crews (depending upon the size of the production).
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33. Art Department 
34.  The art department is responsible for the overall look of the film.  In a notable movie, it can include hundreds of people.  Generally, there are several sub-departments, including an art director and set designers; the set decorator; the props master; the construction coordinator; the key scenic artist.
35. Production Designer Production Designer works directly with the director and producer to select the settings and style to tell the story visually. Begins work in pre-production, working with the director, producer, and director of photography to establish the visual feel and aesthetic needs of the project. Works with the costume designer, hair and make-up stylists, special effects director, and location manager to develop a unified visual appearance to the film. The following positions work under the production designer:  Art Director  Set Designer  Set Decorator  Buyers  Set Dresser  Props Master  Props Builder
36. Positions under Production Designer 
37.  Art Director: 
38. Directly oversees artists and craftspeople, such as set designers, graphic artists, and illustrators who assist in the development of the production design. 
39.  Set Designer: 
40. A Set Designer is a draftsman or architect who realizes the structures or interior spaces called for by the production designer. 
41.  Set Decorator: 
42. In charge of decorating the film set, including furnishings and all other objects that will be seen in the film. They work closely with the production designer and coordinates with the art director. 
43.  Buyers: 
44. Work for the set decorator. They are responsible for locating and purchasing or renting the set dressing. 
45.  Props Master: 
46. The Prop Master is in charge of finding and managing all of the props required for the shooting of the film. 
47.  Props Builder: 
48. Builds the props used for the film. Props builders are often technicians skilled in construction, plastics casting, machining, and electronics. 
49.  Set Dressers: 
50. A Set Dresser is responsible for the placement of all furniture, drapery, carpeting, and all accessories you might find on any particular set. Most of the work of the dressers is accomplished before the crew arrives and after filming. Generally, one or more set dressers remain on the set during filming.
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52. Construction Department 
53.  Construction Coordinator:
54. Oversees the construction of all the sets. The coordinator orders materials to schedule the work and supervise the (often sizeable) crew of carpenters, painters, and labourers. 
55.  Head Carpenter: 
56. The head carpenter is the foreman of a “gang” of carpenters and labourers. 
57.  Greens: 
58. A specialized set dresser is dealing with the artistic arrangement or landscape design of plant material. Sometimes real and sometimes artificial and usually a combination of both. Depending upon the number of greens work in a film, the green man may report to the art director or may report to the production designer.
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60. Camera Department 
61.  Director of Photography: 
62. Is the head of all technical departments on a film crew and is responsible for establishing how the script is translated into visual images based on the director’s request. 
63.  Camera Operator: Works closely with the D.P to determine the composition for each shot as instructed by the director. The primary job of the camera operator is to make smooth pan and tilt moves to maintain the form of the subject and also keeps the action within the frame lines. 
64.  First Assistant Cameraman (Focus Puller): 
65. Knows and understands all professional motion picture camera equipment and accessories currently used in the industry. 1st A.C. Reads the script so that he/she is aware of the story and recommends any unique material that maybe needs to carry out specific shots and is responsible for the overall care and maintenance of all camera equipment during production. 
66.  Second Assistant Cameraman (Clapper/Loader): 
67. Before production, 2nd A.C. Must obtain a supply of empty cans, black bags, camera reports, and cores from the lab or asks the production manager to arrange for these supplies, prepares a list of expendables with the 1st A.C, also preps camera package along with the 1st A.C. 
68.  Loader: 
69. The loader loads and unloads all film canisters during filming. The loader also properly labels all loaded film magazines and cans of exposed film and short ends. Also, it prepares film for delivery to the lab; delivers it to the production at the end of each day. The loader also provides all the necessary tools and accessories that are associated with performing the job.
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71. Makeup Department 
72.  Make-up Artist: 
73. Plays a vital role in the overall appearance of the talent. The goal of the make up artist is to make everyone on-screen look as good as possible. He/she works closely with the director and production team to create the look that is required for the various parts of the movie. The make-up artist also uses their skills to minimize the potential adverse effects of the harsh lighting.
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75. Hair department 
76.  Hair Stylist: 
77. Prepares the performer’s scalp and skin and creates hairstyles that suit production requirements.
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79. Location Department 
80.  Location Scout: 
81. Location scouting is a vital process in the pre-production stage of filmmaking and commercial photography. Location scouts work directly with producers and director have decided what general scenery is required to meet the creative needs of the project outside of the studio space the search for compatible locations begins. Locations are selected both in terms of the “look” they offer. But also the ease of filming in a particular area. Access to a power source, parking, etc. are all important factors the location scout must take into consideration. 
82.  Location Manager: 
83. Is responsible for making all the practical arrangements necessary for filming on location. Duties include but are not limited to creating and entering into location contract agreements, creating parking plans for working vehicles, identifying and arranging for power and water sources, working with affected residents, property owners, and businesses.
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86. Property Department 
87.  Property Master: 
88. Is responsible for the procurement or production, inventory, care and maintenance of all props associated with productions, ensuring that they are all available on time, and with budgetary requirements. They also ensure that selected accessories suit the film style and overall design and that they reflect the production’s time and culture.
89. Presentation slides
90. Video lecture

Cinematography | Film Production

1. WHAT IS CINEMATOGRAPHY?
2. • Cinematography is the art and craft of making motion pictures by capturing a story visually. • Technically, cinematography is the art and the science of recording light either electronically onto an image sensor or chemically onto film. • It is the creation of images you see on screen. A series of shots that form a cohesive narrative. Cinematography composes each shot, considering, where everything in frame demands attention.
3. WHAT CINEMATOGRAPHY CONSIDERS 
4. • Camera Placement • Camera Movement • Shot Composition • Shot Size • Focus • Lighting
5. WHAT DOES A CINEMATOGRAPHER DO? 
6. • A cinematographer or director of photography (shortened to DP or DoP) is the crew chief that presides over the camera and light crews on a film or video production. • They are involved throughout the entire production life cycle and coordinate closely with the director to create the images you see onscreen.
7. WHAT ELEMENTS DO THEY CONSIDER? 
8. • Camera Placement • Camera Movement • Shot Composition
9. CAMERA PLACEMENT
10. • Where they place the camera greatly affects how the audience reacts to the shot, and therefore the rest of the scene. It can have significant emotional impact or even convey character behaviour. • For example, if the story calls for a character to be seen as rude, or ill mannered while out on a date, placing the camera close to the subject’s mouth while chewing would be effective.
11. CAMERA MOVEMENT
12. • Camera movement can heighten the emotion and suspense in a scene. Choose to move the camera with the characters and gain perspective.
13. SHOT COMPOSITION
14. • Composition refers to the way elements of a scene are arranged in a camera frame. Shot composition refers to the arrangement of visual elements to convey an intended message. • One visual element that must be arranged particularly is your actors. Where will they be in the frame?
15. HOW TO STAGE YOUR ACTORS?
16.  • Shot Size • Focus • Lighting
17. SHOT SIZE
18. • How much of the scene is actually seen? Are we in a close-up watching a subject’s face change expression? • Maybe it’s an extreme close-up on a subject’s attire indicating to the audience that they should pay attention to this.
19. FOCUS
20. • Part of a cinematographer’s job is to play with focus to emphasize different aspects of the story. A basic example of this is showing how intoxicated the character is by going in and out of focus.
21. LIGHTING
22. • While there is a separate lighting person, cinematography demands this knowledge. After all, cinematography is what we see on-screen, and how well or horribly the scene is lit is a huge aspect of the craft. • That's a lot to consider! How can you plan all of these decisions, and execute on your vision?
23. Presentation slides (ppt)
24. Video lecture

Screenplay Format | Film Production

1. Screenplay Format Most modern screenplays, at least in Hollywood and related screen cultures, are written in a style known as the Master Scene Format OR Master Scene Script. The format is characterized by six elements, presented in the order in which they are most likely to be used in a script:
2.   1 . Scene Heading, or Slug  2 . Action Lines, or Big pint  3 . Character Name  4 . Parentheticals  5 . Dialogue  6 . Transitions
3. Screenplay Format – Scene Headings 
4. Scripts written in Master Scene Format are divided into scenes: "a unit of story that takes place at a specific location and time". Scene headings (or slugs) indicate the location the following scene is to take place in, whether it is interior or exterior, and the time-of-day it appears to be. Conventionally, they are capitalized, and may be underlined and/or bolded. In production drafts, scene headings are numbered.
5. Screenplay Format – Action Lines 
6. Next are action lines, which describe stage direction and are generally written in the present tense with a focus only on what can be seen and/or heard by the audience.
7. Screenplay Format – Character Names 
8. Character names are in all caps, centered in the middle of the page, and indicate that a character is speaking the following dialogue. Characters who are speaking off-screen or in voice-over are indicated by the suffix (O.S.) and (V.O) respectively.
9. Screenplay Format – Parentheticals 
10. Parentheticals provide stage direction for the dialogue that follows. Most often this is to indicate how dialogue should be performed (for example, angry) but can also include small stage directions (for example, picking up vase). Overuse of parentheticals is discouraged.
11. Screenplay Format – Dialogue 
12. Dialogue blocks are offset from the page's margin by 3.7" and are left- justified. Dialogue spoken by two characters at the same time is written side- by-side and is conventionally known as dual-dialogue.
13. Screenplay Format – Transitions 
14. The final element is the scene transition and is used to indicate how the current scene should transition into the next. It is generally assumed that the transition will be a cut, and using "CUT TO:" will be redundant. Thus the element should be used sparingly to indicate a different kind of transition such as "DISSOLVE TO:".
15. Presentation slides (ppt)
16. Video lecture

5 Basic Steps in Screenplay Writing | Film Production

1. CREATE A LOGLINE & DEVELOP YOUR CHARACTERS • 
2. A great way to start the process is by coming up with a logline: one or two sentences that will encapsulate your story in an intriguing manner. • Now, develop your characters. Write their backstories. Refine their personalities. Think about what makes them tick. • Always make sure that your characters have goals that they need to achieve. The point is that characters having purpose is what makes them interesting. Flat characters destroy scripts. No matter how great your action sequences are or how original your concept is, one dimensional and uninteresting characters will ruin your story.
3. WRITE AN OUTLINE • 
4. An outline (sometimes called a Beat Sheet) is a brief synopsis of your entire story. Try to fit it on one to two pages, and be concise. • Think of the outline as the ‘definition’ of your script. • This is where you should begin to think about structure. • An average screenplay will be about ninety to one hundred pages. • Divide those pages by three. There’s your acts: the first one should introduce your characters and setting and feature an inciting incident that gets the story underway. • The second act is where your characters encounter obstacles as the story escalates into a crisis. The third act is where the crisis becomes climax (think victory or defeat), after which the story slows down and resolves itself.
5. WRITE A TREATMENT • 
6. Treatments are effectively a more in-depth version of your outline. Expound upon it and write your whole story scene by scene in a conventional manuscript style. • Experiment with dialog, or at least make note of what you want your characters to say. • The treatment is where you really start building the world that your story takes place in. • A typical feature treatment will clock in at around thirty pages.
7. WRITE YOUR SCRIPT • 
8. You’ve developed your characters, structured your plot, and have an inspired treatment. • Understand the formatting. Write in the present tense. • Remember to show, not tell: you’re writing for the eyes and the ears. • It’s always a good idea to write in a script editor to help streamline the process, and Celtx Studio features one that is tried, true, and hugely popular (and it’s free).
9. WRITE YOUR SCRIPT AGAIN and again and again • 
10. If you think your first draft is perfect, it’s not (sorry). Go back, read it through, take stuff out, and add stuff in. • Get other people to read it and commit yourself to being open to constructive criticism. Don’t just look for feedback from professionals and editors – lovers of fiction or plain old movie fans can offer advice just as sound as any seasoned screenwriter. • Throw your script out there and surround yourself with the ideas that come back. Always be refining and revising, and just when you think you can’t possibly revise any further, do it again. • It all comes down to practice. Most professional screenwriters complete multiple features before they write a script that sells. A select few hit it out of the park on the first try. All will agree that you need to be dedicated.
11. Presentation slides (ppt
12. Video lecture

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