What is working in the film industry really like



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POSITIONS IN FILM & TELEVISION


ANIMAL WRANGLER (IATSE)

Assistant Animal Wrangler

Head Wrangler
ANIMATION (Non-Union)

Animator Trainee

Storyboard Artist

Silicone Mixer (Stop Motion)

Armature Builder (Stop Motion)

Layout Artist/Inker

In-Between Animator

Flash Animatic Assembler

Digital Background Painter

Animator
ART DEPARTMENT (DGC)

Production Designer
Art Director
Assistant Art Director
Graphic Designer
Draftsperson
Art Department Coordinator
Story Board Artist

Art Department Production Assistant


ASSISTANT DIRECTOR (DGC)
1st Assistant Director
2nd Assistant Director
3rd Assistant Director
Training Assistant Director (TAD)
Floor Director
CAMERA (IATSE 669)

Director of Photography/Cinematographer


Camera Operator
Focus Puller
1st Camera Assist
2nd Camera Assist
3rd Camera Assist
Clapper/Loader
Camera Trainee
Steadicam Operator
Videographer

Stills Photographer

Documentary Camera Assistant

Studio Camera Operator




CASTING (Non-Union)

Casting Director


Assistant Casting Director

Extras Casting Director


Casting Assistant
CONSTRUCTION (IATSE)

Construction Labourer

Metal Fabricator Assistant

Maintenance Person

Upholsterer

Construction Buyer

Modeller

Carpenter

Scenic Carpenter

Sculptor


Scenic Metal Fabricator

Lead Metal Fabricator

Journeyman Carpenter

On Set Carpenter

Assistant Head Carpenter

Lead Carpenter

Construction Department Assistant

Head Carpenter

Construction Foreman

Construction Co-ordinator

Painter Assistant

Wallpaper Hanger

Plasterer

Painter


Sign Painter

On-Set Painter

Scenic Artist

Lead Painter

Paint Foreman

Key Scenic Artist

Paint Coordinator
CONTINUITY/SCRIPT SUPERVISOR (IATSE)

Script Supervisor (Continuity)


Assistant Script Supervisor

COSTUME (IATSE)

Costume Assistant

Breakdown Artist

Dresser


Stitcher

First Hand/Senior Stitcher

Seamstress

Tailor/Milner

Costume Buyer

Extras Coordinator

Performers Costumer

Set Truck Costumer

Costumer

Set Supervisor

Cutter

Assistant Costume Designer



Costume Coordinator

Costume Designer


CATERING SERVICES (IATSE)

Assistant Chef

Sous Chef

Head Chef


DIRECTOR (DGC)

Director


Director Observer

Co-Director

2nd Unit Director

Documentary Director

Studio Director
FACS (IATSE)

Craft Services Assistant

EMT-A

First Aid Attendant



1st Assistant Craft Services

Key First Aid/Craft

Coordinator with First Aid
GREENS (IATSE)

Greens Helper

Greensperson

Best Boy Greens

Head Greensperson
GRIPS (IATSE)

Grip Trainee

Grip Crew

Rigging Grip

Lead Grip

Best Boy Rigging Grip

Best Boy Grip

Key Rigging Grip

Dolly Grip

Key Grip
Swing (between Grip & Electric Departments)


HAIR (IATSE)

Hair Assistant

Second Assistant Hair

First Assistant Hair

Key Hair

SPFX/Period Hair


LIGHTING (IATSE)

Electrics Trainee

Lamp Operator

Generator Operator

Set Wireman

Hi-Rigger

Best Boy Electric

Rigging Gaffer

Gaffer

Studio Lighting Director



Studio Assistant Lighting Director
LOCATIONS (DGC)

Location Manager


Assistant Location Manager
Location Scout
Location Security
Location Lock Off
Location Production Assistant
MAKE UP (IATSE)

Makeup Trainee

Second Assistant Makeup

First Assistant Makeup

Special Skills Makeup
Special Effects Make up

Key Makeup


PERFORMERS (ACTRA)

Performer

Announcer

Animation Performer

Singer

Dancer


Model

Stand-In


Narrator

Choreographer

Host

POST PRODUCTION (DGC)
Assistant Editor

File Processing Technician

Documentary Editor

First Assistant Picture Editor

Visual Effects Editor/Technician

Picture Editor

Supervising Picture Editor

Music/Sound Editor


Graphic Artist
Post Production Coordinator

Web Programmer

Web Designer
PRODUCING TEAM (Non-Union)

Executive Producer


Producer
Co-Producer
Line Producer
Associate Producer
Assistant to the Producer
Producer Intern

Business Affairs Assistant


PRODUCTION OFFICE (DGC)

Production Manager


Assistant Production Manager
Unit Manager

Trainee Production Coordinator


Production Coordinator
Assistant Production Coordinator
Office Production Assistant
Set Runner
Production Accountant
Assistant Production Accountant

2nd Assistant Accountant


Production Bookkeeper
Accounting File Clerk
PROPS (IATSE)

Props Trainee

Props Crew

Props Builder

Weapons Handler

Armourer


Props Buyer

Assistant Props Master

Firearms Safety Coordinator

Props Master


On Set Props Dresser
Special Effects Coordinator
Pyrotechnic Specialist

Gun Wrangler


PUBLICITY (Non-Union)

Publicist

Publicity Assistant
SET DECORATOR (IATSE)

Set Dec Production Assistant

Set Dec Crew

Set Dresser

Draper/Upholsterer

On-Set Dresser

Set Buyer

Assistant Set Decorator

Lead Set Decorator

Set Decorator


SOUND (IATSE)

Location Sound Assistant

Cable Puller

2nd Boom Operator

Playback Operator

Boom Operator

Production Sound Mixer

Post Sound Trainee

Assistant Dialouge Editor

ADR Recording Engineer

Foley Recordist/Editor

Sound EFX/Dialouge Editor

Loop Group Recordist/Editor

Music Editor

Master Mixer/M&E Engineer

Assistant Sound Supervisor

Loop Group Spotter/Producer

Re-Recording Mixer

Sound Supervisor/Designer

Sound Production Manager

Composer
SPECIAL EFFECTS (IATSE)

3rd Assistant/Trainee

2nd Assistant SPFX

Special Effects Fabricator/Buyer

First Assistant Special Effects

Key SPFX


Special Effects Coordinator
STORY DEPARTMENT (Non-union)

Story Department Trainee

Story Department Coordinator

Researcher


Story Editor

Executive Story Editor


Documentary Writer

Screenwriter


STUNTS (IATSE)

Stunt Coordinator


Stunt Double
TRANSPORTATION (IATSE)

Driver Trainee

Driver Class 4,5

Driver Class 1A,1,2,3

Honeywagon Driver

Picture Vehicle Coordinator

Transportation Coordinator
Transportation Captain


TUTORING (IATSE)

Children's Tutor


Child Wrangler
WRANGLING (IATSE)

Wrangler Trainee

Wrangler

Gang Boss

Ramrod


POSITION DESCRIPTIONS




ART DEPARTMENT
PRODUCTION DESIGNER

The Production Designer, in conjunction with the Art Director is responsible for the entire visual look of a film. They make decisions about location, special effects, set decoration, props, make-up and wardrobe in the pre-production phase and supervise elements during shooting. They work closely with the Producer, Director and Director of Photography to realize these elements on film.


ART DIRECTOR

The Art Director coordinates the preparation and execution of all the visual elements of a production. They are responsible for administrating the budget of the Art Department and script breakdown. Duties include the preparation of working drawings, detailed drawings, lay-outs and design of any kind of use in the construction, painting or decorating of sets; dressing the interior and exterior sets and locations; and supervision of department crew.


ART DEPARTMENT COORDINATOR

The Art Department Coordinator assists the Art Director in the efficient operation of the departments. Duties include departmental communications, research, materials and services


sourcing, budget tracking, scheduling and interdepartmental coordination.



PROPERTY MASTER

The Prop master is responsible for the preparation of a props breakdown. They also research the historical period of props, buildings and procure props to be seen on camera; arrange all necessary permits to convey restricted weapons; coordinate with wardrobe the required accessories. While on set the Props master will administer props to artists and strike and reset hot sets established by the Set Decorators.


SET DECORATOR

The Set Decorator works with the Production Designer/Art Director for the coordination and realization of the dressing of all studio and location sets, interior and exterior. They are also responsible for the research, purchase, rental, leasing, or acquisition of items used as set décor.


ON-SET DRESSER

The On-Set Dresser works with the Decorator and the Props master for on-set continuity of Set Dressing. Duties include: placement and replacement of dressing for camera and continuity; care and safety of dressing pieces; and anticipation of camera shots.



ASSISTANT DIRECTOR
1st ASSISTANT DIRECTOR (1ST AD)

During pre-production the 1st AD is responsible for breaking down the script, preparing the one liner, shooting schedules and days out of days. During production the 1st AD assists the Director with on-set production detail, coordinates and supervises crew and cast activities and facilitates an organized flow of production activity. They determine cast and crew calls, direct background performers and supervise crowd control.


2nd ASSISTANT DIRECTOR

The 2nd Assistant Director acts as an assistant to the 1st AD and is responsible for the preparation of call sheets, handling extras’ requisitions, prepare the daily production report; after shooting has started, distribute scripts, script revisions and call sheets to cast and crew, maintain liaison between the PM and the production office and the 1st AD on set. Assist the 1st AD in the direction and placement of background performers.


3rd ASSISTANT DIRECTOR (3RD AD)

The 3rd Ad is responsible for signing in and out the performers on a set, making sure they get to hair, make-up and wardrobe on time, escorting them to set, preparing the production report and assisting the 1st and 2nd AD’s when needed.


TRAINING ASSISTANT DIRECTOR (TAD)

The TAD acts as a set “runner”, extras wrangler. They are responsible for the maintenance and distribution of walkie talking, writing down wrap times, counting the lunch line up, assisting cast, etc.



CAMERA
DIRECTOR OF PHOTOGRAPHY (DOP or DP)

Directs all photography and oversees all lighting. They also, determine the photographic style of the film; maintains photographic continuity; works with the Director, Art Director, Costume Designer and Make-up Artists in determining visual style. Determines equipment requirements for each location, camera lens, camera position, filtering, dolly, directs lighting, instructs lab for proper handling and development of film, and participates in colour timing and video transfer.


CAMERA OPERATOR

Executes the DOP’s camera instructions by operating the camera and maintaining the composition established.


1st ASSISTANT CAMERA/FOCUS PULLER

Maintains and cleans the camera and sets up for each shot with appropriate lenses and filters. Also sets the stop and focus for each set up. Often responsible for shooting the camera stills.


2nd ASSISTANT CAMERA/CLAPPERS LOADER

Loads and unloads the film, does the slating and is responsible for camera reports and paperwork.


CONSTRUCTION
CONSTRUCTION COORDINATOR (CARPS)

The Construction Coordinator is responsible for all work in conjunction with the manufacturing and building of the sets, cut outs, scenic frames, parallels, platforms and all carpentry work related to the production.


CARPENTERS

Under the direction of the Construction Coordinator, the carpenters construct the set.


COSTUME
COSTUME DESIGNER

The Costume Designer determines the costume needs of the production. Duties include script breakdown, costume plots, sketches, costume renderings, budgeting, selection of material, selection of costumes and accessories, hiring of personnel and scheduling.


COSTUMER

The Consumer is responsible for organizing work and storage areas, managing costume inventory, shop supplies and equipment, supervising set up and wrap, scheduling fittings, arranging rentals, shopping and arranging transportation of costumes and supplies to and from the set. They are also responsible for the laundry, ironing, fittings and alterations.


BREAKDOWN ARTIST

The Breakdown Artist is responsible for making new items look old and worn, especially on historical shows. They work with different dye techniques and solvents.


ON SET DRESSER

The On-Set Dresser is responsible for the continuity and maintenance of the performer’s wardrobe on set. They arrange the costumes for each scene and for each actor.


DIRECTOR
DIRECTOR

The Director’s total function is unique and requires participation in all creative phases of the production. The Director is responsible for translating the script into what is seen on screen, through performances, sets, wardrobe, audio, etc.


FIRST AID/CRAFT SERVICES
CRAFT SERVICE

The Craft Service person sets up and maintains near the set, a craft service station complete with coffee, tea, water, cold drinks, fruit, pastries, snacks, gum, etc. They are responsible for providing pre-call breakfasts and a substantial snack every 3 hours. They are the first aid designate on set.


GRIPS
KEY GRIP

The Key Grip works in conjunction with the DOP to decide on the grip equipment, rentals and purchases necessary for the production. They Key Grip organizes the moving and striking of parallels, platforms, stage scenery, sets, drops, drapes, and cat walks. They further delegate the operation and movement of reflector boards, reflective material; and colour corrective gels and diffusions equipment; also the operation of camera dollies, cranes, mounts and any other camera or sound mobile equipment.


BEST BOY GRIP

The Best Boy Grip is an assistant to the Key Grip and is responsible for the maintenance, servicing and inventory control of all grip equipment. The Best Boy Grip is also responsible for the loading and unloading of vehicles used in the movement of grip equipment.


DOLLY OPERATOR

Dolly Operators are responsible for the moving on set of all camera dollies and cranes and maintenance of the same. They are a Grip specializing in camera movements via dollies of various kinds.


HAIR
KEY HAIR STYLIST

In conjunction with the Producer, Director and Production Designer, the Hair stylist breaks down the script to figure out hair requirements. They also handle the maintenance and styling of wigs and hair pieces; cutting and colouring if artist’s hair.



LIGHTING
GAFFER/LIGHTING TECHNICIAN



Working with the DOP, the Gaffer will decide on the lighting equipment and

purchases necessary for the production. The gaffer is responsible for providing

the intensities and lighting rations designed by the DOP.
BEST BOY ELECTRIC

The Best Boy Electric assists the Gaffer in the organization and ordering of

equipment. Also assists in the loading of vehicles used by the lighting department. The Best Boy is responsible for having all equipment and personnel required on set and for the running

maintenance of all the lighting equipment and accessories.


GENERATOR OPERATOR

The Genny Op is responsible for the running, maintenance and operation of the generators or power plants used by the production for all its power requirements. The Genny Op correctly balance all loads and ensures there is sufficient fuel at all time and is responsible for the safe hook up feed cables to electrical service as needed.


LOCATIONS
LOCATIONS MANAGER (LM)

The Locations Manager is responsible for locating sites according to the

requirements of the script. They contract property owners, negotiate rental rates, obtain necessary permits for locations, secure parking for production vehicles, arrange police assistance, location security, arrange for meal location, catering space, housing,

dressing room space, equipment set up and storage, bathrooms, electrical tie ins. They also secure special equipment such as space heaters, masks, fans, etc.


ASSISTANT LOCATION MANAGER (ALM)

The Assistant Locations Manager oversees a location while shooting is occurring. The ALM is responsible for the Location PA’s on set, ensuring a location is properly cleaned upon completion of filming, and knowing all relevant information about the location such as where to find water, telephones and parking.


LOCATION PRODUCTION ASST.

The Location PA’s have a wide range of responsibility from: traffic (vehicle/pedestrian), lock off, crowd control, clean up and security.


MAKE-UP
KEY MAKE UP ARTIST

In conjunction with the Producer, Director and Production Designer, the Make-up Artist breaks down the script to design the look; application, maintenance and removal of all make-up and appliances (foamed latex, gelatin, etc.)


PAINT DEPARTMENT
SCENIC PAINTER

The Scenic Painter is responsible for painting the set/backdrops as per the Art Director. This involves breaking down a set to look old, painting floors to look like hardwood, etc.



POST PRODUCTION
SUPERVISING EDITOR

The Supervising Editor works with the producer to oversee the budget and equipment rentals or leases. They act as a liaison between producers, labs, video post production houses and sound mixing facilities. They are responsible for the supervision of department staff and all editing of the picture on film, videotape or digital. The Supervising Editor oversees all phases of post production including sound editing and supervision of the sound mix to final release of the project.


EDITOR

The Editor works with the producers and the director for consultation on how the film should be edited. They are responsible for the actual editing and cutting of a picture of film, videotape or digital to completion of the final cut. The Editor coordinates and oversees the day to day activities of the editing room with all assistants. They also work with labs and video houses for final colour timing or colour corrections to the final cut.


FIRST ASSISTANT EDITOR

The duties of the First Assistant Editor are delegated by the Supervising Editor or the Editor. They are responsible for the preparation of dailies for the Editor and screening; organizing and logging all dailies in preparation for editing; organizing all edit room paperwork, organizing of all cuts, assemblies and rough cuts for output, transfer and viewing; overseeing of the Second Assistant, and general organization of the post production unit.


SECOND ASSISTANT EDITOR

The Second Assistant Editor assists the First Assistant Editor in the preparation of dailies for the Editor and screening; organizing and logging all dailies in preparation for editing; organizing all edit room paperwork, organizing of all cuts, assemblies and rough cuts for output, transfer and viewing; overseeing of the Second Assistant, and general organization of the post production unit. Additional duties may include the operation of an edge coding machine.


SPECIAL EFFECTS EDITOR

The Special Effects Editor works with the Supervising Editor to create the special effects using a variety of different editing programs and software. They are responsible for the actual editing of all special effects for a film, videotape or digital. The Special Effects editor oversees all steps of the SPFX editing including rough and final cuts.


ASST. SPECIAL EFFECTS EDITOR

The Assistant Special Effects Editor is responsible for the preparation of dailies for the SPFX Editor and screening; organizing and logging all dailies in preparation for SPFX editing; organizing all edit room paperwork, organizing all cuts, assemblies and rough cuts for output, transfer and viewing and general organization of the SPFX post production unit.


SUPERVISING SOUND EDITOR

The Supervising Sound Editor works with the producers to oversee the sound post production budget, sound post production staff, equipment and editing. Duties include: the supervision of all sound editing of film, videotape or digital. They are responsible for designing a workable system for, and overseeing all the phases of the sound cut, including the supervision and completions of the sound mix and all layback to picture or optical tracks.


MUSIC EDITOR

Under the direction of the Sound Supervisor, or in consultation with the Producer or Director, the Music Editor

will complete the editing of all music tracks; may liaise and coordinate with the Music Composer; prepare all music tracks and cue sheets for the sound mix of music.




DIALOGUE EDITOR

Under the direction of the Sound Editor, or in consultation with the Producer or Director the Dialogue Editor will complete the editing of all dialogue tracks, including location dialogue, additional dialogue replacement (ADR) and voice-overs; may oversee the re-recording of ADR; prepare all track and oversee all cue sheets for final sound mix of dialogue.


ASSISTANT DIALOGUE EDITOR

The Assistant Sound Effects Editor works with the Dialogue Editor and the Sound Supervisor in organizing and retransferring of all replacement dialogue, the cueing and organization of all additional ADR and voiceovers. They are also responsible for day to day operation of the dialogue editing machine, preparation of all tracks for the final mix (including wiping pictures and cleaning tracks) and overseeing the preparation of cue sheets.


SOUND EFFECTS EDITOR

The Sound Effect Editor works with the Sound Supervisor and the SPFX Editor to complete the editing of all sound effects tracks. This includes recording or manufacturing sound, overseeing the recording of the foley tracks; the preparation of all sound effect tracks and cue sheets for the final sound mix


ASST. SOUND EFFECTS EDITOR

The Assistant Sound Effect Editor works with the SPFX editor and the SPFX Sound Editor in searching, organizing and transferring all sound

effects. They are also responsible for laying up of all sound effects tracks, overseeing the day to day operation of the SPFX editing unit; preparation of all sound effects tracks do the final sound mix, including the wiping of picture and cleaning of tracks. Also oversees the preparation of cue sheets.
PRODUCERS
EXECUTIVE PRODUCER

The Executive Producer secures the funding necessary to get a film into production. They usually are not involved in the day to day decision making once a production has begun.


PRODUCER

The Producer is the individual, firm, corporation or organization that controls, administer or is responsible for all aspects of the production. They oversee all aspects of a production at every stage along the way.


ASSOCIATE PRODUCER

The Associate Producer is the right hand person to the Producer. They are responsible for clearances, contract completion, liaison with invertors, research and post production follow up.


PRODUCTION OFFICE
PRODUCTION MANAGER

The Production Manager is responsible to the Producers for ensuring the production runs smoothly and as planned, always keeping a close eye on budget and unnecessary expenses, such as time delays. They oversee all business and logistical arrangements for the production decisions and the hiring of the crew.


PRODUCTION COORDINATOR

The Production Coordinator runs the production office under the guidelines on the Production Manager. Tasks include set up and close down of the office, prepare and distribute shooting schedules, crew and cast lists, call sheets daily production reports, movement orders, and distribute scripts and script revisions. The Coordinator also coordinates all travel and accommodation, work visas, insurance medical for cast and crew, importing and exporting equipment, coordinate the shipment of film and sound tape to and from the lab and a myriad of other duties.



ASST. PRODUCTION COORDINATOR

The Assistant Production Coordinator assists the Production Coordinator with the running of the office. They are often responsible for completion of the call sheet and ensuring proper distribution of all paperwork.


OFFICE PRODUCTION ASST.

The Office PA assists the office with a number of tasks from photocopying, set runs, out of office errands, reception duties, filing, office set up and tear down, and some driver duties.


SCRIPT SUPERVISOR
SCRIPT SUPERVISOR (CONTINUITY)

The duties of the script supervisor include the preparation of the script; verification of artist’s lines, timing of the script, run lines, assist with the blocking of scenes, notes any deviations from the script, keeps detailed notes of all action, positions, camera angles, additional progression, times the takes, furnishes the camera and sound with slate numbers and prints; make continuity notes along with a complete lined script for the days’ work for the editor; provides the office with a daily report as to the number of set ups, picture times, scenes and pages shot and cumulate time.


SOUND
SOUND MIXER/ENGINEER

The Sound Mixer is in charge of recording, re-recording dubbing, synchronizing and scoring all of the sound on location. This includes dialog, sound effects, wild lines and room tone.


BOOM OPERATOR (BOOM OP)

The Boom Op is responsible for the placement of microphones (usually on a long boom pole) making sure that they do not interfere with the shot or surrounding of production; set-up and wrap sound equipment, place radio microphones and transmitters on artists.


CABLE PULLER

A Cable Puller is in charge is pulling microphone cable out of the way on moving shots. Also wires the actors.


SPECIAL EFFECTS
SPECIAL EFFECTS COORDINATOR

The Special Effects Coordinator works with the Production Designer and Art Director to determine the budget and what SPFX are needed for a production. They are responsible for the supervision, manufacturing, setting up, operation, striking and storing of all equipment and materials used in making special effects. If explosives or pyrotechnics are to be used, the SPFX Coordinator must be certified to handle those materials.


1ST ASST SPECIAL EFFECTS

The duties of the First Assistant Special Effects are delegated by the Special

Effects Coordinator. These duties include: setting up, and operating,

striking and storing of all equipment and materials used in making special effects. If explosives or pyrotechnics are to be used, the First Assistant Special Effects must be certified to handle those materials



The Sound Mixer determines the type and quality of sound equipment; the maintenance of log sheets for each roll of tape recorded, mark printed takes in conjunction with the Script Supervisor and Camera Assistant, and detailed script notes for the editor.

2ND ASST SPECIAL EFFECTS/BUYER

The Second Assistant Special Effects/Buyer works with everyone in the SPFX team. They are delegated by

the SPFX Coordinator and are responsible for buying the SPFX tools and materials.
3RD ASST SPECIAL EFFECTS

The Third Assistant Special Effects performs duties outlined by the SPFX Coordinator or First Assistant Special Effects.


VISUAL EFFECTS SUPERVISOR/DIRECTOR

The Visual Effects Supervisor is responsible for the daily operations of

the department. They oversee the design of all 2-D and 3-D animation, optical

and rotoscoping elements, (digital) “Off Line and On Line” complications, editing, and digital video effects (DVE) required in Post Production and Video Playback. The VFX Supervisor/Director is also responsible in directing all “VFX Plates” used in digital (chroma key/blue screen) matte background paintings and supervises all visual master SP/BETA video footage.


VISUAL EFFECTS ASSISTANT

The Visual Effects Assistant assists the VFX Supervisor/Director/CGI in all aspects of the VSF department.


STORY DEPARTMENT
STORY EDITOR

The Story Editor works in cooperation with the Producer and the Director to make changes to the plot, storyline, characters, dialogue, etc. of the original screenplay. They “polish” the script.


STORY DEPARTMENT COORDINATOR

The Story Department Coordinator is responsible for the distribution of the script and any revisions to the Production Office. They are also responsible for the department’s budget, researching subject matter, typing in the script revisions and in some instances are responsible for the continuity of characters through out the script, especially in episodic television. They are also responsible for the sourcing and the ordering of office equipment.


TRANSPORTATION
TRANSPORTATION COORDINATOR

The Transportation Coordinator is responsible for purchasing, leasing or renting any vehicles required on the production. They are also responsible for the scheduling, hiring and coordination of drivers and picture vehicles.


DRIVER

Drivers are responsible for driving cast to and from set and the airport; driving crew to locations, maintenance of rental vehicles, running paperwork to and from set/office; picking up various items for cast and crew.




PLEASE NOTE:


  • This is a summary of some of the key positions in a film/television production. Depending on the size of the production, each department may have many assistant positions or two or three of the same position.

  • Many departments have people who work on a per day basis. They may work one day of the shoot or several days, depending on the needs of the department. Dailies often float between departments






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