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Production Dept.

Shoot — Wed, 28 Jan 2009 00:49:23 +0000

The Production Department is the glue and the fluid, the engine and the facilitating of any film production, the centre upon which all else depends.

Unit Production Manager / Production Supervisor / Production Co-Ordinator / Assistant Production Co-Ordinator / Accomodation Manager / Accomodation Assistant / Production Secretary / Receptionist / Driver/PA / Producer / Production Runner / Production Assistant / Associate Producer / Production Manager / Producers Assistant / Travel Assitant / IT Support / Administration Assistant / Distribution Clerk / Accounts Liason

Production Assistant

Shoot — Wed, 28 Jan 2009 00:01:00 +0000

This is the entry level position for the Production side of film making, particularly suitable for those interested in film who are not ‘creatives’. The first distinction to be aware of is between ‘runner’ and ‘assistant’ because, although often these jobs are the same, it is often useful to negotiate when you are hired that you wish to be the assistant and NOT the runner. In fact their is a good case to argue that the Production should hire a ‘Production Runner’ as an assistant to the ‘Production Assistant’ for reasons of efficienca and often they do on bigger jobs. Since the runner is often absent on errands and an ideal ‘assistant’ needs to be on hand within the Production offices.

Whilst the lowest paid within Production, and long hours make this job a hard one it is ideal for those willing to ‘do their time’, since film jobs are contracts and don’t last for ever the best advice is to keep your head down, be pleasant and fun and work very hard. From there you get to make contacts, meet lots of important people and to learn about what other roles and jobs within the department that you would like to progress to. This job title can be used for a broad range of roles – not just as described here – for example I have heard of duties that include child minder to the Producer.

On a day-to-day basis the kinds of things a Production Assistant does might seem menial; filing, photocopying, using phones, data entry, delivering of call-sheets and per-diems, script copying and compiling, office cleaning, meeting preparation – on other days you may be asked to perform stop gap duties on-set such as extras co-ordination or driving actors to locations. If you love movies and have graduated from a film studies course (rather than a film production course) this is a good place to start, alternatively you may have no professional film training, instead desire to develop a career as an office skills/managerial expert – well why not do the same things you would in other companies but within the fascinating are of film production. Perhaps the only reason would be the freelance nature of the work, that is the fact you end up between jobs out of work… but for me this just means nice long holidays! Certainly you will get to move all around the studios, meet and witness the whole process of film production and be constantly inspired and challenged!

Tips:

One of the key skills for this job is to be able to accept crticism even when it is not deserved, often as Production Assistant you will be taking directions from very stressed people with a lot of responsibilty resting on them. If they snap at you because you got a detail wrong you need to be able to not take it personally and to remain calm and efficient – this will stand you in good stead as robust enough to work in stressful postions yourself one day.

Attention to detail: keeping accurate notes of your own expenditure and information management is critical, but additionally staying focussed and attentive to discussions you over hear or are involved with so that you can be a second memory for you immediate superiors. Film Production is a fluid and constantly changing field, decisions are made revised and reversed on the move, and it is easy for a very busy production manager to forget small details. If you can stay attuned to what is happening around you rather than succumbing to chatting about your weeknd, or planning your evening then you will be an ideal Production Assistant.

To increase you chances of being hired over the competition; demonstrate that you have coped well with pressure in past challenges or jobs, learn how to use spreadsheets, know how to prepare basic notices or posters eg Adobe Illustrator or Photoshop, do a basic accounting course or teach yourself some software, get a heavy vehicle licsense, do a basic workplace Health and Saftey course appropriate to your country and its laws, join a film club and/or read up on basic film terminology so you understand what you are hearing e.g. ‘call-sheet’, when you are within at the production asking about employment opportunties and Production Assistant Jobs.

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PLEASE HELP DEVELOP THIS FREE INFO SITE: If you work in this film job or have further details I could add to this job description, or if you just wish to comment please use the ‘leave a reply’ space at the very bottom of this page.

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Set Finishing Dept.

Shoot — Fri, 16 Jan 2009 03:05:57 +0000

The Set Finishing department, sometimes referred to as ‘paint’, has the last bite of the apple from the Art department, before hand over to more ‘on-set’ orientated jobs like lighting. Calling the department ‘paint’ doesn’t really adequately describe the great range of tasks managed by this group of film jobs. Often there work time is squeezed down by delays and the builders not having completed the substructure. Finishers often tease the Construction Department by saying they ‘merely’ build the canvas upon which the finishers make the set!.

The finishers may create fake stone work from polystyrene, paint effects such as marble or wallpaper, ‘age’ down sets creating weathered timber from new or assist with props and scenic finishing and effects. In some countrys such as England the finishers or scenics fall under the control of the Construction department. This is also typical on smaller productions.

Their are various names for the Head of this Department, the ”Key Scenic’ or ‘Set Finishing Supervisor’, ‘Lead Scenic’ – as often the case it depends on the scale of the job. The term ‘Supervisor’ coming in on larger jobs where the role requires more management of a team of scenics, sculptors, painters and laborers, whereas on a smaller job the same expert would be more hands on and just call themselves ‘scenic’ or ‘key scenic’. Other jobs in this area are;

Key Scenic / Scenic Artist / Brush Hand / Painter / Rock and Foam / Laborer / Runner / Signwriter / Set Finisher / Sculptor / Carver / Paint Runner

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Property Dept.

Shoot — Fri, 16 Jan 2009 03:03:07 +0000

Props is short for Properties and refers to ‘hand props’ those small enough to be held, and ‘stage props’ which is objects and dressings more at a furniture scale. Props department takes care of the purchase, manufacture and ‘dressing’ (positioning into set) of props. Props includes all fixtures and hangings such as light switches and curtains, and typically is a huge logistical exercise. The smallest set can demand a huge number of items for its complete dressing and larger outdoor sets can require container loads of props! On top of managing the movement of these, often they require careful return to owners they were hired from, or disposal by sale after the film has been shot. In addition there is continuity to worry about. During the scene actors may move items, which need to be exactly the same locations the for ongoing ‘takes’, some of which may occur on following days or even months later in the case of ‘pick-ups’. The props department is always VERY busy, but the work is some of the most creative and satisfying of all film jobs, and includes On-set and Off-set jobs.

The Head of this Department is the Props Master or Props Supervisor with the Set Dressers the next in seniority as they take resposibility for the look, taking direction from the Production Designer, Art Directors and Props Master. Other jobs which support these people in the prepartion of props for the set, and in the on-set management and adaptation of proprs are;

Boat Builder / Furniture Maker Mold Maker Props Buyer / Props Maker Set Dresser Standby Assistant / Standby Props Sculptor /

Costume Dept.

Shoot — Fri, 16 Jan 2009 02:57:57 +0000

Well, what can I say?! In my experience one of the lowest paid and hardest working departments is the Wardrobe or Costume Department. The pay is comparable to similar jobs in the non-film world but this is much lower than some other areas of film work like ‘lighting’ or ‘grips’. In most regards the work is structured in the same way as a clothing factory with machinists and milliners, pattern makers and cutters and so on. If you love costumes though don’t be put off, because in making costumes for film you get to work on a much greater range and diversity of types of dress than you would in the ‘real world’. And if you get lucky you might do a private fitting for Orlando Bloom. Again there are ‘On-Set’ roles to develop into such as wrangling the outfits between shots, helping the ‘stars’ get costumed, and on-set repairs. On small jobs you will need to be capable of most of these jobs as you will make costumes, dress actors, repair costumes and so forth.

The Head of the Department is the Costume Designer or Wardrobe Supervisor, who has a hot line to the Director in most cases because typically the Production Designer will not have a Costume Design background. This means they will leave more of the decisionas and ideas for this area to the Costume Designer.

Armourist Best Casual Workroom /Breakdown (wardrobe) / Costume Supervisor / Costume Designer / Costume Designer Assistant / Cutter / Costume Buyer / Dyer / Extras Coordinator Wardrobe / Extras Casting Coordinator / Machinist / Milliner / Printer / Wardrobe Assistant

Greens Dept.

Shoot — Fri, 16 Jan 2009 02:54:23 +0000

Greens as the name implies deals with nature and plants, but could just as well be called ‘Browns’, as typically the work will involve huge artificial trees made of rubber bark or supplying quantities of dead leaves, driftwood or tussock, and always dirt, dirt, dirt. Jokes aside though, the work here is very challenging and would interest and landscaper or ‘green fingered’ person. Plants are often grown specifically for the shoot and so careful planning weeks in advance is required, when they are used in studio under the very hot lighting keeping them alive and fresh looking becomes a challenge.

When on location the greens department can be called on not just to prepare plants for the set, but behind the scenes they may be managing the protection of existing vegetation. In some countries, particularly in protected areas, film crews can do huge damage to the natural environment and it is becoming increasingly important to leave a location in the same state as when the crew arrived. Thus I have seen whole roads of tussock get removed to nurseries to create access roads, then after production the Greens people will return them exactly to their original sites.

Greensperson / Laborer / Landscaper / Runner /

Construction Dept.

Shoot — Fri, 16 Jan 2009 02:46:06 +0000

Get into Construction if you wish to build the physical sets and large props. A good fun industry for builders, but with long hours. Be prepared to work from unconventional plans, inconclusive plans where you will have to think creatively (time and constant changes mean plans are often just overviews) or just sketchs. One day you may be on a hill side building a Samurai village from pine and bamboo, the next in studio making repetitive MDF flattage.

Construction has a systematic approach to the shop floor, where it is possible to set out with a trade qualification, and work you way up from Hammer hand through Leading Hand and to Foreman, and Construction Manager. A good all round job with varied work and a nice balance of responsibility is mid way up the ladder leading your own team of several builders to complete your ‘own sets’, leaving hiring, pay and politics to the Art Directors and Construction Managers.

The ideal person who will progress and succeed within film construction is somebody who does not mind creatively working with designers, who often do not have a building or architectural background, helping them reach the outcomes they seek but without getting too pissed off at the constant changes and high or odd expectations. Constructively predicting problems and seeking efficient solutions that don’t compromise the look will always be appreciated by the Art Department designers, and will in the long term open the door to film jobs outside the construction department such as Art Director.

Carpenter / Construction Foreman / Crane Driver / Craft Services / Fitter or Fabricator / Furniture Maker / Hammerhand / Health and Safety Coordinator / Head Cutter / Laborer / Leading Hand / Onset Carpenter / Runner / Steel Fabricator / Sculptor / Welder / Set Finisher / Boat Builder

Carpenter

Shoot — Fri, 16 Jan 2009 01:13:32 +0000

Carpenters are an essential position within any film production. At the simplest they may undertake furniture repair for other departments, at the best they will be required to construct huge and interesting sets.The work will vary a lot but also includes much repetitive work, particularly on larger productions, such as making ‘flats’ – flat panel wall elements that will later be used to comprise a set – or building rostrum which will raise the set floor of the studio floor. Carpenter film jobs are usually easy to come by but to progress requires a high tolerance for adaptation, long hours and a degree of creative impulse.

The work is common to most carpentry outside film with a few notable exceptions. Firstly sets require allowance for the movement and access of film crews and camera and for the collapsing and erection in kit set form. This means that sets are designed and constructed to include ‘break’ points that allow individual wall elements to be lifted out or ‘floated’ and other times are built complete in a different location than the shoot studio, and need to be moved in and quickly erected. In practice this means the methods of construction use much lighter timbers, and employ screws over nails in many instances.

The other variance from non film carpentry is the other trades that the carpenter must co-ordinate with. Rather than plumbers and electricians you liaise with sculptors and set dressers, instead of an architect you have an art director. As you develop skills within the field, you will learn the needs and concerns of each other trade and the technical requirements of camera crews. A favourite and coveted position to work towards is on set ‘standby’ carpenter, a job that gets you close to the action but which can be stressful when you are called upon to make changes whilst the director and crew are standing watching and waiting… but which has the perks of free food, and many hours of watching and not labouring, something which brings its own challenge of boredom!

If you want to break into film work volunteer on small amatuer films and theatre productions doing set building and equipment manufacture to develop your understanding of processes, and to demonstrate your enthusiasm for the field. Try and get the name of the art director or construction manager and get onto his phone list, like most film jobs persistance is the key because things can change moment to moment. If they have no work today, by tomorrow the scedule may have changed and suddenly they need 12 carpenters for a few weeks work.
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Thanks Admin

Greensperson

Shoot — Wed, 14 Jan 2009 19:43:49 +0000

The greensperson, traditionally referred to as the ‘greensman’, is the standard position in the Greens department or possibly the only position on a smaller job where greens is part of construction. Key aspects of greensman film jobs are extensive use and manufacture of artificial plants and keeping greenery alive on concrete studio floors under powerful lighting and the threat of the crews tramping all over the plants.

On larger jobs the development of a nursery might be required or the growth and sourcing of crops months in advance. When working on The Last Samurai in New Zealand, the greensperson’s had to plan well in advance for the supply of traditional Japanese apple blossoms and wheat for making thatched rooves. On another production large fields of corn were required for indoor use on a raised platform, and on another fully mature trees are sourced, felled and cast as moulds for the construction of artificial forests indoors over steel armatures. Work can include making swamps, caring for potted plants, moving dirt or supplying drift wood.

The greensperson will typically oversee labourers and assist and consult with other film jobs such as sculptors (who may be carving in polystyrene fake branches) an steel fabricators who are making substructure for a huge tree and require guidance on the proper twists and turns to look authentic.

When on location work may involve the adaptation of existing landscapes or the dressing with greenery of buildings. It may require the removal of planting and care until the restoration so that the location is left in the condition it was found in. A greensman film job is varied and involves more than just greenery, the work extends to other landscape elements such as fences, or road sanding and the ‘greening out’ of unwanted visual elements, particularly on period films – for example a modern satellite dish on an 18th century cottage which will have to be disguised.

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Draftsperson

Shoot — Wed, 14 Jan 2009 02:12:18 +0000

If you are a designer or more particularly an architect, this is the perfect entry position in to a film or television career. You get to enter close to the design action and can bring your skill set to bear on the design and implementation of set designs and sometimes props.

If you know how to draught (English) or draft (U.S. English) then you can start out working directly for the production designer. On smaller jobs the production designer, and sometimes art director, will do their own ‘construction drawings’. These might be little more than a sketch and rough plan on a piece of A4 with some overall dimensions, the skill and imagination of the head builder is relied upon to extrapolate details and many are able to be resolved on the fly through a direct interaction between sculptors, builders, painters and the designer. As a job grows in size, numbers of crew and numbers of sets, the designer will get less and less time to take a ‘hands on’ approach. They will be attending meetings about budgets, design issues, going to see screenings of the days footage (‘rushes’ or ‘dailys’) and moving quickly between a collection of half built sets. In these circumstances the production designer comes to rely on the construction and design drawings issued by the art department, as an agreed set of instructions about what the set should be created like. Sometimes these drawings will be signed off by the producer and/or director before issuing. In the absence of the production designer or and art director, these drawings are an agreed reference point for continuation of the set or prop.

The nature of the drawings will vary depending on the needs of a production, the set up of the rest of the art department and the style of the designer. If the team consist of a well organised ‘dressing’ department the designer may be confident that hey can leave props and furniture decisions to the lead set dresser. In other instances a designer may prefer that the draughtsperson includes these within the drawings. Thus unlike with a traditional set of architectural drawings a draftsperson working on a film job will include furniture, wall fixtures, surface materials and so on. The more information that is included and the greater input to the overall design shifts this job towards ‘set designer’ which is the role a draftsperson will progress towards with experience. An experinced set designer will take over some of the research and design decisions, as well as implementation, from the busy production designer. they ill extrapolate and implement the sketch design as briefed by the designer. The more the drawings are orientated towards pure construction details and set out information for the construction department, or simple overviews for distribution to department heads like the lighting gaffer, the more likely the role will be one of draftsperson despite the experince of the employee.

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