The Filmmaker's Army: Crash Course Film Production with Lily Gladstone #3

Summary

This Crash Course Film Production episode delves into the intricacies of assembling a film crew, emphasizing the scalability of team size based on a film's needs. It outlines key roles from 'above the line' creatives to 'below the line' technicians, highlighting the Unit Production Manager's pivotal role in hiring and production management. The episode also covers the responsibilities of the 1st and 2nd Assistant Directors, the Camera Department led by the Director of Photography, and the collaborative efforts of the Art, Wardrobe, and Special Effects Departments. It underscores the importance of safety, the significance of the Locations Department, and the vital support of Catering and Craft Services, providing a comprehensive snapshot of the collaborative dynamics on a film set.

Takeaways

• 🎬 Filmmaking is a complex process that requires a team effort, often referred to as 'an army' by Orson Welles.
• 📜 The scale of a film crew can vary greatly depending on the needs of the movie, from a few disciplined artists to a large team.
• 👥 The film crew is traditionally divided into 'above the line' and 'below the line' roles, with the latter often being the larger group.
• 👩‍💼 The Unit Production Manager (UPM) is crucial for hiring and managing the production crew, overseeing pre-production, and liaising with local authorities.
• 🎥 The 1st Assistant Director (1st AD) is in charge of the film set, coordinating with the director and ensuring safety on set.
• 📋 The 2nd Assistant Director (2nd AD) manages the base camp, creates call sheets, and oversees extras and production assistants.
• 📹 The Director of Photography (DP) or cinematographer works closely with the director to create the visual language of the film.
• 💡 The Electric Department, led by the Gaffer, is responsible for lighting design and implementation, working closely with the Grip Department.
• 👗 The Wardrobe Department, under the Costume Designer, translates character traits and themes into costumes, ensuring continuity.
• 🔧 The Art Department, led by the Production Designer, creates the physical environment of the film, including sets and props.
• 🍽️ Catering and Craft Service are essential for feeding the cast and crew, with attention to dietary needs and restrictions.

Q & A

What is the significance of the term 'army' in the context of film production as mentioned by Orson Welles?

Orson Welles used the term 'army' to emphasize the large number of people and diverse roles required to make a film, suggesting that filmmaking is a collaborative effort that requires a significant team.

What is the role of the Unit Production Manager (UPM) in a film production?

The UPM is responsible for hiring crew members, managing the production's moving parts, overseeing pre-production tasks, and acting as the point of contact for local authorities and companies involved in the production.

What does the term 'above the line' refer to in film production?

In film production, 'above the line' refers to individuals like writers, directors, producers, and certain actors who negotiate their payment before shooting begins.

What is the primary responsibility of the 1st Assistant Director (1st AD)?

The 1st AD works with the director to schedule the details of each day's shoot, communicates with the crew, and is responsible for ensuring everyone's safety on set.

What is the role of the 2nd Assistant Director (2nd AD) in a film set?

The 2nd AD is usually at base camp, making the daily call sheet, and acts as the main point of contact between the set and the actors when they are not acting. They may also oversee extras and other Assistant Directors.

What is the function of Production Assistants (PAs) on a film set?

PAs are responsible for anticipating needs and communicating between departments, ensuring that everyone is informed about the 1st AD's calls and other important updates.

Who is the Director of Photography (DP) and what do they do?

The DP, also known as the cinematographer, is responsible for the visual look of the film. They work with the director to translate the script into a shot list and direct the camera crew.

What is the relationship between the Electric and Grip Departments on a film set?

The Electric Department, led by the Gaffer, oversees lighting and power, while the Grip Department, led by the Key Grip, manages rigging for lights. They work closely together and are sometimes referred to as G&E.

What is the role of the Script Supervisor in maintaining continuity during filming?

The Script Supervisor, also known as 'scripty,' ensures that actors stay true to the writer's dialogue and helps maintain continuity by tracking changes and details that will be important for the editor.

How does the Art Department contribute to the creation of a film's world?

The Art Department designs, builds, or transforms sets, finds and creates props, and dresses locations to match the director's vision for each scene, contributing significantly to the film's mise-en-scène.

What is the importance of the Catering and Craft Service on a film set?

Catering and Craft Service are crucial for feeding the cast and crew, ensuring they have the energy to perform their demanding work. They also pay attention to dietary restrictions and allergies.

Outlines

00:00

🎬 Film Production Crew Structure

This paragraph introduces the complexity of film production and the various roles involved. It discusses the scale of a film crew, ranging from a small team to a large 'army', as metaphorically described by Orson Welles. The paragraph outlines the concept of 'above the line' and 'below the line' crew members, with the Unit Production Manager (UPM) being the General of the filmmaker's army, responsible for hiring and managing all aspects of production. The 1st Assistant Director (1st AD) is highlighted as the head of the Production Department, working closely with the director to schedule and coordinate daily shoots, ensuring safety on set. The 2nd Assistant Director (2nd AD) is responsible for creating the daily call sheet and managing actor logistics. Production Assistants (PAs) are the entry-level crew members who support by anticipating needs and facilitating communication.

05:01

📽 Behind the Scenes: Film Set Departments

Paragraph 2 delves into the specialized departments that contribute to the creation of a film's world. The Camera Department, led by the Director of Photography (DP) or cinematographer, is responsible for the visual storytelling, working with the director to translate the script into a shot list. The Electric and Grip Departments, often referred to as G&E, collaborate on lighting and rigging. The Art Department, under the Production Designer, transforms sets and locations to align with the director's vision. The Wardrobe Department, led by the Costume Designer, dresses characters to reflect themes and narrative. Hair and MakeUp (HMU) work closely with actors to achieve character looks. Special Effects, managed by the Special Effects Supervisor, handle on-set effects like artificial weather or car crashes. The Stunt Coordinator choreographs action sequences, ensuring safety. The Locations Department scouts and manages filming sites. The Transportation Department, managed by the Transportation Manager, handles logistics for cast and crew. Catering and Craft Service ensure the cast and crew are fed, with attention to dietary needs. The paragraph emphasizes the importance of each role in the collaborative process of film production.

Keywords

💡Film Production

Film production refers to the entire process of making a film, from the initial concept to the final product. It encompasses pre-production, principal photography, and post-production. In the video, the theme revolves around the various roles and departments involved in film production, highlighting the collaborative nature of filmmaking and the importance of each role in bringing a story to life on screen.

💡Unit Production Manager (UPM)

The Unit Production Manager, or UPM, is a key figure in film production, responsible for hiring crew members, managing the budget, and overseeing the day-to-day operations of a film set. The UPM is likened to the 'General of the army' in the video, emphasizing their leadership role in coordinating the multitude of tasks and personnel required for a film's production.

💡1st Assistant Director (1st AD)

The 1st Assistant Director, or 1st AD, works closely with the director to manage the shooting schedule and ensure that the set runs smoothly and safely. They are often mistaken for the director due to their authoritative role in coordinating the cast and crew. The video mentions that the 1st AD is the one 'calling the roll' and giving commands like 'roll sound' and 'action'.

💡2nd Assistant Director (2nd AD)

The 2nd Assistant Director, or 2nd AD, is responsible for creating the daily call sheet and managing the base camp, which serves as the hub for crew activities off the set. The 2nd AD also liaises with actors and oversees extras, ensuring that they are prepared and ready for their scenes. The video describes the 2nd AD's role as a critical point of contact between the set and the actors.

💡Director of Photography (DP) / Cinematographer

The Director of Photography, also known as the Cinematographer, is responsible for the visual aspects of a film, including lighting, camera angles, and overall aesthetic. They work closely with the director to translate the script into a visual language. The video emphasizes the DP's role in creating the 'look' of the film, collaborating with the director to develop a shot list that guides the camera crew.

💡Gaffer

The Gaffer, or Chief Lighting Technician, leads the Electric Department and is responsible for designing and implementing the lighting for each scene. They work in tandem with the Cinematographer to achieve the desired visual effects. The video mentions the Gaffer's role in creating the 'visual punch' of a film, highlighting the importance of lighting in storytelling.

💡Key Grip

The Key Grip leads the Grip Department, which is responsible for the physical setup of lighting equipment, including stands, flags, silks, and nets used to control light. They work closely with the Electric Department to ensure that lighting is properly positioned and rigged. The video refers to the Grip and Electric Departments as 'close buddies,' indicating their collaborative relationship on set.

💡Script Supervisor

The Script Supervisor, also known as 'scripty,' is in charge of ensuring continuity and accuracy in the script. They monitor the actors' dialogue to maintain fidelity to the written script and assist with continuity between shots. The video describes the Script Supervisor's role as critical for maintaining the integrity of the story as it transitions from script to screen.

💡Production Designer

The Production Designer is the head of the Art Department and works with the director to create the overall visual world of the film. They are responsible for designing and overseeing the construction of sets, as well as selecting props and dressing locations. The video emphasizes the Production Designer's role in bringing the director's vision to life through the film's mise-en-scène.

💡Wardrobe Department

The Wardrobe Department is responsible for designing and managing the costumes for all characters in a film. They consider themes, time periods, settings, and character traits to create costumes that enhance the narrative. The video mentions that even if a character appears not to change outfits, there may be different versions of the same outfit prepared for various scenes, such as a 'bloody shirt' or 'ripped pants'.

💡Special Effects

Special Effects involve creating various on-set effects, such as artificial weather conditions or dramatic events like car crashes and explosions. The Special Effects Supervisor leads this department and works closely with the Stunt Coordinator to ensure safety during potentially dangerous scenes. The video underscores the importance of safety in special effects work, with the 1st AD and other supervisors providing instructions and safety briefings.

Highlights

Making a film is a complex process that requires a team effort, often described as needing an 'army' of people.

The scale of a film production can vary greatly depending on the movie's needs.

Every film production has similar job roles, but the size of the crew can differ significantly.

The Unit Production Manager (UPM) is the 'General' of the film production's army, responsible for hiring and managing the crew.

The 1st Assistant Director (1st AD) is in charge of the film set, working closely with the director to schedule and execute scenes.

The 2nd Assistant Director (2nd AD) manages the daily call sheet and coordinates with actors and other departments.

Production Assistants (PAs) are essential for anticipating needs and facilitating communication between departments.

The Director of Photography (DP) or cinematographer is responsible for the film's visual look and works closely with the director.

The Electric Department, led by the Gaffer, designs and implements the lighting for each scene.

The Grip Department works with the Electric Department to handle rigging for lights and other specialized equipment.

The Script Supervisor ensures continuity and accuracy in the script, helping actors with their lines.

The Sound Department, led by the Sound Recordist, is responsible for capturing and monitoring sound on set.

The Art Department designs and builds sets, creating the physical world of the film.

The Wardrobe Department is responsible for the costumes, reflecting character traits and the film's themes.

Hair and MakeUp (HMU) work closely with actors to create their on-screen appearance.

Special Effects MakeUp Artists create specialized looks, such as scars or monster faces, for characters.

The Special Effects Department is in charge of on-set effects, including artificial weather and action sequences.

Safety is paramount, with the 1st AD and other specialists ensuring safe practices on set.

The Locations Department scouts and manages the film's shooting locations.

The Transportation Department is responsible for moving equipment and crew to and from the set.

Catering and Craft Service ensure that the cast and crew are well-fed, which is crucial for maintaining morale and productivity.

The film production process is demanding but attracts individuals who are passionate about their roles.

Transcripts

Making a film can seem... daunting.

After you have a screenplay and have done your pre-production, you still have to film the thing.

And you’re gonna need help.

Orson Welles once said, “A writer needs a pen, an artist needs a brush, but a filmmaker

needs an army.”

But he also co-wrote, produced, directed, and starred in Citizen Kane.

So which is it?

Do you need hundreds of people, or a couple of disciplined artists doing everything?

Well, It depends on your movie.

Every successful film production has the same kinds of jobs, but the scale can vary a lot.

Every story has different needs.

And maybe the best place to start sizing up the needs of your project is in the inner

workings of a film set, where the actual filming takes place.

And then of course there are the people – the crew that work on and off set during principal

photography, when most of the movie is being filmed.

I'm Lily Gladstone, and this is Crash Course Film Production.

[Intro Music Plays]

Some people refer to different positions in a film crew as “above the line” or “below the line.”

This idea is a holdover from the studio days, when budgets on paper had a literal line between

different jobs.

The people “above the line,” like writers, directors, producers, and certain actors,

negotiated payment before shooting began.

And those “below the line” were paid a rate for every day they worked.

If we’re sticking with Orson Welles’ analogy, everyone “below the line” is a filmmaker’s army.

The General of that army is the Unit Production Manager, or UPM.

Usually, the director picks key creative roles to support the vision of the film, like the

production designer and cinematographer

But the UPM is responsible for hiring everyone else and managing all the moving parts of a production.

They oversee pre-production, from picking locations to planning out the shooting schedule.

And sometimes they’re on set when a scene is being filmed.

But not always.

They might be checking in with the Art Department to make sure sets are ready for the next day’s

shoot, or visiting the Production Office to work with someone like the production accountant,

who makes sure everyone gets paid.

The UPM is also the point of contact for any local authorities and companies the production

is working with.

Now, the person running a film set is the head of the Production Department: the 1st

Assistant Director, or 1st AD.

They work with the director to schedule the details of each day’s shoot and communicate

what every department needs to do.

Plus, they’re responsible for keeping everyone safe.

If you’ve ever visited a film set and saw someone you thought was the director, it

was probably the 1st AD.

They’re the ones “calling the roll” to tell people to do specific things at specific

moments – shouting things like “roll sound,” “roll camera,” and sometimes even “Action!”

While the 1st AD is always on set, the 2nd Assistant Director, or 2nd AD, is usually

at base camp, which is just off set.

Base camp is the behind-the-scenes of the behind-the-scenes.

It’s usually where the crew eats lunch, where the bathrooms are, and where the department

and actor trailers are.

The 2nd AD is the main point of contact between the set and the actors when they’re not acting.

They make the daily call sheet, which is the document that tells everyone in the cast and

crew where they need to be, when, and who they report to the next day.

When a scene has extras, or background talent, the 2nd AD may go on set to work with these actors.

They also oversee the rest of the production hierarchy – any other ADs, and Production Assistants.

We call them P.A.s.

PAs are the lowest rung on this ladder, but they’re still super important.

There’s a pretty good chance that everyone on a set has been a PA at some point.

Their main job is anticipating needs and communicating between departments, like by making sure everyone

hears all the 1st AD’s calls.

So, the production team is the glue that holds the film set and all the crew together.

And there are a bunch of departments.

Let’s start with the Camera Department.

The person responsible for the look of the film is the Director of Photography, or DP,

also called the cinematographer.

They work with the director to translate the script into a shot list, which is a plan for

how to visually convey every single scene.

The 1st AD uses the shot list to plan the daily schedule.

On an independent film, the cinematographer might also be the camera operator.

But, usually, the cinematographer directs the camera crew, which includes operators

and camera assistants, or ACs.

While ACs aren’t actually framing shots and operating the camera, the First AC helps

focus the camera, so they’re sometimes known as the Focus Puller.

ACs also maintain equipment and keep camera notes for continuity.

Cinematographers need to understand story, cameras, and lighting to pack a visual punch.

So they work with the Gaffer, also known as the Chief Lighting Technician.

They’re the head of the Electric Department, and design and implement the lighting of each scene.

The Gaffer’s second-in-command is called the Best Boy or Best Boy Electric – no matter

their gender.

Both the titles “Gaffer” and “Best Boy” have been around since at least the 1930s,

but it’s unclear how the names came to mean “head electricians.”

On smaller crews, the Electric Department might be just a Gaffer and a Best Boy.

But on larger crews, these two might organize dozens of electricians and lots of equipment.

And you can’t talk about Electric without talking about the Grip Department.

These departments are close buddies, and are sometimes called G&E.

While Electric oversees lighting and getting power to the set, Grip oversees all the rigging for lights.

That includes all stands for lights as well as flags, silks, and nets, which are fabric

used to control or block light.

Grip also handles specialized rigging for other departments too, like cranes, dollies,

and dolly track, which help with specific camera movements.The Key Grip leads the team,

and their number two is the Best Boy Grip, who carries out the Key Grip’s plans for rigging.

G&E is often the largest department on set during filming.

But the smallest department is only one person: the Script Supervisor, or “scripty,” who’s

in charge of – you guessed it – the script.

Here at Crash Course, we call them "Supes."

They make sure the actors stay true to the writer’s dialogue.

So if you ever hear an actor call “line,” they probably forgot what to say and are asking

the Script Supervisor for help.

This department is also called Continuity because the “scripty” is responsible for

thinking ahead to how the editor will cut everything together.

To hear all the words being said, the script supervisor needs to work with the Sound Department.

The head is the Sound Recordist, or Sound Mixer, whose job is to hear everything.

They’re usually just off-set, monitoring sound in a slightly quieter place.

They manage the boom operator, who’s on set and trying to get the microphone as close

as possible to the actors’ mouths without being in the shot.

Now, all the departments we’ve talked about so far are involved in capturing the film.

But there are a bunch that work both on and off set to create the world that’s being captured.

The Art Department, for instance, designs, builds, or transforms sets, finds and creates

props, and dresses each location to match the director’s vision for each scene.

Their fearless leader is the Production Designer, who works with the director in pre-production

to create the look of the world.

Then, the Art Director organizes everyone else and makes the Production Designer’s

plans real.

Everything in the mise-en-scène is found or made by the Art Department.

So the more complex a film is, the larger the team tends to be.

Similarly, the Wardrobe Department is responsible for channeling the themes of the film, time

period, setting, and character traits into the clothing of each character in each scene.

Even if it looks like someone doesn’t have any costume changes, they probably have different

versions of the same outfit – like a bloody shirt, or ripped pants – depending on what

happens in the film.

The Costume Designer is responsible for pre-production planning.

While everything on set and in the wardrobe trailer is overseen by the Costume Supervisor.

Set costumers dress and undress actors before and after shooting, paying close attention

to continuity between scenes.

And to complement Wardrobe, there’s Hair and MakeUp, or HMU, which tend to get lumped

together as one department.

Of all the crew, Wardrobe and HMU spend the most one-on-one time with actors, and play

an important role in making them feel safe and confident while doing their work.

A film with a very small cast might have one person who does all the makeup and hair styling,

while larger casts might have an HMU artist for each lead actor.

Most makeup artists can make people look really good or bad or rough, depending on what a

scene calls for.

And if a film needs a lot of specialized makeup, like scars for a war or full-on monster faces,

then you call a Special Effects MakeUp Artist.

They’re the bridge between HMU and the Special Effects Department, which is led by the Special

Effects Supervisor.

Special Effects is in charge of every on-set effect, from creating artificial snow or rain,

to orchestrating a car crash or an epic explosion.

I’ve mentioned safety before, but it’s worth repeating over and over again.

Especially when we’re talking about special effects or stunts, which are cast and choreographed

by the Stunt Coordinator.

Before potentially-dangerous scenes, the 1st AD will repeat all the general safety instructions on set.

Then, either the Special Effects Supervisor or Stunt Coordinator will talk through what

should happen, and what everyone should do if something goes wrong.

Most crews will have at least one trained Set Medic, like an EMT.

Or a special team might be brought in, if a potentially dangerous scene is being filmed.

Now, we’ve talked about almost everyone you might find on a set.

But where the set is changes throughout a film – thanks to the Locations Department.

In pre-production, the scout will search for places to film, based on the script and practicality.

Once the director and producers approve of the locations, the department keys will go

on a “tech scout” to make sure they can do their work, too.

What we see on-screen is actually just one small part of the location!

The location manager and location assistants plan where everything will go, from the set

that will appear on camera to all the trailers in base camp.

They’re first to arrive and last to leave.

The second people to arrive are usually drivers in the Transportation Department, which is

overseen by the Transportation Manager.

They get all the large equipment and trailers to the set, and shuttle cast and crew

back and forth.

Obviously, the more people you have, the bigger the team you’ll need.

And, speaking of big teams, the one job that should never be forgotten, is actually two jobs.

And it’s feeding all these people! Catering companies are contracted by the UPM

to cook 1 to 3 meals per day.

And the Craft Service person is the crew member that manages a station of snacks and drinks

on set.

Both the person and station can be affectionately called “Crafty.”

During a difficult day of shooting, “Crafty” might be the only thing keeping you going.

The power of a granola bar and a friendly face should never be underestimated!

Like, ever.

Seriously, feed your cast and crew.

And make sure you're paying attention to allergy and dietary restrictions.

No one is doing that to be high maintenance.

Crewing a film set is demanding work, but it’s work that attracts people who really

love it.

We could easily make a 90-minute video about all these talented people… but, y’know,

scale!

Today we discussed scalability and how the needs of a film dictate the size of a film crew.

We learned about the different departments and jobs on a set and how they interact.

And next time, we’ll start diving into these roles in more detail, starting with that piece

of equipment at the center of every set: the camera.

Crash Course Film Production is produced in association with PBS Digital Studios.

You can head over to their channel to check out a playlist of their latest shows, like

PBS Infinite Series, Deep Look, and Brain Craft.

This episode of Crash Course was filmed in the Doctor Cheryl C. Kinney Crash Course Studio

with the help of these nice people and our amazing graphics team is Thought Cafe.