NFTS CraftSkills Bootcamp. Day 1
- Lucy Brown
- Nov 2, 2021
- 4 min read
Don’t throw others under the bus
Head of department cascaded information through chain of command
Communication is important!
Ask who I’m working for/ head of production
Think ahead/plan ahead
Paperwork is fluid and can change
Stunts are Illusion of danger and not actual danger.
Hours can be demanding
THE DEPARTMENTS
Director- in charge of delivering creative briefs of film, responsible for quality/creative control of film. Not always direct communication with them.
Pre production- co write script, busy location scouting, designing, costumes, casting.
Production- in charge of delivery of each shot
Post- edit movie
Producers- find the money, hire and fire actors, they hire directors, in charge of health and safety, reliable for things that go wrong, in charge of finance, hiring line producers.
Pre- on shows, years in advance, prepping with finance and chosen project, how to max out the money to make it work,
Production- they can take a “back seat”, they are finding money for the next film as the team is prepped and ready.
Production manager- may do a few episodes, organise spending
Line producer- oversight over multiple blocks, approve money for budget, on behalf of producer
Production coordinator- organise and send out scripts/paperwork/revisions to script. They run pre-production. Pre-production, in charge of making meetings with directors and other team members.
Production assistant- help keep things going- booking cars, helping transport, general organisation.
Cinematography-
Director of cinematography creates overall vision of project
ROLE DESCRIPTIONS
Camera Operator- behind the camera, can also be the cinematographer. They are in charge of the camera team.
1st AC/FOCUS- make sure everything is in focus while actors are moving.
2nd AC/C LOADER- Camera loader-
DIT- Digital format- person who helps receive all information by digital sensor- all images are compressed
Camera trainee- learning on the way
KEY GRIP
ASSIST GRIPS
CRANE GRIPS
STEADICAM
DRONE OP
GAFFER
BEST BOY
ELECTRICIANS
LIGHTING BOARD OP
SCRIPT SUPERVISOR- Crucial role, marking up scripts with notes to editors, tram lines ( shots that cover dialogue). Deciding eyeline . costume, makeup and hair - they help with continuity shots.
SOUND RECORDING- Crucial role. In charge of the actual sound you hear- a crucial element. They may visit costumes to ask about microphones in costumes. Quiet props may be required- crisps that don't wrinkle too much/sound
SOUND MIXER- mixing live sound
BOOM OPERATOR- operate boom mics conferring with lighting people about shadows of lighting.
2ND AS OR CABLE WRANGLER
Prod. designer- finding the right look of location- cinematographer and director.
Hair and makeup/costume- conferring with designers , production designers, moodboards, harmonious and doesn't clash.work closely with actors. Planning is crucial
Catering- prod team in charge of hiring them. Providing food for cast and crew
Stunts- body doubles, stunt coordinator hired in to oversee, work closely with director cinematographer. Pre production- moodboards and planning (lots!). Illusion of danger and not actual danger. Involved with various members of the department.
SFX- some may need them on location, coordinator or supervisor, they make sure all is safe.
VFX/DFX- Note for art direction- if you haven’t got the location you want, all you need is a green screen and then a digital set can be added.
Background replacement- impressive! Bluebolt companies are a great example of impacting VFX. “Taboo”
ASSISTANT DIRECTORS- NOT A DIRECTOR'S ASSISTANT, responsible for cast and crew whereabouts, information key ops- they can answer any questions. Delivers directors vision on time and budget allocated. Responsible TO everyone and FOR everyone. Rep for the entire shooting crew. If head of department can help, go to assistant directors.
Work closely with director and cinematographer. PRE PROD- break scripts down, research. Look at whole board and continuity.
HARD SKILLS of an Assistant Director
Creates and manages shooting schedules
Runs the set
Executed the director’s vision
Directs all background action
Supervises all crowd control in public places/health and safety
Maintains communication between director and crew-make sure communication works well
SOFT SKILLS
Managing egos- vulnerabilities and artistic personalities (Interpersonal skills are crucial)
Managing crew- fatigue, despindency and mutiny
THE AD TEAMS
1ST AD
KEY 2ND AD- RUN BACKSTAGE AREA/ COSTUME MAKEUP/ PRODUCE CALL SHEETS/ LIAISE WITH EVERY DEPARTMENT
3RD AD- ON FLOOR WITH FIRST
FLOOR RUNNERS- HELPING AROUND
What does a good assistant director do?
Constantly anticipating problems and delays
Taking steps in good time to prevent them
….. Across all departments, circumstances and personalities.
If they don’t know, they will find out.
KEYWORDS
DFI- Different flaming idea - come up with an idea and changed idea
SPANISH ARCHER/86- Get rid of it
MAGIC HOUR/GOLDEN HOUR- area between sunset and twilight- highlights but no shadows
CHECK THE GATE- instruction to focus puller to check the gate and theres no dust or hair
SKY HOOKS, LONG WEIGHTS, TARTAN PAINT- practical jokes for learners and apprentices
SET ETIQUETTE-
RIGHT ATTITUDE
A positive attitude
Be early (on time is late) (30 minutes early)
Be honest (ask questions if you are stuck)
Don’t gossip
WATCH OUT FOR
Boredom
Fatigue
10 KEY ON-SET SKILLS
Communication
Team work
Adaptability
Problem solving
Creativity
Work ethic
Interpersonal skills
Team management
Leadership
Attention to detail
EXAMPLE OF HOW TO DEMONSTRATE LEADERSHIP
Strong commitment
Helping people who ask for it
say yes but consider setbacks and repercussions
Establish your position in the team
Inspire others
Thinking positively and proactively- by taking action to control a situation rather than just responding to it after it has happened.
Anticipate needs of your team
Keep your eyes open
How can i help?
Remember set etiquette
TOP 5 NO-NO’S
Don’t scandalise yourself with anyone on the crew or production team
Dont turn up late, hungover or on drugs
Don’t hassle the talent, or try and make them your best friends
Don’t lose scripts or call sheets
Don’t disobey confidentiality rules
PRE-PRODUCTION
the most important phase of any shoot
Process- Can last anywhere between 3 weeks to 15 weeks
THE SCRIPT
All information you need is in the script.
*Black and red scripts-security. When photocopied, red and black just comes out one solid colour. Silver and black however, comes out fully white.
*Production coordinator is in charge of distributing scripts
*Script breakdown- highlight all things related to your department
*Write questions of things you are unsure about and go over with director
Meeting the director
“Let’s suck it and see”- it will suck!
Scheduling
Breaking down into main parts
*Travel as little as possible, shoot as much as possible
TECHNICAL RECCE
Make sure all questions can be answered when on location
Where is safe?
Where is cast changing areas?
Where can i put camera equipment
THE PRODUCTION MEETING- ⅔ days before production shoot
To discuss technical recce
CALL SHEET- ESSENTIAL INFO
PRODUCTION
The shooting day
Studio or location?
Weather cover- how you plan for things that will go wrong due to weather
Consider where equipment, base, caterers go and where there can be parking (if out on location)
Unit base
AD’S based
Costume, make up and hair
Director rehearsal Technical rehearsal
Actors go through blocking lights and cameras
Walkie-talkie practice photos
SHOOTING A SEQUENCE:
We explored different shots (including close up, wide and mid shots) to create a short film. Our film was about two students waiting for their teacher and one of them is angry.
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