CREW DUTIES - NARRATIVE
PRODUCER
- Schedules & communicates the production calendar.
- Budgets the production; manages purchasing
- A clearing house for all project documentation, the producer maintains personal and location releases.
- Markets the film: hires poster designer, oversees trailer, strategically enters the film in festivals and competitions.
- Supervises submission of all documents to D2L.
- Manages crew conflict with Director.
- Designs titles & credits (coordinated with marketing for branding consistency)
- Designs visual effects
SCRIPTWRITER
- Drafts and revises the screenplay.
DIRECTOR
- Motivates actors to produce their best dramatic performance.
- Attends casting sessions and selects actors. Oversees rehearsals.
- Interprets a script in storyboards & ground plans; understands the story and narrative style.
- Chooses set locations from among those scouted by the Production Designer.
- Works within budgetary constraints. Adheres to production schedule.
- Manages crew conflict with Producer.
- Coordinates with every department principal to ensure a consistent creative execution.
PRODUCTION DESIGNER
- Works within budgetary constraints.
- Adheres to production schedule.
- Supervises and presents the pre-production mood board.
- Works alongside the director to select, purchase, and design the following elements to visually convey the film’s story: costume, make-up, location scouting, set dressing.
ASST DIRECTOR
- Maintains and distributes call sheets.
- Functions as the contact person for everyone in the cast and crew.
- Schedules and communicates the production stopwatch to the minute.
- Recruits and assigns Grips and Production Assistants
CAMERA
- Camera 1 (a.k.a. the Cinematographer, the Director of Cinematography, the Lighting Cameraman) manages camera and lighting crew.
- Creates screen images to the satisfaction of the Director, overseeing the selection and manipulation of technical equipment: lenses & filters; lighting techniques; camera movements; aspect ratio, digital effects, image contrast, frame rates
- Consults Director’s storyboard to position the camera.
- Camera 2 manages, logs, and backs up all recording media; Delivers recorded media to the DIT.
GAFFER
- Selects, maintains, & safely deploys lighting equipment.
- Designs & implements the lighting scheme to the satisfaction of the Cinematographer (a.k.a. Camera 1)
- Keeps detailed nominal, repeatable lighting plots for each camera position.
PRODUCTION SOUND
- (a.k.a. sound 1, production sound mixer, location sound recordist, location sound engineer, or sound mixer)
- Works within budgetary constraints. Adheres to production schedule.
- Manages audio crew (chiefly the Utility Sound Technician, a.k.a. sound 2).
- Selects, maintains, and deploys microphones, cables, field recorders, mixers, and headphones
- Makes and logs dual-system recordings of all location dialogue
- Makes and logs recordings of room tone and wildcat production effects
- Manages and backs up all recording media (in conjunction with the Digital Imaging Technician);
- Delivers recorded media to the DIT.
D.I.T.
- Manages, logs, and backs up all audio and video recording media; Delivers recorded media to the assistant editor. Provides empty recording media to camera operators..
GRIPS & PAs
- Works as assigned, with chief responsibility during the shoot to assist with production sound, camera, and lighting.
- The Assistant Director recruits Grips and Production Assistants from lower-level production classes or the Moving Pictures Guild.
- The most valuable grips offer their help before being asked to do so.
EDITOR
- (a.k.a., edit 1, visual editor, post-production supervisor)
- Consults the Director’s storyboard to select and combine shots into sequences.
- Works with the Director to creatively tell the film’s story.
- Works with Remix Engineer to combine dialogue, FX & music, to creatively meet technical standards of level.
ASST EDITOR
- (a.k.a. edit 2)
- Manages and backs up all recording media in conjunction with the Digital Imaging Technician.
- Organizes server, productions, projects, and bins.
- Conscientiously accounts for every digital asset.
- Synchronizes and merges recorded picture and sound elements.
- Edits the trailer to the satisfaction of the Producer
- Manages film exports.
COLORIST
- Makes individual shots recorded with different cameras or under different lighting conditions look like they belong in the same scene.
- Monitors for broadcast-safe levels of brightness and color.
- Adds subjective, creative color grading to creatively tell the film’s story to the satisfaction of the Visual Editor and the Director.
DIALOGUE EDITOR
- Organize and edit the clips in clearly labeled tracks..
- Mix to minimize noise and match loudness of multiple characters and clips.
- Work with the Foley Editor to layer the scene with a track of room tone or ambience
- Route track outputs to submix channels and a single dialogue stem to the satisfaction of the Director, Producer, and Remix Engineer.
FOLEY EDITOR
- Annotate the script for sound effects and atmospheres
- Spot a VizLock windowburn
- Record, back-up, and edit the effects in clearly labeled tracks
- Route track outputs to submix channels and a single effects stem to the satisfaction of the Director, Producer, and Remix Engineer.
SCORE SUPERVISOR
- Spot a VizLock windowburn to the satisfaction of the Director, Producer, and Remix Engineer.
- Act as the production’s primary contact with the Composer. Negotiate materials, logistics, deadlines, and revisions.
- Import the finished music into organized and clearly labeled tracks. Edit and mix to produce a single music stem to the satisfaction of the Director, Producer, and Remix Engineer.
REMIX ENGINEER
- a.k.a. supervising audio editor, remix engineer
- Combines the following elements to meet technical standards of level and creatively tell the film’s story: Dialogue; Score; Foley, Effects, and Atmospheres.
- Supervises and remixes the work of the Dialogue Editor, Foley Editor, Score Supervisor, and Composer.
- Works to the satisfaction of the Director and Producer.