24FA 3205 Non-Fiction
| Producer | Director | Cam 1 Best | Gaffer Cam 2 | DIT U Sound | Prod Sound |
|
| FILMWAYS | Barron (& prod sound) | Brzezinski | Kildoo (& color) | Sukhenko | Velasquez | |
| NATN’L | Basinger | Horst | Karr | MacKay | Tomak | Zanders |
| KEYSTONE | Bojarski (& prod sound) | Geiser | Dowling (& color) | Partusch | Cannon | |
| Credits & Graphics | Score Super | Asst Editor | Audio Editor | Visual Editor | Colorist |
- PRODUCER
- Schedules the production (calendar & stopwatch).
- Writes/gathers/edits interview questions (in collaboration with the director)
- Makes a b-roll shot list (in collaboration with the director)
- Budgets the production; manages purchasing
- A clearing house for all project documentation, the producer maintains and distributes call sheets as well as personal and location releases.
- Maintains credits list
- Markets the film: hires poster designer, oversees trailer, strategically enters the film in festivals and competitions.
- DIRECTOR
- Interviews the film’s subject.
- Makes a b-roll shot list (in collaboration with the producer).
- Writes/gathers/edits interview questions (in collaboration with the producer)
- Works within budgetary constraints. Adheres to production schedule.
- Manages conflict on set.
- Coordinates with camera crew and composer to ensure a consistent creative execution.
- Works with the editor to create the film in its final form.
- CAMERA OPERATORS (2) (a.k.a. cinematographer, director of photography, lighting cameraman)
- Records multi-cam interview
- Records B-Roll, sensitive to the shot list (see director and producer roles above)
- Manages camera and lighting crew
- Creates screen images, overseeing the selection and manipulation of technical equipment: lenses & filters; lighting techniques; camera movements; aspect ratio, digital effects, image contrast, frame rates
- Manages and backs up all recording media (in conjunction with the Digital Imaging Technician); delivers recorded media to the editor
- GAFFER
- Designs and implements the interview lighting scheme in concert with the cinematographer
- Supervises a crew that safely maintains and moves lighting equipment (chiefly best boy).
- Keeps detailed nominal, repeatable lighting plots.
- PRODUCTION SOUND (a.k.a. production sound mixer, location sound recordist, location sound engineer, or sound mixer)
- Works within budgetary constraints. Adheres to production schedule.
- Manages audio crew (chiefly utility sound technician).
- 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 editor.
- DIGITAL IMAGING TECHNICIAN
- Manages, logs, and backs up all audio and video recording media; Delivers recorded media to the assistant editor. Provides empty recording media to the cinematographer. On smaller crews, this is often a function of the producer.
- EDITOR (visual)
- Selects shots, combines them into sequences, beginning with a dialogue-driven assembly edit.
- Adds B-roll, stock, and graphics, editing picture and sound separately in multiple iterations of a rough cut and, ultimately, an immutable visual lock.
- Works with the director to creatively tell the film’s story
- ASSISTANT EDITOR
- Organizes server, project, and bins. The variety of b-roll makes labeling and arranging server folders and project bins considerably more intricate than it might be on a narrative film.
- Synchronizes and merges recorded picture and sound elements.
- Creates multi-cam sequences
- EDITOR (audio)
- Combines the following elements to meet technical standards of level and creatively tell the film’s story: Dialogue; Score; Foley, Effects, and Atmospheres
- 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.
- GRAPHICS
- Designs titles & credits (coordinated with marketing for branding consistency)
- Designs visual effects
- On smaller crews, this is often a function of the colorist or producer.