Every prop that will appear in your film must be pulled from the script and added to the props category in your breakdown sheets. Once you get that first job—and hopefully many more after that—you’ll quickly have to learn how to live life as a freelancer. Okay so there are just a few more things you need to know to slate perfectly. Click here to read our Summer 2020 issue, featuring Time’s Garrett Bradley, our annual film school guide, a spotlight on television and more... by Brandon Tonner-Connolly with Alicia van Couvering in Filmmaking Or a low-budget feature? Instead, if you come across a shoot that’s in progress, consider asking a current crew member if they need more help on set. Responsibilities: Capturing and organizing the recorded sound of the film including dialogue, background noise, room tone. The film industry is notoriously hard to get started in, and nowhere is that more true than behind the camera. When you’re just starting out, your network will likely be pretty slim; you build your network through professional jobs and you haven’t really had many yet. When both the camera and sound are “speeding” you call out the scene number and take number, then “Mark!” and clap the sticks together. : Do you have a personal website that’s easy to find by searching your name? They read the screenplay and work closely with the director to discuss the look and feel of a film. The process includes figuring out what scenes can be shot together in the same day, scheduling actors to work consecutive days, and how to tighten the schedule so the film can be shot in fewer days. Like a lot of protocols on set, even though the technology has changed, we still use the old terms out of tradition. Shooting in Canada, depending on the exchange rate at the time, can stretch your budget up to 45 percent or more! Or you can use black gaffer tape to cover what isn’t true about the shot, the way this 2AC did: Doing it the way Evan Long did on Lysol keeps the information clearly legible and tidy. Responsibilities: Capturing and organizing the recorded sound of the film including dialogue, background noise, room tone. From no-budget student films to studio blockbusters, the internet is your friend when it comes to finding crew openings on productions filming near you. http://www.oscars.org/teachersguide/artdirection/introduction.html, "Art Director." Small-dish satellite systems are digital. We’ll also advise you on how to slate correctly for the camera so you’ll know what you’re doing right from the first take. Finally, your slate might allow you to indicate if your shot is Interior or Exterior, or Day or Night. If that first group can’t come up with enough people, they then go out to their trusted circle, and so on and so on until that 2nd AD is swimming in hardworking, trusted PAs. If you’re using software like Movie Magic Scheduling, you can cross-reference details about the locations (Are they private or public property? “FPS” (Frames Per Second) is where you can indicate the frame rate you’re shooting at. You address set dressing in your breakdown sheets only if it’s crucial to the story. When marking the slate, the Scripty is the boss, so always check with him if you’re unsure of what to write on a space. For "Moulin Rouge," set designers created 19th century France, also recreated for the movie's premiere. Let me show you what I mean using the diagram below: For scene 42, our shot list shows four planned setups. Scene 106 has Ghandlin the wizard driving a borrowed police car and zapping traffic out of his way with his magic wand. Camera operators on a film set include main operators and specialists in underwater, aerial and robotic work. When you have to slate for multiple cameras, you want to be as efficient as possible. Slating for MOS is pretty simple, but there are several ways to do it. You’re right. You want to keep the slate neat and legible at all times. Easy peasy, right? There are two parts to the film slate. Makes notes on each take (e.g., whether good or bad). In the U.S., we mark the scene on the clapperboard using a combination of numerals and letters. Audio takes up less media space, so there may be a dozen camera rolls for only one audio roll. Responsibilities: Assembling and maintaining support equipment for camera including dollies, dolly track, and jibs; setting stands for lights and placing light shaping elements such as flags. The people in charge of hiring entry-level crew rarely have time to thoroughly read every resume that gets submitted, so make sure yours is clear and the relevant information is easy to find, like your availability (“I can start right away”) and any skills/qualifications you could lend. “C camera mark!” Clapper sticks.. Do you need to secure permits or pay location fees, and how much do they cost?). I don’t think you need to know what to do with the Date section, for example. You never know when a second or third camera will be brought in to cover a particular scene, or to move the shooting schedule along. So, they might not be able to see that bit of information, handy as it is. Responsibilities: Breaking down the script into an organized shooting schedule (1st AD), communicating with all departments on a daily basis to keep production moving forward (including creating call sheets), monitoring and facilitating on set safety for all personnel. Greatest thrill: The possibility of daily electrocution. Or Ruth E. Carter, who met Spike Lee while she was working as a backstage dresser in an L.A. theater, and then went on to design costumes for 12 of his films. Skillset.org. Read on for more details on this very important and vital role. The key grip, who is charge of all grip duties on the set, makes an estimated $113,920 on a big-budget film, and perhaps $25 to $35 an hour for work on TV shows and low-budget films, according to Hollywood Reporter. Using our trusty Scene 42 example above, let’s slate with soft sticks: “Scene 42 Charlie. Traditionally, this was made of actual slate, just like chalkboards. Unlike most other industries, film and TV jobs don’t really follow the traditional path of finding a long-winded job description, tailoring a resume to the job, crafting a specific cover letter, applying, interviewing, and waiting for an offer. Even if you have a definitive budget, scheduling your shoot schedule can be tricky. Your budget may only allow you to schedule a 12-day shoot (every additional day is going to cost you money). Responsibilities: Stand by for on set medical needs of cast and crew. Transportation Because the director’s vision largely impacts the final product, directors work closely with department heads and technicians to bring it to fruition. Producers hire assistants, including first and second operators and a film loader, to assist the main camera operator. Personnel includes: Sound Mixer, Boom Operator, Sound Utility. That said, sometimes the director will want to do a “series” instead of individual takes. There are many different kinds of locks but the most common is called a Pin Tumbler Lock. As 2AC, you’ll have responsibilities that will require your absence from the set, so get in the habit of that. Responsible for certain “video village” items including moving directors chairs and, in certain union jurisdictions, heaters and tents. Clap the sticks while the slate is still upside down, then flip it over so the ID information can be read by the editor. Set dressing includes a picture frame on a mantle or flowers in a vase on a table. The further you get in your career, the more invaluable this group of people will be. Join this department if you like: Finding the perfect object for every occasion. Responsibilities: Preparing and operating the camera, setting up the monitors (if there are no VTR / video playback personnel), tracking footage and managing film or digital media. “P/U” lets the editor know that only part of the scene was shot. You choose the date on which to start principal photography and the date on which the shoot will wrap. Figure 1: A breakdown sheet created with Gorilla production software. Personnel includes: Location Manager, Location Assistants, Location Scouts, Unit PAs. Favorite accessory: Any custom-designed holder for a generic object (i.e. If you clap them too gently, you might have to go for “second sticks.” This means that you didn’t clap the sticks loudly enough to be recorded for audio the first time. The numeral is the scene number in the script. http://www.skillset.org/film/jobs/productiondesign/article_4675_1.asp, Information about the device's operating system, Information about other identifiers assigned to the device, The IP address from which the device accesses a client's website or mobile application, Information about the user's activity on that device, including web pages and mobile apps visited or used, Information about the geographic location of the device when it accesses a website or mobile application. Sometimes, when all you need is a warm body to ask people to walk on the other side of the street, you just want to know that the person you’re hiring isn’t a complete moron. Responsibilities: Organization, preparation, wrap, taking care of actors, producers, director, financiers. First, circle that place on the clapboard that says “MOS” if your slate has it. You need to break down all the elements of your film to determine how to distribute the money you have. Even if you can’t slate the other cameras in order for time’s sake or due to logistics, you should always start with A camera. Resume: Your resume should serve as a solid snapshot of who you are, the job you’re applying for, and why you’re qualified to do it. The above is a revised version of an article originally published in April, 2015. Responsibilities: Breaking down the script, managing the continuity of blocking, props, makeup and costumes, tracking the progress of the production through the pages of the script. You’ll likely be working for free, but when productions need to rent equipment and they do so through your rental house, they’ll may need crew to operate everything. Join this department if you like: Maps, interfacing with a wide swath of people including cops, firemen, government officials and curious neighbors. Some slates have a separate spot for indicating which camera is recording, rather than including it in the roll number. But the Scripty will also mark it on his report that the take was slated at the end. The film industry is notoriously hard to get started in, and nowhere is that more true than behind the camera. Call the number on the signs and “ask to be connected to the production office. She has done just about every job on set, from PA to Producer. Does it feature your credits, past work, reel, etc? For example, going back up to our diagram, let’s say in setup four we changed the frame from a medium shot to a close-up. Join this department if you like: Finding new and creative places to plant mics on set, listening to actors gripe about the director when they think no one can hear them, retrofitting tackle boxes into cord organizers. Either way, you’ll want to get the tail slate done quickly. Portfolio: For visual jobs—art, sets, SFX, costume, hair and makeup—a portfolio of your work may be required. (This is a companion piece to “The Seven Arts of Working in Film: A Necessary Guide to On-Set Protocol.). More importantly, they are a lot easier to see in just about any lighting environment because of the translucent nature of the plastic. Pitch yourself and ask if you can send your resume.” An anonymous New York-based 1st AD says that while this is one route, it’s not a hugely successful one since the number on those permit signs is for the location manager, who is likely too buys dealing with location logistics to hire you.
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