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Home / Looking at Movies Person Who Works Closely With the Director Art Director

Looking at Movies Person Who Works Closely With the Director Art Director

Movies and Film: The Job Descriptions

The Job Descriptions

Here is the list of the about high-profile jobs (non covered elsewhere) in the Hollywood arrangement:

  • Art manager. The person responsible for the look of a motion-picture show's sets, he or she is also responsible for their construction.
  • Banana managing director. Most of the fourth dimension this is an administrative position rather than truly directorial. The assistant manager helps break down the script and make decisions about the shooting order.
  • Associate producer/production manager. ane) The next-in-charge of a motion-picture show after the producer. Depending on the relationship with?and the working style of?the producer, the assistant producer can accept a greater or lesser say in artistic as well as administrative decisions. 2) The actual administrator for the daily operations of the motion-picture show.
  • Best boy. one) A person in charge of the paperwork for administering the caput grip's or gaffer's crew. Tin can take care of timesheets, salaries, and then on. 2) The head grip's or gaffer'southward gofer. An amateur to the gaffer or primal grip. So called because he (or at present she) is the "all-time" person available for the job.
  • Boom operator (or smash man). The technician who handles the boom microphone and its paraphernalia, making sure that it is in position to record sound to the all-time advantage. Requires a steady hand to hold the mike over the heads of the actors.
  • Cable person. This person makes certain the audio cables are efficiently and inconspicuously placed.
  • Photographic camera operator (or second cameraman). The technician actually operating the movie camera. Of course, this person is under the careful supervision of both the director and the manager of photography.
  • Carpenter. The person whose crew physically builds the set.
  • Casting manager. Oft in collaboration with the managing director and/or producer, the person who actually picks the "talent," or actors who will appear onscreen. This ways not only the stars, just supporting players, bit players, and so on. At one time studio employees, well-nigh casting directors now piece of work independently, though often regularly with the aforementioned directors and producers.
  • Cinematographer (director of photography). This is the person who literally brings the director's vision to light. Sometimes the cinematographer is almost as responsible for the look and feel of a picture as the director. Information technology is incommunicable to think of Denizen Kane (1941) without Gregg Toland, or Charlie Chaplin films without Rollie Totheroh. Other major technicians?fine art directors and gaffers, for example?consult with the cinematographer who, with the director, really decides on mood, angles, and limerick.
  • Compositor. Really i of a host of computer programmers now involved in film production, the compositor creates layers and textures for the film image in society to lend information technology a greater impression of reality.
  • Computer animator. The estimator programmer in accuse of digitally creating special furnishings that will be transferred back to celluloid. Images tin be transformed live-action sequences, or completely calculator-generated.
  • Structure coordinator. Answerable to the fine art manager, the construction coordinator is responsible for the bodily structure of the film set.
  • Continuity clerk (continuity girl, script daughter, script supervisor). Traditionally a woman, this person makes sure that, if an actor is walking toward the sun in one shot, he is walking in the same direction in the next shot, though the camera may be prepare at a unlike angle. Or, if there is a cat in the room in i shot, that cat is nonetheless scratching up the furniture and coughing up hairballs in subsequent shots.
  • Dolly grip. The technician who operates the dolly, a wheeled and motorized platform on which the camera is placed for "dolly" or "tracking" shots.
  • Executive producer. Every bit the job title suggests, an executive, and administrator in charge of the business organization end of production, bug such every bit raising money for the budget. Rarely involved in the day-to-day operation of the film, the executive producer may be involved in the business of several productions at in one case.
  • Gaffer. 1) The chief electrician, responsible for lighting the set. 2) More generally, the technician who makes the set up run smoothly, from scouting locations to streamlining the set. Legend has it that the term originally applied to the European carney who herded, or "gaffed," audiences into the circus tent.
  • Grip. one) A jack-of-all-trades on the fix, responsible for physically moving and setting up equipment, sets, so on. The "musculus" on the gear up, the grip must besides be able to practice a bit of carpentry. 2) The grip is in charge of all physical work except electric.
  • Key (or head) grip. The person on the set in charge of the other grips, or the crew of workers.
  • Lamp operator. Person in charge of operating film lamps.
  • Lead man. The set scrounger, responsible for finding objects to brand the set more atmospheric or realistic.
  • Line producer (production manager). This executive oversees the day-to-day operations of a film's product.
  • Location manager. The person who finds locations at which to shoot.
  • Mixer. The audio technician who assimilates?or "mixes"?sounds together for each of a film'southward sequences, determining the relative values (volume, pitch, then on) of the background music, dialogue, ambient noise, and then on.
  • Model. The actor filling in for close-ups of a portion of the principal actor's body; a "body double."
  • Modeler. Originally, a technician who makes the pocket-sized models that are photographed every bit if life-sized. Now more than often applied to the computer programmer who creates 3-D digital images that are then transferred to film.
  • Nursery human being. The worker who provides the appropriate plant life for a scene.
  • Producer. The chief administrator for a film; the producer's duties can vary widely. The producer is at the beginning of the process: buying the rights to the original book on which a movie is based. He or she considers various "treatments" of the original "property," selects the director, and consults on creative aspects and budgets. Sometimes the producer has petty visible effect on the product. Other producers, like Arthur Freed at MGM, are almost auteurs themselves.
  • Production designer. The person who decides how the motion picture is going to look, based on the needs and vision of the managing director and the script.
  • Prop man (property master). The property man keeps track of, cares for, and places the props on the set.
  • Publicist. Promotes films and stars through press releases, publicity events, contacts with newspapers, distribution of publicity stills, and and then on. This task overlaps with that of the public relations executive. The "unit" publicist publicizes a particular film.
  • Screenwriter. The craftsperson who writes the scripts. The writer may suit a literary work, produce an original script, or revise ("doctor") an already-existing script. Like almost of the residuum of filmmaking, screenwriting tends to be a collaborative endeavor.
  • 2d unit managing director. The director of the "second unit." The second unit is the moving-picture show coiffure that photographs sequences for which the director and main actors are non required.
  • Set decorator. On instructions ultimately from the fine art director, the set decorator actually furnishes a set with the items that create the appropriate temper and ambience: rugs, lamps, and potted palms.
  • Gear up dresser. Related to set decoration, set dressing is the art of making the prepare look every bit if it has always been inhabited, rather than new and artificial.
  • Sound coiffure. The technicians on the gear up responsible for audio recording. This coiffure is sometimes a single person: the sound man.
  • Sound designer. The production designer for sound, the sound designer oversees all aspects of sound recording for a film projection.
  • Special effects supervisor. The special furnishings team is now most often an independent company rather than a sectionalisation of a major studio, so the effects supervisor tin can exist either an administrator or a supervisor of the 24-hour interval-to-twenty-four hours operations of the special effects team.
  • Stand up-in. Chosen for their physical resemblance to the principal stars, stand-ins are the people who substitute in place of the stars during the often time-consuming procedure of readying the set for actual photography.
  • Stand-past painter. The set's "bear on-up" painter who makes any last-minute adjustments in the set's colour and sheen, subduing glare or changing hues when necessary.
  • Story analyst/reader. This is the person who considers whether a script or a literary belongings is worth considering as a film.
  • Stunt coordinator. Determines where, in the pic script, stunts will take place.
  • Stunt person. The stunt people have all those falls, dives, crashes, and punches that brand a moving-picture show "activity-packed." The stunt person tin can play a distinct, if minor, character: the yeoman in the landing crew on the original Star Trek serial yous know is going to die upon landing on the hostile planet. Or she can double for the star in the automobile crash that no 1 could actually survive in existent life.
  • Supervising editor. The person in charge of film editing, this technician works closely with the director and, if upkeep allows, supervises a squad of editors.
  • Swing gang. The grunts who fetch and carry props and other equipment to and from the prepare.
  • Talent. Colloquial expression of the people in front of the camera; the actors. Occasionally used ironically.
  • Unit of measurement. The designation for the technical crew actually working on the gear up.
  • Unit photographer. The still photographer who takes publicity photos on the set up for the moving picture.
  • Visual effects supervisor. The person who oversees the squad that actually creates special effects.
  • Wrangler (animal wrangler). The person responsible for the animals acting in front end of the photographic camera, whether dogs, horses, mice, or fish. Cares for the animals. Job can overlap with that of the "animal trainer," who actually owns and prepares the beast for movies.

Robert Taylor listens in with sound technician Howard Voss in the special Sound Truck while on location for MGM's Westward the Women (1951).

Robert Taylor listens in with audio technician Howard Voss in the special Sound Truck while on location for MGM'due south West the Women (1951).

Excerpted from The Complete Idiot'south Guide to Movies and Motion-picture show 2001 by Mark Winokur and Bruce Holsinger. All rights reserved including the right of reproduction in whole or in part in any form. Used past arrangement with Blastoff Books, a fellow member of Penguin Group (USA) Inc.

To lodge the e-book book directly from the publisher, visit the Penguin United states of america website. You can also purchase this book at Amazon.com.

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Source: https://www.infoplease.com/culture-entertainment/film/movies-and-film-job-descriptions