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    Production Crew TOPIC 3 Cinematography

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    Rodah Muchembi
    The document discusses the roles and responsibilities of different positions on a video production crew. It begins by noting that crew size depends on the type of production but generally includes roles like the producer who oversees the business aspects, director who guides the creative vision, and assistant director who assists the director. It then provides more detailed descriptions of common crew roles such as camera operators, audio mixer, lighting director, and editor. The document concludes by mentioning that productions often utilize freelance crews and define above-the-line and below-the-line personnel classifications.

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    Production Crew TOPIC 3 Cinematography

    Uploaded by

    Rodah Muchembi
    25 views8 pages
    The document discusses the roles and responsibilities of different positions on a video production crew. It begins by noting that crew size depends on the type of production but generally includes roles like the producer who oversees the business aspects, director who guides the creative vision, and assistant director who assists the director. It then provides more detailed descriptions of common crew roles such as camera operators, audio mixer, lighting director, and editor. The document concludes by mentioning that productions often utilize freelance crews and define above-the-line and below-the-line personnel classifications.

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    media studies notes

    Original Title

    Production Crew TOPIC 3 Cinematography (1)

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    The document discusses the roles and responsibilities of different positions on a video production crew. It begins by noting that crew size depends on the type of production but generally includes roles like the producer who oversees the business aspects, director who guides the creative vision, and assistant director who assists the director. It then provides more detailed descriptions of common crew roles such as camera operators, audio mixer, lighting director, and editor. The document concludes by mentioning that productions often utilize freelance crews and define above-the-line and below-the-line personnel classifications.

    Copyright:

    © All Rights Reserved
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    Download as docx, pdf, or txt
    25 views8 pages

    Production Crew TOPIC 3 Cinematography

    Uploaded by

    Rodah Muchembi
    The document discusses the roles and responsibilities of different positions on a video production crew. It begins by noting that crew size depends on the type of production but generally includes roles like the producer who oversees the business aspects, director who guides the creative vision, and assistant director who assists the director. It then provides more detailed descriptions of common crew roles such as camera operators, audio mixer, lighting director, and editor. The document concludes by mentioning that productions often utilize freelance crews and define above-the-line and below-the-line personnel classifications.

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    © All Rights Reserved
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    of 8

    Production Crew

    I’ve always maintained that with the right crew


    (producer, director, commentators, etc.), you can make
    a toenail clipping competition riveting television. With
    the wrong crew, you can make an international soccer
    championship boring.
    David Hill, CEO of Fox Sports Television

    People are much more important than the coolest gear. The bottom line is that
    crew members who know what they are doing can make an incredible program
    with mediocre equipment. However, crew members who do not know
    what they are doing can make a mediocre program with the latest high-quality
    equipment. Because of the importance of people within a production, we are
    putting this chapter near the beginning of the book.

    2.1 Production crew size


    Production crews come in all sizes. The crew for a documentary may consist
    of one person with a palm-sized camera. Other types of programming, such
    as a network dramatic production, may require a large number of people. It all
    comes down to what you are trying to accomplish.
    VIDEO PRODUCTION CREW JOB DESCRIPTIONS
    Most job descriptions for the crew have some commonalities from company
    to company. However, you will fi nd that the actual duties may fl uctuate based
    on the company, production style, and the talents of the individual crew members.
    In this chapter we describe some of the basic positions that may exist on
    a video production. Because this book focuses on smaller productions, we will
    limit the list to the most common positions.

    2.2 Producer
    The producer is generally responsible for a specifi c production. Usually the
    producer is concerned with the business organization, budget, the choice of
    the staff and crew, interdepartmental coordination, script acceptance, and production
    scheduling. The producer may select or initiate the program concepts
    and work with writers. He or she may assign the production’s director and is
    responsible for meeting deadlines, production planning, location projects,
    rehearsals, production treatment, and other duties. Producers may also become
    involved in specifi cs such as craft or union problems, assessing postproduction
    treatment, and the fi nal program format.
    2.3 Assistant producer or associate producer (AP)
    The assistant or associate producer is responsible for assisting the producer.
    These responsibilities, as assigned by the producer, may include coordinating
    appointments and production schedules, making sure contracts are completed,
    booking guests, creating packages, and supervising postproduction. This person
    may be assigned some of the same responsibilities of an associate director.
    2.4 Director
    Ultimately the director is the individual responsible for creatively visualizing
    the script or event. This means that the director instructs the camera operators
    on the type of shots they want and select the appropriate camera shots for the
    fi nal production. Directors are people who can effectively communicate their
    vision to the crew. They are also team builders who move the crew toward that
    vision. This involves advising, guiding, and coordinating the various members
    on the production team (scenic, lighting, sound, cameras, costume, etc.)
    and approving their anticipated treatment. The director may choose and hire
    performers/talent/actors (casting), envision and plan the camera treatment
    (shots and camera movements) and editing, and direct/rehearse the performers
    during prerehearsals (Figure 2.1).
    He or she also evaluates the crew’s contributions (sets, camerawork, lighting,
    sound, makeup, costume, graphics, etc.). The director’s job can range in practice
    from being the sole individual who creates and coordinates the production to a
    person who directs a camera and sound crew with material organized by others.

    2.5 Assistant director or associate director (AD)


    The AD is responsible for assisting the director. Functions may include supervising
    prerehearsals and location organization. The AD may also review
    storyboards, implement the shooting schedule, and shield the director from
    interruptions, and he or she is sometimes responsible for the cast. The AD may
    take the director’s notes on changes, retakes, performance, and other factors.
    For multicamera shoots, the AD may be responsible for lining up shots, graphics,
    and tapes. He or she may also be responsible for checking on special shots
    (such as chroma key), giving routine cues (tape inserts), and other duties while
    the director guides the actual performance and camera(s). The AD may also
    check program timing and help the director with postproduction. This person
    may be assigned some of the same responsibilities of an associate producer.
    This position may be merged with the fl oor manager.

    2.6 Floor manager (FM) or stage manager (SM)


    The FM is the director’s primary representative and contact when the director is
    not on the set or in the studio. He or she may be used to cue talent and direct
    the fl oor crew. During the shoot, the FM is responsible for general organization,
    safety, discipline (e.g., managing noise), and security. At times, the FM
    may be used to ensure that the talent is present. This job may be merged with
    the assistant director (Figure 2.2)
    The stage manager
    (wearing hat and
    intercom) represents
    the director on the set
    or in the studio. He is
    shown working with
    actors on the set of a
    sitcom.

    2.7 Production assistant (PA)


    The PA assists the director or producer with production needs. These may
    include supervising the production offi ce (making copies, making coffee, and
    running errands), prerehearsals, and location organization. His or her responsibilities
    may also include logging tapes and taking notes during production
    meetings. During rehearsals and recording, this person may assist the producer/
    director with graphics or serve as a fl oor manager.
    2.8 Technical director (TD) or vision mixer
    The technical director generally sits next to the director in the control room
    and is responsible for operating the television production switcher (and perhaps
    electronic effects). The TD may also serve as the crew chief. This person
    reports to the director (Figure 2.3).
    2.9 Makeup artist
    The makeup artist designs, prepares, and applies makeup to the talent, aided
    by makeup assistants and hair stylists (Figure 2.4).
    2.10 Graphic designer/operator
    The graphic designer/operator is responsible for designing and implementing
    the graphics for the production. This individual is responsible for organizing
    and typing onscreen text and titles for a production, either to be used during
    the production or stored for later use (Figure 2.5).
    FIGURE 2.5
    Graphic designer/
    operators must
    design, organize, and
    edit graphics for video
    productions. (Photos
    courtesy of Jon
    Greenhoe/WOOD TV.)
    2.11 Lighting director/
    vision supervisor
    The lighting director is responsible
    for designing, arranging, and controlling
    all lighting treatment, both
    technically and artistically. This
    responsibility may include indoor
    or outdoor lighting situations. The
    lighting director supervises the electricians,
    or gaffers, who rig and set
    the lighting equipment (Figure 2.6).

    2.12 Camera operator


    The camera operators are responsible
    for setting up their cameras
    (unless the cameras have already
    been set up, such as in a studio
    situation) and then operating
    the cameras to capture the video

    images as requested by the director


    2.14 Audio mixer/sound mixer/
    sound supervisor
    The audio mixer is responsible for the sound
    balance as well as the technical and artistic
    quality of the program sound. This includes
    determining the number and placement of the
    microphones required for the production. He
    or she also makes sure that the audio cables are
    properly plugged into the audio mixer and is
    responsible for the fi nal mix (audio levels, balance,
    and tonal quality) of the production. The
    audio mixer supervises all personnel operating
    microphones and audio equipment (Figure 2.9).

    2.15 Boom operator or audio assistant


    Supervised by the audio mixer, the boom operator is responsible for positioning
    microphones, running audio cables, operating the sound boom, troubleshooting
    audio problems, and operating fi eld audio equipment

    2.16 Engineer
    Engineers are responsible for setting up, adjusting for optimal performance,
    maintaining, and trouble-shooting all equipment used in a production.
    2.17 Writer
    The writer is responsible for writing the script. Occasionally the producer or
    director will write material. At times, writers are assisted by a researcher, who
    obtains data, information, and references for the production writer.
    2.18 Editor
    The editor selects, compiles, and cuts video and audio to produce programs.
    He or she may assemble clips into segments and segments into programs, or
    this person may simply correct mistakes that occurred during the production
    process.
    2.19 Set designer
    The set designer is responsible for conceiving, designing, and organizing the
    scenic treatment for a production (perhaps even the graphics). He or she supervises
    the scenic crew in erecting and dressing the sets
    PROFESSIONAL CREW

    2.20 Freelance crew


    Today, many productions utilize freelance crews. Freelancers are independent
    contractors who work for multiple organizations, hiring out their production
    skills on an as-needed basis. There are freelancers available who can fi ll every
    one of the aforementioned positions.
    2.21 Below-the-line/above-the-line
    You may hear the terms “below-the-line” and “above-the-line” personnel.
    Although these terms may have different meanings to different companies,
    overall they are budgeting terms. Here are some common descriptions:
    Above-the-line personnel usually refers to people who may have a fi xed salary
    but who also will share in any profi ts the project generates. They are generally
    thought of as more artistic in nature. These positions would include producers,
    directors, actors, writers, and possibly graphic artists and designers.
    Below-the-line personnel refers to everyone who is paid a wage and will not share
    in the profi ts. It generally refers to camera operators, editors, engineers, production
    designers, costume designers, and makeup artists. Below-the-line personnel
    may be eligible for overtime pay.
    2.22 The structure of a video production crew
    The structure of a production crew differs greatly from company to company.
    Even different types of productions, such as dramatic and sports productions,
    require different styles of hierarchy. Figure 2.12 shows a common general

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