Barbara Boyle’s Art and Business of Producing I
Vernacular List
A | B | C | D | E | F | G | H | I | J | K | L | M | N | O | P | Q | R | S | T | U | V | W | X | Y | Z
A
1st Assistant Camera- (aka Focus Puller) A 1st AC is responsible for keeping the camera’s focus right during a shoot. They focusing and refocusing the camera lens as actors move within the frame of each shot, but they do not look though the lens to do this; they pull focus according to a set of complex marks (which are placed on the set, on the floor, on props, etc., during the Director’s on-set rehearsal time with the cast), and by using their instincts and experience of judging focal lengths. As it is impossible to see whether the focus is sharp until the rushes are screened, 1st ACs rely on experience and instinct for each focal adjustment. They are also responsible for camera equipment such as lenses, filters and matt boxes, and for assembling the camera and its accessories for different shots.
1st Assistant Director- A First Assistant Director is responsible for the preparation of the shooting schedule and script breakdown used to plan the shooting of a film or television show. The AD works directly with the Director to manage of the minute to minute operations on the set during the process of filming, as well as coordinating the necessary communication of details of future operations as the filming progresses. Other duties include tracking the progress of filming versus the production schedule, preparing call sheets, observing all rules related to union crafts, labor contracts and location agreements, maintaining safety on the working set, and working with the Unit Manager to keep operational costs within the budgeted plan.
2nd Assistant Camera- (aka Clapper Loader) A 2nd AC’s main functions are that of loading the raw film stock into camera magazines, operating the clapperboard (slate) at the beginning of each take, marking the actors as necessary, and maintaining all records and paperwork for the camera department. The loader is the only person who actually handles the film negative between the manufacturer and the laboratory, and thus can easily render an entire day’s work useless if the film is handled improperly.
2nd Assistant Director- A Second Assistant Director is responsible for information distribution and reporting, cast notification and preparations during the shooting process, recording of all data relative to the working hours of the crew and cast, management of the background cast (atmosphere or “extras”), preparation of call sheets, production reports, and other documentation. When needed, the Second Assistant Director can assume the duties of the First Assistant Director on a temporary basis.
Above-the-Line- Expenditures that are negotiated or spent before filming begins. They can include the rights for the material (script), salaries for the producer, director, actors, and screenwriter. It can also cover costs for Assistants to the Directors, actors, and producers. This term originated from the early days of the studio, when the budget top-sheet would literally have a line separating the above-the-line and below-the-line costs.
Acquisition of Rights- A deal in which a studio or distributor is securing the rights to a film. If a producer makes an independently financed film they will most likely still possess “rights” to the film once it is completed, i.e. the “right” to exploit the film in a theater, on DVD, merchandising, etc. The producer can then sell those rights either as a bundle of rights or piece by piece to a studio or a distributor, who is “acquiring the rights” to the film.
ADR- Automated Dialog Replacement, (aka Looping) is the replacement of dialog in post-production of a film or video. This is done with the vast majority of feature sound tracks. Looping originally involved recording an actor who spoke lines in sync to “loops” of the image, which were played over and over along with matching lengths of recording tape. It is now done by computerized workstations which greatly enhance the workflow as well as giving distinct advantages to further post production audio work.
Agencies- A business or service authorized to act for others; also the place of business for an agent. Casting and literary agencies are the most common among the film industry.
Agent- A person responsible for the professional business dealings of an actor, director, or other artist. An agent typically negotiates the contracts on behalf of the actor or director, and often has some part in selecting or recommending roles for their client.
Answer Print- The first graded print of a film that combines sound and picture, and is created for the client to view and approve before printing the rest of the copies of the film. The film has been color corrected on an interpositive and is created during the post-production process after editing, dubbing, and other related audio work and special effects sequences have been finished or completed to a degree satisfactory for pre-release viewing. They are used by the filmmaker and studio to ensure that the work going in to the film during the post-production process is cohesive with the final goals for the project. When the last Answer Print is approved and finalized, it is used to make an internegative from which the release prints are struck
Art Director – The person who oversees the look of sets and all other visual aesthetics of a production as well as all the craftspeople involved in their construction.
Aspect Ratio – A measure of the relative sizes of the horizontal and vertical components of an image. Ratios can vary depending on film, region, and projection method, but the most common ratio in North America for 35mm is 1.85:1.
Attorney – Legal counsel for the production that oversees the financing, contracts, insurance, licensing, and rights for the film.
Awards Campaign – A publicity campaign to lobby members of the academy to nominate a film for Golden Globes and Academy awards.
B
Bank Financing – Using bank loans to finance the production of a film by using a percentage of presales as collateral.
Below-the-Line – Costs for all technical and production personnel as well as equipment, facilities, and material costs (including editing, music rights, publicity, trailer, etc.)
Best Boy Electric – The chief assistant of the key grip, in charge of the people, equipment, and scheduling the required quantities for each day’s work.
Bifurcation of Rights – The process of separately licensing the domestic and international distribution rights to different entities to maximize the earning potential for the film. This allows filmmakers to keep revenue streams from domestic (U.S. and Canada) and international markets separate as well as from domestic home video and domestic theatrical.
Bleach Bath – A process in the development of the film where the film is placed in a bleach bath that removes the developed grains. The unexposed grains remain in the emulsion so it is still light sensitive. The film is exposed to white light, developed again, fixed, washed and dried to create a positive.
Breakdown – A list created by a casting director of all roles in a production. The breakdown usually includes the name (or title), sex, age and ethnic background of a character, their relevance to the story, how many scenes and lines the character has (usually for smaller roles), and any other necessary information that might be useful in helping talent agents and managers find appropriate actors who fit these descriptions to be submitted for an audition.
Breakdown Service - Publishes detailed casting information (or “breakdowns”) to legitimate representatives of talent.
C
Call Sheet - A sheet which notes which scenes will be shot the next day and the cast, crew and special requirements for each scene, as well as scene times, call times and necessary contact information.
Camera Operator - The person who operates the camera to the specifications dictated by the director of photography.
Camera Truck - The truck that contains the cameras and film, usually has a dark room for loading film and has chargers for recharging the camera batteries.
Cast - A collective term for the actors appearing in a particular movie.
Cast-Contingent - Occurs when a buyer makes a commitment to finance and produce a project based on specific casting, or when a pilot for a series is picked up for production, “cast-contingent” upon the actor, subject to approval of the network and producer.
Casting Director - The person who auditions and helps to select all of the speaking role actors in a film or television production. The CD must possess a vast knowledge of the actor pool and be able to match a variety of actors with the right role. Directors and producers rely on the Casting Director to assist them with assembling the perfect cast for their production. Casting Directors are also responsible for serving as the liaison between the director, and the actors and their agents. CDs negotiate the deals with agents once the actors have been cast and are also responsible for the contracts and SAG status of each actor.
Catering - A person or company who provides the main meals for cast and crew either on set or on location.
Completion Bond - A form of insurance which provides that, should the producers run into significant problems completing the film, the bond company would: 1) advance any sums in excess of the budget required to complete and deliver the film; 2) complete and deliver the film itself; or 3) shut-down the production and repay the financier monies spent toward the production of the film.
Completion Bond Company-Also Called, a Completion Guarantor, is an insurance company that issues bonds to film companies. Fees are generally calculated as a percentage (from 2%-5%, depending on market conditions) of the combined Above-the-Line and Below-the-Line costs (usually excluding costs relating to acquisitions of the rights and payments to lead actors).
Contingency-Included in every film budget for potential excess costs, always expressed as a percentage of the budget (usually 10%). It is included in the budget for purpose of the budget/sales corollary (i.e., upping prices), even though it ay never be spent.
Coverage- Laboratory access to the original negative, answer print, work print, magnetic soundtracks, filled music and effects tracks, and the original sound recordings, of all available alternative takes, cover shoots, looped dialogue lines, and other materials for the purpose of conforming to rating requirements, broadcast standards and practices, and censorship.
Co-Producer- A producer who performs a substantial portion of a creative producing function, or who is primarily responsible for one or more managerial producing functions. A co-producer has less responsibility than a producer for the completion of a project. Note that if a project has more than one producer it doesn’t mean that these individuals are “co-producers” in the technical sense of that term.
Costume Designer- The person on a set who researches, designs, and selects the clothing and accessories to be appropriate to the film’s time period, the characters, their location, and their occupations
Costume Supervisor- Costume Supervisors are responsible for translating Designers’ ideas and designs into practical reality. They draw up and manage the departmental budgets and schedules, supervise costume manufacture, staff the Costume Department, and oversee continuity.
Craft Service- The person (or people) available to assist the other crafts which include camera, sound, electricians, grips, props, art director, set decorator, hair and makeup, service the other crafts during the actual shooting of a motion picture, with tasks including providing snacks and cleaning the set.
D
Dailies- the immediately processed, rough cuts or first prints of a film (w/o special effects or edits) for the director (producer, or editor) to review, to see how the film came out after the day’s shooting; aka rushes; used to determine if continuity is correct, if props are missing or out of place, or if sound is poor, etc., to help decide whether to re-shoot.
Day and Date- A release strategy where a movie is released in theaters the same day as DVD or broadcast (cable, television, video on demand). This strategy, spearheaded by productions such as Bubble and Ten Items or Less (released to video on demand two weeks after theatrical release), seeks to maximize economies of scale on marketing and distribution on films that either won’t fare well in theaters (due to a limited audience or limited release), or to experiment with new models of release which have not yet been explored.
Day out of Days- A chart used by filmmakers to tally the number of paid days for each cast member and is helpful in determining the budget. Letters are used to indicate paid days for actors. Typically, W is used to indicate a work day (the cast member will perform on that day), T indicates a travel day, and R a rehearsal day. All three count as paid days. The letters S (Start) and F (Finish) are used to indicate the first and last paid days and an H indicates hold days. When a cast member is to be dropped, a D marks the last paid day before the drop, and a P indicates the day when the cast member will be picked back up.
Deliverables - something, as merchandise, that is or can be delivered, especially to fulfill a contract
Development Costs – The costs incurred before the commencement of commercial production to develop knowledge so that it can be used to produce new or substantially improved projects.If anyone has a better definition that would be great.
DGA – Directors Guild of America; Directors Guild of America; The DGA represents Film and Television Directors, Unit Production Managers, First Assistant Directors, Second Assistant Directors, Technical Coordinators and Tape Associate Directors, Stage Managers and Production Associates.
To join in any Guild category, you must obtain employment with a company that has signed a collective bargaining agreement with the DGA. While the DGA’s Director, Technical Coordinator and Production Assistant categories don’t require members to meet specific criteria before accepting employment, the following categories do:
In Film:
- Unit Production Manager
- First Assistant Director
- Second Assistant Director
To meet the employment criteria for film requires placement on the appropriate Qualification List. Qualification lists are administered by organizations separate from the Director’s Guild of America.
Once the signatory company notifies the DGA of your employment, an application for membership will be sent to you. Payment of your initiation fee and admit quarter dues are to be returned with your completed application. Upon approval by your category council, you will receive your DGA membership card along with a new member information packet.
Initiation Fees: Effective July 1, 2007
DGA Category Initiation Fee (through June 30, 2008)
Director: – Feature $8,955 – Television
Director: – Commercial – Documentary – Low Budget Feature $3,500 – Network – Segment
Unit Production Manager $8,334
1st Assistant Director $7,922
2nd Assistant Director $5,310
Technical Coordinator $7,896
Associate Director $4,776
Stage Manager $4,404
Production Associate (West) $ 200
Program Production Assistant (East) 2X Weekly Salary
Commercial Initiation Fees
(through October 21, 2007)
Unit Production Manager $5,398
1st Assistant Director $6,180
2nd Assistant Director $3,378
Guild dues are based on DGA earnings. Earnings are reportable, and the corollary dues payable, quarterly. Each member pays basic dues of $50.00 per quarter. Basic dues are credited against each member’s obligation to pay percentage dues equal to one and one-half percent (1 1/2%) of his or her gross earnings from employment in any Guild category, provided that such dues shall be payable only on gross annual income of between $10,000 and $300,000. In addition to basic dues and percentage dues, each member of the Guild shall also pay one percent (1%) of the total residual payments of all types he or she receives pursuant to employment under a DGA collective bargaining agreement.
Digital Intermediate – A digital intermediate in digital film is a process by which sections of, or the entirety of a motion picture is digitized through the use of a 35mm film scanner, into digital image files, manipulated in some manner, typically with color grading and digital special effects, and displayed or projected, either in a digital form, also known as digital cinema, or recorded to film, using a laser film recorder, for traditional film projection.
Director - The principal creative artist on a movie set. A director is usually (but not always) the driving artistic source behind the filming process, and communicates to actors the way that he/she would like a particular scene played. A director’s duties might also include casting, script editing, shot selection, shot composition, and editing. Typically, a director has complete artistic control over all aspects of the movie, but it is not uncommon for the director to be bound by agreements with either a producer or a studio. In some large productions, a director will delegate less important scenes to a second unit.
Director of Photography - A cinematographer who is ultimately responsible for the process of recording a scene in the manner desired by the director. The Director of Photography has a number of possible duties: selection of film stock, cameras, and lenses; designing and selecting lighting, directing the gaffer’s placement of lighting; shot composition (in consultation with the director); film developing and film printing.
Director’s Assistant - An director’s assistant/assistant director (AD) is a person who helps the film director in the making of a movie. The duties of an AD include setting the shooting schedule, tracking daily progress against the filming production schedule, arranging logistics, preparing daily call sheets, checking the arrival of cast and crew, maintaining order on the set, rehearsing cast, and directing extras (Ascher, 209). In Australia, the first assistant director may carry a legal responsibility for health and safety as the “responsible person” and representative to the producer on set.
Dolly Grip - A grip that moves a dolly. (A dolly is a small truck which rolls along dolly tracks carrying the camera,some of the camera crew and occasionally the director. “Dolly” is also the action of moving the camera towards (dolly up/in) or away from (dolly/pull back) the object that it is pointing at. The term often appears in screenplays. There is a subtle difference between the results of a zoom shot and a dolly shot. In a zoom, the relative positions and sizes of all objects in the frame remains the same, whereas in a dolly shot this will change as the camera moves. Alfred Hitchcock’s much-imitated shot in Vertigo used a combination zoom-in and dolly back, resulting in a dramatic change in perspective. In the USA, a grip is a skilled person responsible for the set up, adjustment and maintenance of production equipment on the set. Their typical duties involve camera movement, lighting refinement, and mechanical rigging. In the UK, grips work exclusively with equipment that the camera is mounted on.)
Domestic - From or in one’s own country. A domestic producer is one that produces inside the home country. A domestic price is the price inside the home country. Opposite of “foreign” or “world.” Additionally, the status of zone merchandise grown, produced or manufactured in the US on which all internal revenue taxes have been paid, or the status of zone merchandise previously imported on which all applicable duties and internal revenue taxes have been paid.
E
Equity Financing - Equity Financing is monetary investment from “outsiders” funding a film company or in exchange for financial participation in a particular film. Equity financing requires the filmmaker to sell interests in either the film or film company in exchange for the funding. This serves to distribute the risk of the project because the investor only receives his money back if the film shows a return.
Executive Producer - An Executive Producer is usually someone who financed a film or found funding for a film. The Executive Producer acts as a broker, helping the producer find one or more distributors or financiers to arrange financing for the film. However, Executive Producers vary in involvement, responsibility, and power. Some executive producers have hands-on control over every aspect of production while others supervise the producers of a project. An Executive Producer of a movie is typically a producer who may be involved in creative or technical aspects of production. Exhibitors: Exhibitors are those who own and manage movie theaters.
Extras - Extras are performers in film and television who appear in non-specific, non-speaking character roles. They are usually in the background. Film extras are technically referred to as “background action” while television extras are sometimes known as “supporting artistes.”
F
Film Loader - The film loader is a member of the camera crew who is put in charge of loading and unloading the camera’s film magazines. The film loader also keeps the loading room in good, clean condition.
Foley Artist - A Foley Artist is a member of a film crew who creates the natural, everyday sound effects in a film, which are recorded during a session with a recording engineer. Using many different kids of props, a Foley Artist replicates original sound completely or augments existing sounds to create a richer smoother track.
Four Wall - Four-Walling is a method in which a movie company, usually a small or independent movie company, rents a theater and its staff for a flat fee, buys its own advertising, and receives all the revenue from the box office screenings. The exhibitor is paid a flat fee regardless of performance and receives no split of box office receipts.
G
Gaffer - The gaffer is the Chief Lighting Technician. He or she is in charge of the electrical department which is responsible for the design and execution of the lighting plan for a production. Gaffers are responsible for knowing how to achieve a variety of effects such as recreating the flicker of lights in a subway car or transforming midday into sunset. Usually, the gaffer reports to the director of photography (DP or DOP) who is responsible for the overall lighting design. The gaffer works with the key grip, who is in charge of some of the equipment related to the lighting. The gaffer will usually have an assistant called a best boy and, depending on the size of the job, crew members who are called electricians.
Greenlight - To greenlight a project is to is to formally approve production finance, allowing the project to move forward from the development phase to pre-production and principal photography. A project which is financed is said to be greenlit or greenlighted.
Grip - A grip is a lighting and rigging technician. Grips work closely with the camera department to help with camera movement and work closely with the electrical department to help with lighting set-ups for a shot. Grips make up their own department and are led by a key grip.
Grip Truck- A grip truck is a truck or van full of production equipment, usually rented for use on location. A grip truck should contain all of the equipment a grip needs from lights and ladders to clamps and cables. They are often rented by the ton, per day.
H
Hairstylist- The person responsible for maintaining actors’ hairstyles during filming.
Honeywagon- A type of multi-room trailer used by film and television productions. Most of these are dressing rooms for day players or minor cast members when shooting on location. An A-list celebrity is unlikely to use a honeywagon room instead of a larger trailer. A honeywagon may contain a small office to serve as a workspace and storage room for the production department.
IATSE- International Alliance of Theatrical Stage Employees, Moving Picture Technicians, Artists and Allied Crafts of the United States, its Territories, and Canada. With a membership of over 108,000 members, IATSE is the largest labor union in the entertainment and related industries and was formed more than a century ago.
IATSE was originally chartered by the American Federation of Labor as the National Alliance of Theatrical Stage Employees in 1893.
Crafts they serve:
Animation / Computer Generated Imagery; Front of House; Laboratory; Make-up and Hair; Motion Picture & Television; Production; Post Production; Projection and Audio-Visual; Scenic Artists; Stagehands; Television Broadcast; Trade Show/Exhibition; Treasurers and Ticket Sellers; Wardrobe
Independent- A film initially produced without financing from a major movie studio. Independent films are made at every budget range, may be mainstream commercial, or art-house.
International - Territories other than the US and Canada. Often refers to where a film is made, how it is financed or how it is distributed. The term may also describe interaction between multiple nations for production and distribution purposes.
Interpositive- An intermediate copy of a film, made on a very fine-grained stock, usually required as an intermediate step to making an internegative. The interpositive is made after the answer print has been approved. All lights and opticals from the answer print are repeated when striking the interpositive, and once the IP exists, the original negative can be vaulted.
The interpositive is sometimes referred to as a Protection IP, since the only time the IP is touched is on the occasion of making the first or a replacement Internegative. Since Interpositives are used so rarely, they are usually the film element that is in the best condition of all the film elements.
An interpositive is an orange-based motion picture film with a positive image made from the edited camera negative. The orange base provides special color characteristics that allow for more accurate color reproduction than if the IP had a clear base, as in print films.
Interpositives are usually the element of choice for film-to-tape transfers.
K
Key Grip - The chief grip on the set. Like a foreman, the key grip directs a crew of grips, some with specialized skills such as dolly grips, crane operators, camera car operators, etc. The Key Grip is responsible for maintaining and operating production equipment such as lights, scaffolding, cranes, dolly tracks and platforms.
Additionally, the key grip is often the safety monitor of the film set, responsible for safety of all personnel in the presence of theatrical ballistics, pyrotechnics, stunts, and any other potentially dangerous situations and devices operated by other departments.
L
Licensing/Sales - Any limited grant of rights to a film, with the owner retaining other rights to the film. Licenses encompass a broad array of grants of rights, ranging all the way from a one-day pay-per-view television license to a grant of all worldwide rights for a term of twenty-five years.
Limited Release - A term for a motion picture that is playing in a select few theaters across the country (typically in cities such as New York and Los Angeles).
A limited release is often used to gauge the appeal of an independent film – especially of documentaries and art films. A common practice by major film studios is to give highly anticipated and critically-acclaimed films a limited release in December in New York and Los Angeles in order to qualify them for an Academy Award nomination, as set out by the rules outlined by the Academy. These films often receive a wider release later in January or February.
Location Manager-The location manager is part of the creative team on a feature or television project. He answers to the production manager although he must always recognize and support the creative needs of the director.
The location manager along with the production manager, the accountant and the bonding company are concerned with the type of insurance purchased for a project during production. He must make sure every single aspect is covered by insurance to avoid all legal problems.
The location manager must be aware of which locations require an excess umbrella liability insurance, i.e. when liability coverage needs to be over the limits provided in the general liability, auto liability, employers’ liability (workers compensation), and third party property damage policies.
The location manager takes photographs of all locations before the use of them, noting any pre-existing damage since location owners are notorious for declaring damages knowing that insurance will cover.
A little precaution and some sensible production practices will save money in the long run to the overall production.
M
Make Up Artist- A make-up artist is an artist who does makeup and prosthetics for theatrical and other similar productions. Make up effects are performed on an actor when the story requires to create a specific effect. Some movies with fight or action scenes for example require make up effects supervisors.
The average pay is $3,500 a month which equals about $42,000 a year with 100-300 hours overtime. Make-up artists can receive their training in several different ways; they can intern at a theater, they can assist a working make-up artist, or they can attend a school dedicated to make-up artistry. Make-up artists are primarily self-employed (freelancers), but they may also be represented by an agency, or employed by a production company.
Manager- Manager clients may be actors and actresses, directors, writers, producers and their production companies, models, casting directors, presenters, below-the-line personnel, voiceover artists and others involved in all aspects of the media business.
Whereas an agent is a person who finds jobs for actors, musicians, models, and other people in various entertainment businesses and who must have a license established by the government in agreement with artist’s unions and the legal jurisdiction in which he operates. The manager may take an active role in helping his client on his/her career path and assist him/her in becoming networked and established within the industry without the need of a license. Both agents and managers make their money by taking a percentage of their clients´ profit.
Master Use License-This is used when one record company wants to use master recording owned by a different record company for a compilation record on its own label. This can also be used when a film company wants to use the master in a film also obtaining a synchronization license to use the song. An advertising agency would use this license when licensing a master recording for use in a commercial either on radio or television.
N
Negative-The negative is the film in a motion picture camera which captures the original image. This is the film from which all other copies will be made. It is also known as raw stock prior to exposure.The size of a negative roll varies depending on the film gauge and whether or not a new roll, re-can, or short end was used.
100 or 400 foot rolls are common in 16mm, while 400 or 1000 foot rolls are used in 35mm work. While these are the most common sizes, other lengths such as 200, 800, or 1200 feet may be commercially available from film stock manufacturers, usually by special order. 100 and 200 foot rolls are generally wound on spools for daylight-loading, while longer lengths are only wound around a plastic core. Core-wound stock has no exposure protection outside its packaging, and therefore must be loaded into a camera magazine within a darkroom or changing bag/tent in order to prevent the film being fogged.
Negative Pick Up-The term negative pick-up means that the film studio or distributor pays for the cost of the film finished to the point that a completed negative is ready for use once that negative is completed and made to the satisfaction of the purchase. Generally, the filmmaker using negative pick-up financing sells the film to a film studio in exchange for reimbursement of production costs and some form of profit sharing from the proceeds of the film. For example, if a filmmaker has a budget of $1,000,000 for a film project, the filmmaker would “sell” the film by promising to deliver a completed motion picture substantially the same as described in the screenplay in exchange for a payment of $1,000,000 by the film studio. The film studio would have the obligation to finish the prints for the film, pay for the marketing and distribution of the film, and split profits, if any, with the filmmaker on an agreed-upon percentage basis.
The negative pick-up is the filmmaker’s “field of dreams” – if the filmmaker shoots it, the money will come. Making the movie requires that the script be followed, the agreed-upon casting not be changed, the length of the film be acceptable, and the film be eligible for the MPAA rating desired by the distributor, typically a PG-13 or R. The amount paid for a negative pick-up transaction need not be the same as the production cost of the film, although the studio will often seek to cap the payment at this amount. If so, the filmmaker must be sure to include budget items for himself, the business manager and others who have invested sweat equity in the budget being used as the basis for negotiations with the studio. To add these items late in the negotiations will result in little or no personal payments.
The negative pick-up does not eliminate the risks to the filmmaker because the funds are generally not made available until he has completed the film. Nonetheless, the risk is much lower than almost any other form of filmmaking. Unlike the studio deal the purchaser has few rights to watch the filmmaking process or interfere in the making of the film. Of course, the filmmaker has two primary risks. First, he risks that the film does not get finished, meaning that none of the expenses are paid for by the distributor and leaving the filmmaker holding the bag for all costs. Second, he risks that the film goes over budget, requiring the filmmaker use unreimbursed personal funds to complete the film. Both situations doom would-be filmmakers regularly.
O
Office PA-A production assistant (PA) is the entry-level position on a film crew. PA’s provide support and assistance to almost all areas of the production.
As opposed to the Set PA who is on the set, the Office PA works in the central production office and performs general office work; answers phones; makes copies of scripts, contracts and other documents; runs errands; and assists with scheduling, shipping and other office duties.
Opticals-There a several optical effects or “opticals” though the most common ones are fades and dissolves and they can be created in a couple of different ways, either as a single strand or as A/B rolls. This is done prior to preparing for the film finish.
Optical effects that are considered laboratory optical effects and are created by an optical company (often called an optical house), are usually fades, dissolves, wipes and other such photographic effects. If you are working in 16mm, however, these effects are executed using the original negative shot during the answer print process.
They are created by the picture editor and prepared by the negative editor for the A and B roll developing process that laboratories render in 16mm. In all other film formats optical effects are created by an optical house, through an internegative process. Once the internegative of the effect is finalized, it becomes one of the final elements used by the negative cutter in preparing for the answer print.
Optical effects must be supervised by the editor, unless they involve effects such as traveling mattes, blue- or greenscreen, or digital manipulation in combination with laboratory manipulation. The visual effects supervisor (or picture editor) will be shepherding those effects. Both the visual effects supervisor (if used) and the picture editor will be involved in the creative look of the project from the pre-production laboratory phase.
Option-An option is an agreement that gives the exclusive rights to a literary property, such as a novel or a play, for a period of time (the term of the option), in order to turn the property into a motion picture, a video or a television series. The acquisition of literary rights can be structured as an outright purchase or as an option/purchase agreement. Producers often prefer to take an option on a property to reduce the up-front risk. A fee is paid against (or in addition to) the agreed upon purchase price and authors of any literary works must warrant that they own free and clear, all the rights they are selling.
An option gives the producer the exclusive right to purchase the rights within the period of the option. The exclusivity makes it impossible for someone else to purchase the rights during the option period and for the writer to interfere with the purchasing of those rights. Once the option expires, however, the writer retains the option money and the rights as well. If the option is exercised the producer owns the rights outright. When negotiating the option of a property, the producer must also negotiate the terms of the purchase so that once the option is exercised the literary purchase agreement is automatically in force.
If a producer was to enter into an option agreement without negotiating the underlying literary purchase agreement, he would be buying a useless option because all he would have is the right to enter into an agreement in the future should he want the rights. The writer would then be in no obligation to sell on the terms initially discussed.
Another important thing to remember when negotiating the purchase agreement is to include a provision that states the producer is under no obligation to actually produce the project. The producer wants the right to make the project but not be obligated to do so.
An option can also be renewed and additional extension fees should also be determined in the purchase agreement. Renewals allow producers to extend their options without exercising them. The standard option fee according to WGA rules is 10 percent of scale and is often for a period of eighteen months. Renewals are based upon that yardstick.
P
P&A-P&A stand for Prints and Advertising Budget. These are actually two distinct budgets that are co-dependent since the distributed number of prints for a film shifts in accordance with the film’s advertising campaign.
Prints are the actual physical film that are shown in theaters and are quite expensive to make and distribute, costing about $2,000 per print. Each theater needs at least one print and possibly more depending on how many screens the film is playing on. The advertising part of the budget is the amount spent on just that, advertising. Most of the money is spent on TV, but radio, newspapers and magazines, the Internet and in theater advertising are also very important. The average film spends $34.4 million on P&A, while some films have spent more than $100 million.
P&L Statement– A P&L Statement (also known as a Profit and Loss Statement) is generated in order to evaluate the potential profitability (or loss) of a film with key elements in place such as principal cast, director, producers, print and advertising expenditures and financing parameters.
Payroll Accountant– The accountant hired to process the payroll payments. This person is responsible for calculating the earnings of employees and the related withholding for taxes and other deductions, recording the results of payroll activities, and preparing required tax paperwork.
PGA – Producers Guild of America (PGA) is a trade organization representing television, film and new media producers in the United States. The PGA’s mission is to represent, protect and promote the interest of all members of the producing team.
Platform Release- A platform release is the strategy of opening a film in a systematic pattern. Initially, the film is released in several theaters across a limited number of cities. Then, the release pattern is expanded to additional cities.
Post Production Sound- Post production sound is the harmonious blending of dialogue, sound effects and music within the post production process.
Prep- Prep is the phase during which the film is planned. The pre-production process commences once a film has been greenlit and continues until the first day of production.
Producer– A Producer initiates, coordinates, supervises and controls, either on his or her own authority, or subject to the authority of an employer, all aspects of the motion-picture and/or television production process, including creative, financial, technological and administrative. A Producer is involved throughout all phases of production from inception to completion, including coordination, supervision and control of all other talents and crafts, subject to the provisions of their collective bargaining agreements and personal service contracts.
Production Accountant- The Production Accountant is responsible for managing finances on a film throughout pre-production, production and post-production.
Production Board- A production board (a/k/a production strip board) is used to create a production schedule. A traditional production board is a cardboard or wooden chart holding colour-coded strips of paper, each containing information about a scene in the script. The strips can be rearranged and laid out sequentially to represent the filming order. A modern version of a strip board can be printed using computer software programs such as EP Scheduling or MovieMagic Scheduling.
Production Coordinator– The production coordinator is the assistant to the production manager.
Production Designer- The person responsible for the design and coordination of all the visual elements seen on a project (also known as character or texture). The production designer works closely with the director of photography and the director to interpret the vision and creating a film’s “look”. In order to do so the production designer works with and guides the wardrobe designer, the art director, the set decorator, and the property master. He/she is also involved in make-up and hair design, as well as any minute details that involve the visual layering on the image. Most of their creative work is done during preparation phase of the project, but could extend into the production phase if there is an ever-evolving schedule.
Production Insurance- Obtained through an insurance broker, production insurance is mandatory and includes all forms of insurance that protect a producer against any fiscal losses he/she might incur in the making a motion picture. The insurance brokers will first review the script and budget, which will help them to identify risks and recommend coverage that is best suited for a particular project. There are many types of insurance needed for a film. Some of the most important are: ERRORS AND OMISSIONS; CAST INSURANCE; NEGATIVE FILM AND VIDEOTAPE; NEGATIVE FILM, VIDEO, AUDIO, RECORDING TAPE FLOATERS; FAULTY STOCK, CAMERA AND PROCESSING; PROPS, SETS AND WARDROBE; EXTRA EXPENSE; MISCELLANEOUS EQUIPMENT; PROPERTY DAMAGE LIABILITY; WORKERS’ COMPENSATION; COMPREHENSIVE LIABILITY; GUILD/UNION FLIGHT ACCIDENT; and COMPLETION BOND GUARANTY. Premiums for theatrical features are based upon the size of the picture budget and will vary between 2-4% of the total budget plus the cost of Worker’s Compensation, depending upon location size, length of shooting time and any special hazards or stunts.
Production Manager- The person who manages the day-to-day operations of a movie. Reporting to the film’s producer, this person is primarily a supervisor or administrator. He/she supervises the budget, hires the crew, approves purchase orders & time cards, determines the allocation of labor resources, tracks production scheduling and costs, makes any on-the-fly adjustments to the process, coordinates any receiving of raw materials or shipping of final goods, and generally makes sure all departments are doing their respective jobs within the parameters of the budget. They usually will create production boards to refer to throughout the duration of production. They are not involved in post-production, or above-the-line decisions of a project.
Production Secretary- He/she is the secretary to the Production Manager and Production Coordinator. Their responsibilities include maintaining phone communications (by ensuring phones are in good working order, processing phone calls and recording and relaying messages), assisting in the organization and running of the production office (by maintaining filing systems, monitoring supplies of stationary and office supplies and ordering supplies as required), and assisting the Production Coordinator (by researching travel, transport and accommodation requirements of the cast and crew and helping to organize whatever is required). The Production Secretary is also responsible for production paperwork (such as typing and filing contracts, letters, documents and script changes and photocopying/faxing documents as required). He/she maintains a contacts list of relevant personnel by typing initial lists of names/address/contact telephone numbers of all cast and crew and ensuring that contact information lists are updated, filed and distributed to all relevant personnel. The role of the production secretary can vary; he/she may be office based, work on location or be mobile.
Property Master- Also known as the Prop Master, Props, or Property. He/she is responsible for buying, acquiring, and/or manufacturing any props needed for a production, as well as the care and maintenance of all props, and ensuring that they are available on time, and within budgetary requirements. The property master is also responsible for all aspects of prop use on the set and, in conjunction with the script supervisor, for maintaining set continuity. The property master is one of the only positions that is on staff during preproduction, developing the stylistic concept of the physical production, then continues on as a member of the physical shooting/production crew.
Publicist- The publicist is a member of the publicity department who works on location during the production of a movie. They assist distributors in determining how to advertise films in order to maximize audience numbers. Duties include working with the residents of the location where the film is being made, as well as setting up press visits and electronic press kit interviews. They set up publicity campaigns in which they prepare film press releases, press packets, stills and the EPKs (Electronic Press Kits). If they set the right tone and approach, these items inform the press, and help them to create favorable opinions about films. He/she is itinerant—they move from production to production and are on the production payroll. Film Publicists schedule and oversee press screenings, or press junkets in the case of bigger budget movies, as well as screenings for test audiences. They are responsible for creating the “buzz” for a film.
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Rawstock- Rawstock is unprocessed, unexposed film stock. With the evolution of digital technology, raw stock may also refer to blank CDs, DVDs, Digibetas, etc. Film stock is selected based upon a number of factors including its gauge, length, speed, color balance and sensitivity to light.It is measured in rolls and feet and usually sold in 100- to 1200 feet rolls for 16mm or 100- to 2000- feet for 35mm stock. The two most prevalent manufacturers of film stock are Kodak and Fuji.
Recans- Leftover (unexposed) film in a magazine that is still good to use. Usually leftover from larger shoots, where too much film stock was purchased, and most often still in the original packaging, and handled with great care up until the point it was decided that it would no longer be needed (after that it could be treated fairly poorly). It is sold back to a broker who then re-sells it for a discounted price. Buyer beware.
Rough Cut- Term referring to the second of three stages of offline editing. It is a print of the movie that is not fully edited. The rough cut is the first time in which the film begins to resemble the final product. It does not flow well, and generally undergoes many changes before the release of a film. In the rough cut, more scene selections and simple effects are added; there is some approximate trimming, and some adjusting of video and audio levels.
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SAG- Stands for the Screen Actors Guild. Headquartered in Los Angeles, SAG is the nation’s largest labor union representing working actors. Established in 1933, the Screen Actors Guild now has 20 branches nationwide, and represents nearly 120,000 working actors in film, television, industrials, commercials, video games, music videos and other new media. It exists to enhance actors’ working conditions, compensation and benefits and to be a powerful, unified voice on behalf of artists’ rights. It is associated with the Associated Actors and Artistes of America (AAAA), which is the primary association of performer’s unions in the United States, and affiliated with the AFL-CIO, the American Federation of Labor and Congress of Industrial Organizations. The benefits of joining SAG include:
- Contracts/collective bargaining. SAG negotiates wages and working conditions in order to maintain minimum standards for its members.
- Pension & Health. SAG members earn credits toward retirement and health care each time they work.
In order to join SAG, first one must qualify by meeting one of two requirements: proof of SAG employment or employment under an affiliated performers’ union (such as ACTRA, AEA, AFTRA, AGMA or AGVA for a period of one year and has worked and been paid for at least once as a principal performer in that union’s jurisdiction.) Next one must pay an initiation fee of $2,277, plus the first semi-annual basic dues payment of $58. Thus, the total fee to join is $2,335 9fees could be lower if joining a branch not in Hollywood). Also, one must pay dues. Each SAG member pays annual base dues of $116.00. In addition members pay 1.85% of all individual earnings under SAG contracts between $1 and $200,000; and 0.5% of earnings from $200,001 through $500,000; plus 0.25% of earnings from $500,001 to a maximum of $1,000,000. They are paid annually in two installments.
With respect to producers, SAG has certain agreements that dictate how much a SAG actor must be made based on the budget of a film. These agreements include the Short Film Agreement, the Ultra-Low Budget Agreement, the Modified Low Budget Agreement, the Low Budget Agreement, and then the Basic Theatrical and Television Agreement. This agreements tend to help out independent film makers who might not necessarily have the funds to pay SAG actors their regular wages. There are also a bunch of incentives that allow producers of independents to save some money. These are the Diversity-in-Casting Incentive and the Background Performers Incentive.
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Sales Representative - Also known as a sales agent, a sales rep is a person who represents a film (whether a completed film, partially completed film or just a script with talent attached) for the sale of that film’s domestic and/or foreign distribution rights. Typically a sales rep conducts business at a market (ex: AFM, Cannes, MIFED) or film festival (ex: Sundance, Toronto). A sales rep may represent buyers (ex: Pathe) or sellers (ex: Lionsgate) and may sell worldwide distribution rights to one distributor or sell rights to individual territories to a variety of distributors. Sales reps are commonly used to raise money to produce an independent film through foreign pre-sales. Also, some agents, particularly packaging agents, may act as sales reps on their own or in conjunction with an established sales agency or individual sales rep. Some major sales agencies are: Cinetic/John Sloss, Celluloid Dreams, Hanway.
Score – The musical component of a movie’s soundtrack, usually composed specifically for the film by a film composer; the background music in a film, usually specially composed for the film; may be orchestral, synthesized, or performed by a small group of musicians; also refers to the act of writing music for a film.
Script Supervisor – A person who tracks which parts of the script have been filmed and how the filmed scenes deviated from the script. They also make continuity notes, creating a lined script.
Set Dresser - A person who maintains the set per the Set Decorator’s requirements, placing elements such as curtains and paintings, and moves and resets the set decoration to accommodate camera, grip and lighting setups. The Set Dresser is responsible for set continuity with script supervisor and property master.
Set PA – Set PA’s (Production Assistants) work directly on the respective production, whether on location or on a sound stage. They report to the Second Assistant Director (2nd AD) and less often the First Assistant Director (1st AD). Set PA’s usually work 10- to 16-hour days and are regularly the “first to arrive and the last to leave”. A Set PA is different from an Office PA, who typically works in the production office and not on the actual set.
Set Photographer – Also known as a stills photographer, a set photographer is a person who photographs the movie’s action (often alongside the camera) to be used in publicizing it. They provide the illustrations for posters, Web sites, photos in newspapers and magazines, and other media.
Setup - The place or position where the director and the director of photography put the camera (and lighting) when shooting a scene; a scene is usually shot with multiple setups and with multiple takes from each setup.
Shoot - The process of filming or photographing any aspect of a motion picture with a camera; the plan for a shoot is termed a shooting schedule. Also referred to as principal photography.
Shooting Ratio – The ratio of how much film was shot compared to the running time of the finished film. For instance, a 2 hour film for which you shot 20 hours of footage would have a shooting ratio of 10 to 1.
Sides – Pages from a script given to actors at an audition.
Sound Design – A technical and conceptually creative field, covering all non-compositional elements of the audio track, including dialogue, sound effects, and background noises.
Sound Mixer – An audio engineer who performs the sound mix. The SOUND MIX is the process of re-recording multiple reels of track to produce one final soundtrack, which includes all dialogue, “looped” dialogue (ADR), music, sound effects and Foley, and narration (if any), for each reel of picture. During this process, the sound mixer can adjust the volume and equalization of the sound units on the individual reels in relation to each other, as well as produce effects such as fade-ins, fade-outs, and cross-fades (the audio equivalent of a lap dissolve); a location sound mixer refers to the person who selects and operates the recording equipment. He mixes (balances) the various microphones for optimum dialogue reproduction.
Stand-in – Someone who has the same physical properties of a particular actor, and takes the place of an actor during setup time or for shots that involve special skills, such as horse riding, fights, etc.
Star – An actor who plays a principal role and is known for his role in motion pictures.
Steadicam Operator – A camera operator who operates a Steadicam. A Steadicam is a proprietary body-brace camera support that uses counterbalance and gimbal technology to reduce or eliminate the unsteadiness of the operator’s motion.
Storyboard – A tool used in planning film production, consisting series of key sketches of individual shots or phrases of shots with short scene descriptions written below each drawing.
Studio – A company that finances, produces, markets and distributes motion pictures. Major American studios include Sony, Universal, Fox, Paramount, Warner Bros., Disney and MGM. In television, a company that finances and produces television shows. The marketing and distribution is handled by the network, which may or may not be related to the studio.
Studio Division – Variety of specialty divisions owned by studios that concentrates on art house pictures (e.g., Sony Classics, Fox Searchlight) or genre films (e.g., Fox Atomic, Paramount Vantage). The specialty divisions often simply acquire distribution rights to pictures with which the studio has had no prior involvement. While the majors do a modicum of true production, their activities are focused more in the areas of development, financing, marketing, and merchandising.
Supporting Cast – actors who are not playing major parts.
Swing Gang – A group within the art department that construct and take down a set.
Synchronization Rights - The right to use music in timed synchronization with visual images, and include pre-recorded songs if the song is synchronized with the action on screen.
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Teamsters - A group of employees who join together within a company to bargain collectively for better wages, stronger benefits and safer working conditions.
Tech Scouting - Also called a technical scout, it is the visit made by a director, producer, and department heads, in advance of principal photography, to evaluate a location with regard to what they plan to shoot there. For instance, the tech scout would give the D.P. a chance to plan specific setups with his gaffer.
Territorial Financing -Transportation Captain - (a/k/a Driver) A person who drives either equipment or passenger trucks, typically between location shootings, sets, and the studio. The chief driver is called the transportation captain.
Transportation Coordinator - (a/k/a Transportation Manager) The person responsible for managing drivers and co-ordinating the transporation of a production’s cast, crew, and equipment from the various locations and sets used for filming.
Turnaround - A state of limbo that a movie enters after a studio decides to drop it. In turnaround, the producers have a chance to set the project up with another studio.
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UPM - An executive who is responsible to a senior producer for the administration of a particular movie. Unit Production Managers only work on one film at a time. Only DGA members can be called Unit Production Managers.
Video Assist Operator - Motion picture cameras often include a video camera that allows instant review of a scene to monitor framing, focus, and performance. Both this system and the person operating it are referred to as video assist.
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WGA - Writers Guild of America is a labor union composed of the thousands of writers who write the television shows, movies, news programs, documentaries, animation, CD-ROMs, and content for new-media technologies. Their primary duty is to represent their members in negotiations with film and TV producers to ensure the rights of screen, TV and new-media writers. Once a contact is in place, the WGA enforces it. Members receive pension and health coverage and their creative rights are protected. They are responsible for determining writing credits. The WGA monitors, collects and distributes residuals. The WGA also sponsors seminars, panel discussions and special events. Additionally, the WGA furthers the interests of writers through legislation, international agreements, and public relations efforts. There are two branches- West and East.
Wide Release- A term used to describe a motion picture that is playing nationally (as opposed to a few cinemas in cities such as New York and Los Angeles) and on 600 screens or more in the United States and Canada. It usually follows the film’s limited release.
Wrap- The completion of film shooting whether it’s for the day or for the entire production.
Writer-The writer is the author of narratives or screenplays for movies, television shows, news programs, documentaries, animation, and new-media technologies that keep audiences constantly entertained and informed.
Often more than one writer works on a project and the structure of each writer’s deal with the producer can vary depending on the needs of the project. In the entertainment industry the employment of professional writers of movies and television shows is often (but not always) governed by the Writers Guild of America (WGA) and the 1998 Theatrical and Television Basic Agreement.
Some writers require clerical assistants or researchers for projects. A great deal of time is spent researching the characters before writing. Some writers are required to work with consultants or story editors to help get the screenplay to the point where it is ready for production. These key personnel all assist the writer in delivering the best possible project in a written form.