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Our Anatomy of a Film Set series draws to a close with the hard-to-classify Specialists. Don't forget to download your Anatomy ...
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Welcome to the Film Labs Anatomy of a Film Set series here on the Substream.com. You are currently watching part four of four.
Over the course of this video series we've taking a look of the different departments within the film crew and how they function on set during the production of the film. You’ve learned how the production department launches the project and keeps the film shoot and running we've look at the various talented artist and designers that bring the world of the film to light. And we've seen how the technical personnel actually crap the final film seen by audiences, that’s you.
But even still, there are other key members of the film they cannot classified so easily and depending on the film their entire departments with special skills that are only called them when needed. We call these people the specialists, often and over to look but integral to the function with film set just the same.
In many cases the first assistant director has much more experience working on the film set than the director in that such they're essentially hired to be the director’s number one adviser. They are right hand man or woman. This also means that when certain unusual elements are needed for a particular scene it often the first AD that will over see things. They make sure that things continue to fall in line with what the directors after while considering the safety of the entire crew.
For example, many films call for animals in which case an animal ranker is hired to obtain, train and guide the performance of any animals needed for filming while certainly not uncommon animals are not usually present on set so the first AD on the animal rang were workout the safe and efficient plan for filming the animals allowing the director to concentrate on whether or not the performance is shouldn’t like it. Additionally, the production of some film requires practical and intentionally dangerous special effects like the fire of breaking glass. The first AD double check special effect coordinators to make sure that any effect are performed safely and efficiently.
The effects coordinator usually has a team of highly skilled special effects technicians that actually performed the effects and help the actors with any safety instructions. In the case of a performer being required to do something that might hurt them the first AD looks to a stunt coordinator to choreograph any special maneuvers for the actors such as stimulated combat or falling to the ground. But sometimes the stunt itself is far too dangerous for regular actor to perform, which is why the stunt coordinator will bring in specially stunt performers, these with the actors that you will often see on screen tumbling down or fly to stairs or in gulp in flames.
Meanwhile the production department always thinking ahead might see a need for promotional material that can be use to help distribute the film after complexion. An important element use to promote any film is photography, photographs both of the action on camera as well as behind the scenes. That’s why the producer hires a skill photographer become to set to specifically document the shooting capturing any single snapshots that might make the film appealing to potential distributors and eventually movie goers.
When shooting is under way things can get very, very complicated and it can be hard to keep track of the visual continuity from shot to shot especially since most of the films are shot any sequence. This is why the production department dispatches a script supervisor to help the director and first AD keep track of things like whether or not the actors were sitting or standing at the end of the previous shot. What hand may hold their martinet? Overlooking such small of details could lead to embracing continuity mistakes that make the film look unprofessional so script supervisor’s notes can prove to be very valuable.
And finally arguably the most important person on any films set smaller or large we have the crap service personnel. They're dozens upon dozens of potential crew members on the set all of whom are standing on their feet working hard for over 12 hours everyday. And each film might also have dozens upon dozens of performers as well. So that’s a lot of potentially grumpy people stock together for long stretches of time.
It might sounds simplistic but it is actually quite true that the best and easiest ways to keep people come and happy is to feed them and feed them well. The first AD know this which is why they are often concern with having the crap offering be plentiful and accessible in order to keep stress levels of all personnel at the manageable low.
In addition to this specialist there could be literally dozens more that are only called upon when there specific talents are required for a film shoot. And while none of this specialist are directly involved with the production of the actual film here in fact absolutely necessary in order for things to run smoothly on set, which is all of that the first AD could ever ask for. All in all every single facet a film production is important to the whole. Each part of the anatomy of a film set has it’s own special function contributing to the whole while working and tandem with other specific parts in order to create something singular, something with the complexity that often gets taken for granted by the average film go were.
In an industry as exclusive and seemingly impenetrable as professional film production it often helps to understand the inner working of all the hard working department or personnel involve. Hopefully this video series has helped you gain perspective on the bigger picture. It has perhaps picture interest and in on set department that you might have previously been an aware off.
Thank you very much for watching our anatomy of a film sets series. Please feel free to download the entire anatomy of a film set flow chart in handy desktop wallpaper available in the substream.com.