PRODUCTION ROLES
By Jim Zura
Those of us in the business regularly get asked what those strange titles are that appear on movie credits. So, for those of you who don't grind it out on a daily basis in this industry, here's a synopsis of who does what, and what they're called.
Production titles in the upper level of the hierarchy (Producer, Director...) vary greatly in their responsibilities depending on the category (Feature Film, Sports, News, Documentary, Corporate...). A Feature Film Director would be completely lost trying to direct a 10-camera live sports event. Likewise, a prominent Documentary Producer would go haywire producing a news broadcast. Without bogging down in detail, I've synopsized the roles, delineating where necessary. I started at the top of the totem pole, but don't worry-- the Dolly Grip is coming up!
EXECUTIVE PRODUCER:
The "Rainmaker". The one who causes the project to happen. In Movies, the one who sold the studio/investors on the deal (or mortgaged the farm). In Broadcast, it's the Department Head. In Corporate, it's the Client. Bottom line: the Executive Producer is (or represents) the one who signs on the front of the check (which ultimately has more authority than anyone downstream who signs on the back of the check).
PRODUCER:
Once we get past this and the Director Role, I won't have to split hairs within the categories. Bear with me; I'll be brief, but I want to be accurate. In all cases, the Producer is ultimately responsible for the finished product. Typically he or she is intimately familiar with each of the many subordinate production roles, and hopefully knows how to manage, inspire and delegate. In general, the difference between the Producer and the Director may be summed up as follows: The Producer is in charge of the "big picture", including the budget, schedule, locations and crew, while the Director must be free to concentrate on each scene as it is filmed.
Feature Film: If it's a "Producer's Movie", the Producer's past success carries the vision and creativity. Here, the Producer really calls all the shots, and the Director better be with the program. In a "Director's Movie", the Producer still maintains management control, but must supply the luminary with whatever it takes to fulfill the Director's vision.
Sports and News: This person coordinates the jillions of details involved in getting a live broadcast on the air with anywhere from five to umpteen cameras, two anchors/booth announcers, a number of reporters, guests, the entire crew, and the clock ticking away. Before the broadcast, he or she must have many ducks in a row: pre-produced packages, tape roll-ins, B-roll, scenics, statistics, graphics, superimposed titles, etc. During the broadcast, the Producer is on headset to the Talent and the live production crew, calling for the necessary elements.
Documentary and Location: Completely different from the above, this Producer typically makes things happen in the field, outside the confines of the control room. Challenges here include weather, schedule changes that can occur hourly, discovering things that are inconsistent with the script/concept, and uncooperative subjects (be they man or beast). The upside, however, is variety, experience, and unique exposure to places and situations.
TV Commercial and Corporate: Here, the Producer fulfills the role of both Project Manager and Visionary. This Producer balances the load of Client interaction and coordination, with the business of scheduling, crew management and budget, while seeing through the creative process.
Post-Production: For all Producers, except for those exclusively responsible for live broadcasts and location production, the job continues long after the crews have gone on to other projects. All the footage must be viewed, logged, scenes selected, several "rough-cuts" performed, music chosen and edited, special effects designed and implemented, voiceovers (and actor's dialogue replacements, in feature film work) must be performed. The Producer is responsible for the entire work, through Final Edit and Approval
DIRECTOR:
Live Broadcast (Sports, News, Event): This Director is in charge of the "Multi-Camera Switch", deciding which camera goes to the broadcast program, along with superimposed titles, graphics and special effects. Typical headset dialogue: "Camera Two, you're on the air, standby Five with what you've got, Three-- give me a wide-shot. One-- get ready for a pan of the crowd. Ready Five-- Take Five. Two-- find me some happy faces. One, start your pan. Ready One-- Take One." This goes on every ten seconds for the duration of the event, while the Director is also paying attention to the Producer, the Talent, and what's going on in real-time during the broadcast.
Technical Director: There's a large panel known as the Switcher with seven million buttons in the control room (it looks that way the first time you see one). The Director has too much going on to actually operate the Switcher in the heat of a live broadcast. So, the Technical Director executes the Director's wishes. A good TD knows the event, and the pacing that the Producer and Director is looking for, and anticipates shots to put up for "Preview". The Director may frequently override the TD's premonition, but also appreciates his or her involvement.
Feature Film, TV Commercial, Documentary, Corporate: A totally different Directorial experience from the above. Here, the Director is in charge of each scene that is shot. This includes Lighting, Composition, Content and Performance. In a Feature Film the Director's emphasis is usually on the acting, having delegated his or her vision on the other elements to the specialists employed. The Director may also take a more hands-on approach to the other elements. In general, the Director's main focus is the scene being shot, while the Producer is already setting things up for the next setup. The Director may also be directly involved in creative decisions in the Post-production process.
ASSISTANTS and ASSOCIATES:
Larger productions may employ various self-explanatory assistants (1st Assistant Director, 2nd A.D., Ass't. Camera, Ass't. Producer, etc. An Associate Producer is usually someone important to the success of the project and deserving of notable credit. A Line Producer takes care of management details for the Producer, such as budget tracking and scheduling.
WRITER:
An obvious role, and one would think that once a well-written script is finalized and committed to paper, the fulfillment is "history". But is is very rare that even the "Final Approved Draft" survives intact. In the case of Location/Documentary production, things that were expected don't always materialize, and other notable things pop up that weren't expected by the writer. In Movies, often a Writer is employed to do rewrites on the spot for situations and changes that may occur to the Director as the filming is in progress. In Corporate video, it isn't unusual for script changes to be mandated after the "Final Edit". I've outlined some very important observations in the "Writing" section of this website.
DIRECTOR OF PHOTOGRAPHY:
Depending on the size and budget of the production, the DP may also be the Cameraperson (or Cinematographer), which is usually the case on TV and video projects. The D.P. must have an impeccable feel for the style and texture of the production. Most scenes can be shot in a variety of different ways; and subjectively, they may all be correct. But for the footage to blend into a seamless finished piece, the composition, movement and lighting of each shot must be carefully considered.
LIGHTING DIRECTOR:
The Lighting Director works under the direction of the Director and/or the DP. On all but smaller productions, the LD will have a Grip Truck loaded with a variety of lighting equipment, usually including at least one Cukaloris. A Cukaloris usually a piece of wood, metal or foam core with random patterns cut out. It goes between a source light and the background, "mottling" the light for a desired effect. (Click for a picture of a cucaloris).
GAFFER:
The Gaffer, being the chief electrician on the set, works for the LD to provide the necessary power and equipment to supply the scene's lighting needs. Even on moderately sized productions, it is not unusual to require 100 amps. Thus, the Gaffer must either "tie-in" to the buildings main power, or provide external generators.
BEST BOY: The Assistant to the Gaffer. Sometimes credited as Best Boy Electric or Best Boy Grip.
KEY GRIP: The Head Grip; the foreman in charge of all the other grips. A "Grip" is a manual laborer on the set.
DOLLY GRIP: The grip in charge of smoothly moving the camera dolly during a scene. A camera dolly is a wheeled platform that rolls along either a smooth surface or on dolly track to provide the smooth movement of the camera as it follows or creates the action.
SECOND UNIT:
Many Movies employ a Second Unit (Director, Camera, Crew) to concurrently shoot establishing scenes and other setups that do not require critical acting.
CONTINUITY DIRECTOR or SCRIPT SUPERVISOR:
This person is responsible for keeping track of each scene in the script, the dialogue, and exactly what the action is in the previous and subsequent scenes. This role is of particular importance on productions that are shot out of sequence and over periods of time. In Rear Window, Jimmy Stewart's cast actually changes legs! Here's an external link to a whole bunch of Movie Flubs.
OTHER PRODUCTION ROLES:
CRAFT SERVICES: Provides snacks and beverages on location for the crew.
FOLEY ARTIST: The sound-effects specialist who adds a recreation of the sounds that were impractical to properly record while filming, and may enhance and intensify sounds to increase the effect.
LOCATION MANAGER: Responsible for finding suitable filming locations, negotiating permission for their use. Coordinates necessary permits, police assistance, parking, etc. .
PRODUCTION ASSISTANT: P.A.'s are on the set to run errands, and execute various management tasks for the department heads.
PRODUCTION DESIGNER / ART DIRECTOR: In charge of the design of the sets and props.
PROPERTY MASTER: The person in charge of obtaining or building props and making sure they are in place on the set when needed.
PUBLICIST: Coordinates all media requests, interviews, set visits and publicity.
WRANGLER: Maintains control and direction of the on-camera animals.