The classification of “below the line” refers to the staff, crew, and equipment suppliers who are literally below a line on a production budget. The people who are above the line are the writer, producers, director, and actors. The “above the line” costs are—once negotiated—set in stone. The below-the-line costs are malleable (although there are union minimum salaries established) both in preproduction and production, and therefore the producer and unit production manager (UPM) will do their best to maintain cost control.
Yet those people are no less valuable. They are the ones with whom the director works on a daily basis. They are your crew—the ones who make your vision become a physical reality. They light the set, they carry in the dolly track, they hold microphones above the actors’ heads, they download your footage. They work very hard, over very long hours, and we couldn’t make any wide-distribution media product without them (except for you making a YouTube video at home with your mom running the camera).
YOUR BACKUP TRIO
The three crew people who “have your back” the most are your 1st AD, the DP, and the script supervisor. In postproduction, the editor is your partner in the editing process, and we will talk more about that in Chapter 14. Each of these people fulfills very specific functions under your direction with the goal of helping you achieve the best possible outcome. We talked about the 1st AD in Chapter 6, recounting how a good 1st AD is your logistics assistant in prep, and the lieutenant to your captain on set. The AD position is not generally perceived to be a “creative” one, but rather, a nuts-and-bolts one. However, there certainly are creative individuals who take on this task and can offer you suggestions as to how to shoot something more efficiently or even just … better. Those ADs have a director’s sensibility. Be forewarned though, that if you are an AD hoping to move into the director’s chair, the industry bias is against ADs: many believe that they can’t be leaders and don’t have the creative vision component because they’re below the line and they’ve spent their careers dealing with logistics without final authority.
The script supervisor’s job is to keep track of the correlation between the script and what is shot. She describes each shot, either on paper or on a laptop, and indicates which takes are preferred after consulting with you. The “scriptie” also makes note of the lens size, the camera roll number, and the sound roll number, so if a shot gets “lost” on its journey from production to postproduction, it will be easier to locate. But the most important facet of the script supervisor’s role, as it relates to the director, is as a “second eye,” another person watching the shot. She is usually someone who has been on a multitude of sets, has observed much filmmaking, and knows when something is good or not. In terms of quality, she will not express an opinion unless you ask for it. But if you need to talk something through, the script supervisor is an informed and helpful resource.
The DP is really your creative partner on set, helping you bring to life what was previously just in your head. He may use a viewfinder (a lens on a stick or grip) to set up a shot prior to bringing the camera to set or may use an application, like Artemis, for the same purpose. But you will discuss what the shot is exactly, based on your vision. You do not have to tell the DP which lens to use. Just describe how you “see” it. You might say something like, “I see this as starting with an empty frame, then when Character A enters, dolly back with her to pick up Character B in foreground, becoming an over. Long lens, kind of moody.” Your DP may have questions or suggestions. But at that point, you step out of the way to allow the DP to get the grip, electric, and camera crews working on setting up the shot. Once you see that cameras are in place, go back on set to watch the shot and refine it with the camera operator. After the lighting is complete, you’ll do a “second team and background” rehearsal, so the camera crew practices the shot, the DP can check lighting, and you can make sure that when the actors are called to set, all the physical elements are in place and ready.
Prior to working together on set, you will have interacted with the DP in prep. As you begin to block and shot list, you can talk to the DP about what you’ve planned and solicit an opinion. You should consult with your DP about your planned camera placement and whether you need to order special equipment to achieve the shots. The DP will also, hopefully, have the time (if not currently shooting the previous episode) to survey locations with you, in order to talk about logistics and staging the scene in backlight. This means the actors are facing away from the sun, and the DP can light their faces in individual and subtle ways—for the sun is definitely not a subtle front light. It flattens the planes of faces and makes the actors squint. Not a pretty sight. But when the sun is behind the actor, it gives a “hair light,” or glow on the shoulders and top of the head, which is attractive and separates the actor from the background in this two-dimensional presentation. The DP and the gaffer will either work with an old-fashioned compass on the technical scout, or use some smartphone applications, like Helios, which gives you precise information when you’re asking a specific question, such as, “This scene shoots next Thursday, third scene up. We anticipate arriving at this location at 2:00 p.m. Where will the sun be then?” Once you have that information, you may want to adjust your planned blocking so that the actors are in the best light, and the shoot goes more quickly and easily because it is staged in backlight.
The main thing is to foster a creative partnership with your DP, who will be the one lighting the set and helping you achieve your desired look. The DP will take your idea and “make it happen,” using knowledge and experience to light the set appropriately, communicating with the lighting and grip crews to place lamps and then flag them off to be extremely specific about each light. Because here—just as in every other aspect of filmmaking—more specificity means better work.
The DP is responsible for the “picture” part of “motion picture,” which is where this visual medium started. The DP creates mood by lighting and oversees the framing of the shots. If you are not strong in using the camera well, the DP can be an invaluable asset. Most DPs advance to their position after having previously been a camera operator, so they are extremely familiar with the equipment and what it can do, plus they are artistic in nature themselves. If, on the other hand, you feel confident in this area, it may work out that the DP is simply suggesting refinements and backing you up in the case of a mistake in crossing the line or forgetting a shot. The DP also supervises the camera operator’s framing and the 1st assistant cameraperson’s focus ability. If you are the type of director who is on set with the actors, not sitting at the video monitors (which we hope is true), the DP will watch the monitor and let you know if there are any technical difficulties, like soft focus. The DP continues to oversee the picture quality in postproduction, when he supervises the color correction of the digital final product to make sure that the show is finished in the intended way.
If the AD is your lieutenant, the DP is a sergeant, because many of the crewmembers report to directly to the DP. The electric, grip, and camera departments are under his supervision. No one in those departments is hired without the DP’s consent and all consider him to be their boss. So in order for you to command the set, it is necessary to have a good working relationship with the DP and share creative sensibilities.
Call everyone by their name. Smile at them and interact in a personal and interested way. Ask their opinion when you have a question pertaining to their area of expertise. Gather them in; enlist their support in achieving your vision. Convince them to have the same enthusiasm for this wonderful adventure that you do.
Everyone on the crew and staff is listed on the daily call sheet. We discussed the front of the call sheet in Chapter 6 when we talked about how the 2nd AD lists actors’ call times and daily script requirements such as props and wardrobe. The back of the call sheet lists every position needed for that day, and the name of the person who will be doing the job (Figure 11.1).
For a standard TV show or feature film, the staff and crew listed there total about 120, including some of the writing and postproduction staff. It is to your advantage to learn everyone’s names and positions in order to communicate clearly and inspire everyone to feel like a vital part of the organization—which they are. Bethany always conceives of this concept as a long line of interconnected cogs. The director is the one at the front, pulling everyone along and leading the way. But the director is the same size cog as everyone else, because if any one cog falls out of the line, it can go nowhere. So everyone is of the same importance. When that is your philosophy, it will be demonstrated by your actions: you will call everyone by their name. Smile at them and interact in a personal and interested way. Ask their opinion when you have a question pertaining to their area of expertise. Gather them in; enlist their support in achieving your vision. Convince them to have the same enthusiasm for this wonderful adventure that you do.
YOUR CREW AND WHAT THEY DO
So let’s talk about these “cogs” and what they do. We have already discussed ADs, the DP, and the script supervisor. Here are the rest of those positions, listed by call sheet order.
Camera Department
Camera Operator: Composes and executes the shot using the picture-recording device, whether the medium is film, tape, or digital (Figure 11.2).
FIGURE 11.1 The back of a call sheet listing all the crewmembers.
FIGURE 11.2 Bethany discusses the composition of a shot with A-Cam operator Ben Spek.
Brothers & Sisters trademarks and copyrighted material are used with the permission of ABC Studios
1st Assistant Camera: Focuses the camera lens during the shot; supervises the physical operation of the camera.
2nd Assistant Camera: Keeps the camera log, noting duration of each shot and the physical statistics (type of lens, focal length), does the slate (you know, the board that is slapped shut to identify and signal the beginning of the take), organizes and protects the equipment.
Loader: Makes sure there is film (or whatever) in the camera, also known as “stuffing the turkey”; makes sure the recorded medium gets to the transportation department at the end of the shooting day so that it may begin to be processed.
Digital Technician: Watches monitors to make sure the picture quality is acceptable, adjusts gain and balance on the hard drive as necessary; this is an optional position if the DP wants to handle this himself.
Trainee: Someone who wants to learn!
Electrical Department
Gaffer: Oversees the electrical crew and sets lights; the DP’s second-in-command.
Best Boy: Executes gaffer’s instructions; may scout locations on behalf of the electrical crew and prepares accordingly, ordering equipment and manpower; next in command to the gaffer.
Lamp Operator: Moves lights into position; may be four or more on crew.
Genny (Generator) Operator: Supervises the power source.
Rigging Crew: Lays cable and prepares sets and locations electrically ahead of time; hangs and pre-rigs lights in the pattern dictated by the DP; consists of a gaffer, best boy, and lamp ops.
Grip Department
Key Grip: Supervises the “workmen” of the crew; building and facilitating camera and electric crew requirements (for example, flag lamps and lay dolly track for the camera); is the go-to guy for set problem solving.
Best Boy: Second in command, may scout and prepare locations, ordering equipment and manpower.
Dolly Grip: Physically pushes, pulls, and otherwise manipulates the dolly to achieve the shot.
Grips: Do any physical labor on set, can be known as “hammers,” may be four or more on crew. The grips store and use devices unique to the film industry, like C-stands and apple boxes. A C-stand (Fig. 11.3) is a portable metal pole with attached adjustable clamps that allow the grips to hang or rig elements like duvetyne or flags to control the light. An apple box is a small wooden box (that reminds one of antique apple crates) that has multiple uses, including as a seat for the director next to the camera! It is also handy for raising actors to a different height than God gave them. They come in four sizes: full, half, quarter, and pancake (or eighth).
FIGURE 11.3 An adjustable C-stand is used to mount a camera to the front bumper of a car.
Photo by Paul Snider, NCIS
Rigging Crew: Prepares locations and sets ahead of time, often by “hanging blacks” to block out windows.
Sound Department
Mixer: Operates the recorder to capture the dialogue separately from the video or picture, supervises the sound crew.
Boom Operator: Physically holds a pole (boom) with a microphone attached over the actors’ heads. Sound is carried via cable to the recorder; can apply and adjust wireless microphones (“mics”) to the actors if that is the method chosen by the mixer.
Cable Operator: Facilitates the cabling necessary to connect the various sound equipment pieces.
Playback Operator: Plays whatever music or video is required for the scene.
Stunt Department
Coordinator: Choreographs scripted stunt action in consultation with the director; hires the stunt performers, supervises for safety and effectiveness during the shoot.
Casting
Director(s): Consults with director/producers on casting concepts, sends out casting breakdown, listing which parts are available and their physical requirements, initiates contact with talent agents and sets up auditions, culls the best choices, supervises producer session, point person for network/studio approvals, negotiates actors’ deals.
Assistants: Research actors’ availability, run camera during sessions, answer inquiries, and file submissions.
Background Casting
Coordinator: Casts extras, or background artists who populate the scenes with the actors.
Wrangler: Supervises the extras cast during the shooting day.
Choreography
Choreographer: Designs dance sequences and teaches them to the actors/dancers.
Associate: Illustrates the moves for the dancers and supervises their physical welfare during the shoot.
Special Effects
Supervisor: Designs and creates unique physical happenings of the script; often uses water, fire, smoke, blood, explosives; generally a team of multiple SPFX (special effects) artists are needed. (Known as the “wizards” of filmmaking, the SPFX team works in and with production and their contributions are on set, not in postproduction.)
Visual Effects
Producer/Supervisor: Designs and creates VFX (visual effects) of which just one element is in production and the other half of the equation will be created in postproduction; often uses “green screen” or “blue screen” in production, which in post becomes an artistic rendering of whatever background or environment is needed, which is joined to the production footage. (Depending on the project, the VFX team could be three people or three hundred. There are many subspecialties of skills on the team, depending on the methods used. For example, if your VFX uses miniatures, your team could be composed of modelers who sculpt or build the tiny set piece. If you’re making a product like Lord of the Rings or Avatar, your specialty crewmembers would include computer artists and animators.)
Makeup and Hair
Artist: Designs appropriate look and style in consultation with actors and director to augment character presentation; generally, there is a head of each department and assistants reporting to the head; besides being skilled artisans, makeup and hair crewmembers must be ad hoc psychologists who interact with the egos and vulnerabilities presented to them by the actors every morning in the makeup trailer. This group of people (along with costumes) is sometimes referred to as the vanities, because they enter the set en masse to inspect the actors between every take to make sure they still look as perfect as when they left the trailer. There are also makeup artists (Figure 11.4) who specialize in special effects makeup, like a burned body.
FIGURE 11.4 A makeup artist touches up a “burned” leg.
Photo by Paul Snider, NCIS
Designer: Creates the clothing “look” for each character; head of the department, will shop or originate designs.
Supervisor: Oversees logistics, including most communications with production.
Costumers: Dress the actors; often assigned to individuals, so a large cast requires many costumers; some specialize in prep and being “on the truck,” that is, keeping track of inventory and cleaning, others are “on set.”
Seamstress/Tailor: Performs repairs and fitting adjustments to the costumes.
Art Department
Production Designer: Designs the sets and coordinates the overall “look” and color scheme of a production.
Art Director: Oversees communication to and from the art department; may coordinate research.
Set Designer: Creates the blueprints and double-checks dimensions and other set requirements.
Coordinator: Facilitates communication.
Graphic Designer: Designs any logos, specialized identification needs, video displays, and prop paperwork.
Set Decoration
Decorator: Chooses all furniture and decorative objects in a set in consultation with the director and production designer.
Set Dec Buyer: Shopper.
Leadman: Responsible for the logistics and physically getting the set ready.
Dressers: Move furniture and place set dressing; prepare sets which have been previously shot so everything matches.
On Set Dresser: Works in production to move furniture and objects to make way for the camera or equipment and then reset to match.
Properties
Prop Master: Procures or has made any object that an actor/character physically touches; consults with director for choices.
Assistants: Handle props and reset them after takes; often called upon to creatively rig or find props when it’s a last-minute request; can be two or more on set.
Buyer: Shopper.
Paint
Coordinator: Works with the production designer to obtain and furnish sets with required paint.
Leadman: Oversees crew that paints the sets.
Scenic: Specializes in designs (murals, etc.).
Greens
Head: Supplies and oversees care of plants, flowers, trees, and grass, whether natural or synthetic; places greens on sets.
Locations
Manager: Seeks and finds practical locations that visually tell the story and fit within the producer’s budget, negotiates all contracts and supervises any preparation.
Assistants: Troubleshoot on set during production; handle logistics in prep.
Head: Provides food and drink to cast and crew; cleans up any spill or mess on set; may provide first aid service if medic is not specifically assigned.
First Aid
Medic: Provides first line of defense in case of injuries.
Production Office/Accounting
Coordinator: Oversees staff and logistics.
Assistant: Helps the coordinator.
Production Assistants (PAs): Do diverse tasks from getting coffee to copying scripts to answering phones.
Accountant: Supervises all expenses and income; writes the budget.
Payroll Accountant: Cuts and delivers checks—the one the whole crew likes to see on Thursdays!
Clerks and Assistants: Do office work; bigger budget shows need more manpower.
Producer Assistants: Answer directly to individual producers and assist them in any way necessary.
Transportation
Coordinator: Procures “picture cars” which will be seen on film, oversees the department, making sure the trucks that carry a production’s equipment are where they’re supposed to be on time; choreographs pickups of others who may need transportation, especially actors, directors, and producers when on a distant location.
Captain: Coordinates schedules and equipment; immediate boss of all the drivers.
Drivers: Drive assigned trucks, also ferry actors and crew from place to place; can be a crew of ten (minimum) to thirty.
Catering
Chef: Cooks and supplies whatever meals are needed; typically both breakfast and lunch.
Assistants: Prepare and serve under the chef’s direction.
Coordinator: Oversees the building of sets; works closely with production designer.
Foreman: Responsible for workers’ safety and daily output.
Carpenters: Build the sets; usually at least four on crew.
Additional Labor
Teachers and Social Workers (if child actors are working) and Animal Wranglers (to supply and train animal actors); could also be specialized labor such as a Crane Driver.
Whose Job Is It Anyway?
Choose a partner. Make flashcards from the duties column in the previous list of jobs. Put them in a hat. Play a game to see whether you or your partner can name the right job title to go with the job description. To play a more advanced version of this game, describe scenarios of things going wrong on the set. Your partner has to figure out which person or persons will be needed to resolve these problems.
Often, crewmembers are identified literally and figuratively by their job description. First, they often own the equipment and rent it to the production company as a means of augmenting their income and controlling the viability of the product. So the transportation coordinator may own the trucks, and the Steadicam operator may own his own rig. (If a crewmember does not own the equipment a production wants to use, it can be rented from a company that specifically provides material to the production industry.) Second, most crewmembers are known by their first name, and their new last name is their position. So you may find yourself on set calling out for “Frank Greens” or “Joe Props.” People take pride in what they do. No dis respect is intended by referring to them this way; it’s just a shorthand communication method used on set.
Most crewmembers are known by their first name, and their new last name is their position. So you may find yourself on set calling out for “Frank Greens” or “Joe Props.”
As you can see, it takes many cogs in our lineup of crewmembers working together to turn out the finished product that serves your vision. You—the director—cannot do it alone. You need the help of all of these departments—all of these people. They are all experts in their specialized fields; once they have been enlisted to service your vision, they will work very hard to make it a reality. And when you appreciate their efforts, you truly are a team.
From Cinematography Theory and Practice by Blain Brown.
Authors’ note. This book is amazing! So well written and chock full of useful info for directors.
The incredible variety of lighting styles and techniques is what makes it a lifelong learning experience. First some basic principles:
• Avoid flat front lighting. Light that comes from the sides and back is usually the way to accomplish this. Any time a light is right beside or behind the camera, that is a warning sign of possible flat, featureless lighting.
• Use techniques such as backlight, kickers, and background/set lights to separate the actors from the backgrounds, accentuate the actor’s features, and create a three-dimensional image.
• Be aware of the shadows and use them to create chiaroscuro, depth, shape the scene, and mood. Don’t be afraid of shadows; some cinematographers say that “the lights you don’t turn on as are important as the ones you do turn on.”
• Use lighting and exposure to have a full range of tones in the scene—this must take into account both the reflectances of the scene and the intensity of the lighting you put on them.
• Whenever possible, light people from the upstage side.
• When appropriate, add texture to your lights with gobos, cookies, and other methods1
Insider Info
How Do You Interact with the Director?
As the Department Head Hairstylist, I ask the director if she has any thoughts or ideas on certain characters’ hair, for certain scenes. Sometimes, a character may not be written with any specific look, but the director may see the character disheveled, or with a tidy French twist, braids, a mohawk, or any number of styles.
I like to get all of the director’s desires during prep, but there are times when the actor comes to set, and the director may come to me and ask me to add more sweat to the “Runner,” take away height in the “Housewife’s” crown, smooth out the curls on the “News Anchor,” or make the “Homeless Girl’s” hair even messier, maybe add some dreads at her nape. I have to make sure that myself and my team are always ready for any surprises or last minute wishes.
What Do You Wish Directors Knew About Your Job?
Sometimes, I think directors forget that hairstylists work with human beings (actors), not C-stands.
And, we are constantly battling the elements and outside forces: Humidity and Rain—frizz city!
Gravity—if the actress with the long hair is asked to lean over a desk, her hair will fall toward the ground and cover her face. That is never good. Give us a minute to establish it tucked behind her ears, or perhaps put it up, if this style hasn’t already been established.
Hormonal Shifts—hair texture can change from day to day.
Product Hell—“I tried a new clarifying shampoo this morning, and I think my hair is stripped of all natural oils.” Yes. Yes it is. Sigh.
Bad News—if an Actor is having a bad day, crying, needs to take a phone call, has a cold, taking medication, these will all affect our job as well.
There are circumstances when we may need a little extra time to get the actors ready for the day. That will definitely save time later. We are not taking extra time on purpose.
What Advice Would You Give a Director Who is Starting Out?
Hairstylists (and Makeup Artists, Costumers, Props) are constantly touching the actors, and when they are on set, ready to shoot, the last thing the actors want, is to be poked and prodded between every single take. If there is something specific you want from the hairstylist, be sure to talk to the person in charge of the hair department during prep and give him or her your notes. Directors have so much to deal with during prep, and many times will ask the 1st or 2nd AD to pass along those notes. I have found that not everyone speaks “hair” and it will serve the production better for the director to talk to Hair personally. This will always save time and will keep from having costly holdups on set, and keep the actors from being utterly annoyed, which will also be better for the director!
I strive to get all decisions made and taken care of during prep, so when the actors are on the set shooting, they are left alone to do their jobs, and the only reason I need to bother them is when gravity strikes, or a flyaway needs my speedy attention.
Many times I’ve heard about a hair need 10 minutes before we are supposed to shoot a scene, i.e.: “Oh, the director wants her hair to be a direct match to the next scene, even though it’s a different script day.” If I’ve already established THIS script day, this is a problem: a problem that could have been preempted during prep. If in any meetings, the word “hair” comes up in conversation, make sure someone, hopefully the director, has a conversation with the hairstylist. That definitely falls within the AD’s realm, but directors should be all over that as well. Again, it will make for a smoother shoot.
And that is always my goal.
Stacey K. Black
Department Head Hairstylist/Director/Writer/Filmmaker/Singer/Songwriter The Closer, Major Crimes, Glee
How Do You Interact with the Director?
I can’t tell you how happy it makes me that Bethany and Mary Lou are introducing you to the role of the script supervisor. Many film courses don’t teach what the script supervisor does, so as a new director, when you first arrive on set, you may find yourself wondering, “Who is this person and why are they still talking to me?” I am the person who sits next to you. I am your extra set of eyes and ears: the recorder and the reporter!
As a script supervisor, it is my intention to make the director’s life easier. It is my duty to ensure that we maintain the continuity and integrity of the script, keeping clear and concise logs, as well as noting your preferences and comments after each take or setup.
Before I meet you on set, I will have been given the script in order to do a breakdown, which will be distributed to all key departments—wardrobe, hair, makeup, props—so that we are literally “all on the same page.”
I track the specific days in which the story takes place (Day 1, Night 1, Day 2, Night 2, etc.) as well as the time of day. This tracking keeps us in agreement and is critical for maintaining the continuity. For example, if the script says, “The clock strikes midnight,” it’s my responsibility and that of the prop department to make sure that the clock reads midnight!
Once on set, I note dialogue changes, screen direction, and camera angles, as well as wardrobe, hair, makeup, and prop details for matching. Some matching notes, for example, would be: “Hair style changes—in front of the ear, behind the ear? Costume changes or alterations—buttons up, buttons down? Specific props—gun in the right hand, gun in the left hand?” Or say there’s an accident. At this point in the storyline, would the bandages be on, or would the bandages be off? If the director turns to me, I have the answer.
The director’s work method and temperament dictate the general tone on set. A lot of my interaction becomes intuitive as I get to know the director better. My general rule for working with a director for the first time is to ask, “How do you like to work with the script supervisor?” More often than not, most directors don’t have too many specifics, except for, “Make sure we’re covered before we move on.” Equally as important is the question of the handling of the dialogue. If an actor speaks a line incorrectly, I let the director know. I always ask the director, “Do you prefer to give the actor the note or should I?”
Besides the script breakdown, on-set matching and continuity, script marking, and various logs, I am also responsible for reporting to the Production and Postproduction departments an account of the day’s work, what has been completed, and what we owe.
What Do You Wish Directors Knew About Your Job?
Again, it’s my job to ask questions. I’d rather feel stupid asking a question than be stupid by not asking! More often than not, the thing I’m questioning is a legitimate concern.
As the director, you’ll be bombarded with multiple questions at one time. You may look to your script supervisor for an answer. As we furiously refer to our notes, may I kindly remind you that generally we only get a few days to prep. Be patient with us. The script supervisor’s job is far more complicated than you may have imagined.
What Advice Would You Give a Director Who is Starting Out?
When you’re first developing your craft as a director, it’s safe to assume you’ll be directing low-budget/no-budget “labor of love” projects. When you are told you don’t have the money to hire a script supervisor, I implore you to emphatically respond, “Find the money.” Trust me, you’ll save money in postproduction, and if you’re saying to yourself, “I am post,” again, trust me on this one.
Also, as we move further and further from film into digital, there are no “circles” or “print takes” per se. You’ll want to see everything—and that is the beauty of digital. Here’s where the script supervisor can be of great service to you. Give specific notes of what worked, what didn’t, and what your favorite “starred (best) take” was, before you move on to the next setup.
And my biggest piece of advice is to recognize and appreciate your cast and crew. I can’t tell you how much a simple “Thank you, and good job!” inspires us to work harder for you.
Nila Neukum
Script Supervisor Better Call Saul, Neighbors
Vocabulary
apple box
boom
C-stand
duvetyne
extras
slate
SPFX
vanities
viewfinder
VFX
NOTE
1 Blain Brown, Cinematography Theory and Practice. New York: Focal Press, 2012, p. 116.