CHAPTER 2
Production Crew

 

 

I’ve always maintained that, with the right crew, you can make a toenail-clipping competition riveting television. With the wrong crew, you can make an international soccer championship boring.

—David Hill, CEO of Fox Sports Television

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

2.1 PRODUCTION CREW SIZE

Production crews come in all sizes. The crew for a documentary may consist of one person with a palm-sized camera. Many television stations are moving to one-person crews to reduce costs (see Figure 2.1). Other types of programming, such as a network dramatic production, may require a large number of people. It all comes down to what you are trying to accomplish.

VIDEO PRODUCTION CREW JOB DESCRIPTIONS

Most job descriptions for the crew have some commonalities from company to company. However, you will find that the actual duties may fluctuate based on the company, production style, and the talents of the individual crew members. In this chapter we describe some of the basic positions that may exist on a video production. Because this book focuses on smaller productions, we will limit the list to the most common positions.

2.2 PRODUCER

The producer is generally responsible for a specific production. Usually the producer is concerned with the business organization, budget, the choice of the staff and the crew; interdepartmental coordination; script acceptance; and production scheduling. The producer may select or initiate the program concepts and work with writers. He or she may assign the production’s director and is responsible for meeting deadlines, production planning, location projects, rehearsals, production treatment, and other duties. Producers may also become involved in specifics such as craft or union problems, assessing postproduction treatment, and the final program format (see Figure 2.2).

FIGURE 2.1
Many television stations, due to tight budgets, have moved to one-person news crews. In this photo, the reporter not only asks the questions and holds the microphone, but is also holding the camera on her shoulder.

FIGURE 2.2
A producer and director review the production plan with the video crew.

2.3 ASSISTANT PRODUCER OR ASSOCIATE PRODUCER

The assistant or associate producer (AP) is responsible for assisting the producer. These responsibilities, as assigned by the producer, may include coordinating appointments and production schedules, making sure contracts are completed, booking guests, creating packages, and supervising postproduction. This person may be assigned some of the same responsibilities as an associate director.

2.4 DIRECTOR

Ultimately the director is the individual responsible for creatively visualizing the script or event. This means that the director instructs the camera operators on the type of shots wanted and then selects the appropriate camera shots for the final production. The director is also responsible for running the talent through their lines and stage movements based on the script. Directors are people who can effectively communicate their vision to the crew. They are also team builders who move the crew toward that vision. This involves advising, guiding, and coordinating the various members on the production team (scenic, lighting, sound, cameras, costume, etc.) and approving their anticipated treatment. The director may choose and hire performers/talent/actors (casting), envision and plan the camera treatment (shots and camera movements) and editing, and direct/rehearse the performers during prerehearsals (Figure 2.3).

He or she also evaluates the crew’s contributions (sets, camera work, lighting, sound, makeup, costume, graphics, etc.). The director’s job can range in practice from being the sole individual who creates and coordinates the production to a person who directs a camera and sound crew with material organized by others.

FIGURE 2.3
The field director is reviewing the camera shot on an HD monitor (the monitor has a sun shade on it to increase visibility). The multicamera live production director (foreground of second photo) must look at multiple camera images and select the most appropriate shot.

2.5 ASSISTANT DIRECTOR OR ASSOCIATE DIRECTOR

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

2.6 PRODUCTION ASSISTANT

The production assistant (PA) assists the director or producer with production needs. These may include supervising the production office (making copies, making coffee, and running errands), prerehearsals, and location organization. His or her responsibilities may also include logging tapes and taking notes during production meetings. During rehearsals and recording, this person may assist the producer/director with graphics or serve as a floor manager.

FIGURE 2.4
The stage manager represents the director on the set or in the studio. Here, she is shown giving the actors instructions from the director on the set of a sitcom.

2.7 FLOOR MANAGER OR STAGE MANAGER

The floor manager (FM) is the director’s primary representative and contact when the director is not on the set or in the studio. He or she may be used to cue talent and direct the floor crew. During the shoot, the FM is responsible for general organization, safety, discipline (e.g., managing noise), and security. At times, the FM may be used to ensure that the talent is present. This job may be merged with the assistant director (Figure 2.4).

2.8 TECHNICAL DIRECTOR OR VISION MIXER

The technical director (TD) generally sits next to the director in the control room and is responsible for operating the television production switcher (and perhaps electronic effects). The TD may also serve as the crew chief. This person reports to the director (Figure 2.5).

2.9 MAKEUP ARTIST

The makeup artist designs, prepares, and applies makeup to the talent, aided by makeup assistants and hair stylists (Figure 2.6).

FIGURE 2.5
Technical directors “edit” a live program by utilizing a production switcher and multiple cameras.

FIGURE 2.6
A makeup artist prepares talent for a production.

2.10 GRAPHIC DESIGNER/OPERATOR

The graphic designer/operator is responsible for designing and implementing the graphics for the production. This individual is responsible for organizing and typing onscreen text and titles for a production, either to be used during the production or stored for later use (Figure 2.7).

2.11 LIGHTING DIRECTOR/VISION SUPERVISOR

The lighting director is responsible for designing, arranging, and controlling all lighting treatment, both technically and artistically. This responsibility may include indoor or outdoor lighting situations. The lighting director supervises the electricians, or gaffers, who rig and set the lighting equipment (Figure 2.8).

FIGURE 2.7
Graphic designer/operators must design, organize, and edit graphics for video productions.

2.12 VIDEOGRAPHER/CAMERA OPERATOR/ PHOTOGRAPHER

The camera operators are responsible for setting up their cameras (unless the cameras have already been set up, such as in a studio situation) and then operating the cameras to capture the video images as requested by the director (Figure 2.9). On small productions, the videographer may have a lot of creative control over the image. In a multicamera production, the director usually makes most of the final creative decisions about the shot. In a dramatic production, the camera videographer may be called a cinematographer.

FIGURE 2.8
Lighting director.
(Photo by Will Adams.)

2.13 CAMERA ASSISTANT

The camera assistant is responsible for assisting the camera operator in setting up the camera. This individual is also responsible for making sure that the camera operator is safe (by keeping the person from tripping over something or falling), keeping people from walking in front of the camera when it is on, keeping the camera cable from getting tangled or tripping others, and guiding the camera operator during moving shots. A camera assistant may also work as a grip and push a camera dolly if needed (Figure 2.10).

FIGURE 2.9
Camera operators are responsible for setting up their cameras as well as operating them.
(Photo by Will Adams.)

FIGURE 2.10
The camera assistant at the concert makes sure that the camera cables do not get tangled and protects the camera operator from falling off the platform. Camera assistants may also be required to push the camera dolly.
(Photo by Ben Tabor.)

2.14 AUDIO MIXER/SOUND MIXER/SOUND SUPERVISOR

The audio mixer is responsible for the sound balance as well as the technical and artistic quality of the program sound. This includes determining the number and placement of the microphones required for the production. He or she also makes sure that the audio cables are properly plugged into the audio mixer and is responsible for the final mix (audio levels, balance, and tonal quality) of the production. The audio mixer supervises all personnel operating microphones and audio equipment (Figure 2.11).

FIGURE 2.11
The field audio mixer is using a small portable mixer to adjust the levels on the talent’s mic. Studio or remote production truck audio mixers use a larger audio mixer.

FIGURE 2.12
Boom operators are sometimes also called audio assistants.

2.15 STEREOGRAPHER

The term stereographer is used in a number of different ways in relation to shooting 3d video. Some call a camera operator who is shooting 3d a stereographer. Others consider the stereographer’s role to be someone who is there for technical support of the 3d equipment, adjusting the lenses for the desired 3d imagery.

2.16 BOOM OPERATOR OR AUDIO ASSISTANT

Supervised by the audio mixer, the boom operator is responsible for positioning the microphones, running audio cables, operating the sound boom, troubleshooting audio problems, and operating field audio equipment (Figure 2.12).

2.17 ENGINEER

Engineers are responsible for setting up, adjusting for optimal performance, maintaining, and troubleshooting all equipment used in a production.

2.18 WRITER

The writer is responsible for writing the script. Occasionally the producer or director will write material. At times, writers are assisted by a researcher, who obtains data, information, and references for the production writer.

2.19 EDITOR

The editor selects, compiles, and cuts video and audio to produce programs. He or she may assemble clips into segments and segments into programs, or this person may simply correct mistakes that occurred during the production process (Figure 2.13).

FIGURE 2.13
The editor selects, compiles, and cuts the video and audio together in order to create a television program.

FIGURE 2.15
Set designer.

2.20 SET DESIGNER

The set designer is responsible for conceiving, designing, and organizing the scenic treatment for a production (perhaps even the graphics). He or she supervises the scenic crew in erecting and dressing the sets (Figure 2.15).

PROFESSIONAL CREW

2.21 FREELANCE CREW

Many companies today have moved from a full-time professional production staff to utilizing a freelance crew. Freelancers are independent contractors who work for multiple organizations, hiring out their production skills on an as-needed basis. There are freelancers available who can fill every one of the production positions. Freelancers are generally paid on an hourly or day rate basis. If they have travelled far from their home base, freelancers usually get lodging and a per diem added to their contract. The per diem is a stipend that covers incidental costs such as laundry, meals.

2.22 BELOW-THE-LINE/ABOVE-THE-LINE

You may hear the terms “below-the-line” and “above-the-line” personnel. Although these terms may have different meanings to different companies, overall they are budgeting terms. Here are some common descriptions:

Above-the-line personnel usually refers to people who may have a fixed salary but who also will share in any profits the project generates. They are generally thought of as more artistic in nature. These positions would include producers, directors, actors, writers, and possibly graphic artists and designers.

Below-the-line personnel refers to everyone who is paid a wage and will not share in the profits. It generally refers to camera operators, editors, engineers, production designers, costume designers, and makeup artists. Below-the-line personnel may be eligible for overtime pay.

2.23 THE STRUCTURE OF A VIDEO PRODUCTION CREW

The structure of a production crew differs greatly from company to company. Even different types of productions, such as dramatic and sports productions, require different styles of hierarchy. Figures 2.16 and 2.17 show common general structures for single-camera and multicamera crews.

2.24 WHAT DO YOU WEAR?

What crew members wear differs depending on your job, who will see you, if you are indoors or out, and the event.

If you are in the studio, the public generally does not see the crew. The most common clothes are as casual as jeans. However, studios can often be cold, which means it is good to have a couple of layers so that clothing can be removed or added, depending on the temperature. Set-up days are always casual. Some inside events, such as a major awards ceremony, may dictate that the crew seen by the public actually dress well in order to fit into the overall environment during the shooting.

FIGURE 2.16
The single-camera crew.

FIGURE 2.17
A fairly common multicamera television production crew organization.

Outdoor work is much more unpredictable. In the morning it may be sunny, and by afternoon it may be pouring rain and cold. That means that multiple layers and types of clothing should be carried. Depending on where you are, that may include a T-shirt and jeans if it is hot, a long-sleeve shirt and hat to project you against the sun, and a warm jacket to project you from the cold.

Whatever the situation, it is always important to look professional. You will get more respect from others, which will help you get your job done.

2.25 WHAT DO YOU BRING WITH YOU?

Bringing the right supplies with you can make all the difference in the world on a shoot. Again, it depends on where you are. It is always important to have something to write with and some paper. Here are some of the other things that should be considered:

Hat

Sunblock

Bug spray

Sunglasses

Snacks

Multitool (see Figure 2.18)

Simple first-aid supplies

Small flashlight