FilmHands

Basics of Production

A lot has changed over the decades of filmmaking. We used to work with film, which gave us an excellent product but was very expensive. With the advent of the digital age, cameras can deliver a better-quality product that is easier to edit and modify than before.

Sets used to be very stressful places. Every time the camera rolled, hundreds of dollars would spool by. The slightest mistake could cost thousands. I was on a set in the 1990s where the loader did not seal the can correctly. We loaded it into the camera and ran 5,000 feet of takes. At the end of the night, I dropped the cans off at the photo lab, thinking we had completed the one-day shoot. The next day, Production called and told me the film had been exposed. We lost all of that footage and could not get it back.

Back then, we also needed substantial manpower to make sure scenes were lit well enough for film. Crews of more than 300 people were normal. Now, a production can shoot on a tripod and a Canon EOS, using the sun as the key light and a bounce for fill. Low-light shots are easier, and prime lenses can create direct focus with a soft background. Depending on the script and talent, this can be done with a crew of ten or fewer.

What Has Not Changed

  • KISS — Keep It Simple, Stupid. When we first review a script with the director and writers, we examine how each scene will be set up. If a scene calls for a “flying camera view,” should we use a helicopter, drone, jib, or ladder? A director may ask for a helicopter, but Production must maintain the budget. Many flying shots can be done with a jib. Drones are increasingly common, but they require certification, insurance, and suitable conditions. The goal is to keep the work as simple as possible while still achieving the required look.
  • Organization. Notebooks and pads of paper remain essential. It is often faster to flip through written notes than to search a phone or computer. Keep binders with labeled department dividers. File documents by date, time, and alphabetical order. Ask vendors for printed estimates and receipts, and include reference photographs. Hard copies have saved me from unnecessary stress many times.
  • Listening. When someone approaches you with a request, write it down. If a crew member has a special need, note it next to that person’s name. Never trust your memory. When something must change or is outside the budget, be assertive and flexible—with a smile. Keep track of what is done, including dates and times, and take a few minutes every day to organize cash, receipts, and the needs of the day, the next day, and the coming week.
  • Assertiveness and flexibility. Budget and time are Production’s largest constraints. Producers provide the budget and communicate the needs of the client and director. Production must make deals, hire and release crew, and respond to new ideas in a constantly changing environment. That flexibility is part of what makes the work exciting and fulfilling.

The Production Team

The Production Team takes the writer’s story and the director’s ideas and turns them into media that an audience can enjoy.

  • Producers: Find the financing needed to begin the project, approve major budget matters, and work primarily with the client and talent managers.
  • Line Producer: Oversees the production. Major decisions must be approved by this person.
  • Production Manager: Manages the budget and receives reports from the production departments.
  • Production Coordinator: Finds hotels, rentals, personnel, and other resources required by the production.
  • Coordinator Assistant: Supports the Production Coordinator and may work with Office PAs to complete assigned tasks.
  • Key Production Assistant: Manages the PA team and is often the Production Driver. This person handles equipment logistics, supervises PAs on set, and assists with cross-department requests.
  • Production Assistants: Work at the entry level of the film industry and perform many essential duties. PAs help keep the set clean, secure, and safe; assist with loading and unloading; drive vehicles; locate talent and crew; and make production runs.

Pre-Production

Once Production has the information from the producers, client, director, and writers, pre-production begins. Department leads are hired and given their requirements and budgets. Production finds the talent and locations, arranges insurance, and secures the necessary equipment. Much of this work takes place in an office through phone calls, estimates, scheduling, and coordination.

Start dates and pay rates are established for crew members. Department leads provide crew counts and names so Production can plan catering and craft service. The location must also provide enough room for parking, equipment staging, lunch, craft service, talent, and clients. This can be the most stressful phase because all of it must be organized within a short time.

Production

Once the first call sheet has been issued, the circus known as Production begins. This is the actual filming of the script. When a project requires a substantial set build, the crew may begin with a pre-light. The core crew builds and prepares the sets and back-end areas before talent arrives.

Once everything is ready, talent arrives and filming begins. During this period, Production moves into a monitoring role. The team remains ready to handle changes while staying assertive enough to prevent the plan from drifting unnecessarily.

The Key PA is especially active during filming. The Key ensures that PAs are properly placed and completing their assignments, relocates people when necessary, and acts as a liaison for cross-department requests. When PAs are standing by because the set is clean, trash has been emptied, and craft service is orderly, that can be a good thing. PAs work long hours and need appropriate breaks, but they must also follow every assigned task through to completion.

Call Sheets

Each filming day requires a call sheet for every crew member. Print enough sides, call sheets, and schedules for the people who need them so everyone understands the next day’s requirements.

When the coordinator sends the call sheet email:

  • Use the subject: “Call Sheet Day _ of _ — Shoot Name — Date.”
  • Place the coordinator’s address in the “To” field.
  • Place the Production Manager’s address in the “CC” field.
  • Place the crew distribution list in the “BCC” field.

Post-Production

After the AD calls wrap on the final day, the work shifts into post-production. Production gathers receipts, writes checks, closes invoices, and returns equipment. The crew contracts to a smaller office team while the project is edited and finalized for distribution. This can be a long process and may include many late nights.

This article only covers the tip of the iceberg. The best way to learn how to produce a film properly is to begin as a PA and work alongside experienced crew members. Nothing replaces experience and patience: “Wisdom is the quality that keeps you out of situations where you need it.”