The Production Manager organizes production budget and its allocation. Being responsible of – nancial and employment issues, the Production Manager is in control of the di erent aspects and stages of production from negotiating with con- tractors and hiring crew to overseeing production schedule and location bookings. The Production Manager is equally responsible for the distribu- tion, promotion and advertizing of the lm. The Production Manager’s team consists of:

Assistant Production Manager: Assists and stands in for the Production Manager if required. Over- sees daily agenda.
Set Production Assistant: Provides assistance to the Production Manager and/or the Assistant Pro- duction Manager.


The Cinematographer is in charge of camera and lighting and all photography components of lm. Responsible for the lm’s visual narrative, the Cine- matographer works on a technical and artistic lev- el to achieve the director’s vision (Manuals: Light & Shot). In close collaboration with the director, the set and costume designers etc., the Cinema- tographer contributes decisively in building the lm’s ambiance and tone through the interplay of light and shadow, the intensity of colors, the way image is framed. In certain cases, the Cinematog- rapher operates the camera him/herself.


The person who operates the movie camera. The Camera Operator assembles and prepares equip- ment, practices camera moves and plans shots to create the visual impact the director has en- visioned (Manuals – Shot). By applying the right technical means (camera, lters, lenses, lm) and providing solutions to practical problems, Cam- era Operators demonstrate exible thinking and creativity It is quite common for great auteurs to maintain close, if not permanent, collaboration with speci c DoPs, who fully understand and in- terpret their vision.


The Costume Designer researches and designs costume and accessories, purchases clothing items and selects props for lm productions. To be able to recreate atmosphere, historical time, render cultural speci city and re ect the desired by the director mood and tone, the Costume De- signer extensively examines the script and the ac- tors performing the parts. Costumes, though not a separate, autonomous artistic element of the lm production, they are in important in articulating atmosphere and accentuating certain qualities of the frame.


The Actors portray through their performances the characters in the lm’s narrative. In the case of character-based lms they are the main channels through which the director communicates emo- tion, creates symbolism and triggers audience response. The success of the performances deliv- ered, heavily depends on the open and trusting relationship the director cultivates with the actors. This relationship can either be loose, with the di- rector allowing the Actors to approach roles their own way and to possibly improvise, or, strict and pedantic, with the director meticulously explain- ing every detail and determining acting approach.


The Sound Engineer records sound on a lm shoot, either in studio or on location. Knowledge- able of audio technology and so ware, the Sound Engineer operates consoles and equipment to mix sound and ensure the quality of recordings (Manuals: Sound). The Sound Engineer is assisted by the Boom Operator, who is the person operat- ing the microphone and sound boom.


The Makeup Artist designs the make-up of the ac- tors. To bring characters to life, intensify emotion and reveal personality, the Makeup Artist closely collaborates with the Costume Designer. Through skillful use of color and contouring, the Makeup Artist can transform a man into a gollum!


The Editor assembles and edits raw footage in or- der to bring sight and sound together into a co- herent and naturally paced whole. Camera foot- age, dialogue, sound and special e ects, graphics, are digitally processed by the Editor who applies creative thinking and technical mastery to realize the collective vision of the project.


If the director is the story’s narrator, the Screen- writer is the story’s writer. Inventive and imagina- tive the Screenwriter pens either original stories, or works on adapting existing intellectual proper- ty. In this last case, the Screenwriter adds, cuts out, or alters things from the original work so as to make narrative as thrilling as possible. The screen- play emerges from a main idea developed in con- secutive actions and carried out by well-build, believable characters. The screenplay is a peculiar ‘working text’ describing word by word the action and the dialogues of the lm. It is neither a nar- ration through image and sound as lm is, nor a written narrative of the story as novel is (Manuals: How to write a script).


The Set Designer designs the physical surround- ings wherein the lm’s action takes place. The lm’s setting more than a mere construction, functions in multiple levels creating mood and atmosphere, suggesting style and tone. The Set Designer works either indoors or outdoors, depending on produc- tion, in build-in studio sets, or in the open space and is focused in creating the environment that corresponds to the needs of the story.


The Film Director is instrumental in the making of a lm as it is his/her vision of the story unraveling on screen. Having envisioned everything on an artistic and dramatic level, the Film Director per- forms like a conductor, overseeing the composi- tion of crew and cast to ensure creative outcome. De ning the framework within which work is to be done, the Film Director performs several du- ties, provides direction and ultimately seals the lm with his/her own personal signature. In case it is the producer who is really in charge, the Film Director performs general coordination duties.

By his/her side we usually nd:
1. The Assistant Director who is responsible for all separate production units and their smooth op- eration.

•During pre-production: the Assistance Director works closely with the director on the following: the nal editing of the script, dividing the scenes in individual shots, rehearsing with the actors, de- ciding on shooting locations and planning lming. • During the shooting: the Assistant Director pre- pares the daily lming program and makes sure the crew follows it, updates the actors on the daily lming schedule, maintains record of activities (in collaboration with the script supervisor) in order to handle the project within estimated time.

2. The Script Supervisor who is responsible for the following:
• Coherence and continuity of spaces, time, set objects, camera positioning and movement be- tween the lm’s scenes.

• Continuity and accuracy of dialogues and of the transitions between shots, according to director’s decoupage.
• Clapperboard and timing of scenes.

• Preparing shooting reports in collaboration with the Camera Operator and according to the needs of the DoP and the Editor.
• Filling-in, on a daily basis, a shooting diary (real time, rst clapperboard, wrap), together with the Production Manager and the Assistant Director.


The Digital Imaging Technician manages digital media through-out shooting. Responsible for the proper recording of shots and the storage and safety of digital les, the Digital Imaging Techni- cian, is also maintaining copies of material and does digital transfers.


The Chef Electrician supervises and guides lighting technicians and moving light operators in terms of lights positioning during lming. In charge of the power supply and di usion to light sources, the Chef Electrician makes sure the smooth opera- tion of everything.


The Props Master works closely with the Produc- tion Manager and the Set Designer for the acqui- sition of objects that furnish the lm setting. Once shooting is over, the Props Master takes care of the safe shipping/return of material/props.



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