The Director’s Team & 2nd Unit
The director’s team consists mainly of the director, the first assistant director (1st AD), second assistant director (2nd AD), second second assistant director (2nd 2nd), DGA trainee, and set production assistants (set PAs) (Figure 6.1). Other crew that work closely with the director include the director’s assistant, choreographer (if needed), dialogue coach (if needed), and storyboard artist. This chapter covers the duties and responsibilities of each. Because the director and 1st AD work together so closely, some time is spent on their relationship. In addition, since the ADs run the set, this chapter contains a section on set operations. Finally this chapter covers the 2nd unit, what it is, and whether you may need one or not.
DIRECTOR
The full job description of a director, including artistry and aesthetics, would not be appropriate for this type of production book. However, what is listed are certain duties that the director will accomplish in each production period. The difference between low and high budget in terms of the director usually resides in the director’s experience. Generally, in low budget you are dealing with inexperienced directors; however, there have been many high-budget films that hired first-time directors. Whatever their experience level, there are many responsibilities the director takes on, beginning in pre-production. Following is a list of general duties of the director.
Pre-Production
■ Reads the script and works with the producer to develop a vision for the project.
■ Meets with department heads to relate his vision.
■ Works with the storyboard artist on storyboards.
■ Attends casting sessions to hire cast for the project.
■ Rehearses the actors.
■ Meets with the 1st AD to discuss the schedule.
■ Goes on location scouts to approve or reject a location.
■ Writes shot lists for each scene.
Production
■ Works with the DP to execute shots.
■ Works with the 1st AD to make the day. Making the day is the term used for completing the scheduled shots for the day.
■ Directs actors.
■ Works with the 2nd AD to direct the atmosphere.
Post-Production
■ Works with editors to achieve a first cut of the project.
■ May have final approval of a finished picture.
FIRST ASSISTANT DIRECTOR
Being an assistant director is not an easy job but it can be extremely rewarding. The following is a guide to the responsibilities of an assistant director. However, it is more than tasks that will make a 1st AD great. It’s learning how to handle crew members who are slow. It’s learning how to deal with temperamental actors. It’s protecting the director from distractions. It’s learning how to anticipate problems before they arise on the set. It’s knowing how to be tactful, forceful, and patient. Most of all, it’s learning how to get twenty people, all doing different jobs, to be ready for the shot at the same time.
A 1st AD needs to have a strong personality. By the end of the show most crew members will be tired of your screaming in their ears to be quiet all the time. They will try to convince you not to remark on the production report that they were late, or to give them a later call time, but if you do your job properly, they will respect you for working hard to get the day shot on time so that they can get home and get more sleep. As an assistant director, you’re the boss on the set (aside from the producer and director). While the producer is worrying about money, and the director is worrying about the shot, the 1st AD has to be worried about this shot, and the next shot, and the next one.
Pre-Production
Most of the work in pre-production involves preparing paperwork and the schedule that will be invaluable once shooting starts. This is also the time to establish a trusting relationship with the director. The director needs to trust that, when shooting, you will have respect for her vision, so that when shooting begins, the director can entrust to you the details that she has no time to oversee. Read the script closely, and know each scene. The 1st AD’s duties are as follows:
■ Usually starts a month before shooting begins, sometimes earlier.
■ Does a character breakdown by each scene. Knows exactly how many extras are required in each scene. It’s important on set to know exactly what each scene entails.
■ Becomes familiar with cast members.
■ Goes over storyboards with the director.
■ Goes over atmosphere needs for each scene.
■ Once the shooting schedule is complete, makes sure that actors know where and when they need to shoot. In low-budget shoots this can be accomplished by the 2nd AD. In higher-budget shoots either the casting agent or the actor’s agent covers this.
■ Prepares the day-out-of-days according to the shooting schedule and gives it to the POC to distribute.
■ Attends and helps coordinate cast rehearsals.
■ Works with the director, DP, and producer to organize and orchestrate difficult shots.
■ Runs the final production meeting.
■ Attends all location scouts.
■ Determines the first days call times.
■ Gets shot list from the director and places it in the order of shooting for the first day. The 1st AD will continue to do this on a daily basis.
Production
■ Gathers all crew together for a safety meeting (if needed).
■ Stays with the camera while preparations are made for the first shot.
■ Works with the 2nd AD to get actors ready.
■ Spends the day running the set and moving the crew along.
■ Is responsible for making the day.
■ Approves the call sheet and production report. The call sheet (see Figure 6.2) is a document that shows what location, actors, crew, and scenes are shooting the next day. It is traditionally distributed to cast when they are wrapped throughout the day and to crew at the end of the day. The production report (see Figure 6.3) is a document that shows what happened the previous day in terms of footage, actors, scenes, crew, hours worked, and production status.
■ Makes a determination of when to break for lunch and when to wrap the crew.
Qualities of a Good 1st AD
■ Authoritative demeanor.
■ Excellent with detail.
■ Quick thinking and resourceful.
■ Able to handle multiple items at once.
■ Able to deal calmly with temperamental cast and crew.
THE FIRST ASSISTANT DIRECTOR-DIRECTOR RELATIONSHIP
One of the most important working relationships on set is between the 1st AD and the director. A good relationship helps the day go smoothly, while a bad relationship can undermine the success of your day. Following are some of the director’s expectations of the 1st AD:
■ To keep unnecessary people away from the director.
■ To keep track of where the production is in the shot list so that no shot is overlooked.
■ To make sure the 2nd AD directs the background in a manner consistent with the director’s vision.
■ To keep the rest of the crew working efficiently.
■ To keep the energy going on set and to keep the set quiet so the director can concentrate on his work.
What the 1st AD Wants from the Director
■ Accurate storyboards. The 1st AD needs to know exactly what each shot is framing, its composition, what actors are in it, and what background is seen. This allows the 1st AD to communicate needs to the crew and get the next actors ready.
■ Trust from the director to run the show. For example, when it is time to get the shot, the director depends on the 1st AD to have everything in place. So, the 1st AD also expects the director to know what he wants, and to be ready.
PRODUCTION MEETINGS
Throughout the process many production meetings are held. The director meets with heads of various departments to impart her vision. The production designer meets with his staff to discuss the progress of set construction and dressing. Each department meets for as many times as it takes to get ready for shooting. There are also two production meetings attended by all crew (not cast traditionally), in pre-production, which the 1st AD runs. These are the concept meeting and the “big” production meeting.
The Concept Meeting
The concept meeting is held early in the pre-production process. Most heads of departments attend this meeting, such as the producer, director, 1st AD, UPM, DP, costume designer, production designer, art director, transportation coordinator, location manager, casting director, key makeup artist, stunt and special effects coordinator, and the visual effects supervisor (if applicable). The POC coordinates the meeting, informing everyone of the time and place and making sure all have received the latest script or revised script pages. The 1st AD runs the meeting and reads through each scene. Some directors prefer that all dialogue be read word for word; others prefer to have the dialogue summarized or skipped all together. As the 1st AD reads each scene, any concerns regarding shooting are discussed. This is a great time for all crew to ask questions, discuss issues, and solve problems.
The Big Production Meeting
The big production meeting is a meeting held any time from 1 to 2 weeks before the first day of shooting. This meeting is attended by all crew, but not the cast. As with the concept meeting, the purpose of this meeting is to go through the script scene by scene and discuss any unresolved issues, questions, or concerns. This meeting can take anywhere from 4 to 8 hours. Therefore, the production coordinators usually arrange for refreshments throughout the meeting.
Whether a production is high or low budget, these meetings are essential. It is a time when everyone can hear and be involved in how the production will proceed. One other important reason for these meetings is that sometimes the director will take a few minutes in one or both of these meetings to discuss the vision of the picture. These comments can help create a sense of shared vision and unity among the crew.
SECOND ASSISTANT DIRECTOR
The 2nd AD assists the 1st AD in running the set. The 2nd AD’s duties and responsibilities follow.
Pre-Production
■ Usually arrives 2 to 3 weeks before shooting begins.
■ Reads the script to know each scene well. Highlights actors in each scene and makes notes on scenes with extras.
■ Works with the APOC to determine the travel schedule for cast.
■ Goes over the number of extras in each scene with the director and discusses how the scenes will work.
■ Prepares the call sheets and production reports with the APOC and POC.
■ Determines walkie-talkie channel assignments for all applicable crew.
Production
■ Completes the call sheet. This duty will continue daily throughout the shoot.
■ Does SAG daily contracts.
■ Takes over for the 1st AD if she needs to leave camera.
■ Calls “Rolling!” when each shot begins (see the section “Importance of Calling Rolling and Cut”).
■ Calls in to the production office the first shot of the day, lunch, the first shot after lunch, and wrap.
■ Arrives first on set and works with the transportation department to assist cast and crew as they arrive.
■ Once they arrive, leads all actors to the honeywagon or trailers (if medium to high budget) or into makeup and wardrobe.
■ Distributes walkie-talkies. This job may sometimes be given to the 2nd 2nd or DGA trainee.
■ Keeps count of how many people go through the lunch line. This number is then put on the production report. This is also sometimes done by the 2nd 2nd.
■ Prepares the call sheet, about midway through the day. Once prepared, it gets approved by the 1st AD and UPM. Once approved, it goes to the production office to be copied and attached to the location map (if doing paper call sheets).
■ Informs the caterer of the next day’s count for food.
■ Calls actors with call times for the next day. The 2nd AD should be prepared to answer questions about the next day’s shooting, scenes, scene order, etc.
■ Keeps the set quiet at all times. If the 1st AD has to call quiet, the 2nd AD is not doing her job.
■ Takes care of any Taft-Hartleys. A Taft-Hartley, used on union shoots, is a contract given to nonunion actors who may be given dialogue. This contract allows them to later become members of the Screen Actor’s Guild.
■ May be responsible for charging up the walkie-talkies each night so they are fully charged for the next day’s shooting.
■ Directs the atmosphere, also called the “background,” for each scene.
A Note on Directing Extras
The 2nd AD needs to work quickly when directing background. The process begins in pre-production by finding out how extras will be used in each scene. Then, once on set, the 2nd AD helps to ensure that all needed extras are ready, having gone through makeup and wardrobe if necessary. Next, the 2nd AD places the extras in the scene. Either the director or the 2nd AD informs them of what is required in the scene.
Because most extras are inexperienced at being in front of the camera, it is a good idea to give each extra very specific directions. That is, each one needs to be told exactly what to do once the camera starts rolling. This is not always possible. Sometimes scenes with extras may number in the hundreds, which would make it impractical to direct each one. In that case, the 2nd AD becomes a sort of cheerleader, having to motivate a large number of people to perform. I once directed background on a film in which over four hundred extras had to cheer when some fireworks went off. As the 2nd AD, it was my job to motivate the extras. What I ended up doing was running through the crowd, yelling, to get their energy up.
Another issue that comes with this kind of directing is knowing how to choreograph the extras doing crosses. Crosses occur when actors walk back and forth on screen, creating the illusion that there are many people in the background. To do this, the 2nd AD must time out cues for each extra. The first cues begin when the extras are told to move. The next cues are timed in a manner that keeps the background active, if that is appropriate. I once directed the background in a newsroom scene. The extras were given rapid cues to move around the office at different times so that the newsroom appeared to be busy.
Qualities of a Good 2nd AD
■ Authoritative demeanor.
■ Excellent with detail.
■ Quick thinking and resourceful.
■ Able to handle multiple items at once.
■ Able to deal calmly with temperamental cast and crew.
■ Able to produce accurate paperwork.
WALKIE-TALKIE ETIQUETTE
Walkie-talkies are an invaluable communication tool on set. Frequently, the crew is spread out over a large area, yet must communicate almost constantly with each other. Walkie-talkies are distributed to the following: 1st AD, 2nd AD, 2nd 2nd and/or DGA trainee, PAs, first assistant cameraperson, second assistant cameraperson, loader, set dresser, and the following departments—grip, electric, wardrobe, makeup, hair, special effects, stunts, props, construction, and transportation.
Usually the 1st AD and director’s team occupy channel one at all times. Other personnel and departments are then assigned their own channels. The rule is that everyone stays on channel one to know what is going on, and so that the 1st AD can reach any department head at any time. If anyone needs to speak with someone in his own department, they contact that person and tell them to switch to the department channel. After the conversation is over, both parties return to channel one.
SECOND SECOND ASSISTANT DIRECTOR AND/OR DGA TRAINEE
Many projects with a large cast use the 2nd 2nd AD to help with the cast. If the shoot is a union shoot and signatory to the DGA, then a DGA trainee is assigned to the shoot by the guild. Frequently, the duties of both these personnel overlap and thus are combined in this section.
Pre-Production
■ Usually starts 1 week before shooting. May also start the first day of shooting, depending on the budget.
■ Assists the 2nd AD with various paperwork, typing of reports, and copying.
Production
■ May type the production report for the 2nd AD.
■ On a union shoot completes the exhibit G. The exhibit G is a form on which SAG actors sign in and out.
■ Makes sure all extras’ releases are signed. A background coordinator may also do this.
■ Supports the 1st and 2nd ADs with what is called the lockup. A lockup is a situation whereby the area where the camera is pointing is secured. The 1st AD will place other ADs and PAs just outside the perimeter of the frame. When the assistants hear “lock it up,” they hold any people or, sometimes, traffic from entering the background of the frame. After the director calls cut, they allow people and traffic to move freely.
SET PRODUCTION ASSISTANTS
PAs, also called “gofers,” are there to assist the director’s team in any way it needs. This is an excellent starting position for aspiring production people and future ADs. On medium- to high-budget shoots there will be a key PA, and then regular PAs beneath him.
Occasionally a production will hire an intern, who may or may not be paid for working on the production. In this case the person signs an intern release guaranteeing workers’ compensation. Production interns may be people who are just out of film school, looking to break into the business. The producer has the discretion over whether the intern will be paid. Obviously, the interns in low budget are most likely not paid and those in high budget paid a modest salary. Production interns may be assigned to any of the departments on a crew. If an intern wants to someday be a 1st AD, then the intern is placed on set as a set PA.
Pre-Production
■ The key PA may or may not start in pre-production, depending on the budget.
■ Assists the ADs with copying, getting coffee, and making telephone calls.
Production
■ Assists the ADs with lockup.
■ May escort actors to and from the set.
■ Escorts actors to and from makeup, hair, and wardrobe.
■ May escort actors to their trailers.
■ May need to sit with the extras in their holding area.
■ Gets coffee for the 1st AD.
Qualities of Good 2nd 2nds, DGA Trainees, and Set PAs
■ Physically capable of being on her feet for 12 or more hours.
■ Great communication skills.
■ Attitude of service toward crew and cast.
■ Quick thinking and resourceful.
■ Understands set protocol.
■ Able to handle multiple situations at once.
■ Able to deal calmly with temperamental cast and crew.
■ Able to produce accurate paperwork.
DIRECTOR’S ASSISTANT
The director’s assistant functions much like the producer’s assistant. The amount of responsibility in this job can vary from director to director. Again, it is a great job for aspiring directors, who can learn first-hand the tricks of the trade. The following is a list of duties and responsibilities:
■ Answers the telephone for the director and screens calls. This is a position that requires discretion.
■ May type script pages if the production is not using a script service. A working knowledge of the different screenwriting programs is essential.
■ May schedule meetings with a variety of crew members, the producer, and possibly studio executives, if it is a studio shoot.
■ May sit in on production meetings, usually so he can take notes and get coffee.
■ May become the voice of communication between the director and the studio and/or certain crew.
■ May be involved in the director’s more personal matters such as picking up the dry cleaning, walking the dog, or scheduling a haircut.
■ May be asked to read scripts and complete coverage forms.
CHOREOGRAPHER
A choreographer is needed if there are any dance numbers in a project. She may be employed run of show, or may be needed to choreograph only one or two dance sequences. Perhaps the actors need only to waltz in a dinner party scene, but don’t know how. The choreographer would then be needed only for rehearsal and shooting of the scene. If the production has enough musical numbers, as does a musical, the choreographer would also most likely have an assistant or two to help rehearse the cast. I once worked on a show about the rise of a rock-and-roll family. The film had performance numbers spread throughout the schedule. The choreographer worked with the cast in pre-production for a couple of weeks, teaching them the dance numbers. Then, as principal began, the choreographer and his assistants continued to rehearse the cast when they were not needed on set.
Choreographers may be members of the Academy of Dance on Film, which supports members and archives performances, or of Equity, a trade union for performers.
DIALOGUE COACH/DIALECT COACH
A dialogue coach is a person who works with actors on the delivery of their dialogue during pre-production rehearsals. A coach like this is needed if the production is very involved, complicated, or the director wants the assistance. The dialogue coach can also help actors with dialects, or a dialect coach can handle the dialect training. The difference between these two is that the dialogue coach not only concentrates on delivery, pronunciation, and inflection but also ensures that the actor is delivering the dialogue as the director intends. The dialect coach works specifically on any accents that may be needed.
STORYBOARD ARTIST
A storyboard artist is a person who works in pre-production to draw storyboards for the director. A storyboard is a small, visual sketch of a shot. The director will describe a shot in terms of angle, framing, and content to the storyboard artist, who then draws it either on paper or in storyboard software. I once worked with a director who liked to paste the storyboards all over the walls of his office as they were completed, so that he could visualize the film better. Once this film’s storyboards were complete for each scene, they were copied and distributed to the producer, director of photography, production designer, 1st AD, and 2nd Unit director (there was an aerial unit on this show, which shot scenes involving military helicopters).
SET OPERATIONS
There are many events that must come together in order to get the first shot of the day. The 1st and 2nd ADs are particularly integral to this process. Following is the process.
After arriving on set, the 1st AD informs crew members where the first setup is and keeps the director informed of the progress. Once the lighting is finished, the 1st AD checks with the director to see if he is ready to shoot. At this point actors can be brought in to set for the rehearsal. The 2nd AD or 2nd 2nd escorts actors to the set. When they get near to the camera, the 2nd or 2nd 2nd announces, “First team on set!” This notifies the crew to quiet down and that the shot may be close. When extras are brought to the set, the 2nd AD calls “Background on set!”
After some rehearsal, the director usually informs the 1st AD that she is ready to shoot. The 1st AD will then call for his crew to “lock it up” for the take. Locking it up quiets everyone down and ensures that no one enters the background of the shot. Following is the script of who says what when a shot is called:
1st AD: Sound ready?
Sound: Ready.
1st AD: Camera ready?
Camera Operator: Ready.
1st AD: Roll sound.
Sound: Speed.
2nd AD: Rolling!
1st AD: Roll camera.
Camera Operator: Speed.
2nd AD: Scene 41A, Take 1 (claps the slate).
1st AD: Background action (if applicable) or Playback (if applicable).
Director: Action.
When the shot is finished:
Director: Cut.
1st AD: (into the walkie-talkie) Cut.
ADs and PAs echo “Cut.”
Importance of Calling Rolling and Cut
It is extremely important that the director’s team call “rolling” when a shot begins and “cut” when the shot is over. This way, the crew, who may be some distance from the set or even approaching the set, knows when to be quiet. If the crew members hear “rolling” and hold their conversation but after a while do not hear “cut,” they will begin to wonder if the shot is over. It is frustrating to then find out that someone forgot to call “cut” after the director. Maintaining a consistent efficiency in this area is very important to crew communication.
■ After the director yells “cut,” the 1st AD watches the director. If the director gets up and walks to the actors, he most likely wants another take.
■ If another take is warranted, the 1st AD calls, “Take 2 is up.”
■ If after calling “cut” the director sits there, the 1st AD asks if another take is needed: if yes, the 1st AD calls it; if no, she calls new deal. New deal is a term used to notify all crew that the shot is changing.
■ When the crew breaks for lunch, the 1st AD calls, “Lunch!” The 2nds and PAs echo this announcement for all crew and cast to hear.
At the End of the Day
■ The 1st AD calls the last shot, called the martini. The 2nd ADs and PAs echo this to the crew.
■ Hearing the martini, the crew knows they will wrap soon and begin to wrap out unneeded items.
■ The 1st or 2nd AD quiets the set so sound can record ambience. Ambience, also called room tone, is the natural sound of a room or location.
■ When the day is done, the 1st AD calls “wrap” and the 2nd ADs and PAs echo to the crew.
■ The 2nd AD and PAs distribute the next day’s call sheets.
■ The 2nd 2nd or PAs collect walkie-talkies to charge for the next day.
■ The 2nd AD keeps track of leave times for all cast and crew and records it on the production report.
CLOSED SET
A closed set is called for when there is sensitive material being filmed that could hamper filming in some way. There might be a love scene in which the actors need to be semi- or fully nude. Having a closed set can make the actors more comfortable because on a closed set there are not as many crew standing around. There might be a particularly emotional scene requiring intense concentration by an actor. In this case, the director or actor may request a closed set. The pure definition of a closed set varies according to the situation. In the case of a love scene, often the only people allowed on set would be the director, sound person, makeup, and camera operator. In the second example, the only people allowed may be the director, sound person, and camera operator. Usually the director informs the 1st AD who will be allowed on set, and the 1st AD then clears the set of unnecessary personnel.
Sometimes a closed set will also warrant closed dailies. This is when only certain people are allowed to watch certain dailies. In the above examples the dailies most likely would be closed to everyone except the director, producer, script supervisor (who makes notes for the director), and editor (who may run projection).
SET PROTOCOL
There are some characteristics of set protocol that are the same in low-budget as in high-budget productions. There are also some characteristics that are different. Following are some characteristics that are true for most productions:
■ The set is to be kept extremely quiet.
■ No one touches the camera except the camera team and director.
■ All heads of departments must inform the 1st AD when they leave set and when they return.
■ All crew are expected to check in and out with the 2nd AD.
■ Generally no one converses with the actors, except the director.
■ No one is late.
■ If there is an accident or injury, no one provides assistance except the first aid person.
■ Foul language is kept to a minimum around children on set.
■ Locations and their owners are to be treated with respect.
■ All cell phones and beepers need to be on vibrate or silent.
■ No one orders anyone else’s assistant(s) to do anything.
■ Wrap is to be completed quickly.
■ Distractions to the director should be kept to a minimum.
■ Safety precautions are to be observed and practiced by everyone.
The differences between low and high budget occur when there is a union shoot. Under these circumstances the following are also true:
■ No one moves set dressing except the set dresser.
■ No one moves lights except the lighting department.
■ No one moves any equipment that is not in his department.
THE SET BOX
The set box is a box of files that contains all forms that may be needed on the set. In pre-production, gather all the proper forms and make sure they are prepared properly. The files you need should include:
Blank call sheets: If the computer should happen to go down, you need to be prepared with blank sheets to hand write.
Blank production reports: For the same reason as above.
Day-out-of-days: Have some extras in case the actors forget their schedules, so you can quickly see what days they are needed on set.
Shooting schedule: It’s amazing how many times crew will lose this and come to you for another.
Extra scripts: It’s amazing how many times cast will lose theirs and come to you for another.
Extras releases: Your script will dictate how many you need to keep on hand.
Emergency forms: Safety has become a big issue on film sets. In case of an accident or emergency, this form will tell you any specific medical information that may be important. It will also tell you whom to notify in case of extreme injury. Once all cast and crew fill out these forms, file them in alphabetical order. Also have some blanks on hand for day players.
Blank walkie-talkie distribution forms: Every day it will be the job of the 2nd AD to distribute walkie-talkies to crew. A sign-out form ensures that one person is responsible for the return of each walkie-talkie, and it helps in collecting them at the end of the day.
Parent’s consent forms: If there are children on set, it’s important to have these, especially if a parent intends to leave the set, placing the child in your care.
Cast releases: Even though these should be filled out in pre-production, you never know when a person will be cast at the last second and need a release.
Location agreements: It is wise to have copies of all location agreements and permits on set. If the location manager or producer should leave the set, you are solely responsible for proving to any authorities that you have a right to be on that location. These forms also have pertinent information such as whom to contact if there is an accident at the location and the hours that you are permitted to be there.
SAG rules: If you are working on a union shoot with SAG actors, it is a good idea to have their agreement on hand. There are many rules to remember.
AD PAPERWORK
There are two very important pieces of paperwork the AD team deals with: the call sheet and the production report. Each has its purpose and is integral to the smooth running of a shoot. Each is completed every day and must be accurate. Other than a few minor changes in the content of the forms, the need and use of the call sheet and production report are essentially the same from low to high budget.
The Call Sheet
The call sheet (see Figure 6.2) is a report that shows exactly which scenes, cast, and other items are needed for the next day of shooting. It is given to all cast and crew and prepared the day before shooting by the 2nd AD. Approximately halfway through the day, the 2nd AD will start to write the call sheet. It is usually at this point that the 1st AD will know what is being shot the next day; that is, if they are going to shoot what is on the schedule or if any scenes have to be carried over to the next day. The 2nd AD uses the production schedule to transfer information onto the call sheet regarding what is being shot. He then figures out what times the cast need to be called based on when their scenes appear in the day. It is always advisable to have the cast there a little before you need them, but not too far in advance. Actors can get bored easily and do not like to wait around for hours.
On the back of the call sheet are the call times for the crew. Most crew will be called for crew call; others might be called later. For instance, the still photographer usually has a later call because she does not need to be on set while the crew is setting up. The still photographer only needs to be there when shooting is ready to begin. The back also lists crew under “O/C,” which means on call. Some crew, such as the UPM, POC, and production designer, are on call. This means they come and go from the set as necessary, but are not needed by camera at all times.
The call sheet also shows a shooting call. This is the time at which the crew needs to begin shooting. The difference between crew and shooting call is the amount of time it takes to get set up once most of the crew arrives. This setup could involve lighting or setting up special effects or stunts, so this amount of time is determined by the 1st AD.
After the call sheet is completed by the 2nd AD, he signs it and gives it to the 1st AD for approval and signature. The 1st AD usually will leave the set to the 2nd AD while checking the call sheet. After approving it, the 1st AD sends the call sheet to the UPM for signature. After the UPM approves, the call sheet is copied, usually by PAs in the production office. The office PAs will then attach maps from the location department and send the call sheet back to the set, where copies will be handed out at the end of the day by the 2nd ADs and set PAs. The call sheets become a part of the production files as a record of what the crew intended to shoot each day.
The Production Report
The production report (see Figure 6.3) is a record of what was shot in one day. As the call sheet is prepared the day before shooting, the production report is prepared at the end of the day and distributed the following morning to various personnel such as any studio executives (if applicable), executive producer, production supervisor, the producer, the accountant, and the completion bond company.
The process of preparing the production report actually happens throughout the day. On the back of the report (see Figure 6.4) all crew are listed, but instead of call times, like on the back of the call sheet, the production report shows what hours the crew worked. This is very important for paying crew, especially if there is overtime. At the beginning of each day, it is understood that all crew and cast must check in with the 2nd AD so she can write down their arrival times. At the end of each day, all crew check out with the 2nd AD, so every hour worked is accounted for. The 2nd AD will also keep track throughout the day as cast arrive and leave.
In addition, at the end of the day, the 2nd AC and the script supervisor will turn in the film stock summary report and script summary report to the 2nd AD, who then transfers that information to the production report. This information is vital for knowing how shooting is progressing. These reports contain information about how much footage and how many scenes, pages, minutes, and setups were shot that day.
The production report also contains a very important notes section. This is a section in which any problems from the day are noted. For example, if weather caused the crew to shut down for an hour, anyone was injured, or any person or department caused shooting to be delayed, this would be noted. Subsequently, the UPM and producer heavily scrutinize the notes section before the report is distributed. I once worked a show where the UPM had me reorder the notes so that a critical entry about the director was hidden farther down into the notes. The purpose of these notes is to inform anyone who was not on set about any problems that need to be addressed. These notes will usually begin with the 1st AD, who throughout the day will tell the 2nd AD to make notes on the production report as any problems arise.
Once the production report is prepared, the 2nd AD gives it to the 1st AD, who looks it over for signature and approval. The 2nd AD traditionally leaves the report in the production office for the POC. In the morning the POC checks the report for any typos or missing items and cleans it up if necessary, and then shows it to the UPM, who then sends it on to the producer for signature and approval. Once approved, it is copied by the office PAs and distributed, or sent electronically.
2ND UNIT
In most cases, the 2nd Unit is a crew that shoots scenes that either cannot be scheduled in the main unit or do not require the main unit director, such as “beauty shots” of sunsets or panoramas. The 2nd Unit may be different on various shoots. This unit may be a specialized unit such as an aerial or underwater unit. The nature of your script and your budget will determine if you need a 2nd Unit. The 2nd Unit usually shoots at the same time as the main unit, so a completely separate crew would need to be hired, which can be expensive. In some cases, though it is rare anymore, the 1st AD from the main unit will leave the main unit to become the director of the 2nd Unit. This is mostly done in low-budget productions because hiring a 2nd Unit director would be too expensive.
In low budget the 2nd Unit may consist of only a 1st AD and an AC. Often low-budget schedules are insane, and there is not enough time to shoot everything. Therefore, the director will send the 1st AD off with a camera and an AC (who now gets to run the camera) to get a few shots. These may include actors, maybe seen only in long shots, or be just for establishing certain locations. In higher-budget shoots the 2nd Unit may be a crew of over a hundred people. This is especially true for special effects units. This unit may consist of a large crew doing physical effects as well as a large number of people creating visual effects.
DIRECTOR
As stated, sometimes the director of a 2nd Unit may be the 1st AD from the main unit. The 1st AD may be used because the footage that needs to be shot would probably not require actors. Therefore, there would be no “directing” per se. If the scene did require actors, it is at the discretion of the main director whether he or she entrusts the 1st AD with directing the actors. Each shoot is different. The decision of whether to use the 1st AD would be based on the 1st AD’s experience, the nature of the 2nd Unit footage, and the discretion of the director.
The 2nd Unit director could also be someone who is highly specialized in a certain area. I once worked on a film where there was an aerial unit. That unit was in place to shoot helicopter footage for a film about Apache helicopters. The director for the 2nd Unit was a director who specialized in shooting aerial footage. He knew how to shoot aircraft to achieve the best possible action footage, which was appropriate for the project. This 2nd Unit, made up of approximately seventy-five crew, included camera people, military people, pilots, art direction, and special effects.
UNIT PRODUCTION MANAGER OR PRODUCTION OFFICE COORDINATOR
If the 2nd Unit is large enough, there may be a separate production manager and/or production coordinator hired to work with this crew. If the unit has approximately fifty or more crew, it is a good idea to have a second UPM or POC to support this crew. This 2nd Unit UPM would work under the main unit UPM and report to him or her directly. The UPM’s job here is the same as in the main unit: to handle problems and make sure the shoot runs smoothly from day to day.
FIRST ASSISTANT DIRECTOR
The 1st AD on a 2nd Unit operates the same as on the first unit. He or she may do a script breakdown and production strips, or just use the portion of the original production strips that apply to the 2nd Unit, in order to form a production schedule. This 1st AD need not necessarily report to the main unit 1st AD because they are each running a separate set. This 2nd Unit AD would report directly to the 2nd Unit director and 2nd Unit UPM. Depending on whether actors are involved, the 1st AD may or may not have a 2nd AD for assistance.
LOCATIONS
The main unit location manager would still find the locations for the 2nd Unit locations. The exception to this would be when there are units in other, more distant locations (see the section “Other Units”). For instance, if the show is on a tight schedule and an extreme number of locations need to be found, the producers may wish to hire another location manager to expedite the process. If there were just one location manager, he or she would make sure that an assistant or location PA would work for the 2nd Unit to handle support.
CAMERA
The camera team on a 2nd Unit may consist of only a cameraperson or may be a full-fledged camera crew with assistants and loaders. Again, it depends on how involved the 2nd Unit footage is and whether you are shooting film, video, or digital. This 2nd Unit cameraperson works closely with the main unit DP to ensure that the 2nd Unit footage will combine seamlessly with the main unit footage.
SOUND
The sound team on a 2nd Unit may consist of a recorder, boom, and cable person, or may be nonexistent. If you are just getting beauty shots, then no sound may need to be recorded. The decision to include sound or not in the 2nd Unit lies with the producer and director.
OTHER UNITS
Other units may be needed in other locations. For instance, if you are shooting in the United States, and you then need to move the crew to Portugal, you will need crew in place in Portugal to get things ready for the main unit crew before they arrive. This could include a location scout to find locations, an APOC to set up the production office, and PAs to help.
Another kind of unit that is being used more frequently is a special or visual effects unit. This unit could be operating at the same time as the main unit is shooting. This unit works on the miniatures or digital work that may be required for a show. This way, the special effects are ready when the main unit footage comes in. This timing is important if main unit footage is going to be combined with special or visual effects.
OPERATIONS
The 2nd Unit operates in the same way as the main unit in terms of paperwork and how a set is run. This unit will report to the UPM of the main unit, staying in contact and submitting call sheets and production reports so their progress can be monitored.
EQUIPMENT
Running a 2nd Unit requires paying not only for extra crew but also for extra equipment. Depending on how involved the 2nd Unit needs to be, you may be renting another camera and some lenses. Or, you could be renting an aerial camera such as a Wescam (a special camera mounted on a helicopter) or an underwater camera with specialized rigs. You may even need grip and lighting packages.
PAPERWORK
The paperwork on a 2nd Unit is the same as on a first unit. Call sheets and production reports are done. Location agreements and permits are all handed in to the production office. Once done, they are labeled “2nd Unit” so as not to be confused with the first unit paperwork.
SUMMARY
The director’s team is made up of people who assist the director in various ways. The AD team, which includes the assistant directors and the set PAs, is responsible for running the set smoothly so the director can get all the shots he needs. There can be other support personnel such as a choreographer to coordinate dance sequences, a storyboard artist to help draw shots, and a dialogue or dialect coach to help the actors prepare their scenes. The director works with these personnel to achieve her vision. On set there may be various conditions that affect the day. Press day occurs when press come to interview and observe shooting. Sometimes a closed set is needed in sensitive situations. All of the day’s activities are recorded on a call sheet (for the next day) and a production report (for the previous day). The 2nd Unit on a production can be small and simple or large and quite involved. The kind of 2nd Unit you have depends on your budget, your script, and your schedule. Smaller 2nd Units may have only two or three crew members. Larger 2nd Units may have a hundred or more crew. The amount of equipment you need is also determined by your budget and schedule. The 2nd Unit always reports to and is monitored by the main unit.