Second Commandment

#2: "Thou shalt not let the reader get lost"
Whatascript: 
The answer may be obvious, but why is this second commandment important?

Formatman: 
When you hear the reader say these lines from the TV series Chuck about your screenplay: 
- Where am I? Is this a bathroom? 
- No! This is hell! 
Then you know the reader got lost and you blew it. Your movie script just got closer to get tossed to the pile of "Pass".

Whatascript: 
How do you avoid this dreadful perspective?

Formatman: 
By using 2 elements of screenplay format, master and secondary scene headings (also called sluglines).

Screenplay format first element: master headings
Whatascript: 
Formatman, let's first talk about master scene heading. What is it? 

Formatman: 
In screenplay format, a master scene heading, also called primary slug line, is a one line of text in a screenplay that comes before the description of a scene. 
It gives a framework for the whole scene. 
It is as if everything that happens in the whole scene - what is seen, what is heard and where it all happens - is filmed in a single continuous shot, a master shot. Therefore the name of master scene heading. 

Whatascript: 
How does this screenplay format element look like? 

Formatman: 
    EXT. DOWNTOWN LOS ANGELES - DAY
 
    INT. PARIS AIRPORT - NIGHT
 
Whatascript: 
It seems they are 3 parts... 

FormatMan: 
Correct. In screenplay format, a master heading is made of:
the camera location,
the scene location and
the time
1. Camera location
Whatascript: 
Let's talk about the first part, camera location. 

Formatman: 
Well, you have basically 2 choices:

INT. (for Interior) - the scene takes place inside a building
or 
EXT. (for Exterior) - the scene takes place outside a building
It is usually clear where you are and therefore which one you need to use. 

Whatascript: 
Why is that important? 

Formatman: 
It tells the production crew if they will be shooting on stage or on location. That impacts the budget. 

Whatascript: 
Can you give us some examples? 

Formatman: 
From Dead Poets Society, written by Tom Schulman: 
1. On stage shooting:
    INT. WELTON ACADEMY HALLWAY - DAY   
    INT. CHURCH ENTRANCE - DAY
    INT. DORMATORY - DAY
2. On location shooting:
    EXT. SCHOOL GROUNDS - DAY   
    EXT. ROAD - NIGHT
    EXT. RIVER - DAY
Whatascript: 
Is it possible to combine INT. and EXT.? 

Formatman 
Yes. In some cases, screenwriters use INT./EXT. or EXT./INT. when a scene takes place both inside and outside. The first term used indicates where the scene starts. 3 examples: 

1) From "The Cider House Rules", written by John Irving: 
    INT./EXT. ORPHANAGE - DAY

    Faces in the windows; the orphans watch Hazel walking across 
    the snowy lawn with her new parents.
   
2) From "American History X", written by David McKenna: 
    INT./EXT. BEDROOM - DEREK'S POV
    
    He looks through the blinds and stares at the UNMARKED
    CAR. Danny throws his backpack on the bed and exits.
    
3) From "Ali", written by Stephen J. Rivele & Christopher Wilkinson and Eric Roth & Michael Mann - with this time an EXT./INT. camera location: 
    EXT./INT. THE UNITED STATES ARMED FORCES STATION, HOUSTON -
    LOBBY - CHAUNCEY ESKRIDGE - DAY
    
    waits at the curb as Ali and Herbert pull up and get out of
    a car...move through the crowd...reporters shouting
    questions at him we don't hear, go up the steps, into the
    lobby, joining other recruits and M.P.'s.
    

The 10 commandments of screenplay format

Screenplay format - what it is and why it's important

Whatascript:
Formatman, let's first talk about what screenplay formatting is.

Formatman: 
Telling a story for the movie industry needs to comply with some generally agreed upon standards and forms.

This is like a written language that screenwriters use to let others know (reader, producer, director, actor) what their story is about. 

Whatascript: 
Why is it so important to comply with these standards?

Formatman:
Because they are the rules of the game.
Using your "own" standards will just not fly - it's like using your baseball bat in a basketball game. It does not belong there.

Applying the standards of screenplay format allows you to fully communicate with the people you want to reach (the reader to start with) with nothing in the way - and nothing of your story getting lost "in translation".

Besides not following these standards is usually a sign of an amateur screenwriter, a big reason for a reader to stop reading your screenplay after a few pages.

So if you want your story to be read, just follow the standards. They have proven to work.

In other words, use your creativity in your story, not in the script format.

Whatascript: 
When reading produced screenplays I noticed some small variations in screenplay formatting. 
How do you explain them?

Formatman:
2 reasons:

• In one case that's because the standards of script format evolve with the time. Things which were in use then, are no more used now (e.g. "cut to" which was used at the end of each scene to go to the next scene. Now it is just implied).


• In the other case, that's because some successful screenwriters kind of earned a "licence" to make some slight changes. But that's them. Until you have reached the same status, just follow the standards.

Whatascript: 
I heard people talking about spec and shooting screenplays. What are they? and is there a difference in how their format look like?

Formatman:
"Spec screenplay" stands for speculative screenplay. What it means is that a screenwriter writes a screenplay on his own initiative in the hope that someone will option it and eventually purchase it.

Once the screenplay has been purchased, possibly revised and is ready for production, a new version is issued with scene numbers next to the scene headings (called master scene headings). This version is called shooting script.

These scene numbers together with revision pages, are the main differences between the two forms of screenplays in terms of formatting.

---

The 10 commandments

What a script!: 
The whole town talks about the 10 commandments of screenplay format.
What do they cover?

Formatman: 
The basics to ensure a reader does not toss your screenplay because of poor formatting. Think of:

• how to create a first positive impression,
• how to write scene headings, action, dialogue, extension etc,
• how to go about specific situations (e.g. phone conversations, montage, foreign languages)
• how to enhance the reader's and potentially actor's experience

What a script!: 
What are these commandments?

Formatman: 

The 10 commandments of screenplay format

1  Thou shalt honor the reader and not cheat 2  Thou shalt not let the reader get lost 3  Thou shalt not slow down the reader 4  Thou shalt create dialogues that are music to the ears of the reader 5  Thou shalt direct without using camera directions 6  Thou shalt cut to the chase 7  Thou shalt leave room for the actor 8  Thou shalt use montage, flashback and other special effects with moderation 9  Thou shalt not lose the reader in translation 10  Thou shalt phone home.

Dolly Grips

Movie Crew

Dolly Grips In cinematography, the dolly grip is the individual who operates the camera dolly. He/she places, levels, and moves the dolly track, then pushes and pulls the dolly and usually a camera operator and camera assistant as riders. If the dolly has a moveable vertical axis, such as a hydraulically actuated arm, then the dolly grip also operates the up and down of the camera simultaneously to tracking. This type of dolly shot is known as a compound move. A dolly grip must work closely with the camera crew to perfect these complex movements during rehearsals. Focusing the lens is critical to capturing a sharp image, so a dolly grip must hit his/her marks in concert with a camera assistant who pulls focus. It is a skill that experience can hone to a point, but the best dolly grips are known for their "touch" and that makes them highly sought-after talents. The dolly grip is also employed when the camera is operated in handheld mode (on the operator's shoulders or literally in their hands). While the camera operator is moving with the camera, the dolly grip is responsible for the operator's safety, helping them to "blindly" negotiate their way through sometimes-complicated environments. The dolly grip silently directs the operator (through gentle touches, nudges, pulls and pushes) away from walls and other obstacles that the operator cannot see while concentrating on the image in the camera viewfinder. The same is true when the camera is operated with a Steadicam or similar body-mounted stabilization tool. Although dolly grips are hired by and under a key grip, they are paid the same as (or more than) a best boy grip, who is the second in command. Dolly grips may also push a wheeled platform holding the microphone and boom operator.

Key Grips

Movie Crew

Key Grips In American and Canadian film-making, the key grip is the chief grip on the set. Like a foreman, the key grip directs a crew of grips, some with specialized skills such as dolly grips, crane operators, camera car operators, etc. Additionally, the key grip is often the safety monitor of the film set, responsible for safety of all personnel in the presence of theatrical ballistics, pyrotechnics, stunts, and any other potentially dangerous situations and devices operated by other departments. In the U.S. and Canada, grips are lighting and rigging technicians in the film and video industries. They make up their own department on a film set and are led by a key grip. Grips have two main functions. The first is to work closely with the camera department, especially if the camera is mounted to a dolly, crane or other unusual position. Some grips may specialize in operating camera dollies or camera cranes. The second is to work closely with the electrical department to put in the lighting set-ups necessary for a shot. In the U.K. and Australia, grips do not get involved at all in lighting. In the so-called "British System", adopted throughout Europe and the British Commonwealth, a grip is solely responsible for camera mounting and support. The term 'grip' dates back to the early era of the circus. It carried on from there to vaudeville and on to today's film sound stages and sets. Some have suggested the name comes from the 1930s-40s slang term for a tool bag or "grip" that these technicians use to carry their tools to work.

Director of Photography

Movie Crew

Director of Photography A cinematographer is one photographing with a motion picture camera (the art and science of which is known as cinematography). The title is generally equivalent to director of photography (DP or DoP), used to designate a chief over the camera and lighting crews working on a film, responsible for achieving artistic and technical decisions related to the image. The cinematographer is sometimes also the camera operator. The term cinematographer has been a point of contention for some time now; some professionals insist that it only applies when the director of photography and camera operator are the same person, although this is far from being uniformly the case. To most, cinematographer and director of photography are interchangeable terms. Responsibilities The English system of camera department hierarchy sometimes firmly separates the duties of the director of photography from that of the camera operator to the point that the DP often has no say whatsoever over more purely operating-based visual elements such as framing. In this case, the DP is often credited as a lighting camera operator. This system means that the director consults the lighting camera operator for lighting and filtration and the operator for framing and lens choices. In the American system, which is more widely adopted, the rest of the camera department is subordinate to the DP, who, along with the director, has the final word on all decisions related to both lighting and framing. The cinematographer typically selects the film stock, lens, filters, etc. to realize the scene in accordance with the intentions of the director. Relations between the cinematographer and director vary; in some instances the director will allow the cinematographer complete independence; in others, the director allows little to none, even going so far as to specify aperture and shutter angle. Such a level of involvement is not common once the director and cinematographer have become comfortable with each other. The director will typically convey to the cinematographer what he wants from a scene visually, and allow the cinematographer latitude in achieving that effect. On some shoots, a director may assume the duties of the cinematographer, especially when shooting nude scenes or in other physically intimate settings where the director wishes to have as few people as possible present. Some of the crew who work under or closely with the cinematographer includes: Camera operator Focus puller (1st assistant cameraman) Clapper loader (2nd assistant cameraman) Second unit Assistant camera trainee (camera production assistant) Gaffer, best boy, and electricians (also called Set Lighting Technicians, Lamp Operators or nicknamed "sparks" or "juicers") Key grip, best boy grip, dolly grip, grips Production designer and art director Costume designer Color timer or colorist In some countries, cinematography is a unionized field. ASC, ACS and BSC Major international organizations involved in the advancement of cinematography include the American Society of Cinematographers (ASC), Australian Cinematographers Society (ACS) and the British Society of Cinematographers (BSC). These bodies are neither labor unions nor guilds, but are instead educational, cultural and professional organizations. There are other similar organizations in many countries, including Argentina, Canada, Germany, Italy and Spain.

2nd AC / Second Assistant Camera

Movie Crew

2nd AC / Second Assistant Camera A clapper loader, second assistant camera (2nd AC) or simply loader, is part of a film crew, whose main functions are that of operating the clapperboard (slate) at the beginning of each take, loading the raw film stock into camera magazines, marking the actors as necessary, and maintaining all records and paperwork for the camera department. The name "clapper loader" tends to be used in the United Kingdom and Commonwealth, while second assistant camera tends to be favored in the United States, but the job is essentially the same whichever title is used. The specific responsibilities and division of labor within the department will almost always vary depending on the circumstances of the shoot. Responsibility The clapper loader typically has a very high responsibility level on any given set, because they are more or less the only person on set who directly and physically oversees the state of the undeveloped negative. The loader is the only person who actually handles the negative between the manufacturer and the laboratory, and thus can easily render an entire day's work useless if the film is handled improperly. Additionally, the loader usually is in charge of keeping all records with regard to the film stock from when it is received until when it is sent out to the lab; if this information is poorly communicated or missing, this too can destroy an expensive shoot. Furthermore, the loader usually has much else to do in addition to these tasks. Duties A full description of the job duties includes the following (although different shoots may often not always require all of these): Generally assisting the rest of the camera crew (focus puller, camera operator, director of photography) Utilizing the camera trainee, film loader, and/or camera runner if one has been brought onto the production Keeping inventory of all equipment, film, and expendables Requesting film stock as needed Securing the equipment Checking loading materials and spaces to prevent light leaks Cleaning and keeping clean the magazines and the loading environment Organizing and cleaning the equipment space Maintaining and cleaning the equipment Loading and unloading of film stock from and to the magazines Labeling of equipment, boxes, magazines, and storage spaces Marking actors and props Marking and operating the clapperboard properly Keeping meticulous and accurate camera notes Writing negative report sheets in detail Interfacing with continuity in order to note which takes to print Charging of batteries for camera and accessories Preparation of film to be sent to the lab Keeping records of time, per Diems, and expenses for the entire camera crew Liaising regularly with production, rental houses, editing, laboratories, and unions Recordkeeping of all camera-related paperwork, including negative reports, daily stock reports, film inventory reports, lab orders, rental contracts, and expendable orders Ensuring that all instructions from the director of photography are passed along properly to labs and post houses Relaying reports from the lab about the rushes to the director of photography And last but not least, keeping the camera crew well supplied with coffee, tea, water, or whatever other refreshments may be on hand On top of all of that, it is expected that a decent assistant will be able to anticipate a good part of those demands before they become demands.

1st AC / First Assistant Camera

Movie Crew

1st AC / First Assistant Camera In cinematography, a focus puller or first assistant camera (1 AC) is the member of a film crew responsible for keeping the camera's focus right during a shoot. Often this requires pulling the focus with a follow focus device during the take without looking through the camera (the camera operator is doing that), to compensate for camera or subject movement. The depth of field may sometimes be very small, as little as 1/4 or 1/8th of an inch (3–6 mm) in extreme circumstances. Most people on the set will agree that the focus puller's job is among the most technically difficult during production. To accurately focus on the subject, it is common to measure the distance (usually with a tape measure or, more recently, with electronic tape measures using lasers) between the camera and the subject being focused before the take. Specifically the measurement is from subject to film plane or image sensor, most movie cameras have a small stud even with the film plane where the focus puller will attach his tape measure. Professional 1st ACs have many tricks for pulling focus in difficult situations, such as when accurate measurement is impossible. The 1st AC is also responsible for maintaining the camera including keeping the lens and film gate clean during filming. They are also responsible for placing filters in the matte box in front of the lens and for being aware of lens flares.

Clapper Loader

Movie Crew

Clapper Loader A clapper loader, second assistant camera (2nd AC) or simply loader, is part of a film crew, whose main functions are that of operating the clapperboard (slate) at the beginning of each take, loading the raw film stock into camera magazines, marking the actors as necessary, and maintaining all records and paperwork for the camera department. The name "clapper loader" tends to be used in the United Kingdom and Commonwealth, while second assistant camera tends to be favored in the United States, but the job is essentially the same whichever title is used. The specific responsibilities and division of labor within the department will almost always vary depending on the circumstances of the shoot. Responsibility The clapper loader typically has a very high responsibility level on any given set, because they are more or less the only person on set who directly and physically oversees the state of the undeveloped negative. The loader is the only person who actually handles the negative between the manufacturer and the laboratory, and thus can easily render an entire day's work useless if the film is handled improperly. Additionally, the loader usually is in charge of keeping all records with regard to the film stock from when it is received until when it is sent out to the lab; if this information is poorly communicated or missing, this too can destroy an expensive shoot. Furthermore, the loader usually has much else to do in addition to these tasks. Duties A full description of the job duties includes the following (although different shoots may often not always require all of these): Generally assisting the rest of the camera crew (focus puller, camera operator, director of photography) Utilizing the camera trainee, film loader, and/or camera runner if one has been brought onto the production Keeping inventory of all equipment, film, and expendables Requesting film stock as needed Securing the equipment Checking loading materials and spaces to prevent light leaks Cleaning and keeping clean the magazines and the loading environment Organizing and cleaning the equipment space Maintaining and cleaning the equipment Loading and unloading of film stock from and to the magazines Labeling of equipment, boxes, magazines, and storage spaces Marking actors and props Marking and operating the clapperboard properly Keeping meticulous and accurate camera notes Writing negative report sheets in detail Interfacing with continuity in order to note which takes to print Charging of batteries for camera and accessories Preparation of film to be sent to the lab Keeping records of time, per Diems, and expenses for the entire camera crew Liaising regularly with production, rental houses, editing, laboratories, and unions Recordkeeping of all camera-related paperwork, including negative reports, daily stock reports, film inventory reports, lab orders, rental contracts, and expendable orders Ensuring that all instructions from the director of photography are passed along properly to labs and post houses Relaying reports from the lab about the rushes to the director of photography And last but not least, keeping the camera crew well supplied with coffee, tea, water, or whatever other refreshments may be on hand On top of all of that, it is expected that a decent assistant will be able to anticipate a good part of those demands before they become demands.

Focus Puller

Movie Crew

Focus Puller In cinematography, a focus puller or first assistant camera (1 AC) is the member of a film crew responsible for keeping the camera's focus right during a shoot. Often this requires pulling the focus with a follow focus device during the take without looking through the camera (the camera operator is doing that), to compensate for camera or subject movement. The depth of field may sometimes be very small, as little as 1/4 or 1/8th of an inch (3–6 mm) in extreme circumstances. Most people on the set will agree that the focus puller's job is among the most technically difficult during production. To accurately focus on the subject, it is common to measure the distance (usually with a tape measure or, more recently, with electronic tape measures using lasers) between the camera and the subject being focused before the take. Specifically the measurement is from subject to film plane or image sensor, most movie cameras have a small stud even with the film plane where the focus puller will attach his tape measure. Professional 1st ACs have many tricks for pulling focus in difficult situations, such as when accurate measurement is impossible. The 1st AC is also responsible for maintaining the camera including keeping the lens and film gate clean during filming. They are also responsible for placing filters in the matte box in front of the lens and for being aware of lens flares.

High Definition

Movie Crew

High Definition High Definition Video generally refers to any video system of higher resolution than standard-definition (SD), i.e. NTSC, PAL and SECAM. It is important to note the difference between general purpose high-definition video as discussed in this article, and its specific applications in television (HDTV), professional acquisition(HDCAM, HDCAM-SR, DVCPRO-HD & D5-HD), consumer acquisition(HDV) and optical disc systems (HDDVD and Blu-ray). Original HD specifications date back to the early 1980s, when Japan developed an 1125-line TV standard operating at 30 frames per second (fps). Japan presented their standard at an international meeting of television engineers in Algiers in 1981 and Japan's NHK presented its analog HDTV system at Swiss conference in 1983. The NHK system was standardized in the United States as SMPTE (Society of Motion Picture and Television Engineers) standard #240M in the early 1990s. High-definition signals require a high-definition television or computer monitor in order to be viewed. High-definition video has an aspect ratio of 16:9 (1.78:1). The aspect ratio of regular widescreen film shot today is typically 1.85:1 or 2.40:1. Standard-definition television (SDTV) has a 4:3 (1.33:1) aspect ratio. High-definition television (HDTV) resolution is 1080 or 720 lines. In contrast, regular digital television (DTV) is 486 lines (upon which NTSC is based) or 576 lines (upon which PAL/SECAM are based). However, since HD is broadcast digitally, its introduction sometimes coincides with the introduction of DTV. Additionally, current DVD quality is not high-definition, although the high-definition disc systems HD-DVD and Blu-ray are expected to be released in 2006. Historically, the term high-definition television was used to refer to television standards developed in the late 1930s to replace the early experimental mechanically-scanned systems that ranged from 15 lines to 240 lines of resolution. John Logie Baird of the UK was a major proponent of these early mechanically scanned systems, but they were quickly replaced by all-electronic systems developed by engineers such as Philo T. Farnsworth and Vladimir Zworykin. The United Kingdom was the first to start regular broadcast service in 1936 from Alexandra Palace with a 405-line system at 25 fps. The United States' National Television System Committee (for which the NTSC standard is named) standardized on 525 lines at 30fps in 1940, with regular broadcasts starting on July 1, 1941. The NTSC standard was updated to include first a non-compatible 441-line color standard in 1950, which was then replaced by a compatible 525-line, 29.97fps color standard approved in 1953 and used to this day. PAL (Phase Alternating Line) was developed in the late 1950s with 625 lines at 25fps and went on the air in 1964. SECAM (Sequential Color Avec Memoir) was developed by the French as a competitor to PAL, also using 625 lines and 25fps. SECAM was adopted by France & it colonial territories, as well as the Soviet Union, the Peoples' Republic of China, and their satellite communist governments. The current high definition video standards were developed during the course of the advanced television process initiated by the Federal Communications Commission in 1987 at the request of American broadcasters. The FCC process, led by the Advanced Television Systems Committee (ATSC) adopted a range of standards from interlaced 1080 line video (a technical descendant of the original analog NHK 1125/30fps system) with a maximum frame rate of 30fps, and 720 line video, progressively scanned, with a maximum frame rate of 60 fps. The FCC officially adopted the ATSC transmission standard (which included both HD and SD video standards) in 1996, with the first broadcasts on October 28, 1998. The world has transmitted analog PAL, NTSC, SECAM for over 60 years. However, with the advent of digital broadcasting including HD formats, analog transmissions will cease in the coming years and NTSC, PAL and SECAM will pass into history. Format considerations The optimum format for a broadcast depends on the type of media used for the recording and the characteristics of the content. The field and frame rate should match the source, as should the resolution. On the other hand, a very high resolution may require more bandwidth than is available. The glossy compression that is used in all digital HDTV systems will then cause the picture to be distorted. Photographic film destined for the theater typically has a high resolution and is photographed at 24 frames. Depending on the available bandwidth, and the amount of detail and movement in the picture, the optimum format for video transfer is thus either 720p24 or 1080p24. When shown on television in countries using PAL, film must be converted to 25 frames per second by speeding it up by 4%. In countries using the NTSC standard, (60 fps) a technique called 3:2 pulldown is used. One film frame is held for three video fields, (1/20 of a second) and then the next is held for two video fields (1/30 of a second) and then the process repeats, thus achieving the correct film rate with two film frames shown in 1/12 of a second. Older (pre-HDTV) recordings on video tape such as Betacam SP are often either in the form 480i60 or 576i50. These may be upconverted to a higher resolution format (720i), but removing the interlace to match the common 720p format may distort the picture or require filtering which actually reduces the resolution of the final output. Non-cinematic HDTV video recordings are recorded in either 720p or 1080i format. The format depends on the broadcast company if destined for television broadcast, however in other scenarios the format choice will vary depending on a variety of factors. In general, 720p is more appropriate for fast action as it uses progressive fields, as opposed to 1080i which uses interlaced fields and thus can have a degradation of image quality with fast motion. In addition, 720p is used more often with internet distribution of HD video, as all computer monitors are progressive, and most graphics cards do a sub-optimal job of de-interlacing video in real time. 720p Video also has lower storage and decoding requirements than 1080i or 1080p, and few people possess displays capable of displaying the 1920x1080 resolution without scaling. 720p appears at full resolution on a common 1280x1024 LCD, which can be found for under $250. An LCD capable of native 1080i resolution still costs over a thousand US dollars. In North America, Fox, ABC, and ESPN (ABC and ESPN are both owned by Disney) currently broadcast 720p content. NBC, Universal-HD (both owned by General Electric), CBS, HBO-HD, INHD, HDNet and TNT currently broadcast 1080i content. Stereoscopic 3D television is far more practical with HD technology A number of 3D stereoscopic major animation films like Polar Express, Disney's Chicken Little and 6 more scheduled for 2006 release, are likely to be sold for home display in one or more of the new HD disk systems in 3D. The Discovery HD channel has already provided a small amount of science programming in 3D. Most professionals in 3D technology foresee greater use of stereo visuals and animation as HDTV becomes the norm. Movies that have been shot in HD Arguing that film is not high quality enough to make movies (in part because of poor film development processing, poor monitoring system, and a general inability to see what the camera is actually capturing) and the increasing usage of computer generated, augmented or edited picture sequences has led some directors to engage in shooting their movies using the HD format via high-end digital cameras. Some examples are George Lucas and Robert Rodriguez. Many television shows with science fiction themes and special effects — such as Star Trek: Enterprise and Stargate — have also begun to use digital cameras. Movies that have been shot on HD digital video include: Our Lady of the Assassins Star Wars Episode II: Attack of the Clones Star Wars Episode III: Revenge of the Sith Spy Kids 2: The Island of Lost Dreams Spy Kids 3-D: Game Over Once Upon a Time in Mexico Sin City Sky Captain and the World of Tomorrow Russian Ark Scary Movie 4 Collateral Miami Vice Superman Returns

Steadicam

Movie Crew

Steadicam The term steadicam has several senses: 1. in the strictest sense, it refers to a stabilizing mount for a motion-picture camera, which mechanically isolates the movement of the camera from that of the operator, providing a very smooth shot even when the operator is moving quickly over an uneven surface. 2. Many familiar with the general concept use it to refer to the combined assembly of mount and camera. 3. "Steadicam" is a registered trademark of Tiffen for their camera stabilizers. For the remainder of this article, "steadicam" will be used in the first sense. Purpose For static shots, a motion picture camera is typically stabilized with a tripod, or one of a variety of mounting systems which place the camera firmly on the ground. Traditionally, for moving, "tracking" shots, a director has two basic choices. Typically, the camera is mounted on a dolly—a wheeled camera mount - that runs on tracks or leveled boards. This has the advantage of permitting smooth camera movement, but takes time to set up, and can be impractical in certain situations. Furthermore, the director must compose the shot's movement so as to prevent the tracks or boards from appearing on screen. Alternatively, the director can choose to use "hand-held" camera work, whereby the camera operator holds the camera in his hands. This has the advantage of speed and flexibility, and with sufficiently small and lightweight cameras, camera operators can obtain shots that would otherwise be impossible. However, even the most skilled camera operator cannot prevent the image from shaking, if only minutely, due to his body's natural movements. Hand-held footage has therefore traditionally been considered suitable mostly for news and reportage work, or for live action, un-rehearsable footage, or as a special effect, to evoke an atmosphere of authentic immediacy during dramatic sequences. The gritty police television drama NYPD Blue became quite famous for its use of hand-held camera work as a dramatic element. A steadicam essentially combines the stabilized, steady footage of a conventional tripod mount, with the fluid motion of a dolly shot, plus the flexibility of hand-held camera work. The steadicam's armature absorbs the jerks, bumps, and other small movements of the operator, while smoothly following the broad movements needed to cover any given scene, such as moving over uneven terrain or through a crowd. How it works The steadicam consists of a harness, worn by the operator, attached to an iso-elastic arm. This is in turn connected by a gimbal to the steadicam armature which has the camera mounted at one end and a counterbalance weight at the other. The counterbalance usually includes the battery pack and a monitor. (The monitor substitutes for the camera's viewfinder because the range of motion of the camera relative to the operator makes the camera's own viewfinder unusable.) In the industry, the armature and weight are traditionally called the "sled", as they resembled a sled in an early model of the steadicam. The combined weight of the counterbalance and camera means that the armature bears a relatively high inertial mass which will not be easily moved by small body movements from the operator (much like it is hard to quickly shake a heavy bowling ball). The freely pivoting armature adds additional stabilization to the photographed image, and makes the weight of the camera-sled assembly acceptable by allowing the body harness to support it. When the armature is correctly adjusted, the operator is able to remove his hands from the steadicam entirely and have the camera stay in place. During operation, the operator usually rests his/her hand on the camera gimbal and applies force at that point to move the camera. To avoid shaking the camera when lens adjustments must be made during the shot, a wireless remote is used to control focus and iris (operated by the camera assistant). For low shots, the camera/sled arm can be spun vertically; putting the camera where the sled normally sits and vice-versa; since both camera and display are inverted, the operator still sees a correctly oriented picture. The upside-down image recorded by the camera can be fixed in post-production. Introduction of the steadicam The steadicam was invented in the early 1970s by inventor and cameraman Garrett Brown, who originally named the invention the "Brown Stabilizer". After completing the first working prototype, Mr. Brown shot a 10-minute demo reel of the revolutionary moves this new device could produce. The reel was seen by numerous directors, among others Stanley Kubrick and John Avildsen. Avildsen directed Rocky in 1976, one of the first movies to feature steadicam shots (although not the first; the Steadicam was first used in the biopic Bound for Glory), whilst Kubrick would use the Brown Stabilizer in his 1980 film The Shining. The invention was exclusively licensed by Cinema Products Corporation and later brought to market as the Steadicam. As of October 2000, Steadicam® became a trademark of camera manufacturer Tiffen.

Film

Movie Crew

Film Film is a term that encompasses motion pictures as individual projects, as well as — in metonymy — the field in general. The origin of the name comes from the fact that photographic film (also called film stock) has historically been the primary medium for recording and displaying motion pictures. Many other terms exist — motion pictures (or just pictures or "picture"), the silver screen, photoplays, the cinema, picture shows, flicks — and commonly movies. Films are produced by recording actual people and objects with cameras, or by creating them using animation techniques and/or special effects. They comprise a series of individual frames, but when these images are shown rapidly in succession, the illusion of motion is given to the viewer. Flickering between frames is not seen due to an effect known as persistence of vision — whereby the eye retains a visual image for a fraction of a second after the source has been removed. Also of relevance is what causes the perception of motion; a psychological effect identified as beta movement. Film is considered by many to be an important art form; films entertain, educate, enlighten and inspire audiences. The visual elements of cinema need no translation, giving the motion picture a universal power of communication. Any film can become a worldwide attraction, especially with the addition of dubbing or subtitles that translate the dialogue. Films are also artifacts created by specific cultures, which reflect those cultures, and, in turn, affect them. History of film Mechanisms for producing artificially created, two-dimensional images in motion were demonstrated as early as the 1860s, with devices such as the zoetrope and the praxinoscope. These machines were outgrowths of simple optical devices (such as magic lanterns), and would display sequences of still pictures at sufficient speed for the images on the pictures to appear to be moving, a phenomenon called persistence of vision. Naturally, the images needed to be carefully designed to achieve the desired effect — and the underlying principle became the basis for the development of film animation. With the development of celluloid film for still photography, it became possible to directly capture objects in motion in real time. Early versions of the technology sometimes required the viewer to look into a special device to see the pictures. By the 1880s, the development of the motion picture camera allowed the individual component images to be captured and stored on a single reel, and led quickly to the development of a motion picture projector to shine light through the processed and printed film and magnify these "moving picture shows" onto a screen for an entire audience. These reels, so exhibited, came to be known as "motion pictures." Early motion pictures were static shots that showed an event or action with no editing or other cinematic techniques. Motion pictures were purely visual art up to the late 1920s, but these innovative silent films had gained a hold on the public imagination. Around the turn of the 20th Century, films began developing a narrative structure. Films began stringing scenes together to tell narratives. The scenes were later broken up into multiple shots of varying sizes and angles. Other techniques such as camera movement were realized as effective ways to portray a story on film. Rather than leave the audience in silence, theater owners would hire a pianist or organist or a full orchestra to play music fitting the mood of the film at any given moment. By the early 1920s, most films came with a prepared list of sheet music for these purposes, with complete film scores being composed for major productions. The rise of European cinema was interrupted by the breakout of World War I while the film industry in United States flourished with the rise of Hollywood. However, in the 1920s, European filmmakers such as Sergei Eisenstein and F. W. Murnau continued to advance the medium. In the 1920s, new technology allowed filmmakers to attach to each film a soundtrack of speech, music and sound effects synchronized with the action on the screen. These sound films were initially distinguished by calling them "talking pictures,” or talkies. The next major step in the development of cinema was the introduction of color. While the addition of sound quickly eclipsed silent film and theater musicians, color was adopted more gradually. The public was relatively indifferent to color photography as opposed to black-and-white. But as color processes improved and became as affordable as black-and-white film, more and more movies were filmed in color after the end of World War II, as the industry in America came to view color an essential to attracting audiences in its competition with television, which remained a black-and-white medium until the mid-1960s. By the end of the 1960s, color had become the norm for filmmakers. The 1950s, 1960s and 1970s saw changes in the production and style of film. New Hollywood, French New Wave and the rise of film school educated, independent filmmakers were all part of the changes the medium experienced in the latter half of the 20th Century. Digital technology has been the driving force in change throughout the 1990s and into the 21st Century.

Camera Operator

Movie Crew

Camera Operator A camera operator is a person that operates a film camera or video camera for the purpose of recording motion to film, video, or a computer storage medium. Camera operators serving in an official capacity in the process of filmmaking may be known variously as a motion picture camera operator, filmographer, television camera operator, video camera operator, or videographer, depending on the context and technology involved. The operator is responsible not only for physically operating the camera, but for composition as well. The camera operator may collaborate with the actors and film crew to make technical decisions. In filmmaking, a motion picture camera operator is part of a camera crew also consisting of the cinematographer and film director—although in some cases one person may fill multiple roles. Important camera operator skills include framing shots according to the cinematographer's wishes, selecting appropriate photographic lenses, and using standard equipment (dollies, cranes, etc.) to portray dramatic scenes appropriately

Camera Crew

Camera Crew The group of crewmembers directly involved with operation of the camera. Individual job titles include: Clapper-loaderA clapper loader, second assistant camera (2nd AC) or simply loader, is part of a film crew, whose main functions are that of operating the clapperboard (slate) at the beginning of each take. Camera operatorA camera operator is a person that operates a film camera or video camera for the purpose of recording motion to film, video, or a computer storage medium. First assistant cameramanIn cinematography, a focus puller or first assistant camera (1 AC) is the member of a film crew responsible for keeping the camera's focus right during a shoot. Second assistant cameramanA clapper loader, second assistant camera (2nd AC) or simply loader, is part of a film crew, whose main functions are that of operating the clapperboard (slate) at the beginning of each take. Director of photographyA cinematographer is one photographing with a motion picture camera (the art and science of which is known as cinematography). Focus pullerIn cinematography, a focus puller or first assistant camera (1 AC) is the member of a film crew responsible for keeping the camera's focus right during a shoot. GripIn the U.S. and Canada, grips are lighting and rigging technicians. They make up their own department on a film set and are led by a key grip. Key grip In American and Canadian filmmaking, the key grip is the chief grip on the set. Like a supervisor, the key grip directs a crew of grips, some with specialized skills such as dolly grips, crane operators, camera car operators, etc. Dolly gripIn cinematography, the dolly grip is the individual who operates the camera dolly. He/she places, levels, and moves the dolly track, then pushes an additional camera.

Gaffers

Movie Crew

Gaffers AKA: Chief Lighting Technician The head of the electrical department, responsible for the design and execution of the lighting plan for a production. Early films used mostly natural light, which stagehands controlled with large tent cloths using long poles called gaffs (stagehands were often beached sailors or longshoremen, and a gaff is a type of boom on a sailing ship). In 16th Century English, the term "gaffer" denoted a man who was the head of any organized group of laborers. The gaffer, or “juicer,” is the chief lighting technician and electrician. His primary concern is lighting the set, but he also supervises the entire electrical crew. Why “gaffer”? “The gaffer, some say, derives from the gaff pole,” reveals Stephen Kaye, “which was the pole used to adjust the lights up on the grid above the set.” Mr. Kaye is a gaffer and the president of Kaye Lites, a lighting rental company. “But that’s the problem with the film industry,” he continues. “It’s all lore, so it’s hard to tell where these names really came from.” While Kaye may not be entirely sure of the origin of his job title, he is certain as to why he enjoys his job. “The thing that makes lighting great,” Kaye says, “is that you can create moods, and paint with light.” The gaffer’s right-hand man is the “best boy.” These days, however, the best boy doesn’t just work with the gaffer. “You may now have a gaffer and a key grip who share the same best boy,” Kaye says. “It’s an important role, because sometimes the best boy needs to know everything.” The “key grip” is the person in charge of all the other grips – “key” as in “chief.” Kaye has done those jobs and knows they’re hard work. But they have benefits, too. They help you gain experience in many filmmaking disciplines. Also, they allow access to craft services. “One of the nice perks is that you can go to the craft-service table anytime and grab something to nibble,” Kaye says.

Best Boy Grips

Movie Crew

Best Boy Grips In a film crew there are two kinds of best boy: Best Boy Electric and Best Boy Grip. In the simplest forms, they are assistants to their department heads, the Gaffer and the Key Grip, respectively. On films with very small crews, the Electric (lighting) department often consists of only a Gaffer and a Best Boy, and the Grip department includes only a Key Grip and a Best Boy. On very large crews these numbers can hit up to 12 or 24 people per department (depending on the situation). As would be expected, the responsibilities of a Best Boy change depending on the size of the crew. On small shows, they simply place and operate the Grip and Lighting equipment and ensure its continuous and safe operation. On a large show, the Best Boy position might resemble a management position; often they hire the crew and ensure sets are pre-rigged for the Gaffer or Key Grip. The Best Boy also may be responsible for preparing weekly invoices to production departments, ensuring that overtime is paid and handling negotiations with the production team. Female Best Boys are, as a rule, credited as "Best Boy", but often are called "Best Girl" on-set

Boom Operator

Movie Crew

Boom Operator A boom operator is an assistant of the production sound mixer. The principle responsibility of the boom operator is microphone placement, sometimes using a "fish pole" with a microphone attached to the end and sometimes, when the situation permits, using a "boom" (most often a "fisher boom") which is a special piece of equipment that the operator stands on and that allows precise control of the microphone at a much greater distance away from the actors. He or she will also place wireless microphones on actors when it is necessary. In Hollywood, a boom operator usually makes between $150 and $350 per day (plus overtime).

Grips

Movie Crew

Grips In the U.S. and Canada, grips are lighting and rigging technicians. They make up their own department on a film set and are led by a key grip. Grips have two main functions. The first is to work closely with the camera department, especially if the camera is mounted to a dolly, crane or other unusual position. The second is to work closely with the electrical department to put in the lighting set-ups necessary for a shot. Some grips may specialize in operating camera dollies or camera cranes. In the U.K. and Australia, grips do not get involved at all in lighting. In the so-called "British System,” adopted throughout Europe and the British Commonwealth, a grip is solely responsible for camera mounting and support. The term 'grip' dates back to the early era of the circus. It carried on from there to vaudeville and on to today's film sound stages and sets. Some have suggested the name comes from the 1930s-40s slang term for a tool bag or "grip" that these technicians use to carry their tools to work. Lighting On all union jobs, grips do not touch the lights themselves. The placement of lighting instruments and the power distribution to deliver electricity is handled by the electricians who work under a gaffer. Grips do, however, handle all of the equipment not directly attached to the lights that diffuse and shape the light. This work is done by setting stands that hold flags, nets, diffusion frames or other gobos in place in front of a lighting instrument to shape the beam of light. This is called "cutting light" and is where much of the art of lighting is achieved. Grips may also be called on to set "negative fill,” which is the cutting of ambient or non-directional light to raise contrast on the subject. When shooting day exteriors, grips perform similar functions with the only difference being that the sun is the light source. Because the sun is very large, grips use overhead frames up to 20'x20' or larger for the shaping or filtering of sunlight. The lighting set-ups for these exterior shots can become quite extensive, with the use of boom lifts not uncommon. Especially at night when lifts are rigged to raise lights high in the air to create moon effect lighting. U.S. grips may belong to the International Alliance of Theatrical and Stage Employees, which is their trade union. Rigging Grips are also called on to solve rigging needs on set. Simple rigs can be menace arms that offset lighting instruments to reach over set walls or goalposts that span the set to rig over actors and crew. More advanced rigs can include working with pulleys, steel cable or truss. Grips are also called on to rig picture cars on process trailers and placing camera and lights all around the vehicle to achieve driving shots. This often includes the use of hood mounts, side mounts, suction cup mounts and other proprietary clamps to attach film equipment to vehicles. Tools The job of a grip is a craft, which is somewhat of a cross between a mechanic and a construction worker. As in those vocations, grips need hand tools at the ready and most carry the following items: a walkie-talkie with external mic, a razor knife, 8" adjustable wrench, 25' tape measure, a 3/16th hex speed-wrench, a multitool, a small flashlight, a permanent ink marker and work gloves. Additionally, they might also carry a torpedo level and a roll of 2" black paper tape on their belts. Types of Grips Key grip or grip boss—the foreman of the grip department Best boy grip or second company grip—assists the key grip in logistical issues (scheduling crew and equipment rental) 3rd grip, company grip or gang grip—the grips who work the set and take direction from the key Construction grip—Constructs and dismantles the set. On the sound stage, construction grips are responsible for building, moving and adjusting major set pieces (e.g. walls, ceiling flats, etc.) when something needs to be moved to get a camera or lights into position. Dolly grip—operates the dollies Crane operator—operates the camera crane