production chain of command
- Thread starter brianluce
- Start date
I made this sample of the different positions in a production chain. any suggestions?
PRODUCTION CHAIN OF COMMAND
1.Director: Has absolute control over the project.
2.Creative Consultants (writers and Brendan): Assist director as needed and usually on limited basis with creative decisions such as interpretation of script, camera placement, camera movement, special effects, lighting, props, costume, set design
3.Director of Photography (DP): Works closely with Director and under Director’s supervision to create appropriate lighting schemes, camera moves, and camera settings to support and enhance Director’s concept of the production. Responsible for creating safe work environment in regards to lighting and camera equipment. Responsible for inventory of all camera and lighting equipment. Immediately reports equipment malfunctions, or missing equipment to Director. Operates camera as needed.
4.Key Grip: Assist DP with placement of Lighting equipment. Ensures light stands and rigging are SAFELY SECURED. Reports directly to DP
5.Camera Operators: Work under Supervision of DP to execute appropriate lighting and camera moves. Reports Directly to DP.
6.Sound Engineer: Responsible hook ups and monitoring of sound mixers, wireless and wired mics. Responsible for inventory of all Audio Equipment. Immediately reports equipment malfunctions or missing equipment to Director. Reports directly to Director.
7.Boom Operator: Operates Fishpole when Shotgun Mic is used. Monitors production sound. Reports directly to Sound Engineer.
8.Production Designer: Responsible for designing and overseeing construction of studio and location sets. Works closely with Director to create overall “Look” of set. Reports directly to Director.
9.Set Dresser: Assists Production Designer with construction and maintenance of set. Reports directly to Production Designer.
10.Production Manager: Manages and coordinates various elements of overall production—including talent, technical, creative and equipment/props. Ensures smooth and efficient execution of production.
11.Assistant Directors: Manage overall logistics of production. Prior to Production and during Production check with DP and Sound Engineer to verify integrity of equipment. Confirms all call times for crew. Confirms Kraft Services. Locks down set when cameras roll. Ensures integrity of set, ie removes extraneous sounds, distractions, annoyances.
12.Make-up Artist: Applies make up and styles hair of talent. Assists talent with wardrobe selection. Views talent on video monitor to insure integrity of make up and hair. Reports directly to Director.
13.Script Girl: Views production on video monitor to insure continuity of set, make up, wardrobe and faithful execution of script. Reports directly to director.
14.Production Assistants: Fill in as needed
PRODUCTION CHAIN OF COMMAND
1.Director: Has absolute control over the project.
2.Creative Consultants (writers and Brendan): Assist director as needed and usually on limited basis with creative decisions such as interpretation of script, camera placement, camera movement, special effects, lighting, props, costume, set design
3.Director of Photography (DP): Works closely with Director and under Director’s supervision to create appropriate lighting schemes, camera moves, and camera settings to support and enhance Director’s concept of the production. Responsible for creating safe work environment in regards to lighting and camera equipment. Responsible for inventory of all camera and lighting equipment. Immediately reports equipment malfunctions, or missing equipment to Director. Operates camera as needed.
4.Key Grip: Assist DP with placement of Lighting equipment. Ensures light stands and rigging are SAFELY SECURED. Reports directly to DP
5.Camera Operators: Work under Supervision of DP to execute appropriate lighting and camera moves. Reports Directly to DP.
6.Sound Engineer: Responsible hook ups and monitoring of sound mixers, wireless and wired mics. Responsible for inventory of all Audio Equipment. Immediately reports equipment malfunctions or missing equipment to Director. Reports directly to Director.
7.Boom Operator: Operates Fishpole when Shotgun Mic is used. Monitors production sound. Reports directly to Sound Engineer.
8.Production Designer: Responsible for designing and overseeing construction of studio and location sets. Works closely with Director to create overall “Look” of set. Reports directly to Director.
9.Set Dresser: Assists Production Designer with construction and maintenance of set. Reports directly to Production Designer.
10.Production Manager: Manages and coordinates various elements of overall production—including talent, technical, creative and equipment/props. Ensures smooth and efficient execution of production.
11.Assistant Directors: Manage overall logistics of production. Prior to Production and during Production check with DP and Sound Engineer to verify integrity of equipment. Confirms all call times for crew. Confirms Kraft Services. Locks down set when cameras roll. Ensures integrity of set, ie removes extraneous sounds, distractions, annoyances.
12.Make-up Artist: Applies make up and styles hair of talent. Assists talent with wardrobe selection. Views talent on video monitor to insure integrity of make up and hair. Reports directly to Director.
13.Script Girl: Views production on video monitor to insure continuity of set, make up, wardrobe and faithful execution of script. Reports directly to director.
14.Production Assistants: Fill in as needed
Barry_Green
Moderator
The director doesn't have absolute control, the producer does. The producer can fire the director.
The director has responsibility over the artistic angles of the project, but the producer has all responsibility for the business angles.
The director has responsibility over the artistic angles of the project, but the producer has all responsibility for the business angles.
J.R. Hudson
Spirit Animal
Barry is correct; it is a rare case when the DIRECTOR has that mad control (Spielberg).
Doesn't the prodcuer more or less hire everyone? (Put the crew together?)
Doesn't the prodcuer more or less hire everyone? (Put the crew together?)
wabbit
Evil has Ears
There is not a direct top to bottom line. It is a flow chart and can vary greatly on the people involved. Usually it is broken up to dept heads and the people below them. On most sets a key grip or gaffer is not above the sound dept but on the same level. If anything, depending on the DP, I give direction to the grips to help get me the space I need for my boom man. Also, I almost never report to the director about my issues. I take them to the AD or possilbly the producer unless it is something related to what talent is doing, then I might go straight to directer.
The AD is the weirdest of positions. They actually have a ton of power and control over everyone, yet from an employment stand point, they will generally be the quickest to lose their job. I have seen more then a few of these guys get recycled on a production after they let the power go to their head
Producer is the head boss man but on very small independents and big budget movies the directer is often at least a co-producer.
BTW, call a female script supervisor a "script girl" and be prepared to have your hair blown back. Did you get those titles from a 50 year old Hollywood book? :grin:
The AD is the weirdest of positions. They actually have a ton of power and control over everyone, yet from an employment stand point, they will generally be the quickest to lose their job. I have seen more then a few of these guys get recycled on a production after they let the power go to their head
Producer is the head boss man but on very small independents and big budget movies the directer is often at least a co-producer.
BTW, call a female script supervisor a "script girl" and be prepared to have your hair blown back. Did you get those titles from a 50 year old Hollywood book? :grin:
hahha ya "script girl" is archaic, i suppose script "supervisor" is the politically correct title. wabbit, are you a DP? if you are, i find it curious you wouldn't report straight to the director and work closely with him to assure you're on the same page artistically in terms of what look or mood is needed for whatever scene. the AD's i've known are not at all creative types, they're manager/logistical types and often have crap personalities...
Rich Lee
I shoot Pirates.
it can all get a little mushy...alot of the times is the executive producer that is the top dog...but then he/she has studio people above them. then there can be a bunch of producers and co-producers under them...
alot depends on status as well...and no, producers dont always hire everyone, the upm does that as well...every show/producer/director/studio works a little different. alot of visual type directors tell the producer or upm who they want to hire for a particular job...dp, 1st ad, prod designer, vfx sup, story board artist, camera man... and the prod or upm just do all the paper work and negotiate rates. but those are for more the visual type directors...some, not so visual types just leave it up to someone else, like the producer.
alot depends on status as well...and no, producers dont always hire everyone, the upm does that as well...every show/producer/director/studio works a little different. alot of visual type directors tell the producer or upm who they want to hire for a particular job...dp, 1st ad, prod designer, vfx sup, story board artist, camera man... and the prod or upm just do all the paper work and negotiate rates. but those are for more the visual type directors...some, not so visual types just leave it up to someone else, like the producer.
i just wanted to clarify that i'm aware the production chain isn't a pyramid necessarily and in my company the director IS the producer. one of the things i'm curious about is if i got the job descriptions right and which people report directly to the director. i've been assuming the cameraPERSON would report to the DP and the DP to the director for example.
wabbit
Evil has Ears
Sorry I guess I didn't clarify, I am a sound engineer.
The chain of command on many sets gets all messed up as time progresses and different relationships form. From my observation this usually is an extra burden and big negative for the director and the production suffers.
Best
The chain of command on many sets gets all messed up as time progresses and different relationships form. From my observation this usually is an extra burden and big negative for the director and the production suffers.
Best
khmuse
Tech Guru
One key position that seems to be missing from the list above (14 positions) is the 1st AC. This individual handles slating of takes and often fills in the camera log.
You show #4 "Key Grip" as being the person that handles lighting, this would normally be the gaffer's responsibility. On a smaller shoot, it could be gaffer/key grip as a single position.
If this is a film project there would also be a loader as well.
If you have things like dollies or jibs, a specialized grip would also be assigned to these specific areas.
You show #4 "Key Grip" as being the person that handles lighting, this would normally be the gaffer's responsibility. On a smaller shoot, it could be gaffer/key grip as a single position.
If this is a film project there would also be a loader as well.
If you have things like dollies or jibs, a specialized grip would also be assigned to these specific areas.
Cateering/craft services hold the real power on any set - the power over moral. 
I find that every set is different. A lot of it comes down to individual personalities. T
The producer is in charge of the the business side, the director is in charge of the artistic side and they will normally communicate to the heads of department who relay the messages down the chain. That way one person doesn't get stuck communicating to too many others.
However, my favourite producer was a guy who used to come round the set and personally make the rest of the crew coffee when he wasn't busy. It hardly took any time out of his day, and just showed that he really respected the crew.
I find that every set is different. A lot of it comes down to individual personalities. T
The producer is in charge of the the business side, the director is in charge of the artistic side and they will normally communicate to the heads of department who relay the messages down the chain. That way one person doesn't get stuck communicating to too many others.
However, my favourite producer was a guy who used to come round the set and personally make the rest of the crew coffee when he wasn't busy. It hardly took any time out of his day, and just showed that he really respected the crew.
XCheck
Veteran
BRRRRRRR! (SHIVERS)
This just reminds me the reorg charts at the place I work...
I am sure it's useful, just not in a mood for anything like that right now.
I say: writer/director/producer/actor/DP/key grip/driver/coffee *****. That's my title. :beer:
Just joking. I don't do acting.
This just reminds me the reorg charts at the place I work...
I am sure it's useful, just not in a mood for anything like that right now.
I say: writer/director/producer/actor/DP/key grip/driver/coffee *****. That's my title. :beer:
Just joking. I don't do acting.
craigbowman
Veteran
Speaking of food...
The lower the budget, the more important the quality and attention to detail you should have in the food! Its not a perk, its FUEL! The crazy hours for little to no pay. You'd be surprised how tolerant and appreciative everyone can be by having phenomenal food and folks to fuss over your crew's gastronomical experience.
The lower the budget, the more important the quality and attention to detail you should have in the food! Its not a perk, its FUEL! The crazy hours for little to no pay. You'd be surprised how tolerant and appreciative everyone can be by having phenomenal food and folks to fuss over your crew's gastronomical experience.
ShannonRawls
Well-known member
In a perfect world, where nobody is wearing multiple hats......the Producer is at the top of the food chain. He/She is the monkey that can stop the show. The rest of the primates are replaceable.....even the Director. But also in a perfect world, there is harmony and peace on the set and everybody is working as a collective unit, so theoretically, there are multiple "bosses".
Just felt like resurrecting a 2 year old thread. *smile*
Just felt like resurrecting a 2 year old thread. *smile*
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Luis Caffesse
Admin
As a Grip my bosses are: Best Boy Grip, Key Grip, 1st AD and Production. Any commands given to me from another dept must be cleared by the Key Grip or Best Boy, unless otherwise specified: Courtesy for Camera, is an example. As a Key Grip people that supervise me are: Gaffer, DP, 1st AD and Production. The Director will almost never talk to me except to laugh at my silly jokes. A lot of the Keys/Dept heads are on pretty much the same mgmt level: Gaffer, Key Grip, Key Hair, Key Makeup, Sound, etc. although we report to different "supervisors", with the Executive Producer being the Supreme Being.