Re: Production Team
The Executive Producer is often involved in many topline decisions – setting mandates for how the production runs through folks like the Director, Line Producer (head accountant), Producer, Casting Director, Art Director et-cetera. They control the entire show – from greenlighting and oversight of the budget for their investors to “suggesting” the inclusion of their daughter in a key acting role.
Often, the Line Producer works with the Producer, Director and Unit Production Manager (UPM) to design the shooting schedule around the available budget to maximize locations and day-of-days decisions. The LP and Producer may both secure production insurance and rental and purchase agreements for the show through the UPM(s) and Production Coordinator.
Ultimately, the Producer is responsible for keeping things on schedule, budgets on target and people from getting killed or sued through her diligent efforts. No aspect of the show is beyond the capacity and responsibility of the Producer – through all phases of production.
On a real show, there are key players like the UPM and Production Coordinator who keep things running nicely by preparing each shooting day through all aspects with department heads and the above-the-line creative staffers, and keeping the below-the-line crew organized and on-time. The UPM is often buried in the office on shooting days from pre-dawn until well after the physical crew has wrapped for the day. It isn’t uncommon for this person to show up mid-morning to make sure things haven’t spun wildly out of control. Usually, they’ll get a phone call from the Coordinator if there is an issue or delay of any kind.
Having locations scouted, permitted, compensated and released can fall to the UPM and/or Coordinator (in concert with a below-the-line Location Scout) depending on the size of the show. UPMs and Coordinators work across every department to make sure locations are ready, sets are built, props are placed, purchases made, transportation organized, breaks and meals honored and fed – all within the scope of the pre-determined budget.
The Director serves as an interface between the money people, the vision people and the talent. Her role is often the most visible – but a Producer plays a much larger overall role in what you see on the screen. Few directors can shoot coverage only, decide to flash an entire picture, shoot exclusively in reversal film or have everyone wear giant fruit hats without the Producer and EP getting involved.
The Director of Photography is a hired gun – usually sought out for their shooting style and working dynamic. The DP (not DOP please) works with the camera department to implement the pre-determined style of the show. Every camera-related decision, and sometimes the Camera Operator position, is fulfilled by the DP. You’ll also find 24-Frame and Continuity keeping each shot true from take to take.
Department heads all report to the Director, UPM and Producer to fulfill their respective duties. The Art Director keeps the carpenters, painters, properties and decorators in-check and creatively aligned; the Head Electrician (Gaffer) interfaces with the Key Grip and the DP to light and control each set-up; Transportation Coordinators get the crew and vehicles from one place to another and sometimes manage security – Teamsters like to carry weapons A LOT!
The physical production audio department consists of a Production Mixer, Boom Operator or 2nd Audio and Cable Man or Cable Utility or 3rd Audio position to sling cables and help log.
I’ll let someone else cover post-production positions and anything I’ve missed – I’ve always worked the physical production side. Have I left anything out?
Hmm… needless to say, we often fill many of these roles ourselves on our own shorts and relentless tests. Bringing the other positions to the table requires patience for collaboration and compromise, but often yields stunning results. After working independently in a crew of free – I mean, three - and in large, unionized productions alike, I tend to prefer the creative spark of smaller, more organic situations.
What is your experience?
The Executive Producer is often involved in many topline decisions – setting mandates for how the production runs through folks like the Director, Line Producer (head accountant), Producer, Casting Director, Art Director et-cetera. They control the entire show – from greenlighting and oversight of the budget for their investors to “suggesting” the inclusion of their daughter in a key acting role.
Often, the Line Producer works with the Producer, Director and Unit Production Manager (UPM) to design the shooting schedule around the available budget to maximize locations and day-of-days decisions. The LP and Producer may both secure production insurance and rental and purchase agreements for the show through the UPM(s) and Production Coordinator.
Ultimately, the Producer is responsible for keeping things on schedule, budgets on target and people from getting killed or sued through her diligent efforts. No aspect of the show is beyond the capacity and responsibility of the Producer – through all phases of production.
On a real show, there are key players like the UPM and Production Coordinator who keep things running nicely by preparing each shooting day through all aspects with department heads and the above-the-line creative staffers, and keeping the below-the-line crew organized and on-time. The UPM is often buried in the office on shooting days from pre-dawn until well after the physical crew has wrapped for the day. It isn’t uncommon for this person to show up mid-morning to make sure things haven’t spun wildly out of control. Usually, they’ll get a phone call from the Coordinator if there is an issue or delay of any kind.
Having locations scouted, permitted, compensated and released can fall to the UPM and/or Coordinator (in concert with a below-the-line Location Scout) depending on the size of the show. UPMs and Coordinators work across every department to make sure locations are ready, sets are built, props are placed, purchases made, transportation organized, breaks and meals honored and fed – all within the scope of the pre-determined budget.
The Director serves as an interface between the money people, the vision people and the talent. Her role is often the most visible – but a Producer plays a much larger overall role in what you see on the screen. Few directors can shoot coverage only, decide to flash an entire picture, shoot exclusively in reversal film or have everyone wear giant fruit hats without the Producer and EP getting involved.
The Director of Photography is a hired gun – usually sought out for their shooting style and working dynamic. The DP (not DOP please) works with the camera department to implement the pre-determined style of the show. Every camera-related decision, and sometimes the Camera Operator position, is fulfilled by the DP. You’ll also find 24-Frame and Continuity keeping each shot true from take to take.
Department heads all report to the Director, UPM and Producer to fulfill their respective duties. The Art Director keeps the carpenters, painters, properties and decorators in-check and creatively aligned; the Head Electrician (Gaffer) interfaces with the Key Grip and the DP to light and control each set-up; Transportation Coordinators get the crew and vehicles from one place to another and sometimes manage security – Teamsters like to carry weapons A LOT!
The physical production audio department consists of a Production Mixer, Boom Operator or 2nd Audio and Cable Man or Cable Utility or 3rd Audio position to sling cables and help log.
I’ll let someone else cover post-production positions and anything I’ve missed – I’ve always worked the physical production side. Have I left anything out?
Hmm… needless to say, we often fill many of these roles ourselves on our own shorts and relentless tests. Bringing the other positions to the table requires patience for collaboration and compromise, but often yields stunning results. After working independently in a crew of free – I mean, three - and in large, unionized productions alike, I tend to prefer the creative spark of smaller, more organic situations.
What is your experience?