gaffer - Dictionary Definition : Vocabulary.com Random Word gaffer A gaffer is a member of a movie or television crew. The gaffer runs the production's electrical department. One of the jobs credited at the end of a film is the gaffer. A gaffer is responsible for the electricity that powers the lights, so her job is vital to the success of the movie. You can also call a gaffer a Chief Lighting Technician, and you can call her assistant a Best Boy. The word gaffer is also sometimes used to mean "old man," which is the oldest meaning of the word, originally a contraction of godfather. Set Wireman | Get In Media Get In Media Twitter Set Wireman Not everything you see on screen is a trick; sometimes flipping a switch to turn on a light is just that simple. Just like an electrician wires a house, film and television sets can include practical wiring. Practical set wiring refers to any electrical apparatus seen on-camera that is actually used, like a table lamp that turns on or a working blender. All power being delivered to the production facilities—for example, to the costume trailer or craft services area—also falls under the domain of practical wiring.

Duties The set wireman, known as such whether male or female, is responsible for all practical set wiring on film and television productions. This person works under the direction of the gaffer (aka the chief lighting technician) and in collaboration with the generator operator to provide electricity to all departments on location during pre-production and principal photography. He or she is tasked with installing all on-camera electrical fixtures, including the pre-wiring of scenery, sets, and props. This will also require the set wireman to work closely with the property master , set riggers, and grips to plan for wiring time in the shoot schedule, and to ensure the wireman has access to the sets or props to be given power. As instructed by the gaffer , the set wireman may assist in other lighting or electrical setup. Skills & Education A college degree in film and television production is recommended but not required for this role; training should include concepts of electrical engineering, high-voltage safety, set construction, and production lighting. This position demands that the technician have an expert-level understanding of electricity and proper wiring standards, as well as a familiarity with power distribution systems and generators.

Some productions may require that the set wireman be a licensed electrician as dictated by state or local law, so attaining certification is prudent. This is the job for a tinkerer who enjoys taking gadgets apart and making experimental modifications to home appliances. Often the set wireman is expected to devise ingenious, crafty solutions to impossible problems on a short deadline, so clever problem solvers who thrive in hectic situations are a perfect fit. What to Expect The position of set wireman is a freelance, midlevel job that requires some professional experience in film and television production and/or commercial electrical engineering. Prior employment history as an electrical contractor is applicable to this role. On the production side, work as a set lighting technician or generator operator can lead to securing a gig as a set wireman. Technicians in this vocation are eligible to become members of the International Alliance of Theatrical Stage Employees, the union that represents artists and technicians in theater, film, and television. Membership in unions, guilds, or other associations is an excellent method of networking, learning about potential gigs, and furthering your reputation within the industry. Industry: Gaffer | Get In Media Get In Media Twitter Gaffer Lighting is one of the most important components to setting up the perfect shot.

Proper lighting completes the scene by adding a dark and gloomy hue to an ominous rainy night, or sundrenched haze on a deserted island. Directors cannot rely on natural lighting to accomplish their vision; instead they create their own effects with the help of the gaffer. Duties In the film and television industry the head of the electrical department is known as the chief lighting technician (CLT) or, more commonly, the gaffer. The gaffer answers to the director of photography , who helps interpret the director’s vision of the overall look of the film. Assisting the gaffer are the best boy electric (assistant CLT) and a crew of technicians generally called electricians or lamp operators. The gaffer is tasked with designing the lighting plot for each shot of a film or TV show. (In some cases a lighting director may handle this duty on a television set.) The gaffer selects the proper instruments for each shot based on the environment, camera angles, desired effect, and available ambient lighting. The gaffer adjusts color temperature with the use of colored gels and manipulates the direction and intensity of light by using barn doors, flags, and reflectors.

The set-up of all lighting instruments, cables, generators, and accessories is directed by the gaffer, supervised by the best boy , and carried out by the crew of electricians. During the filming of the scene the gaffer monitors the lighting conditions, while the electricians and grips are tasked with holding flags or reflectors and operating other lighting effects for complex shots such as action sequences. After the shot, the electricians tear down the gear and move on to set up the next one. As a department, the gaffer and electricians are responsible for the operation, maintenance, and repair of all electrical (not audio or camera) equipment on set. A gaffer will typically have his or her own truck stocked with a basic lighting kit, and will rent additional gear as needed. Skills & Education You are not expected to have a specific degree to become an electrician or gaffer, but you will need experience and training in film/TV production. A college education in this field is a great place to start to build your résumé and compile a demo reel of your work. Student films and independents are the best way to start learning the trade. Work in the electrical department requires knowledge of lighting equipment, electricity, and color theory.

Courses in art, photography, and electrical engineering are helpful. Most electricians at all levels must become members of the International Alliance of Theatrical Stage Employees, the union that represents technicians in film, TV, and theater. IATSE offers an apprenticeship program to learn the craft, and requires members to complete specific training and safety courses. What to Expect To become a gaffer you will have to spend years working your way up the ladder. To get your foot in the door, look for opportunities as an intern with a production company or jobs as an on-set production assistant . You will have to do a lot of grunt work before you land a slot in the electrical department, but once you prove that you are a hard worker and reliable, you will be given the chance to take on more responsibility. A good attitude and willingness to learn is key, and a sense of humor and lack of ego will help you fit in with the crew. Stress and long hours are part of the package. Cultivating a successful career in film/TV production takes commitment; results rarely come quickly, but a comfortable living can be made as a gaffer.

Industry: How to Become a Movie Set Electrician | eHow How to Become a Movie Set Electrician  Email Save How to get on set as a movie electrician is a mysterious process. In the film business, getting your first job is usually through someone you know, or a friend of a friend of someone you know. It's no different in the lighting and electrical department. A movie electrician (sometimes referred to as a "spark") is part of a crew of people responsible for the lighting on a motion picture. He works for the "Gaffer," the Chief Lighting Technician on the movie. The Gaffer's immediate superior is the Director of Photography, or "Cinematographer." Most electricians don't start out as electricians, but get on set as a production assistant and gravitate toward the electric department. There are a few ways to make the pathway to your movie lighting career a little easier. Go to film school. Film school gives you the opportunity to hone your skills as an electrician on student films, not to mention the chance to be a gaffer or cinematographer. There are always boards in the film department with flyers begging for free help on student films. It's a great place to get experience.

Use one of your film school contacts to get a job as a set production assistant on a film, since getting your first job as an actual electrician is not an easy proposition. The usual route to a film crew is as a production assistant, the lowly paid position on a film that interacts with all departments on the set. During the course of shooting, distinguish yourself as a hard and eager worker and become friendly with the electricians and gaffer. Make your desire to become an electrician known. Without contacts or film school, you can try working at a lighting house. A vendor (like Leonetti's, for example) is a lighting house where Gaffers order all their lighting equipment rentals. Working at a lighting house will give you access to working electricians, and knowledge of all the electrician's equipment. Check out IMDB.com. Internet Movie Data Base has a tab for job openings. Click on it, and see if you qualify for an entry level position as a film set electrician. Also check out Reelgrok.com and Mandy.com. Both sites have production job listings, and international film production resources. Learn as much as you can by hanging around the working electrics and offering to help.

Learn the different needs of a lighting department. Seek to learn the art and technology of film lighting, and remember to always be personable. People continue working when they are remembered for their positive attitude and strong work ethic. Gaffa - definition of Gaffa by The Free Dictionary Gaffa - definition of Gaffa by The Free Dictionary Related to Gaffa: Gaffa tape gaf·fer 1. An electrician in charge of lighting on a movie or television set. 2. Chiefly British An old man or a rustic. 3. Chiefly British A boss or foreman. [Probably alteration (influenced by grandfather ) of godfather .] gaffer (ˈɡæfə) n 1. an old man, esp one living in the country: often used affectionately or patronizingly. Compare gammer 2. informal chiefly Brit a boss, foreman, or owner of a factory, mine, etc 3. (Film) the senior electrician on a television or film set [C16: alteration of godfather] 1. the chief electrician on a motion-picture or television production. 2. Informal. an old man. 3. Brit.

the foreman or overseer of a group of workers. [1565–75; contraction of godfather ] gaffer - In television and film, the senior electrician. See also related terms for television . ThesaurusAntonymsRelated WordsSynonymsLegend: graybeard , greybeard , old man , Methuselah - a man who is very old 2. gaffer - an electrician responsible for lighting on a movie or tv set electrician , linesman , lineman - a person who installs or repairs electrical or telephone lines 3. gaffer - a person who exercises control over workers; "if you want to leave early you have to ask the foreman" baas - South African term for `boss' ganger - the foreman of a work gang assistant foreman , straw boss - a member of a work gang who supervises the other workers supervisor - one who supervises or has charge and direction of Translations 1. (= old man) → vejete m 2. (Brit) (= foreman) → capataz m; (= boss) → jefe m 3.

(Cine, TV) → iluminista mf gaffer [ˈgæfər] n (British) (= boss) → patron mgaffer tape n (= adhesive tape) → gaffeur m (ruban adhésif toilé) gaffer (= foreman) → Vorarbeiter m, → Vormann m; (= boss) → Chef m, → Boss m (inf), → Alte (r) m(f) (inf) (= old man) → Alte (r) m, → Opa m (inf) gaffer [ˈgæfəʳ] n (Brit) (fam) → capo Want to thank TFD for its existence? Tell a friend about us , add a link to this page, or visit the webmaster's page for free fun content . Link to this page: So this giraffe with lasers... Time for an ad break (part 4) A TV cameraman, just off the green, notices one of his cables is in danger of splicing, so shouts to a colleague to throw him a roll of Gaffa So he races on to the green and saves the day to a round of applause from the galleries. It is still us and them!

When Mark Robbins (sic) handed me the armband I can honestly say it was one of the proudest moments of my career I took full responsibility and have given 100 per cent to this club and always will obviously I'm gutted to have it taken of me but I have a lot of respect for the gaffa and club so accept their decision. Gaffers - definition of Gaffers by The Free Dictionary Gaffers - definition of Gaffers by The Free Dictionary Related to Gaffers: Gaffers tape gaf·fer 1. An electrician in charge of lighting on a movie or television set. 2. Chiefly British An old man or a rustic. 3. Chiefly British A boss or foreman. [Probably alteration (influenced by grandfather ) of godfather .] gaffer (ˈɡæfə) n 1. an old man, esp one living in the country: often used affectionately or patronizingly. Compare gammer 2. informal chiefly Brit a boss, foreman, or owner of a factory, mine, etc 3.

(Film) the senior electrician on a television or film set [C16: alteration of godfather] 1. the chief electrician on a motion-picture or television production. 2. Informal. an old man. 3. Brit. the foreman or overseer of a group of workers. [1565–75; contraction of godfather ] gaffer - In television and film, the senior electrician. See also related terms for television . ThesaurusAntonymsRelated WordsSynonymsLegend: graybeard , greybeard , old man , Methuselah - a man who is very old 2. gaffer - an electrician responsible for lighting on a movie or tv set electrician , linesman , lineman - a person who installs or repairs electrical or telephone lines 3. gaffer - a person who exercises control over workers; "if you want to leave early you have to ask the foreman" baas - South African term for `boss' ganger - the foreman of a work gang assistant foreman , straw boss - a member of a work gang who supervises the other workers supervisor - one who supervises or has charge and direction of Translations 1.

(= old man) → vejete m 2. (Brit) (= foreman) → capataz m; (= boss) → jefe m 3. (Cine, TV) → iluminista mf gaffer [ˈgæfər] n (British) (= boss) → patron mgaffer tape n (= adhesive tape) → gaffeur m (ruban adhésif toilé) gaffer (= foreman) → Vorarbeiter m, → Vormann m; (= boss) → Chef m, → Boss m (inf), → Alte (r) m(f) (inf) (= old man) → Alte (r) m, → Opa m (inf) gaffer [ˈgæfəʳ] n (Brit) (fam) → capo Want to thank TFD for its existence? Tell a friend about us , add a link to this page, or visit the webmaster's page for free fun content .

Link to this page: View in context A romp in the drawing-room and never mind the furniture, or a scamper in the fresh, cool air, a scud across the fields and down the hill, and won't we let old Gaffer Goggles' geese know what time o' day it is, neither View in context Light, however, was thrown upon this when a frightened housemaid brought the news that Gaffer Bedshaw had that very morning, not more than an hour back, gone violently insane, and was strapped down at home, in the huntsman's lodge, where he raved of a battle with a ferocious and gigantic beast that he had encountered in the Tichlorne pasture. I shouted for help, and Gaffer Bedshaw came running into the court.

Hollywood Hard Hats Hollywood Hard Hats comments, called-out If youre the kind of movie-goer who stays reading end credits until youre playing footsie with the usher, you have probably wondered: “What does a ‘gaffer’ do?” or, “Who’s the ‘best boy’?” Don’t let their foppish names deceive you: Gaffers, best boys and dolly grips are plainspoken workers who don’t give a damn about rubbing shoulders with celebrities. They’re also seasoned professionals who may apprentice for years before making it to the set of a big-budget flick. Millions of dollars, and often the safety of the cast and crew, depend on the precision of their work. A bit of etymological background: The gaffer, who is the chief lighting technician, gets his title from the head worker on a sailing ship, who controlled poles called “gaffs.” The early film-set gaffer also used gaffs, which were the long poles used to control large cloth tents that filtered and blocked natural light in early films. The term best boy, a supervisor in a given group of on-set technicians, was also borrowed from sailing crews.

It originates from the act of promoting the crew’s “best boy” (sorry, girls) to second in command. In filmmaking, this allows the rest of the crew to stay on set and carry out the cameraman’s lighting needs. What’s with the sailing connection? Early film crew members were often off-duty sailors or longshoremen, a large source of group labor in the U.S. at the turn of the 20th century. But before you try to figure out what seamen and dock workers were doing in Hollywood, know this: The earliest movies were made on the East Coast, according to Myrl Schreibman, a producer and University of California, Los Angeles film professor. In fact, the first film studio was in Fort Lee, N.J., Schreibman says. “They came out to California because the weather was better.” And while they may still swear like sailors, you can bet that todays film crew members are more richly compensated than their seafaring predecessors. Thanks to unions such as the International Alliance of Theatrical Stage Employees, the average gaffer makes between $30,000 and $70,000 per year, and electricians on big-budget films can make much more.

I cant complain about the money, says Peggy Archer, a Los Angeles-based electrical lighting technician who has worked on the set of Mr. and Mrs. Smith, American Pie 2 and Memento. But she does get sore about the subject of offshore film production. It’s really burning my britches right now, Archer says of the increasingly popular practice of filming outside the U.S. for favorable exchange rates, tax incentives and a crew that will work for less. The crew has the hardest job and biggest risk of injury. Archer has seen a guy get knocked out from a blow to the head by a crane arm. She once visited the emergency room with a puncture wound from a nail in her foot. A friend of hers was traumatized after witnessing the accidental death of a crew member on the set of Spider-Man 2. “I’ve been strapped to a camera crane moving at 65 miles per hour, I’ve been floating in the middle of the ocean in a wet suit surrounded by dolphins,” adds Russell Senato, a Virginia Beach, Va.-based grip who has laid cables and hung lights on the sets of films such as Seabiscuit and Minority Report.

There are, of course, the more mundane threats, like 20-hour work days and the annoyance of friends who gush over how exciting it must have been to work with Brad Pitt after youve staggered home bruised and filthy at 7 A.M. And the worst thing about film-crew work? “You never know when your next job is coming,” says Senato, who also runs a camera equipment rental company for a more dependable source of income. So what keeps the crew going, especially when all the accolades–and most of the money–go to the actors? I love it because its something different each day, says Archer, whose work has taken her everywhere from Beverly Hills mansions to private avocado orchards in the mountains. After all your effort, you might not even get credited at the end of a film, but for the average movie crew member, seeing your name on-screen isnt much of an ego boost anyway. “I don’t care about being in the credits,” Archers scoffs. “If you get into crew because you think it’s glamorous, you won’t last long.” ** No acting talent, but can’t shake the film fever?

There are many jobs in movie-making that don’t involve the risk of fashion flops or paparazzi run-ins. Check out the possibilities below, or pick up a copy of Fred and Jan Yager’s guide, Career Opportunities in the Film Industry. Salary ranges are all from this helpful guide. Production and Direction Line Producer Salary: $4,800 to $5,000 per week Job Description: The day-to-day producer of the film, handles on-set problems, reports to the executive producer. Unit Production Manager Salary: $3,500 to $4,800 per week Job Description: Manages all administrative, financial and technical elements of a films production. Production Assistant Salary: $0 to $500 per week Job Description: Entry-level position, responsible for various odd jobs, which could include such dissimilar tasks as running errands, stopping traffic and fetching coffee. First Assistant Director Salary: $3,300 to $4,600 per week Job Description: Assists the director before and during production, organizes and maintains order on the set, oversees crew and cast meetings, selects and manages extras.

Second Assistant Director Salary: $2,000 to $3,000 per week Job Description: Assists the first assistant director, prepares and distributes paperwork. Gaffer Salary: $30,000 to $70,000+ Job Description: The chief lighting electrician, responsible for lighting the set according to direction from the cinematographer, who may request a feel of late morning or twilight. Best Boy Electric Salary: $50,000 to $75,000+ Job Description: Assists the gaffer, supervises the rest of the electricians. Can be a woman, but the title’s the same. Grips Lighting and rigging technicians who may work closely with the gaffer and cinematographer to create shadow and other lighting effects, and operate camera cranes, dollies and platforms. While the gaffer and his electricians work directly with the lighting, the grips handle all of the equipment not directly attached to the lights. They are also responsible for the safety of the cast and crew. Key Grip Job Description: the chief grip Best Boy Grip Job Description: Assists the key grip, supervises the rest of the grips.

Dolly Grip Job Description: Places and moves the dolly track, then pushes and pulls the dolly along that track. The dolly is a cart that the camera and sometimes its crew sit on. It allows the camera to move smoothly from place to place during a shot. Sound Boom Operator Salary: $35 per hour Job Description: An assistant to the production sound mixer, responsible for microphone placement and movement during a take. Uses a boom: a special piece of equipment that allows precise control of the microphone at a distance away from the actors. Foley Artist Salary: up to $80,000 per year or $400 per day Job Description: Creates, recreates and records sound effects, such as raging storms or breaking bones. Named after famous sound editor Jack Foley. Other Negative Cutter Salary: $35 to $40+ per hour Job Description: Cuts and splices the negatives as directed by the film editor, provides the assembled negative reels to the lab in order for prints to be made. Color Timer Salary: $37,000 to $51,000 Job Description: Balances the films color, contrast and density in the processing lab for consistency of tone and mood throughout movie.

Wrangler Salary: $150 to $200 per day. Spider wranglers may earn more. Job Description: Chooses, trains and takes care of horses and other livestock used in the making of the movie. While wranglers are most common in films that feature horses, such as Brokeback Mountain, they can be caretakers of all kinds of creatures, from Arachnophobias spiders to Indiana Jones and the Temple of Dooms snakes. CommercialKids Rated #1 ENTERTAINMENT TONIGHT Child Acting Resume Child Model Resume CLOSE-UP (CU) - Camera term for tight shot of shoulders and face. COLD READING - Unrehearsed reading of a scene, usually at an audition. COMMISSION - Percentage of a performer's earnings paid to agents or managers for services rendered. COMPOSITE - A series of photos on one sheet representing an actor's different looks. CONFLICT - Status of being paid for services in a commercial for one advertiser, thereby contractually preventing performing services in a commercial for a competitor. COPY - Script for a commercial or voice over. COVERAGE - Camera shots other than the master shot; coverage might include two-shots and close-ups.

CRAFT SERVICES - On-set beverage and snack table. CRANE SHOT - Camera shot raised over or above the set or the action. CRAWL - Usually the end credits in a film or TV shot which "crawl" up the screen. CREDITS - Opening names in a film or TV show; also refers to a one's performance experience listed on a resume or in a program. CSA- Casting Society of America CUE - Hand signal by the Stage Manager CUT - Verbal cue for the action of the scene to stop. At no time, may an actor call, "cut!" CUTAWAY - Short scene between two shots of the same person, showing something other than that person. DAILIES - Screening of footage before it is edited. DAY PLAYER (DAY PERFORMER) - A principal performer hired on a daily basis, rather than on a longer - term contract. DEMO TAPE - Actorâ€™s audio or video tape that agents use for audition purposes. These are now going digital and are being uploaded to the Casting Workbook saving duplication and shipping costs for agents and their actors. DGA - Directors Guild of America DIALECT - Distinctly regional or linguistic speech pattern.

DIALOGUE - Scripted words exchanged by performers. DIRECTOR - Coordinator of all artistic and technical aspects of any production. DIRECTOR OF PHOTOGRAPHY (D.P. or D.O.P) - Supervises all decisions regarding lighting, camera lenses, color and filters, camera angle set-ups, camera crew and film processing. DOLLY - Piece of equipment that the camera sits on to allow mobility of the camera. DOLLY GRIP â€“ The crew member who moves the dolly. DOUBLE - Performer who appears in place of another performer, i.e., as in a stunt. D.P. - Director of Photography or Cinematographer. DRESS THE SET - Add such items to the set as curtains, furniture, props, etc. DUPE - A duplicate copy of a film or tape; also, a "dub" 8x10 - Commonly used size of a performer's photos, usually in black and white. ELECTRICIAN - In film, crew members who place lighting instruments, focus, gel and maneuver the lights. EQUITY WAIVER - In Los Angeles, 99-seat (or less) theatres which were otherwise professional, over which Equity waived contract provisions under certain circumstances.

Now officially called "Showcase code", the term "Equity waiver" is still used informally. EXECUTIVE PRODUCER - Person responsible for funding the production. EXTRA - Background performer, used only in non-principal roles. FIELD REP. - Union staff member who ensures contractual compliance on sets. FIRST A.D. - First Assistant Director; person responsible for the running of the set. Gives instructions to crew and talent, including calling for "first team," "quiet," "rehearsal," and "take five." FIRST ASS'T. CAMERA OP. - First Assistant Camera Operator is responsible for focusing the camera lens during the shooting of a scene; also known as the Focus Puller. FIRST TEAM - The production term for the principal actors in a scene. FORCED CALL - Call to work less than 12 hours after dismissal on the previous day. See TURNAROUND. FOREGROUND CROSS - Action in a scene in which an Extra Performer passes between the camera and the principal actors; sometimes called a "wipe". FX (Effects) - Special Effects. GAFFER - Chief Electrician.

GRIPS - Members of the film crew who are responsible for moving set pieces, lighting equipment, dolly track and other physical movement of equipment. HAND MODEL - Performer whose hands are used to double for others. HIATUS - Time during which a TV series is not in production HOLDING - Designated area to which the Extra Performers report and stay while waiting to go on set. HONEY WAGON - A towed vehicle containing one or more dressing rooms, as well as crew bathrooms. INDUSTRIAL - Non-broadcast film or video, usually of an educational nature INSERTS - Shots, usually close -ups of hands or close business, inserted into previously shot footage. INT. (Interior) - Scene shot indoors. IN TIME - Actual call time or start time; also, return time from a break. LINE PRODUCER - Producer responsible for keeping the director on time and budget; generally the most visible producer actually on the set. LONG SHOT (LS) - Camera shot which captures the performer's full body. LOOPING - In-studio technique used to fix dialogue already performed during principal photography by matching voice to picture.

MARK - Exact position(s) given to an actor on a set to insure that he/she is in the proper light and camera angle; generally marked on the ground with tape or chalk. MARKER - Verbal cue that the take has been identified on camera both verbally and with the slate board. MASTER SHOT - A camera shot that includes the principal actors and relevant background activity; generally used as a reference shot to record the scene from beginning to end before shooting close-ups, over-the-shoulders, etc. MATCHING ACTIONS - Requirement that the actor match the same physical movements in a scene from take to take in order to preserve the visual continuity. MEAL PENALTY - Fee paid by the producer for the failure to provide meals or meal breaks as specified by the contract. MIXER - Chief of the sound crew; responsible for the quality of the sound recording on a shoot. MODEM - Device that converts digital signals from a computer or other digital device, into a form that can be transmitted across copper wires. It also re-converts them when received from another device. MOS & MIT Out Sound/Motion Only Shot - Any shot without dialogue or sound recording. Also sometimes called S.O.C., silent on-camera.

MOVIES EXTRAS - Background actors. Atmosphere players. Extra actors. Has no lines. NETWORK - In the most generic sense, a group of computers connected to each other allowing communication and a sharing of information. Also may refer to a Television Network such as Fox, ABC etcâ€¦ NIGHT PREMIUM - Surcharge for certain work performed after 8 p.m. OFF-CAMERA (OC or OS) - Dialogue delivered without being on screen. OUT OF FRAME - Actor outside the camera range. OUT TIME - Actual time when you are released after you have changed out of wardrobe and make- up. OVER-THE-SHOULDER - Shot over the shoulder of one actor, focusing entirely on the face and upper torso of the other actor in a scene; generally shot in pairs so both actors expressions can later be edited together. OVERDUBBING - In studio singing or voice work, the process of laying one soundtrack over another. OVERTIME (OT) - Work extending beyond the contractual work day. P.A. - Production Assistant. PAN - Camera shot which sweeps from side-to-side. PER DIEM - Fee paid by producer on location shoots to compensate performer for expenditures for meals not provided by the producer.

PHOTO DOUBLE - An actor cast to perform on camera in place of another. PICK UP - Starting a scene from a place other than the beginning. PICTURE'S UP - Warning that the sequence of cues to shoot a scene is about to begin. POV SHOT - Point-of-View shot; camera angle from the perspective of one actor. POST-PRODUCTION - Phase of filmmaking that begins after the film has been shot. PRE-PRODUCTION - Phase of filmmaking before shooting begins; includes writing, scouting locations, budgeting, casting, hiring crews, ordering equipment and creating a shooting schedule. PRINCIPAL - Performer with lines. PRINT - Call from the director at the end of a take that that particular take is good enough be printed. PRODUCER - Person responsible for the day-to-day decision making on a production. PRODUCTION COMPANY - Company actually making the film or television show. PROPS - Objects used by actors in a scene. RESIDUAL - Fee paid to a performers for rebroadcast of a commercial, film or TV program REWRITE - Changes in the script, often using color-coded pages to indicate most current version. ROLLING - Verbal cue for the camera film and audio tape to start rolling. ".

SCALE - Minimum payment for services under union contracts. SCREEN ACTORS GUILD - Professional actors union. SCRIPT - The written form of a screenplay, teleplay, radio or stage play. SCRIPT SUPERVISOR - Crew member assigned to record all changes or actions as the production proceeds. SECOND ASSISTANT DIRECTOR - Often two or three on a set, they handle checking in the talent, insuring proper paperwork is filed, distribute script revisions. Actors check in with the 2nd A.D. upon arrival on the set. SECOND TEAM - Verbal cue for the stand - ins to come to the set and be ready to stand in. SEGUE - In film or tape editing, a transition from one shot to another. SET - The immediate location where the scene is being filmed. SET-UP - Each time the camera changes position. SFX - Sound effects. SIDES - Pages or scenes from a script, used in auditions or those scenes being shot that day. SIGNATORY - Employer who has agreed to produce under the terms of a union contract.

SLATE - Small chalkboard and clapper device, often electronic, used to mark and identify shots on film for editing; also the process of verbal identification by a performer in a taped audition (e.g., "Slate your name!"). SPEED - Verbal cue that the audio tape is up to speed for recording. SPIKING THE LENS - Looking directing into the lens during a scene; since it destroys the illusion of realism, actors should never spike the lens unless specifically directed to do so for specific effect. STAGE RIGHT - To the performer's right side, to the audience's left side. Likewise, STAGE LEFT is to the performer's left, the audience's right. Stage directions are for actors, not the audience, therefore they are always given from the actor's point of view to the audience. STAND-INS - Extra Performers used as substitutes for featured players, for the purpose of setting lights and rehearsing camera moves; also known as the second team. STUDIO - Building, recording room or sound stage which accommodates film or TV production. STUNT COORDINATOR - Person in charge of designing and supervising the performance of stunts and hazardous activities.

STUNT DOUBLE - Stunt person who performs stunts for a principal. STUNTPERSON - Specially trained performer who actually performs stunts. SW - Notation on a call sheet that an actor is starting on that day and working on that day. SWF - Notation on a call sheet that an actor is starting, working, and finished on that day. SWEETENING - In singing/recording, the process of adding additional voices to previously recorded work. SYNDICATION - Selling TV programs to individual stations rather than to networks. TAFT-HARTLEY - Federal statute which allows 30 days after first employment before being required to join a Union. TAKE - The clapboard indication of a shot "taken" or printed. TAKE 5 - Announcement of periodic five minute breaks. TELEPROMPTER - Name of a device which enables a broadcaster to read a script while looking into the camera lens. THEATRICAL - TV shows or feature film work, as opposed to commercials. THREE BELLS - Audible warning for QUIET because a scene is about to be filmed.

TIGHT SHOT (Go in Tight) - Framing of a shot with little or no space around the central figure(s) of feature(s); usually a close-up. TILT - Up and down movement of a camera. TIME-AND-A-HALF - Overtime payment of 1 1/2 times the hourly rate. TRACKING SHOT - A shot taken while the camera is moving, either on a dolly or a mounted on a moving vehicle. TRADES - Short for "trade papers" - The newspapers and periodicals such as the Hollywood Reporter and Variety that specifically feature information on the entertainment industry. TURNAROUND â€“ 1.Number of hours between dismissal one day and call time the next day. 2. To shoot a scene from another direction. TWO-SHOT - A camera framing two persons. UNDERSTUDY â€“ The performer hired to do a role only if the featured player is unable to perform; used primarily in live theatre. UPGRADE - Promotion of an extra performer in a scene to the category of principal performer. UPM - Unit Production Manager - Oversees the crews and is handles the scheduling and all the technical responsibilities of the production. UP STAGE - Area located at the back of the stage.

Down Stage is the area in front of the performer. (b) To draw attention to oneself at the expense of a fellow performer. V.O. - Voice over. Off-camera voice coming either from an actor not in the frame, or from a secondary source such as a speakerphone or answering machine. VOUCHER - Time slip with all pertinent information needed for getting paid properly. W - Notation on the call sheet indicating that an actor is working that day. WAIVERS - Union-approved permission for deviation from the terms of a contract. WALKAWAY - Meal break in which all cast and crew are on their own to get lunch. WARDROBE - Clothing a performer wears on camera. WARDROBE ALLOWANCE - Maintenance fee paid to on-camera talent for the use (and dry cleaning) of talent's own clothing. WARDROBE FITTING - Session held prior to production to prepare a performer's costumes. WEATHER PERMIT CALL - Due to weather conditions, the production company has the option to release an actor four hours after the call time (if the camera has not started to roll) with a reduced rate of pay for the day. WGA - Writers Guild of America W/N - Will Notify.

A notation on a call sheet that tells the actor that he/she will probably work that day but the specific time has not yet been decided. WRAP - Completion of a day's filming or of the entire production. WRAP PARTY - The end of the production party. ZOOM - A camera technique with a special lens to adjust the depth of a shot, accomplished without moving the camera.

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Who's Who on a Movie Crew? on Vimeo Google Plus Making a video can be a one person production but the more elaborate your ideas get, the more likely you'll need a crew to execute your vision. In this video, we give you a rundown of the basics of how all the work is divided up on a basic crew. Keep in mind that this focuses mostly on the on-set personnel, and even still it doesn't include every single crew member! Here's a recap of what we just learned, along with a few extra people peppered in there to round out the list. The amount of people you need to help make your film vary widely from a simple duo to many hundreds of crew members. A Producer is a key coordinator for the production. They are involved in many if not all aspects of the production from start to finish. They often have a hand in the production process, creative, financial, and administrative. An Executive Producer is usually the main investor of the project. The Production Manager works alongside the executive producer and helps to prepare the budget, oversees the preparation of the production team, and various day to day production decisions. The Director is in control of all creative aspects of the film.

They are the primary person responsible for the storytelling, creative decisions and acting of the film. The 1st Assistant Director is in charge of basically running the set. As an assistant to the director, they organize the crew, prepare shooting schedules and organize the entire flow of all production activity. The 2nd Assistant Director distributes documents such as scripts and call sheets to the cast and crew. They also help supervise the set with the 1st AD. The Script Supervisor's job is to keep track of what has been shot in accordance with the script including what changes has been made and how to prevent any continuity errors going forward. The person who makes the chief lighting, framing, and composition decisions is the Cinematographer, often referred to as the Director Of Photography (or DP). The director will often tell the DP what they want the shot to look like and then they will work their magic, making sure everything looks great to help achieve the director's vision. On smaller sets, the DP will often double as the camera operator. The Camera Operator is the person in charge of working the camera to capture the scenes. The 1st Assistant Camera is often the focus puller. Their job is to make sure the shot is always in focus.

On smaller productions, the camera operator will also handle this job. The 2nd assistant camera is the person who writes all of the shot information on the slate and holds it in front of the camera before each shot. The slate (or clapboard) is the device you write all of the shot information (shot number, take number, etc) as well as the clapper to help sync sound. It's the Production sound mixer's job to make sure the sound is being properly recorded and mixed on set. They will hold the sound mixer and listen with a pair of headphones to monitor the sound. A Boom Operator is the person that holds the boom microphone near the action. On smaller sets, the production sound mixer can also take on this roll. The Key Grip is in charge of supervising camera cranes, dollies, lights, platforms and all on set equipment. The Gaffer is responsible for the design and execution of the lighting plan on set. They work closely with the DP to make sure everything is lit correctly. Also referred at as the Chief Lighting Technician. The Special Effects Supervisor is in charge of the creative and technical issues of visual effects on a project. They take care of anything that will break, explode, burn, collapse, etc.

and work with the director on blocking the actors' so they don't get in harm's way. The Production Designer is responsible for creating the visual appearance of the film. Working closely with the DP and Director they are in charge of the look of all settings, costumes, character makeup, and more. Also known as the Creative Director. The Art Director develops, coordinates, and oversees the overall design of the production and is responsible for everything you see on screen. On a smaller crew, this is also the Set Designer. The Props Master is in charge of finding and managing all the props that appear on screen. The Props Builder's job is to construct all custom props that are needed for production. Also referred to as Propsmaker The Make-up Artist / Hairdresser is the person that dresses and maintains the cast's hair and makeup throughout the shoot. It's the Costumer Designer / Supervisor's job to design, obtain, assemble, and maintain the costumes for a production. These are just some of the basic crew members that can be found on set. Depending on your budget and how ambitious your project is, the amount of people needed to help create it can vary drastically. Now get out there and make some movie magic!

*P***Pro tip:** Stumped on where to find the people you need? Check out our lesson on how to assemble a crew ! Tags:

Question: The Chief Electrician responsible for lighting on a film or TV set is known as what?
Answer: Gaffer