What’s a Gaffer? - What people do in a film crew part 1

Have you ever been reading the credits at the end of a film and wondered, “What in the world is a Gaffer?” Or a Best Boy? Or a Dolly Grip? Well, you wouldn’t be the first. Unless you are working in the film industry or closely connected to it, you really wouldn’t need to know these terms for your every day life. But… everyone watches movies, whether it is in the theatre or at home, with a tape or a DVD, or on the television.

This is the first part of a series of articles to help you navigate through the end credits of a film, so sit back, grab your popcorn and enjoy the show!

We, for the most part, always see the regular credits at the beginning of a film or TV show. Usually after the title comes the list of starring artists or actors, then the guest stars, the music composer, a few others on the crew (maybe director of photography, makeup and costumes), the producer, the writer, then last, but not least, the director.

But what about the end credits? Some films show their credits very quickly, and it’s as if not many people have worked on the film; yet others seem to go on for just about as many minutes as the film. The next time you watch a film on television, notice how long the credits are. A large percentage of films have been edited for television and in the editing process they tend to cut most of the credits. This has to do with the tight schedules that television schedulers have to work within. It is easier to shorten the credits than to go over schedule. Usually the main members of the production crew are listed (actors, camera, makeup, costumes, producer, writer, director), and the others are cut to save time when the credits roll. The music composer is usually listed right before the song credits, which must be listed according to union and performance rules. Pay attention to the next feature film you watch on TV and see if the credits have been shortened or edited.

The first group on a crew is the Production Staff. There are so many different types of producers on a film crew, so let’s take a look at what they do.

“Production” is usually different groups of people each concerned with their own unique tasks. While production usually includes the Production Manager, the Production Coordinator and his or her assistants; the accounting staff; the various Assistant Directors, and sometimes the Locations Manager and his or her assistants, it never includes the director. He or she is an entirely separate entity who is not connected with the production department. Let’s get started with some of the production department terms:

An Executive Producer is usually an investor in the project. He could be a major investor, or could be someone who has paid the filmmaker for his name to appear on the credits. A project can have as many Executive Producers as the filmmaker wants.

The Producer is the person who creates the movie, financially. He is in a supervisory role and is responsible for raising funds, hiring crew and arranging for the distribution of the film. He usually has a staff to work on the several areas of production and he is the supervisor and coordinator. He controls every aspect and phase of the film making process from development to completion.

The Line Producer, sometimes referred to as the Production Manager, is a person who takes responsibility for the production of the film. They hire the crew and make sure things go well on the set. Line Producers are generally employed just before pre-production and complete their work at the “answer print” stage.

Co-producer is a shared producer responsibility. A good example is the Coen Brothers, who generally co-produce their own films. They co-manage the production responsibilities.

On larger productions it is sometime necessary for the duties of the Producer to be divided up among several people. Where someone more junior is taking on producer duties, they are often credited as an Associate Producer. This title is also sometimes given to a person who has made a major contribution to the production. It could be a Financier, Production manager, Writer, Post-Production Supervisor, actor, etc.

The Production Coordinator is the information manager of the production, and answers to the Line Producer. He or she is responsible for organizing all the logistics from hiring local crew, renting equipment, and booking or scheduling talent. The PC is an integral part of film production.

There are others who make up the Production Department as well:

The Unit Manager fulfills the same role as the production manager, except that he or she supervises the secondary “unit” shooting. In some projects the Unit Manager also takes the role of the Transport Coordinator on smaller productions.
The Post-Production Supervisor works with the film when it reaches the post-production stage. This would include supervising the editing, sound, and final completion of the film before distributiion.

The Director is responsible for overseeing the creative aspects of a film, including controlling the content and flow of the film’s plot, directing the performances of actors, organizing and selecting the locations in which the film will be shot, and managing technical details such as the positioning of cameras, the use of lighting, and the timing and content of the film’s soundtrack. Though the director has a great deal of power, he or she is ultimately subordinate to the film’s producer or producers. Some directors, especially more established ones, take on many of the roles of a producer.

The First Assistant Director (1st AD) assists the production manager and director. The ultimate aim of any 1st AD is to ensure the film comes in on schedule while maintaining a working environment in which the director, principal artists (actors) and crew can be focused on their work. He or she is in charge of overseeing the day-to-day management of the cast and crew scheduling, equipment, script, and set. A 1st AD may also be responsible for directing background action for major shots or the all of the relatively minor shots, at the Director’s discretion.

The Second Assistant Director (2nd AD) is the chief assistant of the 1st AD and helps carry out those tasks delegated to the 1st AD. The 2nd AD may also direct background action and extras in addition to helping the 1st AD with scheduling, booking, etc. The 2nd AD is responsible for creating Call Sheets that let the crew know the schedule and important details about the shooting day. Within Canadian and British production crews there are 3rd ADs and even Trainee ADs, but in American crews there are 2nd 2nd ADs.

A Production Assistant assists the first assistant director with set operations. Production assistants, almost always referred to as PAs. They also assist in the production office with general tasks.

Also known as “Continuity,” the Script Supervisor keeps track of what parts of the script have been filmed and makes notes of any deviations between what was actually filmed and what appeared in the script. He or she makes notes on every shot. He or she also keeps track of props, blocking, and other details to ensure that continuity is maintained from shot to shot and from scene to scene. The Script Supervisor’s notes are given to the Editor to expedite the editing process. The script supervisor works very closely with the director on set.

A Runner is everyone’s assistant. Their job is exactly as it sounds; they run errands for the cast and crew, are sometimes asked to drive the production vehicles and do general duties on the set. They also help in assisting to break down the set once the filming is completed. A runner is at the bottom rung of the production ladder. It is the entry level position.

When the film requires a stunt and involves the use of stunt performers, the Stunt Coordinator will arrange the casting and performance of the stunt, working closely with the director.

The Caterer is responsible for feeding the cast and crew. There are union rules involving meal times on a film set, and the caterer must have meals ready on time so as not to cause any delays.

Craft Service began in the 1930’s as the person who assisted the gaffers and grips throughout the daily filming by keeping the set clean and clear of debris. Over the years Craft Service has evolved into an art form of its own. Nowadays, Craft Service provides snacks, coffees and beverages, and minor first aid (there is a set Medic or Nurse on duty at all times during the shoot) all day long for the cast and crew if they become hungry or thirsty between meals. They still perform their original duties, but more often than not they stay at their Craft Services table and keep the cast and crew supplied with snacks, drinks and quick
small meals or snacks, and sometimes provide personal items such as shampoo, deodorant and chewing gum. For an example of Craft Services click on the link: http://www.crewkraft.zoomshare.com

The Honeywagon Driver is the person responsible for providing and maintaining the portable toilets on a location shoot. The toilets are not your every day portable fibreglass toilets seen at construction sites, but are well-appointed, clean portable toilet trailers with hot and cold running water, music and fresh towels.

So far we have looked at what the Production Department does, and I hope you are now more familiar with some of the crew titles and jobs on a film project. In the next two parts we will look at Production Design and Photography, Sound and Music, and Post-Production. Until then, see you at the movies!

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