Film Production Explained — Each Step of the Production Process [Stages of Filmmaking, Ep 3]

As Tom Hanks once said, no one knows how a movie is made, though everyone thinks they do. From a flicker of an idea to the flickering image on screen, the whole process is a miracle. This series covers the entire filmmaking process from script to screen. Last time, we covered everything that goes into pre production. This time, we'll look at where the rubber hits the road. How does a professional film set work? And who does what? "- What would you say you do here?" - These are the "Stages of Fil

mmaking - Production". Before we begin, don't forget to subscribe to StudioBinder and click the bell to catch the future episodes in this series. We'll be using the StudioBinder app to look at many of the processes outlined in this video. Try it for free using the link in the description. Today we're joined by director Tamra Davis, cinematographer Jarin Blaschke, and second assistant director Pete Dress, to walk us through the production stage. Let's get started. 'Production' refers to the captu

ring of footage for a film. It is also referred to as 'Principal Photography'. As our series has illustrated making a movie is a marathon often lasting years and requiring extreme endurance. "- This is gonna be the hardest thing I ever do in my life." - The production stage, however, is usually a sprint. Long hours. Demanding work. And collaboration between several departments make up the process of putting your idea onto tape. Production is typically as brief as possible because the longer it g

oes on the more expensive it can become. - We figured we'd come over and talk to the BTS because it was a good use of our time. You know, this only cost like thirty, three hundred dollars, this conversation. - An indie movie may only shoot for a couple of weeks. "Fruitvale Station", for example, was shot over just twenty days. A blockbuster, meanwhile, may shoot for a few months. "Barbie's" production began in March and ended in July. Often production overlaps with pre production or post product

ion. The cameras may start rolling while the production department is still planning later shoot days. Or even when the script is still being written. Christopher McQuarrie was working on the "Top Gun: Maverick" script after filming had already begun. An editor usually starts cutting footage before all the scenes have been shot putting together rough assemblies and making sure there is enough coverage. This way, they can spot any potential reshoots that may be needed. No two productions look the

same. But most take a similar shape and follow similar best practices. Beginning with the planning of the shoot. While the majority of planning happens during pre production, a shoot is constantly shifting due to unforeseen variables. This requires additional logistical wrangling from the production department. Many of the positions hard work during the shoot have also been working through the pre production stage. Watch our previous video for more information on their roles in that phase. The

line producer manages the day to day logistics of the shoot. While the production manager, working directly under the line producer, makes sure production is within budget and on schedule. A crucial position in the production department is the first assistant director. Tamra Davis explains their importance. - An assistant director is like my, like half my body. Like they are my right arm, my buddy throughout the thing. So there's so many factors that are way deeper than what I am thinking of wha

t I think I can do in a day because they're working on an actor's availability, you know, when a location is available, where, you know, like they're working on all that. - The 1st AD manages the cast and crew and focuses on keeping the project on schedule, allowing the director and the rest of the crew to concentrate on their work. The 2nd Assistant Director aids the 1st AD in this duty. Pete Dress explains. - I prep with the 1st and I don't necessarily get as much pre production. But when I'm

there in pre production, I sit in on the meetings and I know what they know so that when we're underway, I'm sort of like the hub where all of the elements come through me to make sure that they're prepped and ready to go to be filmed on any given day. Depending on the production, the second AD or the first AD will work with the production coordinator to make call sheets for each shoot day. The call sheet is an integral part of almost any shoot. It is a document which outlines when and where the

cast and crew need to arrive. The call sheet will also outline other important information for the day. Like the day's shooting schedule. The weather, where to park, the nearest hospital, and key personnel contact information. It gives you what our best case and our perfect plan would be on a random Tuesday would be what's on the call sheet. For more on how call sheets are made, click the link in the description to our series of tutorials. The call sheet is sent out the night before the shoot d

ay. Make sure the call sheet is as accurate as possible. Changing and resending them can create confusion. Other logistical documents that are created from day to day on a shoot include production reports, which record the basic information of what happened each day. They can include who was on set and for how long, the scenes shot, unexpected expenses, and any delays. The record serves as a legal document of what occurred on set and allows for producers and executive producers to monitor the pr

oduction. The second assistant camera will fill out a camera report, which includes information about each shot. Jarin Blaschke explains his use of camera reports. - A camera report will have, uh, you know, obviously, the scene, the shot number. But, you know, I'll have the lens put on there too and the aperture. So if I know if something's going awry with the optics, you know, so you want to know, uh, what lens you're looking at. I'll put as many technical details on the slate as possible. - Th

is document is helpful for both cinematographers and editors. An editor can use the settings if they have to replicate a shot digitally. Similarly, a production sound mixer will produce a sound report which includes relevant information for each take from a sound perspective. Logistics during the shooting process also involves anticipating what could go wrong. For example, a production department will often establish a cover set which is an alternate filming location in case the primary set for

some reason isn't usable. If rain interrupts an exterior, for example, an interior location may become a plan B. There is also often a plan for coverage. In other words how will a given scene be filmed? Sometimes filmmakers employ the master scene method. This refers to filming a scene from beginning to end in a wide shot. And then shooting tighter shots. And finishing with any necessary inserts or additional coverage. This method ensures that no matter what an editor will be able to cut togethe

r a continuous version of the scene. Shot lists and storyboards also assist with this process. - I want the best view of that set. So I'll stand there and be like, Oh yeah, this is the hero shot. So I will, that becomes my master. That becomes where I'll stage all my action. Based on that, because that's the most gorgeous looking thing. And I'll block actors to give me that beauty of that set. - To save time, a production will often decide to shoot one side of a scene first before shooting in re

verse. This avoids having to move lights back and forth more than once. To increase efficiency even more, production may have more than one crew, employing a second unit. A second unit operates much like the first unit. With its own director, cinematographer, and other crew members. It is typically used for the scenes or shots which don't involve the principal cast. This might be an action sequence that involves only stunt performers. Or an establishing shot that shows the setting without the ch

aracters. - To have an entire first unit crew stand around to get an insert on the book is a waste of first unit's time. So it really can help to just like set it up in a corner of where you're shooting and just grab it and pop in and out and do things like that. - And some sets don't stop at just a second unit. "Lord of the Rings" had seven shooting units at the peak of its production. "- You have my sword. - And you have my bow. - And my axe." - Once a day shoot is thoroughly planned out, it's

time to get to the location and set up. Lots of work happens on set before the cameras start rolling. Typically, crew members show up far in advance of the cast, prepping the location and the equipment for the first scene of the day. The grip department sets up all the necessary rigging. Rigging refers to any equipment which is needed to hold up other equipment. This could be anything from light stands and flags, to camera dollies and cranes. The head of the grip department is the key grip, who

works closely with the cinematographer to get the lighting right for the scene. Key grip Jake Reeder explains. - Any time that camera is involved, grips are also involved. And even with lighting, the true lighting is on grip side. The light is really sold through the grip department by our shaping and our control of it. - They don't get enough credit because they are creative problem solvers. The highest level. You know, you're, you're trying to like figure out how to get a camera from here to

there or how to rig something. And, you know, a lot of times it's not just out of the box solutions. It's not just like, well, I have this light from area and I'm going to use that. It's sort of like, well, I need to put this there, but I can't do it this way because, you know, it'll be seen in this other shot or it doesn't give the right quality of light at that distance or whatever it is, you know. - The key grip's assistant is called the best boy. One of their primary duties is to organize th

e grip truck. Due to union rules and safety precautions, the grip department doesn't handle anything electric. That is the domain of the electrical department. The head of this department is the gaffer who executes the lighting plan laid out by the key grip and director of photography. Cinematographer James Friend discusses his relationship with gaffers. - It's more about collaborating with a gaffer opposed to relying on a gaffer. I will still talk to my gaffer about an emotion of a scene and th

e quality of the light that I want coming through a window. - The gaffer is aided by lighting technicians who help set up the lights for each shot. While the grip and electrical department set up the lights and camera rigs, the art department is hard at work preparing the set. They are supervised by the production designer who oversees the aesthetic of the film. From settings and props, to costuming and makeup. - If a set isn't ready, or if like, you know, a window isn't in the right place, or f

urniture, you know, all those elements have an ability to get you, your set up in the time that you need it, or delay you. - Typically by the day of the shoot, most of the production designer's work is complete, and the set dresser realizes their vision, placing all the decorations and props in the set. The set dresser will also maintain continuity from shot to shot, making sure the set looks the same in each take. Even though the crew shows up first, the actors have work to do before filming st

arts as well. First, they need time to get their hair and makeup done by the hairdresser and makeup artist. Or, depending on the size of the production, their assistants will do much of the work. Makeup artists are also often responsible for applying prosthetics when necessary. Though, if the prosthetics are especially complex a special effects makeup artist may be brought in. The actor will also have to get into their wardrobe provided to them by the costume designer. - If the actor puts on a c

ostume and they don't feel that that costume represents the character they're playing, they're going to be hindered by it. And then there's another thing that they put something on and all of a sudden it's like, I'm the character in this outfit. And it's like, yes. So I want that confidence. I don't want to put you in something and now you think your arms look whatever and nobody else sees that but you, but that's hindering your performance. - Costuming and makeup typically happen in base camp,

which refers to where the trailers for cast, hair, and wardrobe are located. Usually along with other production offices. Actors will often run through a scene before filming starts. Locking down blocking and allowing the sound and camera departments to rehearse alongside them. Sometimes blocking will be done by the second team. Stand ins for actors that go through the motions of the scene so that the crew can make sure everything is ready to go for the first team cast. - You'll finish a scene,

for example, and then as you move on to the next scene, you'll rehearse with first team. They'll step off, second team comes in, and they're what the cinematographer uses to light while the actors are either at back at their trailer or in their cast chairs or, you know, grabbing a smoke or snack or whatever. "- I was standing in for Brad Pitt once on, you know, "Seven years in Tibet". - Yeah. - Bloody freezing. Sorry, guys. Time's pretty tight and we have to get the actors in." - If necessary, t

he stunt team may also need time for stunt rehearsals confirming that stunts can be captured on camera safely and believably. Once the cast and crew have finished their preparation it's finally time to start rolling. Recording a scene isn't as simple as pressing a red button on a camera. There are specific rules and etiquette the majority of sets in Hollywood follow when putting a shot on tape. Though, of course, there are variations of all these guidelines. When the take is ready to go, the ass

istant director will announce, picture is up and call for quiet. "- Okay, picture's up." Quiet. - They will then say, Roll sound. "- All right, roll sound." - And once the production sound mixer has begun recording, the mixer will respond, Sound speeds. "- Roll sound. Sound speed." - Next, the AD says, Roll camera. "- Roll camera." - The camera operator will begin filming and respond, Speed. "- Speed." - The second assistant camera, also called the clapper loader, will then slate bringing the cl

apper board into the frame, reading off the scene information and marking. "- Mark." - For more on this process, watch our video on clapperboards. Once the clapper loader has finished, the camera operator will sometimes need to adjust the camera to get the right framing. When they are ready, they will say, frame or set. "- Set. All right, set." - If there are extras involved, the assistant director will announce background to indicate they should begin performing. "- And background." - Next, the

director says action. "- Okay, here we go. And action." - And the scene starts. "- How close is the park? - Too close. A couple of leagues." - When it's over, the director will say cut. "- Cut." - Often, the director and other lead creatives watch the footage from video village. An area equipped with monitors and chairs for viewing. Some directors, however, prefer to stand right behind the camera in order to be more present with their actors. Similarly, a director of photography might choose to

be their own camera operator. But a great camera operator can also be a great collaborator. - I always operated myself. "The Witch", you know, was the first union movie I ever did. So it was like mandated I had to have an operator. So I'm like, I don't know. But I operated like half of that movie. We had some steadicam in that movie and some other things. And then after that movie, you know, my ambitions grew. I want to do more complex shots and, you know, more mise en scene. Then you start doi

ng more complicated stuff, you know, where I just didn't have the, uh, experience, you know. I learned that I kind of like watching the shot and actually directing the operating because I could see the movie holistically. I'm not, you know, I'm not thinking about where my elbow is going as I do this pan, is it going to hit my knee, etc. - The operator will be helped by the first assistant camera, also known as the focus puller, who ensures each shot is in focus. They'll often also hold the camer

a between handheld takes so that the operator doesn't get tired. If they are shooting in digital, they will also be aided by a digital imaging technician or DIT. The DIT works with the director of photography getting the camera settings in line with the cinematographer's desired look. They also oversee the offloading of footage from the camera to the DIT station. Meanwhile, the head of the sound department, the production sound mixer, is in charge of capturing all the necessary sounds on set. Th

is means operating the sound recorder and deciding how to capture sound for a given scene including coordinating and operating lavalier mics on the actors. Meanwhile, the boom operator is in charge of the boom mics placement during the scene. Typically, using a boom pole. While the crew moves from take to take, the script supervisor keeps track of what parts of the script have been filmed while noting any changes to the script that occurred during filming. They also pay close attention to contin

uity. calling out any deviations between each take. Their notes are then shared with the editing team so that they don't have to scrub through hours of footage without direction. Often between takes, the director will focus on communicating with their actors, discussing what's working and what may need to change. - For some reason, when you were talking back, the body says it all. I think it's more on the face for this one. - Though each director's approach is different. - No, no, you're not tha

t upset. You want to keep moving. You've got to get through that door. - Of course, a cast and crew need to eat. And food is typically provided by catering and craft services. If a shoot doesn't allow the cast and crew an adequate eating break, they may be subject to fines and will have to compensate the team. These are referred to as meal penalties. Generally, the crew will shoot everything they need at one location before moving on. Even if the scenes aren't chronological. This saves money and

time. When the crew is finished with a location and moves to the next, this is called a company move. The final two shots of the day have their own names. The penultimate shot set up of the day is called the Abby Singer. And the final shot is called the Martini. "- You know, that's not half bad. I'm gonna have to think up a name for that. - All right. Great job." - After the martini is complete, the crew will usually finish breaking everything down. The time between the end of one shoot day and

the beginning of the next is called the turnaround time. Due to union rules, a turnaround usually isn't supposed to be shorter than 10 to 12 hours. After all this, the whole process starts again on the next day of shooting. A production schedule may be lengthened if reshoots are required. This may happen for a variety of reasons. A scene may need to be shot again. Or entirely new scenes may be added, if story problems arise in the edit. A new ending may be shot if there is a particularly negati

ve test screening. But this is often very expensive and avoided at all costs. Smart producers and first ADs will often leave room in the schedule and budget for some reshoot. No matter how deep a crew is into production, it is crucial that everyone is as professional as possible. There are a few rules of thumb to follow to make a good impression. Respect the director's decisions. Don't interfere with other department's equipment. Don't run. Be quiet. And give actors space. - Like the constant wh

ispering, just shut the f*ck up, dude. I'm trying to like, find something real, f*ck. Oh, f*ck. I am sorry, but he did whisper like constantly while we're trying to work. And sometimes it's really hard to find like, the emotion that you're after. So It was wrong of me, I'm sorry, but he shouldn't have done it. - Production can often feel like a mad dash to the finish line. But with careful planning and a dedicated crew, a set doesn't have to feel like the heart of darkness. "- You know. - No, I

don't know. - Francis, you know. I don't. Nobody's told me." - And planning is where StudioBinder comes in. Make sure your project goes off without a hitch with StudioBinder's production software. Go to the StudioBinder Academy channel for full interviews, as well as in depth tutorials on creating shot lists, script breakdowns, and more. And make sure you subscribe and enable notifications to catch our next entry in the Stages of Filmmaking series, post production, where the final film comes tog

ether. That's all for now. Time for us to say, cut.