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Today’s guest and First Assistant Accountant extraordinaire is Lisa Shillingburg. Some of Lisa’s film credits include Limitless, Munich, The Founder, Stillwater, and a small film you may have heard of called The Avengers. Her tv credits are equally impressive, with titles like Leverage, Constantine, Devs, and Westworld all under her belt. In this episode Lisa gives us a tour of the Accountant world and helps us understand the importance of keeping proper receipts.
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Our guest this week is PA pro, Joel Burnham. Joel chats with our host, Alisha East, and lets you know everything you need to be ready for your first PA job. Some of Joel's credits include movies like Nightcrawler, Get Hard, and Taken 3 as well as television shows like Agents of Shield, Battle Creek, and The Mentalist.
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Kale Whorton is a first assistant editor whose assistant editor credits include films Bumblebee and Black Panther as well as TV series The United States of Tara, Weeds, and Orange is the New Black. Kale spoke to Film Crew 101 about his job and the result was a great episode packed to the brim with insight for young editors.
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The APOC works directly under the Production Office Coordinator in the production office. As a go-between between producers, the studio, and production, the production office is a hub that supports every department on a film. The APOC joins this office early on and will work to oversee the pas and the production secretary in the office as well as ensure that daily reports from set are delivered accurately and on time to the studio, legal teams, accounting departments, and producers.
Today, Kim Mott speaks with Kalisa Wade, whose production office credits include Painted Woman, The Christmas Trap, and Stillwater, as well as TV series Star, Black Lightning, and American Soul. Kalisa’s experience has given her great insight on how to help run the production office as well as tips on getting hired for a production.
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Location Scout Jen Farris' location credits include the TV series Lovecraft Country, American Soul, Atlanta, Genius, and Sleepy Hollow. Jen has also worked in the location department on multiple films including Just Mercy, Game Night, The Immortal Life of Henrietta Lacks, and the upcoming film, Dear Evan Hansen. Today, she unpacks her role as a location scout.
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Matthew Mungle has over 200 film and tv credits to his name as a special effects and prosthetic makeup artist. Matthew has worked on Hillbilly Elegy, The Irishman, August Osage County, Frida, Schindler’s List, Outbreak, Casper, and the movie that won him his Oscar, 1992’s Dracula. In addition, Matthew has worked on numerous television series including The X-Files, CSI, John Adams, The Big Bang Theory, New Girl, and Salem. Today, Matthew talks with Toni about how he got started in the industry and shares some tips for how to set yourself up for success on any project.
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Host Amy Janes speaks with editor Stuart Levy, whose credits include "Any Given Sunday," "Red Eye," "Nim’s Island," "Foxcatcher," "Insurgent," "Allegiant," and "The Nutcracker and the Four Realms."
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The sound utility is the third in line in the sound department, which is often comprised of the sound mixer, the boom op, and the sound utility. This role assists the sound department and acts as a liaison between the sound department and set during production. What do we mean by that? Well, here to help explain this role in full today is our host, Brian Gililland, and stellar Sound Utility Hank Martin, whose sound utility credits include TV shows Drop Dead Diva, The Resident, and Brockmire as well as blockbuster films The Hunger Games: Catching Fire, Selma, and Neighbors 2: Sorority Rising.
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Kim Richards' 1st AD credits include The Mandalorian, Why Women Kill, and The Lion King in addition to other work in the AD department on projects like The Mentalist, Ray Donavan, The Jungle Book, Silicon Valley, American Horror Story, Young Sheldon and 12 Strong. In this episode, you'll learn what Kim's days look like on set and what skills have helped her succeed in the role of a 1st AD.
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Cathy Marshall-Hart is a payroll accountant that has worked on some amazing and iconic films. Her list of credits includes The Matrix Reloaded, The Matrix Revolutions, Rent, Rush Hour 3, Twilight, The Book of Eli, Hidden Figures, Hostiles, Ford v Ferrari, and two projects that filmed right here in Oklahoma – Stillwater, directed by Tom McCarthy and starring Matt Damon, and an FX TV pilot, Reservation Dogs, written by writer and filmmaker Sterlin Harjo and Oscar-winning writer Taika Waititi, who also directs the pilot. Our host, Kim Mott, recently spoke with Cathy to learn more about Cathy’s role as a payroll accountant.
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A Key Grip works with the Gaffer and the Director of Photography to help oversee electric and rigging crews on a set. They’ll work with these teams to execute lighting and camera movements with a variety of equipment. A Visual Effects Key Grip differs from a key grip in that they specialize in unique lighting techniques and camera technologies that make those iconic action shots from some of your favorite movies possible. Today, our host, Oklahoma-based writer, director, and filmmaker Noble Banks speaks with Key Grip and Visual Effects Key Grip Craig “Cowboy” Aines, whose credits include Dr. Dolittle 2 and Happy Gilmore.
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Melissa Caswell is an Oklahoma-based script supervisor and production assistant. She has worked as a Base Camp PA on the Sundance award-winning "Minari," an Office PA on "Stillwater," and an APOC on the independent film, "Iké Boys." In this episode, you'll learn about the duties of the Office PA.
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Dino began working in the digital cinema space after the purchase of one of the first Red One cameras. Combined with his extensive background in production, his knowledge of the camera positioned him to stand out as a leading DIT early on as the industry transitioned to digital cinema. In addition to multiple music video credits and TV credits, Dino’s DIT film credits include Terrence Malick’s The Tree of Life and To the Wonder, as well as the Oscar-winning films Gravity and Birdman. Recently, he has worked on The High Note, Irresistible, and Work It.
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Chris Clark's credits include "Pan Am," "Scream Queens," "Feud: Bette and Joan," "American Crime Story," "Pose," "The Politician," and Netflix's recent TV series "Ratched." In this episode, you'll learn what a hair department head does and get some tips on how to get hired in the hair department.
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A Gaffer, or more formally, the Chief Lighting Technician, is in charge of the crew that runs the lighting on a film set. Gaffer Steve Mathis has worked on films including Halloween, Back to the Future, Mrs. Doubtfire, Moulin Rouge!, Dawn of the Planet of the Apes, Thor: Ragnarok, and more recently, Wonder Woman 1984. In this episode, Steve talks about his responsibilities during pre-production and production.
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A post production coordinator supports post-production teams as they work to deliver a finished film. Today, our host, Emmy award-winning documentary series editor and award-winning
feature documentary producer, Amy Janes, talks with Sue-Ellen Chitunya, who has worked as the in-house post production coordinator for some of your favorite Marvel films including "Ant
Man," "Doctor Strange," "Guardians of the Galaxy Vol 2," "Thor: Ragnarok," "Black Panther," "Avengers: Infinity War," and "Ant Man and the Wasp." What a fantastic list!This episode is sponsored by Cherokee Nation Film Office.
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Also referred to as a "Key Makeup" or "Key," a Key Makeup Artist assists the makeup department head and supports the department as a whole. Depending on the Head of Makeup's preferences, tasks for a key could include clerical work, taking pictures of looks and keeping track of continuity, and/or helping achieve makeup looks on talent.
During filming, the Key Makeup Artist will work with talent to help achieve the makeup looks that the department head has designed for the production. They will also act as a liaison for the makeup department when communicating with assistant directing, hair, costume, special effects, and property departments. There will be times when the makeup department will need to collaborate with these departments to make sure an actor’s look is ready for filming. The key makeup will assist the head of makeup in this capacity until production wraps.
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Mathew Price is a Production Sound Mixer whose skill can be heard in some of your favorite films and tv shows (he's worked on The Sopranos, The Marvelous Mrs. Masiel, Daredevil, You, and Teenage Mutant Ninja Turtles to name a few). In this episode, he talks about the nitty-gritty of capturing sound on a film set and how to build a career that lasts.
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A background production assistant works in the AD department. Their main focus is to organize and oversee the background actors, or extras, on set.
A background pa works with the 2nd AD to prepare for the shoot day. They’ll organize vouchers for the extras and study the shooting schedule, script, and location maps. They will need to know where departments and bathrooms are, where extras will check-in, and where to hold extras as they wait to go on set. The bg pa will also plan for extra help from other PAs to control large crowds if needed.
Each day, the bg pa arrives early to get ready for extras. They will set up a visible check-in spot for extras, communicate with the 2nd AD as they arrive, and then guide them to hair, makeup, and wardrobe. The bg pa remains in communication with the 2nd AD about how long it is taking for extras to get ready, making any casting adjustments necessary to keep the shoot on schedule and the bg count as the director and 1st AD planned.
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A Unit Production Manager is responsible for advising on and overseeing the film production budget, working with department heads to hire the production film crew, and helping to keep the production on schedule throughout the filming process.
In pre-production, the Unit Production Manager hires crew members and consults with department heads to figure out what the script needs from each department to shoot the film. This entails working on the budget, gear packages, and any special equipment needed for each department. The Unit Production Manager also oversees costume fittings, hair and makeup tests, camera tests, and locations scouts. Throughout this process, they work with the shooting schedule to make sure departments will have what they need when they need it for filming.
During filming, the Unit Production Manager acts as a face for the producers on the set. They support department heads and crew to make sure the shooting schedule is accomplished. In the event that a crew member must be fired, the Unit Production Manager will accomplish the task respectfully and with regard to employment contracts and union guidelines.
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