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L I G H T I N G - C A M E R A - O N S E T - S O U N D - O N L O C A T I O N |
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- Gaffer - The head lighting man or woman.
- Best Boy - The Gaffers number two - A lighting technician.
- Spark - An elex (lighting) technician.
- Blonde - light not a girl.
- Redhead - Another light.
- Charlie bar - Small rectangle board, which is used to block lighting from hitting the actor/actress. Principally a Charlie bar was used (in the old days) to concentrate light on the breasts of the leading lady.
- Scrim - Thin gauze covering a light to cut down the glare.
- Gel - Coloured film that covers a light, creating colour in the background.
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- D.O.P - Direct of Photography or lighting cameraman. The man / woman who creates the shot and the lighting.
- Operator - The man / woman who watches through the eye piece.
- Focus Puller - The man / woman who checks the focus on every shot.
- Clapper Loader - The man / woman who loads the film and claps the board
- Clapperboard - The slate that marks each 'take' by number and synchronizes sound & vision.
- Checking the gate - Happens after every take to check the film c/o the Focus Puller.
- Hair in the gate - A sliver of celluloid has lodged in the aperture of the camera.
- Grip - The man who pushes the dolly and lays the track.
- Dolly - The trolley carrying the camera that the grip pushes.
- Jib - A small arm that attaches to the dolly, allowing the camera to move sideways.
- Track - The tracks that the dolly rolls along.
- Rolling, Turning or Speed - Film is running in the camera.
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- A Take - Recording a scene or part of a scene for posterity.
- Checks - Make-up and hair checks before each 'take'.
- Turning - Film is running in the camera.
- 1st positions - Where the action will start from.
- Action - Start to immortalize your work.
- Banana - Move in a curve to allow the camera to see behind you (in the shape of a banana).
- Red light and Bell - Studio term meaning prepare to shoot. One bell means 'shooting' - two bells means we've 'cut'. The red light means don't enter the sound stage.
- Save the Red - Two bells, means that they have stopped filming. Relax and talk.
- Hold the Red - Means going for another 'take'.
- From the top - Start again from the top of the scene.
- Cut - Stop filming and 'check the gate' - The gate is only checked after filming the 'take' the director wants to print.
- Hitting your mark - The focus of the camera is very important, the mark is a focus point. Hitting your mark means that you will be in focus.
- Crossing the line - A bad thing. Characters talking to each other need to be looking at each other. There is a pretend line across which the camera cannot cross. If the line is crossed characters will look like they are talking to themselves i.e. looking the same way - right to right or left to left.
- Eye Line - When two or more people speak to each other, their eye line (to each other) governs the line that the camera is going to have to take. It also sometimes means 'get out of my eye line' which means don't watch me doing this. Note - never watch actors act unless it is a requirement of the scene. Avert your eyes or go away.
- DFI - Old BBC term meaning 'different f***ing instruction' i.e. take it away or change of plan.
- Wipe - Cross close to the camera left to right or right to left.
- Cross - Like wipe but further away from the camera.
- Continuity - Repeating the action exactly the same for the camera and the editor (later)
- Leading eye - The eye that is closest to the camera. Very important for focus in a close up.
- Prop - The things that actors and background carry on a set. Please return to the prop man.
- Pick up - Cutting into a scene to pick up only a small part of it. Continuity becomes very important.
- Moving around - Means the camera is going to be facing in the other direction, revealing all that has so far not been seen.
- Turning around - Means the camera is going to be facing in the other direction, revealing all that has so far not been seen.
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- Wild Track - The sound engineer is recording either lines for the dub or atmosphere.
- Atmosphere - Sound are recording the sound of silence for the dub.
- Dub - What happens during the sound editing of the film.
- Sound speed - The sound recordist is running up ready to record the sound. Links back to the old days of tape recording rather than present digital recording.
- Click track - A sound term used when counting dubbed music onto a scene. A click track can be used on set or during the sound dub.
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- Call time - The time you are expected at the unit base. Don't' ever be late.
- Checking -in - Once at the unit base, check-in with the 2nd AD or 3rd AD to let them know you have arrived.
- Honey wagon - The name given to the portable loos on location.
- Signing off - A background term for checking that your chit is correctly filled in. Do not sign off before checking the details.
- Wrap - Wind, reel & print (camera term) and go home - your day's work is finished.
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P E N C I L L E D & C O N F I R M E D W O R K |
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Confirmed Work : This means the work is as definite as we can say it is. Undoubtedly, there are circumstances that we have no control over i.e. schedule changes/Weather. If the schedule or requirements for a scene change, the 2nd Assistant Director does attempt to let us know as early as possible. If you are cancelled for work, please understand that we are working to the production's requirements.
Pencilled Work : This means that this work is not definite. You are either being put forward for selection by the director, or we have been warned that the day or numbers of artistes required may change. If you are pencilled in for work with us, but have been offered work by another agent, you must let us know immediately. If not, we will believe that you are still available for the work. We understand that you need to work as much as possible, but it does not help us if you have double booked yourself.
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K E E P I N G A D I A R Y
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We would suggest that if you don't already, that you keep a diary and purchase a street map. Not only will this remind you of the days that you are booked for, it will prevent you from double-booking yourself. Also, it is always a good idea to keep a record of all hours you work. Double booking yourself creates enormous problems for us in trying to find doubles/replacements for you.
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M O B I L E P H O N E S & P A G E R S
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We attempt to cast as far in advance of the filming day as possible. Not only does it make it easier to get the right look required, but it also makes it easier for you to work out your own schedule. We will leave messages on your home number, but it does make it much easier for us if we can contact you within a matter of minutes to find out whether you are available. Although we do not demand it, it would be useful if you owned a mobile phone. Failing that, a pager is just as good. This will ensure that you do not lose work by not getting back to us in time. Most agents also rely on SMS/Text Messages. If you receive a text you should call in as soon as possible.
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P L A N Y O U R J O U R N E Y
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It is vital that you plan your journey the night before. If you are driving, please work out your route from home directly to unit base/location. We strongly recommend that all artistes have their own copy of a Cape Town Road Atlas and a good SA road atlas.
If you are using public transport, please check train or bus times.
Lateness cannot be excused by 'not knowing where to go'. If you are late for filming you will disrupt the process of wardrobe, hair and make-up and ultimately delay the making of the film which can be very costly.
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Most calls require you to be on set very early. In some cases you must be there at 07:00. Depending on where you are going this could mean that you may have to wake up as early as 05:00. If you are not an early riser, it is strongly advised that you purchase a couple of very loud alarm clocks. Lateness cannot be tolerated. If you are late, you could be slowing down the process of filming for the day. Normally when you get to set, you will have to be seen by hair, make-up and costume before you get the chance to grab breakfast.
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A S S I S T A N T D I R E C T O R O R A D ' s
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Assistant Directors work incredibly long hours and can sometimes seem short or abrasive. Please remember that they are under enormous pressure to get everything done quickly and accurately.
You will most likely be greeted in the morning by the 3rd AD or casting coordinator. The 3rd AD and the runner will normally be with you throughout the day, getting you through hair, makeup, costume and breakfast. They will then take you to the set, place you and explain what will be required. This is done with the guidance of the 1st AD, who is in charge of the set as a whole. The 2nd AD usually works out of an office preparing the following day and working with the actors.
Please remember when on set to keep noise to a minimum. Please, also, be sure to clear your holding area/bus of all rubbish, plates, cups and cutlery.
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B O O K I N G I N / O U T
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If you are not going to be available for any reason for an extended period of time (more than a week) please call, email or fax us to "book out". Don't forget to book in again when you are available for work.
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I N T E R V I E W S / C A S T I N G S
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Some roles may require you to attend a casting. Please adhere to the specific time slots given to you by your booker for each casting. Always take your Portfolio/cv's and ALWAYS go looking like a professional. Castings are treated the same as bookings you must attend if you confirmed you can.
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Modern-day Film : If you are working on a modern-day film, women might be asked to arrive with their hair and make-up done. This saves time for the make-up artists. Men, if they do not have facial hair, should arrive clean-shaven. No-one should ever arrive looking as if they just rolled out of bed!
Period/Fantasy Film : If working on a period or fantasy film, do not wear any make-up or style your hair, as this will be done by the make-up artists. Most people will need to spend a fair part of the morning in a chair being scrutinised by a make-up artist. It requires patience and a sense of humour. Remember, if you don't like what they are doing, you are not playing yourself but a character.
Men will occasionally require sideburns, back pieces or even have a hair trim/cut. If you are asked to have your haircut, you are entitled to decline on the day. This is usually requested prior to a shoot. Women are likely to have wigs fitted and intricate hairstyles.
Once hair and make-up are complete you must not change it during the day. You must not remove hairpieces or add any of your own make-up once you have been seen. You will be held responsible for any hairpieces, which are used on you. If you lose a piece you will be expected to cover the cost.
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Contemporary Films : If you are working on a modern-day film, you will be asked to wear your own clothes; it is normal in this instance for wardrobe to issue instructions as to what would be acceptable/not acceptable. Normally, you will be required to take along more than one outfit for wardrobe to check. Please ensure that all the clothing you take is clean and ironed, there is no excuse for turning up to a production with your clothes screwed up at the bottom of a bag. Remember, even if its not requested, it is the mark of a professional to take along a few odds and ends to a job in case an altered appearance would be helpful.
Certain pieces of clothing are asked for regularly and so it is advantageous for an artiste's wardrobe to contain items of clothing such as suits, black leather shoes, a black T-shirt, black skirt, white shirt etc. The better your clothing selection, the better the chance of obtaining work through it.
Period/Fantasy Films : If you are working on a period film, you may be required to attend a costume fitting before the filming day. When attending a costume fitting it is common courtesy to turn up clean and wearing appropriate underwear! Also, it is imperative that you are always honest with your measurements, better to be honest with us than embarrassed by an ill-fitting costume. In most cases a costume will have been pulled out of stock for you to wear.
Please let us know if your weight changes dramatically during the year.
On the day, once you have been dressed, please be careful and mindful of any bits of the costume you have been given. If parts of the costume are not received back by wardrobe you will be required to cover the cost or replacement.
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V A L U A B L E S & M O B I L E S O N S E T
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Please be warned that active mobiles are not allowed on film sets. Many people have been asked to leave by directors who have seen them using their mobiles on set. People who are asked to leave for this reason will not be paid for the day.
Many relaxing areas are 'secure', which means that they are either locked or guarded by security while no one is there. It is, however, very difficult to guarantee security when there are large numbers using the relaxing area. Production companies cannot be held liable for lost or stolen items and it is advisable to leave all valuables at home.
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Even though you may be tempted to keep a record of the days that you are on set, cameras are not generally permitted. There have been numerous occasions where cameras have been brought on to set and the photos taken have been sold to the newspapers. Unfortunately, the acts of a few people have meant that anyone caught with a camera on set will be asked to leave. You may bring a camera and ask for permission for photos to be taken of other background artistes only.
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C H A N G E S O F A P P E A R A N C E
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You are chosen for work because of your appearance in photos you have supplied us and we have shown the client. If hair length or colour has changed or a man has grown or removed facial hair after sending in pictures we should be told. Once you no longer look in some way the "image" of the photographs we hold, or your entry in the casting book, we encounter some difficulty.
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Whatever the reason, we need to know if someone is not going to work as arranged. Any missed call reflects badly on the Agency and all its members and may affect future work offerings from the client. We should be advised at the earliest moment so we can try to make alternative arrangements.
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P R O B L E M S O N A J O B
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There may be rare occasions when a problem will arise while working. As your Agents we need to be consulted as soon as possible so we may act on your behalf. During our working hours we will assist promptly in clarifying and rectifying wherever possible. If there is a genuine grievance we want to be involved. Do not, under any circumstances, attempt to argue with production or crew, rather call us immediately.
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At the costume fitting you may be also be issued with a security pass if you are given special props or a practical weapon where applicable. The pass must be handed in when a practical weapon is collected and will be given back to you when your weapon is returned. Once you have signed the security pass you then enter into a legal agreement each time a weapon is drawn. The weapon is your responsibility. Nobody else can hand in your weapon for you. This pass must be shown to the Assistant Directors when your salary voucher is signed off at the end of the day.
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