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Authors: David Bordwell, Kristin Thompson
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pushes the dolly that carries the camera, either from one setup to another or during a take for moving camera shots.
Foley artist: Sound-effects specialist who creates sounds of body movement by walking or by moving materials across large trays of different substances (sand, earth, glass, and so on). Named for Jack Foley, a pioneer in postproduction sound.
Greenery man: Crew member who chooses and maintains trees, shrubs, and grass in settings.
Lead man: Member of set crew responsible for tracking down various props and items of decor for the set.
Loader: Member of photography unit who loads and unloads camera magazines, as well as logging the shots taken and sending the film to the laboratory.
Matte artist: Member of special-effects unit who paints backdrops that are then photographically or digitally incorporated into a shot in order to suggest a particular setting.
Model maker: (1) Member of production design unit who prepares architectural models for sets to be built. (2) Member of the special-effects unit who fabricates scale models of locales, vehicles, or characters to be filmed as substitutes for full-size ones.
Property master: Member of set crew who supervises the use of all
props,
or movable objects in the film.
Publicist, unit publicist: Member of producer’s crew who creates promotional material regarding the production. The publicist may arrange for press and television interviews with the director and stars and for coverage of the production in the mass media.
Scenic artist: Member of set crew responsible for painting surfaces of set.
Still photographer: Member of crew who takes photographs of scenes and behind-the-scenes shots of cast members and others. These photographs may be used to check lighting or set design or color, and many will be used in promoting and publicizing the film.
Timer, color timer: Laboratory worker who inspects the negative film and adjusts the printer light to achieve consistency of color across the finished product.
Video assist: The use of a video camera mounted alongside the motion picture camera to check lighting, framing, or performances. In this way, the director and the cinematographer can try out a shot or scene on tape before committing it to film.
As the footage accumulates, the editor assembles it into a
rough cut
—the shots loosely strung in sequence, without sound effects or music. Rough cuts tend to run long—the rough cut for
Apocalypse Now
ran 7½ hours. From the rough cut, the editor, in consultation with the director, builds toward a
fine cut
or
final cut.
The unused shots constitute the
outtakes.
While the final cut is being prepared, a
second unit
may be shooting
inserts,
footage to fill in at certain places. These are typically long shots of cities or airports or close-ups of objects. At this point, titles are prepared, and further laboratory work or special-effects work may be done.
Until the mid-1980s, editors cut and spliced the
work print,
footage printed from the camera negative. In trying out their options, editors were obliged to rearrange the shots physically. Now virtually all commercial films are edited digitally. The dailies are transferred first to tape or disc, then to a hard drive. The editor enters notes on each take directly into a computer database. Such digital editing systems, usually known as
nonlinear
systems, permit random access to the entire store of footage. The editor can call up any shot, paste it alongside any other shots, trim it, or junk it. Some systems allow special effects and music to be tried out as well. Although nonlinear systems have greatly speeded up the process of cutting, the editor usually asks for a 35mm projection print of key scenes in order to check for color, details, and pacing.
As the editing team puts the footage in order, other members of the team work to manipulate the look of the shots via computer. If the footage has been shot on film, it is scanned
Foley artist: Sound-effects specialist who creates sounds of body movement by walking or by moving materials across large trays of different substances (sand, earth, glass, and so on). Named for Jack Foley, a pioneer in postproduction sound.
Greenery man: Crew member who chooses and maintains trees, shrubs, and grass in settings.
Lead man: Member of set crew responsible for tracking down various props and items of decor for the set.
Loader: Member of photography unit who loads and unloads camera magazines, as well as logging the shots taken and sending the film to the laboratory.
Matte artist: Member of special-effects unit who paints backdrops that are then photographically or digitally incorporated into a shot in order to suggest a particular setting.
Model maker: (1) Member of production design unit who prepares architectural models for sets to be built. (2) Member of the special-effects unit who fabricates scale models of locales, vehicles, or characters to be filmed as substitutes for full-size ones.
Property master: Member of set crew who supervises the use of all
props,
or movable objects in the film.
Publicist, unit publicist: Member of producer’s crew who creates promotional material regarding the production. The publicist may arrange for press and television interviews with the director and stars and for coverage of the production in the mass media.
Scenic artist: Member of set crew responsible for painting surfaces of set.
Still photographer: Member of crew who takes photographs of scenes and behind-the-scenes shots of cast members and others. These photographs may be used to check lighting or set design or color, and many will be used in promoting and publicizing the film.
Timer, color timer: Laboratory worker who inspects the negative film and adjusts the printer light to achieve consistency of color across the finished product.
Video assist: The use of a video camera mounted alongside the motion picture camera to check lighting, framing, or performances. In this way, the director and the cinematographer can try out a shot or scene on tape before committing it to film.
As the footage accumulates, the editor assembles it into a
rough cut
—the shots loosely strung in sequence, without sound effects or music. Rough cuts tend to run long—the rough cut for
Apocalypse Now
ran 7½ hours. From the rough cut, the editor, in consultation with the director, builds toward a
fine cut
or
final cut.
The unused shots constitute the
outtakes.
While the final cut is being prepared, a
second unit
may be shooting
inserts,
footage to fill in at certain places. These are typically long shots of cities or airports or close-ups of objects. At this point, titles are prepared, and further laboratory work or special-effects work may be done.
Until the mid-1980s, editors cut and spliced the
work print,
footage printed from the camera negative. In trying out their options, editors were obliged to rearrange the shots physically. Now virtually all commercial films are edited digitally. The dailies are transferred first to tape or disc, then to a hard drive. The editor enters notes on each take directly into a computer database. Such digital editing systems, usually known as
nonlinear
systems, permit random access to the entire store of footage. The editor can call up any shot, paste it alongside any other shots, trim it, or junk it. Some systems allow special effects and music to be tried out as well. Although nonlinear systems have greatly speeded up the process of cutting, the editor usually asks for a 35mm projection print of key scenes in order to check for color, details, and pacing.
As the editing team puts the footage in order, other members of the team work to manipulate the look of the shots via computer. If the footage has been shot on film, it is scanned
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