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Editor’s Thoughts

11 Feb

… it is almost forgotten that it takes a team of many people with talent to make a motion picture …

I must say, from the feedback I receive, there are so many areas where it’s felt that there is inadequate information and training available. The industry needs young people who are prepared to put in the time and effort to learn the skills and techniques which have been developed and perfected by the professionals who have spent their careers entertaining the audience with their storytelling abilities. 

It’s probably not ‘what have we done wrong?‘ we should be asking but ‘what more do we need to do to put things right?’ in those areas where specific training for the film industry is needed. Quick answer to that is – if you are running a course at whatever level then please enlist the help of industry professionals – individuals, guilds or organizations – to either advise in the initial discussions on course content or attend as guest tutors. 

Perhaps we shouldn’t limit skills training to those who work creatively – production grades coming into the industry may benefit from taking time out to learn about the responsibilities of the crew they going to employ.  An experienced crew member can prevent a great deal of wastage on time and tantrums if they are used efficiently as they will have the ability to read the mood in the meeting or on the floor and change, alter, move and re-invent as often as the director wants with the least amount of fuss. 

Initial decisions on crew, methods and equipment which are based purely on cutting the budget to the bone can eventually become very expensive, as mistakes made due to wrong or ill-advised choices can have a disastrous impact both on the bottom-line and the quality of the finished product.

Keep the feedback coming – I need your thoughts, ideas and comments so that I can make sure that the ‘News’ is covering areas of most interest.

Go to www.network-nine.com and click on the ‘Guilds & Associations’ page to access some of the industry organizations.

 
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Posted by on February 11, 2012 in Feature Film Production

 

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The Script Supervisor

30 Jan
THE SCRIPT SUPERVISORS’ JOB … one of the best kept secrets in the business!

Emma Thomas

The job of a Script Supervisor requires a high level of concentration, stamina and an eye for detail. These skills are often required at times when you are at your lowest ebb and it’s the last hour of the day or night shoot. Even with all the courses available it isn’t a job you can learn from a manual.  Learning  ‘on the job’ is essential because each project is different and requires a number of different personal skills. You need to be a team player but stand your ground and hold your hand up if you make a mistake. Continuity isn’t life and death but it does help if you have a sense of humour when you are trying to do your job efficiently! 

 

FEATURE FILM SCRIPT SUPERVISOR

We provide an invaluable link between the Director and the Editor. We need to have essential knowledge of shot/lens sizes, shot descriptions, screen direction, slating, set ups with single and multiple cameras. In some cases we need to keep track of all sound and camera rolls especially where there are multiple units shooting (mainly for features).

We need to have essential knowledge of breaking down a script, page counts, individual scene by scene timings, story day/year breakdowns, back and cross matching the story particularly in drama productions.  We log all pertinent information for each department; detect overlooked coverage, stage direction, action and dialogue. We are responsible for overall timing of all productions which involves a daily update. This is often completed at the end of a 12 hour filming day. We must also have knowledge of post-production techniques, editing and dubbing.  In particular CGI information for feature films.

TELEVISION SCRIPT SUPERVISOR (Studio-based TV, Sitcoms, Entertainment, Factual, Drama, Documentary)

We provide organizational support for the Director in terms of studio technical requirements, rehearsal schedules, props lists, studio schedules – culminating in a master camera script from the Director’s notes.  This is then distributed to all departments including Lighting, Camera, Sound and the rest of the Production Team. We must have essential knowledge and experience of studio shot calling, bar counting to musical productions with responsibility for overall timing of the programme and absolute timing on live productions. We must have experience of Outside Broadcast shoots, transmissions and again post-production techniques, editing and dubbing.

Most dramas today are edited as the shoot progresses.  So it is even more essential that we provide accurate and concise notes for the Editor on a daily basis. We  used to draw a lot of continuity pics on our script as we went along. Today use our digital cameras instead.  We also used to stand next to the camera team a lot more but as we work on more HD dramas, there are monitors on set to check the shot size and reference details. It is still handy to know the shot/lens size in case the monitor goes down at that crucial moment – or you’re stuck in the middle of a field with very little electrical back up. I would encourage all trainees to learn the basic skills and not rely on the monitor so much.

Emma Thomas’ Film Credits include: ‘The Boat That Rocked’ (AKA Pirate Radio), ‘Captivity’, ‘The Mark of Cain’, ‘Jack & the Beanstalk’, ‘War Bride’, ‘Some Voices’, ‘Elephant Juice’, ‘Among Giants’.  Television Credits include: ‘Luther’, ‘Spooks’, ‘Horne & Corden’, ‘The Bill’, ‘Miss Austen Regrets’, ‘All in the Game’, ‘Last Rights’, ‘Whose Baby’, ‘Canterbury Tales’, ‘Teachers’, ‘Birds of a Feather’, ‘Goodnight Sweetheart’.

 
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Posted by on January 30, 2012 in Production Office

 

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The Ornamental Plasterer

20 Jan

Ken Barley

Ornamental plasterers working in film production are skilled craftsmen, with traditional solid craft abilities as well as being skilled fibrous plasterers. They are able to make complex moulds and model casts from solid plaster or fibreglass.  The job requires extensive experience, combined with creative skills and the ability to work under pressure and to strict deadlines. Film Ornamental Plasterers have usually progressed to this role after spending some time working as domestic plasterers and most will have accredited qualifications, such as the Intermediate Construction Award, or CITB NVQ in Plastering.

This is from an article written by Ken Barley in Network Nine News. If you want further information contact me through www.network-nine.com

When people think of plastering they don’t always realise how many different disciplines are involved. To start with, we work with at least 8 or 10 different types of plaster and aggregates plus various vermiculites to get all different textures – this is a hard thing to be able to do.

My supervisor and good friend Michael Gardiner is, without a doubt, the best texturer I have seen. Not everybody can do texturing – it’s an art and you either can do it well or you can’t – and he can! On ‘Sweeney Todd’ he did it on his own just using photographs, every brick and stone finish carved and moulded. He’s never won an Oscar but he sure helped Mr. Dante Ferretti to get one for that film!

We use many types of foam rubber, silicone, fibreglass – all different kinds – mattings, translucent glass for ice etc. In one of the ‘Bond’ films, an ice set was built entirely by plasterers – I know because I cast the bar in the ice hotel!

The first job I did in silicone was on ‘Alien’ in 1978 when I moulded the clay alien sculpture for H R Giger, the ‘alien’ designer. For the first suit mould we used a 7ft man, now of course there is CGI and motion capture. From the mould the first prototype suit was made in a translucent resin, again by the plasterers. 

We use lots of methods for textures and have to turn metal into wood, plastic into concrete etc on a regular basis. On ‘Stardust’ we textured a whole set on smooth ply to make it look really olde-worlde, which saved some of the budget.

I’ve worked on far too many films to remember in this article. Working abroad for me is such a great experience. The films I’ve worked on overseas that I’d like to specially mention for the quality of the architectural work are ‘Michael Collins’, ‘Timeline’, ‘The Day After Tomorrow’ and ‘Mummy III’.

For me the industry has changed over the years, apprentices now do only three years and that’s just not long enough – I’m still learning, so I think that I’ve just finished my 47th year as an apprentice!!  I worry that in ten years time the Heads of Department are going to find it difficult to get craftsmen with enough experience and range of talents to service all the films of the future, unless something positive is done about the situation. Budgets seem to be tighter and tighter with less time to do the job properly without the right training.

Recently I had the pleasure of working on ‘The Prince of Persia’ – what a fantastic job. All the plasterers did fabulous work and the sets were the best, architecturally, I have ever been involved with. Construction Manager Brian Neighbour and the team on that film should be very proud of their achievement. Construction crews don’t get the credit they deserve – all those amazing sets you see on the screen wouldn’t be there if it wasn’t for the many people working behind the scenes.

Prince of Persia - Sky Chamber

I hope that the next generation enjoy their life in the industry as much as I have. It’s an exciting career with new challenges every day – and you never know where and what your next film will be – but be prepared to have lots of time out without film work, it’s the nature of the beast.

Ken Barley’s credits include: ‘Snow White and the Huntsman’, ‘Hugo’, ‘Green Zone’, ‘Prince of Persia’, ‘Mummy III’, ‘Sweeney Todd’, ‘Stardust’, ‘The Other Boleyn Girl’, ‘Charlie and the Chocolate Factory’, ‘Phantom of the Opera’, ‘Star Wars I, II & III’, ‘The Day After Tomorrow’, ‘Michael Collins’, ‘Fifth Element’, ‘The Witches’, ‘Indiana Jones and the Temple of Doom’, ‘Star Wars – Return of the Jedi’, ‘Dark Crystal’, ‘Raiders of the Lost Ark’, ‘The French Lieutenant’s Woman’, ‘American Werewolf in London’, ‘A Bridge Too Far’, ‘The Man Who Would be King’.

 
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Posted by on January 20, 2012 in Set Construction

 

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The Art Department

17 Jan

Terry on the set of 'Supergirl' in 1984

The Art Department usually employs the largest number of people on any film crew. On big budget fantasy, period drama or sci-fi films, the Art Department Offices, Drawing and Construction Studios can occupy a vast area and employ hundreds of talented people.

 

The following is an extract from an article by Terry Ackland-Snow in Network Nine News:

I really believe that, in order to maintain the art of draughtsmanship, existing practitioners should bridge the generational gaps between ‘ways of doing things’. The best way to achieve this is to have young people taught by the practitioners themselves – with their knowledge and experience. People starting out in the industry must fully understand the role of an Art Director and the Art Department through basic knowledge in design, camera operation, direction, editing techniques – plus scheduling and budget requirements. The Art Department is unique in running its own budget during a production so, to be a successful Art Director, not only do you have to be able to create and visualise, as well as control and inspire a team of people – but also have a full understanding of the financial aspects involved.

It has always been my aim to make sure that the new generation of film makers are fully apprised of the art of creating illusion on film.  I have, for several years now, successfully run a course which allows people to learn the traditional art of draughting, CAD drawings, sets and models – along with trick photography and CGI.

Having been in this industry long enough to witness all the changes myself, I think it is so important to continue the outstanding work of the Art Department that has been developing over the last century.  I also truly believe that, in order to make best use of the incredible technology available in today’s market, the basic skills which created so many classics have to be absorbed and understood.

To check out Terry’s Film Design course go to www.filmdi.com 

Terry Ackland-Snow’s credits include: ‘The Rocky Horror Picture Show’, ‘Papillon’, ‘Death on the Nile’, ‘Aliens’, ‘Superman II & III’, ‘Supergirl’, ‘Labyrinth’, ‘Batman’ and ‘The Deep’

 
 
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Posted by on January 17, 2012 in Art Department, Set Construction

 

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