Who are the producers and producers in the film? What is their position? If you have time to introduce other positions, thank you ~ ~

Producers, also known as "producers", refer to investors or people who can sponsor films. The commercial nature of the film determines that the producer is the owner of a film, and has the right to decide all the affairs of filming, including what kind of script to shoot, hiring directors, photographers and actors, and sending filmmakers to manage the filming funds, audit the filming funds and control the whole filming process. After the film is finished, the producer will develop and print the film and publicize and sell it to the market. Producers generally refer to the owners or management agents of film companies.

(Producer and producer are the same thing)

log

On-the-spot recorder, the lowest position in the director's department, has a large workload and little pay. You need to be careful to stay up late. Film introduction is the easiest entry position. If you are diligent, you can quickly become an assistant director of a play. Being familiar with the whole shooting process is also the best place to know the director. Many directors are from other places, deputy directors. Years of daughter-in-law make a woman. Hang in there, don't give up halfway.

Assistant director

Don't think that the deputy director is not far from the director. It will take you ten years and eight years to get rid of this word! This is not a person's job, although it is an auxiliary director's job, but it is all an errand boy, and being scolded is common. You know, the crew is the most vulgar place to trample on personality. Don't think that the people there are engaged in art. Usually, the average educational level of the people in the cast is junior high school, but no one will particularly respect you for a high diploma. Everything depends on whether you have material. Every job requires a lot of physical strength. After staying for a long time, naive girls will casually take out those words that cross. Assistant directors usually need people with shooting experience, which is the normal way to be a director.

be in charge of/supervisor

1. Artist-The director should have a certain accomplishment in literature, music, art and other aspects, have profound expressive force, and use his unique artistic talent and wisdom to conquer those who assist him.

2. Technical experts-the director should know every link of the film like the back of his hand, from scriptwriting, art (including designing scenes and props), photography, lighting, sound, editing or editing, makeup, hairstyle, title and subtitles.

The director is the essential oil of the crew. The film is a collective creation, and it must be well communicated with the staff and proficient in business to be convincing.

3. Social butterfly-the director must be able to promote himself and his films, behave appropriately in front of the media and leave a good impression. The director should be the most cunning role in the cast, and do whatever anyone wants. He is an expert in psychoanalysis. He has insight into the psychology of every staff member and induces them to work.

How's it going? This is a long and difficult journey. Are you scared?

In fact, you don't have to have the above conditions to be a director. That's the real director. There are so many so-called "directors" in the market now, with an average of one for each film and two or three for each TV series. You can recognize them easily in many shooting scenes. He is the most idiot on the scene, sitting in front of the monitor from work to work, and occasionally going to the toilet to drain water. He doesn't know photography, shooting and acting at ordinary times, and he looks very regretful and vain. Calling "cut" and "ok" is all his work, and nothing is easier than this.

What kind of director you become depends on your choice, your talent, your perseverance and your luck-I will try my best to help you anyway! There are many ways to become a director.

Path 1: Examination.

At present, Beijing Film Academy is the most authoritative college to recruit film majors in China. Although the academic style of "Nortel" is getting worse and worse, it is rich in "rap masters". However, before there is a better choice, we must make do. Domestic films are single in genre and similar in style. Besides being related to national policies, the teaching mechanism of Nortel should be an unshirkable responsibility. So if you have the conditions, I suggest coming home.

Path 2: Saving the Country by Curves

It is a good way to learn the relevant skills of directors from screenwriters, photographers, artists and other departments (see other chapters). If you master one of these skills, "excellent editing leads to guidance, and excellent acting can also lead to it", as long as you work hard in the direction of directing, you will stand out one day.

lamplight

The master who lights a lamp can turn decay into magic, and is called "Master Deng". Actors can't offend Master Deng, or he can make you lose seven points if you have seven points of beauty! In this line of work, you must be able to eat, sleep and be capable. Without a strong body, you can only stand aside. Like the photography team, it is the most loyal department. The film and television circle is actually a big river and lake, and a group of brothers are all blood heroes. Lighting group is relatively easy to enter the industry, and uneducated people can make a living. But if you want to succeed, it is not easy. Some people say that lighting is an elusive art, and it is not easy to capture light and shadow and use it to serve you.

When lighting for photography, people usually follow three methods:

An empirical method is to move the light source and repeat the experiment until it is satisfactory. This method is very interesting. When I first started, I collected all the desk lamps and flashlights at home, and then I took a pile of terracotta warriors and horses brought back by my sister from Xi 'an for experiments. On the one hand, I was wondering about the change of the light, on the other hand, I was wondering about the change of the lens. Of course, in the shooting scene, lighting engineers are usually not allowed to toss around slowly and must make a decision in a short time, so this method is only applicable outside the shooting scene, and it is a way for stupid birds to fly first in private.

Conventional law, as its name implies, is a method of doing things according to the rules. If you arrange the lights in a certain position according to the routine, there will be no problems, but there will be no surprises. The picture is the same, it's really boring. This method stifles the artistic potential of lighting. But it is also a necessary way, especially for TV series. The speed of an episode every four or five days is not acceptable.

On the basis of truly understanding the performance of light, three analysis methods constitute the processing of light step by step. By changing the light, the subject changes, exaggerating or narrowing some features, creating a kind of "artistic conception" and obtaining the relatively best effect. In other words, it is "the unity of knowing and doing", which is the highest realm that needs years of practice and artistic inspiration.

Lighting technology and hardware equipment are constantly developing, but no matter how technical means change with each passing day, the most important thing is to keep a strong curiosity, carefully observe the role of light and shadow in the surrounding world, and constantly explore and experiment. Only through practice can we get endless fun from the magic of lighting that infects people.

Lighting program

The chief photographer is responsible for lighting during shooting, and the lighting team obeys the photography team in principle and is led by the lighting team leader to provide support for the photography team. The two groups usually cooperate tacitly, and the general photography directors have their own familiar lighting groups.

The preliminary work of lighting guidance can be briefly summarized as follows:

Preliminary design

Script aesthetics-the nature of the script theme, the outline of the story and the explanation of plot analysis.

Details of the script-the script describes the scene scheduling, performance actions, effects, shooting outline, etc.

Shooting processing-how to prepare for shooting performance, photography skills and processing methods

Shooting location-where to shoot (studio, location, working conditions, potential problems, etc.). )

Producer collaboration-coordination with artists (set designers) in costumes, makeup, special effects and other personnel's work.

Details of lighting technology-evaluating reasonable lighting treatment and equipment

Organization-arrangement of renting and retaining equipment, available power supply and composition of lighting team

Light distribution method

Generally, the lighting team leader will estimate the possible demand in advance, roughly arrange the scenery lighting according to the photographer's position, then wait for the photographer's instructions and make adjustments according to the requirements of the chief photographer. Sometimes the director will arrange actors or invite body double to take a seat to facilitate the lighting.

Split-shot shooting

The film shot a series of shots, each lasting several seconds to several minutes. (Note: According to an authoritative statistic, a 90-minute movie may have about 600 to 800 shots, which are edited every 3- 10 second, and the figure is about 3-5 seconds for each shot. Of course, the use of the long lens may exceed 10 minutes. Not long ago, a director claimed to finish a film with 17 shots. No matter how big the pioneering work is, the figures can't explain anything, but the length of the lens is not standardized, depending on the needs of the film. )

In principle, only one lens is lit at a time. If you want to light several shots in a row, you have to make a compromise to adapt to the limitations of shooting venues and equipment. Close-ups and long-range shots are usually illuminated separately.

Configuration and power supply of lighting

The amount of lighting required to shoot a scene depends on many factors, besides the venue, it is also affected by the performance scope, the color of the set, the complexity of lighting treatment and even the cost. Therefore, the power consumption may range from zero (sunlight plus reflector) to several megawatts. Lighting power sources range from belt batteries to renting external power sources or large-capacity generators. Shooting night location, when there is no power supply, the crew will dispatch the generator car to generate electricity on site to ensure power supply. Therefore, lighting groups are generally equipped with specialized electricians.

martial arts director

Action directors are heavyweights in action movies, and they can attract as much attention as literary and dramatic directors. Action movies, as pioneers, lead China films to the world film industry and have an important position in Hollywood. In a sense, martial arts movies represent the position of China movies in the world movies. Action stars Bruce Lee, Jackie Chan, Jet Li, Chow Yun Fat and Yang Ziqiong fought in the United States from Hongkong, and kung fu was all the rage in China. China's kung fu and stunts in Fengyun made foreigners look silly, and action director Justin Heping became a real international man of the hour with The Matrix and Crouching Tiger, Hidden Dragon.

Every once in a while, martial arts films will show a new trend. Representative directors include Zhang Xinyan, Luo Wei, Wu Siyuan, Liu Jialiang, Sammo Hung, Yuan Heping, Chu Yuan, Tsui Hark, Tan Jiaming, Jing Wong, Cheng Xiaodong and Li Huiming. Movies in rivers and lakes should convince the audience and the peers, so we should pay attention to the doorways to make movies alive. Of course, doorways are not only martial arts, but also the use of film means, including scene scheduling, stunt application, action design and so on. Film stunts have become an important performance tool for action movies, which makes the possibility of action design constantly expand. In short, nothing is impossible, only unexpected.

In the form of action, traditional martial arts movies have the following forms: magic, Beijing opera, traditional martial arts, modern boxing, acrobatics, martial arts, instruments, weapons, pictographic boxing, firearms, and outstanding achievements.

Entry route

Action directors mostly come from martial arts, and martial arts mostly come from Chinese opera troupes, martial arts majors in sports colleges and sports teams. They all started from martial arts. Martial arts began to play more soldiers and crabs, or to be body double for the main actors, and the outstanding ones later became martial arts directors or martial arts stars. Being an action director requires a lot of knowledge, not just a few hands and punches. For the requirements of the director, refer to the director's article.

Note: Martial arts is the riskiest business in the film and television industry, and it is a big customer of insurance companies.

Every technology in film production-film, camera, lighting, sound effects and special effects-involves thousands of subtle tasks and always looks very complicated. No matter where you are, to be a master, you have to accumulate years of experience and experience many different actual shooting situations. However, my experience is that no equipment or technology is very complicated; Nothing can be explained clearly and mastered completely in ten minutes. Film making is an artistic application that combines thousands of related details. This book will help you understand some of them.

Let's talk about the role of lighting technicians in the production of a film.

The job description of the lighting engineer.

Lighting, scenery and photography departments should obey the instructions of the director of photography: DP). The lighting team leader (or lighting engineer: gaffer) and the scenery director (key grip) are assistants of the photography director. The leader of the lighting engineer is composed of the assistant chief lighting engineer, also known as the best man or electrician. Below the lighting engineer is an electrician, also called the lighting engineer or the third electrician.

Director of photography (director of photography)

The director of photography is the director's right hand; He (or "she") is the person who helps the director make all the important decisions. The main duties of a photography director are: to make a movie of the scenes he and the director imagined together; Determine the appropriate time, place and atmosphere to use the lights; Choose the best camera angle for the plot. The director of photography will also choose the light source, and according to the requirements of the script and the director, balance the realistic effect and stylized drama effect to meet the requirements of the picture. The director of photography should also make suggestions on the design and color of scenery and costumes, and also participate in the selection of shooting sites. The photography director will help the director decide the content of each scene and decide to shoot different photography angles for the editors to use when editing. When choosing a photography angle, the photography director must propose a suitable lens direction (together with the script supervisor) and provide a light map when installing the stage. Photography directors usually use cameras to test the picture effect before shooting. He may try different lighting effects, use different colored paper, special darkroom technology or different filter combinations to find an effect that can meet the requirements of the script. Photography directors may also need to do their own research before shooting to ensure the truth and accuracy of the times and get inspiration.

The work of a photography director has many responsibilities, whether it is creative or economic. Producers rely on the director of photography not only for the quality of the picture, but also to urge him to follow the production schedule. Photography directors are always faced with contradictions. He hopes to get satisfactory picture effect and meet the needs of film schedule and budget. The ability of lighting engineer to install lighting quickly and effectively directly affects the ability of photography director to complete excellent works and follow the production schedule.

Foreman (lighting group leader)

The leader of the lighting group is the chief lighting technician (CLT). He works directly with the director of photography, is responsible for lighting according to the light map, and helps the director of photography to get the ideal picture of the film. The director of photography, the leader of lighting group and the chief landscape architect attended the pre-production meeting to find a suitable venue for shooting. They discuss the director's handling of each scene and decide what lighting and accessories are needed.

In terms of installation, the lighting team leader is responsible for distributing light according to the lighting diagram, distributing and directing the work of lighting staff. Photography directors usually express their ideas, such as the atmosphere they want, the borrowed light source of the scene, and the F-value aperture coefficient of the picture they want to shoot. Then the photography director and the lighting team leader discuss the lighting. The photography director may already have an ideal lamp in mind, or he may directly let the lighting team leader handle it. Then the lighting team leader guides his lighting staff to work, inspects the exact scene, and gives each lamp appropriate light to meet the requirements of photography guidance. Usually, as soon as the lighting team leader finishes lighting, the photography director will review and make some adjustments.

The lighting team leader must have a pair of very keen eyes and profound knowledge, so as to know what kind of lights can get the desired effect. When the lighting is finished for the first time, the lighting leader becomes the second pair of eyes of the photography director. The lighting team leader is always looking for problems-inappropriate lighting, overexposure, white spots, ugly shadows, etc. The lighting team leader and photography director are responsible for finding ways to make the picture look good. The first-class lighting group leader has a pair of critical eyes to measure the balance of light and shadow, facial modeling, and the distinction between foreground, middle scene and background. The lighting team leader always carries an exposure meter with him, often stands around the lens with the photography director, measures the light shining on the subject, and negotiates the proportion of supplementary light and exposure balance with the photography director.

An important part of the lighting team leader's work is organization and control. He must constantly review his work, improve his work efficiency, always pay attention to the working state of his lighting engineer, and always think about the power supply and lighting in advance, so that he can have a thoughtful plan for each shot, and he must always be alert to any possible demand to prevent the production progress from being delayed.

The lighting team leader never has to leave the shooting scene. He must always rely on the lighting technicians around him to adjust the lamps and get to the equipment in time when necessary. If it is necessary to move the set when shooting, photographers and electricians usually stand outside the set near the door, ready to act at any time. Because the lighting engineer is always busy, it is very helpful for the lighting engineer to improve the speed and shooting efficiency by standing near the target, listening to the progress of the scene and thinking about the settings to be made in advance.

Lighting Assistant (Best Boy Electrical Appliance)

The lighting assistant is the main assistant of the lighting team leader. He (or "she") is responsible for the manpower and equipment of the power department-this is an indispensable role for successfully guiding the lighting technician. The duties of the lighting assistant include looking for the location with the lighting team leader, taking notes on the location, creating a lighting map with the lighting team leader if necessary, arranging the required equipment in a table, guiding the loading (loading the equipment into the truck at the equipment rental location the day before shooting), organizing the placement of the equipment in the truck, returning or reloading the equipment to the truck at each location, keeping a list of the flow direction and damage of the equipment, and guiding the return of the equipment after shooting. At each station, the lighting assistant is responsible for the operation of wires and guides the distribution of electric energy of lamps. In addition to the equipment list, the lighting assistant also keeps a list of colored paper and consumables; Coordinate the reservation, return, lease and special needs of equipment; Responsible for hiring and firing electricians. The lighting assistant is responsible for the contract and time card of the power technician.

When shooting, the lighting assistant needs to make sure that the electricians are where they should be and that no one is wandering around to hinder the shooting. The lighting assistant also needs to be responsible for repairing or replacing the broken equipment, replacing the burnt light bulb, placing the equipment, and properly placing the equipment on the truck for easy removal.

When an electrician has a complaint, the lighting assistant should be the first person to look for. According to the hierarchical relationship, electricians should not complain directly to the production supervisor or director. If necessary, the lighting assistant will work with the lighting team leader to solve the problem. The lighting team leader should participate in solving problems and try to meet the needs of electricians. There are usually many solutions. People always hope that the excellent work of lighting technicians can be noticed, not criticized.

Most importantly, the lighting assistant is the messenger of the power department. He is responsible for communication and negotiation with other departments, fire chief, equipment lessor and other equipment suppliers. A lighting assistant who keeps a good relationship with various departments can always get the necessary help when needed. For example, when a lighting assistant needs to put lights on the roof, the on-site department must contact relevant departments to ensure the safety of that position. When the lighting assistant needs to deliver some extra equipment as soon as possible, his relationship with the transportation department and the equipment lessor comes into play. The negotiation ability of lighting assistant is very important.

electrician

Electricians are often affectionately called juice or sparks, or set lighting technicians or lamp operators. The most basic job of an electrician is to place and adjust the lights according to the wishes of the lighting team leader. In each scene, the electrician is responsible for unloading the equipment from the truck or loading it after shooting, running the line and distributing the power of the lights. They may also be asked to help other departments-hair, makeup, photography, recording-however, the transportation department among them is usually responsible for all transportation vehicles; When installing, the electrician is responsible for the safe installation of all lamps and lanterns, and controls the luminosity, direction, color and light quality; Install special lamps (such as desk lamps and wall lamps), switches, sockets and artificial scenery; The electrician also predicts the equipment that the lighting team leader will use, so that the equipment will be in his hand when he starts up, thus speeding up the production progress.

An experienced electrician can quickly transfer equipment, and the rationality of the action depends on the proficiency of the work. He focused on two things-the instructions of the lighting technician and the state of the lights. He always needs to pay attention to the new requirements of the lighting team leader and photography director, and also needs to pay attention to what help other electricians need. At the same time, electricians also need to pay attention to whether the lamps will fall, explode, leak electricity and light. Through some dialogues and gestures, electricians need to understand the intention of the lighting team leader and use lamps to create the desired effect.

It should be pointed out that film electricians are rarely very skilled or experienced. They can't wire buildings or handle high-voltage electricity. Their job is just to light up the movie.

Landscape department (Grip department)

Lighting equipment without electricity is generally operated by the master of landscape department. (The cameraman is also affectionately known as harmer. ) Silk, flags, reflectors, rigging, trolleys and trolley tracks, cranes, lifting arms, etc. It's all in the photographer's job scope. Lighting, dimmers and sockets all belong to the work scope of electricians. We can say that the electrician is responsible for lighting and the cameraman is responsible for shading. Every time the electrician sets up a lamp, the cameraman will immediately rush to the electrician with his grip bag, which should contain a C-shaped lamp holder (or magic leg: C-shaped bracket), a flag board and a soft light board (net). In addition, the cameraman is usually responsible for putting sandbags on the lamp holder and holding the ladder steady. When shooting on uneven ground, the cameraman is also responsible for spreading sand on the ground to balance the big lamp holder. In Los Angeles, electricians always bring their own installation hardware such as ladders, sandbags and pipe clamps. The cameraman is also responsible for putting colored paper and soft paper on colored paper clips or windows when necessary. The electrician is responsible for pasting colored paper or soft paper directly on the lamps.

Photographers are responsible for the safety of installation, and they often need to install safety devices for lamps. Photographers also made high-speed rail grids, wall brackets, hangers and similar rigging. When lights need to be hung on the ceiling grid or wall of the set, photographers usually need to install safety devices. Then the electrician will be responsible for plugging in the socket and adjusting the lights. When it is necessary to install large lamps on a high platform, the photographer should install lamps and light stands on the top of the platform (parallel) or in the work basket of elevators (such as snorkeling or condor) and ensure their safety. When it is necessary to shoot indoor scenes at night and during the day, the cameraman needs to be responsible for the black seal of the scene and set up a black tent outside the window to provide enough space for outdoor lighting.

The head of the landscape department is the key to grasp. The landscape director instructs his photographer just as the lighting team leader instructs his electrician. He or she works with the lighting team leader to assist the lighting needs of the lighting team leader.

The first assistant of landscape director is the best boy grip. The position of landscape assistant in the landscape department is the same as that of lighting assistant in the lighting department.

Dolly grip is responsible for operating the rail car and elevator: laying the track smoothly, moving the camera to the designated position smoothly with accurate speed, controlling the camera on the rocker arm, etc. When the camera needs to be placed in an unsafe position, such as the hood of a car, the cameraman also needs to install protective devices for the camera.

Production team (company)

The film crew consists of freelance artists, technicians and managers, which are raised by the production company in the film preparation stage. Producers and directors will choose the heads of various departments: photography directors, production designers, Andhadhun, editors, etc. The heads of various departments usually bring their employees into the production team. The photography director will also recommend the lighting group leader, landscape director, cameraman and camera assistant he thinks fit. By analogy, the lighting team leader will recommend an electrician he knows and trusts.

Each work will be completed by different staff in different places and different environments.

Production personnel (production personnel)

The staff are all officially employed by the producers. Although the lighting team leader usually brings an electrician into the crew, it is the producer who formally signs an agreement or contract with the electrician. The salary will be paid by the financial department or the wealth management company.

The production manager of the project unit: UPM) is responsible for preparing the script, making the schedule, specifying and controlling the budget, supervising the selection of shooting location, supervising the daily production changes, such as allowing overtime and changing the schedule due to weather conditions, and organizing all logistics work, including accommodation, food, transportation, permits, security and insurance.

The production coordinator assists the production director. His work includes finding actors and crew, booking and returning equipment, ordering consumables and logistics supplies, handling matters related to location, supervising all expenses of the crew, distributing all kinds of production information to different departments, coordinating and distributing shooting schedules, and controlling budgets. The production director and production coordinator always go out to work outside the office, and they frequently visit the shooting scene.

Assistant director (assistant director)

The assistant director (1STAD) is responsible for coordinating the actions and actors of various departments, planning the daily work schedule, posting the roll call (usually by the second assistant director), informing the crew members of the shooting schedule and planning in advance to minimize the time spent on each stage installation. The assistant director must always pay attention to any possible travel delays or problems, promote and coordinate the work of all employees, and find and solve problems before they occur. He or she is responsible for ensuring that the shooting work is carried out on time and effectively.

The deputy director is responsible for coordinating the cooperation of various departments. For example, an electrician wants to move some furniture to put lamps, but the landscape designer is not on the scene, so the first or second deputy director is responsible for solving the problem.

The assistant director is also responsible to the actors: coordinating their schedules and instructing them to put on makeup or clothes on time. The assistant director should also guide the backstage work, control the scene, and be responsible for the safety precautions when special effects or complex stage installations are needed. The assistant director should shout "action" before turning on the computer, and also shout "stop" when the director says "stop". Of course, the assistant director must tell everyone what to do every time.

The assistant director has a deputy: the second assistant director, and so on. The second assistant director is assisted by a third assistant director (2nd 2nd AD) and a group of production assistants (PA). Usually you can ask the production assistant to do any extra work for you, just ask the second assistant director to help you.

Script supervisor

For example, which actor has a beer in his hand, at which point in the scene he takes out a cigarette, and whether his sleeves are rolled up, all these details need the attention and record of the script supervisor. Because of this, it is very important for him to watch every play. The script director should also record the scene, recording the number of shots, lens scale, action, eyeliner direction, good shots, smooth shots (and reasons), line changes (including improvisation and mistakes) and so on. The lighting team leader sometimes asks the lighting assistant to record each lighting position in detail, especially when a scene needs to be reshoot! The script director can provide the lighting assistant with the corresponding scene number for him to record.

Photography department (camera department)

The photography department consists of a photography director, a photographer and the first photography assistant. Second photo assistant and film changer. The first photography assistant (1st AC) is responsible for focusing, changing lenses, threading and maintaining the camera. The first photo assistant never leaves the camera.

The first photography assistant always asks the lighting technician to try to adjust the lighting so that the scattered light does not hit the lens. (When light is directed at the lens, it will cause glare. Photographic assistants and cameramen need to look for scattered light during stage setting and rehearsal.

The second photo assistant and film changer will assist the first photo assistant: lens changing, film changing, film loading and paperwork. Almost all photographic equipment needs batteries, but the second photographic assistant needs to find alternating current to power the display and charge the batteries. When the director needs to use the monitor, the second photography assistant must find the power supply for the monitor with the camera set. Similarly, the second photo assistant also needs to prepare a stinger for the rail car.