Lassistant ralisateur

DURANT LE TOURNAGE, LES SEULES PROCCUPATIONS DUN RALISATEUR DOIVENT TRE SA MISE EN SCNE ET LE TRAVAIL AVEC LES COMDIENS. LA TACHE DE LASSISTANT RALISATEUR EST ALORS DORGANISER LASPECT MATRIEL DU TOURNAGE AVEC LES DIFFRENTS DPARTEMENTS ET LES TECHNICIENS.

Le premier est prsent des le dbut de la prparation et toffe son quipe au fur et mesure de lapproche du tournage quant a le deuxime assistant cest lui qui assure la liaison avec la rgie, laccessoiriste ; le dcor ; les costumes etc. Une bonne entente et une parfaite confiance entre le ralisateur et le premier assistant sont indispensables pour obtenir un travail efficace. Linstrument de travail primordial de lassistant est le dcoupage ou, en labsence de celui-ci, le scnario.il en lire un dpouillement qui clarifie tout ce qui concerne le future tournage : Le nombre dinterprtes ;la nature des dcors, la liste des accessoires, des costumes, de la machinerie, etc. Evidement quelle que soit la minutie du dcoupage, sa richesse en dtails, une foule de prcisions manqueront invitablement, prcisions que seul le ralisateur peut lui lui apporter. Dou de frquents changes entre eux.

Quand les reprages sont suffisamment avancs, la distribution faite, lassistant ; laide du dpouillement s'occupe. Au plan du travail. Celuice dterminera lorganisation du tournage jour par jour : Lieux de tournage. Numros des squences et plan tourner, horaires, prsence des comdiens, besoins en accessoires, en machinerie. Le manque de comdiens ou bien la location du dcor aussi les problmes du mto, un bon assistant tache de rsoudre par ses propres moyens et trouve des solutions de remplacement. Quand il russit, le ralisateur nest mme pas mis au courant des difficults. Donc, lassistant est lun des pivots de lquipe. On attend de lui non seulement des qualits dorganisateur et une sensibilit artistique mais aussi une autorit certaine, ainsi que suffisamment de souplesse et dintelligence pour pouvoir se mettre dans la peau de chacun des ralisateurs avec lesquels il travaille. De son cote, le ralisateur ne doit jamais tre avare dexplications, de clarifications, de renseignements .Dailleurs, plus, il parle de son projet et plus il provoque de discussions et de questions, plus il peut tre assur, non seulement de la bonne comprhension de ses collaborateurs, mais galement de leur envie dapporter des ides leur tour et denrichir luvre.

Or, quand peut on prendre du temps pour ce genre de discussions sinon durant la prparation ? Pendant le tournage, stress, plan de travail serr, problmes de toutes sortes imposent des rapports lus pragmatiques. Lassistant ralisateur joue pourtant un rle de poids lors du tournage en soulageant lquipe des difficults matrielles qui peuvent survenir Le bras droit du ralisateur Le premier assistant travaille ds la prparation du film et participe aux reprages. Lors de la prparation du film, il doit dpouiller le scnario et, selon les cas, tablir un plan de travail en relation avec la production. Lassistant ralisateur doit tre dot dun grand sens de lcoute pour comprendre dans quelle direction artistique et technique le cinaste dsire inflchir son film. Ds que commence le tournage, il en planifie les tapes et coordonne les diffrentes quipes techniques. Il lui incombe de faire respecter le plan de travail et de proposer des solutions de remplacement en cas dimprvus. Sa place est, tout moment, aux cts du ralisateur. Cest lui qui, par exemple, ordonne le silence avant le dbut de la prise. Cela peut sembler un dtail mais cela veut dire beaucoup en termes de hirarchie sur un plateau.

Lassistant ralisateur est ainsi en premire ligne pour grer les conflits au sein du tournage. Il se doit donc dtre organis et de possder une certaine autorit naturelle. Lautre qualit, et non la moindre, est lhumilit puisque, quelque soit son investissement sur le film, celui-ci sera toujours sign du nom du metteur en scne. Le premier assistant dispose lui-mme dune quipe comprenant un second assistant ralisateur et parfois un troisime selon la complexit du tournage. Au second assistant est par exemple dvolue la tache de raliser la feuille de service de la journe. Cette feuille est un lment trs important puisquelle sert convoquer les techniciens et comdiens pour le tournage du lendemain et tient compte des imprvus tels que des changements de dcors ou de squences. Une voie vers la ralisation Le poste dassistant ralisateur est une des voies pouvant mener la ralisation elle-mme. Comme chacun sait, la constitution dun rseau tant primordial pour les mtiers du cinma, le meilleur contexte pour montrer son professionnalisme demeure le plateau lui-mme.

Ainsi, on retrouve au gnrique de LAile ou La Cuisse de Claude Zidi, un premier assistant du nom de Jean-Jacques Beineix. Quant Luc Besson, il fut lassistant de Raphal Delpard sur la comdie Les Bidasses aux grandes manoeuvres o figurait en second rle un certain Jean Reno. Glorieuses ou non, ces annes dassistanat dmontrent que toutes les occasions sont bonnes pour acqurir lexprience du plateau de cinma. Cependant, mme si le poste est un chelon indniable vers la ralisation, il est galement un mtier part entire. Bien des assistants ne nourrissent pas dambitions de ralisation et mettent leur exprience au service des ralisateurs. Certains assistants ralisateurs peuvent seconder un cinaste inexpriment (un crivain passant la ralisation, par exemple) ou se spcialiser dans certains types de films tels que les gros tournages internationaux ou les productions effets spciaux. Formation Idalement, aprs un BTS mtiers de laudiovisuel, option mtiers de limage ou un autre diplme bac + 2/3, le futur assistant suivra une cole comme lESAV ou ESCA.

Plusieurs organismes proposent galement une formation continue au mtier dassistant ralisateur. De nombreux premiers assistants font galement leurs premiers pas professionnels comme stagiaire, puis deviennent second assistant, et enfin premier assistant. Au bout de trois longs mtrages comme second assistant, il est possible de demander au CCM une carte professionnelle de premier assistant ; aprs trois longs mtrages en tant que premier assistant, on peut demander au CCM une carte professionnelle de ralisateur (First AD or First) Assistant-director ou AD The First Assistant Director (AD) is the Director's right hand person, taking responsibility for a number of important practicalities so that the Director is free to concentrate on the creative process. During pre-production, First ADs break down the script into a shot-by-shot storyboard, and work with the Director to determine the shoot order, and how long each scene will take to film. They then draw up the overall shooting schedule (a timetable for the filming period). Once the film is in production, Firsts are in charge of making sure that every aspect of the shoot keeps to this schedule.

Responsibilities First ADs' main duties are assisting the Director, co-ordinating all production activity, and supervising the cast and crew. They are also in charge of a department of other Assistant Directors and Runners. Overall, they provide the key link between the Director, the cast and the crew, whilst also liaising with the production office, and providing regular progress reports about the shoot. Before the shoot, the Firsts' main task is to create the filming schedule, working in careful consultation with the Director in order to fulfil his or her creative ambitions. When drawing up the shooting schedule, First ADs must also be aware of budgetary constraints, cast availability and script coverage. Preparing the storyboard, overseeing the hiring of locations, props and equipment, and checking weather reports, are all key pre-production duties for Firsts. During production, they must ensure that everyone is on standby and ready for the Director's cue for action. First ADs' core responsibility is to keep filming on schedule by driving it forward, so they frequently make announcements and give directions to coordinate the cast and crew.

They also control discipline on the set, supervise the other Assistant Directors, and oversee the preparation of the daily 'call sheet' (a document detailing daily shooting logistics, which is distributed to all cast and crew). Firsts are also responsible for health and safety on set or location, and must take action to eliminate or minimise hazards at all times. Skills First ADs must be authoritative team-leaders and motivators, whilst also being approachable team players. They need exceptional organisational and time-management skills. The ability to plan ahead, trouble-shoot and pay close attention to detail is vital in this role. Being an excellent communicator, with tact and diplomacy skills, is also essential as they must routinely deal with problem or even crisis situations. They must also constantly prioritise tasks, and may be frequently interrupted, the ability to multi-task is crucial. Firsts work long and often unsocial hours on a freelance basis, so a strong commitment to the job is essential. As they also usually work under highly pressurised and stressful conditions, a flexible and positive approach is highly valued.

Qualifications/Experience No formal qualifications are required to become a First Assistant Director. Extensive industry experience gained through working on set or on location is the key route to develop the necessary skills. Most First ADs start as Runners, before progressing through the other Assistant Director roles (Third Assistant Director and Second Assistant Director). This route may take a number of years. In particular, Firsts need specific experience in planning and budgeting (and how this affects scheduling), as well as in-depth knowledge of, and qualifications in, current Health and Safety legislation and procedures. Regular Health and Safety training courses should be undertaken, in order to keep this knowledge up to date. A full driving licence is generally deemed necessary. Individual course accreditation in certain subject areas is currently being piloted. As part of Skillset's and the UK Film Council's Film Skills Strategy, A Bigger Future, a network of Screen Academies and a Film Business Academy have

been approved as centres of excellence in education and training for film. The role of an Assistant director include tracking daily progress against the filming production schedule, arranging logistics, preparing daily call sheets, checking cast and crew, maintaining order on the set. They also have to take care of health and safety of the crew. Historically the role of an assistant to the director (not the same as an Assistant director) was a stepping stone to directing work; Alfred Hitchcock was an AD, as was James McTeigue. This transition into film directing is no longer common in feature films, but remains an avenue for television work, particularly in Australia and Britain. It is more common now for ADs to transition coproduction and producer roles than to directing.

An "assistant director" can also take on many different roles. Responsibilities of an assistant director in theatre may include taking notes to actually staging parts of the play. Many aspiring theatre directors begin their careers assistant directing, although the responsibilities in theatre are usually completely different to the requirements of filmmaking and should not be confused.

Often, the role of assistant director is broken down into the following sub-roles: The First Assistant Director (First or 1st AD) has overall AD responsibilities and supervises the Second AD. The "first" is directly responsible to the director and "runs" the floor or set. The 1st AD and the unit production manager are two of the highest "below the line" technical roles in filmmaking (as opposed to creative or "above the line" roles) and so, in this strict sense, the role of 1AD is noncreative.

The Second Assistant Director (Second or 2AD) creates the daily call sheets from the production schedule,[citation needed] in cooperation with the production coordinator. The "second" also serves as the "backstage manager", liaising with actors, putting cast through make-up and wardrobe, which relieves the "first" of these duties. Supervision of the second second assistant director, third assistant director, assistant director trainees, and the setting of background (extras) are parts of the "second's" duties.

The Second Second Assistant

Director (Second Second or 22AD) deals with the increased workload of a large or complicated production. For example, a production with a large number of cast may require the division of the aspects of backstage manager and the call sheet production work to two separate people.

The Third Assistant Director (Third or 3rd AD) works on set with the "First" and may liaise with the "Second" to move actors from base camp (the area containing the production, cast, and hair and makeup trailers), organize crowd scenes, and supervise one or more production assistants (PA). There is sometimes no clear distinction between a 2AD and a 3AD. Although some industry bodies (American DGA) have

defined the roles in an objective way, others believe it to be a subjective distinction.

The Additional Assistant Director (AAD or Additional) or Fourth Assistant Director (4AD or "Fourth") or "Key Production Assistant" (Key PA) may have a number of duties. Most commonly, the AAD has two broad job functions. One is the contraction of the duties of an AD where the AD acts as both 2nd AD and 3rd AD simultaneously

. For example, a production with a large number of cast may pass the 2AD call sheet production work to that of the AAD, especially when the 2AD is already performing the additional work of a 3rd AD. The other main use of an AAD is as an adjunct to the 3AD and 1AD for logistically large scenes where more ADs are needed to control large numbers of extras. The "Additional" may also serve where the complexity of the scene or specialized elements within it (stunts, period work) require or are best served by a dedicated AD in most respects equal to a 1st AD - directing and controlling a number of other ADs to direct action to the satisfaction of the 1AD and the director. A production assistant is one of the lowest crew in a film's hierarchy in terms of salary[1] and authority[citation needed]. They perform various duties required of them by ADs.

The sub-roles of assistant directors differ among nations. For example, the distinction between second second AD and third AD is more common in North America. British and Australian productions, rather than having a second second AD, will hire a "second" 2AD experienced in the same duties, and trained to the same level, to allow a division of the duties. 3ADs in Britain and Australia have different duties from a second second AD, and the terms are not synonymous.For example A "third" may just be a crowd scene specialist, with seniority, and even higher pay than the second AD of that production.[citation needed] Many times, in Hollywood film making, especially studio productions, the First A.D. is the first person hired on a film, often as soon as the project has been green lit for production. An assistant director must be very good at estimating how long a scene will take. (Sometimes a scene running a few pages long on the screenplay can be shot relatively quickly, while a half page emotional key moment may take all day.) When producers visit their production sets or floors, the First A.D. is the one they will want to listen to and get answers from.[citation needed] Often, this person will provide the objective view on progress being made, problems that may be foreseen, and solutions that may be found. The director is often insulated from these discussions, except when inevitable.[citation needed]

[edit]Calling the Roll The 1st AD's responsibilities is to "call the roll". Over the years, special procedures have been developed for this task to achieve maximum efficiency during shooting, which is usually some variant of the following: 1. "Waiting on..." Though not technically part of calling the roll, 1st ADs may keep the set focused by frequently calling out which department is responsible for a delay in rolling a take. If the lights need to be adjusted, the 1st AD calls out, "Waiting on lighting". If the actors are still in their trailer, the 1st AD calls out "Waiting on talent", etc. However, such calls can be regarded as applying excessive pressure to the department in question, and especially in the case of actors, are often avoided. 2. "Final checks, please" (or "Last looks"). Once everyone is in place, and rehearsals and blocking have finished, the 1st AD calls out, "Final checks" or "Checks". This is the signal for any last minute adjustments, especially to hair, makeup, wardrobe and props. 3. Traditionally, the 1st AD calls "Quiet on the set". However, it is more common in current productions to hear first "Picture is up!" (or "Rehearsal's up" accordingly) followed by "Quiet please!" to alert everyone that the take is ready and imminent.

4. "Lock it down" is also a signal (particularly on location) to ensure nothing interrupts the take, crucial for Third Assistant Directors, as this is their primary responsibility during a take. 5. "Turnover." While some ADs say both "Roll sound" and "Roll camera", "Turnover" signals both the camera and sound departments to start rolling. The sound department will roll first (sound stock is cheaper than film, so this minimises the film footage used for the take). After a second or two, the sound recordist will confirm that the recording equipment is running at the correct speed by calling "Speed". Hearing this, the Clapper-Loader immediately calls out the "scene" and "take" numbers so that these details are on the recording. Simultaneously (or within a very few seconds) the Camera Operator or Focus Puller will roll the camera, and immediately the camera is confirmed as running at the correct speed, will call for the Clapper-Loader to "Mark it" (or "Smack it", "Bang it", "Tag it", etc.). This is done by showing the slate ("clapper-board") on camera, and bringing the clapper down to make a synchronisation point for audio (the sound of the clapper) and picture (the two parts of the clapper being seen to come together). 6.

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9. With the slate quickly taken out of shot, and the camera refocused or repointed as necessary for the opening framing, the Camera Operator calls "Set" or "Frame" to indicate that all is ready to capture the action. 10. Generally, it is the 1st Assistant Director who calls "Action", though on some sets the Director does so. (The 1st possibly preceded by "Background Action" if extras must be in motion before the main action commences). 11. Usually the Director says "Cut", but Camera Operators may also "cut" to save film if they know the take is unusable. 12. After the Director has called "Cut", the 1st AD will check whether the Director is happy with the take, and conclude the roll with a direction such as "Going again" or "That's a take two" if another take is required. If the Director does not want

another take, the AD will call "Check the gate" (a signal for the Focus Puller or Camera Assistant to confirm that the camera has not malfunctioned during a take, and that there is no hair or fluff in the aperture ("gate") where the film is exposed).

When the camera has been checked, the call from the Focus Puller or Camera Assistant will be "Clear gate!". Then, if the scene is complete, the AD may call "Moving on" or "Next scene". These announcements cue all departments and the ADs on set as to the next steps they must take. For example, "Going again" and/or "Back to One" may require a reset of elements in the frame extras, cars - anything that moved) back to where they started, which the 3rd AD will oversee.
13.

The above roll sequence can be varied by, for example, eliminating the sound calls and the clapping of the slate if the shot is mute or "MOS" ("MOS" is a universal abbreviation for "Motor Only Shot").[2] At other times, for expediency (e.g. if the shot begins with a closeup of a closed door which then opens), the slate may be shown at the end of the take rather than the beginning. In this case, once the sound is rolling, there is an audible announcement of "End board" or "End slate" (also "Tail slate") so that the editing department knows to look for the sync marks at the end of the action. At the conclusion of the

action, the Director will still call "Cut", but the 1st AD (and possibly others) will immediately call "End board!" so that the camera and sound recorder are not turned off before the clapper is clapped. Also, as a visual cue to the editors, the clapper-board will be shown upside down on camera.