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Establishing Relationships With The Key Crew
2. Data Wrangler
3. Script Supervisor
4. Assistant Camerapersons
1.
The DIT – Digital Imaging Technician
2.
The DIT – Digital Imaging Technician (cont'd)
In many cases your DIT will be supplying you with your dailies. The
DIT sends each day's recordings from set, along with corresponding
metadata, to the post production team to be prepared for the editor.
On our recent film , “Naked”, our DIT was supplying us with dailies,
so he was our direct contact in regards to the footage.
You want to get on the same page with your DIT very early on. It's
helpful just to know these people socially and have a good rapport
with them. You're going to be working with them for three, four,
sometimes eight weeks and longer depending on the size of the film,
so it's really important to know your DIT and develop a clear line of
communication with them.
Data Wrangler
3.
Data Wrangler (cont'd)
At the time of this writing the Data Wrangler is a position that exists in
somewhat of a grey area of union classification, as
they perform many tasks similar to an assistant editor and/or a
camera assistant. Quite often, and when budgets are tight, they are
hired as a non-union worker.
Script Supervisor
4.
Script Supervisor (cont'd)
Usually, the first person you'll call with any concern about something
that was, or more likely wasn’t shot is going to be your Script
Supervisor. In addition to his or her duties regarding continuity, this
person notes what was shot on a daily basis, what was scheduled to
be shot but possibly got rescheduled, and all of the technical
information that needs to be documented with each day’s work. The
Script Supervisor also talks with the camera crew regarding each
setup and notates the lens information of all your given takes
recorded.
5.
Script Supervisor - (cont'd)
The Script Supervisor also is your closest link to the director and
what's going on in their mind. Often they will get a good idea of how
the director is feeling about each day's shooting. In most situations
the Script Supervisor will be giving you notes on the director's
preferred takes. For this and the other reasons stated above, the
Script Supervisor is a very important person to get to know and to
develop a good relationship with early on.
Assistant Cameraperson
6.
Assistant Cameraperson (cont'd)
In general, AC's have more than enough work to do on set, and I'll
usually contact them via email if I need to get information that only
they would know. Otherwise, to not overburden them while they're
on the firing line, It’s best to try and get the information you need
from the DIT or Script Supervisor.
However, there are times when you just need to speak to someone
directly on the camera crew. For example, one thing that tends to
happen on a lot of films is bad or missing slates. You might have
slates not quite making it into the frame or pehaps you can’t read a
slate because it was too dark and it’s causing you a problem.
7.
Assistant Cameraperson (cont'd)
The person who's holding the slate is typically a second AC. This is
the person who you want to reach out to and just say, "Hey, I know
you're really busy, but could you get that slate more in shot, I need to
see what it is we have."
8.
Production Sound Mixer (cont'd)
10.