Film Crew 101

A Key Grip works with the Gaffer and the Director of Photography to help oversee electric and rigging crews on a set. They’ll work with these teams to execute lighting and camera movements with a variety of equipment. A Visual Effects Key Grip differs from a key grip in that they specialize in unique lighting techniques and camera technologies that make those iconic action shots from some of your favorite movies possible. Today, our host, Oklahoma-based writer, director, and filmmaker Noble Banks speaks with Key Grip and Visual Effects Key Grip Craig “Cowboy” Aines, whose credits include Dr. Dolittle 2 and Happy Gilmore.

Melissa Caswell is an Oklahoma-based script supervisor and production assistant. She has worked as a Base Camp PA on the Sundance award-winning "Minari," an Office PA on "Stillwater," and an APOC on the independent film, "Iké Boys." In this episode, you'll learn about the duties of the Office PA.

Dino began working in the digital cinema space after the purchase of one of the first Red One cameras. Combined with his extensive background in production, his knowledge of the camera positioned him to stand out as a leading DIT early on as the industry transitioned to digital cinema. In addition to multiple music video credits and TV credits, Dino’s DIT film credits include Terrence Malick’s The Tree of Life and To the Wonder, as well as the Oscar-winning films Gravity and Birdman. Recently, he has worked on The High Note, Irresistible, and Work It.

Chris Clark's credits include "Pan Am," "Scream Queens," "Feud: Bette and Joan," "American Crime Story," "Pose," "The Politician," and Netflix's recent TV series "Ratched." In this episode, you'll learn what a hair department head does and get some tips on how to get hired in the hair department.

A Gaffer, or more formally, the Chief Lighting Technician, is in charge of the crew that runs the lighting on a film set. Gaffer Steve Mathis has worked on films including Halloween, Back to the Future, Mrs. Doubtfire, Moulin Rouge!, Dawn of the Planet of the Apes, Thor: Ragnarok, and more recently, Wonder Woman 1984. In this episode, Steve talks about his responsibilities during pre-production and production. 

A post production coordinator supports post-production teams as they work to deliver a finished film. Today, our host, Emmy award-winning documentary series editor and award-winning feature documentary producer, Amy Janes, talks with Sue-Ellen Chitunya, who has worked as the in-house post production coordinator for some of your favorite Marvel films including "Ant Man," "Doctor Strange," "Guardians of the Galaxy Vol 2," "Thor: Ragnarok," "Black Panther," "Avengers: Infinity War," and "Ant Man and the Wasp." What a fantastic list!

This episode is sponsored by Cherokee Nation Film Office.

Also referred to as a "Key Makeup" or "Key," a Key Makeup Artist assists the makeup department head and supports the department as a whole. Depending on the Head of Makeup's preferences, tasks for a key could include clerical work, taking pictures of looks and keeping track of continuity, and/or helping achieve makeup looks on talent. 

During filming, the Key Makeup Artist will work with talent to help achieve the makeup looks that the department head has designed for the production. They will also act as a liaison for the makeup department when communicating with assistant directing, hair, costume, special effects, and property departments. There will be times when the makeup department will need to collaborate with these departments to make sure an actor’s look is ready for filming. The key makeup will assist the head of makeup in this capacity until production wraps.

Mathew Price is a Production Sound Mixer whose skill can be heard in some of your favorite films and tv shows (he's worked on The Sopranos, The Marvelous Mrs. Masiel, Daredevil, You, and Teenage Mutant Ninja Turtles to name a few). In this episode, he talks about the nitty-gritty of capturing sound on a film set and how to build a career that lasts. 

A background production assistant works in the AD department. Their main focus is to organize and oversee the background actors, or extras, on set. 

A background pa works with the 2nd AD to prepare for the shoot day. They’ll organize vouchers for the extras and study the shooting schedule, script, and location maps. They will need to know where departments and bathrooms are, where extras will check-in, and where to hold extras as they wait to go on set. The bg pa will also plan for extra help from other PAs to control large crowds if needed. 

Each day, the bg pa arrives early to get ready for extras. They will set up a visible check-in spot for extras, communicate with the 2nd AD as they arrive, and then guide them to hair, makeup, and wardrobe. The bg pa remains in communication with the 2nd AD about how long it is taking for extras to get ready, making any casting adjustments necessary to keep the shoot on schedule and the bg count as the director and 1st AD planned.