The Line Part 1: Below
When it comes to a film's budget, there are "Above The Line" and "Below The Line" positions. It isn't a classist thing; it simply helps by categorizing expenses. By distinguishing expenses as above the line or below the line, filmmakers and producers can have a clearer understanding of where the budget is allocated and how much is allocated to creative versus technical aspects of the production. This helps in managing and controlling the budget throughout the filmmaking process, allowing for better financial planning and decision-making to ensure the efficient use of resources.
For the blog series I'll be doing, it will be a two-part series delving into the above and below positions to discuss what they do and some surprises I found along the way. When people think of a film set, they think of the director, who narrows down the vision for the masses, the producer, who leads the charge, puts together the team, and shapes the film. They also think of the writer, and how their words form the story. Additionally, they think of all the talented individuals in front of the camera bringing these stories to life. However, for this article, I want to focus on the backbone of the film industry: Below The Line Positions.
Production Assistants:
Need a coffee? Need paperwork organized? Need assistance with logistics? Need a couch moved? Then you need a production assistant! (Fun fact: On my first big set as a PA, I once spent a good hour moving a couch around a producer's office because they didn't know the best positioning for it.) Production Assistants are the ones who keep things moving, and a good production assistant is truly invaluable. They enable people to focus on more significant tasks to ensure the film gets made. Whether it's coordinating schedules, setting up equipment, or assisting the cast and crew, production assistants are the backbone of the production. They ensure that everything runs smoothly and efficiently. Their hard work and dedication significantly contribute to the success of a film, often going unnoticed but always appreciated by the entire team.
Our friend Cameron Mertins on set of First Time Caller. Technically he was our DIT and not a PA, but he assisted with production a lot.
Our 1sr AD Mico Ramos on set of FTC.
Assistant Directors:
I was surprised to find out that Assistant Directors are considered below the line. They work closely with the above the line crew on a daily basis, and in many ways, the 1st AD runs the set. They coordinate with various departments, manage the cast and crew, oversee the set, and ensure that everything runs smoothly according to the director's vision. ADs play a crucial role in maintaining the efficiency and coordination of the entire production. They are constantly planning and strategizing to ensure the film is made on time, under budget, and fully realizes the director's vision.
Grips:
Grips are essential members of the film production crew who often work behind the scenes, but their contributions are crucial to the success of a production. These skilled technicians are responsible for the setup and operation of various equipment that supports the camera, such as dollies, cranes, and rigging systems. Grips work closely with the cinematographer and camera operators to achieve the desired camera movement and positioning. They play a key role in creating dynamic shots and visual aesthetics, enhancing the overall cinematic experience. With their expertise in handling specialized equipment and their understanding of the technical aspects of camera support, grips ensure that the camera is precisely positioned, allowing for seamless and impactful storytelling. Their attention to detail, problem-solving skills, and physical strength make them valuable assets on any film set.
Mathias Linder-Madsen our Key Grip on the set of FTC,
Dylan Hirsch our Sound Mixer on FTC.
Sound Mixers:
Because film is a visual medium, people often forget that 50% of the movie is sound. The sound mixer meticulously sets up microphones, monitors sound levels, and collaborates with the production sound team to ensure that every line of dialogue, sound effect, and ambient noise is captured with pristine clarity and fidelity. Their expertise and attention to detail enable them to weave together a rich tapestry of sound, enhancing the overall immersion and emotional impact of the film. While their work often goes unnoticed by audiences, sound mixers are the invisible magicians who contribute significantly to the art of storytelling through sound in the world of cinema.
Camera:
Camera operators, supported by the first and second assistant camera (1st AC and 2nd AC), form the backbone of the visual capture process on a film set. The camera operator, guided by the director of photography, operates the camera with precision, executing complex camera movements and capturing shots that enhance the storytelling. The 1st AC, also known as the focus puller, ensures that every shot is perfectly focused, constantly adjusting the lens to maintain sharpness and clarity. The 2nd AC, on the other hand, supports the camera team by managing camera equipment, organizing lenses, and assisting in camera setup. Working together, the camera operator, 1st AC, and 2nd AC create a cohesive unit that orchestrates the visual language of the film, capturing the essence of each scene with artistry and technical finesse. Their collaboration is fundamental to achieving the desired visual aesthetics and conveying the director's vision to the audience with precision and creativity.
Ananda Ortanez and Matt Hulsey our 1st and 2nd AC on set of FTC.
Our Gaffer for FTC, Anais Bernard, with our Key Grip, Mathias Linder-Madsen, and grip Lucas Williams.
Gaffers:
They’re masters of lighting on a film set, collaborate closely with electricians and grips to shape the visual atmosphere of each scene. Working hand in hand with the director of photography and the production designer, gaffers take charge of implementing the lighting plan and ensuring the desired mood and tone are achieved. They work meticulously alongside electricians to set up and control lighting fixtures, position diffusion materials, and manipulate shadows, all to create the desired effects. With their comprehensive understanding of lighting techniques, color temperature, and electrical systems, gaffers skillfully craft stunning visuals that enhance the storytelling. Their ability to seamlessly collaborate with the director and cinematographer, coupled with their technical proficiency, renders them indispensable in shaping the visual aesthetics of a film.
Script Supervisor:
The script supervisor, or as we like to call them “Scripty”, is a key member of the film production team responsible for maintaining continuity and accuracy in the script. They track details, take notes on each scene, and ensure consistency in performances, props, wardrobe, and set design. Their meticulous work guarantees a seamless flow of the story and contributes to the overall quality of the film.
Shayla Durbois our Script Supervisor for FTC.
While the roles I mentioned earlier are super important in filmmaking, it's essential to remember that there are many other positions on a film set, and every role is significant. From production assistants hustling behind the scenes to the dynamic assistant directors orchestrating the set, and sound mixers fine-tuning the audio, each person contributes to the magic of making a film. However, I want to discuss two positions that took me by surprise as being categorized as below the line.
Surprises:
During my research, I stumbled upon two roles that surprised me by being considered Below The Line. These roles are Director Of Photography (DP) and Production Designer. After looking at the reasons, it’s due to a more traditional form of the rule. These roles are considered below the line for a couple of reasons. Firstly, their pay structure is variable compared to the flat rate typically associated with Above The Line positions. Below The Line roles often have day rates. This is true for DP’s and Production Designer’s, however, it may vary on the shoot and/or the person. Now, the second reason is that DP's and PD's are traditionally perceived as technical roles rather than creative ones. However, I could not agree less. While technical expertise is essential for these positions, it would be incorrect to label them as predominantly technical. In fact, they are inherently creative roles that require a blend of artistic vision, problem-solving, and technical know-how. Don't just take my word for it; take a closer look at their jobs and see for yourself.
Directors Of Photography are the ultimate visual storytellers, capturing the director's vision and transforming it into visual compositions. They possess a keen eye for detail, technical mastery, and an artistic sensibility that shapes the film's overall look and feel. Collaborating closely with the director and production team, DPs determine the visual style, lighting, and camera movements that best serve the story. Through their skillful manipulation of light, lens choices, and framing, they evoke emotions, create atmosphere, and enhance the narrative. With their expertise in cinematography techniques, such as shot composition, color grading, and camera operation, they craft mesmerizing visuals that captivate audiences.
Our DP for FTC, Andrew Lane.
Our Production Designer for FTC, Jonathan Austin
Production Designers, on the other hand, are the creative architects who bring the film's visual world to life. Working in close collaboration with the director and key members of the production team, they translate the script into captivating sets, locations, and environments. Their meticulous planning and oversight encompass all aspects of art direction, including set design, props, costumes, and color schemes. With their artistic vision, attention to detail, and profound knowledge of historical periods or fictional universes, production designers create immersive and believable worlds that transport audiences into the heart of the story. Their ability to transform empty spaces into vibrant and authentic settings is truly remarkable.
As a side note I wrote a more in depth look at what a Production Designer does.
As we wrap up this discussion on below the line positions, our exploration of the film industry doesn't stop here. In the next article, we will shift our focus to the above the line positions, delving into the responsibilities and impact of directors, producers, writers, and other key creative roles. Stay tuned for an exciting exploration of the above the line side of filmmaking.
For The Love Of Movies,
Jonathan Austin
