WEBVTT - Behind the Jargon of the Film Industry 0:00:04.240 --> 0:00:07.240 Welcome to Tech Stuff, a production of I Heart Radios, 0:00:07.320 --> 0:00:14.000 How Stuff Works. Hey there, and welcome to tech Stuff. 0:00:14.040 --> 0:00:17.040 I'm your host, Jonathan Strickland. I'm an executive producer with 0:00:17.040 --> 0:00:19.279 How Stuff Works and I heart Radio and I love 0:00:19.360 --> 0:00:22.720 all things tech and a lot of you guys probably know. 0:00:22.920 --> 0:00:27.080 I live in Atlanta, Georgia, in the United States of America, 0:00:27.640 --> 0:00:31.680 and my hometown has become something of a second Hollywood. 0:00:31.720 --> 0:00:33.680 In fact, there are a lot of times when there's 0:00:33.680 --> 0:00:36.720 actually more film production going on in my home state 0:00:37.200 --> 0:00:40.440 than in California, and the reason for that is largely 0:00:40.520 --> 0:00:44.280 economic in nature, Georgia has created tons of tax incentives 0:00:44.320 --> 0:00:47.440 for film and television projects that make it cheaper to 0:00:47.479 --> 0:00:50.920 shoot here in Georgia than in other places, and the 0:00:50.960 --> 0:00:53.080 fact that we have a major airport, which is in 0:00:53.120 --> 0:00:58.080 fact the world's busiest airport, probably doesn't hurt either. Practically 0:00:58.520 --> 0:01:02.160 every week I pass at least one film crew in 0:01:02.280 --> 0:01:05.759 production somewhere in the city. Uh. In fact, just between 0:01:05.800 --> 0:01:08.440 my house and work, there are a lot of different 0:01:08.440 --> 0:01:11.319 locations that have been used for various film shoots. I 0:01:11.400 --> 0:01:14.440 rarely know what film they're working on because they typically 0:01:14.560 --> 0:01:18.880 use codes to designate the projects and they aren't obvious 0:01:18.920 --> 0:01:21.560 references to the film, but I do know that right 0:01:21.560 --> 0:01:25.040 across from my own house, I've had movies like Goose Bumps, 0:01:25.160 --> 0:01:29.480 Hunger Games, Baby Driver, and Bad Boys three Shoot there. 0:01:29.680 --> 0:01:31.880 You can even see my house in the background of 0:01:31.920 --> 0:01:34.560 a couple of those movies. But anyway, that got me 0:01:34.640 --> 0:01:38.080 to thinking about the terminology of film and film sets 0:01:38.120 --> 0:01:41.360 and how that relates to technology. And you could argue 0:01:41.400 --> 0:01:44.880 this is a little tangential, but I really love digging 0:01:44.880 --> 0:01:48.920 into this and kind of demystifying what all those roles do, 0:01:49.080 --> 0:01:52.200 because you if you ever sit through the credits of 0:01:52.200 --> 0:01:54.800 a film and actually paid any attention at all to them, 0:01:55.040 --> 0:01:57.760 you've probably seen some job titles that might have been 0:01:57.800 --> 0:02:00.920 a little confusing, like key grip or gaffer or the 0:02:01.000 --> 0:02:05.040 famous best Boy. Maybe you've wondered about the difference between 0:02:05.240 --> 0:02:08.920 producers and executive producers or directors, and there are lots 0:02:08.919 --> 0:02:11.200 of phrases and words used on set that could be 0:02:11.200 --> 0:02:13.280 a little bit confusing. I'll do another episode in the 0:02:13.320 --> 0:02:17.839 future about some of the terminology that film folks use, 0:02:18.360 --> 0:02:22.760 but today we're really going to explore the origin of 0:02:22.800 --> 0:02:28.440 the names for various roles the cast and crew of films. 0:02:29.040 --> 0:02:32.760 Now to give you the bad news early. In many cases, 0:02:32.800 --> 0:02:37.600 the origin for those words hasn't really been well documented. 0:02:37.880 --> 0:02:41.040 There are a lot of theories, for example, where best 0:02:41.080 --> 0:02:44.480 boy comes from, but those theories range from plausible to 0:02:44.760 --> 0:02:47.840 what is more likely a best guest or maybe wishful thinking. 0:02:48.360 --> 0:02:51.480 So let's take a look at the terms to describe 0:02:51.520 --> 0:02:53.800 the people who work on films. Some of this is 0:02:53.800 --> 0:02:56.440 gonna be really simple stuff. Some of it you probably 0:02:56.919 --> 0:02:59.880 already know, and some of it might be new to you. 0:03:00.040 --> 0:03:03.880 So here we go. Let's start with the executive producer 0:03:04.040 --> 0:03:07.440 or executive producer's role. Now, if you were to compare 0:03:07.639 --> 0:03:11.239 a movie with a company, you could say the executive 0:03:11.280 --> 0:03:14.959 producer is like the CEO of the company. It's the 0:03:15.040 --> 0:03:18.959 job of the executive producer to hire or more likely 0:03:19.080 --> 0:03:23.840 oversee the hiring of producers, directors, and the talent that's 0:03:23.840 --> 0:03:26.079 going to star in a film. Uh, they might be 0:03:26.600 --> 0:03:30.079 more connected to the film and serve other roles. It's 0:03:30.080 --> 0:03:33.639 possible for an executive producer to also do something else, 0:03:33.680 --> 0:03:36.880 maybe direct the film, maybe a writer. In the case 0:03:36.920 --> 0:03:39.320 of some of the Marvel films, you occasionally see some 0:03:39.360 --> 0:03:42.760 of the actors listed as executive producers. On the other hand, 0:03:43.160 --> 0:03:46.080 you could have executive producers that never visit a set 0:03:46.120 --> 0:03:49.320 at all, that have no connection to a movie once 0:03:49.360 --> 0:03:53.240 it starts shooting. Rather, they're managing multiple projects back in 0:03:53.320 --> 0:03:56.840 the home office of the movie studio. They also are 0:03:56.920 --> 0:04:00.400 often in charge of getting funding for a film. Now, 0:04:00.400 --> 0:04:04.160 on an independent film, an executive producer might be funding 0:04:04.160 --> 0:04:08.360 the film largely through their own assets. They might be 0:04:08.800 --> 0:04:12.400 personally funding that movie. But in other cases you might 0:04:12.520 --> 0:04:16.520 have executive producers who are whining and dining potential investors 0:04:16.560 --> 0:04:21.039 to fund the production of a film. They're usually in 0:04:21.120 --> 0:04:23.320 charge of making sure that the money needed to pay 0:04:23.360 --> 0:04:27.640 for the production is available, and they're also the ones 0:04:27.720 --> 0:04:31.120 you do not want to take off if you have 0:04:31.279 --> 0:04:33.679 to go and tell people that your film is going 0:04:33.800 --> 0:04:36.280 over budget, because that means you're gonna have to ask 0:04:36.320 --> 0:04:38.800 for more money than The executive producers are the ones 0:04:38.839 --> 0:04:41.000 in charge of it, and they might have some pretty 0:04:41.080 --> 0:04:44.919 tough questions for you as to why your film is 0:04:44.960 --> 0:04:48.520 costing more than it was projected. Now, not all films 0:04:48.880 --> 0:04:53.400 have executive producers. Some only list producers in their titles, 0:04:54.000 --> 0:04:56.240 and they can do many of the same roles that 0:04:56.360 --> 0:05:01.520 executive producers follow. However, producers tend to be on set. 0:05:01.600 --> 0:05:04.760 They don't always appear on set, but a lot of 0:05:04.760 --> 0:05:08.320 them do work day to day on set supervising the 0:05:08.320 --> 0:05:11.360 production of the film, making sure things are going well 0:05:11.720 --> 0:05:16.120 and that nothing unexpected as happening that could impact the 0:05:16.240 --> 0:05:19.680 timing of the film or, because time is money, the 0:05:19.680 --> 0:05:22.599 budget of the film. All department heads in a film 0:05:22.600 --> 0:05:26.400 production ultimately report up to the producer, and the producer 0:05:26.440 --> 0:05:28.440 also works with the director to try and make the 0:05:28.480 --> 0:05:32.800 director's vision a reality, or in some cases, the producer 0:05:32.839 --> 0:05:34.960 will work with the director in order to talk that 0:05:35.000 --> 0:05:37.880 director out of an idea that could be too expensive 0:05:38.120 --> 0:05:41.359 or too difficult to pull off. The producer also is 0:05:41.360 --> 0:05:44.480 in charge of making sure other departments are operating within 0:05:44.520 --> 0:05:46.599 that budget that's set for the film on that day 0:05:46.600 --> 0:05:49.440 to day basis, and the producer is involved through the 0:05:49.600 --> 0:05:53.000 entire process all the way from pre production before any 0:05:53.000 --> 0:05:55.840 film is shot at all, to the distribution of the 0:05:55.839 --> 0:05:59.719 movie to theaters. Some film projects are really really big 0:05:59.800 --> 0:06:03.880 and require multiple producers, particularly if there are different crews 0:06:03.920 --> 0:06:06.200 that are filming in separate parts of the world, so 0:06:06.279 --> 0:06:08.680 you can have co producers who are all of the 0:06:08.720 --> 0:06:12.479 same level. They are sharing producer credit, so it's not 0:06:12.520 --> 0:06:15.880 like one producer is over the others, but they're all 0:06:15.880 --> 0:06:18.840 overseeing different parts of a production. You can also have 0:06:18.960 --> 0:06:22.359 an associate producer or line manager. These are sort of 0:06:22.400 --> 0:06:25.480 the next in command, kind of the lieutenants of the producers. 0:06:26.000 --> 0:06:29.840 They oversee specific tasks, usually designated by the producer, so 0:06:29.960 --> 0:06:33.280 they they If you don't like the lieutenant analogy, you 0:06:33.279 --> 0:06:35.719 can think of them as a vice president of a company. 0:06:35.800 --> 0:06:38.960 So they might oversee a secondary film crew that's capturing 0:06:38.960 --> 0:06:41.520 footage that's going to be inserted into the film. You know, 0:06:41.560 --> 0:06:44.520 a film crew that's going to be focusing on stuff 0:06:44.560 --> 0:06:47.039 that doesn't require the director or any of the main 0:06:47.080 --> 0:06:49.400 talent of the movie to be in it. A line 0:06:49.440 --> 0:06:53.000 producer tends to be the person specifically supervising the budget 0:06:53.200 --> 0:06:56.240 of a film, so they're very much taking a close 0:06:56.279 --> 0:06:59.360 look at the numbers. You can also have task manager 0:06:59.480 --> 0:07:02.920 producer who are in charge of specific parts of a project, 0:07:03.320 --> 0:07:06.840 and then you also have coordinating producers producers. Their job 0:07:07.000 --> 0:07:09.200 is to make sure everyone involved in the production of 0:07:09.200 --> 0:07:12.560 a film remains instep and informed of what's going on, 0:07:13.080 --> 0:07:16.920 so that no one is left behind. If something changes 0:07:17.320 --> 0:07:19.880 or there needs to be a shift in scheduling or 0:07:19.920 --> 0:07:23.480 anything like that. A production manager, for example, is in 0:07:23.560 --> 0:07:26.960 charge of supervising the production budget to the various departments, 0:07:27.200 --> 0:07:30.640 and that includes scheduling of crew and equipment and covering 0:07:30.680 --> 0:07:35.320 crew salaries. They report their needs to the line producer, 0:07:35.400 --> 0:07:38.560 who then make sure that those needs are met or 0:07:38.840 --> 0:07:41.120 comes up with a really good reason why they can't 0:07:41.120 --> 0:07:44.960 do that. There are also production secretaries. These are people 0:07:44.960 --> 0:07:48.640 who assist with paperwork and administration needs. And there are 0:07:48.680 --> 0:07:51.480 production designers who work with the director to get a 0:07:51.520 --> 0:07:53.920 sense of what will be needed to achieve the director's 0:07:54.000 --> 0:07:58.000 artistic vision. And at the bottom of the production hierarchy, 0:07:58.280 --> 0:08:02.520 you have production assistance who perform basic tasks for the 0:08:02.520 --> 0:08:05.800 production side, such as distributing hand radios to the various 0:08:05.840 --> 0:08:09.680 departments or running errands for the production staff. Um they 0:08:09.920 --> 0:08:13.480 don't tend to run errands for anybody else. They're specifically 0:08:13.520 --> 0:08:16.720 meant for the production staff side. So you can think 0:08:16.760 --> 0:08:21.280 of the the sides of a film being the production side, 0:08:21.800 --> 0:08:24.000 which is talking, you know, all the stuff that's necessary 0:08:24.080 --> 0:08:26.600 to make sure everybody else has what they need to 0:08:26.640 --> 0:08:30.200 make the movie. You have the the creative side, which 0:08:30.240 --> 0:08:32.760 would be like the director and all the talent, and 0:08:32.800 --> 0:08:35.120 then you have all the crew who are doing the 0:08:35.120 --> 0:08:39.440 actual physical work to support that. So you kind of 0:08:39.440 --> 0:08:42.120 have like these three columns in a way. Now I've 0:08:42.160 --> 0:08:44.839 mentioned the director a couple of times, but what does 0:08:44.880 --> 0:08:47.840 the director actually do. Well, that's the person who is 0:08:47.880 --> 0:08:52.920 the lead creative artist on set. So ideally the director 0:08:53.120 --> 0:08:56.200 sets the vision for the film. Was the film going 0:08:56.240 --> 0:08:59.080 to look like, what is the tone going to be? 0:08:59.240 --> 0:09:03.240 What sort of reaction is the film supposed to evoke 0:09:03.480 --> 0:09:07.160 from the audience. So ideally, if someone is watching the film, 0:09:07.320 --> 0:09:09.640 how should they feel from scene to scene? You know, 0:09:09.679 --> 0:09:12.679 if it's a horror movie, you need to feel uneasy 0:09:12.720 --> 0:09:15.960 and fear and tension. If it's a comedy, you need 0:09:16.080 --> 0:09:20.320 some tension offset by laughter which relieves that tension. These 0:09:20.320 --> 0:09:22.320 sort of ideas. So the director is the person who 0:09:22.320 --> 0:09:24.760 says this is my goal, here's how I'm going to 0:09:24.800 --> 0:09:27.120 achieve my goal, and then has to communicate that out 0:09:27.160 --> 0:09:29.840 to other departments in order to make that a reality. 0:09:30.280 --> 0:09:33.160 They're also in charge of directing the talent to get 0:09:33.200 --> 0:09:36.440 the performance the director has in mind. Talent is the 0:09:36.520 --> 0:09:39.680 word used to describe all the actors in a in 0:09:39.720 --> 0:09:42.880 a film. Um, it's also the word that tends to 0:09:42.880 --> 0:09:46.240 be used to describe me as a podcaster, and I 0:09:46.320 --> 0:09:48.920 find it funny to be referred to as the quote 0:09:48.960 --> 0:09:52.760 unquote talent, but that's just an industry term. So the 0:09:52.800 --> 0:09:55.719 directors are in charge of making sure the actors are 0:09:55.760 --> 0:09:59.200 giving the performance that the director had in mind in 0:09:59.320 --> 0:10:02.480 order to create the movie that they want to make. UM. 0:10:02.559 --> 0:10:05.559 They work closely with the heads of the other creative 0:10:05.600 --> 0:10:09.920 departments to achieve this specific vision, and they might work 0:10:10.000 --> 0:10:13.640 very closely with the writer in some cases calling for 0:10:13.720 --> 0:10:17.200 script revisions. If the director feels that they need to 0:10:17.240 --> 0:10:19.520 move in a in a different way to achieve the 0:10:19.600 --> 0:10:22.720 overall goal, they might say, well, our goal is to 0:10:23.360 --> 0:10:25.480 creep out the audience because this is a horror movie. 0:10:25.760 --> 0:10:29.199 But this scene is messing things up because it's it's 0:10:29.280 --> 0:10:34.280 changing up the pacing, it's I want to keep increasing tension, 0:10:34.320 --> 0:10:36.160 and this one kind of relieves the tension in a 0:10:36.320 --> 0:10:38.000 in a point where I don't want that to happen. 0:10:38.600 --> 0:10:42.040 Let's do a rewrite that can happen. The director will 0:10:42.080 --> 0:10:45.920 frequently work well beyond the filming stage and even have 0:10:46.000 --> 0:10:49.000 a hand in the editing department. That's a pretty big 0:10:49.000 --> 0:10:53.920 departure from how directors work in live stage theater. Typically, 0:10:54.360 --> 0:10:56.880 if you're talking about stage production, you know, a play 0:10:57.040 --> 0:10:59.600 or a musical or something like that, the director will 0:10:59.600 --> 0:11:03.480 step way once the show opens. So the director is 0:11:03.600 --> 0:11:06.800 heavily involved with a theatrical show all the way up 0:11:06.840 --> 0:11:10.160 until opening night and then tends to step back, and 0:11:10.200 --> 0:11:12.760 at that point the management of the show largely falls 0:11:12.840 --> 0:11:16.839 to the stage manager. But with a film, even after 0:11:16.920 --> 0:11:20.600 all the performances have been completed, after everything's been captured 0:11:20.640 --> 0:11:24.360 on film or digital video, directors will often play a 0:11:24.400 --> 0:11:26.760 part because so much of a movie can be shaped 0:11:26.760 --> 0:11:29.560 in the editing department. And I'll talk about editing more 0:11:29.640 --> 0:11:32.640 at the end of this episode. Now you've probably also 0:11:32.720 --> 0:11:36.319 seen credits for things like assistant director, often shortened to 0:11:36.480 --> 0:11:38.840 a D. You might have seen first a D and 0:11:39.320 --> 0:11:42.720 second a D. Now, these aren't assistants to the director. 0:11:43.000 --> 0:11:45.520 They're not like running off to grab coffee or anything. 0:11:45.880 --> 0:11:49.120 They're rather very important members of the creative team. And 0:11:49.160 --> 0:11:53.040 typically it's the first assistant director's job to take a 0:11:53.040 --> 0:11:56.920 shooting script, break it down into scenes, and then create 0:11:57.200 --> 0:11:59.800 a shooting schedule in an attempt to build the most 0:12:00.000 --> 0:12:03.880 efficient production approach as possible, which is why films are 0:12:03.920 --> 0:12:07.400 typically shot out of sequence, which means they're not filmed 0:12:07.400 --> 0:12:10.520 in the same chronological order as the scenes play out 0:12:10.559 --> 0:12:12.760 when you watch the finished movie. So you could go 0:12:12.800 --> 0:12:15.560 and watch a movie and you might see an opening 0:12:15.600 --> 0:12:19.600 scene that was actually shot months after the final scene 0:12:19.640 --> 0:12:22.280 of the movie. Uh. You know, it doesn't play out 0:12:22.280 --> 0:12:23.880 that way when you watch it, but that's how it 0:12:23.920 --> 0:12:28.880 was produced. During filming, the first assistant director determines the 0:12:29.040 --> 0:12:32.040 shooting order, and again, the goal is mostly to figure 0:12:32.040 --> 0:12:34.560 out what's the most efficient means for us to make 0:12:34.600 --> 0:12:38.480 this movie because time is money, So one way the 0:12:38.559 --> 0:12:40.880 first a D might do this is to take note 0:12:40.920 --> 0:12:44.440 of all the locations needed in the script and try 0:12:44.520 --> 0:12:47.280 to group similar scenes, like scenes they're set in the 0:12:47.320 --> 0:12:51.199 same location together so that over the course of several days, 0:12:51.240 --> 0:12:53.600 the crew and talent can knock those scenes off the 0:12:53.640 --> 0:12:56.840 shoot list, and once it's done, assuming that they have 0:12:57.120 --> 0:12:59.760 their confident that they're done with that location, they can 0:13:00.080 --> 0:13:03.520 reich that's set and uh and not have to worry 0:13:03.520 --> 0:13:06.080 about again, and that gives other crew members time to 0:13:06.200 --> 0:13:09.000 build and dress the other sets that are going to 0:13:09.080 --> 0:13:11.400 be needed. In upcoming scenes and have that way to 0:13:11.440 --> 0:13:14.800 go as soon as the first group is done. Now, 0:13:14.840 --> 0:13:18.160 this isn't always possible. Sometimes two scenes in the same 0:13:18.200 --> 0:13:22.360 set rely on drastically different set dressing. For example, if 0:13:22.360 --> 0:13:25.040 you have a big action movie in which characters are 0:13:25.080 --> 0:13:30.360 in one location before something catastrophic happens, like a massive explosion, 0:13:30.640 --> 0:13:33.319 and then you might revisit that scene later in the movie, well, 0:13:33.320 --> 0:13:36.439 obviously that's going to look dramatically different, so you may 0:13:36.480 --> 0:13:39.240 not shoot those two sequences back to back. You may 0:13:39.280 --> 0:13:43.079 have a break between while you're changing out the set. Now, 0:13:43.120 --> 0:13:46.200 the first a d also helps manage the schedule for 0:13:46.280 --> 0:13:48.760 the talent, the crew, and the equipment needed each day. 0:13:48.920 --> 0:13:51.079 You're gonna hear this said over and over again because 0:13:51.120 --> 0:13:53.760 this is a huge endeavor. If you're talking even for 0:13:53.800 --> 0:13:55.920 a small film, it's a big it's a big issue. 0:13:56.320 --> 0:13:58.680 But for really big movies, you need a lot of 0:13:58.679 --> 0:14:01.640 people working together to organize all this stuff because you're 0:14:01.640 --> 0:14:04.560 just looking at a massive number of people, a large 0:14:04.600 --> 0:14:08.920 amount of equipment, potentially tons of props and costume pieces. 0:14:09.160 --> 0:14:11.880 So it's a it's a big endeavor, and when it 0:14:11.920 --> 0:14:14.600 comes to time to shoot the big action scene, everyone 0:14:14.640 --> 0:14:18.080 needs to know who needs to show up and win. Now, 0:14:18.080 --> 0:14:21.480 the second assistant director works with the first a D 0:14:21.520 --> 0:14:24.200 to achieve those goals, and it often falls to the 0:14:24.200 --> 0:14:27.160 second a D to create what are known as call sheets, 0:14:27.640 --> 0:14:29.200 and a call sheet is a list of all the 0:14:29.240 --> 0:14:32.480 people needed on any given day of shooting. So you 0:14:32.560 --> 0:14:34.560 check the call sheet and if your name is on there, 0:14:34.640 --> 0:14:36.600 you know that you need to show up that day. 0:14:36.800 --> 0:14:39.360 And typically you have a call time as well, what 0:14:39.480 --> 0:14:42.320 time you need to be on set ready to go 0:14:42.840 --> 0:14:46.520 and uh, that's when you are called to do your job. Now, 0:14:46.560 --> 0:14:49.640 I mentioned that the director is the lead creative artist 0:14:49.720 --> 0:14:52.520 on a project, but usually big films will have other 0:14:52.760 --> 0:14:55.800 important department heads that could have just as big a role, 0:14:55.880 --> 0:14:59.160 sometimes an even bigger role on the final look and 0:14:59.240 --> 0:15:01.400 feel of a film. Them their job is to do 0:15:01.440 --> 0:15:04.040 what takes to achieve the goal that the director has 0:15:04.080 --> 0:15:07.160 set out, but they can create their own stamp on 0:15:07.320 --> 0:15:11.400 a film's feel. So if you follow the industry, you 0:15:11.440 --> 0:15:14.760 will see names of people who haven't necessarily directed films, 0:15:14.760 --> 0:15:18.600 but have taken one of these positions. You know, in 0:15:18.720 --> 0:15:21.320 lots of films, you know they've headed up at department 0:15:21.360 --> 0:15:25.040 and they've developed a reputation and you can see their 0:15:25.440 --> 0:15:28.600 impact from the different movies they've worked on. A big 0:15:28.640 --> 0:15:32.400 one of those would be the director of photography. It's 0:15:32.720 --> 0:15:36.600 the director of photography, which usually is UH shortened to 0:15:36.680 --> 0:15:40.360 either d O P or even more frequently DP. It's 0:15:40.560 --> 0:15:44.320 the director of photography's job to oversee the overall visual 0:15:44.480 --> 0:15:48.280 look of the film. So they take the director's idea 0:15:48.800 --> 0:15:51.800 of what the movie needs to be, like what what 0:15:51.800 --> 0:15:54.760 what does it need to convey? And they take the 0:15:54.800 --> 0:15:57.400 script and they determine what is going to be needed 0:15:57.480 --> 0:16:02.640 to create the best representation of the director's vision on 0:16:02.680 --> 0:16:06.080 the film or digital video that's actually shot on set. 0:16:06.560 --> 0:16:09.520 So they might recommend which cameras should be used, which 0:16:09.640 --> 0:16:13.920 lenses should be installed on those cameras, how the shots 0:16:13.960 --> 0:16:18.360 should be framed, which scenes maybe should have camera movement 0:16:18.560 --> 0:16:20.760 in them. They'll work with a team to design all 0:16:20.800 --> 0:16:25.080 of these things. UH. They will determine how cameras should move. 0:16:25.480 --> 0:16:28.400 If a camera is deemed like this, this is a 0:16:28.440 --> 0:16:31.280 scene that needs to have some kinetic motion to it. 0:16:31.320 --> 0:16:33.480 We need we need to have the camera itself the 0:16:33.520 --> 0:16:39.120 point of view changing as this scene unfolds. They have 0:16:39.200 --> 0:16:42.000 to figure out how does that work? How should that 0:16:42.200 --> 0:16:45.760 actually come across. They're also the head of the camera crew, 0:16:46.320 --> 0:16:49.560 and they work with another person called the gaffer, who 0:16:49.680 --> 0:16:52.040 is sort of the head of the electrical and lighting crew. 0:16:52.760 --> 0:16:54.720 In fact, before I go to a break, let me 0:16:54.760 --> 0:16:59.760 explain a gaffer's job and the most probable origin for 0:16:59.800 --> 0:17:03.480 the name gaffer. Now, the gaffer is the chief lighting 0:17:03.480 --> 0:17:07.040 technician and chief electrician on a film set. The gaffer 0:17:07.080 --> 0:17:09.840 works very closely with the director of photography to come 0:17:09.920 --> 0:17:12.520 up with a lighting plan for each scene. Because the 0:17:12.560 --> 0:17:15.840 director of photography knows where the camera should be placed, 0:17:15.840 --> 0:17:18.359 with the angle and what is important in the scene, 0:17:18.400 --> 0:17:20.960 so the gaffer has to figure out with that how 0:17:21.000 --> 0:17:24.320 to light the scenes so that the important stuff gets 0:17:24.640 --> 0:17:27.480 the focus of the audience. The goal of the gaffer 0:17:27.520 --> 0:17:30.240 is to take all this information of camera framing and 0:17:30.320 --> 0:17:34.400 movement and then make the lighting so that the actual 0:17:34.440 --> 0:17:38.040 effect is possible. Now, the name gaffer is one of 0:17:38.080 --> 0:17:40.800 those that still has a little mystery to it. In 0:17:41.119 --> 0:17:45.439 UK slang, gaffer is used for godfather or sometimes grandfather, 0:17:45.640 --> 0:17:48.600 and it's often a term that's just used as a 0:17:48.640 --> 0:17:53.600 general way of saying old man. But that's probably not 0:17:54.000 --> 0:17:58.000 why it's used in film a lot of people argue 0:17:58.119 --> 0:18:01.439 that the name actually comes from lamp lighters back in 0:18:01.480 --> 0:18:04.080 the old gas lamp days, where they would have to 0:18:04.119 --> 0:18:06.359 go from lamp to lamp in the streets of a 0:18:06.400 --> 0:18:10.320 city such as London and turned the lamps on went 0:18:10.400 --> 0:18:13.639 started getting dark, and turned the lamps off when it 0:18:13.720 --> 0:18:16.679 started to get bright again. And to do that they 0:18:16.680 --> 0:18:20.120 would use these poles that would have a hook at 0:18:20.119 --> 0:18:24.640 the end to be able to either light or extinguish 0:18:24.880 --> 0:18:29.399 a lamp, and those poles were called gaffs, So they 0:18:29.480 --> 0:18:32.360 used gaff poles. You could say that the person using 0:18:32.359 --> 0:18:35.400 it was a gaffer. And a lot of those lamp 0:18:35.480 --> 0:18:40.639 lighters apparently also worked in theaters in England. They would 0:18:41.320 --> 0:18:43.600 light the lights in the theater so that when the 0:18:43.600 --> 0:18:46.679 audience comes inside to your indoor theater, they can actually 0:18:46.680 --> 0:18:49.400 see what's going on. And because the gaffer is the 0:18:49.440 --> 0:18:52.439 head lighting technician, the name was transferred over to the 0:18:52.440 --> 0:18:56.000 film world and they typically oversee the entire electrical department. 0:18:56.640 --> 0:18:58.919 Now I've got some more terms to cover as soon 0:18:58.920 --> 0:19:01.200 as we come back, but first let's take a quick break. 0:19:08.560 --> 0:19:11.240 And before I continued down the road with lighting, let's 0:19:11.320 --> 0:19:14.240 jump back to photography for a second, so director of 0:19:14.280 --> 0:19:16.560 Photography is ahead of the department, but there are a 0:19:16.600 --> 0:19:18.919 lot of other jobs in that group. There are the 0:19:19.080 --> 0:19:23.000 camera operators who physically control and operate cameras during the 0:19:23.040 --> 0:19:26.800 filming process. Uh. The camera operators work very closely with 0:19:26.840 --> 0:19:29.920 the director of photography, essentially kind of following the director 0:19:29.960 --> 0:19:32.800 of Photography's instructions to make sure cameras are where they're 0:19:32.800 --> 0:19:34.959 supposed to be and they move the way they're supposed to. 0:19:35.760 --> 0:19:40.480 Some sets employ specialty operators, such as aerial camera operators. 0:19:40.720 --> 0:19:44.160 This might be someone who controls a camera that's mounted 0:19:44.280 --> 0:19:47.160 on an airplane or in a helicopter, or it might 0:19:47.200 --> 0:19:50.360 be someone controlling a drone with a camera on it. 0:19:50.920 --> 0:19:54.040 And you also have other camera operators like jib arm 0:19:54.200 --> 0:19:57.520 or crane camera operators. As the name suggests, they control 0:19:57.600 --> 0:19:59.960 a camera that's mounted on the end of a movable 0:20:00.119 --> 0:20:03.480 arm to get shots from typically high elevation, to get 0:20:03.680 --> 0:20:06.919 sort of these sweeping, established, establishing shots in a film 0:20:07.600 --> 0:20:12.560 that typically is used on on jibs or cranes. Then 0:20:12.600 --> 0:20:16.480 there's steadicam operators. I did an episode about steadicams. I'm 0:20:16.520 --> 0:20:19.320 pretty sure, but it was a long time ago. But 0:20:19.400 --> 0:20:22.560 just to go over what that is. These are rigs 0:20:22.600 --> 0:20:26.880 that allow operators to capture smooth handheld camera shots. They 0:20:26.880 --> 0:20:29.400 free up a director to capture images that otherwise would 0:20:29.400 --> 0:20:32.359 have been really difficult or maybe even impossible to get so. 0:20:32.440 --> 0:20:36.160 Before the steadicam, the solution to moving a camera through 0:20:36.320 --> 0:20:40.000 a scene, like actually physically having the camera move through 0:20:40.320 --> 0:20:44.600 action was typically you were using if you're moving around 0:20:44.640 --> 0:20:48.080 the horizontal plane, you would lay down tracks and you 0:20:48.119 --> 0:20:50.600 would mount the camera on a moving platform called a 0:20:50.680 --> 0:20:55.040 dolly that would physically be moved by members of the crew. 0:20:55.480 --> 0:20:58.199 The dolly would allow cameras to get this sort of 0:20:58.240 --> 0:21:01.720 smooth lateral motion, but it meant you were restricted to 0:21:01.840 --> 0:21:04.439 the path of the tracks, and moreover, you had to 0:21:04.440 --> 0:21:07.480 make sure the tracks weren't really visible on camera, or 0:21:07.560 --> 0:21:11.200 it kind of ruined the illusion of fantasy. Now. In fact, 0:21:11.200 --> 0:21:13.720 there's a movie I can tell you to watch if 0:21:13.760 --> 0:21:16.640 you want to catch a little glimpse of this, Terry 0:21:16.680 --> 0:21:21.280 Gilliam's movie The Adventures of Baron Munchausen. There's this sequence 0:21:21.600 --> 0:21:24.000 in which the main character of the film is supposed 0:21:24.040 --> 0:21:26.679 to be executed, and the camera starts with a shot 0:21:26.720 --> 0:21:29.760 of Baron Munchausen as he stands at the execution block, 0:21:30.160 --> 0:21:33.080 and the camera starts to pull back, and it keeps 0:21:33.119 --> 0:21:36.520 pulling back further and further and further through dozens of 0:21:36.640 --> 0:21:41.720 ranks of soldiers, one after another. It seems almost impossible 0:21:41.720 --> 0:21:44.760 how far back this camera pulls until it's at the 0:21:44.800 --> 0:21:47.480 gates of the city itself, looking through all these people 0:21:47.920 --> 0:21:50.560 at the execution block. It's a really impressive shot. But 0:21:50.680 --> 0:21:53.640 if you pay attention, you actually see that the actors 0:21:53.640 --> 0:21:56.720 in that scene are moving in from the sides as 0:21:56.760 --> 0:21:59.520 the camera moves backward. And the reason they're doing that 0:21:59.680 --> 0:22:02.159 is to you not just make it look really impressive, 0:22:02.320 --> 0:22:05.000 but also to obscure the fact that there are Dolly 0:22:05.119 --> 0:22:07.159 tracks on the ground. And if you look at the 0:22:07.160 --> 0:22:10.960 ground as the camera's pulling back, occasionally you'll catch a 0:22:10.960 --> 0:22:15.000 glimpse of those Dolly tracks. Now, the steadicam freed up 0:22:15.119 --> 0:22:17.760 the camera operator to move through a scene with a 0:22:17.760 --> 0:22:21.360 camera with no tracks at all and keep the motion smooth, 0:22:21.520 --> 0:22:24.120 so the picture doesn't jerk around a lot the way 0:22:24.119 --> 0:22:25.840 it would if the camera were just being held by 0:22:25.840 --> 0:22:28.720 the operator. In recent years, we've seen a lot of 0:22:28.720 --> 0:22:33.080 that sort of jerky cam handheld action that that became 0:22:33.119 --> 0:22:37.160 sort of an aesthetic. Recently, and by recently, I mean 0:22:37.160 --> 0:22:38.840 in the last ten years or so, you've seen a 0:22:38.840 --> 0:22:41.399 lot more of that, But before that there was a 0:22:41.400 --> 0:22:43.800 lot of emphasis on this smooth motion. Now, I should 0:22:43.840 --> 0:22:47.480 mention the steadicam existed long before Baron Munchausen came out. 0:22:47.880 --> 0:22:51.159 Gilliam chose the Dolly option to create a particular visual 0:22:51.200 --> 0:22:53.400 effect that would have been very hard to do even 0:22:53.440 --> 0:22:56.399 with the steadicam, so it was done purposefully. And a 0:22:56.440 --> 0:23:00.040 steadicam rig typically has a mechanical arm attached to a 0:23:00.200 --> 0:23:03.399 harness worn by the camera operator, and it uses some 0:23:03.440 --> 0:23:06.760 cool mechanical elements to smooth out motions. And like I said, 0:23:06.760 --> 0:23:08.200 I did a full episode about this, so I'm not 0:23:08.200 --> 0:23:10.359 going to go into all the mechanics right here, but 0:23:10.880 --> 0:23:13.920 there's some really fantastic long stead camp shots in cinema 0:23:14.359 --> 0:23:16.560 that show off what this kind of rig can achieve. 0:23:17.080 --> 0:23:21.240 One example, a famous one, probably the one that most 0:23:21.280 --> 0:23:25.119 people site when they're talking about long steadicam shots, is 0:23:25.280 --> 0:23:28.000 a scene in Good Fellas in which the character Henry 0:23:28.040 --> 0:23:30.840 Hill takes his future wife Karen on a day to 0:23:30.920 --> 0:23:34.040 the nightclub, and they passed through the kitchen on their 0:23:34.080 --> 0:23:36.480 way to get through to a table, and it's a 0:23:36.600 --> 0:23:39.639 very long scene. Lots of action is going on as 0:23:39.680 --> 0:23:42.640 the cameras moving through following these characters, and it would 0:23:42.640 --> 0:23:45.879 have been impossible without the use of a steadicam unless 0:23:45.920 --> 0:23:48.840 you were just going to deal with a very shaky 0:23:49.000 --> 0:23:52.000 kind of experience, which would have taken away from the effect. 0:23:52.640 --> 0:23:57.160 Then there are the first and second camera assistant roles. Now, 0:23:57.160 --> 0:24:00.760 these are people who helped the camera operator in very ways, 0:24:00.800 --> 0:24:04.400 such as measuring and pulling focus during a shot, threatening 0:24:04.480 --> 0:24:07.119 film into a camera if it's an actual film camera, 0:24:07.640 --> 0:24:10.399 or monitoring data in the case where you're using a 0:24:10.480 --> 0:24:14.240 digital video camera rather than an actual film camera. On 0:24:14.280 --> 0:24:18.400 some sets, there's what is called a data wrangler. It's 0:24:18.440 --> 0:24:21.639 a relatively new position because in the old days it 0:24:21.680 --> 0:24:25.159 was all done on film. But data wranglers oversee the 0:24:26.040 --> 0:24:31.159 function organizing, labeling, duplicating and formatting of hard drives to 0:24:31.240 --> 0:24:33.480 make sure captured footage gets to where it needs to 0:24:33.480 --> 0:24:38.399 be and that they're always more storage available for for 0:24:38.440 --> 0:24:43.840 the camera operators to save footage. Two, the second assistant 0:24:44.040 --> 0:24:49.160 camera operator or a cameraman is often the term used. 0:24:49.440 --> 0:24:52.439 Tends to be in charge of loading and unloading film 0:24:52.640 --> 0:24:55.560 for film cameras. They're often also referred to as the 0:24:55.640 --> 0:24:59.399 loader as a result, and they're also usually the person 0:24:59.480 --> 0:25:03.480 who is the slate or clapper and that or they 0:25:03.520 --> 0:25:06.640 oversee that task. Maybe they're not doing themselves, but they're 0:25:06.680 --> 0:25:08.919 ultimately in charge of making sure it gets done. So 0:25:08.960 --> 0:25:10.719 let me take a quick aside to talk about this. 0:25:11.400 --> 0:25:15.000 The slate is that clapboard you've probably seen in either 0:25:15.080 --> 0:25:18.040 behind the scenes footage or in television shows or films 0:25:18.080 --> 0:25:22.040 that show the production side of some sort of movie 0:25:22.160 --> 0:25:25.160 or TV show. Uh, this is the little board. It's 0:25:25.240 --> 0:25:28.480 it's white and black. Typically it's got a little uh 0:25:29.000 --> 0:25:31.239 lever that goes up and can slam down and make 0:25:31.280 --> 0:25:34.200 a clapping noise. It's got stuff written on it now 0:25:34.240 --> 0:25:39.040 typically the clapper slate or clapper board, or there's dozens 0:25:39.040 --> 0:25:41.800 of names for this thing has the information on it 0:25:41.880 --> 0:25:45.560 about the scene and take that's being shot at that time. 0:25:46.200 --> 0:25:50.760 A take is another attempt at filming a scene, and 0:25:50.880 --> 0:25:54.600 some directors like to do lots of takes so that 0:25:55.040 --> 0:25:57.199 either they get exactly what they want or they have 0:25:57.240 --> 0:25:59.479 a lot of different options to pick from once they 0:25:59.480 --> 0:26:04.320 get to the editing phase of film's production. Some directors 0:26:04.960 --> 0:26:08.199 are pretty quick to move on as soon as they 0:26:08.240 --> 0:26:10.919 figure they got more or less what they need, so 0:26:10.960 --> 0:26:13.840 they'll only do a few takes unless something really messes up, 0:26:13.840 --> 0:26:17.720 and then they'll do another one. So the board typically 0:26:17.760 --> 0:26:20.600 has whatever the scene number is and then the take 0:26:20.720 --> 0:26:23.520 number on it um and probably some other information on 0:26:23.560 --> 0:26:26.880 there too. It might have the associated film role on 0:26:26.920 --> 0:26:31.399 there if the film is actually shot on film, probably 0:26:31.400 --> 0:26:33.080 has the date, probably has the name of the director 0:26:33.119 --> 0:26:35.560 and the director of photography, and maybe some other information 0:26:35.600 --> 0:26:38.200 as well. Now, the purpose of this, the reason why 0:26:38.200 --> 0:26:42.040 we have clapboards in the first place, is one to 0:26:42.600 --> 0:26:46.639 help editors synchronize audio with the visuals and to be 0:26:46.760 --> 0:26:50.520 able to just associate the audio that's been captured with 0:26:50.640 --> 0:26:54.359 the visuals that were captured. So whomever is running the 0:26:54.359 --> 0:26:57.439 clapboard will actually say the scene number and take number, 0:26:57.640 --> 0:27:00.439 maybe a little more information such as which can is 0:27:00.480 --> 0:27:04.320 being used before clapping that little movable arm down on 0:27:04.359 --> 0:27:07.600 the board. They say that so that the audio version 0:27:07.720 --> 0:27:10.600 once once we know that sound is rolling, has a 0:27:10.640 --> 0:27:15.520 record of that take, and the film, which we also 0:27:15.520 --> 0:27:18.359 know is rolling, also has a record of it, and 0:27:18.400 --> 0:27:22.000 then you can sink the two up the clapping motion 0:27:22.680 --> 0:27:26.359 is the que that editors used to synchronize the video 0:27:26.760 --> 0:27:30.800 or film with the sound. You see the lever come down, 0:27:31.160 --> 0:27:33.560 you know that that should be associated with the loud 0:27:33.720 --> 0:27:36.600 clap noise on the audio track. You make sure those 0:27:36.640 --> 0:27:40.200 two line up, and then you've got your audio synchronized 0:27:40.320 --> 0:27:43.440 with your visuals. Without that, you would have a really 0:27:43.520 --> 0:27:45.840 hard time making sure the two were in line, and 0:27:45.880 --> 0:27:48.400 everything would seem a bit off. You know, people's mouths 0:27:48.400 --> 0:27:51.480 would be moving, but the sound they would make would 0:27:51.520 --> 0:27:54.720 not be in line with their talking, and that would 0:27:54.720 --> 0:27:56.879 be very off putting. All right, Now back to the 0:27:56.920 --> 0:28:00.320 camera crew. There are people who work closely with the 0:28:00.359 --> 0:28:03.639 camera crew called grips. They also work closely with the 0:28:03.760 --> 0:28:07.879 lighting and electrical crews. Now, they themselves are not electricians. 0:28:08.000 --> 0:28:10.919 So what do the grips do and what is a 0:28:11.080 --> 0:28:13.640 key grip? Well, first, let's talk about where the name 0:28:13.720 --> 0:28:17.360 comes from. Generally speaking, most people think that the name 0:28:17.400 --> 0:28:20.040 comes from the stage theater world, but this time we're 0:28:20.040 --> 0:28:23.879 talking about the American stage, not the English stage. And 0:28:24.000 --> 0:28:27.600 in American theater it was shorthand for the stage hands 0:28:27.600 --> 0:28:31.520 who would help move scenery during a show. So between scenes, 0:28:31.760 --> 0:28:35.360 maybe the curtain comes down, or maybe there's a scrim 0:28:35.440 --> 0:28:40.200 or something that's hiding the upstage from everybody. The grips 0:28:40.240 --> 0:28:43.640 come in, they grip the scenery, and they haul it 0:28:43.680 --> 0:28:45.360 off to wherever it needs to go. Now in the 0:28:45.400 --> 0:28:47.800 film world, they do a little bit more than just 0:28:47.920 --> 0:28:53.240 lug stuff around. The grips are responsible for acquiring, building, maintaining, 0:28:53.480 --> 0:28:57.000 setting up, and breaking down all the equipment that supports 0:28:57.080 --> 0:29:02.320 the cameras, and that includes stuff like tripod dollies, cranes, jibs, 0:29:02.720 --> 0:29:06.040 the dolly tracks, and other rigs. They might have to 0:29:06.120 --> 0:29:09.040 build rigs that can hang from supports or be mounted 0:29:09.040 --> 0:29:13.560 to a vehicle, or otherwise help support a camera if 0:29:13.600 --> 0:29:17.520 there isn't a market solution out there already. In the 0:29:17.560 --> 0:29:19.800 case of dollies, they are also the people who push 0:29:19.880 --> 0:29:22.560 the dolly along the track as the camera operator captures 0:29:22.560 --> 0:29:26.120 a shot, at least if you're not using a motorized dolly. 0:29:26.160 --> 0:29:28.840 They also work with lighting crews to hang lights and 0:29:28.840 --> 0:29:32.040 set up lighting rigs, though the actual electricians on the 0:29:32.160 --> 0:29:35.160 lighting crew work with the lighting itself, so again the 0:29:35.160 --> 0:29:39.000 grips don't end up working the electrical side of it. 0:29:39.040 --> 0:29:41.320 They work on the physical. Let's get this to where 0:29:41.320 --> 0:29:44.400 it needs to be. The key grip is the head 0:29:44.440 --> 0:29:47.960 grip in charge, sort of the the foreman or supervisor 0:29:48.040 --> 0:29:50.920 of the department, and frequently will end up working with 0:29:51.000 --> 0:29:54.200 the main camera in a film production, so the key 0:29:54.200 --> 0:29:57.600 grip and the gaffer worked together closely to make sure 0:29:57.640 --> 0:30:00.960 the lighting and the camera support are all in lace. Now, 0:30:01.000 --> 0:30:03.480 both the key grip and the gaffer can have a 0:30:03.520 --> 0:30:06.960 position under them called the best boy, and this is 0:30:07.000 --> 0:30:10.400 where a lot of mystery comes back into play. The 0:30:10.440 --> 0:30:15.080 best boy position isn't really just an assistant. Typically, the 0:30:15.120 --> 0:30:18.680 best boy is responsible for doing stuff like hiring the 0:30:18.760 --> 0:30:22.600 crew in their respective department, whether that's in the grips 0:30:23.000 --> 0:30:25.840 or in the electrical and lighting department. They schedule the crew, 0:30:25.920 --> 0:30:29.880 they coordinate between departments. They might oversee you equipment rentals. 0:30:30.280 --> 0:30:33.080 They can oversee the day to day operations of those departments. 0:30:33.120 --> 0:30:36.760 So they are the supervisors under the foreman. So where 0:30:36.760 --> 0:30:40.600 the heck did the term best boy come from? Well, 0:30:40.640 --> 0:30:45.560 one popular but probably apocryphal explanation is that comes from 0:30:45.600 --> 0:30:48.600 the early days of film production, before all the roles 0:30:48.680 --> 0:30:53.200 on set had been established and unionized. So but back 0:30:53.200 --> 0:30:56.400 in those days, you had a lot more lucy goosey 0:30:56.440 --> 0:30:59.360 collaboration between the lighting crew and the grip crew, and 0:30:59.400 --> 0:31:02.840 in those days goes the story you would have the 0:31:03.000 --> 0:31:06.640 key grip or the gaffer asking one another to lend 0:31:06.840 --> 0:31:10.680 someone from the other team to help out on their team. 0:31:10.760 --> 0:31:13.120 So the gaffer might go to the key grip and say, 0:31:13.520 --> 0:31:15.600 I need somebody to help us out. Send over your 0:31:15.600 --> 0:31:18.960 best boy. So in other words, send over whomever's on 0:31:19.000 --> 0:31:22.080 your team who's really good at what they do, because 0:31:22.160 --> 0:31:23.960 I need someone who's going to pick up what I 0:31:24.000 --> 0:31:26.920 need them to do very very quickly, and we got 0:31:26.920 --> 0:31:31.680 to get this done. And that was generally placed as 0:31:31.880 --> 0:31:35.680 this is the origin of the term, and that eventually 0:31:35.720 --> 0:31:38.360 the term began to be used for the supervisor of 0:31:38.400 --> 0:31:41.360 the grip or electrical teams, the idea being that whomever 0:31:41.480 --> 0:31:43.560 is doing the best job is going to get promoted 0:31:43.680 --> 0:31:46.800 to supervisors, so they're the best boy. Now, the term 0:31:46.880 --> 0:31:49.440 is likely apocryphal, or the very least, there's no real 0:31:49.520 --> 0:31:52.640 source to support it apart from hey, you know, that 0:31:52.720 --> 0:31:55.720 sounds like it makes sense, So it's kind of like 0:31:55.800 --> 0:31:59.800 after the fact reasoning saying, well, it's probably because of this, 0:32:00.240 --> 0:32:02.680 but there's no documentation to show that that's actually how 0:32:02.720 --> 0:32:05.480 it happened. And there is an alternate theory, one that 0:32:05.760 --> 0:32:08.280 also doesn't have a ton of documentation to support it, 0:32:08.640 --> 0:32:11.560 and it's that the term comes from sailors. And this 0:32:11.640 --> 0:32:14.160 requires me to talk for a second about the relationship 0:32:14.240 --> 0:32:19.880 between sailing and film. So the general wisdom goes that 0:32:20.000 --> 0:32:24.040 back in the old days, theaters, as in stage theaters, 0:32:24.400 --> 0:32:28.120 would frequently employ sailors who were between jobs. So the 0:32:28.160 --> 0:32:31.200 sailors would be looking for work while they're on land 0:32:31.320 --> 0:32:34.840 and they don't have another UH expedition or whatever, they 0:32:34.840 --> 0:32:37.440 don't have another job lined up, they get hired on 0:32:37.520 --> 0:32:40.880 to do work in theaters, working in the rigging, so 0:32:41.000 --> 0:32:45.240 they're rigging up scenery pulleys and UH curtains and that 0:32:45.320 --> 0:32:47.320 sort of stuff. And it was similar to the work 0:32:47.360 --> 0:32:51.080 done on sailing vessels with sales and and ships rigging, 0:32:51.480 --> 0:32:54.719 So the sailors would do this stuff and move scenery around. 0:32:54.760 --> 0:32:57.440 And this is, by the way, the also the UH 0:32:57.520 --> 0:33:01.680 the possibly apocryphal reason why there's a superstition in theater 0:33:01.920 --> 0:33:04.800 that it's considered to be bad luck to whistle if 0:33:04.800 --> 0:33:09.000 you are backstage at a stage theater, and the reason 0:33:09.040 --> 0:33:11.960 for that is that the sailors would, as the story goes, 0:33:12.560 --> 0:33:16.000 use whistles. They would whistle to one another to signal wind, 0:33:16.040 --> 0:33:19.440 to move scenery, or otherwise mess with the rigging backstage. 0:33:19.720 --> 0:33:22.400 So if you were backstage and you were whistling, you 0:33:22.480 --> 0:33:24.880 might accidentally command the sailors to do all sorts of 0:33:24.880 --> 0:33:28.120 funky and possibly dangerous stuff with the scenery. Now, I 0:33:28.160 --> 0:33:31.960 have no idea if that's actually true, because the theater 0:33:32.040 --> 0:33:36.080 world is even worse at documenting its mythology and terminology 0:33:36.120 --> 0:33:38.680 than the film world is, and of course many film 0:33:38.800 --> 0:33:42.760 terms would grow from the theatrical world. But anyway, according 0:33:42.840 --> 0:33:45.840 to this alternate theory, in the whaling industry, it was 0:33:45.880 --> 0:33:48.560 apparently common to refer to a member of the crew 0:33:48.720 --> 0:33:53.000 as the best boy. Beyond this fairly vague description, I 0:33:53.080 --> 0:33:55.920 can't find much more, and there's not really any evidence 0:33:55.920 --> 0:33:58.880 to support the assertion, apart from the fact that sailors 0:33:58.920 --> 0:34:02.600 occasionally worked in the ors, and that possibly the term 0:34:02.640 --> 0:34:05.920 made its way from the sailing industry into the theatrical 0:34:05.960 --> 0:34:09.680 industry and then onto the film industry. Whatever the case, 0:34:10.000 --> 0:34:12.839 the best boy positions are important, and while the name 0:34:12.920 --> 0:34:16.440 indicates a gender, a best boy can be anyone, whether 0:34:16.560 --> 0:34:20.279 they identify as male, female, or other. And I've got 0:34:20.280 --> 0:34:22.479 a few more positions to talk about and some other 0:34:22.600 --> 0:34:26.160 terminology to get through. But first let's take another quick break. 0:34:33.840 --> 0:34:36.320 So we've got a few other big departments to talk about, 0:34:36.480 --> 0:34:39.840 like the sound department. This includes people like the sound mixer, 0:34:40.160 --> 0:34:43.960 the boom operator, and the sound utility expert. Their jobs, 0:34:44.200 --> 0:34:47.000 as you would guess, is to capture sound during recording 0:34:47.480 --> 0:34:49.960 and organizing all those recordings so that they can be 0:34:50.000 --> 0:34:53.319 mixed later in the editing process. They also typically try 0:34:53.320 --> 0:34:57.240 to capture important sounds and eliminate distracting stuff like background 0:34:57.320 --> 0:35:00.640 noise and room tone. Sometimes that's done at the time 0:35:00.719 --> 0:35:04.120 of recording. Often it's done in the editing phase. And 0:35:04.160 --> 0:35:08.399 related to this group are python wranglers. That's a term 0:35:08.480 --> 0:35:10.759 jokingly used to describe people whose job it is to 0:35:10.760 --> 0:35:13.799 help manage the cables on a film set so they're 0:35:13.840 --> 0:35:16.359 not in the way. They also work obviously with the 0:35:16.400 --> 0:35:20.000 electrical and camera departments, so you've got people who are 0:35:20.040 --> 0:35:23.760 just making sure that stuff is is kept fairly organized 0:35:23.800 --> 0:35:26.400 so that it doesn't cause a problem and doesn't end 0:35:26.480 --> 0:35:29.320 up making a big mess, so that when you're striking 0:35:29.560 --> 0:35:30.960 at the end of a day or at the end 0:35:30.960 --> 0:35:34.040 of a shoot. Uh, it doesn't, you know, take up 0:35:34.080 --> 0:35:36.759 even more time. Now, while I'm talking about sound, I 0:35:36.760 --> 0:35:40.120 should also mention a d R, which stands for additional 0:35:40.200 --> 0:35:44.279 dialogue recording or additional dialogue replacement. I've also seen some 0:35:44.360 --> 0:35:47.520 sources say a d R stands for automatic dialogue replacement, 0:35:47.560 --> 0:35:51.479 But additional is how I normally see it. And honestly, uh, 0:35:51.520 --> 0:35:55.759 the practice has been around longer than automated systems. But 0:35:55.960 --> 0:35:58.880 this is a technique in which an actor rerecords lines 0:35:58.920 --> 0:36:01.920 of dialogue in a studio in order to get a 0:36:01.960 --> 0:36:06.359 clean audio version of the line. The actor times their 0:36:06.400 --> 0:36:09.520 delivery to work with the captured footage, because obviously you 0:36:09.560 --> 0:36:13.920 can't just create new footage, not without the use of 0:36:13.960 --> 0:36:17.120 computers anyway. And so it's sort of like lip syncing, 0:36:17.160 --> 0:36:20.880 but in reverse. Instead of instead of mouving words that 0:36:20.920 --> 0:36:24.560 have already been recorded, you're recording new words, but you're 0:36:24.600 --> 0:36:28.360 doing it to time it with previously recorded visuals. So 0:36:28.440 --> 0:36:30.399 the actor has to time their delivery to work within 0:36:30.480 --> 0:36:34.560 that captured footage. And this can be done to correct 0:36:34.640 --> 0:36:38.680 for poor audio recording from the onset or on location audio. 0:36:38.760 --> 0:36:42.239 Let's say there was some extraneous noise that was too distracting. 0:36:42.719 --> 0:36:44.840 You could re record the audio in studio and have 0:36:44.920 --> 0:36:47.279 it inserted there, Or it could even be done in 0:36:47.320 --> 0:36:50.560 an attempt to change the performance that the actor gave 0:36:51.040 --> 0:36:53.880 by having the actor give a different read on the lines, 0:36:53.960 --> 0:36:58.600 maybe a different emotional take or a different emphasis on 0:36:58.719 --> 0:37:02.080 certain words. And and it's done well. The audience never 0:37:02.120 --> 0:37:05.120 even notices it. They don't notice the difference between something 0:37:05.160 --> 0:37:08.279 that was recorded on set versus a d R. If 0:37:08.320 --> 0:37:11.759 it's not done well, it could be super distracting, like 0:37:11.800 --> 0:37:13.800 it might not quite match up with the mouth and 0:37:13.920 --> 0:37:18.000 it seems really weird. Uh. Then you have the art department. 0:37:18.400 --> 0:37:21.000 This falls under the command of the film's production designer, 0:37:21.160 --> 0:37:24.480 who helps determine the look of a film outside of 0:37:24.560 --> 0:37:27.799 the camera and lighting departments. So those departments are all 0:37:27.880 --> 0:37:31.920 focused pun intended on how to light and capture a scene. 0:37:32.440 --> 0:37:35.160 But the production designer is in charge of the groups 0:37:35.200 --> 0:37:38.640 that make all the stuff that goes into those scenes. 0:37:38.680 --> 0:37:43.600 Like they select locations for location shoots, they build sets, uh, 0:37:43.640 --> 0:37:47.280 they dress sets, they design costumes. They set the physical 0:37:47.320 --> 0:37:52.000 look for the characters with makeup or prosthetics. Visual effects 0:37:52.040 --> 0:37:54.320 teams are part of this too. So under the production 0:37:54.360 --> 0:37:57.400 designer you have a lot of other people. Uh. The 0:37:57.520 --> 0:38:00.480 art director is in charge of craftspeople who work in 0:38:00.560 --> 0:38:03.520 set design and graphics. They also head up the illustrators 0:38:03.520 --> 0:38:06.080 who might work on a film. They're really important through 0:38:06.080 --> 0:38:09.680 the entire phase, including pre production. Uh. They might help 0:38:09.760 --> 0:38:13.600 with designing animatics and storyboards. That helps the director bring 0:38:13.719 --> 0:38:17.160 a vision into realization before committing stuff to film. So 0:38:17.480 --> 0:38:19.600 you could say, like, I'm thinking of having the camera 0:38:20.200 --> 0:38:23.200 in this particular position, and this is how I'm imagining 0:38:23.239 --> 0:38:26.320 the the scene playing out. You can have an artist 0:38:26.400 --> 0:38:29.440 kind of draw out what they feel that the director 0:38:29.520 --> 0:38:32.200 is saying and sort of build out a comic book 0:38:32.520 --> 0:38:37.320 or even crude cartoon version of whatever the action is 0:38:37.360 --> 0:38:40.040 going to be. It can also be a really collaborative 0:38:40.040 --> 0:38:42.919 process with the director of photography to really figure out 0:38:43.120 --> 0:38:45.680 exactly how it's supposed to look. That also gives the 0:38:45.719 --> 0:38:50.520 director of photography and a chance to rethink their position. 0:38:50.560 --> 0:38:52.960 They might say, you know, now that i'm thinking about it, 0:38:53.239 --> 0:38:56.880 I think that actually putting the camera over here would 0:38:56.880 --> 0:38:59.319 look better. Let's see what that might look like and 0:38:59.360 --> 0:39:01.399 have the illustra to go back and change things out. 0:39:01.840 --> 0:39:05.439 It's time consuming, but it's less expensive than finding out 0:39:06.120 --> 0:39:09.200 once you're there on set and you've set everything up. 0:39:09.760 --> 0:39:12.040 The set designer is the person who is in charge 0:39:12.080 --> 0:39:16.000 of overseeing the entire set construction job, from concept to 0:39:16.080 --> 0:39:19.840 full build out. UH. This often happens in a sound stage, 0:39:19.880 --> 0:39:22.960 which is a controlled environment within which a film can shoot, 0:39:23.440 --> 0:39:26.840 so you're isolated from the outside world you have fewer 0:39:27.760 --> 0:39:31.000 distractions that can come in. But set designers also can 0:39:31.040 --> 0:39:34.400 build sets on locations where you have slightly less control, 0:39:34.760 --> 0:39:38.480 but you can have more authenticity In those cases, the 0:39:38.520 --> 0:39:41.839 set decorator's job is to furnish the set with all 0:39:41.920 --> 0:39:44.759 the important props and elements that make it seem like 0:39:44.800 --> 0:39:47.400 a real place. So a set decorator working on a 0:39:47.400 --> 0:39:51.200 film UH that takes place and say an old, creepy mansion, 0:39:51.680 --> 0:39:54.360 might use a collection of objects that could be in 0:39:54.440 --> 0:39:57.399 a warehouse that the movie studio owns, or it could 0:39:57.400 --> 0:40:01.120 be rented from a business that's specifically caters to the 0:40:01.160 --> 0:40:04.480 movie industry. Or they might even crawl through various antiques 0:40:04.480 --> 0:40:06.960 and oddit these shops in order to find what they're 0:40:06.960 --> 0:40:09.319 looking for. If you listen to my episode with the 0:40:09.400 --> 0:40:12.640 Stranger Things crew, you heard them talk about the challenges 0:40:12.640 --> 0:40:16.280 of filling a set with appropriate props and set pieces 0:40:16.280 --> 0:40:19.120 that dated from the nineteen eighties. Now, while the set 0:40:19.160 --> 0:40:22.040 decorator determines which pieces are going to go in, there's 0:40:22.080 --> 0:40:24.920 a crew called set dressers who are actually in charge 0:40:25.000 --> 0:40:27.920 of placing those items within a set according to the 0:40:28.000 --> 0:40:30.280 vision of the creative team. Now, as you can imagine 0:40:30.680 --> 0:40:33.480 these films, sets can have hundreds of props in them, 0:40:33.520 --> 0:40:37.000 which means someone needs to keep track of everything, and 0:40:37.040 --> 0:40:40.600 that job falls to the props master. A prop is 0:40:41.120 --> 0:40:44.920 really anything that isn't an actor, a piece of scenery, uh, 0:40:45.239 --> 0:40:48.759 some film equipment, or a costume. It's pretty much everything else. 0:40:49.160 --> 0:40:52.680 They tend to be portable or at the very least movable. Uh. 0:40:52.760 --> 0:40:55.120 Some people will actually only use the word prop to 0:40:55.160 --> 0:41:00.200 mean anything that an actor actually interacts with within the film. So, 0:41:00.560 --> 0:41:03.320 in other words, if there's a book that an actor 0:41:03.320 --> 0:41:05.959 has to pick up and and look through, that book 0:41:05.960 --> 0:41:07.960 would be a prop. But maybe there's a stack of 0:41:08.000 --> 0:41:11.239 books that are on the set that the actor never touches. There, 0:41:11.280 --> 0:41:14.920 just set dressing, And they would argue, no, that's not 0:41:14.960 --> 0:41:17.759 a prop, that's scenery. But it's all largely academic. The 0:41:17.800 --> 0:41:20.000 props master has to keep track of all these things, 0:41:20.160 --> 0:41:22.959 and so typically has an organization system to know where 0:41:23.000 --> 0:41:25.120 props are in order to get hands on them when 0:41:25.120 --> 0:41:27.680 they are needed for any given scene. Often they are 0:41:27.680 --> 0:41:31.480 also prop builders on staff as well, as that name suggests, 0:41:31.760 --> 0:41:34.719 they build any props that you can't otherwise find, So 0:41:34.760 --> 0:41:37.480 in some types of films, like science fiction or fantasy, 0:41:37.840 --> 0:41:39.759 you have a lot of props that you really just 0:41:39.840 --> 0:41:43.040 can't find in stores, so you have to make them 0:41:43.040 --> 0:41:47.520 from scratch, like Star Wars with lightsabers. Lightsabers, I hate 0:41:47.520 --> 0:41:49.759 to tell you, aren't a real thing, so they had 0:41:49.800 --> 0:41:53.719 to build them. Likewise, costumers can end up making outfits 0:41:53.719 --> 0:41:56.480 for cast that are a combination of pre made pieces, 0:41:56.600 --> 0:41:59.080 some of them bought right off the rack from stores 0:41:59.239 --> 0:42:03.480 or off and secondhand shops. Other stuff might be made 0:42:03.480 --> 0:42:06.160 to order for the film itself, unique pieces that were 0:42:06.160 --> 0:42:09.440 specifically made for the movie. In addition to those positions, 0:42:09.440 --> 0:42:13.280 you have special effects artists who may work on practical effects, 0:42:13.400 --> 0:42:16.040 meaning those effects that happened within the real space and 0:42:16.160 --> 0:42:19.759 use physical objects or c g I effects. In the 0:42:19.800 --> 0:42:21.560 case of c g I, most of that work tends 0:42:21.600 --> 0:42:24.480 to happen far from the action of the actual shooting location, 0:42:24.800 --> 0:42:27.440 and it can stretch well into the post production phase 0:42:27.480 --> 0:42:30.799 of a film. Practical effects are pretty nifty, but they 0:42:30.880 --> 0:42:33.480 also can be fairly expensive, and if things do not 0:42:33.640 --> 0:42:36.480 go well, they can end up pushing a film behind schedule. 0:42:36.920 --> 0:42:39.200 A famous example of this would be the mechanical shark 0:42:39.320 --> 0:42:41.920 in Jaws. I did a full episode about that shark 0:42:42.000 --> 0:42:45.200 with Chris Palette years and years ago. The shark's name 0:42:45.239 --> 0:42:49.440 is Bruce. Anyway, that ended up being a huge headache. 0:42:49.560 --> 0:42:52.040 But practical effects, when they're done well, can seem more 0:42:52.120 --> 0:42:55.560 quote unquote real than c g I effects, and some 0:42:55.680 --> 0:42:59.520 film snobs like myself tend to favor practical effects over 0:42:59.560 --> 0:43:02.960 c g I in most cases because if c g 0:43:03.120 --> 0:43:05.759 I isn't done well, it just looks kind of like 0:43:05.760 --> 0:43:08.640 a video game to me. Now, you've also got makeup 0:43:08.719 --> 0:43:11.239 artists who have a pretty challenging job. Even with a 0:43:11.239 --> 0:43:13.760 simple film that has no need for special effects makeup, 0:43:14.080 --> 0:43:16.040 those artists have to make sure an actor's look is 0:43:16.080 --> 0:43:20.720 consistent throughout the film, depending upon whatever the film scene 0:43:20.760 --> 0:43:23.279 calls for, So they have to keep a record of 0:43:23.480 --> 0:43:26.120 all the different looks that the actor goes through in 0:43:26.160 --> 0:43:28.480 the course of a film to make sure that they 0:43:28.520 --> 0:43:31.120 stay the same from scene to scene, and if you're 0:43:31.120 --> 0:43:35.440 shooting scenes that are sequentially far apart in the in 0:43:35.480 --> 0:43:38.560 the finished film, it may be that the actor has 0:43:38.600 --> 0:43:41.600 to undergo some sort of transformation, and it means that 0:43:41.680 --> 0:43:43.880 you might have to have a record of several different 0:43:43.920 --> 0:43:47.000 looks to make sure you replicate exactly the right one 0:43:47.120 --> 0:43:49.560 for whatever scene is shooting that day. If the film 0:43:49.640 --> 0:43:52.839 calls for special effects makeup, there's an even bigger job 0:43:52.880 --> 0:43:55.040 ahead of the crew because they may have to work 0:43:55.080 --> 0:43:57.840 on a single actor for several hours to get everything 0:43:57.840 --> 0:44:02.040 ready for the camera. There are also location scouts and 0:44:02.080 --> 0:44:05.399 location managers. Their job is to seek out the real 0:44:05.440 --> 0:44:08.440 world locations where a film can shoot. I've had a 0:44:08.520 --> 0:44:11.960 lot of location scouts come through my neighborhood um and 0:44:12.080 --> 0:44:15.319 location managers talking with me as well about using the 0:44:15.719 --> 0:44:19.399 area for for shooting, and they have to handle all 0:44:19.520 --> 0:44:23.480 the real world issues that come along with that, including 0:44:23.880 --> 0:44:27.800 possibly working out deals with homeowners so that they can 0:44:27.960 --> 0:44:31.960 use a location for for a shoot, and that ends 0:44:32.000 --> 0:44:34.520 up getting to be a really complicated job. You've gotta 0:44:34.520 --> 0:44:37.800 be a real people person to be a good location manager. 0:44:38.560 --> 0:44:41.000 But there are tons of other roles as well. If 0:44:41.000 --> 0:44:44.120 a film requires stunts, there's a stunts department. That's the 0:44:44.160 --> 0:44:46.640 group to make sure that any potentially dangerous action on 0:44:46.719 --> 0:44:50.440 camera is done safely and with trained professionals to minimize 0:44:50.520 --> 0:44:53.680 risk to the performers, to the crew, to the equipment, 0:44:53.680 --> 0:44:57.680 to the production. There's the craft's Services group. Some people 0:44:57.800 --> 0:45:00.000 argue that's the most important group on any film set 0:45:00.000 --> 0:45:04.759 it because they feed everybody, They bring all the food. Uh. 0:45:04.880 --> 0:45:08.120 Then there's the transportation captain who has to handle all 0:45:08.120 --> 0:45:11.600 the logistics of getting everybody and everything to where it 0:45:11.640 --> 0:45:14.319 needs to go. So they need to make sure that 0:45:14.600 --> 0:45:17.800 all the talent has their transportation to get to the location, 0:45:18.320 --> 0:45:20.440 that all the crew is knows where they need to 0:45:20.440 --> 0:45:22.359 be and how they're going to get there, that all 0:45:22.360 --> 0:45:25.680 the equipment is ready to be shipped there, and there 0:45:25.680 --> 0:45:28.640 are there are trucks to do it. Um. I can't 0:45:28.640 --> 0:45:31.160 even imagine the stress that goes with that job. Also, 0:45:31.320 --> 0:45:34.040 they tend to be the first great people on location 0:45:34.200 --> 0:45:36.719 and the last people leave, and they have to be 0:45:36.719 --> 0:45:39.080 because they're in charge of getting everybody to where they 0:45:39.080 --> 0:45:41.920 need to go. In post production, there are also lots 0:45:41.960 --> 0:45:45.440 of other jobs they're folly artists. That's the sound effects group. 0:45:46.280 --> 0:45:50.400 There are there's marketing, there's publicity, there's accounting, there's casting. 0:45:51.920 --> 0:45:53.920 A lot of that is pretty self explanatory. I do 0:45:54.000 --> 0:45:57.240 want to end this episode talking about editors. The editor's 0:45:57.320 --> 0:46:00.760 job is to take all the footage, all the aftured sound, 0:46:00.800 --> 0:46:03.160 all the A d R, all the effects reels, all 0:46:03.200 --> 0:46:07.160 that stuff and make a movie out of it. Now, 0:46:07.200 --> 0:46:10.640 movies are made in editing. The editor can have just 0:46:10.800 --> 0:46:14.080 as much impact, or potentially even more impact than a 0:46:14.120 --> 0:46:17.840 director on the final feel of a film. The editor's 0:46:17.920 --> 0:46:20.840 job is to piece that film together and to select 0:46:20.960 --> 0:46:23.960 takes from all those shoot days and to put them 0:46:23.960 --> 0:46:27.239 in the proper sequence to tell the story. And they 0:46:27.280 --> 0:46:29.720 have to do that also by adding in the correct 0:46:29.760 --> 0:46:32.560 sound and all that other stuff. So it said that 0:46:32.600 --> 0:46:35.360 a great editor can turn a decent film into a 0:46:35.360 --> 0:46:38.200 fantastic film, and they can turn a fantastic film into 0:46:38.280 --> 0:46:41.960 a masterpiece. A bad editor can take something that you 0:46:41.960 --> 0:46:44.799 know has good raw material and turn it into a 0:46:44.880 --> 0:46:49.080 total mess that's almost unwatchable. Some directors work very closely 0:46:49.080 --> 0:46:52.000 with editors to craft a final piece that best represents 0:46:52.000 --> 0:46:54.759 what the director had in mind, and so they take 0:46:54.760 --> 0:46:56.640 a very tight hand with it through the whole process. 0:46:56.760 --> 0:47:01.520 Quentin Tarantino is famous for this. Some times producers will 0:47:01.560 --> 0:47:04.319 step in the way and they'll prevent a director from 0:47:04.360 --> 0:47:06.680 having too much influence on the final edit of a film. 0:47:06.880 --> 0:47:09.720 The producer might say, you know what, your creative vision, 0:47:10.000 --> 0:47:12.600 it's not so good, so I'm not gonna let you 0:47:12.640 --> 0:47:14.799 do that because it's gonna cost me money, and then 0:47:14.840 --> 0:47:17.279 they make the editor do all the work. Sometimes the 0:47:17.320 --> 0:47:19.520 producers are the ones steering the editors. They can get 0:47:19.560 --> 0:47:21.719 really messy. There are tons of stories in Hollywood about 0:47:21.719 --> 0:47:25.360 how these stories play out, and most of them are ugly. Now, 0:47:25.360 --> 0:47:27.520 I think, out of all the positions on a film production, 0:47:27.600 --> 0:47:30.120 I respect the editor most of all because they cannot 0:47:30.960 --> 0:47:33.120 create a new scene or anything like that. They can't 0:47:33.120 --> 0:47:35.560 make something out of nothing, but they can take what 0:47:35.719 --> 0:47:38.160 was shot and shape it, so that has a really 0:47:38.320 --> 0:47:42.040 powerful effect on an audience. Sometimes just cutting a scene 0:47:42.040 --> 0:47:45.200 short can do the trick. Or switching between different takes 0:47:45.239 --> 0:47:47.680 to get the best reactions from the various actors in 0:47:47.719 --> 0:47:50.239 the scene will do the trick. And I don't want 0:47:50.280 --> 0:47:54.640 to go overboard on praising editors because obviously everyone on 0:47:54.680 --> 0:47:57.799 a film set is important. They all contribute to the 0:47:57.840 --> 0:48:02.719 success of a film, but really the editor helps take 0:48:02.760 --> 0:48:06.799 all that stuff and create a final picture. And that 0:48:06.960 --> 0:48:09.400 is the rundown on the basic rolls behind the scenes 0:48:09.480 --> 0:48:11.719 on film productions. Like I said, I plan to go 0:48:11.760 --> 0:48:16.080 into the the various sayings in terms used on film 0:48:16.080 --> 0:48:19.080 sets to describe the process of making films in a 0:48:19.120 --> 0:48:22.279 future episode. Um, after a couple more episodes, but for now, 0:48:22.400 --> 0:48:25.480 let's say it's a rap now. If you guys have 0:48:25.520 --> 0:48:27.719 any suggestions for future episodes of tech Stuff, you can 0:48:27.760 --> 0:48:30.359 write me an email. The address is tech Stuff at 0:48:30.400 --> 0:48:33.080 how stuff works dot com, or you can pop on 0:48:33.120 --> 0:48:36.040 over to our website that's tech stuff podcast dot com. 0:48:36.239 --> 0:48:38.120 There you are going to find the archive of all 0:48:38.239 --> 0:48:41.359 of our older episodes, links to our social media accounts, 0:48:41.400 --> 0:48:44.319 as well as a link to our online store. And 0:48:44.400 --> 0:48:52.440 I will talk to you again really soon. Tex Stuff 0:48:52.480 --> 0:48:54.800 is a production of I Heart Radio's How Stuff Works. 0:48:54.960 --> 0:48:57.799 For more podcasts from my heart Radio, visit the i 0:48:57.880 --> 0:49:01.359 heart Radio app Apple Podcasts, wherever you listen to your 0:49:01.400 --> 0:49:02.080 favorite shows.