Pre-Production (cont'd)

• Any special effects that are not computer-generated must also be planned. The special effects crew, who may be blowing up a building or planning a lengthy car chase, must go over logistics, safety, and rigging with all key personnel involved with the sequence, including the stunt coordinator, who oversees all the stunt doubles.
• If a movie calls for prosthetics or special make-up effects, make-up effects artists may have to create a number of sample masks, fat suits or bloody limbs before the director signs off on just the right one.
• The property master is responsible for a variety of things, such as overseeing the props that the actors use, finding the picture cars, or any vehicles that appear on camera. If animals are part of the story, the prop master must find the animals and their wranglers.
• The first assistant director (A.D.) creates the production schedule board with the director and producers by breaking down a script to determine what elements are needed for each scene and how the shooting schedule will proceed. The first A.D. makes sure that all departments communicate with each other. After making the board, the A.D. creates a "day-out-of-days", a chart that organizes each actor’s work schedule.
• The auditor reviews the budget with the line producer and producers and, with the accountants, monitors the production’s daily expenditures, down to the penny.
• Some scripts require special consultants. Military advisors, police or historical experts, even food stylists, might be brought in for their expertise, often becoming involved during the script-revision phase. Actors may need instruction in fighting, skating, dancing, sword-play, or even a regional accent or dialect.
Finally, rehearsals begin, giving the director a chance to work with the actors. The D.P. joins technical rehearsals to determine the lighting and camera movement and angles for each scene. There is never enough time to complete all pre-production work and circumstances can change daily. The departments continue to prepare for upcoming scenes during the course of filming, often trying to stay a step or two ahead of the shooting crew.
The first day of production is right around the corner…

Food stylists created 19th century haute cuisine for THE AGE OF INNOCENCE.

Revolutionary war re-enactors participated in THE PATRIOT's battle scenes.