First film production manager
Line managers are part of the staff of a film or television production . In this capacity they are subordinate to the film production management , which in turn is responsible for the planning, implementation and organizational and financial control of a film or TV project.
definition
Depending on experience and suitability, a distinction is made between first and second unit managers. The areas of responsibility are divided. The first production manager (comparable to the functions of a “Unit Manager” or “ Production Coordinator ” in Anglo-American countries or the “Director” in French cinemas) is usually involved in the planning of the shooting and arranges the participants and production staff as well as the entire production logistics during the shooting phase . Second production managers are generally present at the location during production (" Set Manager / Floor Manager "), ensure that all work processes on the set run as smoothly as possible and are in constant contact with the first production manager.
Areas of responsibility
The first production manager accompanies the preparations for the shooting from as early as possible. This applies particularly to the search for a motif, whereby logistical and economic criteria must be taken into account in addition to the artistic preferences of direction and production design. In the ideal case, the production management can rely on the assistance of a first production manager when creating the shooting schedule; production managers generally take part in production meetings.
In this way, the production manager works closely with production , to which they are economically and organizationally responsible. Close cooperation with the assistant director is of great importance, as he passes on and coordinates the director's wishes to the production manager. In connection with the shooting schedule, the first manager creates a daily disposition (Engl. Call Sheet are) in which all provided for a day of shooting organizational measures in a schedule specified. The disposition is binding for the production staff and can only be changed and made known under compelling circumstances and that exclusively by the reception manager.
A first reception manager obtains filming permits and motif rentals, while en route she provides artist cloakrooms, lounges, motif catering, storage facilities, parking arrangements and energy connections. She organizes the transport of personnel and material to and from the location. During the shoot, she coordinates staff and technology and provides replacement in the event of a breakdown. She is responsible for the safety of the people involved, as well as for the work of the second (or set) manager. For large film projects with significant logistical effort - e.g. B. Cinema productions with a large team, an extensive fleet of vehicles and frequent changes of motif, there is a further functional level between the first and second reception manager, the so-called motif reception manager ("Location Management"). This takes on part of the aforementioned production functions of the first recording manager at individual, specific locations (but not the disposition, which always remains with the 1st AL). Insofar as some of the tasks mentioned go beyond a certain economic framework, the first reception manager consults the production management, whose decision remains decisive.
After the end of the shooting, the first production manager will handle the production economically, provided that it is responsible for expenses. It controls the relevant invoices, records possible damage cases, arranges and monitors that material and vehicles are returned.
education
The path to becoming a unit manager is usually acquired through the practice and leads from the “unit manager assistant” via the “second unit manager” to the “first unit manager”. The development of the media industry, however, makes it more and more necessary to acquire theoretical background knowledge, which can be acquired in seminars and lectures as well as through appropriate specialist literature. In public television, training takes place as part of a unit manager traineeship , which is carried out by the AGM (training association for media professions). The management and chairmanship of AGM have been with Norddeutscher Rundfunk (NDR) since it was founded in 1959. Training locations are the various locations of NDR, BR, HR , RBB , SWR , WDR , Radio Bremen , SR and recently also at ZDF. Here, too, the path from “assistant” to “second reception manager” to “first reception manager” results from practice. Successful practice as first unit manager also represents a realistic path to production management, even if an academic background is often required here.
The “second reception manager” is also a field of activity in itself and does not necessarily have to lead to “first reception manager” as a career step.
The job description “First Admission Manager” is recognized by the German Chamber of Commerce and Industry and is offered and promoted as a graduate training course.
Sound engineering
In sound engineering, the term “musical recording manager” is common, but it is often misleading. The "musical recording manager" checks the music production of the work during the recording process in the sound control room, based on the score available to him, with the aim of avoiding errors in the performance. In order to avoid confusion with the film and TV recording manager, the musical recording manager is now also known as the “ sound director ”. Under certain conditions, one also speaks of the sound engineer or - in the case of economic co-responsibility - of the music producer .