A daily production report (DPR) or production report (PR) in filmmaking is the form filled out each day of production for a movie or television show to summarize what occurred that day. There is no standard template for a production report and each show usually has an original template, often created before production begins by one of the assistant directors. Besides superficial differences, most forms record the same information and are simply a series of blank tables created in Excel printed double-sided on a legal sized (8 × 14) sheet of paper. The purpose of this form is to keep track of a production's progress and expenses. It is finally sent to studio executives and is permanently filed to serve as a legal record.
The very top lists the production company name, production title, director, producers, unit production managers, assistant directors, the total number of scheduled production days, and the current production day. Below this, the majority of the DPR combines information from several different forms on one page for easy reading:
The back lists the names of the entire crew and production office staff separated by department, with each person's in and out times, meal times, and meal penalties. The back also records the number of meals consumed (and thus paid for by the company), any special equipment rented, and has a notes section to mark down any miscellaneous yet important information, like details of a theft, fire or accident.
The report is usually completed by a script supervisor an assistant director, a Paperwork PA, or a DGA trainee. Manpower, crew information, and equipment information is collected from the Key PA, the Best Boy Grip, Best Boy Electric, 2nd Camera Assistant, Assistant Props, Set Scenic, Key Hair, and Key Make-Up during the day. This information can be difficult to gather as it involves finding a moment when these busy crew members are free to talk. The Paperwork PA needs to be perceptive and only interrupt them at a good moment. The number of meals served is counted by the PA during lunch, usually requiring they wait by the buffet line and eat last in order to count how many plates are taken by everyone. The assistant directors and producers will tell the Paperwork PA what notes to add.
At the end of the day the Paperwork PA receives the other forms and adds the information to the front. They will usually drop the DPR off at the production office after wrap to be filed, first making a few copies to give to the UPM and assistant directors the next day so they can double-check the information and have corrections called into the office if they disagree with any information.
A film crew is a group of people, hired by a production company, for the purpose of producing a film or motion picture. The crew is distinguished from the cast, as the cast are understood to be the actors who appear in front of the camera or provide voices for characters in the film. The crew is also separate from the producers, as the producers are the ones who own a portion of either the film studio or the film's intellectual property rights. A film crew is divided into different departments, each of which specializes in a specific aspect of the production. Film crew positions have evolved over the years, spurred by technological change, but many traditional jobs date from the early 20th century and are common across jurisdictions and filmmaking cultures.
A screenplay, or script, is a written work produced for a film, television show, or video game by screenwriters. A screenplay written for television is also known as a teleplay. Screenplays can be original works or adaptations from existing pieces of writing. A screenplay is a form of narration in which the movements, actions, expressions and dialogue of the characters are described in a certain format. Visual or cinematographic cues may be given, as well as scene descriptions and scene changes.
In theatre, a lighting designer works with the director, choreographer, set designer, costume designer, and sound designer to create the lighting, atmosphere, and time of day for the production in response to the text while keeping in mind issues of visibility, safety, and cost. The LD also works closely with the stage manager or show control programming, if show control systems are used in that production. Outside stage lighting, the job of a lighting designer can be much more diverse, and they can be found working on rock and pop tours, corporate launches, art installations, or lighting effects at sporting events.
An electrical lighting technician, or simply lighting technician, are involved with rigging stage and location sets and controlling artificial, electric lights for art and entertainment venues or in video, television, or film production.
A clapper loader or second assistant camera is part of a film crew whose main functions are that of loading the raw film stock into camera magazines, operating the clapperboard (slate) at the beginning of each take, marking the actors as necessary, and maintaining all records and paperwork for the camera department. The name "clapper loader" tends to be used in the United Kingdom and Commonwealth, while "second assistant camera" tends to be favored in the United States, but the job is essentially the same whichever title is used. The specific responsibilities and division of labor within the department will almost always vary depending on the circumstances of the shoot.
A production assistant, also known as a PA, is a member of the film crew and is a job title used in filmmaking and television for a person responsible for various aspects of a production. The job of a PA can vary greatly depending on the budget and specific requirements of a production as well as whether the production is unionized.
The role of an assistant director on a film includes tracking daily progress against the filming production schedule, arranging logistics, preparing daily call sheets, checking cast and crew, and maintaining order on the set. They also have to take care of the health and safety of the crew. The role of an assistant to the film director is often confused with assistant director but the responsibilities are entirely different. The assistant to the film director manages all of the directors in development, pre-production, while on set, through post-production and is often involved in both personnel management as well as creative aspects of the production process.
A sound stage is a large, soundproof structure, building or room with large doors and high ceilings, used for the production of theatrical film-making and television productions, usually located on a secured movie or television studio property.
A script breakdown is an intermediate step in the production of a play, film, comic book, or any other work that is originally planned using a script.
Filmmaking or film production is the process by which a motion picture is produced. Filmmaking involves a number of complex and discrete stages, beginning with an initial story, idea, or commission. Production then continues through screenwriting, casting, pre-production, shooting, sound recording, post-production, and screening the finished product before an audience, which may result in a film release and exhibition. The process is nonlinear, as the director typically shoots the script out of sequence, repeats shots as needed, and puts them together through editing later. Filmmaking occurs in a variety of economic, social, and political contexts around the world, and uses a variety of technologies and cinematic techniques to make theatrical films, episodic films for television and streaming platforms, music videos, and promotional and educational films.
Principal photography is the phase of producing a film or television show in which the bulk of shooting takes place, as distinct from the phases of pre-production and post-production.
In filmmaking, dailies or rushes are the raw, unedited footage shot during the making of a motion picture. The term "dailies" comes from when movies were all shot on film because usually at the end of each day, the footage was developed, synced to sound, and printed on film in a batch for viewing the next day by the director, selected actors, and film crew members. After the advent of digital filmmaking, "dailies" were available instantly after the take and the review process was no longer tied to the overnight processing of film and became more asynchronous. Now some reviewing may be done at the shoot, even on location, and raw footage may be immediately sent electronically to anyone in the world who needs to review the takes. For example, a director can review takes from a second unit while the crew is still on location or producers can get timely updates while travelling. Dailies serve as an indication of how the filming and the actors' performances are progressing. The term was also used to describe film dailies as "the first positive prints made by the laboratory from the negative photographed on the previous day".
Television crew positions are derived from those of film crew, but with several differences.
The set decorator is the head of the set decoration department in the film and television industry, responsible for selecting, designing, fabricating, and sourcing the "set dressing" elements of each set in a Feature Film, Television, or New Media episode or commercial, in support of the story and characters of the script. The set decorator is responsible for each décor element inside the sets, from practical lighting, technology, art, furniture, drapery, floor coverings, books, collectables, to exterior furnishings such as satellite dishes, Old West water troughs, streetlamps, traffic lights, garden furniture and sculptures.
A script supervisor is a member of a film crew who oversees the continuity of the motion picture including wardrobe, props, set dressing, hair, makeup and the actions of the actors during a scene. The notes recorded by the script supervisor during the shooting of a scene are used to help the editor cut the scene. They are also responsible for keeping track of the film production unit's daily progress. The script supervisor credit is typically in the closing credits of a motion picture. Script supervisors are a department head and play a crucial role in the shooting of a film. It is the script supervisor's job to monitor the camera shots, seeking to maintain coherence between the scenes.
In the cinema of the United States, a unit production manager (UPM) is the Directors Guild of America–approved title for the top below-the-line staff position, responsible for the administration of a feature film or television production. Non-DGA productions might call it the production manager or production supervisor. They work closely with the line producer. Sometimes the line producer is the UPM. A senior producer may assign a UPM more than one production at a time.
Daily call sheet is a filmmaking term for the schedule supervised by the assistant director and crafted by the 2nd assistant director, using the director's shot list, the production schedule and other logistics considerations. It is issued to the cast and crew of a film production to inform them of where and when they should report for a particular day of filming, usually no later than 12 hours before the start of the next work day.
A production report ("PR") is a filmmaking term for the form filled out each day of production of a movie or television show to summarize what occurred that day. There is no standard template for a production report, and each show usually has an original template, often created before production begins by one of the assistant directors ("AD"). Besides superficial differences, most forms record the same information and are simply a series of blank tables created in Excel printed double sided on a legal sized sheet of paper. The purpose of this form is to keep track of a production's progress and expenses and to help determine what salary is owed to the cast and crew. It is finally sent to studio executives and is permanently filed to serve as a legal record.
A line producer is a type of film or television producer who is the head of the production office management personnel during daily operations of a feature film, advertisement film, television film, or TV program. They are responsible for human resources and handling any problems that come up during production. Line producers also manage scheduling and the budget of a motion picture, as well as day-to-day physical aspects of the film production.
This glossary of motion picture terms is a list of definitions of terms and concepts related to motion pictures, filmmaking, cinematography, and the film industry in general.