Role and Expectations
A helpful resource to ensure that everyone is on the same page.
Roles & Expectations
One of the unique aspects of the Women's Weekend Film Challenge is that when you get accepted, we place you on a crew with complete strangers and a complete equipment package. Once you're placed on a crew you'll instantly expand your professional network for referrals and hires.
When you apply for the challenge you're asked to rank your top three choices for a role you can fulfill on the team. The role descriptions below are meant to help you decide if you're qualified to fill a particular role and to ensure that everyone understands what is expected of them. Due to the demanding timeline and limited funds of the challenge, the roles might be slightly different than what you've experienced on past sets. Please read through the descriptions to make sure you know what you're signing up for.
Role Descriptions
Producer (Team Leader)
Each crew is assigned a team leader who is the main point of contact between WWFC and the team. Since this role is crucial to the success of the challenge, anyone considered for this role will go through an additional phone interview and, if accepted, an orientation. WWFC stays in contact with the team leader before, during and after the challenge and provides her with additional resources such as an orientation booklet.
Associate Producer
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support the team leader.
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assist in finding locations, equipment, props and team member replacements if need be.
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be available for pre-production meetings and throughout the challenge weekend.
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be listed as an associate producer in the credits and IMDb.
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help create the IMDb page and submit to festivals.
Director
Assistant Director
The assistant director keeps the shoot on schedule and safe. You will work with the team leader and director to write the call sheet every day of production, taking in all of the parameters – actor conflicts, location needs, etc. – and then adjust the schedule as things come up during production.
Screenwriter
Each crew has two writers. You will be required to attend an orientation meeting where you will meet your co-writer, director and team leader. At this meeting you will go over the scehdule for writing, expectations, and protocols.
Actor
Editor
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discuss with the director and the DP what format the film will be shot in, and inform the team of any known limitations your system has. (For example, working on a computer that doesn’t handle 4K footage well or fast enough).
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be familiar with, and have access to, professional editing software such as Adobe Premiere or Final Cut.
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determine the workflow and divide responsibilities between editor and assistant editor.
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receive the raw footage from the production team.
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sync the video and audio of the footage.
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edit a first cut of the film.
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collaborate with the director on any changes that need to be made to the edit in order to picture lock.
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export the audio and transfer it to the sound mixer.
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transfer the edit to the person doing color correction (unless you are also doing color correction).
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handle the final export of the film.
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be available during and after the challenge. You may be receiving footage as early as Friday morning. It is best to complete as many tasks as possible early on, such as the final credits.
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ensure that everyone’s names and roles are correct in the final credits, and that the credits adhere to WWFC guidelines.
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be available to communicate with the director, AD, and/or producer during post-production.
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complete and deliver the low-res version of the film by 11:59 p.m. on the challenge weekend.
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complete and deliver the final, high-resolution film by 8 p.m. on the Tuesday following the challenge. This is the version that will be screened the next weekend.
Assistant Editor
Your role is to suppport your editor under a tight deadline. You will be in charge of the end credits, ensuring that every name and role is correct, and that all the sponsors logos are correct. This work should be done by Saturday night of the challenge. You will also help load the raw footage for your edit, label everything according to your editor's preferences, and help in any other way your editor needs.
You must have experience editing in order to be considered for this role.
Cinematographer/ DP
You will:
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establish the visual look of the movie regarding lighting, film stock, shot selection, camera operation and other elements.
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work with the gaffer on the lighting design and ensure that as a team you have all the equipment you need to create the desired look.
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consult with the director and AD on the shooting schedule and shot list.
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operate the camera if your team does not have a camera operator.
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frame the scene, oversee the camera filters and aperture settings, and select special equipment.
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submit raw footage to the editor.
Asssitant Camera (1st and 2nd)
You will:
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be available for pre-production meetings and production.
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discuss the workflow and specific division of labor with the DP.
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familiarize yourself with the equipment the DP will be using.
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transport, keep track of and maintain organization of all camera equipment.
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be ready to assist DP with the change over of lenses, media cards, and batteries.
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pull focus (the DP might do it themselves), either next to the DP on camera or on a remote monitor.
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put down tape marks for actors or to mark distances for the benefit of actors and DP in blocking.
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possibly run B cam if there is more than one camera.
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slate shots.
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guide and catch the DP if they are moving within a crowded space so that they aren't bumped or hurt, nor is anyone or anything around that could be backed into or hit.
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work with the AD and DP to maintain shot lists.
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be present and alert on all practicalities like time and equipment on behalf of the DP.
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bring your kit if you have one. (Some items that should be included in your kit: camera/lens cleaning kit, multitool and hex key set, measuring tape, dry erase markers, pens, sharpies, a wax pencil, bongo ties, a flashlight, AA batteries, C47s, velcro strips, and a variety of width and color of gaff and paper tape, and a slate.)
Gaffer
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be available for all pre-production meetings and all of production. -
be responsible for all the practical aspects of lighting sets and locations in order to fulfill the director and DP’s vision. -
discuss all lighting aspects with DP, AD and relevant crewmembers. -
determine if any equipment needs to be rented or borrowed. -
submit a request to the team leader if you need an insurance certificate for your equipment. (Please see official rules for more information on insurance policies.) -
work closely with camera and sound to create a safe and creative environment for the shoot. -
arrange and focus each rig according to the relevant lighting plan. -
ensure that all equipment is properly stored, or loaded safely for return to owners.
Production Sound
The sound mixer will:
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be available for pre-production meetings and production.
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advise on what locations will be good for sound and what to avoid/look out for.
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determine what equipment is necessary for the shoot and decide if anything needs to be rented or borrowed. Submit a request for an insurance certificate if necessary (see official rules for insurance policies).
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Control the noise on set; shut off what you can to make the location quieter (i.e. air conditioner, refrigerator, etc.).
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operate the appropriate equipment (i.e. recorder, boom, lavs).
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record all necessary dialog cleanly.
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record wild lines if necessary (for any off-screen dialog or to replace any on-screen lines that weren’t able to be recorded cleanly).
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record room tone and ambiance to help with editing.
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submit files to editor (or if determined earlier, assistant editor, or team leader).
Composer
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be available for pre-production meetings and production.
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discuss the themes, vision, and tone of the film with the director to determine the style of music.
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be comfortable with and have access to DAW software (ProTools, Digital Performer, Cubase, etc.) and able to import and export audio and video files quickly.
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be able to sync audio to video, using timecode.
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send temporary music to the editor and director if need be.
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compose and record original music for the film, or provide pre-existing tracks that suit the film.
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send a finished music mix in 48k/24bit WAV format to the editor with enough time for revisions and a sound mix, including stems if requested.
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be available for final tweaks after the challenge.
Hair and Make Up
You will:
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be available for pre-production meetings and production.
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meet with the director and or creative team to determine the look for hair and makeup.
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bring all necessary tools and supplies to set.
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keep shared tools and supplies sanitary.
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provide touch-ups throughout filming.
Art Director
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be available for pre-production meetings and production.
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discuss the look and vision with director and DP and inform them of any limitations or special abilities you have when it comes to fulfilling that vision.
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obtain the necessary props while staying within your team leader’s budget (ideally everything will be donated).
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dress the set.
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place props when necessary and keep track of all props that are not in use.
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return props and dressings to their rightful owners.
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submit receipts if your team leader has agreed to reimburse you.
Production Assistant (PA)
Unlike most of the roles in Women's Weekend Film Challenge, this role is open to film students and those with limited experience.
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be available for pre-production meetings and production.
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know who you report to on set but also be available to anyone who asks for assistance.
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be ready to perform physically demanding tasks in an efficient, safe manner (wear comfortable, closed-toes shoes!).
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familiarize yourself with the call sheet, the set, and everyone working on set.
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be ready to retrieve miscellaneous items and keep receipts for reimbursements if your team leader has approved this.
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if the set is outdoors or in public, prevent strangers from walking through the set and talking during filming. Keep an eye on valuables (equipment and personal belongings) as well.
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make sure that the crew is silent during filming.
Script Supervisor
Behind-the-Scenes Photographer and Videographer
You will:
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take photos and videos during pre-production and production.
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send photos as a Google Drive or Dropbox link to your team leader so that they can submit them to WWFC by the Tuesday, 8 p.m. deadline. Label all photos with this format: Team name - Photographer’s name - #. Save all photos as a jpeg and videos as MP4s. Only send up to 100 photos in this file and make sure to include photos of:
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The slate
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The group
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The director in action
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The DP (with the camera in the shot)
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Lighting
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Sound
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Makeup artist doing actors’ makeup
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The craft services table
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Post-productions pictures (i.e. editor or composer at work) are a bonus!
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Any behind-the-video you captured
Social Media
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be available for pre-production meetings and production, and continue to promote the film via social media after the challenge weekend is over. -
create and promote a Facebook page, Twitter handle, and/or Instagram account for the film. -
craft posts and unique hashtags that the crew can use and share. Always include #wwfilmchallenge and #womensweekendfilmchallenge so that we easily find your posts and share them. -
collect quotes from cast and crew members to use in social media posts. -
pull from the behind-the-scenes photos to create social media posts. -
be sure to follow all Women’s Weekend Film Challenge accounts and be retweeting, sharing, etc. WWFC posts throughout the challenge. You can even engage with social media people from other teams to heighten the diaglog about WWFC throughout the challenge weekend. -
continue posting about the film after the challenge (some great events to cover are the screening the weekend after the challenge, and the festival submission party). -
post on social media whenever your team’s film is accepted to a film festival.
Graphic Desiger
Key Grip
You will be on set for all of production. You will work with the DP and director to design and then set up all the rigging for the camera. Experience as a grip is necessary.
Costume Designer
Women's Weekend Film Challenge is an unorthodox experience for costume designers as the actors are assigned beforehand, but the script has not yet been written — and you don't even know the genre.
Boom Op
You will:
Post Sound
You will:
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Complete audio editing, audio mixing, and (possibly) sound design for the team. -
Be comfortable with and have access to DAW software (ProTools) and able to import and export audio and video files quickly. -
Review sound design with the director for correctness and tone.