First 100 Days: Understanding Project Types

Knowing what a project is about or the type of content you are creating is essential to having a greater understanding of what you’re about to do. There are many ways to tell a story, and most projects will use several types of content to do that. If you get a call for a project, the person hiring you is most likely going to describe the shoot days with one, or a combination, of these descriptions. Here’s what you can expect that portion to look like. The crew and gear requirements are different for all of these, so pay attention to these details during your initial communications. If none are given, it would be wise to ask for them.

Grip Package

To understand the scope of a project, you can often reference how large of a grip truck is on-set. Below is a general description of what to expect from each size grip and electric package. Note that sometimes it’s easier for a G&E company to stock a 3-ton truck with the same amount of equipment as a 1-ton, for example, but bill it according to what Production actually needs rather than having a truck in each size. For every production, these packages are customized based on the needs of the DP, so expect some additional items in each truck package.

• 1-ton: The amount of equipment on a 1-ton truck can actually fit in a mini-van or small cargo van. It has a small selection of c-stands, stingers, flags, an apple box family, assorted grip clamps, and a few lighting fixtures with stingers. A lot of times there may not even be a grip or gaffer with a package of this size. Instead it may be a PA or AC assisting the DP to setup.

• 3-ton: Similar items as a 1-ton package, but with a more extensive selection and available inventory, especially when it comes to rigging equipment and larger stands. A 16’ box truck or large cargo/Sprinter van will typically transport this package. You should expect at least a gaffer and possibly 1-2 grips.

• 5-ton: A 5-ton truck will be an even more extensive selection of grip and electric items, particularly with electrical distribution. With this truck, you’ll often find a tow-behind generator, lunch boxes and other higher-amperage distribution boxes along with larger light fixtures. With a 5-ton package, you will have a gaffer, best boy and a couple grips and swings.

• 7- or 10-ton: A 7- or 10-ton truck will have about as much rigging and fixtures as you could possibly want, allowing the ultimate versatility for almost any set. This requires additional considerations for budget and crew size. A truck of this size will require a very extensive grip and electric crew of at least 5-10, with a gaffer, best boy, key grip, along with several additional grips and swings joining in on the fun.

Interviews

When shooting formal interviews you should expect a small number of people on camera, typically just one person, maybe two, along with one producer asking the questions or leading the conversation. If it’s a reporter or journalist, it’s possible they will also be on camera. Most interviews are going to have 2 cameras and a 1-ton grip and lighting package. Usually both cameras will be side by side for a wide and tight shot, but sometimes the second or third camera will be off to the side for a profile angle. You can expect a 1-2 hour window to setup the camera and lights on the subject and background. Sometimes the producer on-location can approve the look, but sometimes a still of the monitor will have to be sent off for approval or the feed might be sent via Zoom or other video chat for monitoring. Ideally, the location will be locked off by PAs while shooting. There’s always a chance a teleprompter will be used, so that’s something to consider. Pro Tip: Generally speaking, you don’t want the chair that talent is sitting in to be seen or distracting, so find something comfortable without arms and, if possible, make sure it doesn’t swivel or have wheels.

OTFs

On The Fly interviews, or OTFs as they are called, are short and simple interviews found in the non-scripted format, typically standing up with just one light at most and limited flags or fill, if any. They shouldn’t last long, anywhere from 5-15 minutes, and meant to get the thoughts from the on-camera talent while their thoughts are fresh from the action they just performed. You might sometimes hear ITM, or In The Moment, which is essentially an OTF, but while they are doing something rather than just standing idle in an interview.

BTS

Behind The Scenes, or BTS, refers to anytime that you are capture the “making of” the actual project. Crew members and production equipment will be seen and featured in order to tell the story of how a project is made. Sometimes there is a dedicated BTS crew or photographer, or sometimes it happens only as time allows.

Recre

Recreations, or recre (pronounced ree-kree), are when you visually recreate a story that’s being told with interviews. In true crime stories, for example, victims and experts might tell the how a story unfolded and it will be shown visually with recre’s. They are generally highly stylized with a lot of production value. Most of the time, they will be MOS, but sometimes they will involve capturing dialog.

Process

A process segment captures the step-by-step progression of a task or project, usually with a specific focus on the technical details or noticeable visual changes to a product or project. The crew will usually include only the camera team. The shoot may require specialized equipment such as macro lenses, time-lapse rigs, and specialty cams.

Reveal

A reveal captures a big reveal or surprise moment, such as the unveiling of a new product, a newly renovated project or the winner of a competition. This is a big payoff moment for the show, so stress levels can be higher than usual because much effort has been talent to keep the product hidden in order to get a genuine reaction from on-camera talent. The crew will usually include all hands. The shoot may require specialized equipment such as jibs, cranes, and specialized lighting to create a dramatic reveal.

All-cast

An all-cast shoot simply involves filming all of the main cast members of a TV show or movie in one location as opposed to smaller groups. The crew will usually include a director, multiple camera operators, and a larger sound team. The shoot may require multiple lighting setups and camera angles to ensure coverage of all talent.

Verité

Verité is a style of documentary filmmaking that seeks to capture realistic, unscripted moments as they happen. The crew will usually be minimal, consisting of a director, camera operator, and possibly a sound recordist. The shoot may require handheld cameras and natural lighting to create a sense of authenticity.

Timelapse

A timelapse captures footage of events that take place over a long period of time, such as a sunrise or a cityscape changing throughout the day. The crew will usually include only a camera operator and PA, and specialized equipment such as intervalometers and motion control rigs.

High Speed

A high-speed shoot captures slow-motion footage of fast-moving subjects, such as athletes or explosions. This can be accomplished with the camera that is being used for all other scene work by changing the frame rate and other settings, or specialized equipment such as high-speed cameras like a Phantom can be brought in for ultra-high-speed shots.

EPK

An electronic press kit, or EPK, involves creating promotional materials for a TV show or movie, such as interviews with cast and crew, behind-the-scenes footage, and clips from the production. The crew will usually include a director, camera operator, sound recordist, and producer. The shoot may require multiple lighting setups and camera angles to create a polished look. The sound mixer will often coordinate with the production sound mixer to get a mono mix of the actors’ dialog. No more than a 1-ton package will be used for an EPK.

ENG

Electronic news gathering, or ENG, involves capturing news footage for broadcast television. The crew will usually include a producer, camera operator, sound recordist, and reporter. Sometimes this is used to differentiate a studio setup from a location setup when those crews are working side-by-side. The shoot may require specialized equipment such as mobile satellite trucks or LiveU broadcasting equipment and a 1-ton package.

Junket

A junket shoot involves conducting interviews with celebrities or cast members for promotional purposes. The crew will usually include a camera operator, sound recordist, and producer. A typical junket will have the actor(s) in a stationary position while the different news and entertainment outlets rotate throughout the day to conduct their interviews. The shoot may require multiple lighting setups and camera angles to create a polished look. Expect a 1-ton package on a junket.

Hit/Live Hit

A hit, or live hit, involves a live broadcast from a remote location, such as a red carpet event or breaking news scene. Sometimes these are also live to tape, in which you shoot it as if it is live, but it will be uploaded or broadcasted later. The crew will usually include a camera operator, sound recordist, and producer. The shoot may require specialized equipment such as satellite trucks and wireless microphones. This is usually a very simple setup with no more than a 1-ton package.

Scripted narrative

A scripted narrative shoot involves filming a TV show or movie with a scripted story and dialogue. The crew will usually include a director, camera operator, sound recordist, and producer. The shoot may require multiple lighting setups and camera angles to create a polished look, as well as specialized equipment such as cranes, jibs and dollies. Depending on the budget, you can expect a 3- to 10-ton package on a scripted narrative project.

Unscripted

Unscripted shoots involve capturing real-life situations and events without the use of scripts or actors. This technique is used primarily in reality television, documentaries, and news and current affairs broadcasting. It requires a smaller crew, and may include a camera operator, sound mixer, and producer.

Tent Pole

A tent pole is a scene in an unscripted project that is a centerpiece or major moment of a particular story point and usually includes all the cast and sets off a story in a new direction. Smaller group scenes might be before or after a tent pole, so it’s a chance to gather all the cast in one place on camera. These are often a little more intricate lighting setups for the reality world, so you can expect a 3- to 5-ton package on something like this depending on the style, budget and location of the show.

Commercial/Scripted

A commercial shoot is a type of scripted shoot that is designed to promote a product or service. These types of shoots are usually produced by advertising agencies or production companies for broadcast on television or online platforms. Commercial shoots require a large crew, including a director, cinematographer, sound mixer, and production designer. The equipment used on these shoots varies depending on the type of commercial being shot, but they usually require a large lighting package, cameras, and sound recording devices.

MOS

MOS stands for "mit out sound" or "motor only sync." It is a filmmaking term that indicates that the scene being filmed does not require any synchronized sound to be recorded. In MOS shoots, the camera rolls without any accompanying sound, and the sound is usually added in post-production. MOS shoots are often used for shots that require a lot of movement, such as action sequences, or for shots where the dialog is not as important, such as establishing shots.

MOTW

MOTW stands for Movie of the Week. These types of shoots are made-for-TV movies that are often produced for broadcast television networks. MOTW shoots are similar to scripted narrative shoots, but they usually have a smaller budget and a shorter timeline for production. The crew and equipment used on these shoots depend on the scale of the production, but generally, they require a director, cinematographer, sound mixer, and a 3- to 5-ton truck.

Day In The Life

A day in the life is a type of shoot that follows a person or group of people throughout their daily activities. This type of shoot can be either scripted or unscripted and is often used in reality television shows or documentaries. Day in the life shoots usually require a smaller crew, including a director, camera operator, and sound technician. You should expect a 1-ton package, or less.

Docu-series

A docu-series is a type of non-fiction television show that focuses on a specific subject or topic, often in multiple episodes or seasons. Docu-series are usually unscripted and rely on real people and situations to tell their story. These types of shoots require a large crew, including producers, directors, camera operators, sound technicians, and editors. The sound department is particularly important in docu-series shoots, as they need to capture the interviews and ambient sound. The equipment used for docu-series shoots varies depending on the type of shoot, but generally, the gear used is similar to what would be used in a non-fiction film.

Hopefully this will help paint the picture when you're told about the type of project you're getting called for. It will allow you to plan accordingly and have the correct expectations. Sometimes these types of content aren't for everybody, so this should help you decide if a project is a good fit for you. There are even more types of content to learn about, but if you think we missed an important one be sure to send us a message!

Checkout all the parts of this series below

1. Walkie Etiquette

2. Navigating Set

3. Talk The Talk

4. Understanding Project Types (you are here)