Editing Filmmaking (section)

=== Production ===
{{see also|Cinematography|Audiography|Principal photography}}
[[File:Steven Spielberg with Chandran Rutnam in Sri Lanka.jpg|thumb|[[Steven Spielberg]] (standing) with [[Chandran Rutnam]] in Sri Lanka, during the production of ''[[Indiana Jones and the Temple of Doom]]'' (released 1984)|266x266px]]
[[File:Mahmoud_Zulfikar,_1968.jpg|alt=Mahmoud Zulfikar, 1968|thumb|214x214px|[[Mahmoud Zulfikar]] during the production of ''[[The Splendor of Love]]'' (released 1968)]]
[[File:Filminspelning - Ystad-2022.jpg|thumb|A film production in [[Ystad]] 2022]]
In production, the film is created and shot. In this phase, it is key to keep planning ahead of the daily shoot. The primary aim is to stick to the budget and schedule, which requires constant vigilance. More crew will be recruited at this stage, such as the [[property master]], [[script supervisor]], assistant directors, stills [[photographer]], [[film editor|picture editor]], and [[Sound editor (filmmaking)|sound editor]]s. These are the most common roles in filmmaking; the [[production office]] will be free to create any unique blend of roles to suit the various responsibilities needed during the production of a film. Communication is key between the location, set, office, production company, distributors and all other parties involved.

A typical day shooting begins with the crew arriving on the set/location by their call time. [[Actor]]s usually have their own separate call times. Since set construction, [[Set dresser|dressing]] and [[lighting]] can take many hours or even days, they are often set up in advance.

The [[Grip (job)|grip]], electric and production design crews are typically a step ahead of the camera and sound departments: for efficiency's sake, while a scene is being filmed, they are already preparing the next one.

While the crew prepares their equipment, the actors do their costumes and attend the hair and make-up departments. The actors rehearse the [[film script|script]] and [[Blocking (stage)|blocking]] with the director, and the camera and sound crews rehearse with them and make final tweaks. Finally, the action is shot in as many [[take]]s as the director wishes. Most American productions follow a specific procedure:

The assistant director (AD) calls "picture is up!" to inform everyone that a take is about to be recorded, and then "quiet, everyone!" Once everyone is ready to shoot, the AD calls "roll sound" (if the take involves sound), and the [[production sound mixer]] will start their equipment, record a verbal slate of the take's information, and announce "sound speed", or just "speed", when they are ready. The AD follows with "roll camera", answered by "speed!" by the camera operator once the camera is recording. The [[clapper loader]], who is already in front of the camera with the [[clapperboard]], calls "marker!" and slaps it shut. If the take involves extras or background action, the AD will cue them ("action background!"), and last is the director, telling the actors "action!". The AD may echo "action" louder on large sets.

A take is over when the director calls "Cut!" and the camera and sound stop recording. The script supervisor will note any continuity issues, and the sound and camera teams log technical notes for the take on their respective report sheets. If the director decides additional takes are required, the whole process repeats. Once satisfied, the crew moves on to the next camera angle or "setup", until the whole scene is "covered." When shooting is finished for the scene, the assistant director declares a "wrap" or "moving on", and the crew will "strike", or dismantle, the set for that scene.

At the end of the day, the director approves the next day's shooting schedule and a daily progress report is sent to the production office. This includes the report sheets from continuity, sound, and camera teams. [[Daily call sheet|Call sheet]]s are distributed to the cast and crew to tell them when and where to turn up the next shooting day. Later on, the director, producer, other department heads, and, sometimes, the cast, may gather to watch that day or yesterday's footage, called ''[[dailies]]'', and review their work.

With workdays often lasting fourteen or eighteen hours in remote locations, film production tends to create a [[Team building|team spirit]]. When the entire film is "in the can", or in the completion of the production phase, it is customary for the production office to arrange a [[wrap party]], to thank all the cast and crew for their efforts.

For the production phase on [[Live action|live-action films]], synchronizing work schedules of key cast and crew members is very important.<ref name="Wurmfeld_Page_52">{{cite book |last1=Wurmfeld |first1=Eden H. |last2=Laloggia |first2=Nicole |title=IFP/Los Angeles Independent Filmmaker's Manual |date=2004 |publisher=Elsevier |location=Amsterdam |isbn=9781136051067 |page=52 |edition=2nd |url=https://books.google.com/books?id=OXMqBgAAQBAJ&pg=PA52 |access-date=28 June 2023 |archive-date=22 July 2023 |archive-url=https://web.archive.org/web/20230722162303/https://books.google.com/books?id=OXMqBgAAQBAJ&pg=PA52 |url-status=live }}</ref>  For many scenes, several cast members and many crew members must be physically present at the same place at the same time (and [[bankable star]]s may need to rush from one project to another).  Animated films have different workflow at the production phase, in that voice actors can record their takes in the [[recording studio]] at different times and may not see one another until the film's premiere.<ref name="Hayes_Page_176">{{cite book |last1=Hayes |first1=Derek |last2=Webster |first2=Chris |title=Acting and Performance for Animation |date=2013 |publisher=Focal Press |location=New York and London |isbn=9781136135989 |page=176 |url=https://books.google.com/books?id=4z0qBgAAQBAJ&pg=PA176 |access-date=2023-03-19 |archive-date=2023-04-09 |archive-url=https://web.archive.org/web/20230409044929/https://books.google.com/books?id=4z0qBgAAQBAJ&pg=PA176 |url-status=live }}</ref>  Animated films also have different crew, since most physical live-action tasks are either unnecessary or are simulated by various types of [[animator]]s.