Unofficial Assistant director's Handbook
- dara-2405
- Aug 12
- 24 min read
Updated: Sep 18
Hi, I’m Dara Oliver. I hold a degree in Film and Audiovisual from Unespar and am currently pursuing a Master’s in Film at Queen’s University Belfast, Northern Ireland.
I work as an assistant director on short films, documentaries and music videos. I’ve spent many late nights on set, been on numerous technical scouts, managed endless spreadsheets, and experienced those situations that only those living the audiovisual routine truly understand.
Between courses, practical work and real-life experience, I realised much of what I’ve learned would be far more useful if shared. That’s how this Unofficial Assistant Director’s Handbook came about: a collection of behind-the-scenes tips, daily tricks, and everything I wish I’d had when I first started.
I’m not a teacher, but I believe sharing knowledge is important. :)
If you’d like to get in touch, you can email me at dara-2405@outlook.com or find me on Instagram @daraoliver.
Summary
Introduction to the Assistant Director
Roles and Responsibilities
1st AD
2nd AD
3rd AD / Trainee
Cast Assistant (São Paulo and South)
Differences Between Cinema and Broadcast TV
Film Phases
Soft Pre / Pre-Pre
Pre-Production (Preparation)
Production (Filming)
Post-Production (Finalisation)
AD Tasks in Pre-Production
Technical Analysis
Filming Plan
Preparation Schedule
Scout Report
Creative Meetings
Extra Decoupage
Types of Fees (A, B, C)
Types of Stunt Performers
Figuration Exercises
Exercise: Organising the AD Department
Short Film: Forever
Cinematic Terms Glossary
Movie Magic Scheduling
Activation and Navigation
Completing Technical Analysis
Strip Colours
Organising Categories and Elements
Tips for Editing Technical Analysis
Transferring, Replacing and Locating Elements
Renumbering and Deletion
Element Linking
Reports and Technical Lists
Creating, Viewing, Editing and Printing
Cast List, Photoboard, Export and Import
Filming Plan
Types of Strip (Cinema, Banner, Day Break)
Day Out of Days (DOD)
Schedule and Calendar Rules
Red Flag (Conflict Agenda)
Cast Letter
Step-by-Step Guide to Generation
Order of the Day
Automatic Organisation and Printing of Technical Details
DEPARTMENT OF FILM ASSISTANT DIRECTORS
Normally, on a typical professional feature film production, there are three members of the Director’s Assistant team: the 1st, 2nd, and 3rd AD or an intern, depending on the film’s budget.
For large productions, there can be more than three members. For example, I have worked on productions with two 2nd ADs, one managing everything related to paperwork and documentation, and the other overseeing the cast.
On the other hand, in low-budget productions, I have worked with only two people on the team: myself as 1st AD and a 2nd AD, handling all tasks.
In São Paulo and the South, there is often a “casting assistant” who supports the 2nd AD with casting duties and sometimes handles the entire casting process.
1st AD
Usually carries out the first technical analysis alone, which is later updated by the 2nd AD.
Prepares the initial shooting plan independently; updates are made by the 2nd AD with the 1st AD’s guidance.
Creates the daily preparation schedule; sometimes the 2nd AD does this in certain productions.
Produces scout reports.
Coordinates all the director’s creative meetings (rehearsals with the cast, technical analysis meetings, shooting plan meetings, concept meetings, technical scout visits, script readings, etc.).
Appoints the casting agency.
Assists in casting decisions—meeting actors and attending theatre performances are important.
Books extras.
Oversees the set operations close to the plateau.
Directs 2nd unit and stock shots.
Inputs cast and crew schedules into the agenda.
Assists the director in scene decoupage.
Often directs cast tests.
Responsible for finding solutions to unforeseen problems during preparation and on set, as the 1st AD has comprehensive information from all departments.
2nd AD
The 1st AD’s right-hand person.
Manages all computer-based tasks and documentation (technical lists by department, agenda updates, technical analysis, and shooting plan updates). Requests for documents go through the 2nd AD and the documentation team.
Manages everything related to the actors: booking rehearsals, tests, and filming; receiving actors on set; escorting them to coffee breaks, dressing rooms, and the set; and managing transport.
Updates technical analyses and shooting plans.
Books extras.
Decoupage and selects extras.
Coordinates all charges and communications with departments.
3rd AD or Intern
Carries out all tasks assigned by the 1st and 2nd ADs, mainly administrative duties such as photocopying, printing, and sending emails.
Manages extras: receives them, escorts them to coffee, dressing rooms, and the set.
Marks extras.
Assists with cast management when the 2nd AD is overwhelmed.
Exercise – 1st Assistant Director: Short Film “Forever”
You are the 1st Assistant Director of the short film Forever, approximately 10 minutes long, which blends reality and fantasy to explore the psychological impact of domestic violence.
Organise your team (yourself plus three others), describing:
Who is responsible for which tasks
How responsibilities will be divided regarding casting, extras, documentation, and sets
How communication will be managed with other departments
How you will handle the non-linear and emotionally complex narrative
Answer?
Everyone has their own way of organising things; here’s how I would approach it so you can compare with your notes.
My Organisation as 1st AD – “Forever” Project
Position | Name/Role | Key Responsibilities |
1st AD (me) | General coordination of AD | Technical analysis, filming plan, meetings, scheduling, agenda, set management, 2nd unit direction |
2nd AD | Right-hand person / actors and documents | Cast coordination, rehearsal scheduling, liaison with costume and make-up, completing the OD (Organiser Daily) |
2nd Auxiliary AD | Support for cast, extras and documents | Assist with casting, scheduling and extras logistics, production checklist, daily logistics |
AD Intern | General support and extras | Printing, managing extras on set, café/dressing room organisation, handling physical documents |
Detailed Task Distribution
1st AD (me):
Conduct the initial technical analysis of the script, especially focusing on the division between reality and fantasy.
Prepare the first shooting schedule, considering the subjective transitions between worlds.
Coordinate meetings with the director, art department, cinematography, production, and cast.
Participate in the technical scout, organising schedules and workflows.
Organise the overall shooting and preparation schedule (rehearsals, read-throughs).
Prioritise shoot days, taking into account the vulnerability of the subject matter.
Supervise the set and oversee 2nd unit filming if necessary (objects, atmospheres, inserts).
Ensure a respectful atmosphere on set, aligned with the project’s political and ethical proposal.
2nd AD:
Manage all matters related to the actors: contact, scheduling, arrival on set, and transport.
Update the daily Agenda, technical analysis, and shooting schedule.
Schedule rehearsals with the director and cast.
Liaise with dressing rooms, make-up, and costume departments.
Welcome the cast on set and accompany them throughout the day.
Supervise tests, script readings, and sensitive scenes alongside the care team.
2nd AD Assistant:
Support the 2nd AD in managing the cast and extras.
Breakdown the extras’ roles (fantasy vs. reality) according to the director’s instructions.
Book and confirm extras, ensuring their timely arrival and departure as per the OD (Organiser Daily).
Handle daily logistics: transport, catering, and safety protocols.
Organise BOMs (Breakdown of Materials) by department.
Assist with checking scene elements (props, continuity, etc.).
Intern (3rd AD):
Receive extras, escort them to dressing rooms or catering, and position them on set.
Assist with organising physical documents (prints, copies, signatures).
Accompany the cast when the 2nd AD is overloaded.
Support rehearsals and script readings.
Responsible for on-set checks (marking positions, silencing mobile phones, etc.).
Communication with Other Departments
Conduct departmental meetings with the support of the 2nd AD.
Communicate any scene, location, or schedule changes immediately via email and the production group chat.
Prepare the daily checklist in collaboration with the 2nd AD and update the Agenda accordingly.
Hold briefings before each shooting day with the cast, director, and production team to align mood and ensure safety.
Handling Sensitive Topics
For scenes involving abuse or emotional distress, limit the number of people on set to the absolute minimum.
Ensure the presence of an intimacy coordinator or, at minimum, provide an emotional support resource for the actor.
In scenes with strong subjective content (delirium, temporal confusion), create a calm environment, clearly explain the filming plan, and prioritise the emotional wellbeing of the cast and crew.
Final Summary – My Focus as 1st AD
Technical planning combined with emotional sensitivity. Team organisation with responsibility and clear communication. Fostering an ethical, safe, and collaborative environment. Supporting the production’s political proposal: a cinema of care, listening, and respect.
PHASES OF A FILM
1st PHASE
Soft Pre-Production (SP) or Pre-Pre-Production (RJ)
Minimum duration: 3 weeks
Participants: Executive Producer, Director, Art Director, Director of Photography, 1st AD, Scriptwriter, Location Producer, Casting Director (or Producer; the term 'Casting Producer' is no longer used, it is now 'Casting Director')
Goals to close: Approximately 70% of locations and 70% of cast should be confirmed by the start of pre-shoots
2nd PHASE
Preparation (Pre-Production)
The 1st AD acts as the actors’ guardian: knows everything about them — who shares cars, dietary requirements, dressing room arrangements.
Script Reading (Team Reading): Conducted with department heads only.
Technical Analysis: Listing the requirements for filming each scene. On TV, this is known as the checklist. The Technical Analysis (TA) is a scene-by-scene breakdown where the 1st AD assigns elements from the action/scene rubric to the respective departments. It also identifies responsibilities for unique items (e.g. a specific song or prop).
Daily Preparation Schedule: The team’s agenda for organising the shoot, including rehearsals, location visits, TA meetings, script readings, costume fittings, etc.
Location Visits: Initial visits typically happen during Soft Pre-Production. The Technical Scout is a detailed visit to chosen locations with department heads. The director discusses the decoupage and shot axes, while department heads raise concerns and technical issues, proposing solutions. If no solution is found, locations may need to be changed. The 1st AD produces the Scout Report after the visit.
Example: In the film Eduardo and Mônica, a scene was dubbed because it was originally recorded next to a busy road.
Technical and Artistic Concept Meeting: Heads discuss artistic concepts, colour schemes, and references — best held during Soft Pre-Production.
Character Concept Meeting: Discussion with heads on artistic concepts of characters — ideally in Soft Pre-Production.
Visual Concept Meeting (Photography and Art): Best in Soft Pre-Production.
Casting Meeting: Discussion of physical requirements for casting — best in Soft Pre-Production.
Casting Tests: Conducted during Soft Pre-Production.
Meeting with Casting Agency: The 1st AD rarely selects or appoints casting agencies.
Finalising Casting Contracts: No scheduling with actors before contracts are signed.
Costume Design Approval: The 1st AD assists by defining extras’ profiles — age, gender, profession, and number.
Shot-by-Shot Decoupage Meeting: Conducted by the director.
Make-up and Costume Tests: Including filmed tests.
Production of the Shooting Plan: The 1st AD creates this document detailing the shooting schedule by week and day, including scenes, actors, locations, and times.
Technical Scout with Team: Producing the Scout Report.
Technical Analysis Meeting.
Filming Plan Meeting.
Actor Training: Driving, firearms handling, choreography, etc.
Rehearsals with Actors.
Storyboarding (if any).
General Script Reading with Cast: Each actor reads their part.
Show and Tell: Presentation of scene props for director approval.
FILMMAKING (Production)
Create the shooting agenda — everything filmed must be included in the OD (Daily Organiser).
Play the SET — the 1st AD organises the crew and optimises time.
Book extras.
Book actors.
Conduct other necessary meetings.
Coordinate 2nd Unit shoots.
Shoot stock shots — e.g., landscapes for time passage.
FINISHING (Post-Production)
Editing
Sound mixing
Visual effects
Sound editing
Colour grading
Subtitling and credits
Final copy preparation
Screening
Dubbing / ADR
Accessibility features
Practical Exercise – Phases of a Film and the Role of the Assistant Director
Background:You have been hired as 1st Assistant Director on a medium-length feature film, with six weeks of shooting planned. The script alternates between intimate scenes set indoors and more technical exterior scenes, including a moving car sequence and night shoots. The project is currently in Soft Pre-Production.
Part 1 – Phase Identification
Below are various steps that occur throughout film production. Classify each item into the correct phase:
( ) General reading with cast
( ) Screenwriter, director, casting director, AD and location producer are already involved
( ) Implementation of the Filming Plan
( ) Meeting of technical and artistic concepts
( ) Makeup and costume test filmed
( ) Show and Tell (presentation of scene props)
( ) Sound editing and mixing
( ) Closure of 70% of leases
( ) Production of the OD
( ) Technical analysis meeting with departments
( ) Shooting stock shots
( ) Shot-by-shot breakdown meeting with the director
( ) Marking and logistics of extras
( ) Technical scout with department heads
( ) Subtitling and final copy
Part 2 – Planning Challenge
Imagine you are in the second week of Soft Pre-Production, and the director wishes to schedule the first rehearsal with the main cast. However, two actors' contracts have not yet been signed, and the executive producer is out of town.
Question:Would you, as 1st AD, schedule the rehearsal regardless? What would you do in this situation?
Part 3 – Soft Pre and Pre-Production Schedule
Create a basic two-week schedule considering the following:
You are still in Soft Pre-Production, but Pre-Production will begin in 10 days.
You need to fit in the following activities:
2 concept meetings (visual and character)
1 casting test
1 script reading with team leaders
1 technical scout
1 casting meeting
1 technical analysis
1 meeting with the extras agency
Question:Organise these activities across the weekdays and provide a brief justification for the order you choose.
Part 4 – Set Situation
During filming, a crucial scene will be shot beside a busy road. Direct sound may be compromised, but this is the only day the two actors are available for this location.
Question:What prior actions and on-set solutions can you propose as the AD to minimise the problem? What type of recording should be planned for post-production?
Part 5 – Technical Response
Define in your own words:
What is a Scout Report and who is responsible for writing it?
Who completes the decoupage of extras and what should it include?
What is the difference between a Storyboard and a Shooting Plan?
What are the mandatory elements included on the OD?
Why does the AD need to know if two actors share a car?
ANSWERS
Part 1 – Phase Identification
Nº | Item | Phase | Justification |
1 | General reading with cast | Pre-production | Reading with full cast takes place after contracts are signed. |
2 | Screenwriter, Director, Casting Director, AD and Location Producer | Soft Pre (Pre-pre) | These professionals are involved from the initial pre-organization phase. |
3 | Implementation of the Filming Plan | Pre-production | It is the responsibility of the 1st AD and occurs with a well-defined script and locations. |
4 | Meeting of technical and artistic concepts | Soft Pre | Initial creative meetings take place in soft pre. |
5 | Makeup and costume test filmed | Pre-production | Made with a closed cast, close to filming. |
6 | Show and Tell (scene props) | Pre-production | Final check and approval with management before filming. |
7 | Sound editing and mixing | Post-production (Finalization) | Fundamental stages of post-production. |
8 | Closure of 70% of leases | Soft Pre | Minimum target before pre-production begins. |
9 | Production of the OD | Production (Filming) | Daily document that organizes the recording routine. |
10 | Technical analysis meeting | Pre-production | Made with a cut-out script, it involves all departments. |
11 | Shooting stock shots | Production | Recorded as cover or extra material. |
12 | Shot-by-shot decoupage meeting | Soft Pre / Pre-production | With the director, essential for visual detail. |
13 | Marking and logistics of figuration | Pre-production | Decoupage, selection and scheduling of extras. |
14 | Technical Scout with Department Heads | Pre-production | Important technical step after defining the locations. |
15 | Subtitling and final copy | Post-production (Finalization) | Final part before screening and delivery. |
Part 2 – Planning Challenge
No, the trial should not be scheduled until all contracts have been signed. The Assistant Director (AD) must:
Communicate with the Executive Producer (even remotely).
Check with the Director if there are alternative activities to maintain the schedule (e.g., rehearsals with other actors, partial script readings, technical meetings).
Ensure the production does not legally commit to artists who have not yet signed contracts.
The AD must respect the legal hiring process and propose viable alternative solutions.
Part 3 – Soft Pre-Production and Pre-Production Schedule (Suggested Template)
Week 1 – Soft Pre-Production
Monday: Visual Concept Meeting
Tuesday: Character Concept Meeting
Wednesday: Casting Meeting
Thursday: Casting Test
Friday: Script Reading with Team Leaders
Week 2 – Pre-Production
Monday: Technical Scout with the Team
Tuesday: Technical Analysis Meeting
Wednesday: Meeting with Casting Agency
Thursday: Filming Plan Update
Friday: Organisation of First Day’s Agenda
Note: The order should prioritise creative tasks during soft pre-production and technical tasks during pre-production, maintaining balance and viability.
Part 4 – Set Situation: Noisy Location
Expected solutions:
Inform Direct Sound and Direction teams about the risk.
Arrange for possible dubbing in post-production (ADR).
Record the issue in the Technical Scout Report and include it in the Agenda.
Plan for long visual takes without direct audio, or reinforce audio capture using lapel microphones plus post-production.
Consider requesting a quiet window from local production or changing the recording axis.
Present technical solutions and record subsequent actions required for post-production.
Part 5 – Technical Response
Scout Report:Document prepared by the AD after a technical visit with department heads. It records technical needs, problems, solutions, and the visual plan for each location.
Costume Decoupage:Prepared by the Assistant Director. It lists the profile of each extra required for each scene, including age, gender, appearance, quantity, and dramatic function.
Difference between Storyboard and Film Plan:
Storyboard: Graphic representation (drawings) of shots as defined by the director.
Film Plan: Technical document detailing the shooting schedule by day, scenes, locations, actors, times.
Mandatory Elements on the Agenda:
Scenes to be filmed
Actors involved
Cast and crew schedules
Location details
Information on transport, catering, technical needs, weather, etc.
Car Sharing Between Actors:
Organise transport logistics efficiently.
Avoid delays on set.
Plan the production schedule and daily commutes.
Prevent conflicts or discomfort among professionals.
CINEMATOGRAPHIC TERMS GLOSSARY
Establishing Shot
A general geographical or setting shot used to show the viewer the location.
Stock Shot
Time-lapse or “postcard” shots of locations, often purchased from an image bank.
Record / Locked Camera
A camera that remains fixed (cannot be moved) to allow for time-lapse, jump cuts, or post-production effects (e.g., adding more figures). The Assistant Director (AD) organises the team to have a locked camera on set.
Master Shot
The full scene shot from one angle. It is not a sequence shot, as other shots (angles) exist within the same scene.
Jump Cut
Abrupt cuts within the same shot, usually of action or background, creating a noticeable jump.
Pick Up
A repeated portion of a shot to fix a problem, marked on the slate as e.g. SCENE 04 SHOT 02 TAKE 04 PU (Pick Up).
Check the Gate
Originally analogue: checking the film gate for dirt or damage immediately after recording. Today, this is done by the logger inspecting the memory card.
Blockthrough
Rehearsal of camera and actor movements prior to shooting.
Crop
Reframing a shot, usually during post-production.
Match Cut
A cut between two shots matched by visual or thematic similarity, allowing the viewer to make an obvious connection. (Famous example: the bone-to-spacecraft cut in 2001: A Space Odyssey).
ADR (Automated Dialogue Replacement)
The process of calling actors to re-record lines due to poor original audio. Dubbing, by contrast, replaces the actor’s voice with another’s.
Monitor Flicker / Monitor Battering
Old TV and computer screens were concave and flickered on film. To correct this, the shutter speed or angle must be adjusted (usually recorded at 24fps/48Hz).
Moiré
An interference pattern appearing when filming tight lines or repetitive dots through a lens.
Flare
Light from a reflector or bright source entering the lens, causing a visible glare or haze.
Flip
Mirroring the image horizontally to correct gaze axis or composition.
Call Back
A second audition or test for actors, often after initial casting decisions. In advertising, this is often called an “edited” audition.
Logging
The process of the logger taking camera memory cards, checking files, and organising raw footage.
Mock-up / Mocap
A replica of a real object for filming, e.g., fake ice cream that won’t melt, or covering/removing brand logos for legal reasons.
Pack Shot
A product shot, typically used in commercials.
Merchandising / Product Placement
Inclusion of products or brands within a production, usually requiring brand presence on set.
Shot List
A list of shots based on the director’s decoupage, given to the crew.
Encall
When one sound, usually speech, overlaps another on the soundtrack.
M.O.S
“Mit Out Sound” (without sound), filming without recording audio.
Per Diem
Travel allowance covering meals (usually second meal of the day), laundry, and incidental expenses.
Buy Out
Additional payment to an extra or actor who performs beyond their original contracted shot (e.g., from general shot to close-up).
Side / Scene Block
A reduced format script extract listing the scenes to be filmed on a particular day in shooting order.
Jabá
Pejorative term for working on side projects during paid work hours.
Clearance
Checking if specific background elements (e.g., graffiti) are suitable for filming.
Backlot
A large outdoor studio area where sets are built.
Caneting
Manually changing a schedule sheet when there is no time to print a new one.
Pre-light
Setting up lighting in advance of the shoot day. Requires additional rental time, equipment, and crew. Usually planned during the location scout.
B-roll
Footage captured by an independent camera, usually spontaneous and without the director calling “action”.
Additional Notes
Blonde actors should avoid standing in front of green screens to prevent colour interference.
Standard global frame rate: 24fps; USA often uses 23.98fps.
Acronyms for Schedule
Acronym | Meaning |
ATT | Attention |
TBC | To Be Confirmed |
TBA | To Be Announced |
TBD | To Be Defined |
FYC | For Your Consideration |
FYI | For Your Information |
The 8 Steps in Updating the Technical Analysis (TA)
First update:
The first AD prepares the initial TA by analysing the script alone.
This version usually generates many questions for the director and department heads.
Second update:
After consulting the director and heads of department and receiving their answers.
Third update:
When new versions of the script arrive.
Fourth update:
During rehearsals with the actors.
Fifth update:
When the director’s shot list is ready.
Sixth update:
After the location scout report has been produced.
Seventh update:
After the Technical Analysis (TA) meeting (at least two days after the scout).
Eighth update:
On the eve of the shoot.
EXERCISE
Scene Description:
The scene takes place in the city centre at dusk. A character walks alone along the pavement, looking at shop windows. A group of extras crosses in the background. A general shot of the avenue situates the scene.
Then a close-up shows the character looking at a mobile phone screen. The image is recorded with a fixed camera so more extras can be added digitally in post-production.
The director rehearses camera movements and actors before the shoot. The main shot is filmed in one long take, supplemented later with close-ups. The actress will return to the studio days later to re-record a noisy line.
Questions
The shot used at the beginning to situate the viewer is called:
a) Master Plan
b) Sequence Shot
c) Establishing Shot
d) Pack Shot
The decision to keep the camera locked and add extras digitally means the shot was made with:
a) B-roll
b) Camera Registration
c) Shot List
d) Flipped shot
The technical rehearsal of camera and actor movements before filming is called:
a) Pre-light
b) Clearance
c) Blocking / Blockthrough
d) Logging
The main shot covering the entire scene, ensuring coverage even if other shots follow, is called:
a) Studio shot
b) Master shot
c) Jump Cut shot
d) Flip Shot
The later studio recording to correct noisy speech is called:
a) ADR
b) MOS
c) Call Back
d) Pickup
The process of collecting memory cards, checking and organising raw files is:
a) Logging
b) Mockup
c) Buy Out
d) Moiré
The list of shots based on the director’s decoupage given to the crew is called:
a) Agenda
b) Pack Shot
c) Shot List
d) Side
The technical term for filming an image without sound is:
a) Jump Cut
b) B-roll
c) M.O.S
d) Bounce
Answers
c) Establishing Shot
b) Camera Registration
c) Blocking / Blockthrough
b) Master shot
a) ADR
a) Logging
c) Shot List
c) M.O.S
EXTRAS
Definition and Profile
Extras are defined by age, gender, and profession.
Only figurines and actors with signed contracts can enter the scene.
Always consult the director if they object to any extra.
Marking the Appearance
Check the frame and camera movement.
Mark actions precisely: as soon as there is an action, walk, wait a few seconds, etc.
Manage interactions between extras to enhance scene realism.
Types of Fee for Extras
Fee Type | Description |
A (Special) | Extras with specific skills (e.g., surfing, juggling, skateboarding), pregnant women, dwarfs, disabled people, models (photogenic), look-alikes, ethnic specificity (Asian, Indian, etc.), children, babies, continuity extras (supporting cast on free-to-air TV), extras who speak (with DRT), nudity or body exposure (bikinis, swimming trunks), stand-ins (resembling actors, wearing non-filmed clothes to mark lighting), and those who must shave/grow hair or moustache. |
B | Extras appearing in close-ups or significant focus. |
C | Extras in general shots, not clearly visible. |
Types of Stunts
Stunt Type | Description |
Body Stunt | A stunt double who closely resembles the actor or character. |
Action Stunt | A professional specified by the stunt agency with specialised skills to perform actions safely. |
EXTRA EXERCISE 1
Scene: EXT – NEIGHBORHOOD STREET – DAY
The sun beats down on the hot asphalt of a vibrant Rio de Janeiro suburb. The sound of motorbikes and street vendors fills the air.A general shot reveals:
Street vendors selling glasses, phone cases, and water.
A doorman watching from the entrance of an old building.
A bicycle delivery man weaving through people and parked cars.
Three “hotties from Irajá” walking, laughing, and drawing attention.
A “suburban heartthrob” leaning against a lamppost.
An elderly couple strolling hand in hand.
A real couple exchanging discreet caresses.
Casual couples in their 30s-40s shopping and walking.
Young couples taking selfies.
Two middle-aged men chatting outside a bar.
Motorbikes passing by, two of them motorcycle taxis.
Cars crossing the frame.
In the background, preparations for the evening begin.
List of Extras
Extra | Notes | Type | Fee |
1 bicycle delivery man | Specific skill (cycling) | Special | A |
1 street vendor | Background only | General Shot | C |
1 building doorman | Possible highlight/interaction | Close-up | B |
1 elderly couple (continuity) | Change clothes for nighttime | Continuity | A |
1 real couple in love | Possible close-up | Close-up | B |
2 couples (50-60) | General plan/setting | General Shot | C |
3 “hotties from Irajá” | Visual highlight | Body exposure | A |
3 couples (30-40) continuity | Change clothes for nighttime | Continuity | A |
2 couples (20-30) | General plan | General Shot | C |
2 men (50) | Background | General Shot | C |
1 “suburban heartthrob” | Striking look, possible close-up | Close-up | B |
2 cars w/ drivers | Minimal prominence | Technique | B |
3 motorcycles w/ drivers (2 moto-taxis, 1 regular) | Specific skill (driving) | Special | A |
Summary by Fee Type
Fee | Extras |
A | Bicycle delivery man, elderly couple (continuity), 3 women from Irajá, 3 couples (30-40 continuity), 3 motorcycles w/ drivers |
B | Doorman, real couple in love, suburban heartthrob, 2 cars w/ drivers |
C | Street vendor, 2 couples (50-60), 2 couples (20-30), 2 men (50) |
EXTRA EXERCISE 2
Scene:EXT – NEIGHBORHOOD STREET – LATE AFTERNOON
Workers, students, and elderly people fill the street. A bus unloads passengers. Suddenly, a robber threatens a woman. Chaos erupts:
Two students react, one protecting the other.
A young couple hesitates, the man trying to intervene.
A bus passenger shouts and confronts the robber but backs away.
An elderly man clutches his chest.
Witnesses freeze or pretend not to see.
Another thief assaults the robber, causing panic.
People step back, film with phones, and try to help the elderly man.
List of Extras (15 total)
Extra | Notes | Type | Fee |
2 male students (15) | Interact directly (protection) | Special | A |
3 women in company uniform (30-40) | Background | General Shot | C |
3 men in company uniform (30-40) | Background | General Shot | C |
1 young couple (20-25) | Interaction (attempt to protect) | Special | A |
1 male bus passenger (40) | Confronts robber | Special | A |
2 women (50) w/ shopping bags | Background | General Shot | C |
1 elderly couple (60) | Man gets sick during scene | Special | A |
Summary by Fee Type
Fee | Extras |
A | 2 male students, young couple, bus passenger, elderly couple |
C | 3 women in uniform, 3 men in uniform, 2 women w/ shopping bags |
MOVIE MAGIC SCHEDULING (MM)
Technical Analysis (AT) — Usage and Completion Manual
1. How to Activate Movie Magic
No diretório compartilhado (DC), clique no arquivo do Movie Magic.
Confirmação de ativação:
Windows: será aberta uma janela.
Mac: aparecerá uma barra chamada MM Scheduling.
2. Opening a Project
Criar um novo projeto:➤ New Schedule from Template
Abrir um projeto existente:➤ Open Schedule
Field | Meaning / Remarks |
Header | Initial scene information. |
Sheet | TA page number. |
Cine | Scene number in the script. |
IND/OUT | Indicates whether the scene takes place indoors (IND) or outdoors (OUT). |
Set | Scenario name — write in ALL CAPS. |
Day/Night | Indicates whether the scene is lit during daytime or nighttime. |
Pages | Scene size in the script. Large squares = full pages; small squares = ⅛ pages. |
Synopsis | Scene summary. Attention: only write up to the set bar to avoid text being cut. |
Script Page | Script page number(s). Example: “1/4” means from page 1 to 4. |
Script Day | Day within the story — can be “Day 01” or a specific year. |
Location | Location where the scene is filmed. |
Unit | First or second unit (not usually filled in in Brazil). |
Sequence | Scene keyword (usually not filled in in Brazil). |
Est Tempo | Hourly time estimate (can be filled in at TA but usually comes from the Call Sheet). |
Comments | General comments about the scene. |
Props vs Scenography
Props: Objects handled by the actors.
Scenography: The set of decorative and visual elements (decoration + set dressing).
8 Steps Before Filling Out the Technical Analysis (TA)
1. Save the Project
FILE → SAVE AS
Save in the project folder.
If the project name is too long, use initials.
Example: Your Uninterrupted Brief Presence → TIBP
2. Enter Production Information
MENU → DESIGN → PRODUCTION INFO
Fill in the required fields.
3. Configure Autosave
MENU → EDIT → PREFERENCES
Set the autosave interval.
4. Manage Categories (Create, Edit, Translate, Delete)
MENU → DESIGN → CATEGORY MANAGER
To translate a category: double-click it and edit.
5. Export Files
FILE → EXPORT
6. Import Files
FILE → IMPORT
7. Set Strip Colours
MENU → DESIGN → STRIP COLOURS
The 4 universal colours every AD must memorise:
INT DAY → White
EXT DAY → Yellow
INT NIGHT → Green
EXT NIGHT → Blue
8. Redesign Sheet Page Numbers
Reorganise according to production needs.
Important When Filling in the Header
When entering the information below, press ENTER after each entry so the system registers it correctly:
Set
Script Day
Rental
Tricks for Editing Technical Analysis (TA) in Movie Magic Scheduling
1. Transferring an Element from One Category to Another
Double-click the element.
The element window will open.
In the Element Name field, type:
The name of the new category (exactly as it appears in TA), followed by a colon (:).
Press Enter to confirm.
2. Replacing the Same Element Across All Categories
Go to: MENU → EDIT → FIND/REPLACE.
In the window that opens:
FIND: type the original name of the element.
REPLACE WITH: type the new name.
Click FIND, then ALL, and finalise with Enter.
3. Finding a Specific Scene or Page in TA
To find a specific scene:
MENU → EDIT → FIND SCENE
Click VALUE → Enter the scene number → Click FIND
To find a specific page (sheet):
MENU → EDIT → FIND SHEET
Click VALUE → Enter the page number → Click FIND
4. Renumbering Character Numbers
Useful when the order of characters is incorrect.
MENU → BREAKDOWN → ELEMENT MANAGER
Click on CAST
Organise the characters:
Select each character
Use the blue arrows to move them up or down
Click the 1, 2, 3 icon to renumber
Click OK to finalise
5. Deleting an Element No Longer in TA
MENU → BREAKDOWN → ELEMENT MANAGER
Select the element
Click DELETE
6. Repaginating TA Page Numbers
This uses the X field and involves four steps:
Step 1:
MENU → EDIT → PREFERENCES → SCHEDULE PREFERENCES
Disable Automatic and set to Manual
Click OK (this unlocks the X field)
Step 2:
MENU → SCHEDULE → STRIPBOARD
Check for out-of-order scenes
Step 3:
MENU → ACTIONS → RENUMBER SHEETS
Step 4:
MENU → EDIT → PREFERENCES → SCHEDULE PREFERENCES
Switch back to Automatic
7. Element Link (Red Chain Icon)
Used to link continuity elements between scenes.
When one element always appears with another, the link keeps them connected.
If the link is removed, existing connections remain, but new links will no longer be created automatically.
HOW TO CREATE, EDIT, VIEW AND PRINT TECHNICAL LISTS (REPORT LAYOUTS)
🔹 Login
Always access via: MENU → DESIGN → REPORT LAYOUTS
🔹 Important Notes
Always save using the floppy disk icon before viewing an edited list again.
If an element is distorting the display, double-click on the NAME box (blue) in the list template and enable:
Growable
Wrap Text
Creating New Category Lists
Option 1 – Create from scratch:
NEW REPORT LAYOUT
Option 2 – Duplicate an existing list (recommended):
Suggested: duplicate the Cast List as a base.Steps:a. Select the Cast Listb. Duplicate the sheetc. Rename it with the new list’s named. Click the 4th template icone. Select the category you want
Creating a Cast Contact List
MENU → BREAKDOWN → ELEMENT MANAGER
Enter the actors’ contact information.
Creating a Photoboard
MENU → SCHEDULE → IMAGE MANAGER → SCENES
Add as many photos as needed per scene.
To print the Photoboard:
FILE → PRINT VIEW → IMAGES
Select desired images for the Photoboard
Click VIEW
Importing/Exporting Technical Lists
⚠ Movie Magic will not open two files simultaneously, close one project before opening another.
Export:
DESIGN → REPORT LAYOUT
Select the list
Click the green arrow out of the sheet
Save the file
Import:
DESIGN → REPORT LAYOUT
Click the green arrow into the sheet
FILMING PLAN (PF)
🔹 Types of Strips
CINE STRIP
INT/EXT, DAY/NIGHT, Scene Number
BANNER STRIP
Shooting day number, day of week/month, call time, end of daily rate
Any key information from the AD
DAY BREAK STRIP
Shooting Day + Total Page Count for the Day
Filming-Related Working Hours
12 hours work
12 hours rest (mandatory by law)
15 min coffee/breakfast upon arrival at set
1 hour lunch/dinner (6 hours after arrival)
Night shifts: if filming ends on the 10th at 8 pm, the next night shift can only start on the 11th at 8 am
Travel, set deconstruction and compensation must be accounted for
Working Scales:
Brazil 🇧🇷: 6x1
Europe 🇪🇺: 5x2
6 Steps to Set Up a Filming Plan
Set Calendar Dates:
MENU → SCHEDULE → CALENDAR MANAGER
Example: tick Preparation Start
Duplicate the Stripboard for PF:
MENU → STRIPBOARD MANAGER
Duplicate the “Default Stripboard”
Keep the original as a draft; the duplicate becomes the Filming Plan
Move Unused Scenes to the Boneyard:
MENU → SCHEDULE → BONEYARD or click the bone icon
To restore scenes: SCHEDULE → BONEYARD or click the spreadsheet icon with a dash
Configure the Three Stripboard Windows:
LAYOUT
BOARD
CALENDAR
Import/Export Strip Layout
Register Conflict Dates in Red Flag:
Click the Red Flag icon
Or MENU → SCHEDULE → RED FLAG MANAGER
Used for:
Actor unavailability
Location unavailability
Set construction delays, etc.
HOW TO CREATE A FILMING SCHEDULE ACCESS:
Go to: SCHEDULE → STRIPBOARD (Select the “Filming Plan” board).
INSERTING A BANNER (Per diem information):Three ways to insert a banner:
Right-click on the scene → Insert Banner
Click the "T" icon
ACTIONS → Insert Banner
The banner will appear above the selected scene.
CHANGING STRIP COLOURS:MENU → DESIGN → STRIP COLOUR
TYPES OF FILMING:
Day: 5 am to 5 pm or 6 am to 6 pm
Night: Reversed hours (e.g. 6 pm to 6 am)
INSERTING A “DAY BREAK”:Right-click on the Stripboard → Insert Day Break
PLAN DATA (Example of Scheduling Restrictions):
Total: 6 filming days
Marlene: unavailable on the 21st and 22nd
Ball: unavailable on the 21st, 22nd and 23rd
Scene 2A must be filmed before the bedroom scene
DAY OUT OF DAYS (DOD) LIST:Path: MENU → FILE → PRINT VIEW
Meaning:
S = Start (first day of filming)
W = Work (filming in progress)
F = Finish (final day of work)
PRINTING THE FILMING SCHEDULE:FILE → PRINT VIEW → STRIPS
Choose your preferred layout → Click VIEW
To print in colour: tick Print Strips in Colour
MERGING PDFs:Use an online PDF merge tool.
CALENDAR SPREADSHEET (TIMEPLAN):Path: SCHEDULE → CALENDAR
HOW TO CREATE A SHOT LIST FOR A SINGLE CHARACTER(Technical list known as a Cast Letter)
Step 1 – Filter the character:
EDIT → FIND ADVANCED
Click ADD → Select the desired CATEGORY and VALUE
Under LOOK IN, select: STRIPBOARD
Click FIND ALL
Step 2 – Identify scenes:
On the Stripboard, the character’s scenes appear in red
Hold Ctrl and click on the Day Breaks of the red days
Step 3 – Select layout:
DESIGN → REPORT LAYOUT → Cast Card
Enter the character’s name
Step 4 – Print:
FILE → PRINT VIEW → Cast Card
Under Range, tick: SELECTED
OD (Order of the Day)
AUTO ORG:Automatically sets the crew’s call time.
TECHNICAL BREAKDOWN (back of the OD):Path: FILE → PRINT VIEW → REPORT → Verso
OD⚠ Do not leave on ALL → Select DAYS or DATES
EXTRAS
Assistant Director on Open Television – Comparison and Functions
Cinema / TV | Broadcast Television | Notes |
Roteiro | Script | On TV, it is divided into chapters rather than a single script as in cinema. |
Capítulo / Episódio / Texto | Chapter / Episode / Text | — |
Plano de filmagem | Shooting Schedule | In TV, the recording script already includes the schedule and production notes. |
Roteiro de gravação (mistura do PF + parte da frente da OD) | Recording Script (a mix of the Shooting Schedule + front section of the Call Sheet) | — |
Ordem do Dia (OD) | Call Sheet | Daily document with timetable, scenes, and technical requirements. |
Análise Técnica | Technical Breakdown | Contains technical notes for each department. |
Checklist (parte de trás da OD) | Checklist (back of the Call Sheet) | — |
AD (Assistente Direção) | Assistant Director (AD) | Prepares the shooting schedule, manages actors, coordinates extras. Essential role in organising and coordinating filming. |
Assistente de Produção | Production Assistant | Provides logistical support to the AD, focusing on performers. |
Gerente de Produção | Production Manager | In TV, combines the roles of AD and executive producer. |
Diretor | Director | Divides the script into shots and defines the visual style. |
Digitador | Script Logger | In TV, often assists the director with the technical breakdown. |
Fiscal de figuração | Extras Coordinator | Administrative role linked to production. |
AD | AD | Works alongside the extras coordinator to ensure presence on set. |
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