Knowledge (XXG)

Second unit

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has said, "The most important thing about any second unit is that you can't tell the difference between the second unit and the first unit. It must have the stamp of the first unit, both in photography and the style of direction. ... You try to copy what the first unit does as much as possible. You
313:, where several cameras film the same scene simultaneously. Large productions may have multiple second units. Although filmmakers may refer to having "three or four units working", each unit would be called an "additional second unit"; usually none would be described as the third or fourth unit. 250:
is a discrete team of filmmakers tasked with filming shots or sequences of a production, separate from the main or "first" unit. The second unit will often shoot simultaneously with the other unit or units, allowing the filming stage of production to be completed faster.
498: 281:": After the main unit has finished on a set or location, there may be shots that require some or all of this setting as background but that do not require the principal actors. These shots may include things such as 301:
In both of these scenarios, the purpose of the second unit is to make the most efficient use of some of the resources that are expensive or scarce in film production: actors' and directors' shooting time,
365:, who is second-in-command to the main director, a second unit director operates independently, and thus can be a stepping stone for aspiring directors to gain experience, such as 334:
mustn't be on an ego trip and try to do your own style, because your material has to cut into theirs and it mustn't jar, it must fit in exactly so no-one can tell the difference."
274:, rather than the principal cast, and requiring significantly different filming arrangements than for ordinary scenes. Therefore, they are an opportunity for second unit shooting. 499:""We Kept the Third Act in a Safe": Tarantino's Assistant Director William Paul Clarke on Kill Bill, Once Upon a Time in Hollywood, and Improvisational Logistics" 342:, said, "He has the understanding of what it takes to create a great action sequence and never deviate from the story or the tone of the film." 534: 232: 167: 70: 1291: 330: 105: 259:
The functions of the second unit vary, but typically the first unit films the key face-to-face drama between the principal
1237: 148: 377:. Other times, directors may return to predominantly working as second unit directors for the reminder of their career. 120: 101: 56: 198: 656: 561: 329:. A key skill for a second unit director is to be able to follow the style being set by the film's primary director. 1232: 1037: 885: 127: 94: 1184: 1042: 1014: 706: 358: 1296: 962: 134: 1262: 947: 676: 527: 952: 681: 1217: 957: 850: 686: 310: 116: 1141: 1052: 999: 994: 989: 711: 290: 460: 905: 895: 761: 286: 1199: 1075: 977: 972: 701: 691: 630: 520: 362: 423: 1136: 1111: 927: 739: 721: 696: 385: 381: 354: 294: 1070: 1009: 773: 716: 607: 587: 339: 207: 62: 1171: 1156: 967: 863: 858: 803: 597: 350: 326: 271: 141: 479: 185: 1222: 1209: 1121: 1065: 1029: 873: 826: 808: 788: 668: 370: 366: 1285: 1189: 1106: 1080: 1019: 836: 793: 635: 625: 615: 592: 582: 442:"Conrad E. Palmisano | Action Director, Stunt Coordinator, Second Unit Director" 405: 322: 17: 1179: 1151: 1146: 1126: 1116: 1096: 939: 868: 766: 620: 577: 374: 335: 1227: 1101: 982: 831: 818: 798: 783: 303: 83: 1257: 1161: 922: 731: 547: 878: 778: 543: 1194: 1131: 1060: 1004: 917: 912: 900: 602: 512: 282: 441: 346: 31: 361:
often get combined with that of the second unit director. Unlike an
572: 461:"What is a Second Unit Director & What Does a Second Unit Do?" 260: 270:: Action sequences are often filmed in discrete locations, using 654: 559: 516: 306:
usage and the cost of sets that may have been built on stages.
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The work of second units should not be confused with
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May 1989. pp. 37–40. 1313: 1233:Computer-generated imagery 1038:Special effects supervisor 886:Digital imaging technician 480:"The Dark Knight - Movies" 29: 1043:Visual effects supervisor 663: 650: 568: 555: 359:visual effects supervisor 963:Utility sound technician 380:Some directors, such as 210:may contain suggestions. 195:may need to be rewritten 1263:Unit still photographer 948:Director of audiography 677:Unit production manager 1292:Filmmaking occupations 953:Production sound mixer 682:Production coordinator 406:"Second Unit Director" 311:multiple-camera setups 1223:Visual effects editor 1218:VFX creative director 687:Production accountant 27:Filmmaking occupation 1142:Intimacy coordinator 712:Production assistant 102:improve this article 18:Second unit director 906:Lighting technician 762:Production designer 340:Conrad E. Palmisano 338:, commenting about 1200:Technical director 973:Re-recording mixer 702:Script coordinator 692:Assistant director 631:Executive producer 503:Filmmaker Magazine 484:The New York Times 363:assistant director 295:establishing shots 1279: 1278: 1275: 1274: 1271: 1270: 1246: 1245: 1137:Acting instructor 1112:Movement director 901:Best boy electric 845: 844: 748: 747: 740:Storyboard artist 697:Script supervisor 646: 645: 428:Starlog issue 142 386:Quentin Tarantino 382:Christopher Nolan 355:stunt coordinator 243: 242: 235: 225: 224: 199:quality standards 178: 177: 170: 152: 75: 16:(Redirected from 1304: 1206: 1010:Music supervisor 815: 774:Costume designer 728: 717:Location manager 707:Casting director 665: 652: 588:Supporting actor 557: 537: 530: 523: 514: 507: 506: 494: 488: 487: 475: 469: 468: 456: 450: 449: 438: 432: 431: 420: 414: 413: 402: 272:stunt performers 268:Action sequences 238: 231: 220: 217: 211: 188: 180: 173: 166: 162: 159: 153: 151: 110: 86: 78: 67: 45: 44: 37: 21: 1312: 1311: 1307: 1306: 1305: 1303: 1302: 1301: 1297:Film production 1282: 1281: 1280: 1267: 1242: 1204: 1172:Post-production 1166: 1157:Stunt performer 1085: 1047: 1030:Special effects 1024: 968:Dialogue editor 934: 864:Camera operator 841: 813: 804:Property master 754: 744: 726: 659: 642: 614: 598:Character actor 564: 551: 541: 511: 510: 496: 495: 491: 477: 476: 472: 458: 457: 453: 440: 439: 435: 422: 421: 417: 404: 403: 399: 394: 351:special effects 331:Peter MacDonald 327:cinematographer 319: 257: 239: 228: 227: 226: 221: 215: 212: 202: 189: 174: 163: 157: 154: 111: 109: 99: 87: 46: 42: 35: 28: 23: 22: 15: 12: 11: 5: 1310: 1308: 1300: 1299: 1294: 1284: 1283: 1277: 1276: 1273: 1272: 1269: 1268: 1266: 1265: 1260: 1254: 1252: 1248: 1247: 1244: 1243: 1241: 1240: 1235: 1230: 1225: 1220: 1214: 1212: 1210:Visual effects 1203: 1202: 1197: 1192: 1187: 1182: 1176: 1174: 1168: 1167: 1165: 1164: 1159: 1154: 1149: 1144: 1139: 1134: 1129: 1124: 1119: 1114: 1109: 1104: 1099: 1093: 1091: 1087: 1086: 1084: 1083: 1078: 1073: 1068: 1066:Visual effects 1063: 1057: 1055: 1049: 1048: 1046: 1045: 1040: 1034: 1032: 1026: 1025: 1023: 1022: 1017: 1012: 1007: 1002: 997: 992: 987: 986: 985: 975: 970: 965: 960: 955: 950: 944: 942: 936: 935: 933: 932: 931: 930: 925: 920: 910: 909: 908: 903: 893: 888: 883: 882: 881: 876: 874:Clapper loader 871: 861: 855: 853: 847: 846: 843: 842: 840: 839: 834: 829: 823: 821: 812: 811: 809:Weapons master 806: 801: 796: 791: 789:Make-up artist 786: 781: 776: 771: 770: 769: 758: 756: 750: 749: 746: 745: 743: 742: 736: 734: 725: 724: 722:Location scout 719: 714: 709: 704: 699: 694: 689: 684: 679: 673: 671: 669:Pre-production 661: 660: 657:Below the line 655: 648: 647: 644: 643: 641: 640: 639: 638: 633: 623: 618: 612: 611: 610: 605: 600: 595: 590: 585: 580: 569: 566: 565: 562:Above the line 560: 553: 552: 542: 540: 539: 532: 525: 517: 509: 508: 489: 470: 451: 433: 415: 396: 395: 393: 390: 371:Chad Stahelski 367:David R. 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Second unit director
second
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verification
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"Second unit"
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quality standards
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actors
stunt performers
close-ups
inserts
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establishing shots
sound stage
multiple-camera setups
director

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