FWIW, you might want to have your continuity person take care of general First-AD duties --they're already the one who has to be thinking about the next and previous shots while you're focused on the current one, so they might as well maintain the shotlist and track best takes while they're at it. That's the way we handled it on "Bad Reception", and I seem to have managed without a breakdown. More generally? Having a 1st who knows their shit is probably *the* best way to avoid the temptation towards seppuku. They allow you to panic about one thing at a time.
You might want someone who's directly responsible for lighting, even if just on the grip/gaffer level following the DOP's orders. Doing Camera/DOP *and* lighting without an assistant is a pretty big ask. That might be more valuable than a general PA. (If you've got Wardrobe people, on a fan-sized project with a small cast, they're likely to have enough downtime to do PA stuff anyway!)
FWIW, on Bad Reception we had four actors (including the producer) and four crew (Director, Camera/DOP, 1st AD, and one guy doubling on lighting and sound)... all crammed into a one-car garage doubling for a crypt. And that worked surprisingly smoothly...
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Date: 2009-04-02 06:58 am (UTC)You might want someone who's directly responsible for lighting, even if just on the grip/gaffer level following the DOP's orders. Doing Camera/DOP *and* lighting without an assistant is a pretty big ask. That might be more valuable than a general PA. (If you've got Wardrobe people, on a fan-sized project with a small cast, they're likely to have enough downtime to do PA stuff anyway!)
FWIW, on Bad Reception we had four actors (including the producer) and four crew (Director, Camera/DOP, 1st AD, and one guy doubling on lighting and sound)... all crammed into a one-car garage doubling for a crypt. And that worked surprisingly smoothly...