The Crew of this is wonderland
P R O D U C T I O N
Assistant Production Manager and Production
Coordinator: Alexandra Lane
Main duties include staffing and managing the production office which consists of the assistant production coordinator, production secretary and production assistants. Finalizing and approving the daily production report which is a summary of the status of the production. Reviewing and approving crew time sheets. Setting up and closing down the production offices and studios. Overseeing the preparation and distribution of schedules, call sheets, cast and crew lists, scripts and revisions. Coordinating travel, accommodations, work permits and medical examinations of cast and crew as required. Completing insurance requirements and union contracts. Ordering equipment and supplies and arranging their pick-up, delivery and return. Preparing and executing performer’s contracts and more.
Assistant Production Coordinator: Lisa Perone
My job is very administrative. I deal with everyday paperwork and distribution within the production office of daily production reports, actor contracts, call sheets and insurance.
Production Secretary: Lisa Gyorfi
I deal with the creation, update and distribution of office and set paperwork such as the crew list, cast list, contact list and ensure the cast and crew has up to date scripts and schedules. I also coordinate the shipping done through the office as well as maintaining adequate paper supplies, office supplies and coffee. I work closely with the assistant coordinator and coordinator to maintain a well-run office.
Assistant to the Executive Producer:
The Assistant to the Executive Producer’s job is to simplify the Executive Producer’s life by filtering, organizing, scheduling and taking care of all peripheral issues that an Executive Producer is inundated with on a day to day basis thus enabling the Executive Producer to concentrate his efforts on the things that matter most within the production.
A C C O U N T I N G
Production Accountant: Janina Barrett
As Production Accountant I encompass all the “traditional” roles of accounting – Accounts Payable, Payroll, Petty Cash, government reporting and the general “keeping of the books”, but done at double speed!
I authorize all costs and ensure that they are approved, valid production expenses, being allocated correctly. I am responsible for Purchase and Cost Control, cash flow and for keeping the producers with up to the minute reporting that is accurate, enabling them to make the most effective decisions on how to
spend to get the “best bang for the buck” and still stay in budget. I also work with all the other departments making sure that each team player is provided, as quickly as possible, with what they need in order to do their job effectively.
1st Assistant Accountant/Cast
Payroll: Ursula Easton
I pay the Performers, Writers and Directors on the series.
1st Assistant Accountant/Accounts
Payable: Coleen Snyder
I am responsible for all accounts payable and the processing of Production expenses tracked against approved budget. I ensure all payments have proper production approvals, maintain Purchase Order log, code and input purchase orders into accounting system. I process, input and issue payments for supplier invoices. My duties also include bank reconciliations, GST monthly reporting and recording journal entries.
Petty Cash Accountant: Ed Goldin
Responsible for distributing and recording all of the Production’s cash expenses. There is nothing “petty” about cash!
A R T D E P A R T M E N T
Production Designer: Peter Emmink
I am responsible for the visual concept of the Production. I work closely with the Director to help them achieve their interpretation, considering sets, locations, graphics and props.
My work activities include reading scripts to identify factors which signal a particular visual style, meeting with the Producers and Director to discuss concepts and production requirements; planning and monitoring the Art Department budget; providing scale drawings or models for studio sets; producing design ideas for props, special effects or graphics; identifying and assessing potential studios and locations; sourcing appropriate materials and research; instructs the set construction crew, scenic artists, special effects, etc. and monitors their work; liaise with the Costume Designer, Director of Photography, Props, Lighting and Sound technicians.
1st Assistant Art Director/Graphics:
Paperwork! Paperwork! Paperwork! Everything that appears on paper and a lot of things that don’t like signage and vehicle dressing, for example. I also do photos, I.D.’s and packaging.
A S S I S T A N T D I R E C T O R
D E P A R T M E N T
1st Assistant Director: Woody Sidarous
(with David Vaughan)
I am the Producer’s representative assisting the director. Primarily responsible for scheduling the pre-production and production of the episodes in my block.
2nd Assistant Director: Erin Walker
My job is to be responsible for organizing and preparing the call sheet which is the schedule of work for the next day and gives crew members key details about the next day’s shooting such as who and what needs to be on set, when they’re required and which scenes are being shot. I coordinate with the Production staff so that all elements, including cast, crew and extras are ready at the beginning of the day and supervise the wrap in the studio and on location. I also track the progress of filming versus the production schedule and maintain liaison between the Production Manager and/or the Production office and the 1st Assistant Director.
3rd Assistant Director: Matt West
I’m actually a writer/director moonlighting as a 3rd A.D. until my ship comes in. Though, I am 42 so perhaps that ship has sunk. Ultimately my job is to disseminate information to the various departments and act as set therapist, listening to complaints and resolving conflicts within the different factions on set. Kind of like Johnny Boy in “The Outsiders”.
3rd Assistant Director – Cast:
“What do I do?.....” What can I say that’ll make my job sound cool? Seriously, I am the 3rd Assistant director. I am in charge of the “Cast”. I’m like the “Nanny” if you will. My duties include but are not limited to – greeting the cast upon their arrival, making sure they’re comfortable and have some kind of nourishment i.e. muffin and/or cupcake. I ask them to get dressed into the day’s wardrobe. After dressing, I take them to hair/make-up department where they are “prettied” up for the camera. I walk with them to and from set as they are needed – occasionally I’m needed and called in to “run lines”…that’s always interesting. When the actors have finished for the day, I sign them out (like a time/punch card) and run through the next day call time and scene order. After all cast have left for the day I do my paperwork. Paperwork which involves all cast and crew in and out times plus notes for the day.
C A M E R A
D E P A R T M E N T
1st Assistant Camera: Jeff Packer
The 1st Assistant Camera is responsible for the camera and all of the camera accessories on the Production during shooting. The 1st Assistant adjusts focus on the lenses to keep the actors in focus and the image sharp and this, at times, can be quite a difficult task.
C O N T I N U I T Y
D E P A R T M E N T
Script Supervisor: Wayne Pells
The Script Supervisor is essentially the Editor’s eyes and ears on set. I ensure that what we shoot will technically be able to edit together seamlessly. Prior to shooting, I time the scripts. Because we shoot out of sequence, I make sure the cast is in the correct wardrobe, hair and make-up, and that they have the correct props when needed. I cue actors when they forget dialogue. As we shoot, I catalogue shots with descriptions, camera and sound information for easy reference and I provide the information for the slate. I ensure the information the Camera and Sound departments provide the lab is coordinated. I also provide the Editors with a copy of the script that shows which parts of the script are covered by which shots. I help the directors make sure that they get all the shots they want and need for the final edit. I, along with all crew members, help ensure the film set is a safe and professional working environment.
E L E C T R I C
D E P A R T M E N T
Electric: Kevin McKague
Duties include lighting sets, actors, setting up the lighting cues, and special lighting effects. I act as the right hand man to the Gaffer and Director of Photography.
Generator Operator: Dave Sansford
Set-up, maintain and monitor the generator and electrical distribution on set. Frequent trips to the craft truck and occasional naps.
G R I P D E P A R T M E N T
Key Grip: Chris Faulkner
A grip crew breaks down as follows: Key grip, best boy (an archaic English term for right hand man or woman), dolly grip, grips and, on bigger shows, key rigging grip and rigging grips. The key grip’s immediate boss is the director of photography or “D.O.P.”. Along with the D.O.P. and the gaffer (head lighting tech) the key grip disseminates information and jobs for the shot. Our duties fall in the area of camera movement and rigging, lighting and stage hand. The camera, in most scenes, is mounted on the dolly, a high tech wagon with a hydraulic arm to raise and lower the camera in conjunction with the actor’s movement. The wheels of the dolly fit on a track laid down and leveled to follow actors traveling from one mark to another. That is the job of the “Dolly Grip”. If the camera needs to be mounted in a tree, on a car, in a car, on the side of a cliff, in a dumpster, whatever, wherever, that is the responsibility of the grips.
Grips are also responsible for anything extraneous of the light. Various tools are employed to shape lights. Large frames of diffusion can be put in front of the light to spread and soften it as well as colour to change the temperature of the beam. Fine nets of different densities are used to darken portions or all of the light and solid “flags” of black material help to take light away from an area. Also a favourite of grips are “gobos” and “dingles”. Gobos are a cut out pattern placed in front of the light to create a definitive shadow. Dingles are usually branches or leaves in a frame to give a natural looking dappled effect. Rigging the lights includes construction of pipe grids in studios and on location. Various types of clamps, ratches and “grip magic” are used to hang lights safely and securely. Grips in traditional studio days were also stage hands. We often fill in for carpenters and set dressers on location and occasionally in studio.
Gripping is learned on the job in an oral tradition, taught by keys and their assistants. As one of my friends has observed, “You guys are like…tribal”. I would have to agree. With the long hours and unusually working conditions, we are a tribe.
Grip: Geoff Pope
“Grip” derives from a Latin word which means “Boss”. In basic terms, the Grip is the Boss. On every set there is a grip, usually surrounded by a variety of attractive women. Off set, the other grips orchestrate the delivery of snacks and beverages and ensure quality control is achieved. When an accident upon the film set occurs, there is always a grip around to point out who was at fault.
H A I R D E P A R T M E N T
Hair Designer: Katarina Chovanec
Curly, straight, short, long, messy, dirty, shaggy, sexy, wigs, extensions – You name it, that’s where I, head of the Hair Department, Katarina Chovanec, am in charge to design the right “look” for the Show and the perfect style for each character and performer.
L O C A T I O N S
D E P A R T M E N T
Location Manager: Melissa Warry-Smith
I scout and secure the locations needed for each episode. I negotiate location fees, provide insurance for location owners, and acquire all parking permits for our production vehicles. I secure any lunch rooms and holding areas required. I generally act as a liaison between the crew and the community affected by our on-location filming.
M A K E - U P D E P A R T M E N T
Make-up Designer: Debi Drennan
This project requires that I take an actor and, with make-up, turn him/her into a believable character. Maybe a lawyer or crown attorney but the fun begins with the creation of homeless people, transvestites, fight victims, abuse victims; the list goes on and on. It allows me to be so creative and artistic.
P O S T P
R O D U C T I O N
D E P A R T M E N T
Picture Editors: Michele Conroy and
We lend a hand in telling the story by editing the raw footage into a seamless and coherently form. Picture editing is the creative manipulation and slight-of-hand of sounds and pictures to present the drama, comedy and emotion of the story.
Post Production Supervisor: Howard
The Post Production Department is responsible for everything that happens to the pictures and sound after the material leaves the set where it was shot and recorded. There are many steps in the post process, including film processing, film-to-tape transfer, picture editing, colour correction, credits packaging, and also dialogue and sound effects editing, foley, ADR, music composition, the final audio mix and then the marriage of the final audio to the final picture to create the finished episode. As Post Supervisor, I’m responsible for organizing, scheduling, managing and administrating all of those details and the many talented people responsible for each of these specific tasks.
Post Production Coordinator: Kevin
The Post Coordinator works with the Post Supervisor to organize the finishing of the show for broadcast. My duties include creating and distributing schedules, booking ADR, picking up and delivering dailies every day, basically assisting the supervisor and making sure everyone on the post team has what they need when they need it. Also, some light typing.
P R O P S D E P A R T M E N T
Props Master: Mary Arthurs
My job as the Props Master on “This is Wonderland” is all about detail and accuracy. I read and break down the scripts into a list of all the props that are needed and their cost. I go out and buy, rent or pull form my own collection to find just the right thing. I consult with the director, actors, designer and others to make sure that everyone is happy with the selection. While on set, I make sure, along with the help of an assistant, that everyone has the correct props and that the set looks great. “This is Wonderland” is a fabulous show to work on and I feel very privileged to do so.
S T A N D I N
D E P A R T M E N T
Stand In for Cara Pifko and Others: Leslie Richardson and Bill Vibert
As stand-ins we watch the actors rehearse and block the scene. Then we "stand in" the actor’s position doing the same movements while the technicians set up the shot.