Primary emphasis is on scheduling, communication and coordination for a specific group (discipline) of artists (or multiple groups) on any given project. Reports to Project (-Show-) Producer and Production Manager, while also working with other Coordinators on the project in keeping the show operating in an organized and efficient manner. Coordinators are also responsible for working with and delegating to the project Production Assistants. Each Coordinator usually works closely with their specific group of artists’ Supervisor or Lead in crewing, scheduling, and managing that group’s body of work. Coordinators are significant points of information on the show and need to be able to balance multiple needs, projects, and tasks at one time.
Work closely with your discipline supervisors and/or leads in crewing, casting and scheduling your discipline’s body of work, keeping in mind the overall show schedule, client reviews, bids, and other discipline needs.
Establish a process for communicating discipline targets, assignments, and priorities to your discipline crew, as well as the overall show crew. This should be daily and/or weekly.
Schedule, track, and manage assigned work within the ILM Internal Tracking Tool as well working with Production Managers to display the information in a physical form (magnet boards / conference rooms) in order to be visible to the team.
Ensure work is on schedule for each department and is meeting internal and external (client) deadlines. Check in with artists on a regular basis regarding workload, targets, needs, etc.
Set up turnovers with discipline crew. Communicate turnover information to all artists assigned to assets or shot.
Track client needs, reviews and deliveries to make sure your discipline hits their targets.
Keep a weekly synopsis of your discipline’s accomplishments and next steps.
If coordinating work from an external company, establish process for working with them that fits with your production team, supervisors, and leads.
Serve as key communication liaison between all parties relevant to your work. Provide updates, priorities, reschedules, and status of all shots at any given moment.
Anticipate and communicate issues to leadership team(s) to reach solutions in a timely manner.
Supervise, delegate to, and train assigned Production Assistant(s).
Act as primary point person for organizing dailies/shot reviews throughout the day on behalf of your discipline Supe/Lead. Take notes regarding feedback and decisions made and enter any required information into the Internal Tracking System/communicate to all so as to provide updates to all others impacted.
Technical ability and knowledge required to run Linux, Windows, and Mac-based programs for reviews with crew (dailies), clients, external vendors, and various meetings.
Conference room, Viewstation and basic technical setup and troubleshooting (running generic scripts to resolve issues).
Prioritization and escalation of technical support issues.
Ability to learn basic commands required to assist artists in file organization, submitting shots and QC-ing movies.
Perform special projects as needed.
May accompany VFX Supervisor and Matchmover on location for blue screen and principle photography work. Responsible for camera reports, shot information sheets, and matchmove information. Must be able to recognize and report back to ILM production any changes to shots that affect the budget.
Serve as the main point person between the Production and VFX Editors. Discuss cut lengths, key frame numbers, editorial discrepancies an other specifics regarding film.
Reserve equipment and resources needed for location and stage work; monitor schedules to avoid conflicts.
Role may require weekend work depending on show schedules
Role may also require:
o travel for plate shoots
o work on the same schedule as first or second unit production
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