Las "call sheet" son los listados que se utilizan durante el rodaje para indicar todo tipo de datos para el trabajo del día. Actores que participan, materiales, horarios de comidas, elementos necesarios para la escena, vaya que sale hasta el gato. Estas dos hojas originales pertenecen a una de las escenas de la película e incluyen el diagrama para llegar al set de rodaje. Cuando me la estudie a fondo os pongo más detalles.
Esta pequeña joyita proviene de Propstore, gracias a un chivatazo y colaboración de Bolsón, como siempre al quite de estas cuestiones. ¡Gracias Alex!
Las fotos son las originales de Propstore. Cuando tenga un rato haré yo las mías....
Hoy mismo me he "encontrado" con un interesante libro sobre cómo se tienen que hacer las cosas en un rodaje, y hay una buena explicación de lo que son estas hojas. Si alguien está interesado, el libro se titula:
"The Complete Film Production Handbook", van por la 4a edición, disponible en Amazon, y si buscáis, pues eso....
Extracto:
CALL SHEETS AND PRODUCTION REPORTS
Briefly discussed earlier, a call sheet is a game plan for what’s to be shot the following day – who’s to work, what time and where they’re to report, and what, if any, are the special requirements needed to complete the day.
Call sheets are created by the 2nd assistant director. A preliminary version is usually prepared early in the day; an approved version, signed by the UPM, sometimes goes out by late afternoon. But in the event of changes (or anticipated changes), the call sheet isn’t distributed until shortly before wrap – or wrap. Wrapping 15 minutes or a half-hour late may push the next day’s call by 15 min- utes or a half-hour. If the call sheets are photocopied before a call is pushed, they’re generally stamped with the notation: ALL CALLS PUSHED 1/4 HR., ALL CALLS PUSHED 1/2 HR., etc. Call sheet changes affect- ing scenes to be shot, locations, various work times, etc. are issued on blue paper. A subsequent change would come out on pink.
The Daily Production Report (or “PR”) is the official record of what was shot that day in terms of scene num- bers, setups, minutes, film footage and sound rolls; who worked and the hours they worked; the locations shot at (actual and scripted); how many meals were served; vehi- cles and equipment that were used and the delays, acci- dents or notable incidents that may have occurred.
Production reports are used to help evaluate the overall progress of principal photography; help assess production costs; check invoices against equipment and vehicles used; inventory raw stock; back up workers’ compensation and other insurance claims; track safety meetings and check cast, crew and extras’ workdays and times against submit- ted time cards. It’s therefore imperative that they be as accurate as possible.
Also prepared by the 2nd AD or 2nd 2nd AD, these reports include information taken from the script supervi- sor’s daily report (indicating the exact scenes added, deleted and shot; the number of scenes, pages, setups and minutes shot and the call time, first shot, meal times [in and out], first shot after lunch and wrap time); the cam- era loader’s camera report (indicating film footage printed, footage shot but not printed, wasted footage, short ends [leftover footage at the end of a roll] and total footage used) and the sound mixer’s sound report (indicating the number of DAT tapes or DVDs used). Each of these items are listed in terms of what was Previously shot, used or taken; what was shot, used or taken Today and the Total shot, used or taken to date.
When the PR is sent in from the set, it’s stamped UNAPPROVED. The UPM, production coordinator and/ or assistant coordinator will then go through it, making sure:
The accountant and payroll accountant will also go through unapproved production reports to make sure that all the information they need has been properly noted.
- All dates, locations, shoot days and times are properly recorded
- All figures from the previous day’s PR are correctly carried over
- Start, Work, Hold and Finish days are correctly indicated and that actors’ times on the Exhibit G match those on the PR
- Camera report totals are correct and accurately carried over from the previous day
- Sound roll figures are correct
- Partial and completed scenes are credited properly
- Notations are made to indicate alternate coverage of nude scenes and the replacement of bad language for TV distribution
- The caterer’s daily receipt matches the recorded number of meals served
- All special equipment used for that day is indicated
- All injuries, accidents and major delays are recorded
- Call times for the entire crew are noted
- Any additional crew members working that day are indicated
- The “skins” (list of extras to work that day issued by the background agency) match the background talent listed on the PR
- Safety meetings are noted
A separate production report should be prepared for second unit, although one production report is often issued when the second unit is very small and shoots simulta- neously at the same location or if a splinter unit made up of first-unit crew shoots concurrently at the same location.
The UPM and/or production coordinator, after check- ing the PR, will discuss any discrepancies with the 2nd AD. After corrections and additions are made, the UPM (and sometimes the 1st AD) will sign off on it. If subsequent changes are made after the report has been signed, copied and distributed, updated versions are issued and labeled “Revised.”
People are handed call sheets and production reports each day, but they’re easily misplaced – left at home, buried in a pile on the desk, left in a jacket pocket, in the car or in a trailer room. The production office staff is therefore often asked to assemble complete sets of each for several different people at the end of the show. It’s easier to distribute complete sets of call sheets and pro- duction reports on CD, but sometimes you’ll still find individuals who will want hard copies. For those who do, I suggest you prepare two legal-sized file folders (one for call sheets and one for PRs) for the producer(s), director, UPM, 1st AD, Key 2nd AD, production super- visor and/or coordinator and studio production executive, and to add a final call sheet and production report to the respective folders on a daily basis; so by the end of principal photography, full sets are already compiled and ready to distribute.
Del texto se colige que estas hojas son una segunda revisión. Qué cosas. Os lo he puesto porque la información que hay en Wikipedia es más bien penosa respecto al tema.
La ficha:
(pics from PropStore, the original ones used in the auction. Own pictures coming soon)
Card/Ficha
001
Description/Descripción
Original call sheet from the movie. One double-sided page. One page with map location. | "Call sheet" original de la película. Una página a doble cara. Una página con localización del rodaje.
Type/Tipo
Screen Used/Usado en pantalla
Reference/Referencia
Other/Otro
Country/País
US
Origin/Origen
Propstore
Value/Valor
$200