A s r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r r
There is no single universal configuration. A fiction can associate a com di loge for the r the main, a HMC d di e unit to pr parations and connections, a costumes space for the continuity of the silhouettes and, according to the project, a VIP loge or production. The right device of pending mainly from the number of com diens pr sents every day, the hard e of the shooting, the changes of d cors and the fr quence of the d placement.
On a long fiction, the backstage directly participates in the r gularit of production. Covering one character, makeup, barbe, accessories, costume, change of look between two temporalit s: what has t pr by Monday may have to three reproduce the same several days later on another d cor.
A space d di allows makeup makers and hairdresser to work in stable conditions, to parry the characters and then to quickly perform the rebounds when the work plan comes back on a s quence d j eng e.
The v tements must remain identified s, accessible and prot g s. A clothing organization s by e facilitates trials, quick changes, doublings, accessories and v rifications before entrance e plateau.
The r current actors alternate waiting, pr paration, r p tition and take. A private loge e limits unnecessary movements and cr e a stable zone, m me when the plateau me change from d cor.
A s re can r unite a core of com diens r currents and then host guests, silhouets or punctual characters. The backstage device should thus three dimensionsn for the r alit of the work plan, not only for the overall casting of the season.
| The situation of filming | The need for backstage | Point of vigilance |
|---|---|---|
| Day with R the main | Com Diens + HMC + Costumes | Intimity, availability and fast connections |
| A lot of guests | Mental supplability and passages organization | The unnecessary crossings and expectations |
| Sc no group / figure | Pr Paration Zone Distincts by Volume | People's flow and call times |
| The Biggest VIP Talent / The Biggest VIP Talent | Private space is strengthened | Confidentiality and proximity |
| Change of D Cor in the day | Replacing mobile solution | The new time and the new ACC |
Spaces of rest, pr paration and intimity for the r main or r currents. They allow the com day to stay close to the plateau without remaining constantly exposed to technical movements.
Mirrors, paration pr poses, storage and work space for HMC chips. On a fiction, this area is important to reminiscent the characters and g rer the connections.
A zone s by e facilitates storage, continues the looks, changes in silhouettes and the organization of accessories. It quickly becomes indispensable when several pisodes or temporalit s have turned s in the d order.
Some shoots do not stop a more confidential unit for a r the main, a personalit invit e or a need for comfort sup smiling. The device is then tudi ind pending the rest of the casting.
A fiction can install a part of its production on a d cor r current while multiplying the days is ext rides. The v hicule that fits perfectly on a spacious base can become inadequate before a troy street, a villa or a heritage site. The pr paration therefore must int grer future movements, not only the first day.
Stable organization, rep res d quipe and optimis circulation e between logs, HMC, costumes and plateau.
Acc s diff rents, need for autonomy and sometimes greater distances between parking and cam ra.
Thermal comfort, clearance, rest and maintenance of the artists’ availability are becoming priorities.
The casting and the d cors are wholesale: the device can be three r organised according to the next production phase.
Road, village, for t, private domain, seafront, industrial area or heritage cor: many fiction use places that do not have neither dressings, nor HMC space, nor private zone e for the com diens. The mobile unit s allow cr er this infrastructure directly to the most pr s of the filming, under r serves the acc s.
The width of the road, portal, slope, height, drawing radius and return zone are examined s before holding an implantation. A great logge that cannot reach the d cor n is not a solution.
The shorter the d placement, the more production keeps the com services available. The location must however remain compatible with the technical movements, sound, v hicles and r gles of the site.
Depending on the location, connections can be three limit s. Lectric needs, autonomy, timetables and technical services must be three anticip s with production.
Fiction often imposes amplitudes and encha complex nements. A sc not turn e l aube can belong to m me pisode that a s quence night pr by e several days later. For backstage, this means pr see comfort, available and continues despite the schedules that move.
The first com diens can arrive well before the d target of the HMC, costumes, trials or r p titions. The spaces must have three functional d s calls.
The r leave them or join the plateau according to the s quences. Pr paration zones allow g to rer these rotations without saturating the technical space.
HMC and costumes must intervene quickly without sorganizing production. The approximation of useful functions r t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t
If the day e continues elsewhere, the conditions of part, d acc s and implantation of the two me site must have t pr by es sufficient t.
The return, the consumables, storage and the next day’s pr paration are part of the global organization.
Exact dates, weeks concern is, day is isol is or pr sens continues.
Main site, ext rires, secondary places and any changes during the day e.
The main, guests, children, personalities or special needs.
Like servings, HMC, costumes, VIP, PR space paration or technical needs.
morning, night, weekend calls, long amplitudes or change of pace.
Address, portal, parking, slope, gabarit, local restrictions and man uvres possible.
According to fiction, the arri re base can galantly stop with the nergy, the convoyage, the mental hicules compl or a transport organization. PROD19 pr feels several services allowing to build a more comprehensive r ponse when the project requires it.
The pending device of casting r element pr feels every day. Productions can distinguish logs com diens, HMC, costumes and VIP. For a long fiction, it is useful to anticipate the strong pr weeks feeling casting plut t than to reason only on the average.
A long-hard organization can tre tudi e according to the availability s of the mat riel, the location of the d cors and the production planning. If the filming changes r guli reminds of site, it is important to the compatibility of each new implantation.
The three functions do not have the m me rhythm. The com dien needs intimity and rest; HMC must work and provide connections; the costumes do not cease storage, try and continue. The s parer am liore g n slowly circulations and r duit interruptions.
Yes, under r serves the configuration and conditions of the site. On the nights, heating or air conditioning, clearance, autonomy and organization of waiting times become important.
The mobile principle allows it when the acc s, d lais and traffic conditions are compatible with planning. It is pr f rable to transmit the future of cors forward to vite a bad surprise on the day of the d placement.
PROD19 pr feels mobile logs and hicles solutions for production in France and Europe. The feasibility and co t d hangs especially of the place, dates and demand device.
Send the dates, places, hard e estim e, number of com services, desire functions and restrictions of acc s. You can use the devis request or call PROD19 directly at 07 62 45 59 20.
Send us the dates, the d cors known, the number of com diens and the backstage functions desire is. We will be able to get a coh rente implantation with the rhythm r el of your fiction.
PROD 19 • to Discover Equally