Key tasks during prep are the compilation of the extras breakdown and the budget calculation for extras, the communication with the extras agency, the overall organisation and the selection of extras/ bit players in consultation with the 1st AD and if required, the Director.

• Compiling the extras breakdown. The extras breakdown is compiled according to the demands of the script and within the scope of the budget. It is important to take into consideration the differences between extras and bit players, as stipulated by the 1st AD. The extras breakdown also lists stand-ins and doubles.
• Compiling the total extras budget. Not only the assignment of extras needs to be taken into account, but also the corresponding fitting costs and costs for overtime and surcharges.
• Review and sign off on the extras breakdown and the extras budget by the 1st AD and the Production Manager
• Review and distribution of the breakdown to the extras agency, the Make-Up Department, the Costume Department, the Prop Department and the Unit Department
• Directorial brainstorming, research & compiling mood boards
• Scheduling and implementing fittings in consultation with the Make-Up Department, the Costume Department and the Unit Department (to ensure that the required facilities are available)
• Selection, booking and – if necessary – rebooking extras, partially in consultation with the 1st AD
• Scheduling and implementing bit player casting sessions. The casting selection needs to be signed off by the 1st AD
• Search for and Castings for Specials (people with special abilities – musicians etc.)
• Scheduling and implementing rehearsals for bit players and extras in the presence of any experts that were booked (e.g. dancing instructor, knitting consultant etc.)
• Keeping the 1st AD and 2nd AD up to date

Many tasks from prep continue during the shoot. If there are a large number of extras, they may still be booked after shooting has started and fittings will take place in parallel with the shoot.

Key tasks:

• Further selection of extras and organising extras fittings etc.
• Continual updating and adapting the extras breakdown to the shooting schedule, which is constantly changing, and distributing the breakdowns to all relevant departments
• Continual updating and adapting the extras budget and forwarding it to the 1st AD and the Production Manager
• In advance: communication with the Unit and Set Manager about the number of extras needed on each shooting day and the requirements for facilities, transport, catering etc.
• Double-checking the bookings with the extras agency or the respective project monitor
• Briefing any additional staff and distributing tasks (Additional ADs, Crowd Marshalls)
• Briefing the Crowd Marshalls and ensuring that pay vouchers are filled in completely and correctly
• Compiling the cost report at the end of the shooting day
• Briefing the extras on the shooting day
• Directing the extras – either independently or according to the stipulations of the 1st AD
• Keeping an eye on the continuity
• Supervising the extras in an administrative function. Looking after the extras and handing out water etc. is the duty of the Crowd Marshalls

• Must be quick thinking and communicative, with great organisational skills and the ability to work well under pressure
• A good understanding of the creative means of film, their applications and the corresponding workloads as well as camera settings and focal lengths etc.
• Experience in casting
• A good understanding of current software, especially production scheduling software and cinematic means
• Set experience. Must be familiar with processes on set
• Recognising cost causing measures
• Experience with cost-to-date and budgeting
• Solid experience of directing extras (as Crowd Marshall, 3^rd AD, 2.RA)