Second unit

Not to be confused with the second (SI unit).

Second unit is a discrete team of filmmakers tasked with filming shots or sequences of a production, separate from the main or "first" unit. The second unit will often shoot simultaneously with the other unit or units, allowing the filming stage of production to be completed faster.

Function

The functions of the second unit vary, but typically the first unit films the key face-to-face drama between the principal actors. Two frequent ways a second unit is used are:

• Action sequences: Action sequences are often filmed in discrete locations, using stunt performers, rather than the principal cast, and requiring significantly different filming arrangements than for ordinary scenes. Therefore, they are an opportunity for second unit shooting.
• "Pick-ups": After the main unit has finished on a set or location, there may be shots that require some or all of this setting as background but that do not require the principal actors. These shots may include things such as close-ups, inserts, cutaways, and establishing shots.

In both of these scenarios, the purpose of the second unit is to make the most efficient use of some of the resources that are expensive or scarce in film production: actors' and directors' shooting time, sound stage usage and the cost of sets that may have been built on stages.

The work of second units should not be confused with multiple-camera setups, where several cameras film the same scene simultaneously. Large productions may have multiple second units. Although filmmakers may refer to having "three or four units working", each unit would be called an "additional second unit"; usually none would be described as the third or fourth unit.

Directors

The second unit has its own director and cinematographer. A key skill for a second unit director is to be able to follow the style being set by the film's primary director. Peter MacDonald, who was second unit director on Batman for Tim Burton, Jack the Giant Slayer for Bryan Singer, Radio Flyer for Richard Donner, X-Men Origins: Wolverine for Gavin Hood, Guardians of the Galaxy for James Gunn, and Labyrinth for Jim Henson, has said, "The most important thing about any second unit is that you can't tell the difference between the second unit and the first unit. It must have the stamp of the first unit, both in photography and the style of direction. ... You try to copy what the first unit does as much as possible. You mustn't be on an ego trip and try to do your own style, because your material has to cut into theirs and it mustn't jar, it must fit in exactly so no-one can tell the difference." Brett Ratner, commenting about Conrad E. Palmisano, who directed second unit for him on Rush Hour 2, Rush Hour 3,Into the Sunset, and X-Men: The Last Stand, The Other Guys for Adam McKay, No Strings Attached for Ivan Reitman, Into the Blue for John Stockwell, Disturbia for DJ Caruso, and Under Siege for Andrew Davis said, "He has the understanding of what it takes to create a great action sequence and never deviate from the story or the tone of the film."

Because second units often film scenes with stunts and special effects in action movies, the jobs of stunt coordinator and visual effects supervisor often get combined with that of the second unit director. Unlike an assistant director, who is second-in-command to the main director, a second unit director operates independently, and thus can be a stepping stone for aspiring directors to gain experience, such as David R. Ellis, Chad Stahelski, and David Leitch. Other times, directors may return to predominantly working as second unit directors for the reminder of their career.

Examples of second unit directors include:

• Vic Armstrong, who directed second unit on Gangs of New York for Martin Scorsese, War of the Worlds for Steven Spielberg, The Amazing Spider-Man for Marc Webb, Mission Impossible III for J. J. Abrams, The Green Hornet for Michel Gondry, The Golden Compass for Chris Weitz, and The Mummy: Tomb of the Dragon Emperor for Rob Cohen.
• Dan Bradley, who did Spider-Man 2 and Spider-Man 3 for Sam Raimi, The Bourne Supremacy, The Bourne Ultimatum, and Green Zone for Paul Greengrass, Mission: Impossible - Ghost Protocol for Brad Bird, Three Kings for David O. Russell, The Dukes of Hazzard for Jay Chandrasekhar, Jurassic World: Dominion for Colin Trevorrow, Indiana Jones and the Kingdom of the Crystal Skull for Steven Spielberg, and Indiana Jones and the Dial of Destiny for James Mangold.
• Brian Smrz, who did Mission Impossible 2, Paycheck, and Windtalkers for John Woo, Fantastic Four and Taxi for Tim Story, Iron Man 3 and The Predator for Shane Black, Ghostbusters: Afterlife for Jason Reitman, Eagle Eye for DJ Caruso, X2 for Bryan Singer, and Knight and Day for James Mangold.
• Mike Gunther, who did Kung Pow! Enter the Fist for Steve Oedekerk, Bumbleebee for Travis Knight, Star Trek Beyond for Justin Lin, The Purge: Anarchy for James DeMonaco, Sabotage for David Ayer, Transformers: Age of Extinction for Michael Bay, and Ghostbusters: Frozen Empire for Gil Kenan.
• Mic Rodgers, who did The Fast and the Furious and The Boy Next Door for Rob Cohen, Braveheart, Apocalypto, and Hacksaw Ridge for Mel Gibson, Payback for Brian Helgeland, Point Break for Ericson Core, Lethal Weapon 4 and Scrooged for Richard Donner, Fast & Furious for Justin Lin, Payback for Brian Helgeland, and Nothing to Lose for Steve Oedekerk.
• Rick Avery, who did Anchorman: The Legend of Ron Burgundy and Wake Up, Ron Burgundy: The Lost Movie for Adam McKay, Scream 3 and Cursed for Wes Craven, Clockstoppers for Jonathan Frakes, Identity for James Mangold, Street Knight for Albert Magnoli, The Sweetest Thing for Roger Kumble, and Tenacious D in the Pick of Destiny for Liam Lynch.

Occasionally, some second unit directors more with certain directors on several projects, such as Allan L. Graf, who directed second unit for Walter Hill on several of his films, as well as Eric Schwab working with Brian De Palma on his films.

Some directors, such as Christopher Nolan and Quentin Tarantino, do not use second units in their films.