Relocation of the entire film crew and 15–25 tons of equipment between shooting locations, typically requiring 90–120 minutes including setup and breakdown.
A standard company move involves transporting an average of 15-25 tons of equipment for feature film productions. This includes 8-12 camera cases, 20-30 lighting fixtures with corresponding stands, 150-200 meters of power cables, and sandbags. For larger productions, specialized grip trucks are used, capable of transporting up to 18 tons of payload. Location managers plan company moves with 15-minute buffers, considering traffic volume, parking availability, and delivery routes. Electricians require an additional 20-30 minutes to dismantle existing power distributions and set them up at the destination location.
The term became established in the 1950s with the advent of more complex exterior shoots in German cinema. Previously, film crews primarily shot in studios with fixed sets. The first documented company move for a German production took place in 1952 for "Die Sünderin" when the team switched between Lake Como and Munich. In the 1980s, Bavaria Filmstudios standardized the process with fixed timeframes. Modern GPS tracking systems, implemented since 2010, enable precise tracking of all equipment parts during transport.
On "Das Boot" (1981), the crew managed two company moves daily between the submarine set and harbor sets. "Run Lola Run" (1998) optimized company moves in Berlin by pre-placing equipment caches at 12 shooting locations. Modern series like "Parfum" (2018) utilize split teams: while Team A shoots, Team B already sets up at the next location. The critical path often lies with lighting – HMI spotlights require a 15-minute cooling period before transport. For night shoots, the available time for company moves is reduced to a maximum of 90 minutes to ensure continuity of lighting conditions.
A company move is distinct from a set-up change, where only the camera and lighting are repositioned within a single location (15-45 minutes). Unit moves additionally encompass the relocation of base camp and catering. Splinter units work in parallel at different locations with separate teams. Green screen studios eliminate physical company moves through digital backgrounds, but increase post-production costs by 20-30%. LED volume stages, as seen in "The Mandalorian," have been replacing traditional company moves with programmable environments since 2019.
Ich plane meine Kamera- und Objektivauswahl bereits am Vorabend für beide Motive, um Umrüstzeiten zu minimieren. Kritisch sind Weißabgleich-Referenzen und Belichtungsmessung am neuen Motiv - ich brauche 10 Minuten Vorlauf bevor die erste Klappe fallen kann. Bei Tageslicht-Motiven muss ich die Sonnenstandsveränderung während des Company Moves in meine Bildkomposition einkalkulieren.
Ich nutze Motivwechsel bewusst für Energieschübe im Team und als natürliche Zäsur zwischen verschiedenen emotionalen Szenenblöcken. Während des Transports bespreche ich mit den Hauptdarstellern die kommenden Szenen und justiere bei Bedarf die Spielweise an die neue räumliche Situation. Der Ortswechsel hilft mir, gedanklich zwischen verschiedenen Erzählsträngen zu switchen.
Ein Motivwechsel kostet mich durchschnittlich 2.500-4.000 Euro an reiner Arbeitszeit bei 40-köpfiger Crew, plus Transportkosten und mögliche Standgebühren. Ich minimiere Company Moves durch strategische Drehplanung - maximal zwei pro Drehtag, idealerweise geografisch gebündelt. Bei Überschreitung der geplanten Zeit um mehr als 30 Minuten wird der gesamte Tagesplan kritisch und kann Folgekosten durch Overtime auslösen.
1. Was beschreibt „Motivwechsel" am besten?
2. Zu welchem Department gehört „Motivwechsel"?
3. Wie viele verschiedene Fachperspektiven bietet dieser Eintrag?
The Lexikon is part of the Filmfarm ecosystem — alongside budgeting (FilmBalance), an industry magazine (FilmCircus) and crew networking (FilmCall, CrewMesh). One shared vocabulary for the whole production.