Background Information
Directors are responsible for creatively translating the film's written script into actual images and sounds on the screen. They are ultimately responsible for a film's artistic and commercial success or failure. They may write the film's script or commission it to be written, or they may be hired after an early draft of the script is complete. They must then develop a vision for the finished film and work out how to achieve it.
During pre-production, Directors make crucial decisions, such as selecting the right cast, crew and locations for the film. They then direct rehearsals and the performances of the actors once the film is in production. They also manage the technical aspects of filming including the camera, sound, lighting, design and special effects departments. During post production, Directors work closely with Editors through the many technical processes of editing, to reach the final cut or version of the film.
At all stages, Directors are responsible for motivating the team to produce the best possible results. Directors must also always be aware of the constraints of the film's budget and schedule and manage the expectations of the film's financiers.
Qualifications necessary?You don’t need a formal qualification to become a Director. There are numerous training courses and reference books on directing and studying the art and craft of directing is important. However, the role can only really be mastered through in-depth practical experience. You will find writing a screenplay, directing your own short film or an amateur play are all good starting places. You will also need extensive industry experience; up-to-date knowledge of film making techniques and equipment is vital, as is learning how to work with actors to create a performance.
Getting in there
You can expect to start your career by getting work experience as a Runner on a film set or in a production office before working your way up through entry-level positions over many years.
Observing successful Directors at work, whilst immersing yourself in the practical process of film making is a vital first step on this fiercely competitive and highly challenging career path.
The Money
Only 15% of writers, directors, producers and actors continue to work on either side of the budgeting margin, while just 13% of producers who produced a low budget film go on to make another one. Shocking still, ta mere 3% of directors who make their first film go on to make two more. This varies widely from director to director. Some like Steven Spielberg may take a producer role, which means extra payment. The most successful directors will ask for as much as $10m for a movie, and ma also want a cut of the films profits.
EXECUTIVE PRODUCER
Background Information
Executive Producers are responsible for the overall quality control and success of TV productions, and for ensuring that final products conform to commissioners' specifications. They are part of the team who are responsible for selecting marketable projects and ensuring that every step is taken to guarantee success in the market. They lead the production of a range of television programs, including dramas, serial dramas, documentaries and drama documentaries.
On serial dramas, and some entertainment program, experienced and well-known writers may also be credited as Executive Producers. On current affairs and news programming, the Executive Producer role is often combined with that of the program editor. Executive Producers are usually experienced industry practitioners, who bring their particular, individual skills and talents to this demanding role.
Executive Producers' roles vary depending on the genre, broadcaster or production. They must be able to identify commercial, marketable projects from a range of proposals. They may help to develop scripts. They are responsible for finding suitable markets for projects. They may attend TV and film marketing festivals such as Cannes and MIP-TV International Film and Programme Market for Television. At these, they promote projects nationally and internationally and secure funding partnerships with potential sponsors or co-producers. The cost of a television production may be shared amongst a number of partner organisations who will all eventually broadcast the finished programs. They ensure that a range of publicity and marketing materials are prepared in order to attract co-production partnerships and funding.
Will you need a Qualification?
You won’t need a specific qualification to become an Executive Producer in TV. However, a degree in a media-related, drama or specialist subject may give you a good grounding. You will need to have wide experience in and knowledge of the production process. Some specialist courses aimed at experienced producers offer training in co-production, developing networks and partnerships, pitching, and other topics.
Extra Help
To become an Executive Producer, you will need to gain a lot of experience in the TV industry, and usually you will have worked previously for a number of years as a Producer, Writer, Director or Script Editor among other roles. In the main, you will also have hands-on experience of producing, enabling you to appreciate the requirements of your own role within the production process. You will also need to have a good knowledge of other roles and grades. In the role of Executive Producer, you may perform a dual role on productions, such as Writer and Executive Producer. Programme commissioners or heads of department employed by broadcasters are often credited as Executive Producers on all their departments' programming output.
PRODUCTION DESIGNER
Background Information
Production Designers are major heads of department on film crews, and are responsible for the entire art department. They help Directors to define and achieve the look and feel of a film. Production Designers begin work at the very early stages of pre-production. They may be asked to look at scripts to provide spending estimates before a Director is even approached. On first reading a screenplay, they assess the visual qualities that will help to create atmosphere and bring the story to life.
Production Designers must calculate the budgets and decide how the money and effort will be spent. Then there’s an intense period of research during which they and their Specialist Researchers source ideas from books, photographs, paintings, the internet, etc. They deliver their design sketches (showing mood, atmosphere, lighting, composition, colour and texture) to Art Directors who oversee the production of technical drawings and models, which are used by the Construction Department to build the sets and adapt locations. Props Buyers and Set Decorators source props and organise the manufacture of specialist items.
Later on in the art department office, Production Designers check on the construction and dressing of other sets, and sign off on sets/locations for the next day's shoot. Although Production Designers usually finish work on the last day of principal photography, on larger films they may be involved for longer periods. Production Designers work on a freelance basis. They may have to prepare detailed drawings and specifications in order to pitch for work on a number of productions before being offered work on one of them. Although the work can be very demanding and the hours long, this is one of the most highly-skilled, creatively fulfilling roles within the film industry.
Qualifications needed?
You will need to be a graduate of art, architecture, theatre, interior or 3D design courses. After this, you can complete a specialist course in film and/or theatre design.
Best way into the Job?
As the head of the largest department on a film crew, you must have extensive experience gained over a number of years. You would usually start as a Junior Draughtsman, moving on to Draughtsman, Assistant Art Director and Art Director. You will also find a background of working in theatre helpful, as this would teach you the art of set design and construction as well as how to conceptualise ideas and create a sense of drama through visual spectacle. If you graduate in film and theatre design, you will need to gain experience working on short films before progressing to junior roles on feature films.
PRODUCTION MANAGER (TV)
Background Information
Production Managers are responsible for all the organisational aspects of production scheduling and budgeting. They work across all genres in television production including documentaries, current affairs, light entertainment or children's programs, situation comedies, soaps or serial dramas, or one off dramas. They assist the Producer to interpret and realise the Director’s vision, financially and logistically. They prepare production schedules or script breakdowns to confirm that sufficient time has been allocated for all aspects of the production process, and to check the Producer’s budget and schedule.
The Production Manager is the key person in the production department. They report directly to Producers. They work closely with all other heads of department to ensure that productions run smoothly, meet deadlines, and stay within budgets. Throughout shooting, they monitor schedules and budgets, and prepare daily report sheets for Producers, detailing all aspects of each day's shoot. During pre-production and shooting, they deal with any unexpected circumstances and prepare workable alternative plans. They oversee all aspects of the day-to-day running of shoots, from contract preparation to all Health and Safety requirements, and work closely with members of all other production departments, Actors, and other contributors.
Will you need a qualification?
You won’t need a specific qualification to become a TV Production Manager. However, a degree in a media-related, drama or specialist subject may give you a good grounding. You will need to have wide experience in and knowledge of the production process. It will stand you in good stead to complete specialist courses in production management, and in relevant software, e.g. Movie Magic.
It will be essential for you to have a current Health & Safety and first aid qualification
To become a Production Manager in TV, you will usually need to be an experienced member of a production team. You could start out as a 3rd Assistant Director, to 2nd Assistant Director to 1st Assistant Director.Or you could move from being an Assistant Floor Manager to a Floor Manager to a Location Manager.
Or you could progress from having been a Script Supervisor, a Production Assistant or a Production Accountant.
You could also transfer to this role from having been a non-media accountant with suitable training.
CAMERA OPERATOR (studio or portable single camera)
Background Information
Camera Operator (Portable Single Camera) is a senior role within television camera departments. The role's duties vary depending on the type of production. On high budget dramas or commercials, their main role is to support the Director of Photography (DoP or DP) and the Director, by accurately carrying out their instructions regarding shot composition and development. They also cover other drama productions, documentaries, current affairs and news, shooting on various tape or digital formats.Camera Operators are usually selected by the Director, but sometimes by the DP. They work closely with the First Camera Assistant (Focus Puller). They oversee the preparation and checking of camera equipment. During shooting, they are responsible for all aspects of camera operation, so that the DP can concentrate intensively on lighting and overall visual style. While the DP and Director discuss the composition of each shot, the Operator ensures that the camera and associated equipment are ready for the required set-up, keeping alert for any last-minute changes. They liaise closely with the Director, fine-tuning the exact details of each shot, often suggesting creative improvements or alternatives. They work closely with performers, guiding them on what can and cannot be seen by the camera.
Hours are long (12-14 hours a day), and some foreign travel may be involved, involving long periods spent away from base, which can be challenging to home and family life.Will you need a qualification?
You do not need a specific qualification to work in this role. Instead, you would usually learn the practical skills required through hands-on experience on the job. That said, continuing professional development is vital, especially as camera technology changes rapidly. Basic stills photography, which develops visual and composition skills, also provides a useful starting point in training for this role.
Best way in
Intensive industry experience is the best route into this role, having gained a grounding in the basic camera skills and knowledge required. You could begin your career as a Camera Assistant, and then work your way up through the ranks of the camera department over several years.
Getting Paid
Freelance camera operators are usually paid a fee for each contract, rates can vary widely. You could negotiate fees based on the type of production and your own track record. Contact BECTU for current pay guidelines. For Example, the going rate for camera operators working a ten-hour day on TV factual or documentary programs is £285; for commercials it's £411 and for TV news £227. It may be possible to negotiate rates of pay based on your previous experience as well as the type of production. Working hours are generally long and can even consist of night shoots. That said, continuing professional development is vital, especially as camera technology changes rapidly. Basic stills photography, which develops visual and composition skills also provides a useful starting point for this role.
EDITOR
Background Information
Editors work long, unsociable hours, often under pressure, in an edit suite. They are employed on a freelance basis by the Producer (sometimes with the approval of the film's financiers), based on their reputation and experience. Editors often work on television drama, as well as on feature films. Because scenes are shot and edited out of sequence, Editors may work on scenes from the end of the film before those at the beginning, and must therefore be able to maintain a good sense of how the story is unfolding. Editors select the best takes and edit them together to create scenes. In some cases, an improvised line or an actor's interpretation of their role may create some on-screen magic that can be developed into a new and exciting scene.
During the post production period, the Editor and the Director work closely together, refining the assembly edit into the Director's Cut, which must be approved by the Producers, until they achieve picture lock or Fine Cut (when the Director and/or Executive Producer give final approval of the picture edit).
Getting in there
Traditionally, you could go from being a Runner to a Trainee, Second Assistant, First Assistant and eventually to become an Editor. However, with digital editing, 2nd Assistants are now only employed on very big budget films.
As a Trainee with at least two years' experience you would have to work as an Assistant in television or on low budget films for a considerable period of time before becoming First Assistant on feature films. Some big budget productions take on Trainees and Second Assistants, and it is important to keep up to date with films in pre-production by reading the trade press.
If you can work with an Editor as an Assistant, you may be allowed to carry out the assembly edit of some sections of the film. If you can become an experienced Assistant, you may also work as an Editor on short films, which will enable you to showcase your talents.
Getting Paid
The industry offering most editing jobs in motion pictures and videos, with 67% of the 17.550 positions . They also offer the highest wages at £21.90 an hour on £45,714 annually. Other big employers of editors are radio and television broadcasting, with pay at £16 per hour or £33,475 annually, cable programming at £17.40 and hours and £36,270 annually.
RUNNER
Background InformationProduction Runners are used by the Producer and by other production staff. They help out wherever they are needed on productions. Their responsibilities vary depending on where Production Runners are assigned. In the Production Office duties might include answering telephones, filing paperwork and data entry. Or arranging lunches, dinners, and transportation reservations, photocopying, general office administration, and distributing production paperwork.
On set, Runners might have to act as a courier and help to keep the set clean and tidy. They also distribute call sheets, health and safety notices, and other paperwork. On location shoots, Production Runners may also be needed to help co-ordinate the extras, and to perform crowd control duties. Runners are usually employed on a freelance basis and their hours are long and irregular.
Qualifications?
Getting the Job
Start out by getting some experience in film, drama or broadcasting. It can be in amateur dramatics, student radio or film making, shorts or community media. This will put you in a better position to apply for work as a Production Runner, as there is a lot of competition for jobs despite the low pay.
This is a good entry-level role into the film industry. You can make valuable contacts and may progress to a trainee position or another role in the Production Office.
Is the pay any good?
The pay of a runner is low, very low. You'll usually find runners working for absolutely free. However, recently the BECTU (a union in the media industry) have suggested that you should receive 33% over the national minimum wage limit. You will usually be paid hourly for this job rate rather than a salary. But this isn't a job to be living off alone, you will need to have another job to be able to pay for the bills/food.
SOUND RECORDIST
Background Information
Sound Recordists (also known as Production Mixers) record sound on location or in a studio, usually in synchronisation with the camera, to enable the highest quality 'real' sound to be recorded at the time of filming.They monitor the quality of the sound recording through headphones and work closely with the Director, Boom Operator and sometimes the Sound Editor, often using multiple microphones.
It is their job to set up talk back communication between production staff, presenters and artists and other communication systems such as 'live' links by land line, microwave link or satellite. They also record sound effects and atmosphere tracks. Sound Recordists/Production Mixers may work on a wide range of single or multi-camera shoots, and their duties can vary considerably. Depending on the scale of the production, they may work closely with the Director and Producer at the planning stage to clarify technical requirements and budgets.
They are responsible for producing the final sound mix, so they directly supervise the Sound Assistants and Boom Operators. Sometimes, they also manage the rest of the sound crew. They may also occasionally operate the boom themselves. They often have to supervise front line maintenance in order to keep the production on track.
Qualifications
You won’t need a qualification to be a TV Sound Recordist. However it is vital to be able to show a strong interest in sound and an understanding of its physical properties. You will need to develop your skills throughout your career as television sound technology and techniques are constantly changing.
Courses are available throughout the UK, from HND to degree level in sound technology, audio engineering, acoustics and music recording.
Best route in?
The best way to start your career in sound is to develop and demonstrate an interest in, and enthusiasm for sound. You can do this by exploring, experimenting and learning about audio technology and its capabilities. Your first steps into the industry will normally be in a trainee role. On-the-job training or shadowing of more experienced personnel is the best way to learn. Experience of working in theatre or the music industry, hospital or community radio would also provide you with a useful background for this role. Alternatively, getting a job with an equipment manufacturer or hire company could also provide valuable experience and training, helping you to learn about sound equipment, make industry contacts and get a foot in the door.
The pay
The money is Freelance. Meaning, you get paid for whatever job you do. This is just like most of the other jobs in the industry, it depends who you are, how much experience you have and other factors like the budget.
The pay
The money is Freelance. Meaning, you get paid for whatever job you do. This is just like most of the other jobs in the industry, it depends who you are, how much experience you have and other factors like the budget.
LOCATION MANAGER
The Location Managers' primary role is to identify and find ideal locations for a film shoot. They report to the Producer, Director and Production Designer. The search for exactly the right location can take months of research and scouting. Work starts in pre-production, to understand the Director’s creative vision for the film. This helps the Location Manager make the right decisions about potential locations.
They also have to take into account accessibility, the shooting schedule and budget. They have to negotiate the cost and terms of the hire, crew and vehicle access, parking, noise reduction, power sources, catering requirements and any official permissions that may be needed. They often use a photographic storyboard to illustrate their findings back in the production office.
Once filming has started, Location Managers are in charge of managing all aspects of shooting in each location. They have to make sure that everyone in the cast and crew knows how to get to the filming location, that it has been signposted clearly along main routes. During filming, Location Managers oversee the health and safety of everyone using the location. After the shoot, have to make sure that the location cleaned and locked up, before returning it to its owners in a satisfactory condition. Any damage must be reported to the production office and any insurance claims dealt with.
Location Managers are usually the first to arrive on location and the last to leave, so the hours can be long and unsocial. On larger productions, Location Managers may supervise Assistant Location Managers and/or Location Scouts. These team members assist the Location Manager in all aspects.Qualifications needed
You don’t need a formal qualification to become a Location Manager. If you can complete any health and safety training course, this is extremely useful.
Getting Paid
The salary changes with how much experience a person has and can range from a couple of hundred on a low-budget films to almost a thousand on a day of commercials. They are commonly associated with production as being part of the management of a show, and as such, are generally paid a weekly salary as apposed to an hourly wage.
To find more information about these jobs or any other, follow this website:
http://creativeskillset.org/
Excellent work at distinction.
ReplyDelete