JOBS IN
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DIRECTOR
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D
irectors 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. Directors 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.
LOCATION MANAGER
T
he 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.
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EXECUTIVE PRODUCER E
xecutive 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 programmes, including dramas, serial dramas, documentaries and drama documentaries. On serial dramas, and some entertainment programmes, 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 programme 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
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are responsible for finding suitable markets for projects. They may attend TV and film marketing festivals such as Cannes and MIPTV 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 programmes. They ensure that a range of publicity and marketing materials are prepared in order to attract co-production partnerships and funding. During production Executive Producers may act as a sounding board for Producers in the decision-making processes. They may be involved in some aspects of scripting, casting, and/or
crewing. They tend to work on a number of projects at the same time, each at different stages of production, and often across several different countries. They may view rushes and rough cuts of programmes, and usually have final approval of the edited materials.
DIRECTOR OF PHOTOGRAPHY D
irectors of Photography (DoPs) are key Heads of Department on film productions and theirs is one of the major creative roles. They provide a film with its unique visual identity, or look. DoPs must discover the photographic heart of a screenplay, using a variety of source material including stills photography, painting, other films, etc. They create the desired look using lighting, framing, camera movement, etc. DoPs collaborate closely with the camera crew (Camera Operator, 1st and 2nd Assistant Camera, Camera Trainee and Grips). During filming, DoPs also work closely with the Gaffer (who runs the lighting team), the Production Designer, Costume Designer, and the Hair and Make-up Department. After reading the screenplay, DoPs meet with the Director to discuss the visual style of the film. They conduct research and preparation including carrying out technical recces of locations. They prepare a list of all required camera equipment, including lights, film stock, camera, cranes and all accessories etc., for the production office to order. During preparation DoPs also test special lenses, filters or film stocks, checking that the results fit with the Director’s vision for the film.
On each day of principal photography, DoPs and their camera crews arrive early on set to prepare the equipment. During rehearsals, the Director and DoP block (decide the exact movements of both actors and camera) the shots as the actors walk through their actions, discussing any special camera moves or lighting requirements with the Camera Operator, Gaffer and Grip. Each shot is marked up for focus and framing by the 1st AC, and, while the actors finish make-up and costume, the DoP oversees the lighting of the set for the first take. On smaller films, DoPs often also operate the camera during the shoot. At the end of each shooting day, DoPs prepare for the following day’s work and check that all special requirements (cranes, Steadicams, remote heads, long or wide lenses, etc.) have been ordered. They also usually view the rushes (raw footage) with the Director. During post production, DoPs attend the digital grading of the film, which may involve up to three weeks of intensive work. Most DoPs work on commercials and promos as well as on feature films. Although the hours are long, and some foreign travel may be required, the work is highly creative and very rewarding.
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SOUND RECORDIST
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ound 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. Jobs in sound generally fall into two areas: production
sound and post production sound. Sound Recordists/ Production Mixers work in production sound. It is their job to set up talkback communication between production staff, presenters and artists and other communication systems such as ‘live’ links by landline, 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 multicamera 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 frontline maintenance in order to keep the production on track.
PRODUCTION DESIGNER
P
roduction Designers are major heads of department on film crews, and are responsible for the entire art department.
of work and imagination goes into constructing the backdrop to any story and choosing or building locations and/or sets.
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.
Filming locations may range from a Victorian parlour, to a late-night café, to the interior of an alien space ship. The look of a set or location is vital in drawing the audience into the story and making a film convincing. A great deal
After preparing a careful breakdown of the script they meet with the Director to discuss how best to shoot the film and work out whether to use sets and/or locations, what should be built and what should be adapted and whether there is a visual theme that recurs throughout the film. They also consider whether there are design elements that may give more depth to the film and whether CGI (computer generated imagery) should be used.
| 7 | 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. Production Designers 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. As the start of shooting approaches, Production Designers manage lots of people, prioritise the work schedule and carefully monitor the budget. When shooting starts, they are usually up early each morning to view each new set with the Director, Director of Photography and Standby Art Director, answering any requests or queries. 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.
RUNNER P
roduction 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.
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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 coordinate the extras, and to perform crowd control duties. Runners are usually employed on a freelance basis and their hours are long and irregular.
CAMERA OPERATOR C
amera 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. They supervise the moving of the camera and oversee camera maintenance work carried out by the Focus Puller and the Second Camera Assistant (Clapper Loader on film). 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.
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PRODUCER P
roducers have overall control on every aspect of a film’s production. They bring together and approve the whole production team. Their key responsibility is to create an environment where the talents of the cast and crew can flourish. Producers are accountable for the success of the finished film. They steer the film from beginning to completion and beyond.
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The Producer is often the first person to get involved in a project. Or they may be the agent-style Producer who focuses on the deal. The many responsibilities of the Producer span all four phases of production. In the Development stage, Producers are often responsible for coming up with the idea for a production, or selecting a screenplay. Producers secure the rights, choose the screenwriter and story editing team. They raise the development financing and supervise the development process. In pre-production, Producers bring together the key members of the creative team. This includes the Director, Cinematographer and Production Designer and key cast members. They help the Executive Producers to raise money for the production. Once the initial finance is in place, they select other key production office personnel and Heads of Departments. Producers also approve
locations, studio hire, the final shooting script, production schedule and budget. More time and money spent in pre-production can reduce time and money wasting when the production gets underway. Once the film is in production, Producers are responsible for the day-today smooth operation of the team. Producers are also in constant communication and consultation with the Director and other key creatives, on and off set. Producers approve all script changes and cost reports. They are the first point of contact for all production partners, investors and distributors. During post production, Producers are expected to liaise with the Director and post production department. The Producer will deal with the finance and distribution companies in planning the marketing and distribution of the finished film. The Producer is usually supported by a hand-picked production office team. Many of the key people will have worked with the Producer on several film projects. Producers have a legal responsibility, under the Health and Safety at Work Act 1974, to prepare health and safety procedures for the workplace. The Producer’s ultimate responsibility is to the production company and the Executive Producers.
ALL INFORMATION FROM CREATIVE SKILLSET
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