Roles and Responsibilities

7/18/2019 Roles and Responsibilities

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Kill Your Darlings © 2013 Killer Films

Screenwriter

Industries:Film

Departments:

Script

The lowdown

• Researching and developing stor ideas

• !riting screenplas

Is this role right for me?

"o do this role# ou $ill need to:

• %ave an in&depth understanding o' stor# plot and narrative

• (nderstand the di''erent $as that 'ilms a''ect audiences

• )e 'amiliar $ith current 'ormats 'or presenting screenplas

• )e a*le to demonstrate creative imagination

• )e a*le to *ring to li'e the individualit o' characters

• )e a*le to $rite visuall# using sound and dialogue to support action

• )e dedicated and $ell organised

• )e a*le to $or+ as part o' a team

• )e a*le to $or+ to strict deadlines



• )e a*le to handle 're,uent re-ection

• )e am*itious

• )e realistic

What does a Screenwriter do?

Screen$riters create screenplas 'or 'ilms. "he provide the *lueprint 'or the creative input

o' the /roducer # Director # /roduction Designer # omposer and ditor # cast and cre$.

Screenplas should allo$ $hoever is reading it to imagine ho$ the 'ilm $ill $or+ on screen.

It should 'eature 'ascinating characters# an eciting plot# and a great idea 'or a mar+eta*le

'ilm. It should also 'it in $ith *asic principles o' dramatic construction# and 'it the 'ormat and

stle epected in the industr.

Screen$riters have to produce highl creative $riting# to strict deadlines. "he $or+ $ith a

script development team to create a 'inished product that is li+el to *e 'inanced and made.

Sometimes producers *ring in an additional Screen$riter to improve certain aspects o' the

screenpla. In this case# the Screen$riter ma share a credit $ith the original Screen$riter. r

the ma *e credited 'or 4dditional Dialogue# or as a Stor onsultant.

In some cases the original Screen$riter ma *e replaced entirel * another Screen$riter. In

this case the original Screen$riter ma then receive a 5Screenstor *...5 credit on the

'inished 'ilm.

Screen$riters are almost al$as 'reelancers. "he either pitch original ideas to /roducers in

the hope that the $ill *e optioned or sold. r the are commissioned * a /roducer to create

a screenpla 'rom a concept# true stor# eisting screen$or+ or a novel# poem# pla# comic

*oo+ or short stor.

6an more screenplas are commissioned than 'ilms are made. nl a 'e$ top (K

Screen$riters ma+e enough mone to sustain themselves entirel through $riting

screenplas.

Will I need a qualification?

You don7t need 'ormal training or a speci'ic ,uali'ication. You can go on screen$riting

courses or ta+e an 64. I' ou are considering ta+ing a 'ilm production course in higher

education# the 'ollo$ing courses have *een rigorousl assessed * the 'ilm industr and

a$arded the reative S+illset "ic+ 'or the high standard o' education the provide and the

degree to $hich the prepare ou 'or a career in 'ilm:

Film production courses a$arded the reative S+illset "ic+

What's the best route in?

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http://creativeskillset.org/creative_industries/film/job_roles/758_director

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You $ill need to $rite some original short and 'eature screenplas 8on spec8 9sel'&'inanced to

tr to attract the attention o' /roducers and 4gents. 4 screenpla is al$as a 'irst dra't

screenpla until it is sold and ou $ill also need to prepare pitches# snopses and outlines.

/roducers sometimes as+ 'or these *e'ore the are prepared to read the screenpla itsel'.

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• have ecellent communication and interpersonal s+ills

• inspire and motivate the team

• have an etensive understanding o' the entire 'ilmma+ing process# 'rom *oth technical

and creative points o' vie$

• $or+ intensivel 'or long hours

• pa attention to detail

• remain calm and thin+ clearl under great pressure

• have great sel'&*elie'

• *e determined to succeed

What does a Director do?

Directors are responsi*le 'or creativel translating the 'ilm8s $ritten script into actual images

and sounds on the screen. "he are ultimatel responsi*le 'or a 'ilm8s artistic and commercial

success or 'ailure.

Directors ma $rite the 'ilm8s script or commission it to *e $ritten# or the ma *e hired a'ter

an earl dra't o' the script is complete. "he must then develop a vision 'or the 'inished 'ilm

and $or+ out ho$ to achieve it.

During pre&production# Directors ma+e crucial decisions# such as selecting the right cast#

cre$ and locations 'or the 'ilm. "he then direct rehearsals and the per'ormances o' the

actors once the 'ilm is in production.

"he also manage the technical aspects o' 'ilming including the camera# sound# lighting#

design and special e''ects departments.

During post production# Directors $or+ closel $ith ditors through the man technical

processes o' editing# to reach the 'inal cut or version o' the 'ilm.

4t all stages# Directors are responsi*le 'or motivating the team to produce the *est possi*le

results. Directors must also al$as *e a$are o' the constraints o' the 'ilm8s *udget and

schedule and manage the epectations o' the 'ilm8s 'inanciers.


You don7t need a 'ormal ,uali'ication to *ecome a Director.

"here are numerous training courses and re'erence *oo+s on directing and studing the art

and cra't o' directing is important.






I' ou are considering ta+ing a 'ilm production course in higher education# the 'ollo$ing

courses have *een rigorousl assessed * the 'ilm industr and a$arded the reative S+illset

"ic+ 'or the high standard o' education the provide and the degree to $hich the prepare

ou 'or a career in 'ilm:


%o$ever# the role can onl reall *e mastered through in&depth practical eperience. You $ill

'ind $riting a screenpla# directing our o$n short 'ilm or an amateur pla are all good

starting places.

You $ill also need etensive industr eperience< up&to&date +no$ledge o' 'ilmma+ing

techni,ues and e,uipment is vital# as is learning ho$ to $or+ $ith actors to create a

per'ormance.






You can epect to start our career * getting $or+ eperience as a Runner on a 'ilm set or in

a production o''ice *e'ore $or+ing our $a up through entr&level positions over man

ears.

*serving success'ul Directors at $or+# $hilst immersing oursel' in the practical process o''ilmma+ing is a vital 'irst step on this 'iercel competitive and highl challenging career path.

(nder the S+in © 2013 Film= and )FI

First Assistant Director (First AD)

Industries:

Film

Departments:

Direction

The lowdown

• )eing the Director8s right&hand person# ta+ing responsi*ilit 'or a num*er o'

important practicalities so that the Director is 'ree to concentrate on the creative

process

• )rea+ing do$n the script into a shot&*&shot stor*oard# $or+ing $ith the Director to

determine the shoot order# and ho$ long each scene $ill ta+e to 'ilm

• Dra$ing up the shooting schedule 9a timeta*le 'or the 'ilming and ma+ing sure it7s

+ept to



• *e an authoritative team&leader and motivator

• *e an approacha*le team plaer

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• have eceptional organisational and time&management s+ills

• plan ahead

• trou*le&shoot

• pa close attention to detail

• *e an ecellent communicator

• have tact and diplomac s+ills

• routinel deal $ith pro*lem or even crisis situations

• prioritise tas+s

• multi&tas+

• $or+ long and o'ten unsocial hours

• *e 'lei*le

• have a positive approach

What does a First Assistant Director (First AD) do?First 4Ds8 main duties are assisting the Director # co&ordinating all production activit# and

supervising the cast and cre$. "he are also in charge o' a department o' other 4ssistant

Directors and Runners.

verall# the provide the +e lin+ *et$een the Director# cast and cre$# $hilst also liaising

$ith the production o''ice# and providing regular progress reports a*out the shoot.

)e'ore the shoot# the Firsts8 main tas+ is to create the 'ilming schedule# $or+ing in care'ul

consultation $ith the Director. !hen dra$ing up the shooting schedule# First 4Ds must also

*e a$are o' the *udget# cast availa*ilit and script coverage.

/reparing the stor*oard# overseeing the hiring o' locations# props and e,uipment and

chec+ing $eather reports are all +e pre&production duties 'or Firsts.

During production# the must ensure that everone is on stand* and read 'or the Director8s

cue 'or action.

First 4Ds8 main responsi*ilit is to +eep 'ilming on schedule * driving it 'or$ard# so the

ma+e announcements and give directions to co&ordinate the cast and cre$. "he also control

discipline on the set# supervise the other 4ssistant Directors and oversee the preparation o'

the dail 8call sheet8 9a document $ith dail shooting logistics# distri*uted to all cast andcre$.







Firsts are also responsi*le 'or health and sa'et on set or location# and must ta+e action to

eliminate or minimise ha>ards.


You don7t need a 'ormal ,uali'ication to *ecome a First 4ssistant Director.





• Film production courses a$arded the reative S+illset "ic+

In particular# ou $ill need speci'ic eperience in planning and *udgeting 9and ho$ this

a''ects scheduling# as $ell as in&depth +no$ledge o'# and ,uali'ications in# current healthand sa'et legislation and procedures.

You should ta+e regular health and sa'et training courses to +eep this +no$ledge up to date.

You $ill need a 'ull driving licence.

"he Imposter © 2012 /icturehouse ntertainment

Second Assistant Director (Second AD)Industries:

Film

Departments:

Direction

The lowdown

• )eing the First 4ssistant Director8s right&hand person





• /reparing and dra$ing up the 8call sheet8 9a document $ith dail 'ilming logistics#

distri*uted to cast and cre$

• verseeing the cast# ensuring that the principal 4ctors are in ma+e&up# in $ardro*e# or

standing * on the set at the correct times



• have ecellent organisational and time&management s+ills

• *e an ecellent communicator

• relate to a $ide range o' people

• *e patient and tact'ul

• $or+ e''ectivel under pressure

• *e 'lei*le and resource'ul

• pa close attention to detail

• *e ver e''icient

• *e capa*le

• *e etremel motivated

• +no$ a*out the relevant %ealth and Sa'et legislation and procedures

What does a Second Assistant Director (Second AD) do?

"he Second 4D8s main 'unction is to ensure that all o' the First 4D8s orders and directions arecarried out.

n each da o' a shoot# Seconds must prepare and dra$ up the net da8s call sheet# 9$hich

involves con'irming the details o' $ho needs to *e on set and at $hat time# the transport

arrangements# etras re,uired etc.. "hese details must *e approved * the production o''ice

*e'ore the Seconds can distri*ute the call sheet to the cast and cre$.

nsuring that everone +no$s their 8call time8 9the eact time the $ill have to *e on set is a

+e responsi*ilit ? an dela to 'ilming due to *ad time&+eeping negativel a''ects the da8s

schedule and *udget# and is considered unpro'essional and ine''icient.

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nce the da8s 'ilming has *egun# Seconds must ensure that all 4ctors are read 'or 'ilming#

$hich means co&ordinating an transport re,uirements# as $ell as ma+e&up and $ardro*e

timeta*les.

In some cases# Seconds ma also *e in charge o' 'inding etras# sometimes in large num*ers

at short notice# and arranging their transport to# and activities on# the set or location.

Seconds $or+ on a 'reelance *asis and the -o* involves long and unsocial hours.


You don7t need a 'ormal ,uali'ication to *ecome a Second 4ssistant Director# ho$ever it is a

ver competitive industr and ne$ entrants o'ten have higher level ,uali'ications.


courses have *een rigorousl assessed * the 'ilm industr and a$arded the reative S+illset"ic+ 'or the high standard o' education the provide and the degree to $hich the prepare



You should ta+e regular health and sa'et training courses to +eep this +no$ledge up&to&date.


What's the best route in?You can epect to start our career * getting $or+ eperience as a Runner on a 'ilm set or in

a production o''ice *e'ore $or+ing our $a up through "hird 4ssistant Director .

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a production o''ice *e'ore $or+ing our $a up through "hird 4ssistant Director and Second

4ssistant Director .

"he "$o Faces o' @anuar © 201= "imnic+ Films# Studioanal# !or+ing "itle Films

Third Assistant Director (Third AD)

Industries:

Film

Departments:

Direction

The lowdown

• Supporting the First and Second 4Ds on the set or location

• Directing etras or vehicles appearing in the *ac+ground o' the shot# especiall in

large cro$d scenes

• onveing messages and relaing in'ormation to cast or cre$ on the set or location#

usuall * radio lin+



• have ecellent organisational and time&management s+ills

• have common sense and initiative

• ta+e and carr out instructions $ith enthusiasm and e''icienc

• *e diplomatic and patient $hen co&ordinating and directing large groups o' etras

• *e highl&motivated


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• ecellent communication s+ills

• relate to a $ide range o' people

• have good organisational and administrative s+ills

• $or+ e''ectivel under pressure

• *e 'lei*le and resource'ul

• +no$ a*out the relevant health and sa'et legislation and procedures

What does a Third Assistant Director (Third AD) do?

"he main 'unction o' the "hird 4ssistant Director is to manage the movement and activitieso' *ac+ground artists 9etras.

"hirds co&ordinate the etras to arrive at the right time and place 'or 'ilming. nce the etras

are on set or location# "hirds prepare and cue them# and sometimes also direct them in an

re,uired *ac+ground action.

"he must also supervise and loo+ a'ter the etras ? the ma *e on stand* on the set or

location all da# despite onl *eing needed 'or a short period.

"hirds ma have to +eep mem*ers o' the pu*lic out o' shot and o'' the set or location# so that

the don8t interrupt 'ilming# cast or cre$.

"hirds ma also liaise $ith the Aocation 6anager # and ma *e given responsi*ilities $ith

regard to the securit and loc+ing up o' studios or locations a'ter 'ilming has ta+en place.

Firsts or Seconds ma also provide "hirds $ith speci'ic in'ormation to add to the dail

progress reports *e'ore the are sent to the production o''ice.

"hirds $or+ on a 'reelance *asis and the $or+ involves long and unsocial hours.

Will I need a qualification?You don7t need a 'ormal ,uali'ication to *ecome a "hird 4ssistant Director# ho$ever it is a

ver competitive industr and ne$ entrants o'ten have higher level ,uali'ications.






You should ta+e regular health and sa'et training courses to +eep this +no$ledge up&to&date.

http://creativeskillset.org/creative_industries/film/job_roles/2943_location_manager_film










a production o''ice *e'ore *ecoming a "hird 4ssistant Director.

Where might the role tae me?

4'ter a num*er o' ears# ou can progress to Second 4ssistant Director and then First

4ssistant Director .

(nder the S+in © 2013 Film= and )FI

!ocation "anager (Film)

Industries:

Film

Departments:

/roduction

The lowdown

• Finding ideal locations 'or a 'ilm shoot

• Begotiating 'ees# terms and permissions

• 6anaging the location during the shoot













• %ave plent o' initiative

• )e a*le to visualise and 'ind potential locations

• %ave ecellent organisational s+ills

• %ave good negotiating s+ills

• %ave an understanding o' location 'ees

• )e a*le to $or+ $ithin *udgets

• (nderstand contracts

• (nderstand local authorit processes 'or permits

• %ave good pro*lem solving s+ills

• %ave good communication s+ills

• )e relia*le and enthusiastic

• )e 'lei*le and a*le to $or+ long hours

• %ave a 'ull driving licence

• %ave a good $or+ing +no$ledge o' health and sa'et re,uirements

What does a !ocation "anager do?

"he Aocation 6anagers8 primar role is to identi' and 'ind ideal locations 'or a 'ilm shoot.

"he report to the /roducer # Director and /roduction Designer .

"he search 'or eactl the right location can ta+e months o' research and scouting. !or+

starts in pre&production# to understand the Director7s creative vision 'or the 'ilm. "his helps

the Aocation 6anager ma+e the right decisions a*out potential locations.

"he also have to ta+e into account accessi*ilit# the shooting schedule and *udget. "he

have to negotiate the cost and terms o' the hire# cre$ and vehicle access# par+ing# noise

reduction# po$er sources# catering re,uirements and an o''icial permissions that ma *e

needed. "he o'ten use a photographic stor*oard to illustrate their 'indings *ac+ in the

production o''ice.

nce 'ilming has started# Aocation 6anagers are in charge o' managing all aspects o'

shooting in each location. "he have to ma+e sure that everone in the cast and cre$ +no$s

ho$ to get to the 'ilming location# that it has *een signposted clearl along main routes.









During 'ilming# Aocation 6anagers oversee the health and sa'et o' everone using the

location.

4'ter the shoot# have to ma+e sure that the location cleaned and loc+ed up# *e'ore returning it

to its o$ners in a satis'actor condition. 4n damage must *e reported to the production

o''ice and an insurance claims dealt $ith.

Aocation 6anagers are usuall the 'irst to arrive on location and the last to leave# so the hours

can *e long and unsocial. n larger productions# Aocation 6anagers ma supervise 4ssistant

Aocation 6anagers and;or Aocation Scouts. "hese team mem*ers assist the Aocation

6anager in all aspects.


You don7t need a 'ormal ,uali'ication to *ecome a Aocation 6anager. I' ou can complete

an health and sa'et training course# this is etremel use'ul.


You can learn on the -o* as a Runner . nce ou have eperience# ou can progress to the role

o' Aocation Scout# or 4ssistant Aocation 6anager to an esta*lished Aocation 6anager.

Interested? Find out more#

6an cities# regions and countries $ithin the (K have their o$n 'ilm o''ices o''ering

in'ormation and advice on 'ilming on location.


http://creativeskillset.org/creative_industries/film/job_roles/2942_assistant_location_manager_alm






$roducer

Industries:

FilmDepartments:

/roduction

The lowdown

• "urning stor ideas into pro'ita*le 'ilms

• /utting together a creative and talented cast and cre$

• )eing responsi*le 'or all aspects o' a 'ilm8s production



• %ave eperience o' $or+ing in the 'ilm industr

• %ave a good *usiness sense

• %ave a good understanding o' 'inance

• %ave good creative vision

• )e sel'&motivated

• )e good at negotiating

• )e good at motivating people

• )e good at pro*lem&solving



• (nderstand the creative processes o' 'ilmma+ing

• )e a*le to secure 'inance 'or the production

• )e a*le to prepare and control the production *udget

• %ave ecellent communication s+ills

• )e a*le to $or+ $ell under pressure and motivate the production team

• nsure compliance $ith regulations and codes o' practice

• (nderstand the relevant health and sa'et la$s and procedures

What does a $roducer do?/roducers have overall control on ever aspect o' a 'ilm8s production. "he *ring together

and approve the $hole production team. "heir +e responsi*ilit is to create an environment

$here the talents o' the cast and cre$ can 'lourish. /roducers are accounta*le 'or the success

o' the 'inished 'ilm. "he steer the 'ilm 'rom *eginning to completion and *eond.

"he /roducer is o'ten the 'irst person to get involved in a pro-ect. r the ma *e the agent&

stle /roducer $ho 'ocuses on the deal. "he man responsi*ilities o' the /roducer span all

'our phases o' production. In the Development stage# /roducers are o'ten responsi*le 'or

coming up $ith the idea 'or a production# or selecting a screenpla. /roducers secure the

rights# choose the screen$riter and stor editing team. "he raise the development 'inancingand supervise the development process.

In pre&production# /roducers *ring together the +e mem*ers o' the creative team. "his

includes the Director# inematographer and /roduction Designer and +e cast mem*ers.

"he help the ecutive /roducers to raise mone 'or the production. nce the initial 'inance

is in place# the select other +e production o''ice personnel and %eads o' Departments.

/roducers also approve locations# studio hire# the 'inal shooting script# production schedule

and *udget. 6ore time and mone spent in pre&production can reduce time and mone

$asting $hen the production gets under$a.

nce the 'ilm is in production# /roducers are responsi*le 'or the da&to&da smooth operation

o' the team. /roducers are also in constant communication and consultation $ith the Director

and other +e creatives# on and o'' set. /roducers approve all script changes and cost reports.

"he are the 'irst point o' contact 'or all production partners# investors and distri*utors.

During post production# /roducers are epected to liaise $ith the Director and post

production department. "he /roducer $ill deal $ith the 'inance and distri*ution companies in

planning the mar+eting and distri*ution o' the 'inished 'ilm.

It is rare to 'ind one /roducer $ho has the epertise and vision to eercise personal decision&

ma+ing authorit across all 'our phases o' production# *ut







• )e a good team leader

What does a !ine $roducer do?

"he Aine /roducer is one o' the 'irst people to *e emploed on a 'ilm8s production * the/roducer and ecutive /roducers. "he are in charge o' all the *usiness aspects o' the

production o' 'ilms.

"he are called Aine /roducers *ecause the cannot start $or+ until the +no$ $hat the 8line8

is *et$een the 8a*ove&the&line8 costs 'or $riters# producers# directors and cast# and the 8*elo$&

the&line8 costs $hich include everthing else.

Aine /roducers are given the script $hen in development to assess 8*elo$&the&line8 cost o' the

production. "he *rea+ do$n the screenpla into a timeta*le 'or the 'ilm shoot that sho$s

ho$ long it $ill ta+e to shoot each scene.

From this schedule the Aine /roducer estimates the cost o' each da8s shooting. "he produce

a provisional *udget to sho$ the total amount o' 'unding re,uired. nce the /roducer and

ecutive /roducers have raised the 'inance# the 'ilm can go into pre&production.

During pre&production# Aine /roducers $or+ $ith the Director # /roduction 6anager # First

4ssistant Director # 4rt Director and other %eads o' Department. "he prepare the production

schedule and *udget# and to set the shoot date.

Aine /roducers oversee all other pre&production activities. "he hire the production team# set

up the production o''ice# deal $ith location scouting# sourcing e,uipment and suppliers and

selecting cre$. "he also hire supporting artistes and contri*utors# and monitor productiondepartments.

During production# Aine /roducers hand over control o' the 'inal *udget to the /roduction

4ccountant. "he delegate the da&to&da operation o' the production o''ice to the

/roduction 6anager and /roduction o&ordinator. %o$ever# Aine /roducers are ultimatel

responsi*le 'or overseeing everthing and ma+ing sure the production is completed on time

and $ithin *udget.

"he set up and implement 'inancial monitoring sstems# controlling production ependiture#

controlling production materials# and monitoring and controlling the progress o' productions.

Aine /roducers usuall cater 'or un'oreseen circumstances# and spend much o' their time

-uggling 'igures and resources.

Aine /roducers are responsi*le 'or certain health and sa'et procedures# and 'or sorting out

an insurance claims. 4t the end o' the shoot# the Aine /roducer oversees the 8$rap8# or

$inding do$n# o' the production.

Aine /roducers are usuall emploed on a 'reelance *asis. "he $or+ long hours# though the

role is $ell paid. I' a Aine /roducer has a creative input# he or she is o'ten credited as a o&

producer.




http://creativeskillset.org/creative_industries/film/job_roles/3068_production_manager




http://creativeskillset.org/creative_industries/film/job_roles/283_art_director






http://creativeskillset.org/creative_industries/film/job_roles/283_art_director



You don8t need a speci'ic ,uali'ication. I' ou are considering ta+ing a 'ilm production course

in higher education# the 'ollo$ing courses have *een rigorousl assessed * the 'ilm industr

and a$arded the reative S+illset "ic+ 'or the high standard o' education the provide and

the degree to $hich the prepare ou 'or a career in 'ilm:



You can usuall progress to the role o' Aine /roducer * $or+ing our $a through a variet

o' roles in assistant direction# location management and;or the production o''ice. 6an start

their careers as Runners or /roduction 4ssistants. Aine /roducers must also attend the

re,uired health and sa'et courses. You can also get eperience in "E or commercial

production.







)e'ore I o "o Sleep © 201= Film i EGst in co&production $ith Filmgate Films

$roducer's Assistant

Industries:

Film

Departments:

/roduction

The lowdown

• !or+ing in the production o''ice

•arring out +e tas+s 'or the /roducer

• !or+ing on 'ilms through all stages o' the production process



• )e $ell organised

• )e highl 'lei*le

• %ave good planning and organisational s+ills


• )e good at time management

• )e con'ident and enthusiastic

• %ave ecellent clerical s+ills



• %ave a good $or+ ethic

• %ave a strong sense o' loalt and responsi*ilit

• )e highl computer literate

• %ave a +een interest in the *usiness o' 'ilmma+ing

• %ave some understanding o' the 'ilm production process

• %ave some eperience o' script reading

• )e a$are o' relevant health and sa'et la$s and procedures

• %ave a 'ull# clean ( driving licence

What does a $roducer's Assistant do?

/roducer8s 4ssistants provide administrative support to the /roducer . "he are involved in all

stages 'rom pre&production through to post production. "he /roducer assigns them

responsi*ilities almost on a dail *asis# throughout the production o' the 'ilm.

Duties ma range 'rom $riting coverage on scripts# dra'ting letters and ma+ing phone calls.

"he ma have to run an o''ice# intervie$ personnel# co&ordinate the 'undraising process and

assist $ith duties on and o'' set. "he liaise *et$een the /roducer and the post production

team# and help prepare pu*licit materials.

/roducer8s 4ssistants ma also *e as+ed to assist $ith securing clearances 'or copright

materials# arranging *usiness meetings and social events. "he ma also have to handle 'loats

and pett cash. "he ma even *e as+ed to contri*ute to strategic thin+ing in relation to

pro-ects in development.

4 good /roducer8s 4ssistant can have considera*le in'luence on a production. In some cases#

$here a /roducer8s 4ssistant has carried signi'icant tas+s in the /roducer7s a*sence# the ma

*e given an 4ssociate /roducer credit

Rates o' pa var $ith eperience. 4ll /roducers8 4ssistants should *e $illing to $or+ long

hours in a loud# demanding# and 'ast&paced environment. "he ma *e 'reelancers +een to

learn a*out the *usiness# or long&term emploees o' a production compan.


You don7t need a speci'ic ,uali'ication# *ut it can *e use'ul to have a )4# in 'ilm studies or

nglish. I' ou are considering ta+ing a 'ilm production course in higher education# the

'ollo$ing courses have *een rigorousl assessed * the 'ilm industr and a$arded the

reative S+illset "ic+ 'or the high standard o' education the provide and the degree to $hich

the prepare ou 'or a career in 'ilm:







inderella © 201H Disne nterprises# Inc. 4ll Rights Reserved. Image: iles Kete

$roduction %o&ordinator

Industries:

Film

Departments:

/roduction

The lowdown

• Running the dail operation o' the production o''ice

• /roducing ne$ versions o' the script

• Dealing $ith paper$or+ and phone calls



• %ave a ver good understanding o' the 'ilmma+ing process

• )e good at multi&tas+ing

• )e a good team plaer

• )e a*le to $or+ calml under pressure

• )e sel'&motivated

• )e hard $or+ing and e''icient

• %ave ecellent organisational




• %ave good I" s+ills

• (nderstand ho$ to control 'inances

• %ave good +no$ledge o' relevant health and sa'et la$s and processes

What does a $roduction %o&ordinator do?

/roduction o&ordinators run the production o''ice. "he report to the Aine /roducer and

/roduction 6anager . /roduction o&ordinators ta+e charge o' the o''ice $henever the

/roduction 6anager is on set.

/roduction o&ordinators start $or+ during pre&production. "he set up the production o''ice#

organising e,uipment# supplies and sta''. "he co&ordinate travel# accommodation# $or+

permits and visas 'or cast and cre$. "he also prepare and distri*ute shooting schedules#

cre$ and cast lists# scripts and script revisions. /roduction o&ordinators organise insurance

cover.

During production# /roduction o&ordinators are responsi*le 'or preparing# updating and

distri*uting cre$ lists# dail progress reports and script changes. "he also deal $ith call

sheets and transport re,uirements. "he let the "ransport aptain +no$ $hat is needed and

organise couriers and shipping companies.

4s the shoot dra$s to an end# /roduction o&ordinators help the /roduction 6anager to$rap7 the production. "he close accounts $ith suppliers# return surplus stoc+ and tie up all

loose ends.

Depending on the si>e o' the production# /roduction o&ordinators ma delegate tas+s to one

or more 4ssistant /roduction o&ordinators and /roduction Runners. /roduction o&

ordinators $or+ ver long hours# usuall on a 'reelance *asis.


You don7t need a speci'ic ,uali'ication. %o$ever it7s $orth doing health and sa'et courses.

You $ill also need a 'ull clean ( driving licence.






You can start out as a /roduction Runner# then 4ssistant /roduction o&ordinator *e'ore

moving into a /roduction o&ordinator role. It7s also use'ul i' ou have production o''iceeperience in "E or advertising# or have $or+ed in general o''ice management.

http://creativeskillset.org/creative_industries/film/job_roles/3075_line_producer













/ride © Bicola Dove# /athJ# )) Films# alamit Films /ride 9ast Ae't&Right Fae

6arsa 9Steph# eorge 6ac+a 9@oe# )en Schnet>er 96ar+# @oseph ilgun 96i+e 4nd

/add onsidine 9Dai

$roduction "anagerIndustries:

Film

Departments:

/roduction

The lowdown

• 6anaging the production *udget

• 6a+ing sure the production runs smoothl 'or the /roducer and Aine /roducer

• Scheduling shoots and negotiating hire o' cre$s and e,uipment



• %ave good eperience o' 'ilm production

• %ave ecellent +no$ledge o' the 'ilm *usiness

• %ave a thorough understanding o' production processes

• )e dnamic and highl sel'&motivated

• )e prepared to $or+ long hours

• )e a*le to react calml under intense pressure.

• %ave good planning and admin s+ills



• )e highl organised


• )e a good negotiator

• (nderstand relevant so't$are pac+ages

• )e eperienced at creating and managing *udgets

• %ave good contacts $ith suppliers

• Kno$ $here to recruit relia*le production personnel

• (nderstand insurance issues

• (nderstand the relevant health and sa'et la$s and procedures

What does a $roduction "anager do?

/roduction 6anagers are in charge o' the 8*elo$&the&line8 *udget. "his covers costs relating

to the cre$ and the practicalities o' running a production.

In pre&production# /roduction 6anagers $or+ $ith the /roducer # Aine /roducer and First

4ssistant Director to prepare a provisional schedule. /roduction 6anagers then consult $ith

the various %eads o' Department. "he estimate the materials needed and prepare dra't

*udgets.

nce the overall *udget has *een agreed# /roduction 6anagers help /roducers to recruit cre$

and suppliers. "he negotiate rates o' pa# and conditions o' emploment. "he arrange the

rental and purchase o' all production materials and supplies.

/roduction 6anagers oversee the search 'or locations# sign location releases. "he also liaise

$ith local authorities and the /olice regarding permits. n smaller productions the ma also

negotiate contracts $ith casting agencies.

During production# /roduction 6anagers ensure that all *ills are paid and that the team is

$or+ing $ell. "heir responsi*ilities include setting up controlling the spending# paper$or+

and liaising $ith the First 4ssistant Director to ma+e sure the production schedule and

departmental *udgets are on target.

/roduction 6anagers sign and authorise all purchase orders# and help the /roduction

4ccountant to prepare $ee+l cost reports. "he ma+e changes to the schedule and to the

*udget as needed. /roduction 6anagers deal $ith an personnel pro*lems or issues that ma

arise# and ensure that everone complies $ith %ealth and Sa'et regulations.

4t the end o' the shoot# the /roduction 6anager 8$raps8 the production. "his involvesensuring that all 'inal invoices are dealt $ith# locations signed o''# rental agreements

http://creativeskillset.org/job_roles_and_stories/job_roles/757_producer



http://creativeskillset.org/job_roles_and_stories/job_roles/2937_first_assistant_director_first_ad








terminated and e,uipment returned. n larger productions involving more than one

/roduction (nit# 4ssistant /roduction 6anagers ma *e given these -o*s. "he role o'

/roduction 6anager is challenging *ut $ell paid# usuall on a 'reelance *asis.


You don7t need a ,uali'ication in 'ilm or media studies *ut a degree is an advantage. It is also

use'ul i' ou have *een on industr courses covering health and sa'et# *udgeting and

scheduling# I" and 'irst aid. You $ill need a 'ull clean ( driving licence.







You can *ecome a /roduction 6anager a'ter $or+ing as an 4ssistant Director or * $or+ing

in di''erent positions in a production o''ice. You can also move into 'ilm 'rom production

management roles in "E# advertising or drama.


http://creativeskillset.org/job_roles_and_stories/job_roles/2939_third_assistant_director_third_ad


http://creativeskillset.org/job_roles_and_stories/job_roles/2939_third_assistant_director_third_ad



Far 'rom the 6adding ro$d © 201= DB4 Films# Fo Searchlight /ictures

nit "anager (")

Industries:Film

Departments:

/roduction

The lowdown

• Aiaising *et$een the 'ilm cre$ and the location o$ners

• Keeping residents or landlords happ during 'ilming

• 6a+ing sure the shoot location runs smoothl# dealing $ith par+ing and ru**ish

collection



• )e an eperienced and con'ident driver


• (nderstand ho$ 'ilm cre$s $or+ on location

• (nderstand onset protocol

• %ave ecellent +no$ledge relevant health and sa'et la$s and procedures

• )e a*le to trou*leshoot and to respond ,uic+l in an circumstances

• %ave ecellent communication s+ills






You don7t need a 'ormal ,uali'ication. )ut ou $ill need a 'ull driving licence and have some

training and a ,uali'ication in health and sa'et.


You could start out as a driver o' a 'acilities vehicle or a Runner . n *ig *udget 'ilms# ou

might *e a*le to $or+ as a 'reelance marshal 'or large pu*lic scenes. 4ll these roles can help

ou ma+e contact $ith Aocation 6anagers.

Interested? Find out more#

6an cities# regions and countries $ithin the (K have their o$n 'ilm o''ices o''ering

in'ormation and advice on 'ilming on location.







• )e enthusiastic

• )e a*le to $or+ calml and e''ectivel under pressure


• %ave good organisational and administrative s+ills

• )e a*le to $or+ $ithout supervision

• )e versatile and a $illing to learn

• )e a$are o' relevant health and sa'et la$s and procedures

What does a $roduction unner do?/roduction Runners are used * the /roducer and * other production sta''. "he help out

$herever the are needed on productions. "heir responsi*ilities var depending on $here

/roduction Runners are assigned.

In the /roduction ''ice duties might include ans$ering telephones# 'iling paper$or+ and

data entr. r arranging lunches# dinners# and transportation reservations# photocoping#

general o''ice administration# and distri*uting production paper$or+.

n set# Runners might have to act as a courier and help to +eep the set clean and tid. "he

also distri*ute call sheets# health and sa'et notices# and other paper$or+. n location shoots#/roduction Runners ma also *e needed to help co&ordinate the etras# and to per'orm cro$d

control duties.

Runners are usuall emploed on a 'reelance *asis and their hours are long and irregular.


You don7t need a speci'ic ,uali'ication# *ut a good education is an advantage. You $ill also

need a 'ull# clean ( driving licence.






Start out * getting some eperience in 'ilm# drama or *roadcasting. It can *e in amateur

dramatics# student radio or 'ilm ma+ing# shorts or communit media. "his $ill put ou in a

*etter position to appl 'or $or+ as a /roduction Runner# as there is a lot o' competition 'or -o*s despite the lo$ pa.





"his is a good entr&level role into the 'ilm industr. You can ma+e valua*le contacts and

ma progress to a trainee position or another role in the /roduction ''ice.



Inside Llewyn Davis © 2013 CBS Films, StudioCanal, Anton Capital Entetainment

!ACE"

Edito

Industies#

Film

Depatments#

$ost podu%tion

&'e lowdown

• (o)in* %losely wit' t'e Die%to to %a+t t'e nis'ed lm

•

(o)in* in an edit suite +o lon* 'ous

• -unnin* a team o+ assistants and tainees on .i* podu%tions

Is t'is ole i*'t +o me/


• ave te%'ni%al aptitude

• ave wide epeien%e o+ t'e post podu%tion po%ess

• Be +amilia wit' a vaiety o+ %ompute editin* euipment

• ndestand damati% stoytellin* to %eate 'yt'm, pa%e and tension

• Be %eative unde pessue

• ave ima*ination and an undestandin* o+ naative

• ave e%ellent %ommuni%ation and intepesonal s)ills

• ave 'i*'ly developed aest'eti% visual awaeness



• Be a.le to lead a team

• ave patien%e and attention to detail

• ave *ood o*anisational s)ills

• ndestand t'e euiements o+ elevant 'ealt' and sa+ety laws andpo%edues

('at does a Film Edito do/

ditors are one o' the +e %eads o' Department on 'eature 'ilms# responsi*le 'or First

4ssistant ditors# and on *igger productions# Second 4ssistants and "rainees.

"he ditor $or+s closel $ith the Director # cra'ting the dail rushes into a coherent $hole.

"o ensure that the stor 'lo$s e''ortlessl 'rom *eginning to end# each shot is care'ull

chosen and edited into a series o' scenes# $hich are in turn assem*led to create the 'inished

'ilm.

ditors $or+ long# unsocia*le hours# o'ten under pressure# in an edit suite. "he are

emploed on a 'reelance *asis * the /roducer 9sometimes $ith the approval o' the 'ilm8s

'inanciers# *ased on their reputation and eperience. ditors o'ten $or+ on television drama#

as $ell as on 'eature 'ilms.

"he ditor $or+s closel $ith the Director *e'ore shooting *egins# deciding ho$ to maimise

the potential o' the screenpla. ditors chec+ the technical standards# as $ell as the emergingsense o' stor# and the actors8 per'ormances.

)ecause scenes are shot and edited out o' se,uence# ditors ma $or+ on scenes 'rom the

end o' the 'ilm *e'ore those at the *eginning# and must there'ore *e a*le to maintain a good

sense o' ho$ the stor is un'olding.

ditors select the *est ta+es and edit them together to create scenes. In some cases# an

improvised line or an actor8s interpretation o' their role ma create some on&screen magic that

can *e developed into a ne$ and eciting scene.

During the post production period# the ditor and the Director $or+ closel together# re'ining

the assem*l edit into the Director8s ut# $hich must *e approved * the /roducers# until

the achieve picture loc+ or Fine ut 9$hen the Director and;or ecutive /roducer give 'inal

approval o' the picture edit.

ditors usuall $or+ in a supervisor role during the su*se,uent music and trac+ laing# and

sound mi.

(ill I need a uali%ation/







You don7t need a speci'ic ,uali'ication. )ut i' ou are considering ta+ing a 'ilm production

course in higher education# the 'ollo$ing courses have *een rigorousl assessed * the 'ilm

industr and a$arded the reative S+illset "ic+ 'or the high standard o' education the

provide and the degree to $hich the prepare ou 'or a career in 'ilm.

• Film production courses awarded the Creative Skillset Tick

('at4s t'e .est oute in/

"raditionall# ou could go 'rom *eing a Runner to a "rainee# Second 4ssistant# First

4ssistant and eventuall to *ecome an ditor. %o$ever# $ith digital editing# 2nd 4ssistants

are no$ onl emploed on ver *ig *udget 'ilms.

4s a "rainee $ith at least t$o ears8 eperience ou $ould have to $or+ as an 4ssistant in

television or on lo$ *udget 'ilms 'or a considera*le period o' time *e'ore *ecoming First

4ssistant on 'eature 'ilms. Some *ig *udget productions ta+e on "rainees and Second

4ssistants# and it is important to +eep up to date $ith 'ilms in pre&production * reading the

trade press.

I' ou can $or+ $ith an ditor as an 4ssistant# ou ma *e allo$ed to carr out the assem*l

edit o' some sections o' the 'ilm. I' ou can *ecome an eperienced 4ssistant# ou ma also

$or+ as an ditor on short 'ilms# $hich $ill ena*le ou to sho$case our talents.

Inteested/ Find out moe5

Websites

• B6S&S 7 &'e 8ovin* Ima*e So%iety 7 o*anises events, %ouses, and neweuipment demos, and pu.lis'es# Cinema Technology , and ImageTechnology 9

• BEC& 7 t'e tade union epesents Editin* : $ost $odu%tion pesonnel9

• S'ootin* $eople 7 a +oum on lmma)in*

Publications

• Editing and Post-production !S%een%a+t seies pu.lis'ed .y Fo%al $ess".y De%lan 8%;at'9

• In the Blink of an Eye: A Perspective of Film Editing !Silveman7<ames$ess" .y (alte 8u%'

• The Conversations: alter !urch and the Art of Film editing !Al+ed A=6nop+, 200>"

•

S%een Daily 7 online industy news sevi%e and wee)ly pu.li%ation, S%eenIntenational

http://creativeskillset.org/admin/page_types/13/pages/courses.creativeskillset.org/accredited_film_production_courses


http://www.bksts.com/

http://www.bectu.org.uk/

http://shootingpeople.org/

http://www.screendaily.com/









• ?aiety 7 a wee)ly pu.li%ation +o t'e lm, television, musi% and intea%tiveentetainment industies

• Amei%an Cinemato*ap'e

http://www.variety.com/

http://www.theasc.com/

http://www.variety.com/




;

and $iano © 2013 I%on Film Disti.ution 6 and Ieland

Assistant Edito

Industies#

Film

Depatments#

$ost podu%tion

&'e lowdown

• -unnin* and maintainin* editin* systems

• &a)in* esponsi.ility +o t'e smoot' unnin* o+ t'e %uttin* oom on +eatuelms

• Suppotin* t'e w'ole o+ t'e post podu%tion po%ess on +eatue lms andwo)in* %losely wit' lm la.s, and wit' t'e %amea and sounddepatments



• ave a *ood aptitude +o te%'nolo*y

• ave a t'oou*' undestandin* t'e lm post podu%tion po%ess

• Be +amilia wit' %ompute editin* euipment and so+twae

• Be a.le to ea%t ui%)ly and pe%isely

• ave e%ellent %ommuni%ation and intepesonal s)ills

• Be a.le to wo) +o lon* 'ous on epetitive tas)s

• ave pe%ise attention to detail

• Be a.le to ta)e die%tion



• ave *ood o*anisational s)ills

• ndestand t'e euiements o+ t'e elevant 'ealt' and sa+ety laws andpo%edues

('at does a Assistant Edito do/

4ssistant ditors ta+e charge o' the da&to&da running edit suite# leaving the ditor 'ree to

concentrate on the $or+ o' editing the 'ilm.

"he 'irst tas+ is to communicate $ith other relevant departments 9production# camera# sound#

etc. to understand and analse the $or+ 'lo$# and to pass this in'ormation on to the ditor.

During the shoot# $hile the ditor starts to $or+ on a rough assem*l o' selected rushes#

4ssistant ditors chec+ the camera sheets $hen the rushes arrive# noting an technical

pro*lems.

4ssistant ditors o'ten $or+ in a di''erent room to the ditor and# on lo$ *udget 'ilms# ma

*e re,uired to snc rushes earl in the morning or late at night $hen the editing machine is

not *eing used * the ditor. onse,uentl# the traditional apprenticeship model 'or 4ssistant

ditors has changed# as less time is no$ spent $atching and learning 'rom the

ditor. 4ssistant ditors must there'ore *e more proactive in monitoring ho$ the edit is

progressing.

Depending on the $or+load# and providing the ditor trusts the 4ssistant# $hole segments o'

the assem*l edit ma *e given over to 4ssistant ditors# $ho can use this opportunit to

demonstrate their 'lair and a*ilit.

!hen picture loc+ is achieved# one o' the 4ssistant ditors8 last tas+s is to compile an dit

Decision Aist# $hich provides a record o' all the edit points.

4ssistant ditors are usuall recommended to /roducers * ditors# $ho pre'er to $or+ $ith

the same 4ssistant. 4ssistant ditors are normall emploed on a 'reelance *asis# 'rom the

'irst da o' principal photograph and see the 'ilm through to picture loc+ 9$hen the Director

and;or ecutive /roducer give 'inal approval o' the picture edit.

"he $or+ long hours and are the 'irst to arrive in the morning# setting the cutting room up

'or the da# and usuall the last to leave in the evenings $hen the cutting room has *een

tidied and prepared 'or the net da. @o*s last *et$een si months and eight months on

average.


You don7t need a speci'ic ,uali'ication. %o$ever# i' ou are considering ta+ing a 'ilm

production course in higher education# the 'ollo$ing courses have *een rigorousl assessed








* the 'ilm industr and a$arded the reative S+illset "ic+ 'or the high standard o' education

the provide and the degree to $hich the prepare ou 'or a career in 'ilm.



6ost 4ssistant ditors start their careers * $or+ing as Runners on 'eature 'ilms or at editing

'acilities houses and progress to *ecoming "rainees# 2nd 4ssistants and eventuall 4ssistant

ditors.

It is still possi*le to $or+ as a "rainee# *ut 2nd 4ssistants are no$ onl emploed on ver *ig

*udget 'ilms. "rainees $ith at least t$o ears8 eperience are li+el to progress * $or+ing as

4ssistants in television or on lo$ *udget 'ilms 'or a considera*le period o' time *e'ore

*ecoming First 4ssistants on 'eature 'ilms.

Some *ig *udget productions ta+e on "rainees and Second 4ssistants# and it is important to

+eep up to date $ith 'ilms in preproduction * reading the trade press. perienced 4ssistants

ma also $or+ as ditors on short 'ilms $hich ena*les them to sho$case their talents.

Some 4ssistants decide not to *ecome ditors# choosing to continue $or+ing as 4ssistants on

*igger *udget 'ilms# $hich can *e e,uall demanding and re$arding.


Websites

• B6S&S 7 &'e 8ovin* Ima*e So%iety 7 o*anises events, %ouses, and neweuipment demos, and pu.lis'es# Cinema Technology , and ImageTechnology 9

• BEC& 7 t'e tade union epesents Editin* : $ost $odu%tion pesonnel9

• S'ootin* $eople 7 a +oum on lmma)in*

Publications

• Editing and Post-production !S%een%a+t seies pu.lis'ed .y Fo%al $ess".y De%lan 8%;at'9

• In the Blink of an Eye: A Perspective of Film Editing !Silveman7<ames$ess" .y (alte 8u%'

• The Conversations: alter !urch and the Art of Film editing !Al+ed A=6nop+, 200>"

• S%een Daily 7 online industy news sevi%e and wee)ly pu.li%ation, S%eenIntenational


















-osaio Dawson in &an%e © Cloud Ei*'t@De%i.el Films

Die%to o+ $'oto*ap'y

Industies#

Film

Depatments#

Camea

&'e lowdown

• Ceatin* t'e visual identity, o loo), o+ t'e lm

• (o)in* wit' t'e Die%to, %amea %ew and li*'tin* depatment to

a%'ieve t'is

• 8ana*in* all aspe%ts o+ lmin*# +om odein* and oveseein* euipmentto e%%es to eviewin* +oota*e



• 'ave *ood te%'ni%al )nowled*e o+ p'oto7%'emi%al and di*ital po%esses

•

)now all a.out %amea euipment

• 'ave in7dept' )nowled*e o+ li*'tin* te%'niues and 'ow to a%'ieve t'em

• 'ave %onsidea.le industy epeien%e

• .e ei.le in ode to adapt ideas instantly

• .e a.le to ta)e de%isions ui%)ly

• )now a.out p'oto*ap'y, paintin* and t'e movin* ima*e

• 'ave atisti% vision



• .e %eative

• pay pe%ise attention to detail

• 'ave *ood %olou vision

• .e a.le to *ive and a%%ept die%tion

• 'ave e%ellent %ommuni%ation s)ills

• .e diplomati% and ta%t+ul w'en wo)in* wit' %ast and %ew

• )now a.out 'ealt' and sa+ety le*islation and po%edues

('at does a Die%to o+ $'oto*ap'y !Do$" do/

Directors o' /hotograph 9Do/s are +e %eads o' Department on 'ilm productions and theirsis one o' the ma-or creative roles. "he provide a 'ilm $ith its uni,ue visual identit# or loo+.

Do/s must discover the photographic heart o' a screenpla# using a variet o' source material

including stills photograph# painting# other 'ilms# etc.

"he create the desired loo+ using lighting# 'raming# camera movement# etc. Do/s

colla*orate closel $ith the camera cre$ 9amera perator # 1st and 2nd 4ssistant amera#

amera "rainee and rips.

During 'ilming# Do/s also $or+ closel $ith the a''er 9$ho runs the lighting team# the/roduction Designer# ostume Designer# and the %air and 6a+e&up Department.

4'ter reading the screenpla# Do/s meet $ith the Director to discuss the visual stle o' the

'ilm. "he conduct research and preparation including carring out technical recces o'

locations. "he prepare a list o' all re,uired camera e,uipment# including lights# 'ilm stoc+#

camera# cranes and all accessories etc.# 'or the production o''ice to order.

During preparation Do/s also test special lenses# 'ilters or 'ilm stoc+s# chec+ing that the

results 'it $ith the Director8s vision 'or the 'ilm.

n each da o' principal photograph# Do/s and their camera cre$s arrive earl on set to

prepare the e,uipment. During rehearsals# the Director and Do/ *loc+ 9decide the eact

movements o' *oth actors and camera the shots as the actors $al+ through their actions#

discussing an special camera moves or lighting re,uirements $ith the amera perator#

a''er and rip.

ach shot is mar+ed up 'or 'ocus and 'raming * the 1st 4# and# $hile the actors 'inish

ma+e&up and costume# the Do/ oversees the lighting o' the set 'or the 'irst ta+e.

http://creativeskillset.org/creative_industries/film/job_roles/3073_camera_operator





n smaller 'ilms# Do/s o'ten also operate the camera during the shoot. 4t the end o' each

shooting da# Do/s prepare 'or the 'ollo$ing da8s $or+ and chec+ that all special

re,uirements 9cranes# Steadicams# remote heads# long or $ide lenses# etc. have *een ordered.

"he also usuall vie$ the rushes 9ra$ 'ootage $ith the Director.

During post production# Do/s attend the digital grading o' the 'ilm# $hich ma involve up to

three $ee+s o' intensive $or+.

6ost Do/s $or+ on commercials and promos as $ell as on 'eature 'ilms. 4lthough the hours

are long# and some 'oreign travel ma *e re,uired# the $or+ is highl creative and ver

re$arding.


You could ta+e a degree in stills photograph to gain a good# all&round understanding o'

composition and light. %o$ever# a drama# art or a 'ilm;media studies degree all provide a

good grounding.






4lthough ou do not need to have an electrical ,uali'ication# ou $ill need to understand the

'unctions o' a variet o' lighting e,uipment and to have thorough +no$ledge o' cameras#

lenses and 'ilm stoc+s.


You can epect to start our career in a -unior capacit# e.g.# as 2nd 4ssistant amera on short

'ilms or promos and progress through the amera Department.

I' ou $or+ as a amera perator# ou could *ecome a Do/ * carring out second unit$or+. It7s also possi*le to ma+e the transition to Do/ 'rom the Aighting Department.

4lthough eperience o' $or+ing on short or student 'ilms can provide a good introduction to

'eature 'ilm production# ou $ill need to $or+ as part o' a camera cre$ to 'ull learn the on&

set hierarch and traditions o' $or+ing.

)ecoming a Do/ can *e a long and arduous process *ut the eventual re$ards are great.

Inteested/ Find out moe===





Websites

• &'e Bitis' So%iety o+ Cinemato*ap'es

• BEC& tade union epesents %amea pesonnel

• &'e ;uild o+ Bitis' Camea &e%'ni%ians aims to +ut'e t'e po+essionalinteests o+ te%'ni%ians wo)in* wit' motion pi%tue %ameas ;uild o+Bitis' Camea &e%'ni%ians we.site

• &'e 8ovin* Ima*e So%iety !B6S&S" o*anises events, %ouses anddemonstations o+ new euipment, and pu.lis'es Image Technology

Publications

• "ight and "ound, pu.li%ation availa.le t'ou*' t'e BFI we.site

• American Cinematographer &'e Amei%an So%iety o+ Cinemato*ap'es

http://www.bscine.com/


http://www.gbct.org/


http://www.bfi.org.uk/










Sua*ette © 201> -u.y Films, $at', Film>

Camea peato

Industies#

Film

Depatments#

Camea

&'e lowdown

• $epain* and opeatin* t'e %amea and all its euipment

• (o)in* wit' t'e Die%to and Die%to o+ $'oto*ap'y to a%'ieve t'e

visual style o+ t'e lm

• 8ana*in* ot'e %amea depatment sta and %ommuni%atin* wit' A%tos



• )now 'ow to opeate t'e %amea epetly

• 'ave *ood wo)in* )nowled*e o+ all %amea systems, lenses, suppot

euipment and a%%essoies

• povide %eative input

• 'ave atisti% a.ility

• .e patient

• 'ave a *ood sense o+ visual %omposition, pespe%tive and movement

• 'ave p'ysi%al %o7odination and sten*t'

• %om.ine %eativity wit' te%'ni%al s)ills




• %ommuni%ate ee%tively

• .e a.le to %olla.oate and wo) as pat o+ a team

• .e diplomati% and sensitive w'en wo)in* wit' atists and %ew


('at does a Camea peato do/

amera perators carr out the Director o' /hotograph7s 9Do/ and Director7s instructions

'or shot composition and development. "he are usuall the 'irst people to use the camera8s

eepiece to assess ho$ all the elements o' per'ormance# art direction# lighting# composition

and camera movement come together to create the cinematic eperience.

amera perators usuall start at the end o' pre&production and attend technical recces $ith

other %eads o' Department. "he $or+ closel $ith the Director o' /hotograph# Director

and rip# and are responsi*le 'or the First 4ssistant amera 91st 4# Second 4ssistant

amera 92nd 4 and the amera "rainee.

4'ter the Director and Do/ have rehearsed and *loc+ed the shots# the amera perator and

Do/ decide $here to position the camera and $hat lenses and supporting e,uipment to use.

amera perators liaise $ith the rip and other %eads o' Department# and +eep them

in'ormed a*out ho$ the position and movement o' the camera might impact on their$or+load.

During shooting# perators are responsi*le 'or all aspects o' camera operation# ena*ling the

Do/ to concentrate intensivel on lighting and overall visual stle.

amera perators ma+e sure the camera and e,uipment are prepared 'or the re,uired set&ups

and read 'or an last&minute changes. "he must *e a*le to multi&tas+ and to $atch# listen

and thin+ on their 'eet $hile carring out comple technical tas+s.

"he liaise closel $ith the Director# 'ine&tuning the eact details o' each shot# suggestingcreative improvements or alternatives. "he supervise the logistics o' moving the camera#

and oversee the amera maintenance $or+ carried out * the Focus /uller and the 2nd 4.

amera perators $or+ closel $ith per'ormers# guiding them on $hat can and cannot *e

seen * the camera. 4s Do/s no$ also operate the camera on smaller 'ilms# man amera

perators specialise in the operation o' other precision e,uipment# such as Remote %eads or

Steadicam. 6ost also $or+ on commercials# promos and television drama.

"he Do/ or Director o'ten as+s 'or a speci'ic amera perator# $ho in turn ma+es

recommendations a*out the rest o' the camera and grip departments.

http://creativeskillset.org/creative_industries/film/job_roles/759_director_of_photography










© pas'a.o

Fist Assistant Camea

Industies#

Film

Depatments#

Camea

&'e lowdown

• Adustin* t'e %amea lens o 4pullin* +o%us4 to +ollow t'e a%tion on set

• 8ana*in* and maintainin* %amea euipment and a%%essoies

• Followin* instu%tions +om t'e Die%to o Die%to o+ $'oto*ap'y !Do$"



• 'ave e%ellent )nowled*e o+ %ameas, lenses and all elated euipment

• )eep up7to7date wit' new te%'niues and euipment

•

'ave epet )nowled*e o+ p'oto7%'emi%al and di*ital lm po%essin*

• 'ave *ood eyesi*'t

• a%%uately ud*e distan%es

• 'ave a*ility and speed



• .e diplomati% and sensitive w'en wo)in* wit' atists and %ew




('at does a Fist Assistant Camea do/

"he role o' the First 4ssistant amera 91st 4ssistant amera# 1st 4 & and previousl +no$

as the Focus /uller is one o' the most s+illed -o*s on a 'ilm cre$.

1st 4s are responsi*le 'or 'ocusing and re'ocusing the camera lens as 4ctors move $ithin

the 'rame o' each shot. "he do not loo+ though the lens to do this *ut 8pull 'ocus8 according

to a set o' comple mar+s placed on the set# 'loor# props# etc.# during rehearsal.

4s it is impossi*le to see $hether the 'ocus is sharp until the rushes 9ra$ 'ootage are

screened# 1st 4s rel on eperience and instinct 'or each 'ocal ad-ustment. )ecause re&

shooting scenes is epensive and actors ma *e una*le to recreate their *est ta+e# 1st 4s

must *e etremel relia*le and good at their $or+ and should *e a*le to cope e''ectivel in

stress'ul situations.

1st 4s are also responsi*le 'or camera e,uipment such as lenses# 'ilters and matt *oes and

'or assem*ling the camera and its accessories 'or di''erent shots.

"he arrive on set or in the studio *e'ore the Director # Director o' /hotograph and amera

perator and ensure that the camera and all re,uired lenses are prepared 'or the da8s shoot.

I' the Director or Do/ $ants to tr out a speci'ic lens# the 1st 4 assem*les the camera so

that the can loo+ through the eepiece to assess the shot.

4t the end o' each shooting da# 1st 4s clean the e,uipment and pac+ it up in preparation

'or the net da. I' there is a pro*lem $ith the rushes 9such as a scratch on the 'ilm# the

liaise $ith the 'ilm la* to put right an 'aults $ith the camera or stoc+.

1st 4s are usuall as+ed 'or * the Director o' /hotograph or the amera perator and

$or+ on a 'reelance *asis. %ours are long and the $or+ can *e phsicall demanding.


4lthough hands&on eperience provides the most important training 'or 1st 4s# ou can ta+e

one o' the numerous short courses providing the *asic s+ills 'or digital# 1Mmm and 3Hmm

amera 4ssistants. You could also train in stills photograph $hich provides a good# all&

round understanding o' composition and light.


You $ill need to serve an apprenticeship to gain hands&on eperience. You can epect to start

out as a amera "rainee *e'ore progressing to *ecome a 2nd then 1st 4.

You could also $or+ at a -unior level in a 'ilm la* or camera e,uipment 'acilities house.

%o$ever# since the core o' the -o* is learning ho$ to gauge 'ocal length to such a degree that















it *ecomes second nature# *eing around $or+ing cameras and learning ho$ to use them is

crucial.

('ee mi*'t t'is ole ta)e me/

You could go on to *ecome Director o' /hotograph# ho$ever# some o' the *est 1st 4s seethis role as an end in itsel' and ma+e a good living.


Websites





Publications





















)ecause the -o* involves an in&depth +no$ledge o' and 'eel 'or the camera# actual eperience

o' handling camera e,uipment and stoc+ is vital.

You could also start o'' * $or+ing in a camera rental 'acilities house such as 4RRI or

/anavision $hich $ould provide a good route to an apprenticeship.

('ee mi*'t t'is ole ta)e me/

You could go on to *ecome 1st 4 and eventuall# Director o' /hotograph.


Websites





Publications

















S

%ipt Supeviso <essi%a &'ope

S%ipt Supeviso

Industies#

Film &?

Depatments#

Camea

&'e lowdown

• Ensuin* t'at lm and &? damas, s'ot out o+ s%ipt seuen%e, end upma)in* %ontinuous ve.al and visual sense



• 'ave e%eptional s)ills o+ o.sevation

• 'ave a meti%ulous and met'odi%al attention to detail

• 'ave stamina to emain alet and +o%used duin* lon* lmin* days

• .e a.le to ta)e pe%ise and detailed notes ui%)ly and eG%iently

• possess a *ood sense o+ visual %omposition, pespe%tive and movement

• 'ave e%ellent o*anisational s)ills and a pa%ti%al appoa%' to wo)

• .e a.le to t'in) on you +eet and espond ui%)ly to %'an*in*%i%umstan%es

• 'ave *ood %ommuni%ation s)ills and s'ow diploma%y and sensitivity w'enwo)in* wit' atists and %ew

• .e a.le to emain +iendly and %alm in %'allen*in* situations



• undestand t'e euiements o+ t'e elevant 'ealt' and sa+ety le*islationand po%edues


•

'ave a +ull, %lean divin* li%en%e, ideally

('at does a S%ipt Supeviso do/

It is the Script Supervisor7s role to monitor $hether it is possi*le 'or each 'ilmed scene to *e

edited into a ver*all and visuall coherent se,uence. Film and T dramas are usuall shot

entirel out o' script se,uence. "he Script Supervisor ensures that the 'inished product ma+es

continuous ver*al and visual sense. "he $or+ as part o' the camera department.

During pre&production the chec+ the script 'or an errors and;or inconsistencies and prepare

estimated running times. "he develop stor snopses and character *rea+do$ns. "he chec+ the shooting schedule to ensure that the re,uired scenes $ill *e shot and covered 'rom all

re,uired angles# distances# etc. "he attend recces and pre&production meetings to 'eed *ac+

an identi'ied issues. During rehearsals the record detailed timings $hich in'orm the

shooting schedule.

During the shoot# the $or+ closel $ith the Director to anticipate and solve an potential

pro*lems. "his entails +eeping detailed $ritten and photographic records o' dialogue# action#

costumes# props and set design# all camera and lens details# all slate and scene num*er

in'ormation# so that $hen di''erent ta+es are edited together# the 'ictional $orld o' the 'ilm is

not disrupted * continuit errors. "hese records provide an invalua*le resource 'or Directors

and ditors ena*ling them to assess the coverage# including ho$ man shot options there are

'or each scene and ho$ each shot $as 'ilmed.

n each da o' principal photograph# Script Supervisors 'ile their record o' the previous

da8s shoot and prepare all paper$or+ 'or post production. During 'ilming the closel

monitor the script to chec+ that no dialogue is overloo+ed# and cue actors $here necessar.

"he liaise closel a*out continuit $ith other departments including sound# costume# ma+e&

up and hair# props and lighting. !here pic+&up shots are re,uired# the provide actors $ithdialogue start points and eact continuit details. "he re&tpe scripts to re'lect an ma-or

dialogue changes# and mar+ up scripts $ith slate num*ers# cut points# and other relevant

details 'or post production.

"he prepare detailed Dail ontinuit Reports# ditors8 Dail Aog Sheets and Dail

/roduction Reports. "he provide production $ith records o' the re,uirements 'or an

outstanding shots or inserts.


http://creativeskillset.org/job_roles_and_stories/job_roles/294_director




You don7t need a 'ormal ,uali'ication to *ecome a Script Supervisor. %o$ever# some 'ilm

schools and training courses o''er a good *asic grounding in the s+ills and +no$ledge ou7ll

need.

You $ill need good +no$ledge o' the theor and grammar o' 'ilmma+ing and# in particular#o' editing. "his is essential in order that ou can understand the cra't o' constructing scenes

out o' individual shots.

I' ou are considering ta+ing a "E or 'ilm production course in higher education# the

'ollo$ing courses have *een rigorousl assessed * the 'ilm and "E industries and a$arded

the reative S+illset "ic+ 'or the high standard o' education the provide and the degree to

$hich the prepare ou 'or a 'ilm or "E career:

"E production courses a$arded the reative S+illset "ic+


/ost production courses a$arded the reative S+illset "ic+

('atHs t'e .est oute in/

You could start out as an 4ssistant /roduction o&ordinator or as a /roduction 4ssistant in

television & this $ould give ou essential on&set $or+ eperience.

You $ould need to assist an eperienced Script Supervisor 'or a minimum o' 30 $ee+s *e'ore

ou could progress to script supervision on 2nd camera shoots# and 2nd unit $or+#

progressing 'inall to *ecome a Script Supervisor.

('ee mi*'t t'e ole ta)e me/

From *eing a Script Supervisor# ou could move into other areas o' production# including

producing# $riting# directing# editing and script editing.


Websites

• &'e ;uild o+ Bitis' Camea &e%'ni%ians 7 aims to +ut'e t'e po+essionalinteests o+ te%'ni%ians wo)in* wit' motion pi%tue %ameas

• B6S&S 7 !t'e movin* ima*e so%iety" o*anises events, %ouses, anddemonstations o+ new euipment, and pu.lis'es Ima*e &e%'nolo*y

• BEC& 7 t'e 64s media and entetainment tade union, %ovein*.oad%astin*, lm, independent podu%tion, t'eate and t'e ats, leisue

and di*ital media

http://courses.creativeskillset.org/pick_the_tick_degree_courses/accredited_tv_production_courses


http://courses.creativeskillset.org/pick_the_tick_degree_courses/accredited_post_production_courses


https://www.bksts.com/secure/about.asp

https://www.bectu.org.uk/home

http://courses.creativeskillset.org/pick_the_tick_degree_courses/accredited_tv_production_courses




https://www.bksts.com/secure/about.asp




Books

• "upervisor#s "cript Book 7 -aymond Dey+a%) ISB713# JK013>KM0N20

• The $ole of "cript "upervision in Film and Television: A Career %uide

!Communi%ation Ats Boo)s" 7 S'iley lme, C=-= Sevilla, and -o.etOentis ISB713# JK003M3MM

• "cript "upervising & Film Continuity 7 $at $= 8ille ISB713#JK02>0N1K>>N

• The Five Cs of Cinematography 7 <osep' ?= 8as%elli ASC ISB713#JK1KJN0N>1>

• In the Blink of an Eye: A Perspective on Film Editing 7 (alte 8u%' ISB713# JK1KJN0NM2J



Andew ;aeld stas as Spide78an in Colum.ia $i%tues4 P&'e AmaQin* Spide7

8an 2,P also stain* Emma Stone © 201> Colum.ia $i%tues

Sound Desi*ne

Industies#

Film

Depatments#

Sound

&'e lowdown

• Ceatin* sounds ee%ts +o *iant eplosions o %a %as'es

•

Ceatin* moe su.tle sounds to en'an%e mood and +eelin*

• 8ana*in* t'e sound post podu%tion po%ess



• ave a *enuine ent'usiasm +o sound and lm

• ave a *ood undestandin* o+ a%ousti%s

• ave an epet )nowled*e o+ sound e%odin* and editin* te%'niues

• ave e%ellent listenin* s)ills

• ave %eativity and ima*ination

• Be a.le to wo) %on%eptually

• ave e%ellent %ommuni%ation s)ills

• Be a.le to wo) unde pessue to ti*'t, %'an*in* deadlines



• ave *ood o*anisational and nan%ial s)ills

• ndestand t'e elevant 'ealt' and sa+ety laws and po%edues

('at does a Sound Desi*ne do/

4 Sound Designer 9previousl +no$n as Sound ''ects ditors or Special ''ects 9SFN

ditors is responsi*le 'or providing the sound 'or screen action. Depending on the 'ilm7s

*udget# Sound Designers usuall start $or+ at the same time as the other Sound ditors.

n a *ig e''ects 'ilm# this ma *e *e'ore shooting *egins. n a modest *udget production# it

could *e $hen the Director and;or ecutive /roducer have approved the 'inal picture edit

9picture loc+.

"he 'irst tas+ 'or Sound Designers is to identi' the three main +inds o' sound e''ects needed.

"hese ma *e gunshots# cloc+s# doors closing# dog *ar+ing 9spot e''ects or rain# $ind#tra''ic# *irdsong 9atmosphere e''ects. "here are also specialist sound design e''ects such as

dinosaurs# aliens# spaceships or computers. Sound Designers source these di''erent sounds

and o'ten create and record original ne$ material.

"he spend time manipulating the original recordings using snthesi>ers# samplers and audio

plug&ins. "his is a highl creative# eperimental part o' the -o*. For eample# the might use a

slo$ed do$n voice in reverse $ith added rever* to create the roar o' a dinosaur.

!hen the have all the desired sound e''ects# Sound Designers la them all onto a computer

using the latest so't$are. "he net step is called the /remi# $hen the Sound Designer $or+s

$ith the Re&Recording 6ier to smooth out all the e''ects trac+s. "his is 'ollo$ed * the

Final 6i. "his is $hen dialogues# 4DR 94utomated Dialogue Replacement# Fole#

atmosphere# music and special e''ects trac+s are *lended together.

6ost Sound Designers are also Supervising Sound ditors# so the usuall oversee the

Odelivera*lesP. "hese include the 6usic and ''ects version o' the 'ilm $hich allo$s the

dialogue trac+ to *e replaced $ith di''erent language versions.

Sound Designers ma *e emploed * 4udio /ost /roduction %ouses# or $or+ on a 'reelance *asis. "he usuall hire a room close to the picture ditor 9s and ma use their o$n

e,uipment. Sound Designers $or+ long hours to meet a demanding schedule o' deadlines.


You $ill need a minimum ).6us 9"onmeister ,uali'ication or e,uivalent 'or an entr&level

position. You can also do postgraduate courses in 'ilm and television sound. %BD courses are

also availa*le.

I' ou are considering ta+ing a 'ilm production course in higher education# the 'ollo$ingcourses have *een rigorousl assessed * the 'ilm industr and a$arded the reative S+illset










/ost production courses a$arded the reative S+illset "ic+


You $ill learn on the -o*# starting in a -unior role. I' ou have a *ac+ground in music ou can

learn editing s+ills in television production. n 'ilms ou might get $or+ as a Runner in

picture or sound cutting rooms# or in an audio post production 'acilities house. !ith

eperience ou can go on to *ecome 4ssistant Re&Recording 6iers or 4ssistant Sound

ditors. In this role ou $ill assist eperienced Sound ditors. nce ou have learned our

cra't# ou can move up to Supervising Sound ditor# then Sound Designer.


Websites

• Film Sound an invalua.le esou%e +o sound and lm

• Soni% Ats etwo)

• Oa%om Fo innovations in sound e%odin* te%'nolo*y

• Institute o+ Boad%ast Sound

• Asso%iation o+ 8otion $i%tue Sound !A8$S"

• Asso%iation o+ $o+essional -e%odin* Sevi%es !A$-S"

• Audio En*ineein* So%iety S7.ased we.site wit' a t'ivin* 6 se%tion

• Sound on Sound

•

8usi% &e%' 8a*aQine

• Audio 8edia 8a*aQine

Books

• "ound 'esign: The E(pressive Po)er of !usic* +oice and "ound E,ectsCinema= Edited .y David Sonnens%'ein !8i%'ael (iese $odu%tions"

• Film "ound: Theory and Practice .y EliQa.et' (eis and <o'n Belton!Colum.ia nivesity $ess"




http://www.filmsound.org/

http://www.sonicartsnetwork.org/

http://www.zaxcom.com/

http://www.ibs.org.uk/

http://www.amps.net/

http://www.aprs.co.uk/

http://www.aes.org/

http://www.sospubs.co.uk/

http://www.musictechmag.co.uk/

http://www.audiomedia.com/




http://www.filmsound.org/

http://www.sonicartsnetwork.org/

http://www.zaxcom.com/

http://www.ibs.org.uk/

http://www.amps.net/

http://www.aprs.co.uk/

http://www.aes.org/

http://www.sospubs.co.uk/

http://www.musictechmag.co.uk/

http://www.audiomedia.com/



• Audio-+ision: "ound on "creen .y 8i%'ael C'ion !Colum.ia nivesity$ess"



At Die%to © 8i%'eal <

At Die%to

Industies#

Film &?

Depatments#

At Depatment

&'e lowdown

• -ealisin* t'e $odu%tion Desi*ne4s %eative vision +o all t'e sets andlo%ations t'at *ive podu%tions t'ei loo) and +eel

• $oe%t mana*in* t'e wo) o+ t'e at depatment

• Also undeta)in* t'e ole o+ $odu%tion Desi*ne on smalle &?podu%tions



• 'ave a *ood all7ound )nowled*e o+ inteio desi*n and a%'ite%tue andt'e 'istoy o+ .ot'

• 'ave a pa%ti%al undestandin* o+ .uildin* and %onstu%tion

• undestand t'e wo) o+ ot'e &?@lm depatments, su%' as %amea,li*'tin*, sound, pops, and to )now 'ow you set desi*ns ae%t t'ei wo)

• 'ave a *ood )nowled*e o+ %ompute .ud*etin* so+twae

• possess a +ull %lean divin* li%en%e

• 'ave e%ellent +ee7'and dawin*, pespe%tive and te%'ni%al dawin* s)ills

• possess a *ood eye +o de%oation and detail



• .e a.le to %on%eptualise ideas

• .e a.le to t'in) visually

• 'ave a met'odi%al appoa%' to wo)

• 'ave ston* leades'ip s)ills, to motivate and die%t a team

• .e a.le to see t'e .oade pi%tue and to %o7odinate ee%tively

• s'ow diploma%y and sensitivity w'en wo)in* wit' atists and %ew

• .e willin* to wo) lon* and ie*ula 'ous

• undestand t'e euiements o+ t'e elevant 'ealt' and sa+ety le*islationand po%edues, pati%ulaly elatin* to potentially 'aQadous wo)in*

%onditions o mateials

• .e awae o+ and sensitive towads dieent wo)in* pa%ti%es and %ultuesw'en wo)in* in ot'e %ounties

('at does an At Die%to do/

It is the 4rt Director8s -o* to realise the /roduction Designer8s creative vision 'or all the sets

and locations that eventuall give productions their uni,ue visual identit. "he $or+ on

'eature 'ilms# commercials and some tpes o' television productions.

n 'eature films# the act as pro-ect managers 'or art departments and are usuall appointed

* the /roduction Designer. "he are responsi*le 'or the 4ssistant 4rt Director # the

Draughtsmen 9the term is used 'or *oth men and $omen# the 4rt Department 4ssistant9s#

raphic Designers# Stor*oard 4rtists# 6odel 6a+ers and all onstruction personnel.

In large art departments on tele*ision productions# 4rt Directors are also responsi*le 'or the

$or+ schedule and ma+ing the *est use o' the art department *udget. n some "E dramas the

art department ma consist o' onl the /roduction Designer# 4rt Director# and /roduction

)uer# $hile on smaller television productions the roles o' /roduction Designer and 4rt

Director are o'ten com*ined.

"he 4rt Director starts $or+ $hen the receive the script and 'inal schedule# detailing the

precise shooting order o' the scenes. "he analse the script to identi' all props or special

items that ma re,uire longer lead times. 4t the same time# the oversee the dra$ing up o'

plans o' sets and locations * Draughtsmen 'or the use o' the onstruction 6anagers and

their teams. n a *ig *udget 'ilm or "E production# this can start 'our to 'ive months *e'ore

shooting. n lo$ *udget productions# it can *e as little as 'our $ee+s.

It8s important 'or the 4rt Director to $or+ across departments. "he $or+ $ith the relevant

teams a*out an visual or computer&generated e''ects that ma *e re,uired. "he are involved

http://creativeskillset.org/job_roles_and_stories/job_roles/284_assistant_art_director

http://creativeskillset.org/job_roles_and_stories/job_roles/284_assistant_art_director





I' ou stud 'ilm# television and theatre design ou could also gain eperience $or+ing on

lo$ *udget productions *e'ore progressing to -unior roles on television programmes or

'eature 'ilms.

You could trans'er across 'rom a similar role in the theatre# having learnt to conceptualiseideas and communicate them dramaticall and visuall< ho$ever# ou $ill have to learn

techni,ues speci'ic to 'ilm and "E.


Websites

• Bitis' Film Desi*nes ;uild

• BEC& 7 t'e 64s media and entetainment tade union, %ovein*

.oad%astin*, lm, independent podu%tion, t'eate and t'e ats, leisueand di*ital media

• Amei%an Cinemato*ap'e 7 'as e*ula +eatues on lm desi*n anddi*ital podu%tion te%'niues

Publications

• Boad%ast 7 t'e wee)ly newspape +o t'e 6 &? and adio industy

• &elevisual 7 t'e .usiness ma*aQine +o t'e .oad%ast and podu%tion

industy

Books

• en Adam: The Art of Production 'esign 7 C= Faylin* 7 ISB 7 0NK1220NKM

• Production 'esign and Art 'irection 7 $= Etted*ui 7 ISB 7 20>M3M>N

• By 'esign: Intervie)s )ith Film Production 'esigners 7 ?= LoButto 7 ISB 702KNJ>031>

• Film Architecture: From !etropolis to Blade $unner 7 D= eumann 7 ISB 73KJ131M0N2

• 2001# Filmin* t'e Futue 7 $ies BiQony 7 ISB 71N>103MN2

http://www.filmdesigners.co.uk/



http://www.broadcastnow.co.uk/

http://www.televisual.com/








Disney4s P8ALEFICE&P $in%ess Auoa !Elle Fannin*" $'oto Cedit# Film Fame ©

Disney 201>

Assistant At Die%to

Industies#

Film &?

Depatments#

At Depatment

&'e lowdown

• &unin* initial s)et%'es into wo)ed7up dawin*s +om w'i%' sets ae .uilto lo%ations adapted

• Cayin* out site suveys o+ lo%ations

• Supevisin* t'e %onstu%tion o+ sets



• 'ave a *ood all7ound )nowled*e o+ inteio desi*n and a%'ite%tue andt'e 'istoy o+ .ot'

• 'ave a pa%ti%al undestandin* o+ .uildin* and %onstu%tion

• 'ave a *ood )nowled*e o+ desi*n 'istoy to sele%t pops o+ t'e %oe%tvinta*e

• 'ave a *ood wo)in* )nowled*e o+ %ompute dawin* so+twae pa%)a*es

• 'ave e%ellent +ee7'and dawin*, pespe%tive and te%'ni%al dawin* s)ills

• 'ave *ood pop7ma)in* s)ills and an undestandin* o+ t'e pop 'iema)et

• possess a *ood eye +o de%oation and detail



• .e a.le to %on%eptualise ideas

• .e a.le to t'in) visually

• 'ave *ood %ommuni%ation s)ills and s'ow diploma%y and sensitivity w'en

wo)in* wit' atists and %ew

• .e a.le to tou.les'oot and espond to unepe%ted situations, dealin* wit'stess+ul %i%umstan%es in a %alm and ee%tive manne

• .e willin* to wo) lon* and ie*ula 'ous

• undestand t'e euiements o+ t'e elevant 'ealt' and sa+ety le*islationand po%edues

• possess a +ull %lean divin* li%en%e

('at does an Assistant At Die%to do/

4ssistant 4rt Directors help to translate ideas into practical realities# turning initial s+etches

into $or+ed&up dra$ings 'rom $hich a variet o' cra'tsmen 9the term is used 'or *oth men

and $omen *uild sets or adapt locations.

"he $or+ on 'eature 'ilms# commercials and certain tpes o' television production and their

duties var depending on the si>e o' the production:

•

n smalle flms o in television podu%tions, t'ey 'elp t'e At Die%to wit' a wide an*e o+ tas)s in%ludin* esea%', a%%essin* and ma)in*pops, suveyin* lo%ations, model7ma)in* and 'elpin* to podu%e sets=

• n .i* .ud*et studio7.ased +eatue flms, moe t'an one At Die%to will.e involved in t'e desi*n and ealisation o+ many %ompli%ated sets=Assistant At Die%tos on su%' lms may ta)e esponsi.ility +o a num.eo+ t'e smalle sets= &'ey ae also esponsi.le +o pops and +o ensuin*t'e sets ae )ept %lean=

"here is a strict chain o' command in art departments $hich must 'unction smoothl in order

to meet the artistic demands o' the Director and the 'inancial and logistical demands o' the production. "he 4ssistant 4rt Director8s role is vital $ithin this structure.

4ssistant 4rt Directors s+etch up a variet o' ideas *ased on the /roduction Designer8s

speci'ications using computer s+etching programmes such as S+etch&(p or Eector$or+s.

"he sho$ these ideas to the /roduction Designer# then re'ine the dra$ings and *egin $or+

on 3D models.

I' locations are to *e used# the carr out technical recces 9site surves to provide the

Supervising 4rt Director $ith an relevant in'ormation to *e communicated to the /roduction

Designer.

http://creativeskillset.org/job_roles_and_stories/job_roles/283_art_director



http://creativeskillset.org/job_roles_and_stories/job_roles/283_art_director






From this role# ou could progress to *eing an 4rt Director# a Supervising 4rt Director# and

eventuall a /roduction Designer.


Websites


• BEC& 7 t'e 64s media and entetainment tade union, %ovein*.oad%astin*, lm, independent podu%tion, t'eate and t'e ats, leisueand di*ital media

• Amei%an Cinemato*ap'e 7 'as e*ula +eatues on lm desi*n anddi*ital podu%tion te%'niues

Publications

• Boad%ast 7 t'e wee)ly newspape +o t'e 6 &? and adio industy

• &elevisual 7 t'e .usiness ma*aQine +o t'e .oad%ast and podu%tionindusty

Books

• en Adam: The Art of Production 'esign 7 C= Faylin* 7 ISB 7 0NK1220NKM

• Production 'esign and Art 'irection 7 $= Etted*ui 7 ISB 7 20>M3M>N

• By 'esign: Intervie)s )ith Film Production 'esigners 7 ?= LoButto 7 ISB 702KNJ>031>

• Film Architecture: From !etropolis to Blade $unner 7 D= eumann 7 ISB 73KJ131M0N2

• 2001# Filmin* t'e Futue 7 $ies BiQony 7 ISB 71N>103MN2













P8avel4s Captain Amei%a# &'e (inte SoldieP= © 201> 8avel= All -i*'ts

-eseved= $odu%tion %on%ept at .y -yan 8einedin* 2013

Con%ept Atist

Industies#

Film ?FR

Depatments#

At Depatment

&'e lowdown

• podu%in* t'e illustations t'at 'elp $odu%tion Desi*nes ealise t'eivision

• ma)in* sue t'ei dawin*s ae a%%uate and %lea and adaptin* t'em asne%essay duin* lmin*

• usin* %ompute illustation so+twae pa%)a*es



• 'ave up7to7date )nowled*e o+ %ompute illustation so+twae pa%)a*es

• .e s)illed in lm ima*ey

• undestand w'at Die%tos, Die%tos o+ $'oto*ap'y and Editos euie+om a s%ene

• 'ave e%ellent illustation s)ills

• .e a ston* %ommuni%ato

• visualise pespe%tive and 3D spa%e

• 'ave a )een inteest in desi*n, a%'ite%tue and lm



• visually intepet ot'e people4s ideas

• .e ei.le and adapt to %'an*e w'en as)ed

• wo) as pat o+ a team

• )now a.out elevant 'ealt' and sa+ety le*islation and po%edues

('at does a Con%ept Atist do/

oncept 4rtists $or+ on *ig *udget sci&'i# 'antas or historical 'ilms $here visual and special

e''ects create design spectacles# 'antastical creatures or other invented elements. "here are

usuall a num*er o' oncept 4rtists# each $or+ing on a speci'ic element# e.g.# a 'antastical

creature and;or scene.

oncept 4rtists start $or+ at the *eginning o' pre&production# up to si months *e'ore 'ilming

is due to *egin.

I' the screenpla is an adaptation 9'or eample# o' a *oo+# the analse the descriptions in

the original source material. "he ma $or+ $ith Specialist Researchers $ho also help

source and suppl relevant in'ormation and materials.

oncept 4rtists $or+ in the art department studio alongside Draughtsmen and Specialist

Researchers and o'ten produce their dra$ings on a computer using /ainter or /hotoshop

so't$are. 4'ter approval * the /roduction Designer # the dra$ings are presented to the

/roducer # Director and Eisual ''ects o&ordinator.

oncept 4rtists must produce illustrations that are stri+ing *ut also accurate and clear. "he

$or+ on illustrations throughout the shoot and ma o'ten *e re,uired to change and adapt

their original ideas as 'ilming progresses.

"he ma also *e involved in the development process# producing a series o' illustrations that

help to sell the 'ilm to potential Financiers and;or Distri*utors.

oncept 4rtists $or+ on a 'reelance *asis. "heir role is highl specialised and there is a

limited demand 'or this $or+.


You can stud an arts school course $ith a 'ocus on draughting s+ills# graphics and

conceptualising ideas e.g.# 'ine art# graphics# illustration etc. %o$ever# there is no 'ormal

training or ,uali'ication 'or this -o*.


"here is no tpical career route to *ecoming a oncept 4rtist. You could start o'' as a raphic

4rtist# Illustrator or raphic Bovelist. ther$ise# ou can $or+ in special or visual e''ects oranimation and ma+e the transition to oncept 4rtist via stor*oarding.






http://creativeskillset.org/creative_industries/vfx

http://creativeskillset.org/creative_industries/animation




http://creativeskillset.org/creative_industries/vfx

http://creativeskillset.org/creative_industries/animation





$odu%tion Desi*ne © ational Film and &elevision S%'ool

$odu%tion Desi*ne

Industies#

Film

Depatments#

At Depatment

&'e lowdown

• Denin* and mana*in* evey visual aspe%t o+ a lm

• (o)in* wit' t'e Die%to and $odu%e to podu%e a .ud*et and s%'edule

• Die%tin* t'e team esponsi.le +o podu%in* t'e visual elements e=*=, setsand %ostumes



• 'ave e%ellent visual awaeness and desi*n s)ills

• 'ave epet )nowled*e o+ many at and desi*n7elated su.e%ts in%ludin*

dau*'tsmans'ip, te%'ni%al dawin*, %olou t'eoy, a%'ite%tue, .uildin*and %onstu%tion, 'istoy o+ desi*n, inteio desi*n, %ameas and lenses,li*'tin*

• .e s)illed in %ompute .ud*etin* so+twae and %ompute aided desi*npo*ammes !CADS"

• inspie and motivate a team

• s'ow e%ellent mana*ement and leades'ip s)ills

• pioitise and meet deadlines



• 'ave *ood %ommuni%ation and pesentation s)ills

• use ta%t and diploma%y

• )now t'e euiements o+ t'e elevant 'ealt' and sa+ety le*islation and

po%edues

('at does a $odu%tion Desi*ne do/

/roduction Designers are ma-or heads o' department on 'ilm cre$s# and are responsi*le 'or

the entire art department.

"he help Directors to de'ine and achieve the loo+ and 'eel o' a 'ilm.

Filming locations ma range 'rom a Eictorian parlour# to a late&night ca'J# to the interior o' an

alien space ship. "he loo+ o' a set or location is vital in dra$ing the audience into the storand ma+ing a 'ilm convincing. 4 great deal o' $or+ and imagination goes into constructing

the *ac+drop to an stor and choosing or *uilding locations and;or sets.

/roduction Designers *egin $or+ at the ver earl stages o' pre&production. "he ma *e

as+ed to loo+ at scripts to provide spending estimates *e'ore a Director is even approached.

n 'irst reading a screenpla# the assess the visual ,ualities that $ill help to create

atmosphere and *ring the stor to li'e.

4'ter preparing a care'ul *rea+do$n o' the script the meet $ith the Director to discuss ho$

*est to shoot the 'ilm and $or+ out $hether to use sets and;or locations# $hat should *e *uilt

and $hat should *e adapted and $hether there is a visual theme that recurs throughout the

'ilm.

"he also consider $hether there are design elements that ma give more depth to the 'ilm

and $hether I 9computer generated imager should *e used.

/roduction Designers must calculate the *udgets and decide ho$ the mone and e''ort $ill *e

spent. "hen there7s an intense period o' research during $hich the and their Specialist

Researchers source ideas 'rom *oo+s# photographs# paintings# the internet# etc.

/roduction Designers deliver their design s+etches 9sho$ing mood# atmosphere# lighting#

composition# colour and teture to 4rt Directors $ho oversee the production o' technical

dra$ings and models# $hich are used * the onstruction Department to *uild the sets and

adapt locations. /rops )uers and Set Decorators source props and organise the manu'acture

o' specialist items.

4s the start o' shooting approaches# /roduction Designers manage lots o' people# prioritise

the $or+ schedule and care'ull monitor the *udget. !hen shooting starts# the are usuall

up earl each morning to vie$ each ne$ set $ith the Director# Director o' /hotograph and



Stand* 4rt Director# ans$ering an re,uests or ,ueries.

Aater on in the art department o''ice# /roduction Designers chec+ on the construction and

dressing o' other sets# and sign o'' on sets;locations 'or the net da8s shoot.

4lthough /roduction Designers usuall 'inish $or+ on the last da o' principal photograph#

on larger 'ilms the ma *e involved 'or longer periods. /roduction Designers $or+ on a

'reelance *asis.

"he ma have to prepare detailed dra$ings and speci'ications in order to pitch 'or $or+ on a

num*er o' productions *e'ore *eing o''ered $or+ on one o' them. 4lthough the $or+ can *e

ver demanding and the hours long# this is one o' the most highl&s+illed# creativel 'ul'illing

roles $ithin the 'ilm industr.


You $ill need to *e a graduate o' art# architecture# theatre# interior or 3D design courses.

4'ter this# ou can complete a specialist course in 'ilm and;or theatre design.







4s the head o' the largest department on a 'ilm cre$# ou must have etensive eperience

gained over a num*er o' ears. You $ould usuall start as a @unior Draughtsman# moving on

to Draughtsman# 4ssistant 4rt Director and 4rt Director.

You $ill also 'ind a *ac+ground o' $or+ing in theatre help'ul# as this $ould teach ou the art

o' set design and construction as $ell as ho$ to conceptualise ideas and create a sense o'

drama through visual spectacle.

I' ou graduate in 'ilm and theatre design# ou $ill need to gain eperience $or+ing on short

'ilms *e'ore progressing to -unior roles on 'eature 'ilms.


Websites








• &'e Amei%an Cinemato*ap'e 8anual 'as e*ula +eatues on lmdesi*n and di*ital podu%tion te%'niues

Books

• en Adam: The Art of Production 'esign !Fa.e and Fa.e" .y C'istop'eFaylin*

• Production 'esign and Art 'irection !Fo%al $ess" .y $ete Etted*ui

• By 'esign: Intervie)s )ith Film Production 'esigners !;eenwood $ess".y ?in%ent LoButto

• Film Architecture: From !etropolis to Blade $unner !$estel $u.lis'in*Ltd"= Edited .y D= eumann 2001

•

Filming the Future !Auum $ess Ltd" .y $ies BiQony

• The Invisi.le Art: The /egends of !ovie !att Painting !C'oni%le Boo)s" .y8= Cotta ?aQ and C= Baon

8avel4s ;uadians + &'e ;alay= 8ilano= $'# Film Fame= © 8avel 201>

Stoy.oad Atist !Film"

Industies#

Film

Depatments#

At Depatment

&'e lowdown

• Dawin* a seies o+ pi%tues to epesent a s%ipt o s%eenplay

• (o)in* wit' t'e Die%to to tun t'ei vision into eality

• sin* %ompute dawin* and stoy.oadin* so+twae







• 'ave .asi% te%'ni%al )nowled*e o+ lm %ameas and lenses

• )now a.out t'e Die%to4s ole

• .e s)illed in ima*e manipulation pa%)a*es

• 'ave e%ellent dawin* s)ills

• .e a.le to t'in) %inemati%ally

• 'ave e%ellent %ommuni%ation s)ills

• visualise pespe%tive and 3D spa%e

• visually intepet ot'e people4s ideas

• daw and wo) ui%)ly w'en euied


('at does a Stoy.oad Atist do/

Stor*oard 4rtists ta+e a screenpla and turn it into a series o' illustrations# li+e a comic

*oo+. "his helps the Director get a clear idea o' eactl $hat the $ant to achieve and sho$s$hat7s needed# e.g.# prosthetics 'or ma+e&up# omputer enerated Images 9I 'or visual

e''ects# props 'or the 4rt Department# etc.

Stor*oards are mostl needed on 'ilms $ith large amounts o' action and;or I# $here

comple chase# 'ight or *attle scenes need to *e visualised and care'ull planned. 6an *ig

*udget 'eature 'ilms are stor*oarded *e'ore shooting *egins. 4lthough some sa this sti'les

the creative process o' directing a 'ilm# it is a sensi*le $a o' avoiding overshooting and

spiralling *udgets.

Stor*oard 4rtists usuall start $or+ earl in the production process. 4'ter reading the

screenpla# the meet $ith the Director to discuss the mood and atmosphere o' an scenes to

*e stor*oarded.

During this process# Stor*oard 4rtists must visualise the scene 'rom the camera8s point o'

vie$# $or+ing out the characters8 positions# $ho or $hat else is in the 'rame and 'rom $hat

angles the are seen and imagining their 'eelings.

4'ter delivering the 'irst 'e$ illustrations# Directors usuall allo$ them to suggest their o$n

ideas 'or the net scenes# although some Directors alread +no$ eactl $hat the $ant anduse stor*oards as a reminder rather than as a template.





n *ig *udget 'ilms# t$o or three Stor*oard 4rtists ma *e emploed 'ull&time# usuall in

art department o''ices at 'ilm studios# $here the can eamine an models o' the sets and

photographs o' various locations# and as+ the /roduction Designer an ,uestions.

4lthough most Stor*oard 4rtists still pre'er to use pencil and paper rather than dra$ onto a

computer screen# the use computer so't$are pac+ages such as /hotoshop to collate and

change $or+ easil. 6an stor*oard so't$are pac+ages are availa*le# e.g.# Stor*oard Aite#

Frame'orge 3D Studio and Stor*oard 4rtists L Stor*oard Quic+.

Stor*oard 4rtists $or+ on a 'reelance *asis.


You $ill usuall need a degree in 'ine art# graphics or illustration. r# ou could ta+e a degree

in animation# $hich $ould usuall include stor*oarding.

You could also ta+e a short course in stor*oarding.

I' ou7re tring to 'ind $or+ in this area# it is vital to have as much dra$ing eperience as

possi*le and a strong port'olio o' $or+.

I' ou are considering ta+ing an animation or graphics course in higher education# the

'ollo$ing courses have *een rigorousl assessed * the industr and a$arded the reative

S+illset "ic+ 'or the high standard o' education the provide and the degree to $hich the

prepare ou 'or a career in the reative Industries:

4nimation courses a$arded the reative S+illset "ic+

4rt and Design# I;raphics courses a$arded the reative S+illset "ic+


You could start our career as a raphic 4rtist , Illustrator or raphic Bovelist< or $or+ in

Design studios or 4nimation *e'ore ma+ing the move to 'ilm stor*oarding.

It7s help'ul to ma+e contacts $ith Stor*oard 4rtists and /roduction Designers# ho$ever#

there is no tpical career route to *ecoming a Stor*oard 4rtist.


Websites


• &'e Amei%an Cinemato*ap'e 8anual 'as e*ula +eatues on lm

desi*n and di*ital podu%tion te%'niues


http://courses.creativeskillset.org/pick_the_tick_degree_courses/accredited_animation_courses

http://courses.creativeskillset.org/pick_the_tick_degree_courses/accredited_art_and_design_courses




http://courses.creativeskillset.org/pick_the_tick_degree_courses/accredited_animation_courses

http://courses.creativeskillset.org/pick_the_tick_degree_courses/accredited_art_and_design_courses





Books




• Film Architecture: From !etropolis to Blade $unner !$estel $u.lis'in*Ltd"= Edited .y D= eumann 2001

• Filming the Future !Auum $ess Ltd" .y $ies BiQony

• The Invisi.le Art: The /egends of !ovie !att Painting !C'oni%le Boo)s" .y

8= Cotta ?aQ and C= Baon



P8ALEFICE&P= Auoa !Elle Fannin*"= $'# Fan) Conno= © 201> Disney

Entepises, In%= All -i*'ts -eseved=

Set De%oato@ Assistant Set De%oato

Industies#

Film

Depatments#

At Depatment

&'e lowdown

• Analysin* t'e s%ipt and listin* all items needed +o t'e lm set

• Findin*, 'iin* o %ommissionin* pops

• 6eepin* detailed e%ods .e+oe and duin* s'ootin* and etunin* allpops w'en t'eyHe no lon*e needed



• )now t'e 'istoy o+ desi*n and de%oation

• 'ave %onta%ts wit' a an*e o+ pop 'ie %ompanies

• 'ave .asi% %ompute s)ills

• 'ave a *ood eye +o de%oation and pe%ise attention to detail

• .e ent'usiasti% a.out dessin* o.e%ts and de%oation

• 'ave a *ood sense o+ %olou and +om

• .e a.le to wo) met'odi%ally

• 'ave %eative ai



• .e a.le to see t'e .oade pi%tue and %o7odinate ee%tively

• wo) as pat o+ a team


('at does a Set De%oato @ Assistant Set De%oato do/

Set Decorators meet $ith the /roduction Designer to discuss the agreed loo+ o' the 'ilm.

"hen the visit prop houses to choose the *igger props and *oo+ them 'or the shoot.

In the art department o''ice# Set Decorators put together a detailed prop *rea+do$n using the

script to list the action props# animals# vehicles# dressing props and an graphics items

9letters# ne$spapers# posters# *oo+s etc.

/roduction )uers and raphic 4rtists also prepare their o$n lists $hich are compared tochec+ 'or an missing items. "hese lists are com*ined to ma+e the de'initive list 'rom $hich

Set Decorators $or+.

Items are then located# purchased or hired and $here necessar# model ma+ers are

commissioned# arrangements are made 'or 'urniture to *e re&upholstered# etc. !hen the Final

Schedule 9shooting order o' scenes in the 'ilm is delivered# de'initive lists o' all props and

set decoration are made according to $hat7s needed each da.

Set Decorators ma also $or+ on product placement 9$here a commercial product is placed

$ithin a scene as a 'orm o' mar+eting# or on clearing copright 'or *randed items.

@ust *e'ore the shoot# Set Decorators photograph all items# ta+e care'ul measurements and

allocate the right props to each set.

"he da *e'ore shooting *egins Set Decorators and their teams arrive earl to *egin dressing

the set. 4'ter the Set Designer , Director and Director o' /hotograph have chec+ed it and

made an last&minute changes# Set Decorators move on to the net scene. )ecause locations

and prop hire can *e ver epensive# stri+ing 9ta+ing apart each set and returning all the

props must *e completed as ,uic+l as possi*le.

6an Set Decorators $or+ on commercials# $here the are +no$n as Stlists# as $ell as on

'ilms.

Set Decorators $or+ on a 'reelance *asis# the hours are long and the -o* can involve long

periods $or+ing a$a 'rom home.


You can stud a degree in art 9painting# tetiles# interior or 3D design to get a good *asis in

the s+ills re,uired.










You can also ta+e a specialist course in 'ilm and;or theatre production design.






4'ter training# it is e,uall important 'or ou to get on&the&-o* eperience o' ho$ art

departments $or+.

You $ill need a 'ull# clean# driving licence.


You can epect to start $ith a more -unior role $ithin the art department as a Runner or

"rainee# *e'ore *ecoming an 4ssistant Set Decorator 94SD.

4s an 4SD# ou $ill usuall onl *e emploed on *ig *udget 'ilms and are responsi*le 'or

researching and sourcing dressing props. Some Set Decorators ma also give 4SDs

responsi*ilit 'or action props and product placements.

Depending on the si>e o' the 'ilms ou $or+ on and the levels o' eperience ou gain# ou

ma $or+ as an 4SD 'or several ears *e'ore *ecoming a Set Decorator.


Websites


• &'e Amei%an Cinemato*ap'e 8anual 'as e*ula +eatues on lmdesi*n and di*ital podu%tion te%'niues

Books




• Film Architecture: From !etropolis to Blade $unner !$estel $u.lis'in*

Ltd"= Edited .y D= eumann 2001












• Filming the Future !Auum $ess Ltd" .y $ies BiQony

• The Invisi.le Art: The /egends of !ovie !att Painting !C'oni%le Boo)s" .y8= Cotta ?aQ and C= Baon



/rops Store. ourtes o' armel ngland https:;;$$$.'lic+r.com;photos;carmelino>;

$ro+ert, "asterIndustries:

Film

Departments:

/rops

The lowdown

• Running the propert department

• verseeing the sourcing and ma+ing o' props

• 6a+ing sure that props 'it $ith the 'ilm stle# design and time period



• %ave an imaginative approach to $or+

• %ave spatial a$areness and a sense o' design

• %ave a passion 'or 'ilm

• %ave a positive attitude and cheer'ul disposition

• cellent leadership and management s+ills

• )e good at motivating people

• )e a*le to $or+ under pressure



• )e $illing to $or+ long hours

• )e a*le to cope $ith tight deadlines

• %ave good organisational and planning s+ills

• %ave good communication and presentation s+ills

• %ave good computer s+ills

• )e a*le to manage *udgets

• )e a good negotiator

• %ave good DIY# cra't and repair s+ills

• %ave good research s+ills

• 4 'ull ( driving licence

• )e a$are o' the relevant health and sa'et la$s and procedures

What does a $ro+ert, "aster- do?

/ropert 6asters are the 'irst mem*ers o' the /ropert Department to *e recruited onto productions. "he usuall start $or+ 'ive $ee+s *e'ore shooting *egins. /ropert 6asters are

responsi*le to /roduction Designers# and $or+ as part o' the 4rt Department. During pre&

production /ropert 6asters liaise $ith /roduction Designers and 4rt Directors to $or+ out

$hat props are needed.

4t this stage /ropert 6asters ma $or+ $ith production *uers to research period props and

stles o' 'urniture. r the discuss the re,uirements $ith specialist advisors. /ropert

6asters then dra$ up complete properties lists. From the lists# /ropert 6asters select $hich

properties are to *e *ought in# or hired# and $hich are to *e made.

Aiaising $ith production *uers# /ropert 6asters plan and manage the *udgets 'or ma+ing# *uing or hiring props. "he prepare the overall production schedule 'or their Department#

and produce the dail schedules 'or the team. For purchased or hired props# /ropert 6asters

ma+e sure accurate lists o' sources are +ept * /roduction )uers and /rops Storemen. For

props that have to *e made# /ropert 6asters $or+ closel $ith arpenters# /rop 6a+ers or

other artists.

"heir $or+ ma include planning# designing and adapting an special hand or set props. "he

attend all rehearsals# in order to note props8 placement and use# and an change in action that

a''ects props. /ropert 6asters ma also discuss hand props $ith 4ctors# teaching them ho$

to care# maintain and operate them. /rior to the shoot# /ropert 6asters $or+ closel $ith Set

Designers# Set Dressers# /rops Storemen# and Dressing /rops. "he have sort out the'urniture and set dressing re,uirements.



@ust *e'ore shooting starts and during 'ilming# /ropert 6asters and /rops Storemen co&

ordinate the loading# transport and storage o' all props. "he need to ma+e sure that all props

are correctl placed 'or the relevant teams and 4ctors. "he also oversee continuit and co&

ordinate storage *et$een shoots or rehearsals. During post production /ropert 6asters

oversee the return o' all hired props and organise the sale or sa'e disposal o' an other properties.


You don7t need a speci'ic ,uali'ication. )ut ou $ill need a *ac+ground in art or design. I'

ou are considering ta+ing a 'ilm production course in higher education# the 'ollo$ing






You $ill need man ears8 eperience in the /rops Department. You can move through the

di''erent roles o' Stand* /rops# Dressing /rops# /rops Storeman# and 4ssistant /ropert

6aster.

This is a generic term, and may refer to a man or woman



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Roles and Responsibilities

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