Executive Producer
An executive producer is the individual who is either financing a film, or is representing a studio or
party that is financing a film. Films can have multiple investors, and therefore more than one
executive producer. Executive producers may not have any movie-making experience at all. When a
studio invests in a motion picture and it assigns an executive to oversee the making of the film, this
executive is given the title executive producer. But he or she doesn't have a specific job on the set.
Instead her responsibility is to make sure that everyone else is doing their job that the project is on
schedule and is not over budget. The executive producer protects the investment by overseeing the
project. The executive producer will work closely with the director if any concerns arise. For example,
if anything at all goes wrong that threatens the picture staying on budget or on schedule, the
executive producer will press for solutions. Another role of executive producer is to make sure that as
the film is being made as planned; they ensure that ad hoc changes do not inherently alter the
original project the studio approved. Sometimes viewed as an outsider or interloper, it is nevertheless
the function of an executive producer to look over people's shoulders. Movies could not be made
without financial backers, and executive producers play a credible role in protecting the investments
of those backing the art of film making. There is an exception to the rule of executive producers being
"outsiders." Sometimes an actor, director, or producer will financially invest in a film he or she is
making. In this case the investor will carry the title of executive producer in addition to their normal
credit of actor or director. Anyone with enough money to invest can become an executive producer.
This title does not require experience of any kind, or input into the process.
Producers
A producer is the individual who works to create the conditions necessary to make a film or television
series or show. Producers are typically involved in a production from the early development stages
through to the completion, and their roles in a production vary, depending on the industry and how
the production crew is structured. Producers are extremely important in the filmmaking hierarchy, and
a number have become notable in their own right, thanks to their efforts on major films or on behalf of
major studios. Producers are often heavily involved in the finances of the projects they work on. They
are responsible for securing funding and managing the finances. As a result, producers are typically
included in major hiring and firing decisions, and they may pick out some of the personnel who work
on the production, ensuring that the production has the desired cast and crew. Many producers
participate in the day to day operations of the production, especially in the case of line producers,
who actually supervise daily operations and manage budgets. After the director, the producer is a
crucial part of the artistic team, making decisions about the ultimate look and feel of the piece. Some
times, relationships between directors and producers can become strained, especially when they
come into creative conflict.
Production Assistant
A production assistant is an entry-level gofer hired by producers to perform routine and none routine
tasks on and off the movie set or studios. Production assistant's responsibilities change from day to
day. He or she might deliver script changes to the director at a remote shooting location, or coffee to
the lighting crew. The producers may send a production assistant to pick up a replacement part for a
camera or deliver film canisters to the processing lab. If a scene calls for extras or atmosphere, a
production assistant might participate as a background actor or assist in the direction of hired extras.
It's not unusual for a production assistant to find himself performing menial tasks like operating a
snow machine or collecting props after a scene. A production assistant may have an opportunity to
interact professionally with major actors and directors. There may be some travel to exotic set
locations as well. Sometimes a production assistant may get an official screen credit, which can be a
positive step towards bigger and better positions in the future. The experience gained by working as
a production assistant can be invaluable to film students and theater majors. Schedules can be
variable. Production assistants must be flexible enough to handle all sorts of assignments, no matter
how menial they may seem. It's all about the finished product when working in the film industry.
Director
A director is responsible for overseeing all creative aspects of a film. From the "look" of the film to
trademark lighting or mood a director can be recognized by their signature or style. When a director
reads a script he or she develops a personal vision for how that story should be told. Whether it is a
dark tale, a story of triumph, or one of passion, the director's unique vision will be responsible for
presenting it in a way that no other director would. A director sees beyond the words on the page to a
moving picture with specific shots, lighting, mood, nuance and emotion -- all visually created for the
screen. If the initial script needs work, the director will make suggestions to the writer for improving
the script. The director may also bring key crew members to the project that he has successfully
worked with in the past. He will be responsible for approving each and every camera angle, lens
effect, the lighting, and set design. The director also works closely with the cast, meeting before each
scene to do a run through. Here he gets a feel for how the actor will play the scene. If needed, the
director can provide motivational insight, or tweak performances by making suggestions. He will also
listen to the suggestion of the actors. Studio executives or executive producers, will visit the set to
make sure the project is on schedule and on budget. The director will work with the studio execs to
make sure they're happy about how the film is progressing. At the end of the shooting day, the
director, producer and key crew members will screen that day's footage in what are called dailies.
Here they can see if scenes will need to be re-shot. The director will also be involved in post-
production when the film gets edited into its final form. Although a director is responsible for the vision
behind a film, a good director also listens to his crew and cast and works collaboratively. There are
many talented people involved in the making of a film and utilizing each person's talent is what makes
a director, and the film, a success.
First Assistant Director
The first AD is typically considered one of the most important members of the crew. Instead of
contributing to the creative aspect of film making, the first AD is your best bet at actually assuring that
the film is made on a day to day basis. On a film set, a director is charged with communicating with
the actors and the cinematographer in order to film each shot. A first assistant director typically
ensures that all production elements are ready on schedule, or is able to inform the director about
any possible delays that may slow production. A good AD will allow the creative team the ability to
focus on their work while ensuring that the budgetary and practical needs of the production are met.
First assistant directors also typically work with the director and cinematographer to create a realistic
daily shooting schedule. Accurately judging how much time a particular scene or sequence will take is
a vital part of the assistant directing job. Some basic qualifications are necessary to become a first
AD. Assistant directors frequently do a difficult tightrope-walking act between producers, directors
and the cast and crew. An even temper and positive response to stress is extremely important.
Moreover, aspiring assistant directors must show excellent time-management and multi-tasking
abilities. If your interest is that of becoming a first assistant director, we suggest to first gain
experience working as a production assistant or runner. This valuable work will give you time to
observe the workings of a film set while gaining contacts within the industry. Practice breaking down
scripts and prepare shooting schedules by volunteering as an assistant director with student film
productions. A first assistant director is not to be confused with an assistant to the director. Your job
is not to be fetching coffee for the director; it is to ensure that his actors are in costume and makeup
on a set that is lit, safety-checked and ready to be shot. The job of a first assistant director is nearly
invaluable, but often thankless. Many directors and producers started their careers in this difficult job,
the hours may be long and the frustrations plenty, a first AD can rest assured that not only are they
essential to the film-making process, but also they are gaining huge amounts of experience that will
help them to reach their career goals.
Casting Director
The casting director usually defers to the main director on lead roles. Instead, the casting director
must work on filling the roles of all spoken parts, and on overseeing the hiring of all extras. In
productions with lots of people, the casting director and his or her assistants may have to see
thousands of people to fill hundreds of rolls. The casting director usually gets some direction from the
director of the film, so he or she can make decisions about who will best fit these roles. Essentially the
goal of the casting director is to employ people who will fit with the director’s, and possibly the
producer’s, artistic ambitions. Usually, actors go through several casting calls. At first, assistants may
oversee auditions. If the assistants decide that the person auditioning for a role may be right for a
part, then the person is given a callback. There may be several callbacks. The casting director who
may only be present at the last audition usually makes final decisions. Unlike many extras or aspiring
actors, most moderately to well-known stars do not have to go through as many callbacks to be seen
by a casting director. A film director who wants a certain person for a role may initiate this audition
process, or the actor’s agent may initiate it. Often the casting director will immediately hear a person
read, or sing for a role, though callbacks may be involved if the casting director has not made a final
decision. Casting directors are often criticized for their choices regarding casting. Frequently, casting
directors are accused of being sexist, racist, ageist, or otherwise discriminating. Criticism of casting
directors arises from the belief that they cast actors that are not necessarily a true reflection of
society. Usually, the casting director focuses on the artistic vision of the director, without preference
to his or her own ideas on who should play a role. Thus decisions about the race, gender, or size of
those employed are usually out of the casting director’s hands.
Composer
He or she could compose music for symphonies, symphonic bands, jazz ensembles, gospel choirs,
classical choirs or others. Music could be for live performance, recording, or as part of TV, radio, or
film. A composer might be paid in advance to create specific music, or a person who is actively
involved the musical world may simply create compositions, much as one might create a novel or
poem. When works are not requisitioned, the composer might spend some time attempting to get
performance of a work or a recording of it. Composition of music involves many elements. Whether or
not composers are formally trained, they have to understand sound of instruments, sound of how to
mix notes, chords and keys, time signatures, and the work that has come before them, so they remain
original. Training and genius may help the composer ultimately put together and write music. A
number of composers are now greatly aided with scoring software, which can help play different
musical instruments and write notes. Others prefer to do this work by hand.
A Foley Artist
His or her job is normally as part of a sound technician team that provides and controls a variety of
sounds throughout the production. The Foley artist position differs from that of a sound designer. A
sound designer normally manipulates existing audio effects through mixing or distortion to create the
desired sounds. A Foley artist, on the other hand, is typically expected to create natural sounds
through maneuvering everyday objects. Foley artist creates sounds for movies, television and theater
productions that mimic the inherent sounds of daily life to add realism to the story being told through
the actors. He or she may work for a studio or theater production group or be a self-employed
contractor. Some of the most common sounds required to be produced by a Foley artist include
doors opening and closing, people ascending or descending stairs, shuffling papers and pets
scratching. Other typically requested sounds are wind blowing, thunder, blows being struck and the
sounds of fire igniting or crackling. Occasionally the sound of colliding objects, such as automobiles
or trains, is required. Many Foley artists have their own props to create the most commonly
requested sounds. These props frequently include boards, metal boxes and balls, shells, shoes and
boots, and various types of materials such as aluminum foil, paper and rubber. Vegetables and fruits
that emanate human sounds like striking blows and crunching bones when dropped, broken or struck
are often found among this artist’s props as well. Before a production gets underway, the sound
supervisor normally reviews the audio requirements of the project. Once these are determined, the
sound designer and Foley artist are generally given a list of what they need to create. Both of these
sound effect professionals are ordinarily required to revamp their suggested effects as the
production progresses. They often work in conjunction with each other on the final sound
requirements to assure the correct timing and integration of their respective work. Foley artist are
generally expected to have exemplary timing skills to assure the sounds are perfectly in sync with the
actions being performed. She or he is also normally expected to have the ability to quickly switch
between a variety of sounds that may be required in a short amount of time to make the production
smoothly flow. Good hearing capabilities are a typical requirement for a Foley artist. There are no
formal educational requirements for the position of Foley artist. Courses in sound and audio
engineering, theater arts or film production are desirable. A background in sound effects or Foley
arts in a theater, film or television production environment are generally considered assets for
aspiring Foley artists.
Sound Technician
A sound technician is in charge of making the proper adjustments to sound equipment so that
performers can be heard clearly. This job requires a great deal of technical knowledge and some
schooling often is necessary. Unique skills and duties are needed to help engineers create
memorable broadcasts and performances for audiences around the world. Education and experience
are crucial to success as a sound technician. Most positions require an associate's degree or a
bachelor's degree in sound or broadcast engineering. These classes teach students about acoustics
and equipment in order to prepare them for a life as a broadcast engineer. Experience also can be
gathered by finding work as an assistant sound technician at a studio or a performance venue. The
technician, or sound mixer, primarily is responsible for maintaining and setting up sound equipment.
There typically are a series of microphones and cables that must be properly hooked up to a sound
board and properly tested before any performance can occur. The sound technician must have
strong acoustical senses to know when something sounds good or needs to be adjusted. A sound
technician makes adjustments in order to achieve greater clarity and signal strength. There are many
skills a sound technician must possess in order to perform this job well. The biggest attribute is
excellent stress management skills, because most broadcasts and stage performances are live, and
adjustments must be made quickly. Communication skills also are a necessity, because a sound
technician often will be supervising many assistants and working with directors, so he or she must
clearly state the audio needs to both parties. Also, a technician must have "good ears" and be able to
hear slight differences or problems that others would not notice. A sound technician can be found
working in a variety of locations. The most common place for this work is within broadcasting studios
for radio and television. Stage performances also require many microphones and a sound mixer in
order to get the voices clearly from stage to the audience. Another place where sound engineers find
work is with musical acts, in order to capture instruments and voices perfectly in a club or theater.
Film or Broadcast Editor
A video or film editor plays a vital role in the post-production process of video or film-making. Editors
are skilled storytellers, charged with cutting hours and hours of shots together to create a cohesive
story. Becoming an editor typically requires considerable experience with editing software, as well as
an excellent understanding of story and an ability to work in harmony with the production’s director to
create a finished product. Perhaps more than any other area of production, editing has benefited
enormously from the invention of computer technology. In the early days of films, editors did their
work by actually cutting and pasting individual film frames together to create a completed work. If
anything needed to be changed, the film had to be taken apart, re-organized, and put back together.
Since the advent of digital technology, a film editor can create vastly different versions of scenes
within minutes, with the computer taking over the laborious function of splicing the images together.
When shooting on a film has completed, an editor typically does an editor’s cut, also known as the
rough cut or first cut. By combining all the footage together in a coherent, cohesive manner, the
editor creates a working model that can be altered by working in harmony with the director and
producers to create a final version, or final cut. The rough cut is an extremely important part of post-
production; it can help expose holes in the story and highlight missed moments that can sometimes
be re-shot to create a more complete story. Since films are typically shot out of order, the rough cut is
also almost always the first time that the completed footage will be seen as a chronological story with
a beginning, middle, and end. Editors typically train for a career through a formal education at a film
school or by gaining knowledge through extensive practical experience. Some film editors have a
natural knack for computer technology, and many cross-train in related fields to improve their own
skill level. It is not uncommon for editors to have experience with computer graphics programs, sound
editing, directing, and screenwriting. In some ways, the editor must be a jack of all trades:
understanding a story, choosing the best shots and takes to express an emotion or explain a
situation, and comprehending the importance of visual effects and music are all important parts of
being a film editor.
Operations Director
An operations manager has four areas of responsibility: supervising staff, project management,
working with clients, and acting as a resource. Operations manager is a role found in a wide range of
industries. The primary role of the operations manager is to resolve daily issues and work staff to
improve customer service. People who enjoy interacting with others, are natural leaders, and have
excellent interpersonal skills find this type of position rewarding. There is a level of instruction or
guidance as part of this position that is a new skill for most managers. Oral communication, conflict
resolution, and team building skills are highly valued in this role. Operations managers are required
to supervise or manage teams of operations staff. The number of individuals and the breadth of
areas they are responsible for vary by industry. For example, an operations manager for a large
grocery store may be responsible for the produce, grocery, and baked goods department. The same
type of manager in a smaller, boutique shop may be responsible for the daily operation and
management of the whole store. Project management forms an important part of the operations
manager’s day. In this role, he or she is responsible for project planning, creating time lines,
organizing regular meetings, working with contractors, and keeping the team on track. Projects can
include physical renovations to the space, changes of merchandise, or the launching of a new
product. Interacting with the client is an important part of the role of operations manager. He or she is
typically involved in conflict resolution, providing guidance on store policy, working with unsatisfied
customers, and dealing with complaints. In this role, conflict resolution and effective communication is
critical. The ability to work well with a wide range of people, resolve problems quickly, and sharing
information and experience with staff are important skills. Many operations managers find that taking
additional courses in team building, effective communication, and mentoring can be very helpful. The
dynamic of any team is based on the behavior of the team leader. In a Television or film production
environment each production is viewed as a project. The Operations Director is responsible for all
production schedules within the studios, budgets, clients, and communication among production and
post-production and graphics teams, including human and technical resources. Establishing
operations procedures that will ultimately help quality control during production, communication and
follow up of each project and personnel is among other areas of responsibilities. Operations is also in-
charged of studio time and equipment as well as all on location productions.
Production Manager
Just as the job title implies the film and video production manager is responsible for managing all
issues of production below the actual directing of the film or video. This means chief operating officer
delegates and controls all aspects of the filming and organization for the filming including dealing with
issues and concerns of the cast and crew. The production manager also assists in any aspect of the
filming that he or she may be required to, which means having a good understanding of all the
various jobs involved in creating a film, video or television show. One of the major responsibilities of
the production manager is to keep the production according to the timeline to ensure production
dates are met. This is very important for budget reasons as increasing the time on the set increases
the costs of production of the film. Besides just the financial aspect the production manager must also
deal with often temperamental directors, actors and actresses, and even crew members. Managing
both the financial and budget issues of the production can be very stressful. Most film and video
production managers have a background in some type of formal education involving film or film
production. In addition they also have experience working within the film industry and have proven
their ability to work with others in management positions. The production manager works closely with
the director, production engineers and production coordinator to keep the project advancing as
smoothly as possible
Floor Manager
A floor manager for television acts as the liaison between the director of a production, usually in a
control room, and the people and activities on the production set itself. The responsibilities of this
position typically include ensuring that all the necessary technical aspects of a production set are
functioning properly, such as proper placement of cameras and lighting, props and furniture,
organizing performers and audience members during a performance, and dealing with any potential
safety issues on a set. A floor manager is usually more concerned with the technical side of a
production. This can include seeing to the needs of performers before they are on camera, helping
audience members who may need assistance, and ensuring all the physical aspects of a set are
working properly. The quality checks on lighting, cameras, and other equipment, handling the
logistics of a broadcast, and relaying information between the control room and the floor crew are all
aspects of what a floor manager does during a performance. A floor manager can act as the eyes
and ears of the director on the set, relaying information from what is happening on the floor to the
control room. This can involve telling the director about anything happening off camera, such as if a
cast member was feeling ill, and keeping things running smoothly on the set. A floor manager can
also work at an exterior location during broadcasts of outdoor concerts or sporting events. For this
type of broadcast, he or she will usually coordinate actions between the control room and what is
happening at the actual location.
Boom Operator
A boom operator is responsible for capturing live sound during on movie or television sets. The title
refers to one type of microphone held by the operator, which is called the boom mic. Working as a
boom operator requires some basic training and also requires shoulder and arm strength, as the
microphone must be held up for long periods of time. A boom operator may serve as the microphone
technician for an entire set, in charge of not only the boom mic, but area and body microphones as
well. Because of this type of responsibility, it is important for a boom operator to have a good
background in acoustics and knowledge of sound recording. Boom operators, often in concert with
the sound mixer, must be able to quickly judge the acoustics of any shooting location and set up a
microphone system that will capture as much of the sound as possible. The microphones most often
associated with a boom operator consist of a long pole with a detachable microphone head. There
are several different types of boom microphones that can be used with the pole, but one of the most
basic is called a shotgun mic. These microphones are held just outside the frame of the camera, and
typically serve as the main microphone capturing dialogue spoken by actors. Often, the easiest place
to hold a boom mic is just above the camera frame, meaning that the boom operator must hold the
boom pole over his or her head for the entire shot, never allowing the microphone to dip into the
frame. In addition to bracing the boom mic over his or her head, the operator must also sometimes
twist the pole back and forth to angle the placement of the microphone. If two or more actors are
speaking in a shot, the operator may be constantly switching the placement of the microphone to
catch each actor's words. Boom operators must be able to communicate easily with the sound mixer,
who typically is nearby whenever sound is being recorded. The mixer often listens on headphones to
the sound coming through the boom microphone, and can give valuable information about how the
recording is going. Occasionally, an operator will also serve as a sound mixer, and will be able to
hear what the microphone is picking up directly through headphones.
Technical Directors
Film industry technical directors work in film or television. Like in theater, film industry directors
usually work at a facility and oversee all operations within that facility. The director typically is an
expert in the operation of all film and video equipment required for use in a production, including
cameras, generators, editing equipment, and lighting. He or she determines the needs of a
production in collaboration with the director, then hires, trains and manages crews to support the
production’s technical operation. The director typically coordinates his or her efforts with managers of
other departments, and develops and provides procedural policies for use by all crews, teams, and
managers. In some broadcast television stations, technical directors are in-charged of assisting
camera directors with all technical aspects such as camera and graphic generators resources
switching, coordinating all lighting and sound equipment and crew members during a show, following
all directors command.
Lighting Technician
Is the person in charge of setting up the lights and lighting effects used in theatre, film and television.
Their work covers a wide range of effects, from standard lighting of a stage, to special effects such as
strobes, laser shows, searchlights, and more. Lighting technicians work closely with directors and art
directors to determine the appropriate effects and looks for every shot of a movie or scene in a play.
Their role requires a great deal of technical knowledge and understanding of complex systems, as
they spend much of their time setting up, repairing, and dismantling lighting arrays and the computer
and electronic systems used to control them. At the basic level, lighting technicians are responsible
for things such as aiding in setting up and dismantling the systems, making sure everything continues
to be in working order, and taking direct orders from a stage or floor manager. With experience and
certification, technicians begin coordinating larger shows, programming complex lighting effects with
computers, and generally tackling larger and more ornate jobs with a crew of technicians working
underneath them. Lighting technicians keep some of the least social hours in the entertainment
industry, as their work involves arriving at a set long before others have arrived to set up the lighting
systems, and leaving long after everyone else has gone home while dismantling those same systems.
Extensive training is necessary to become a lighting technician, as they are responsible for knowing
the operation of more equipment than any other member of a film or television crew. Myriad cable
types, extension lugs, various adapters and connectors, a dizzying array of lighting systems, and
complex, programmable computers for handling difficult transitions are just a few of the tools a
lighting technician must be proficient with.
Camera Operator
The chief camera operator on a film set is usually the cinematographer. Many cinematographers,
especially those working on small budget films, work without assistants. On large productions
however, one or two other camera operators typically aid the cinematographer. A cinematographer
usually works with the film director and art department to plan the images to be included in a shot.
This job is often both highly creative and technical. Cinematographers often need to be aware of
many factors affecting a shot, such as lighting, lenses, lens filters, and camera movement
Camera Assistant
Assistant camera operator jobs include varied tasks, like focus pulling, loading film, and operating the
clapper. Focus pulling involves manipulating the camera lens at the direction of the cinematographer
during a shot. Assistant camera operators may have to roll undeveloped film onto spools that are
loaded into the camera. Also, the clapper is a tool that camera operators use to sync the film with any
audio tracks.
Director of Photography
A Director of Photography supervises the filming of movies, commercials, television series, or any
other sort of filmed production. It is common to see the terms “Director of Photography” and
“Cinematographer” used interchangeably, although this usage is not acceptable in all regions, as
sometimes these jobs are actually quite distinct from each other. The Director of Photography is
responsible for the look and feel of a piece on film. Three things are necessary to become a good
Director of Photography: training, experience, and a good eye. Many people interested in careers in
cinematography go to film school, where they learn about the mechanics of the work and have an
opportunity to participate in internships on set to get a feel for the work. Then, they work their way up
through the ranks on set, often working in a variety of positions to learn more about the business,
before finally becoming Directors of Photography, in which case a good artistic eye becomes crucial.
On set, the Director of Photography (or DP) supervises the camera and lighting crews, and he or she
will work closely with the set designers, costumers, and makeup artists. Often, the Director of
Photography and the Director both have final say over which cuts will be included in the finished
piece, and the two work closely together to achieve the desired look. The Director of Photography will
use lighting, filters, and a variety of camera techniques to shoot a scene in accordance with the
wishes of the director. A Director of Photography may also be involved in post-production, working
with the sound and color artists to develop and reproduce the film. The DP often works closely with
the editing staff as well, creating a consistent look throughout a scene, even if it was shot over the
course of hours or days. The relationship between a Director of Photography and a Director can
vary. A really talented Director of Photography may require minimal direction, as he or she
instinctively understands what is needed. Other Directors prefer more control, and they may go as far
as to specify particular settings on the camera, especially with new and unfamiliar Directors of
Photography, to ensure that the piece turns out as they envision. Some DPs become quite famous
for producing distinctive, high quality work with incredible artistic vision, and they may be offered
awards or invited to join elite societies. For people interested in cinematography careers, a chance to
work or train with these leading lights in the field is a great honor.
Digital Imaging Technician
A digital imaging technician (or DIT) works in collaboration with a cinematographer on work flow,
systemization, signal integrity and image manipulation, to achieve the highest image quality and
creative goals of cinematography in the digital realm. A DIT's role is especially prevalent with the
widespread use of HD technology, in assisting cinematographers normally accustomed to film stock in
achieving their desired look. They may also be in charge of transferring and managing the image
data, replacing the traditional film loader position. The Digital Imaging Technician is a relatively new
position on a motion picture set. It was created as a response to a transition from the traditional film
medium into Digital formats such as High Definition Video. Video reacts differently than film in many
situations. The image is different and so is the method of achieving the best quality possible. The D.I.
T.'s job is to work with the Cinematographer and help achieve the best results. This includes but not
limited to: monitoring exposure, setting up look up tables (LUTs), set camera settings, etc. In the end,
the image integrity is the main focus.
Teleprompter Operator
Is either a camera operator that operates a Teleprompter or a dedicated Teleprompter operator from
another location that operates is an electronic device used primarily to display text and cues for on-
air newscasters and other professional talents. The use of the teleprompter has largely replaced the
need for handwritten cue cards or other off-camera prompts, although many studios still use cue
cards as a back-up or emergency communication method. Early Teleprompters were only used when
the actor was required to speak directly to the camera, as in the case of live commercials. Later
teleprompter devices used paper scrolls to provide text and cues to the on-air talent, who were often
at the mercy of reading speeds selected by the teleprompter operator or director. Another problem
was a loss of direct eye contact as the performer read from an off-screen teleprompter. During the
early 1980s, a workable solution was found for many of the early teleprompter's inherent problems. A
personal computer could be used to generate and scroll electronic text on a monitor. This monitor
could be placed above or below the lens of a television camera without being visible to the home
viewer. A special one-way mirror or a shrouded piece of window glass could be angled to reflect the
monitor's text towards the on-air talent. Since this reflected text does not enter the camera's lens,
only the on-air talent can view the contents. This feature of a modern teleprompter allows the
performer to maintain apparent eye contact with the audience while reading a prepared script. The
reading speed can be controlled by the camera operator, director or even the talent. A teleprompter
helps create the illusion that a news anchor or politician is speaking spontaneously, when in fact the
words have been carefully scripted before the broadcast. One of the technical challenges involved
with a teleprompter is the creation and display of text. Because the reflected image of the text is
reversed, the original text display must also be reversed to compensate. This reversed text feature
proved to be quite a challenge for programmers during the earliest days of word processing software.
Text reversal continues to be a concern for teleprompter programmers, but there are recent
innovations in the industry that may provide teleprompter text without such a need for alterations.
Production Coordinator
For the most part, film or television coordinators work to produce a film or television program. Film
production coordinators typically organize and maintain steady work flow for film, television, or TV
commercial production. To help increase efficient communication between members of the cast and
crew, most production coordinators keep in contact with all the people involved in the production.
They may also manage some of the production paperwork. One of the main jobs of this coordinator is
to ensure that all vendors, actors, and crew members have signed work contracts. Another major job
duty of a film production coordinator is to coordinate changes in filming locations. He or she is
typically the person who maintains the production schedule by working with directors, production
managers, and location scouts to determine when and where the filming will take place. This
sometimes involves coordinating a crew of hundreds of people so that all of them arrive on time at the
right location.
Grips
Key Grip A Key Grip is actually the chief supervisor of a union crew responsible for moving lights,
dolly tracks, cranes and scenery. While grips are primarily hired for their physical strength and
construction skills, a key grip also has some administrative responsibilities. A key grip works very
closely with the head electrician, known in the movie business as a gaffer. As part of a pre-production
movie crew, the key grip, gaffer, director of photography and a location producer will discuss the
logistics of a specific filming site. All of these people must understand the needs of the script and
have an understanding of how difficult a particular location shot might be. The key grip must
determine if lights can be rigged up safely on a mountainous set, for example. Cameras often work on
a system of tracks called dollies. It is the work of grips, working under the supervision of a key grip, to
install these tracks and remove them after the shots. Even if the film is shot on a set inside a studio,
grips must move walls and lights to accommodate cameras and dollies. Because the position of grip is
almost entirely unionized, breaking into the ranks is difficult without connections. Experienced grips
with good work practices can be promoted to the position of 'grip boss'. The grip boss works closely
with the key grip in order to translate general orders into specific job assignments.
Best Boy Grip
A best boy grip is the assistant to the key grip, the man or woman responsible for making sure
cameras and lights are where they are supposed to be during production.
Gaffer Grip
Gaffers, professional electricians are primarily responsible for lighting and electrifying a movie set.
The term gaffer is often used interchangeably with chief lighting technicians. Gaffers often work
closely with the director of photography to set up special lighting effects or supply electrical power to
stage equipment. Gaffers are also responsible for hiring qualified electricians and assistants. They
must also know which filters to employ for specific effects, and how to simulate such conditions as a
moving train or flashing signs in the distance. Gaffers may have to work under hazardous conditions,
setting up banks of lights high above a movie set or making repairs during bad weather. Some larger
productions may call for enough generators to power a small city, so gaffers must also pay close
attention to safety measures. Some do-it-yourselfers may be familiar with an adhesive called gaffers
tape. This product looks similar to cloth-backed duct tape, but gaffers tape is not quite as adhesive.
Gaffers actually use gaffers tape to bind cable wires together or attach lighting fixtures to other
surfaces. Since movie and television sets are designed to be temporary, the less-adhesive gaffers
tape allows electricians to remove set-ups without significant residue. Gaffers often work their way up
the ranks from basic electrician to best boy, the movie industry's name for a gaffer's chief assistant.
Some people may be hired by a movie company as electricians, but they may not necessarily have
specific training in that area. Basic set electricians may only be required to move electrical cables out
of the camera operator's path or flip switches according to cues from the lighting director. Gaffers, on
the other hand, usually have extensive electrical training and a strong interest in the artistic side of
film making.
Location Manager
A location manager is a member of a film or television production team who is responsible for
handling the details of filming on location. The job of the location manager is to make on location
shoots go smoothly, usually with the assistance of one or more assistant location managers and
other support crew. During the development stages of a film or television episode, the location
manager meets with other key members of the crew while they break down the script and storyboards
to determine what is needed for the production. The location manager generates a list of needed
locations and talks with the director about what is visualized for each location. Once locations are
identified, the location manager handles the logistics of filming. This includes getting permission and
approvals to film, handling all necessary permits, organizing local crew who will be needed to assist,
alerting people in the area to the fact that film will be occurring, and interacting with the community to
keep relations between the film crew and community members smooth. This is especially important in
frequently used locations, where positive relations between the film and television industry and the
community are critical so that these locations can continue to be utilized.
Location Scout
Once a need is realized for a scene that might not be suited to be photographed in a studio setting
that a search is begun for a suitable place or "location" outside the studio. Location Scouting is the
process in the pre-production stage of filmmaking. Suitability of a location to the task at hand takes
into consideration some factors including, but not limited to: overall aesthetic, financial cost to
production, logistic feasibility including but not limited to distance from base of operations or other
locations scheduled, availability of parking and availability of facilities to keep crew and talent safe
and dry at all times. Availability of electrical power and/or feasibility bring in power generators for
lights and other anticipated electrical needs. Available light, if indoors or outdoors and weather
conditions if outdoors, permission from and cooperation of location owner as well as neighbors and
local government. Typically, ideas for what a location should or could be are discussed between
Production and Locations staff. Locations personnel duties often extend beyond pre-production and
into actual production; a location manager and/or other Locations personnel are often needed during
actual shooting and at wrap to help assure smooth crew movement, coordinate crowd control and to
assure a smooth departure from a given location after the shoot.
Transportation Coordinator
The transportation coordinator is the head of the transportation department and is responsible for
obtaining and managing all vehicles associated with a production, including big trucks, trailers for the
makeup, hair, lighting, camera, and wardrobe departments, dressing room trailers, honey wagons,
personal trailers for the director, stars, and others, picture cars, and all rental cars for cast and crew.
The coordinator also hires and manages the transportation captain and drivers.
Transportation Captain
The captain assists the transportation coordinator in the leasing and insuring of all production
vehicles, hiring the drivers, and generally overseeing the drivers and vehicles while on set.
Picture Car Coordinator
Finds and coordinates all the cars driven in the film.
An executive producer is the individual who is either financing a film, or is representing a studio or
party that is financing a film. Films can have multiple investors, and therefore more than one
executive producer. Executive producers may not have any movie-making experience at all. When a
studio invests in a motion picture and it assigns an executive to oversee the making of the film, this
executive is given the title executive producer. But he or she doesn't have a specific job on the set.
Instead her responsibility is to make sure that everyone else is doing their job that the project is on
schedule and is not over budget. The executive producer protects the investment by overseeing the
project. The executive producer will work closely with the director if any concerns arise. For example,
if anything at all goes wrong that threatens the picture staying on budget or on schedule, the
executive producer will press for solutions. Another role of executive producer is to make sure that as
the film is being made as planned; they ensure that ad hoc changes do not inherently alter the
original project the studio approved. Sometimes viewed as an outsider or interloper, it is nevertheless
the function of an executive producer to look over people's shoulders. Movies could not be made
without financial backers, and executive producers play a credible role in protecting the investments
of those backing the art of film making. There is an exception to the rule of executive producers being
"outsiders." Sometimes an actor, director, or producer will financially invest in a film he or she is
making. In this case the investor will carry the title of executive producer in addition to their normal
credit of actor or director. Anyone with enough money to invest can become an executive producer.
This title does not require experience of any kind, or input into the process.
Producers
A producer is the individual who works to create the conditions necessary to make a film or television
series or show. Producers are typically involved in a production from the early development stages
through to the completion, and their roles in a production vary, depending on the industry and how
the production crew is structured. Producers are extremely important in the filmmaking hierarchy, and
a number have become notable in their own right, thanks to their efforts on major films or on behalf of
major studios. Producers are often heavily involved in the finances of the projects they work on. They
are responsible for securing funding and managing the finances. As a result, producers are typically
included in major hiring and firing decisions, and they may pick out some of the personnel who work
on the production, ensuring that the production has the desired cast and crew. Many producers
participate in the day to day operations of the production, especially in the case of line producers,
who actually supervise daily operations and manage budgets. After the director, the producer is a
crucial part of the artistic team, making decisions about the ultimate look and feel of the piece. Some
times, relationships between directors and producers can become strained, especially when they
come into creative conflict.
Production Assistant
A production assistant is an entry-level gofer hired by producers to perform routine and none routine
tasks on and off the movie set or studios. Production assistant's responsibilities change from day to
day. He or she might deliver script changes to the director at a remote shooting location, or coffee to
the lighting crew. The producers may send a production assistant to pick up a replacement part for a
camera or deliver film canisters to the processing lab. If a scene calls for extras or atmosphere, a
production assistant might participate as a background actor or assist in the direction of hired extras.
It's not unusual for a production assistant to find himself performing menial tasks like operating a
snow machine or collecting props after a scene. A production assistant may have an opportunity to
interact professionally with major actors and directors. There may be some travel to exotic set
locations as well. Sometimes a production assistant may get an official screen credit, which can be a
positive step towards bigger and better positions in the future. The experience gained by working as
a production assistant can be invaluable to film students and theater majors. Schedules can be
variable. Production assistants must be flexible enough to handle all sorts of assignments, no matter
how menial they may seem. It's all about the finished product when working in the film industry.
Director
A director is responsible for overseeing all creative aspects of a film. From the "look" of the film to
trademark lighting or mood a director can be recognized by their signature or style. When a director
reads a script he or she develops a personal vision for how that story should be told. Whether it is a
dark tale, a story of triumph, or one of passion, the director's unique vision will be responsible for
presenting it in a way that no other director would. A director sees beyond the words on the page to a
moving picture with specific shots, lighting, mood, nuance and emotion -- all visually created for the
screen. If the initial script needs work, the director will make suggestions to the writer for improving
the script. The director may also bring key crew members to the project that he has successfully
worked with in the past. He will be responsible for approving each and every camera angle, lens
effect, the lighting, and set design. The director also works closely with the cast, meeting before each
scene to do a run through. Here he gets a feel for how the actor will play the scene. If needed, the
director can provide motivational insight, or tweak performances by making suggestions. He will also
listen to the suggestion of the actors. Studio executives or executive producers, will visit the set to
make sure the project is on schedule and on budget. The director will work with the studio execs to
make sure they're happy about how the film is progressing. At the end of the shooting day, the
director, producer and key crew members will screen that day's footage in what are called dailies.
Here they can see if scenes will need to be re-shot. The director will also be involved in post-
production when the film gets edited into its final form. Although a director is responsible for the vision
behind a film, a good director also listens to his crew and cast and works collaboratively. There are
many talented people involved in the making of a film and utilizing each person's talent is what makes
a director, and the film, a success.
First Assistant Director
The first AD is typically considered one of the most important members of the crew. Instead of
contributing to the creative aspect of film making, the first AD is your best bet at actually assuring that
the film is made on a day to day basis. On a film set, a director is charged with communicating with
the actors and the cinematographer in order to film each shot. A first assistant director typically
ensures that all production elements are ready on schedule, or is able to inform the director about
any possible delays that may slow production. A good AD will allow the creative team the ability to
focus on their work while ensuring that the budgetary and practical needs of the production are met.
First assistant directors also typically work with the director and cinematographer to create a realistic
daily shooting schedule. Accurately judging how much time a particular scene or sequence will take is
a vital part of the assistant directing job. Some basic qualifications are necessary to become a first
AD. Assistant directors frequently do a difficult tightrope-walking act between producers, directors
and the cast and crew. An even temper and positive response to stress is extremely important.
Moreover, aspiring assistant directors must show excellent time-management and multi-tasking
abilities. If your interest is that of becoming a first assistant director, we suggest to first gain
experience working as a production assistant or runner. This valuable work will give you time to
observe the workings of a film set while gaining contacts within the industry. Practice breaking down
scripts and prepare shooting schedules by volunteering as an assistant director with student film
productions. A first assistant director is not to be confused with an assistant to the director. Your job
is not to be fetching coffee for the director; it is to ensure that his actors are in costume and makeup
on a set that is lit, safety-checked and ready to be shot. The job of a first assistant director is nearly
invaluable, but often thankless. Many directors and producers started their careers in this difficult job,
the hours may be long and the frustrations plenty, a first AD can rest assured that not only are they
essential to the film-making process, but also they are gaining huge amounts of experience that will
help them to reach their career goals.
Casting Director
The casting director usually defers to the main director on lead roles. Instead, the casting director
must work on filling the roles of all spoken parts, and on overseeing the hiring of all extras. In
productions with lots of people, the casting director and his or her assistants may have to see
thousands of people to fill hundreds of rolls. The casting director usually gets some direction from the
director of the film, so he or she can make decisions about who will best fit these roles. Essentially the
goal of the casting director is to employ people who will fit with the director’s, and possibly the
producer’s, artistic ambitions. Usually, actors go through several casting calls. At first, assistants may
oversee auditions. If the assistants decide that the person auditioning for a role may be right for a
part, then the person is given a callback. There may be several callbacks. The casting director who
may only be present at the last audition usually makes final decisions. Unlike many extras or aspiring
actors, most moderately to well-known stars do not have to go through as many callbacks to be seen
by a casting director. A film director who wants a certain person for a role may initiate this audition
process, or the actor’s agent may initiate it. Often the casting director will immediately hear a person
read, or sing for a role, though callbacks may be involved if the casting director has not made a final
decision. Casting directors are often criticized for their choices regarding casting. Frequently, casting
directors are accused of being sexist, racist, ageist, or otherwise discriminating. Criticism of casting
directors arises from the belief that they cast actors that are not necessarily a true reflection of
society. Usually, the casting director focuses on the artistic vision of the director, without preference
to his or her own ideas on who should play a role. Thus decisions about the race, gender, or size of
those employed are usually out of the casting director’s hands.
Composer
He or she could compose music for symphonies, symphonic bands, jazz ensembles, gospel choirs,
classical choirs or others. Music could be for live performance, recording, or as part of TV, radio, or
film. A composer might be paid in advance to create specific music, or a person who is actively
involved the musical world may simply create compositions, much as one might create a novel or
poem. When works are not requisitioned, the composer might spend some time attempting to get
performance of a work or a recording of it. Composition of music involves many elements. Whether or
not composers are formally trained, they have to understand sound of instruments, sound of how to
mix notes, chords and keys, time signatures, and the work that has come before them, so they remain
original. Training and genius may help the composer ultimately put together and write music. A
number of composers are now greatly aided with scoring software, which can help play different
musical instruments and write notes. Others prefer to do this work by hand.
A Foley Artist
His or her job is normally as part of a sound technician team that provides and controls a variety of
sounds throughout the production. The Foley artist position differs from that of a sound designer. A
sound designer normally manipulates existing audio effects through mixing or distortion to create the
desired sounds. A Foley artist, on the other hand, is typically expected to create natural sounds
through maneuvering everyday objects. Foley artist creates sounds for movies, television and theater
productions that mimic the inherent sounds of daily life to add realism to the story being told through
the actors. He or she may work for a studio or theater production group or be a self-employed
contractor. Some of the most common sounds required to be produced by a Foley artist include
doors opening and closing, people ascending or descending stairs, shuffling papers and pets
scratching. Other typically requested sounds are wind blowing, thunder, blows being struck and the
sounds of fire igniting or crackling. Occasionally the sound of colliding objects, such as automobiles
or trains, is required. Many Foley artists have their own props to create the most commonly
requested sounds. These props frequently include boards, metal boxes and balls, shells, shoes and
boots, and various types of materials such as aluminum foil, paper and rubber. Vegetables and fruits
that emanate human sounds like striking blows and crunching bones when dropped, broken or struck
are often found among this artist’s props as well. Before a production gets underway, the sound
supervisor normally reviews the audio requirements of the project. Once these are determined, the
sound designer and Foley artist are generally given a list of what they need to create. Both of these
sound effect professionals are ordinarily required to revamp their suggested effects as the
production progresses. They often work in conjunction with each other on the final sound
requirements to assure the correct timing and integration of their respective work. Foley artist are
generally expected to have exemplary timing skills to assure the sounds are perfectly in sync with the
actions being performed. She or he is also normally expected to have the ability to quickly switch
between a variety of sounds that may be required in a short amount of time to make the production
smoothly flow. Good hearing capabilities are a typical requirement for a Foley artist. There are no
formal educational requirements for the position of Foley artist. Courses in sound and audio
engineering, theater arts or film production are desirable. A background in sound effects or Foley
arts in a theater, film or television production environment are generally considered assets for
aspiring Foley artists.
Sound Technician
A sound technician is in charge of making the proper adjustments to sound equipment so that
performers can be heard clearly. This job requires a great deal of technical knowledge and some
schooling often is necessary. Unique skills and duties are needed to help engineers create
memorable broadcasts and performances for audiences around the world. Education and experience
are crucial to success as a sound technician. Most positions require an associate's degree or a
bachelor's degree in sound or broadcast engineering. These classes teach students about acoustics
and equipment in order to prepare them for a life as a broadcast engineer. Experience also can be
gathered by finding work as an assistant sound technician at a studio or a performance venue. The
technician, or sound mixer, primarily is responsible for maintaining and setting up sound equipment.
There typically are a series of microphones and cables that must be properly hooked up to a sound
board and properly tested before any performance can occur. The sound technician must have
strong acoustical senses to know when something sounds good or needs to be adjusted. A sound
technician makes adjustments in order to achieve greater clarity and signal strength. There are many
skills a sound technician must possess in order to perform this job well. The biggest attribute is
excellent stress management skills, because most broadcasts and stage performances are live, and
adjustments must be made quickly. Communication skills also are a necessity, because a sound
technician often will be supervising many assistants and working with directors, so he or she must
clearly state the audio needs to both parties. Also, a technician must have "good ears" and be able to
hear slight differences or problems that others would not notice. A sound technician can be found
working in a variety of locations. The most common place for this work is within broadcasting studios
for radio and television. Stage performances also require many microphones and a sound mixer in
order to get the voices clearly from stage to the audience. Another place where sound engineers find
work is with musical acts, in order to capture instruments and voices perfectly in a club or theater.
Film or Broadcast Editor
A video or film editor plays a vital role in the post-production process of video or film-making. Editors
are skilled storytellers, charged with cutting hours and hours of shots together to create a cohesive
story. Becoming an editor typically requires considerable experience with editing software, as well as
an excellent understanding of story and an ability to work in harmony with the production’s director to
create a finished product. Perhaps more than any other area of production, editing has benefited
enormously from the invention of computer technology. In the early days of films, editors did their
work by actually cutting and pasting individual film frames together to create a completed work. If
anything needed to be changed, the film had to be taken apart, re-organized, and put back together.
Since the advent of digital technology, a film editor can create vastly different versions of scenes
within minutes, with the computer taking over the laborious function of splicing the images together.
When shooting on a film has completed, an editor typically does an editor’s cut, also known as the
rough cut or first cut. By combining all the footage together in a coherent, cohesive manner, the
editor creates a working model that can be altered by working in harmony with the director and
producers to create a final version, or final cut. The rough cut is an extremely important part of post-
production; it can help expose holes in the story and highlight missed moments that can sometimes
be re-shot to create a more complete story. Since films are typically shot out of order, the rough cut is
also almost always the first time that the completed footage will be seen as a chronological story with
a beginning, middle, and end. Editors typically train for a career through a formal education at a film
school or by gaining knowledge through extensive practical experience. Some film editors have a
natural knack for computer technology, and many cross-train in related fields to improve their own
skill level. It is not uncommon for editors to have experience with computer graphics programs, sound
editing, directing, and screenwriting. In some ways, the editor must be a jack of all trades:
understanding a story, choosing the best shots and takes to express an emotion or explain a
situation, and comprehending the importance of visual effects and music are all important parts of
being a film editor.
Operations Director
An operations manager has four areas of responsibility: supervising staff, project management,
working with clients, and acting as a resource. Operations manager is a role found in a wide range of
industries. The primary role of the operations manager is to resolve daily issues and work staff to
improve customer service. People who enjoy interacting with others, are natural leaders, and have
excellent interpersonal skills find this type of position rewarding. There is a level of instruction or
guidance as part of this position that is a new skill for most managers. Oral communication, conflict
resolution, and team building skills are highly valued in this role. Operations managers are required
to supervise or manage teams of operations staff. The number of individuals and the breadth of
areas they are responsible for vary by industry. For example, an operations manager for a large
grocery store may be responsible for the produce, grocery, and baked goods department. The same
type of manager in a smaller, boutique shop may be responsible for the daily operation and
management of the whole store. Project management forms an important part of the operations
manager’s day. In this role, he or she is responsible for project planning, creating time lines,
organizing regular meetings, working with contractors, and keeping the team on track. Projects can
include physical renovations to the space, changes of merchandise, or the launching of a new
product. Interacting with the client is an important part of the role of operations manager. He or she is
typically involved in conflict resolution, providing guidance on store policy, working with unsatisfied
customers, and dealing with complaints. In this role, conflict resolution and effective communication is
critical. The ability to work well with a wide range of people, resolve problems quickly, and sharing
information and experience with staff are important skills. Many operations managers find that taking
additional courses in team building, effective communication, and mentoring can be very helpful. The
dynamic of any team is based on the behavior of the team leader. In a Television or film production
environment each production is viewed as a project. The Operations Director is responsible for all
production schedules within the studios, budgets, clients, and communication among production and
post-production and graphics teams, including human and technical resources. Establishing
operations procedures that will ultimately help quality control during production, communication and
follow up of each project and personnel is among other areas of responsibilities. Operations is also in-
charged of studio time and equipment as well as all on location productions.
Production Manager
Just as the job title implies the film and video production manager is responsible for managing all
issues of production below the actual directing of the film or video. This means chief operating officer
delegates and controls all aspects of the filming and organization for the filming including dealing with
issues and concerns of the cast and crew. The production manager also assists in any aspect of the
filming that he or she may be required to, which means having a good understanding of all the
various jobs involved in creating a film, video or television show. One of the major responsibilities of
the production manager is to keep the production according to the timeline to ensure production
dates are met. This is very important for budget reasons as increasing the time on the set increases
the costs of production of the film. Besides just the financial aspect the production manager must also
deal with often temperamental directors, actors and actresses, and even crew members. Managing
both the financial and budget issues of the production can be very stressful. Most film and video
production managers have a background in some type of formal education involving film or film
production. In addition they also have experience working within the film industry and have proven
their ability to work with others in management positions. The production manager works closely with
the director, production engineers and production coordinator to keep the project advancing as
smoothly as possible
Floor Manager
A floor manager for television acts as the liaison between the director of a production, usually in a
control room, and the people and activities on the production set itself. The responsibilities of this
position typically include ensuring that all the necessary technical aspects of a production set are
functioning properly, such as proper placement of cameras and lighting, props and furniture,
organizing performers and audience members during a performance, and dealing with any potential
safety issues on a set. A floor manager is usually more concerned with the technical side of a
production. This can include seeing to the needs of performers before they are on camera, helping
audience members who may need assistance, and ensuring all the physical aspects of a set are
working properly. The quality checks on lighting, cameras, and other equipment, handling the
logistics of a broadcast, and relaying information between the control room and the floor crew are all
aspects of what a floor manager does during a performance. A floor manager can act as the eyes
and ears of the director on the set, relaying information from what is happening on the floor to the
control room. This can involve telling the director about anything happening off camera, such as if a
cast member was feeling ill, and keeping things running smoothly on the set. A floor manager can
also work at an exterior location during broadcasts of outdoor concerts or sporting events. For this
type of broadcast, he or she will usually coordinate actions between the control room and what is
happening at the actual location.
Boom Operator
A boom operator is responsible for capturing live sound during on movie or television sets. The title
refers to one type of microphone held by the operator, which is called the boom mic. Working as a
boom operator requires some basic training and also requires shoulder and arm strength, as the
microphone must be held up for long periods of time. A boom operator may serve as the microphone
technician for an entire set, in charge of not only the boom mic, but area and body microphones as
well. Because of this type of responsibility, it is important for a boom operator to have a good
background in acoustics and knowledge of sound recording. Boom operators, often in concert with
the sound mixer, must be able to quickly judge the acoustics of any shooting location and set up a
microphone system that will capture as much of the sound as possible. The microphones most often
associated with a boom operator consist of a long pole with a detachable microphone head. There
are several different types of boom microphones that can be used with the pole, but one of the most
basic is called a shotgun mic. These microphones are held just outside the frame of the camera, and
typically serve as the main microphone capturing dialogue spoken by actors. Often, the easiest place
to hold a boom mic is just above the camera frame, meaning that the boom operator must hold the
boom pole over his or her head for the entire shot, never allowing the microphone to dip into the
frame. In addition to bracing the boom mic over his or her head, the operator must also sometimes
twist the pole back and forth to angle the placement of the microphone. If two or more actors are
speaking in a shot, the operator may be constantly switching the placement of the microphone to
catch each actor's words. Boom operators must be able to communicate easily with the sound mixer,
who typically is nearby whenever sound is being recorded. The mixer often listens on headphones to
the sound coming through the boom microphone, and can give valuable information about how the
recording is going. Occasionally, an operator will also serve as a sound mixer, and will be able to
hear what the microphone is picking up directly through headphones.
Technical Directors
Film industry technical directors work in film or television. Like in theater, film industry directors
usually work at a facility and oversee all operations within that facility. The director typically is an
expert in the operation of all film and video equipment required for use in a production, including
cameras, generators, editing equipment, and lighting. He or she determines the needs of a
production in collaboration with the director, then hires, trains and manages crews to support the
production’s technical operation. The director typically coordinates his or her efforts with managers of
other departments, and develops and provides procedural policies for use by all crews, teams, and
managers. In some broadcast television stations, technical directors are in-charged of assisting
camera directors with all technical aspects such as camera and graphic generators resources
switching, coordinating all lighting and sound equipment and crew members during a show, following
all directors command.
Lighting Technician
Is the person in charge of setting up the lights and lighting effects used in theatre, film and television.
Their work covers a wide range of effects, from standard lighting of a stage, to special effects such as
strobes, laser shows, searchlights, and more. Lighting technicians work closely with directors and art
directors to determine the appropriate effects and looks for every shot of a movie or scene in a play.
Their role requires a great deal of technical knowledge and understanding of complex systems, as
they spend much of their time setting up, repairing, and dismantling lighting arrays and the computer
and electronic systems used to control them. At the basic level, lighting technicians are responsible
for things such as aiding in setting up and dismantling the systems, making sure everything continues
to be in working order, and taking direct orders from a stage or floor manager. With experience and
certification, technicians begin coordinating larger shows, programming complex lighting effects with
computers, and generally tackling larger and more ornate jobs with a crew of technicians working
underneath them. Lighting technicians keep some of the least social hours in the entertainment
industry, as their work involves arriving at a set long before others have arrived to set up the lighting
systems, and leaving long after everyone else has gone home while dismantling those same systems.
Extensive training is necessary to become a lighting technician, as they are responsible for knowing
the operation of more equipment than any other member of a film or television crew. Myriad cable
types, extension lugs, various adapters and connectors, a dizzying array of lighting systems, and
complex, programmable computers for handling difficult transitions are just a few of the tools a
lighting technician must be proficient with.
Camera Operator
The chief camera operator on a film set is usually the cinematographer. Many cinematographers,
especially those working on small budget films, work without assistants. On large productions
however, one or two other camera operators typically aid the cinematographer. A cinematographer
usually works with the film director and art department to plan the images to be included in a shot.
This job is often both highly creative and technical. Cinematographers often need to be aware of
many factors affecting a shot, such as lighting, lenses, lens filters, and camera movement
Camera Assistant
Assistant camera operator jobs include varied tasks, like focus pulling, loading film, and operating the
clapper. Focus pulling involves manipulating the camera lens at the direction of the cinematographer
during a shot. Assistant camera operators may have to roll undeveloped film onto spools that are
loaded into the camera. Also, the clapper is a tool that camera operators use to sync the film with any
audio tracks.
Director of Photography
A Director of Photography supervises the filming of movies, commercials, television series, or any
other sort of filmed production. It is common to see the terms “Director of Photography” and
“Cinematographer” used interchangeably, although this usage is not acceptable in all regions, as
sometimes these jobs are actually quite distinct from each other. The Director of Photography is
responsible for the look and feel of a piece on film. Three things are necessary to become a good
Director of Photography: training, experience, and a good eye. Many people interested in careers in
cinematography go to film school, where they learn about the mechanics of the work and have an
opportunity to participate in internships on set to get a feel for the work. Then, they work their way up
through the ranks on set, often working in a variety of positions to learn more about the business,
before finally becoming Directors of Photography, in which case a good artistic eye becomes crucial.
On set, the Director of Photography (or DP) supervises the camera and lighting crews, and he or she
will work closely with the set designers, costumers, and makeup artists. Often, the Director of
Photography and the Director both have final say over which cuts will be included in the finished
piece, and the two work closely together to achieve the desired look. The Director of Photography will
use lighting, filters, and a variety of camera techniques to shoot a scene in accordance with the
wishes of the director. A Director of Photography may also be involved in post-production, working
with the sound and color artists to develop and reproduce the film. The DP often works closely with
the editing staff as well, creating a consistent look throughout a scene, even if it was shot over the
course of hours or days. The relationship between a Director of Photography and a Director can
vary. A really talented Director of Photography may require minimal direction, as he or she
instinctively understands what is needed. Other Directors prefer more control, and they may go as far
as to specify particular settings on the camera, especially with new and unfamiliar Directors of
Photography, to ensure that the piece turns out as they envision. Some DPs become quite famous
for producing distinctive, high quality work with incredible artistic vision, and they may be offered
awards or invited to join elite societies. For people interested in cinematography careers, a chance to
work or train with these leading lights in the field is a great honor.
Digital Imaging Technician
A digital imaging technician (or DIT) works in collaboration with a cinematographer on work flow,
systemization, signal integrity and image manipulation, to achieve the highest image quality and
creative goals of cinematography in the digital realm. A DIT's role is especially prevalent with the
widespread use of HD technology, in assisting cinematographers normally accustomed to film stock in
achieving their desired look. They may also be in charge of transferring and managing the image
data, replacing the traditional film loader position. The Digital Imaging Technician is a relatively new
position on a motion picture set. It was created as a response to a transition from the traditional film
medium into Digital formats such as High Definition Video. Video reacts differently than film in many
situations. The image is different and so is the method of achieving the best quality possible. The D.I.
T.'s job is to work with the Cinematographer and help achieve the best results. This includes but not
limited to: monitoring exposure, setting up look up tables (LUTs), set camera settings, etc. In the end,
the image integrity is the main focus.
Teleprompter Operator
Is either a camera operator that operates a Teleprompter or a dedicated Teleprompter operator from
another location that operates is an electronic device used primarily to display text and cues for on-
air newscasters and other professional talents. The use of the teleprompter has largely replaced the
need for handwritten cue cards or other off-camera prompts, although many studios still use cue
cards as a back-up or emergency communication method. Early Teleprompters were only used when
the actor was required to speak directly to the camera, as in the case of live commercials. Later
teleprompter devices used paper scrolls to provide text and cues to the on-air talent, who were often
at the mercy of reading speeds selected by the teleprompter operator or director. Another problem
was a loss of direct eye contact as the performer read from an off-screen teleprompter. During the
early 1980s, a workable solution was found for many of the early teleprompter's inherent problems. A
personal computer could be used to generate and scroll electronic text on a monitor. This monitor
could be placed above or below the lens of a television camera without being visible to the home
viewer. A special one-way mirror or a shrouded piece of window glass could be angled to reflect the
monitor's text towards the on-air talent. Since this reflected text does not enter the camera's lens,
only the on-air talent can view the contents. This feature of a modern teleprompter allows the
performer to maintain apparent eye contact with the audience while reading a prepared script. The
reading speed can be controlled by the camera operator, director or even the talent. A teleprompter
helps create the illusion that a news anchor or politician is speaking spontaneously, when in fact the
words have been carefully scripted before the broadcast. One of the technical challenges involved
with a teleprompter is the creation and display of text. Because the reflected image of the text is
reversed, the original text display must also be reversed to compensate. This reversed text feature
proved to be quite a challenge for programmers during the earliest days of word processing software.
Text reversal continues to be a concern for teleprompter programmers, but there are recent
innovations in the industry that may provide teleprompter text without such a need for alterations.
Production Coordinator
For the most part, film or television coordinators work to produce a film or television program. Film
production coordinators typically organize and maintain steady work flow for film, television, or TV
commercial production. To help increase efficient communication between members of the cast and
crew, most production coordinators keep in contact with all the people involved in the production.
They may also manage some of the production paperwork. One of the main jobs of this coordinator is
to ensure that all vendors, actors, and crew members have signed work contracts. Another major job
duty of a film production coordinator is to coordinate changes in filming locations. He or she is
typically the person who maintains the production schedule by working with directors, production
managers, and location scouts to determine when and where the filming will take place. This
sometimes involves coordinating a crew of hundreds of people so that all of them arrive on time at the
right location.
Grips
Key Grip A Key Grip is actually the chief supervisor of a union crew responsible for moving lights,
dolly tracks, cranes and scenery. While grips are primarily hired for their physical strength and
construction skills, a key grip also has some administrative responsibilities. A key grip works very
closely with the head electrician, known in the movie business as a gaffer. As part of a pre-production
movie crew, the key grip, gaffer, director of photography and a location producer will discuss the
logistics of a specific filming site. All of these people must understand the needs of the script and
have an understanding of how difficult a particular location shot might be. The key grip must
determine if lights can be rigged up safely on a mountainous set, for example. Cameras often work on
a system of tracks called dollies. It is the work of grips, working under the supervision of a key grip, to
install these tracks and remove them after the shots. Even if the film is shot on a set inside a studio,
grips must move walls and lights to accommodate cameras and dollies. Because the position of grip is
almost entirely unionized, breaking into the ranks is difficult without connections. Experienced grips
with good work practices can be promoted to the position of 'grip boss'. The grip boss works closely
with the key grip in order to translate general orders into specific job assignments.
Best Boy Grip
A best boy grip is the assistant to the key grip, the man or woman responsible for making sure
cameras and lights are where they are supposed to be during production.
Gaffer Grip
Gaffers, professional electricians are primarily responsible for lighting and electrifying a movie set.
The term gaffer is often used interchangeably with chief lighting technicians. Gaffers often work
closely with the director of photography to set up special lighting effects or supply electrical power to
stage equipment. Gaffers are also responsible for hiring qualified electricians and assistants. They
must also know which filters to employ for specific effects, and how to simulate such conditions as a
moving train or flashing signs in the distance. Gaffers may have to work under hazardous conditions,
setting up banks of lights high above a movie set or making repairs during bad weather. Some larger
productions may call for enough generators to power a small city, so gaffers must also pay close
attention to safety measures. Some do-it-yourselfers may be familiar with an adhesive called gaffers
tape. This product looks similar to cloth-backed duct tape, but gaffers tape is not quite as adhesive.
Gaffers actually use gaffers tape to bind cable wires together or attach lighting fixtures to other
surfaces. Since movie and television sets are designed to be temporary, the less-adhesive gaffers
tape allows electricians to remove set-ups without significant residue. Gaffers often work their way up
the ranks from basic electrician to best boy, the movie industry's name for a gaffer's chief assistant.
Some people may be hired by a movie company as electricians, but they may not necessarily have
specific training in that area. Basic set electricians may only be required to move electrical cables out
of the camera operator's path or flip switches according to cues from the lighting director. Gaffers, on
the other hand, usually have extensive electrical training and a strong interest in the artistic side of
film making.
Location Manager
A location manager is a member of a film or television production team who is responsible for
handling the details of filming on location. The job of the location manager is to make on location
shoots go smoothly, usually with the assistance of one or more assistant location managers and
other support crew. During the development stages of a film or television episode, the location
manager meets with other key members of the crew while they break down the script and storyboards
to determine what is needed for the production. The location manager generates a list of needed
locations and talks with the director about what is visualized for each location. Once locations are
identified, the location manager handles the logistics of filming. This includes getting permission and
approvals to film, handling all necessary permits, organizing local crew who will be needed to assist,
alerting people in the area to the fact that film will be occurring, and interacting with the community to
keep relations between the film crew and community members smooth. This is especially important in
frequently used locations, where positive relations between the film and television industry and the
community are critical so that these locations can continue to be utilized.
Location Scout
Once a need is realized for a scene that might not be suited to be photographed in a studio setting
that a search is begun for a suitable place or "location" outside the studio. Location Scouting is the
process in the pre-production stage of filmmaking. Suitability of a location to the task at hand takes
into consideration some factors including, but not limited to: overall aesthetic, financial cost to
production, logistic feasibility including but not limited to distance from base of operations or other
locations scheduled, availability of parking and availability of facilities to keep crew and talent safe
and dry at all times. Availability of electrical power and/or feasibility bring in power generators for
lights and other anticipated electrical needs. Available light, if indoors or outdoors and weather
conditions if outdoors, permission from and cooperation of location owner as well as neighbors and
local government. Typically, ideas for what a location should or could be are discussed between
Production and Locations staff. Locations personnel duties often extend beyond pre-production and
into actual production; a location manager and/or other Locations personnel are often needed during
actual shooting and at wrap to help assure smooth crew movement, coordinate crowd control and to
assure a smooth departure from a given location after the shoot.
Transportation Coordinator
The transportation coordinator is the head of the transportation department and is responsible for
obtaining and managing all vehicles associated with a production, including big trucks, trailers for the
makeup, hair, lighting, camera, and wardrobe departments, dressing room trailers, honey wagons,
personal trailers for the director, stars, and others, picture cars, and all rental cars for cast and crew.
The coordinator also hires and manages the transportation captain and drivers.
Transportation Captain
The captain assists the transportation coordinator in the leasing and insuring of all production
vehicles, hiring the drivers, and generally overseeing the drivers and vehicles while on set.
Picture Car Coordinator
Finds and coordinates all the cars driven in the film.
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FILM & BROADCAST
Below are generic title descriptions to be used as guidelines only. We understand that each job
description may vary in responsibilities depending on clients specific needs.
description may vary in responsibilities depending on clients specific needs.
| Contact Number (305)914-0739 or e-mail to Creative Resource Network |
