Tv jobs 2a. final 2

757 views

Published on

0 Comments
0 Likes
Statistics
Notes
  • Be the first to comment

  • Be the first to like this

No Downloads
Views
Total views
757
On SlideShare
0
From Embeds
0
Number of Embeds
14
Actions
Shares
0
Downloads
1
Comments
0
Likes
0
Embeds 0
No embeds

No notes for slide

Tv jobs 2a. final 2

  1. 1. A Guide to Jobs in the TV Industry Where to start.. By Lucas Warren The Television sector offers a huge array of jobs within independent production companies, broadcasters and the many specialist companies that supply equipment or services to producers. In working out where to start I’ve broken down the sector into a number of key areas: Management Ever project needs one key person who is ultimately responsible for delivering and overseeing the completed project to a high editorial standard but also on time, on budget and within legal and regulatory guidelines. This role is usually taken by the Executive Producer or Producer, however not all factual television productions have a standalone producer rather one person who is called the producer/director. In any event it is the Executive and or Producers job to oversee and manage the whole project from beginning to end, this role is multifaceted and there is an editorial/creative vision that needs to be realized and also a financial, logistic and organization role that is required. The producer will normally hire a production manager or line producer who will usually help budget and cost manage a project – they will be responsible for all the logistics and booking cast, studios, locations, equipment and facilities as required. Financial The work of the Producer and production manager is closely linked to the overall financial management of a project. The producer/production manager will normally negotiate with a broadcaster to agree a budget or tariff for a commissioned project (potentially working with a Head of Production with in a production company). The majority of projects for UK broadcasters are fully funded but some still require coproduction so again the producer may talk to combination of broadcasters to pull together the money to fully fund a project. Once all the funding has agreed the project can be budgeted and go into pre-production – at this point a production accountant might also come on board. They will work to the with the production manager processing the payments and receipts of money as required and also overseeing the ongoing cost management of the project on behalf of the producer or broadcaster. A big high budget project could cost millions of pounds so it is crucial that it is well managed and tracked. Administrative /Organizational Much of what the production manager does can be classed as administrative or organizational and the junior positions under a production manager such as a production coordinator or production sectary have an important role in supporting the logistic and organizational requirements but also making sure the appropriate paperwork for a project is completed. This can be call sheets, release forms, location agreements, music cue sheets, archive clearance forms and the final paperwork on a project that needs to be completed and submitted to the broadcaster before transmission. On complex projects a media lawyer might also be engaged to help draft complicated agreements with broadcasters, co-producers, contributors or to advise on legal issues such as compliance or litigation. This is a specialized area and is usually undertaken by trained lawyers who have chosen to specialize in Media. Creative/Editorial The Creative or Editorial refers the creative vision and evolution of a project and those that lead or have a key role in this area. Primarily this sits with the Producer, Director and Editor but depending on the nature of the project there may be many other people creatively involved in working out what the
  2. 2. vision or idea is for something. Whether the commissioning broadcaster, the art director on a big studio show, the camera man on a natural history series, the VFX team on low budget TV drama or graphic designers on a new game show or the editor who assembles the final show. The overall editorial vision is usually that of the director but like many creative industries it is often a team effort that delivers the best ‘editorial’ on a project. Technical Departments: Technical departments are mainly involved when a project is in production and include, camera, sounds, grip andelectrical roles, depending on the project they may also work closely with special effects teams in studios or locations. The Director of Photography is the most senior role after the Director and is responsible for realizing the vision that director has and if possible making it even better! In Action films this area will also include stunt supervisor and a whole range of specialties like pyrotechnics etc. Research: Research for TV production is a very diverse area, spanning across all the TV genres. Every project will need some level of research whether to help come up with the initial concept and write a treatment, researching places to film or historical events or finding contributors. It is a key part of the process and is often the place where young people can first make their mark and get noticed in the industry. Overall TV production can be split into 3/4 phases; Development This is the early phase of TV production when an idea is conceived and developed then pitched to a broadcaster Pre-production A project will go into pre-production when commissioned and funded. It’s the planning phase when decisions are made about how to go about producing the project and places, people, equipment are all booked for the shooting period. Production/Shoot This refers to the period in which the project is actually being shot/or created digitally. It’s when everyone comes on board. Post Production This refers to the last phase when all the material has been shot or created and rushes are edited together, VFX are added, sound designed and a final version is created ready for broadcast. What Do People Really Do in TV!? Production Manager or Producer The production manager supervises the physical aspects of the production including personnel, technology, budget, and scheduling. It is the PM’s responsibility to make sure the filming stays on schedule and within its budget. The PM often works under the supervision of a line producer and directly supervises the Production Coordinator. Production accountant: Production accountants work along-side, producers, production managers or line producers to keep track of the day-to-day accounting on a project and to report on the financial progress against the budgets (cost reporting), usually they will have professional accounting qualifications but have decided to specialize in TV. Media Lawyer: The television industry is regulated in various ways and in terms of the administrative elements of TV production thought is given to the legal and compliance side. Television programmes in the UK are required present unbiased and honest representations of people that do not undermine viewer trust and lead to ofcom complaints (for which broadcaster can be fined). With so much reality television being produced it is important for a producer to understand their obligations, guidelines are producers by the Producers body PACT but it is still a complicated area and most larger independent producers have some sort of legal or business affairs function to advise and manage these areas. Studio Director or Producer/Director The process of creating a studio show is quite different and many people specialize in this area. By it’s nature it involves multiple cameras, a stage or step, actors or interviewees all of whom need to work from an overall script. The studio director will work with the team across a script (whether for an entertainment show, news shows or drama), they will decide on the kind of shots and work out a shooting script so each camera know what it’s shots are likely to be. IN the actual record the director is working from a script and with the support of a team in the gallery setting up each next shot with the camera operators and making sure the actors are primed and ready. A big live show can be a very busy and nerve racking experience – especially if something goes wrong! Sound Recordist Recording good sound is a key part of television production whether as part of a factual programme with a presenter or contributor or a drama series. A sound recordist will work alongside a cameraman, using a variety of different microphones (boom, radio mics etc) and their job will be to ensure usable audio is recorded. They need to not only understand what is required from a project or situation but also be skilled at working with sounding recording equipment. Development Researcher Programme development is a key part of the creation of an editorial vision and a development researcher will often work alongside a producer, or head of development in helping to come up with that killer idea! The development researcher is the one who comes up with programme ideas and new format ideas. They will look at all of the current shows on at the moment and use them for inspiration to hopefully come up with a new show, the treatment or taster tape showing the new idea is then presented to one or more commissioning editors at a broadcaster like Channel 4, in the hope that they will decide to fund the commission the production.
  3. 3. Real people who ACTUALLY work in TV technical, creative, research fields… Bart Layton: Tim Wardle: CREATIVE DIRECTOR RAW TV Bart joined Raw TV as Creative Director in 2005. Previously he worked as a producer, director, and writer for a number of leading production companies including RDF and Diverse. Michael Pitts: UNDERWATERCAMERAMAN HEAD OF DEVELOPMENT RAW TV Tim’s role at Raw is to creative and develop new programmes idea for the company. Bart is the creative force behind many of RAW’s best known programmes. He originated and directed Banged/Locked Up Abroad. He has worked in development for BBC and Century Films but has also produced a number of films including for Channel 4 including: Lifers Michael specializes in filming underwater and is regarded as one of Britain's foremost underwater cameramen. Michael has over 20 years experience of making wildlife and science documentaries for the BBC and Independent Companies. He started as a camera assistant but also a still photographer, he has followed his passion of exploration and trying to capture some of the most beautiful sights in the world and by becoming very technically competent and embracing new technology has become one of the most sort after cameramen in the area of wildlife and natural history. Amongst his many awards he has received Emmys for cinematography on two BBC landmark series: David Attenborough's 'Private Life of Plants' and 'Blue Planet'. He is currently working on a 'Future Planet' Productions film on plastics in the world's oceans which is due for cinema release in 2013. Micheal’s career teaches up to follow our passions, to be hard work and brave in the choices we make – and that nothing is impossible! Make Me Normal Most recently Bart directed Raw’s first feature film, The Imposter, which received widespread critical acclaim for its originality and storytelling since its debut at Sundance in 2012. Bart is a multi-award winning producer and director, renowned for tackling controversial and challenging subject matter with tremendous visual style and journalistic rigour. He thrives on creating work with distinctive visual flair, and pushing the boundaries of conventional story-telling techniques. It is clear from Bart’s approach that being single minded and uncompromising in terms of following a creative vision is very important. Scams, Fiddles and Honest Claims Tim’s passion of ideas and experience as a producer means he is well placed when it comes to researching new programmes ideas and considering what broadcasters might want. He has particular expertise in gaining access to institutions or to individuals with amazing stories that can form the basis of great factual shows.

×