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Camera> Camera Operator (Studio/Outside Broadcast):
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Hair and Make Up > Make-Up and Hair Artist - Film & TV
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Sound > Boom Operator:
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Job roles in tv

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Job roles in tv

  1. 1. *
  2. 2. * Camera> Camera Operator (Studio/Outside Broadcast): * Studio/OB Camera Operators ensure that cameras and associated equipment are rigged for the required set-up. Camera Operators must be able to multi-task, and to watch, listen and think on their feet while carrying out complex technical tasks. They may have to supervise Assistants to move the camera, and carry out simple camera faultfinding. Camera Operators may work closely with performers, giving them constructive advice in order to achieve the required picture composition. Essential Knowledge and Skills: * Camera Operators in any television genre require great technical ability, industrygained craft skills in camera work, and a working knowledge of how camera equipment works. Diplomacy, leadership and communication skills are essential. * ability to carry out instructions with great accuracy and attention to detail * ability to frame and compose shots and perform camera moves with precision and speed * in-depth knowledge of the principles of camera work * good IT skills * knowledge of the relevant electronics * excellent communication, interpersonal and diplomatic skills * good colour vision, and excellent hand-to-eye co-ordination * physical stamina for working long hours and moving heavy equipment * knowledge of the requirements of the relevant Health and Safety legislation and procedures. * Qualifications: * No specific qualifications are required to work in this role. Studio/OB Camera Operators usually learn most of their practical skills through hands-on experience on the job. However, continual professional development is vital, especially as technology changes rapidly. BBC Training and Development and the National Film and Television School are among the training providers offering industry recognised short courses.
  3. 3. * Camera > Script Supervisor * Script Supervisors' overall responsibility is to monitor whether it is possible for each shot scene to be edited into a verbally and visually coherent sequence. During pre–production they check the script for any errors, prepare estimated running times, and break down the script according to production requirements. They develop story synopses and character breakdowns, and check the shooting schedule to ensure that all the required scenes are shot and adequately covered from all required angles, distances, etc. * Essential knowledge and skills: * Directors rely heavily on Script Supervisors' keen observation during filming in order to ensure that each scene is shot accurately. Script Supervisors require stamina and must be dedicated to their work. Excellent communication and interpersonal skills are also necessary in order to explain any errors. * A meticulous and methodical attention to detail * A good sense of visual composition, perspective and movement * Ability to collaborate, and to work as part of a team * Diplomacy and sensitivity when working with artists and crew * Ability to trouble shoot and respond quickly to changing circumstances * Good organisational skills * Ability to be amiable and calm in difficult situations * A practical approach to work * Knowledge of the requirements of the relevant Health and Safety legislation and procedures * Qualifications: * Although no formal qualifications are required to become a Script Supervisor, some film schools and training courses offer a good basic grounding in the skills and knowledge required. The National Film and Television School offers an industry recognised 6 day short course for Script Supervisors.
  4. 4. * * * * * * * * * * * * * * * * Hair and Make Up > Make-Up and Hair Artist - Film & TV Make-up and Hair Artists are briefed by Make-up and Hair Designers, who provide them with detailed notes, character and scene breakdowns, and if necessary reference pictures about the characters they must create. They work on principal and supporting Actors, and depending on the schedule, usually look after several Actors throughout the shoot. They are responsible for maintaining the continuity of their Artists' "look". They must also carry out full risk assessments, and develop procedures to control risks. Essential knowledge and skills: Make-up and Hair Artists must be self-assured, without appearing over-confident. The ability to cope with stress, and a positive attitude are paramount, as they work long hours in pressurized, often cramped environments. The work can be physically demanding, as it involves many hours of standing or bending over Actors. hairdressing skills including: cutting, waving, straightening, non permanent colouring, setting, applying extensions, braiding, shaving; wig setting and dressing; and applying, dressing and applying facial hair; make-up skills including: straight corrective; ageing face, hands and neck; contouring effects; and some specialised techniques such as creating tattoos and body-painting; effective communication and diplomacy skills; excellent organisational skills; good presentation skills; ability to work effectively as part of a team; ability to work under pressure to external and departmental deadlines; good IT skills; knowledge of the requirements of the relevant Health and Safety legislation and procedures. Qualifications: All Make-up and Hair Artists should have achieved at least a Level 2 vocational qualification or equivalent in Media Make-up, and a level 2-3 NVQ in Hairdressing or the equivalent of two years experience. As it is essential that all Make-up and Hair Artists keep up to date with new methods and materials further qualifications and additional skills may be acquired by attending specialist, industry approved short courses.
  5. 5. * * * * * * * * * * * * * * * * * * * Production > Director: Directors work closely with Producers and/or Writers, embellishing, refining and ultimately realising original ideas into finished programmes. Directors must have a clear creative vision of the project, and what materials are required to achieve it. They should not shoot endless footage which may be useful, but prepare a carefully calculated shooting schedule which provides the required footage within budget and to deadlines. Essential Knowledge and skills: Directors must be able to creatively translate Writers', Producers' and other originators' vision into a visually and coherent, marketable, entertaining or informative programme. They must understand all aspects of television production and post production processes, and be aware of and value the contribution of all crew members to the creation of the final programme. ability to conceptualise ideas and to think visually; ability to decide about the appropriate graphic style and the music for the production; precise attention to detail; methodical approach to work with high stress tolerance and stamina; knowledge of the entire production process; excellent verbal and written communication skills; ability to lead a team and to motivate actors and crew members; initiative and problem solving skills; ability to see the broader picture and to co-ordinate effectively; budgeting and financial skills; diplomacy and sensitivity when working with Writers, Producers, Actors, and Crew members; knowledge of the requirements of the relevant Health and Safety legislation and procedures. Qualifications: There are no specific educational or training qualifications for the role of Director However a degree in a media related, drama specialist subject may provide some useful background information. Wide experience in and knowledge of the production process is essential.
  6. 6. * * * * * * * * * * * * * * * * * * * Production > Researcher: Researchers may be briefed by Producers or other decision makers about programme ideas and carry out further development. they may produce original programme ideas for consideration by Producers, broadcasters, production companies, or other decision makers. They identify relevant data, contributors, locations or archive material etc. collate and assess information from various sources, and ensure that legal, compliance and copyright requirements are met. Essential knowledge and skills: Researchers must be able to quickly establish a report with production personnel, and potential contributors. They must maintain up-to-date contact lists, and be able to access relevant information from various sources, including the internet, libraries and archives. excellent verbal and written communication skills; excellent presentation skills; advanced analytical skills; precise attention to detail and methodical approach to work; ability to conceptualise ideas; ability to think visually; initiative and problem solving skills; endless energy and determination; advanced IT skills; diplomacy and sensitivity when working with writers, producers, actors, presenters, other contributors and crew members; current knowledge of the relevant legislation, regulations, and associated procedures, including Copyright, Data Protection, Public Liability, etc. and how to comply with regulatory requirements; knowledge of the requirements of the relevant Health and Safety legislation and procedures. Qualifications: Although no specific educational or training qualifications are required for the role of Researcher a degree in a media related, drama or specialist subject may provide some useful background information. Experience in, and knowledge of, the pre-production and production processes is required.
  7. 7. * * * * * * * * * * * * * * * * * * * * * Lighting > Gaffer: Gaffers co-operate closely with relevant Heads of Department, discussing all lighting aspects of the production, including crewing and equipment requirements, shooting dates and durations, etc. Gaffers subsequently produce a list of the required equipment, e.g. lamps, cables, generators, and request quotations from Lighting Companies for consideration by the Lighting Director or Production Company. Essential knowledge and skills: All members of the Lighting team must have a deep knowledge of what is required and what can be achieved in terms of lighting for each production, in any particular studio or location. Gaffers must know how the Lighting plan will work, or how it can be adapted, to preserve the original concept. They must be able to interpret Lighting plans, including all aspects of the rig, scale drawings of all lamps and their positions, and what lighting gels and circuits to use. a wide knowledge of television lighting and associated equipment; an understanding of all aspects of television production; knowledge of electrical theory and practice; excellent IT skills; adaptability and resourcefulness before and during the production process; a logical and fast approach to problem solving; good communication, interpersonal and team skills; patience, self-discipline and reliability; diplomacy and sensitivity when working with artists, other contributors, members of the public and all crew members; willingness to work long and irregular hours; ability to undertake physically demanding tasks; ability to concentrate for long periods of time and to pay attention to detail; good colour vision; a thorough knowledge of the relevant Health and Safety requirements and legislation, and the ability to carry out risk assessments. Qualifications: Creative Skillset has developed a National Vocational Qualification (NVQ) at Level 4 for Gaffers. This qualification is awarded by City and Guilds and assessed by FT2. Gaffers must be fully qualified electricians, with relevant City and Guilds or Electrical Engineering qualifications.
  8. 8. * * * * * * * * * * * * * * * * * * Sound > Boom Operator: The Boom Operator's main responsibility is to control the long boom arm, either hand– held or on wheels, with the microphone attached, manoeuvring it as close to the action as possible without getting it in shot. They may have to learn the script in order to anticipate lines and to move the boom arm accordingly. They are also responsible for fitting radio microphones to artistes and for placing microphones appropriately for a required shot. Essential knowledge and skills: The Boom Operator's job is effective team working, and demonstrating willingness to compromise in circumstances where perfection may not be possible, and where the needs of the team must come first, in order to complete the job professionally and with a minimum of fuss. Good communication skills are required, as well as diplomacy and tact when working with artistes and other members of the crew. excellent hearing, concentration and attention to detail; good knowledge of microphone characteristics, lighting techniques and camera lens angles; good spatial awareness and hand/eye co–ordination; physical strength, excellent balance, and agility; excellent timing for anticipating lines and moving the boom accordingly; good memory for dialogue; good communication, negotiation, interpersonal and team skills; diplomacy and sensitivity when working with artistes and crew members; patience, self–discipline and reliability; willingness to work long and irregular hours; knowledge of the requirements of the relevant Health and Safety legislation and procedures. Qualifications: There are no formal entry requirements for Boom Operators, a demonstrable interest in sound is essential. Courses are available throughout the UK, including City & Guilds qualifications, BTEC National Certificates and Diplomas, Foundation degrees and first degrees, and postgraduate degrees and diplomas. Relevant subjects include audio and recording technology, sound engineering, music technology, film and TV production, and media production (sound recording).

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