Successfully reported this slideshow.
We use your LinkedIn profile and activity data to personalize ads and to show you more relevant ads. You can change your ad preferences anytime.

Scott glynn presentation

Related Audiobooks

Free with a 30 day trial from Scribd

See all
  • Be the first to comment

  • Be the first to like this

Scott glynn presentation

  1. 1. Job Roles in the Media & TV Industry<br />By Scott Glynn<br />
  2. 2. Management<br />Casting Director<br />Construction manager<br />HOD (Head Of Department) Plasterer<br />Production Manager<br />
  3. 3. Creative<br />Costume Designer<br />Hair & Make-up Designer<br />Composer<br />Art Director<br />Actor<br />Film Director<br />Prop Maker<br />Director of Photography<br />Screenwriter<br />
  4. 4. Editorial<br />Editor<br />Title Designer<br />Post Production Supervisor<br />Assistant Editor<br />Script Editor<br />Foley Editor<br />
  5. 5. Technical<br />Director of Photography<br />Lighting Department<br />Lighting Technician<br />Moving Light Operator<br />Boom Operator<br />
  6. 6. Research<br />Location Manager<br />Assistant Location Manager<br />Costume Designer<br />Screenwriter<br />
  7. 7. Financial<br />Financial Controller<br />Accounts Trainee<br />Production Accountant<br />Key Assistant Accountant<br />Production Accounting<br />Assistant Accountant<br />
  8. 8. Organisational<br />Producer<br />Co-Producer<br />Executive Producer<br />
  9. 9. Administrative<br />Health And Safety Advisor/Consultant<br />Financial Controller<br />
  10. 10. Film Director<br />The Director is the major creative force in a film's production, and acts as the vital connection between the production, technical and creative teams.  Directors are mainly responsible for creatively transforming the film's written script into visual images and sounds on the screen – they must be able visualise and define the style and structure of the film, then act as the team leader to bring this vision to reality.  Directors' main duties include casting, script editing, shot composition, shot selection and editing.<br />There are a number training courses and reference books on directing, it is not necessary to gain formal qualifications become a Director.  Studying the art and craft of directing is important, but the role can only really be mastered through personal experience.  Writing a screenplay, directing your own short film or an amateur play, are all good ways in which to do this.  Learning up-to-date filmmaking techniques and equipment skills, also it is vital to know how to work with actors to create a performance.<br />Also many Directors work their way up over many years from entry level positions, getting work experience as a Runner on a film set or in a production office is an ideal starting point.<br />
  11. 11. Screenwriter<br />Screenwriter is a key role in both the creative and research parts of a film. This is because screenwriters are responsible for researching the story, developing the narrative, writing the screenplay, and then delivering it, in the required format, to Development Executives. Therefore they have a great influence over the creative direction and emotional impact of the screenplay and, arguably, of the whole of the finished product.<br />They are almost always freelancers and would either pitch original ideas to Producers for the chance that they will be bought, or who are commissioned by a Producer to create a screenplay from a idea, true story, or existing stories such as a novel, poem, play, or comic books etc.<br />No formal training is required to be a Screenwriter, although Producers expect screenplays to be submitted in standard Mastershot format, and are unlikely to read a pitch unless they are presented in this way. Screenwriters can attend many industry respected Screenwriting courses. Even more experienced Screenwriters may also wish to consider taking an MA in Screenwriting. Screenwriters usually write a number of original short screenplays self-financed in order to attract the attention of Producers and Agents.<br />
  12. 12. Actors are expected to be able to work across all the disciplines of Theatre, Film, Television and Radio, and may also work as models, or provide Voice-overs for commercials, documentaries, talking books, dubbed foreign language films, etc.<br />Actors are selected, or cast, by the Producer, Director, Casting Director or, in some cases, they may be recommended by the Scriptwriter. They bring to their roles their own interpretation of the script, and of the characters they portray which adds to the creative aspect.<br />Actors are the Life and soul of any film production. They are the public face, which represents many other peoples work and efforts, as it is rare for the public to see the Scriptwriter, the Producer, or the Director of a film.<br />Nearly all professional actors have training of some sort. Weekend and part time classes are available for children throughout the UK, and there are some full time acting academies in which the students will follow the national curriculum from Year 6, as well as training in drama, dance and singing etc.<br />There are also specialist drama schools, which usually only accept students over 18 years of age, and conduct auditions for places.<br />Actors like many of the different roles in the media industry are majorly freelance and their earnings will depend on the size of the film/television show they work on. <br />Actor<br />
  13. 13. Casting Director<br />Casting directors will do the majority of their work in the pre-production section of the project, whether it be a film, television show or in theater. <br />They must have a full and extensive knowledge of particular actors and their suitability for each individual role. On larger productions, Casting Directors will mentor Casting Assistants, who will support them in their work.<br />Key Skills include:<br />Excellent communication skills;<br />Ability to recognise talent;<br />A good memory;<br />Excellent organisational skills;<br />Precise attention to detail;<br />Ability to take and give direction;<br />Knowledge of the requirements of the relevant Health and Safety legislation and procedures.<br />To become a Casting Director no specific training or qualifications are needed for this role, they are usually graduates of Arts, English, Film, Theatre, Communications, or Media Studies, etc. Also possibly with an active interest in film, theatre and casting. Practical industry experience is vital. An ideal place to start is at an entry-level position as an assistant in a talent agency, as experience of selecting and working with actors is essential. This allows potential Casting Directors to begin amassing knowledge about existing and new talent.<br />
  14. 14. Production Manager<br />Production Managers would be in charge of productions on behalf of the Producer and Line Producer. Their jobs include determining the best, most economic way to schedule shoots, negotiate business deals for crews, locations and technical equipment, and make day-to-day production decisions to ensure that productions go as smooth as possible. They are dynamic and highly self-motivated individuals. They need to be excellent communicators, prepared to work very long hours, and able to react calmly under pressure. The role is challenging but well paid, usually on a freelance basis.<br />Production Managers play a vital role in any film production. To qualify for this position, it is far more essential that they are highly experienced in the film industry than having set qualifications. The typical career progression to Production Manager is from Assistant Direction, or through the production office possibly from Production Co-ordinator, or Assistant Production Manager to Production Manager.<br />Again as with almost all other jobs of this type in the industry, no set qualification is required to gain the job. Although one thing that is practically a necessity is to have a driving license, as travelling to meetings etc. could be a big part of the job.<br />
  15. 15. Construction Manager<br />Construction Managers supervise and plan the construction of sets and stages for film productions. They co-ordinate the entire process of set building, from initial planning through to the final stages of the project. They are hired by and report to the Production Designer. Construction Managers lead a team of tradesmen, including Carpenters, Painters, Riggers and Plasterers, and ensure that all sets are completed to deadline and within budget, and that they meet production requirements. <br />Construction Managers must have previous experience in project management, and excellent leadership skills. The work is challenging and often massively complexed, it generally involves co-ordinating large numbers of staff and materials. Construction Managers should be able to motivate their staff, and inspire good work. They must also be aware of individual workers' particular craft skills and strengths. <br />In the film industry, many Construction Managers progress through the Carpentry department. Most Construction Managers have accredited qualifications, such as the Advanced Construction Award, or a CITB level 4 NVQ in Carpentry and Joinery. <br />
  16. 16. Editor<br />Traditionally, Editors progress from being Runners to Trainees, Second Assistants, First Assistants and eventually to become Editors. Because of the rapid changes in the film industry caused by the increasing use of digital editing techniques, this career path is much harder to be successful in. Whilst it is still possible to work as a Trainee, 2nd Assistants are now only employed on very big budget films. <br />Editors are one of the most important Heads of Department on films, they would be in charge of First Assistant Editors, and on bigger productions, Second Assistants and Trainees. The way the story is structured and generally put together is the main responsibility of an editor. To ensure that the story flows effortlessly from beginning to end, each shot is carefully chosen and edited into a series of scenes, which are in turn assembled to create the finished film.<br />Key Skills include:<br />ability to be creative under pressure;<br />imagination and an understanding of narrative;<br />excellent communication and interpersonal skills;<br />developed sense of rhythm and timing in story telling;<br />highly developed aesthetic visual awareness;<br />ability to lead a team;<br />patience, attention to detail and good organisational skills;<br />knowledge of the requirements of the relevant Health and Safety legislation and procedures.<br />
  17. 17. Title Designer<br />There is no specific career path that is generally taken to become a Title Designer. Many come from a graphic design background, some start at Advertising agencies in order to gain experience before starting in film.<br />Titles Designers usually start work near the end of the editing process, when they meet with the Director and Editor to discuss the themes and ideas in the film that will influence the creation of the opening titles, graphic captions within the film, the end cards and end roller. They must formulate a range of ideas which may include specially designed fonts, animated segments, or live-action sequences that they would need to direct, involving the cast and crew of the film. If Title Designer’s are employed at a Digital and Optical Effects Company, they usually work with Digital Compositors on animated sequences, or if they are self employed, they usually have sufficient experience and expertise to do this work themselves. <br />Titles Designers must have a good knowledge of graphics and typography. They should have a good working understanding of computers and graphics software packages. Knowledge of animation techniques, film cameras and digital editing, is also required. <br />
  18. 18. Director Of Photography<br />Directors of Photography (DOPs) are one of the key Heads of Department on film productions, and they have a major creative role. They are requested specifically by the Director, and must be approved by all the parties involved in the film. Lighting is one of the fundamental elements in filmmaking; the way in which light falls on an actor's face, hides the scenery, or illuminates a landscape, can create mood, drama and excitement for the audience. The ability of cinema to entertain and emotionally grab an audience is majorly due to the efforts of a DOP as well as giving each film its independent look.<br />The majority of DOPs study film or photography to degree level or higher, meaning they’ll be working in a junior capacity, e.g. as 2nd Assistant Camera on short films, and progressing through the camera roles. Camera Operators often progress to becoming DOPs, although there is no set route. A different and less popular route could be that they progress from the Lighting Department. Becoming a DOP can be a long process, but the eventual rewards are great. Although experience of working on short or student films can provide a good introduction to film production, working as part of a camera crew can only be learned by experience.<br />
  19. 19. Lighting Technician<br />A Lighting Technician’s responsibilities vary according to the size of the production, and the number of lighting technicians in the team.  Lighting Technicians are both self-employed and employed by a firm, therefore they represent the company who employs them, although many will work freelance once they have established a reputation gained by working at a company. They are required to keep the equipment clean, and maintained in good working order, as well as setting up the lighting equipment before a shoot starts (referred to as Rigging Electricians) and carrying out lighting tests. <br />Lighting Technicians must be able to work comfortably at heights.  The work is physically demanding, requiring stamina and agility, and the hours are long and unpredictable.  Qualified Lighting Technicians may work a six-day week and up to 12/13 hours per day.  They must be able to work quickly and accurately.  Good communication skills are essential. <br />
  20. 20. Boom Director<br />Boom Operators are responsible for placing the microphone in the best position, without interfering with cameras, or the actors’ performance. Clear dialogue is expected by cinema audiences, and this is usually achieved by placing microphones in an appropriate position, close enough to the actors. This is part of the Boom Operators’ responsibility, and is a physically difficult enterprise, requiring a great deal of skill and experience. Boom Operators work on a self employed (freelance) basis, and report directly to Production Sound Mixers in Production Sound Departments. They usually specialise in either film or television, but may also work on commercials. The hours are long and the work often involves long periods working away from home.<br />The most important starting point for a career in sound is to develop and demonstrate an interest in the area by exploring, experimenting and learning about audio technology and its capabilities. Practical experience, paid or voluntary, is vital and may be gained in film, broadcasting, community media, or possibly the music industry. Many Boom Operators start their careers working in smaller projects, where they learn about sound equipment, which leads to progressing towards working as Sound Trainee.<br />
  21. 21. Location Managers need initiative and a strong imagination in order to visualise and find potential locations that will satisfy the Director's requirements.  Excellent organisational skills and the ability to negotiate are essential in order to successfully gain permissions to film in the ideal locations, as well as to keep location fees on budget.  Administrative skills may be required when drawing up contracts and negotiating permissions with local authorities.  Trouble-shooting and communication skills are useful during filming, when Location Managers may need to resolve any unforeseen problems involving the location.  They must also be extremely reliable and flexible - Location Managers are usually the first to arrive on location and the last to leave, so the hours can be long and unsocial.  A high degree of motivation and enthusiasm are required.<br />Location Manager<br />The Location Managers' primary role is to identify and find ideal locations for a film shoot, reporting to the Producer, Director and Production Designer. The role also involves negotiating with each location's owners about a number of issues, such as the cost and terms of the hire, crew and vehicle access, parking, noise reduction, and what official permissions may be required. Once filming has begun, Location Managers are in charge of managing all aspects of shooting in each location, and also ensuring that every location is handed back to its owners in a satisfactory condition after the shoot. 

On larger productions, Location Managers may supervise Assistant Location Managers and/or Location Scouts, each of whom support and assist the Location Manager in finding the ideal location, and in all matters relating to its use for filming. <br />No formal qualifications are required to become a Location Manager.  Industry experience is key, and the best place to start is in the conventional entry-level role of Runner.  Ideally, on-the-job training may then be acquired by progressing to the role of Location Scout, or Assistant to an established Location Manager.<br />
  22. 22. Costume Designer<br />The role of Costume Designer is not an entry-level position, and practitioners need considerable knowledge and experience in order to design for feature films. 
Having first gained qualifications, many Costume Designers begin their careers as Costume Assistants or Wardrobe Trainees and progress through the Costume Department, learning from more experienced colleagues as they work their way up. Alternatively they may start their careers working for one of the large costumiers. <br />Costume Designers start working on costumes for TV, theatre and films at the beginning of pre-production. They are in charge of designing, creating, acquiring and hiring all costumes for Actors and extras. This must be achieved within strict budgets, and to tight schedules. Costume Designers' work is integral to defining the overall ‘look' of films, and their role requires a great deal of expertise. Their creative work ranges from designing original costumes, to overseeing the purchase and adaptation of ready-made outfits.<br />It would be useful for someone considering a career as a costume designer to have some of the following skills and interests:<br />Creativity, imagination and excellent design skills good communication and organisation skills;<br />Good research skills and knowledge of costume history and modern fashion;<br />Good stamina and the ability to work under pressure to strict deadlines;<br />Highly organised and the confidence to motivate a team able to put others at ease (when working closely with actors in a physical sense);<br />Able to break down scripts in terms of costume plots, and have knowledge of story structure and character arcs; <br />Good garment production skills and knowledge of textiles;<br />A wide-ranging cultural knowledge base; <br />A full EU driving license, as travel is often required.<br />
  23. 23. Assistant Location Manager<br />Assistant Location Managers work with Location Managers, Unit Managers and Location Assistants on feature films. On smaller films, the roles of the Assistant Location Manager and the Unit Manager are combined, since many of the responsibilities are interchangeable. The work is logistical, providing back up to the Location Manager, and does not include any negotiations about money or contracts. <br />They may come from a background of managing live events (music, festivals etc), or possibly from working in theatre where they train as Stage or Production Managers. Although, they may have been Runners on a number of feature films, which provides the opportunity to meet Location Managers, who may be prepared to take on Location Assistants, who can then eventually progress to becoming Assistant Location Manager’s.<br />
  24. 24. Financial Controller<br />There are two types of Financial Controllers who perform different roles depending on the specific circumstances of film productions: <br />1: A large production company, studio or broadcaster may employ an experienced Production Accountant or qualified Accountant as a Financial Controller, to ensure that proper financial controls and reporting procedures are in place across every aspect of the company's activities, including those of individual productions.<br />2: On larger productions, a freelance Senior Production Accountant may be engaged as a Financial Controller to oversee the work of the Film Production Accountant and of the Accounts team. The role of Financial Controllers is very challenging and requires excellent analytical skills, a wide-ranging perspective, and flexibility regarding schedules and working hours.<br />Financial Controllers are usually qualified Accountants with a BA in Accountancy, combined with a number of years' experience, ideally within film production, media or film finance. Financial Controllers in permanent employment in production companies are usually Chartered Accountants with good training and experience in company and commercial accounting. Freelance Financial Controllers on large films must have an excellent track record in large film productions, in order to be approved by the production's various Financiers.<br />
  25. 25. Key Assistant Account<br />On larger films Senior, or Key Assistant Accountants may act as the Production Accountant's “right hand”. Key Assistant Accountants contribute to the successful completion of film production through effective financial management, and excellent cost control, combined with an understanding of the filming schedule and script breakdown. <br />Key Assistant Accountants must be self-motivated, but also able to work well as part of a team. They should be highly skilled in the use of word processing and spreadsheet packages, such as Microsoft Excel, and have a very good working knowledge of film budgeting, scheduling and production accounting software. They need experience of preparing cost reports, and should possess strong communication skills. They must also be able to follow instructions when directed by the Production Accountant or Financial Controller.<br />
  26. 26. Producer<br />Producers must be good businessmen, strategists, motivators, negotiators and creative visionaries, with the ability to spot, and deal with, potential problems before they materialise, and the drive to do whatever it takes to get the film made.<br />Producers are highly self-motivated individuals, who have the final responsibility for all aspects of a film's production. He or she is frequently the first person to become involved in a project; they participate directly in all the main producing phases; and see the project through production, to post-production, marketing and distribution. The Producer's is role to turn story ideas into profitable cinematic entertainment, and to persuade others to share in his or her commercial and creative vision. Producers usually report to the production company, or to the Executive Producers appointed to supervise the production on behalf of the financiers and Distributors.<br />As the originator of such a large project as a film production there is no specific route to becoming a Film Producer. A number of colleges and universities offer courses in film producing. However, it is impossible to master all the necessary skills by studying alone. In a majority of cases, to convince financiers to part with their money, Producers must demonstrate a successful track record in film production. Typically, they have a lot of film industry experience, and have worked as a Co-Producer, Line Producer, Associate Producer or Distributor, before progressing to the role of Producer. Producers should also undertake approved industry Health and Safety courses, as this is ultimately their responsibility.<br />
  27. 27. Executive Producer<br />The traditional role of the Executive Producer is to supervise the work of the Producer and report back to the studio, the financiers or the distributors, and to ensure that the film is completed on time, and within budget, to agreed artistic and technical standards. The term often applies to a producer who has raised a significant proportion of a film's finance, or who has secured the underlying rights to the project. Normally, Executive Producers would not be involved in the technical side of the filmmaking process, butmay have played a vital financial or creative role in making sure the project goes into production.<br />They need a keen business sense, and an intimate knowledge of all aspects of film production, financing and distribution. They are usually very well connected both within the industry and with investors and investment groups. They should have a strong knowledge of the market for films, and of the developing trends in production and audience tastes. When packaging a project, they must have a keen understanding of which packages will earn more than they cost.<br />
  28. 28. Health And Safety Advisor<br />Health and Safety Advisors assist in the management of effective risk control. It is not the Advisors' role to manage health and safety aspects within a film production, but to enable other members within that production to take health and safety responsibility for themselves.  Advisors give advice and guidance to help set up health and safety management systems, procedures and policies.<br />Knowledge of Health and Safety in the workplace, and an understanding of the film industry are key to this role. Most Health and Safety begin their careers outside the film industry, and bring their health and safety knowledge and skills to their roles within the industry.  

Training is essential, and specialist Health and Safety Training Courses are available, e.g. NEBOSH and IOSH diplomas. It is also advisable to become a member of the Institution of Occupational Health and Safety.  Continuing professional development is also important within an industry, and a role, which are continually changing.<br />

    Be the first to comment

    Login to see the comments


Total views


On Slideshare


From embeds


Number of embeds