Job Roles in the Media

Runner(Film )

To become a runner you would need to prove the following qualities

Be flexible and well organised

Be able to think on your feet

Have good communication skills

Be able to take orders

Be tactful and diplomatic

Be punctual

Be enthusiastic

Be able to work calmly and effectively under pressure

Have good IT skills

Have good organisational and administrative skills

Be able to work without supervision

Be versatile and a willing to learn

Be aware of relevant health and safety laws and procedures

Though no qualifications are needed t a god is wanted due to competition for the job. Event though it low paid.

Production Runners are used by the Producer and by other production staff. They help out wherever they are needed on productions. Their responsibilities vary depending on where Production Runners are assigned.

In the Production Office duties might include answering telephones, filing paperwork and data entry. Or arranging lunches, dinners, and transportation reservations, photocopying, general office administration, and distributing production paperwork.

On set, Runners might have to act as a courier and help to keep the set clean and tidy. They also distribute call sheets, health and safety notices, and other paperwork. On location shoots, Production Runners may also be needed to help co-ordinate the extras, and to perform crowd control duties.

Runners are usually employed on a freelance basis and their hours are long and irregular.

 Researcher(TV)

TV Researchers originate or develop programme ideas, drawing on their knowledge and understanding of industry requirements, and present their findings to decision makers. They are also fact checkers and brief writers who write scripts for on-screen presenters.

They work across all genres of television production. They must understand, and work within, relevant legislation and regulations.

They may be briefed by Producers or other decision makers about programme ideas and then carry out further development. Alternatively, 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, collating and assessing information from various sources, and ensuring that legal, compliance and copyright requirements are met.

They carry out preliminary telephone and/or face-to-face interviews to assess contributors' potential suitability and availability for inclusion in each programme according to its genre and format. During production, they arrange transport for contributors. They greet them, brief them before recording commences and escort them from the studio or location once shooting is completed.

They may also be required to identify location requirements from scripts or programme outlines, and assess locations for suitability and cost. They identify and select suitable sources for archive footage, still pictures or audio materials.

Researchers may contribute to the development of scripts by writing drafts or briefing others. They may be asked to check final written materials for accuracy. Before production commences, they identify, negotiate fees for, and conclude copyright clearances and legal issues relating to all bought-in materials used on shoots, including archive materials, intellectual property or music. They must ensure that all relevant broadcast territories are covered.

They may also be required to prepare production materials for external use, in both print and digital formats.

You could start out as a Runner or Production Assistant, or gain a role as a Researcher because you have specialist qualifications or knowledge about a particular programme's content. You could also start out as a non-media researcher, journalist or writer and become a TV researcher.

You won’t need a specific qualification to become a TV Researcher. However, a degree in a media-related, drama or specialist subject may give you a good grounding.

If you are considering taking a TV production course in higher education, the following courses have been rigorously assessed by the TV industry and awarded the Creative Skillset Tick for the high standard of education they provide and the degree to which they prepare you for a TV career:

TV production courses awarded the Creative Skillset You will need to have wide experience in and knowledge of the pre-production and production processes.

Editor

To do this role, you will need to:

Have technical aptitude

Have wide experience of the post production process

Be familiar with a variety of computer editing equipment

Understand dramatic storytelling to create rhythm, pace and tension

Be creative under pressure

Have imagination and an understanding of narrative

Have excellent communication and interpersonal skills

Have highly developed aesthetic visual awareness

Be able to lead a team

Have patience and attention to detail

Have good organisational skills

Understand the requirements of relevant health and safety laws and procedures

What does a Film Editor do?

Editors are one of the key Heads of Department on feature films, responsible for First Assistant Editors, and on bigger productions, Second Assistants and Trainees.

The Editor works closely with the Director, crafting the daily rushes into a coherent whole. 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.

Editors work long, unsociable hours, often under pressure, in an edit suite. They are employed on a freelance basis by the Producer (sometimes with the approval of the film's financiers), based on their reputation and experience. Editors often work on television drama, as well as on feature films.

The Editor works closely with the Director before shooting begins, deciding how to maximise the potential of the screenplay. Editors check the technical standards, as well as the emerging sense of story, and the actors' performances.

Because scenes are shot and edited out of sequence, Editors may work on scenes from the end of the film before those at the beginning, and must therefore be able to maintain a good sense of how the story is unfolding.

Editors select the best takes and edit them together to create scenes. In some cases, an improvised line or an actor's interpretation of their role may create some on-screen magic that can be developed into a new and exciting scene.

During the post-production period, the Editor and the Director work closely together, refining the assembly edit into the Director's Cut, which must be approved by the Producers, until they achieve picture lock or Fine Cut (when the Director and/or Executive Producer give final approval of the picture edit).

Editors usually work in a supervisory role during the subsequent music and track laying, and sound mix.

Traditionally, you could go from being a Runner to a Trainee, Second Assistant, First Assistant and eventually to become an Editor. However, with digital editing, 2nd Assistants are now only employed on very big budget films.

As a Trainee with at least two years' experience you would have to work as an Assistant in television or on low budget films for a considerable period of time before becoming First Assistant on feature films. Some big budget productions take on Trainees and Second Assistants, and it is important to keep up to date with films in pre-production by reading the trade press.

If you can work with an Editor as an Assistant, you may be allowed to carry out the assembly edit of some sections of the film. If you can become an experienced Assistant, you may also work as an Editor on short films, which will enable you to showcase your talents.

 Director(Film + TV )

To become a director you don’t need to have qualifications  . If you are considering taking a film production course in higher education, the following courses have been rigorously assessed by the film industry and awarded the Creative Skillset Tick for the high standard of education they provide and the degree to which they prepare you for a career in film: Film production courses awarded the Creative Skillset Tick

However, the role can only really be mastered through in-depth practical experience. You will find writing a screenplay, directing your own short film or an amateur play are all good starting places. You will also need extensive industry experience; up-to-date knowledge of filmmaking techniques and equipment is vital, as is learning how to work with actors to create a performance.

For This job you need  the following  qualities: have exceptional artistic vision and creative skills

have unerring commitment

have a deep passion for filmmaking

be a strong and confident leader

make decisions

delegate and collaborate with others

have excellent communication and interpersonal skills

inspire and motivate the team

have an extensive understanding of the entire filmmaking process, from both technical and creative points of view

work intensively for long hours

pay attention to detail

remain calm and think clearly under great pressure

have great self-belief

be determined to succeed

 The best way in is probably starting as a runner. This means that a you work up the ladder you the skills needed to become a director.

Production Manager

Location Manager

DoP (Director of Photography)

What does a Director of Photography (DoP) do?

Directors of Photography (DoPs) are key Heads of Department on film productions and theirs is one of the major creative roles. They provide a film with its unique visual identity, or look.

DoPs must discover the photographic heart of a screenplay, using a variety of source material including stills photography, painting, other films, etc.

They create the desired look using lighting, framing, camera movement, etc. DoPs collaborate closely with the camera crew (Camera Operator, 1st and 2nd Assistant Camera, Camera Trainee and Grips).During filming, DoPs also work closely with the Gaffer (who runs the lighting team), the Production Designer, Costume Designer, and the Hair and Make-up Department.

After reading the screenplay, DoPs meet with the Director to discuss the visual style of the film. They conduct research and preparation including carrying out technical recces of locations. They prepare a list of all required camera equipment, including lights, film stock, camera, cranes and all accessories etc., for the production office to order.

During preparation DoPs also test special lenses, filters or film stocks, checking that the results fit with the Director's vision for the film.

On each day of principal photography, DoPs and their camera crews arrive early on set to prepare the equipment. During rehearsals, the Director and DoP block (decide the exact movements of both actors and camera) the shots as the actors walk through their actions, discussing any special camera moves or lighting requirements with the Camera Operator, Gaffer and Grip.

Each shot is marked up for focus and framing by the 1st AC, and, while the actors finish make-up and costume, the DoP oversees the lighting of the set for the first take.

On smaller films, DoPs often also operate the camera during the shoot. At the end of each shooting day, DoPs prepare for the following day's work and check that all special requirements (cranes, Steadicams, remote heads, long or wide lenses, etc.) have been ordered. They also usually view the rushes (raw footage) with the Director.

During post production, DoPs attend the digital grading of the film, which may involve up to three weeks of intensive work.

Most DoPs work on commercials and promos as well as on feature films. Although the hours are long, and some foreign travel may be required, the work is highly creative and very rewarding.

 Will I need a qualification?

You could take a degree in stills photography to gain a good, all-round understanding of composition and light. However, a drama, art or a film/media studies degree all provide a good grounding.

If you are considering taking a film production course in higher education, the following courses have been rigorously assessed by the film industry and awarded the Creative Skillset Tick for the high standard of education they provide and the degree to which they prepare you for a career in film:Film production courses awarded the Creative Skillset Tick

Although you do not need to have an electrical qualification, you will need to understand the functions of a variety of lighting equipment and to have thorough knowledge of cameras, lenses and film stocks.

You can expect to start your career in a junior capacity, e.g., as 2nd Assistant Camera on short films or promos and progress through the Camera Department.

If you work as a Camera Operator, you could become a DoP by carrying out second unit work. It’s also possible to make the transition to DoP from the Lighting Department.

Although experience of working on short or student films can provide a good introduction to feature film production, you will need to work as part of a camera crew to fully learn the on-set hierarchy and traditions of working.

Becoming a DoP can be a long and arduous process but the eventual rewards are great.

Camera Operator (studio or portable single)

Camera Operator (Portable Single Camera) is a senior role within television camera departments. The role's duties vary depending on the type of production. On high budget dramas or commercials, their main role is to support the Director of Photography (DoP or DP) and the Director, by accurately carrying out their instructions regarding shot composition and development. They also cover other drama productions, documentaries, current affairs and news, shooting on various tape or digital formats.

Camera Operators are usually selected by the Director, but sometimes by the DP. They work closely with the First Camera Assistant (Focus Puller). They oversee the preparation and checking of camera equipment. During shooting, they are responsible for all aspects of camera operation, so that the DP can concentrate intensively on lighting and overall visual style. While the DP and Director discuss the composition of each shot, the Operator ensures that the camera and associated equipment are ready for the required set-up, keeping alert for any last-minute changes.

They liaise closely with the Director, fine-tuning the exact details of each shot, often suggesting creative improvements or alternatives. They work closely with performers, guiding them on what can and cannot be seen by the camera. They supervise the moving of the camera and oversee camera maintenance work carried out by the Focus Puller and the Second Camera Assistant (Clapper Loader on film).

Hours are long (12-14 hours a day), and some foreign travel may be involved, involving long periods spent away from base, which can be challenging to home and family life.

Will I need a qualification?

You do not need a specific qualification to work in this role. Instead, you would usually learn the practical skills required through hands-on experience on the job. That said, continuing professional development is vital, especially as camera technology changes rapidly.

Basic stills photography, which develops visual and composition skills, also provides a useful starting point in training for this role.

Is this role right for me?

To do this role, you will need to:

have artistic ability and be able to offer creative input

have good colour vision, and excellent hand-to-eye co-ordination

have a strong affinity with technology, knowledge of the relevant electronics and an in-depth knowledge of the principles of camera work

have good communication skills and show diplomacy and sensitivity when working with artists, production staff and crew

be able to take direction and work as part of a team, particularly on multi-camera shoots

be able to carry out instructions with great accuracy and attention to detail

be able to frame and compose shots and perform camera moves with precision and speed

have good IT skills

possess physical stamina for working long hours and moving heavy equipment

understand the requirements of the relevant health and safety legislation and procedures

Sound Recordist

What does a Sound Recordist (TV) do?

Sound Recordists (also known as Production Mixers) record sound on location or in a studio, usually in synchronisation with the camera, to enable the highest quality 'real' sound to be recorded at the time of filming.

They monitor the quality of the sound recording through headphones and work closely with the Director, Boom Operator and sometimes the Sound Editor, often using multiple microphones.

Jobs in sound generally fall into two areas: production sound and post production sound. Sound Recordist/Production Mixers work in production sound.

It is their job to set up talkback communication between production staff, presenters and artists and other communication systems such as 'live' links by landline, microwave link or satellite. They also record sound effects and atmosphere tracks.

Sound Recordist/Production Mixers may work on a wide range of single or multi-camera shoots, and their duties can vary considerably. Depending on the scale of the production, they may work closely with the Director and Producer at the planning stage to clarify technical requirements and budgets.

They are responsible for producing the final sound mix, so they directly supervise the Sound Assistants and Boom Operators. Sometimes, they also manage the rest of the sound crew. They may also occasionally operate the boom themselves. They often have to supervise frontline maintenance in order to keep the production on track.

Will I need a qualification?

You won’t need a qualification to be a TV Sound Recordist. However it is vital to be able to show a strong interest in sound and an understandingf its physical properties.

Courses are available throughout the UK, from HND to degree level in sound technology, audio engineering, acoustics and music recording.

Is this role right for me?

To do this role, you will need to:

be a strong team player - many of the skills needed in this role involve working as a team as efficiently and effectively as possible

be willing and able to compromise

be able to think creatively to solve problems created by particular locations or situations

pay close attention to detail and concentrate for long periods

have good knowledge of audio equipment and sound technology

have knowledge of the television production process, including camera and lighting techniques

have knowledge of management and licensing of radio transmission systems

have excellent hearing

have excellent balance, agility and a good sense of timing

have good communication skills, including diplomacy and sensitivity when working with artists and crew members

be patient, self-disciplined and reliable

have knowledge of the requirements of the relevant health & safety legislation and procedures

Sound Assistant

What does a Sound Assistant (TV) do?

TV Sound Assistants work closely with Sound Supervisors and Boom Operators to help record the best quality sound in studios or on locations.

Jobs in TV sound generally fall into two areas: production sound and post-production sound. TV Sound Assistants work in production sound. They are excellently placed to learn about all aspects of TV sound, and to acquire hands-on experience.

TV Sound Assistants must be able to carry out a variety of tasks, including assembling and maintaining sound recording equipment, setting up communication and public address systems, and positioning microphones. They work under the supervision of the Sound Supervisor.

They may also play in music or operate sound effects as necessary, under the direction of the Director and Sound Supervisor. They ensure that any cables are kept clear of moving equipment, fill in accurate and clear sound report sheets, store materials, report any technical faults they may find, and undertake basic technical maintenance tasks as required.

They need to have a good knowledge of the script, as they may be asked to deputise for the Sound Recordist, e.g. in second camera situations, or on some larger productions they may be expected to act as a second Boom Operator.

Will I need a qualification?

You won’t need a qualification to be a TV Sound Assistant. However it is vital to be able to show a strong interest in sound and an understanding of its physical properties.

Courses are available throughout the UK, from HND to degree level in sound technology, audio engineering, acoustics and music recording.

To do this role, you will need to:

be a strong team player – many of the skills needed in this role involve working as a team as efficiently and effectively as possible

pay close attention to detail and concentrate for long periods

have some technical knowledge for the operation and maintenance of sound equipment

have excellent hearing

have good communication skills, including diplomacy and sensitivity when working with artists and crew members

be patient, self-disciplined and reliable

have knowledge of the requirements of the relevant health and safety legislation and procedures

Production Designer  

 What does a Production Designer do?

Production Designers are major heads of department on film crews, and are responsible for the entire art department.

They help Directors to define and achieve the look and feel of a film.

Filming locations may range from a Victorian parlour, to a late-night café, to the interior of an alien space ship. The look of a set or location is vital in drawing the audience into the story and making a film convincing. A great deal of work and imagination goes into constructing the backdrop to any story and choosing or building locations and/or sets.

Production Designers begin work at the very early stages of pre-production. They may be asked to look at scripts to provide spending estimates before a Director is even approached. On first reading a screenplay, they assess the visual qualities that will help to create atmosphere and bring the story to life.

After preparing a careful breakdown of the script they meet with the Director to discuss how best to shoot the film and work out whether to use sets and/or locations, what should be built and what should be adapted and whether there is a visual theme that recurs throughout the film.

They also consider whether there are design elements that may give more depth to the film and whether CGI (computer generated imagery) should be used.

Production Designers must calculate the budgets and decide how the money and effort will be spent. Then there’s an intense period of research during which they and their Specialist Researchers source ideas from books, photographs, paintings, the internet, etc.

Production Designers deliver their design sketches (showing mood, atmosphere, lighting, composition, colour and texture) to Art Directors who oversee the production of technical drawings and models, which are used by the Construction Department to build the sets and adapt locations. Props Buyers and Set Decorators source props and organise the manufacture of specialist items.

As the start of shooting approaches, Production Designers manage lots of people, prioritise the work schedule and carefully monitor the budget. When shooting starts, they are usually up early each morning to view each new set with the Director, Director of Photography and Standby Art Director, answering any requests or queries.

Later on in the art department office, Production Designers check on the construction and dressing of other sets, and sign off on sets/locations for the next day's shoot.

Although Production Designers usually finish work on the last day of principal photography, on larger films they may be involved for longer periods. Production Designers work on a freelance basis.

They may have to prepare detailed drawings and specifications in order to pitch for work on a number of productions before being offered work on one of them. Although the work can be very demanding and the hours long, this is one of the most highly-skilled, creatively fulfilling roles within the film industry. Signer

What's the best route in?

As the head of the largest department on a film crew, you must have extensive experience gained over a number of years. You would usually start as a Junior Draughtsman, moving on to Draughtsman, Assistant Art Director and Art Director.

You will also find a background of working in theatre helpful, as this would teach you the art of set design and construction as well as how to conceptualise ideas and create a sense of drama through visual spectacle.

If you graduate in film and theatre design, you will need to gain experience working on short films before progressing to junior roles on feature films.