Designer – Interactive Media

The role of the Designer, is to create the ‘look and feel’ of an interactive media product. What this actually involves can vary, depending on the size of team the Designer is part of, or the type of company they are working for.

The role often overlaps with Information Architect and Producer, especially in more senior positions, or where the Designer is working alone or in a very small team.

The Designer must combine creativity with an awareness of the tools and technologies that will be used to build the product, and an understanding of what these can and cannot do.

The role sometimes also overlaps, or may even be merged with, that of Developer, especially in smaller companies or teams.

Designers may be employed in permanent positions within a company, or may work on a freelance basis. Amongst freelancers, there tends to be most demand for those who are both good designers and have technical expertise, or who can combine several roles.

Developer – Interactive Media

The role of the Developer is to create an interactive media product.

Sometimes this will be according to designs created by someone else (such as a Designer or Information Architect); other times the Developer may design the product as well.

The role generally overlaps with, and falls in between, those of Designer and Programmer, although the actual amount of design work involved may vary depending on things like the type or size of the organisation the Developer is working for. Nevertheless, creative flair and some appreciation of design, interactivity and usability are required.

Developers may be employed in permanent positions within a company, or may work freelance. Amongst freelancers, there tends to be most demand for those who are either extremely good specialists in one particular area (e.g. standards-compliant HTML) or who are good all-rounders, combining design and technical abilities.

Producer – Interactive Media

Producers, are responsible for identifying and specifying an interactive media product’s high-level requirements or purpose, and ensuring that its business objectives and creative vision are understood and maintained by everyone involved in the project.

This is a senior, client-facing role that requires combinations of expertise in business, management, content, design and technical disciplines. It has a close relationship with the Project Manager role, but focuses on the project’s creative requirements rather than the mechanics of running it.

The two roles are often combined, however. The Producer role also frequently overlaps with that of Information Architect.

Interactive media companies usually prefer to keep the Producer role in-house, so this tends to be a permanently employed position. However, there is a shortage of experienced Producers, so freelance and contract opportunities are still available.

Production Assistant – Interactive Media

Working in Interactive media requires a unique set of skills. Practitioners typically need combinations of creative and technical skills and ideally also knowledge relating to content and business.

It is also essential to have the right attitudes – successful interactive media practitioners are flexible, adaptable, self-motivated and able to work under their own initiative, with an entrepreneurial attitude and a willingness to continue learning and managing their professional development.

The role of the Production Assistant is to contribute to the production of an interactive media product by helping other members of the team.

This role is a good starting point from which to gain experience of the interactive media production process, build a portfolio, and achieve with time and experience an all-round awareness of the industry, its processes and the roles of other interactive media professionals.

Production Assistants usually work with the Designer and Developer² or with a Web Editor. Production Assistants may be employed in permanent positions or as freelancers, and may sometimes be taken on as interns or on work experience placements.

Studio Manager – Interactive Media

The role of Studio Manager is to ensure the smooth running of an interactive media studio, managing the team, overseeing the work and liaising with other departments within the company. It may also first involve actually setting up the studio and recruiting staff. 

The role can overlap with those of Producer¹ and Project Manager², and sometimes also with senior Designers³. Studio Managers are almost always employed in full–time permanent positions.

Project Manager – Interactive Media

The role of Project Manager is to plan, schedule and co-ordinate interactive media development projects, ensuring they run smoothly, on time and within budget.

This role often overlaps with that of Producer¹, but focuses on the mechanics of running the project rather than its creative requirements.

The two roles are often combined, however. The Project Manager usually works closely with the Producer and the Account Manager².

Project Managers are usually employed in full-time permanent positions, but they are often also used on a freelance basis for individual projects.

Account Manager – Interactive Media

The role of the Account Manager is to develop, maintain and improve relationships with existing clients, ensuring their needs are met, and obtaining repeat business from them.

He or she will usually work closely with Project Managers¹ and Producers² , and may report to senior company managers. The role often overlaps, or may be combined, with that of New Business Developer³.

Account Managers are almost always employed in permanent, rather than freelance, positions.

New Business Developer – Interactive Media

The role of the New Business Developer (NBD) is to generate business for the interactive organisation or agency. This new business can often be generated by obtaining and responding to invitations to tender, though it can also involve identifying opportunities to develop and sell products. It often overlaps with the Account Manager¹ role, but is usually more concerned with developing new clients rather than obtaining repeated business from existing ones. In some positions, the New Business Developer’s job is only to identify prospective clients and then hand over leads to someone else, such as an Account Manager or Producer² , for conversion; in other positions the New Business Developer may additionally be responsible for winning the business, for example by developing proposals and making pitches. NBD managers are sometimes contracted to work short term to identify leads in a new sector; or to identify and report on potential within a new sector.

Content Strategist – Interactive Media

The role of the Content Strategist is to scope and plan interactive media product’s¹ content and determine its overall style – what to say, how to say it effectively, when and where to say it.

He or she will usually work alongside an Information Architect², and the role has similarities with that of Web Editor, though the latter is mostly concerned with on-going web site maintenance after launch, and is usually found within the client organisation, whereas the Content Strategist tends to work within the supplier company during the product’s development.

Content Strategists may be employed in full-time permanent positions, or on a freelance basis for individual projects.

Information Architect – Interactive Media

Information Architects, interpret high-level requirements in order to design the overall user experience of an interactive media product.

The exact work involved can vary depending on the nature of individual projects, the size of team the Information Architect is part of, or the type of company he or she works for.

The role often overlaps with those of Designer² and Producer, especially where the Information Architect is working alone or in a very small team. This is a multi-disciplinary role that requires understanding of content, technology, interaction design and usability.

Information Architects tend to be employed in full-time permanent positions, but they are often also used on a freelance basis, especially as there is a shortage of experienced people.

Web Editor – Interactive Media

Web Editors¹ plan and oversee the on-going management of a web site and the publication of content to it. This may involve writing copy from scratch, or coordinating and editing contributions from others.

Although the role is usually mostly journalistic, it may also require technical skills and strategic planning abilities. It sometimes overlaps with the Information Architect or Content Strategist roles and often with the Developer role, but is usually client-side, rather than being found within a supply-side web company.

This is almost always an in-house post since the job usually requires in-depth knowledge of the organisation and is generally ongoing, unlike most other hands-on roles in interactive media, which tend to be project-based.

Web Writer – Interactive Media

Web Writers create text content for web sites, usually as part of the site development, though they may also be involved with on-going publishing after launch. This is primarily a journalistic role, although writing for the web can be slightly different to writing for other media.

The role may overlap with those of (Search Engine Optimization) SEO Specialist¹ and Web Editor² , and at more senior levels with those of Content Strategist³ and Information Architect⁴.

During web site development, this is usually a supply-side role, found within the web agency or on a freelance basis. However, it can also be an in-house client-side role, especially where there is a need for on-going content production after launch, or where clients prefer to write their own copy. 


SEO Specialist – Interactive Media

The role of the SEO (Search Engine Optimisation) Specialist is to optimise a web site or pages to make them as visible as possible to Internet search engines, in order to maximise traffic to them.

They may work closely with Web Editors and Developers and liaise with, or report to, the client or an Account Manager.

SEO Specialists may work in permanent positions either within web agencies or specialist SEO consultancies, or they may work freelance.

Programmer – Interactive Media

The role of Programmer in interactive media is to produce computer software in order to give a product its functionality.

It is similar to the Developer role but is usually more purely technical and focuses on high-level programming rather than scripting – although they often overlap.

It does not usually involve visual or interface design, but may include technical design, such as devising systems or databases.

Programmers are usually employed either in permanent positions, or on short-term full-time contracts, which may last from a few weeks to many months.

Usability Specialist – Interactive Media

The role of the Usability Specialist is to ensure an interactive media product meets the needs of its intended audiences through analysis, evaluation and testing of the user experience.

This is very much a research-led role, but it may sometimes also require technical skills. The Usability Specialist may work independently or as part of a team and will typically need to liaise with the Producer, Information Architect, Designer or Developer.

Usability Specialists are usually employed in permanent positions within interactive media agencies or specialist usability consultancies, but some work as freelance consultants.

Art Director – Film & TV

Art Directors work on feature films, commercials and some types of  television productions.  On feature films they act as project managers for Art Departments. They facilitate the Production Designer’s creative vision for all the sets and locations that eventually give productions their unique visual identity.  In large Art Departments on television productions Art Directors are also responsible for the Art Department budget and schedule of work, and help the Production Designer to maximise the money allocated to the department. 

Art Directors are usually appointed by the Production Designer, and are responsible for the Assistant Art Director, the Draughtsmen*, the Art Department Assistant(s), Graphic Designers, Storyboard Artists, Model-makers and all Construction personnel.  However, on some TV dramas the Art Department may consist of only the Production Designer, Art Director, and Production Buyer, while on smaller television productions the roles of Production Designer and Art Director are often combined.  As Art Directors must find practical solutions to creative problems while simultaneously monitoring the budget, this is highly skilled work.  The hours are long and the job can involve long periods working away from home.  Art Directors usually work on a freelance basis.

Assistant Art Director – Film & TV

Assistant Art Directors work on feature films, commercials and certain types of television production.  They help to translate ideas into practical realities – initial sketches become worked-up drawings from which a variety of craftsmen* build sets or adapt locations. There is a strong hierarchical structure within Art Departments, and this chain of command must function smoothly in order to meet the artistic demands of the Director, and the financial and logistical demands of the production. The Assistant Art Director’s role is vital within this structure.

In television this role may be combined with that of Standby Art Director.  Assistant Art Directors are usually chosen by the Supervising Art Director or the Art Director, work on a freelance basis, and usually specialise in either film or television production.  The hours are long and the job can involve long periods working away from home. 

Script Supervisor

(aka Continuity) 

Script Supervisors work as part of the Camera Department on Feature Films and Television Dramas.  They ensure that, despite the fact that films are shot entirely out of script sequence, they eventually make continuous verbal and visual sense.  This entails checking on and keeping detailed records of dialogue, action, costumes, props and set design, so that when different takes and scenes are finally edited together, the fictional world of the film is not disrupted by continuity errors which may distract the audience.  Script Supervisors closely observe every shot filmed, and take extremely precise and detailed notes, in order to provide an authoritative reference point should any doubt arise about how a previous take or scene was filmed.  These reports provide an invaluable resource for Directors and Editors enabling them to assess the coverage, including how many shot options there are for each scene of the script, and exactly how each shot was filmed.  Script Supervisors are involved during pre–production and principal photography.  Hours are long (12–14 hours a day), and some foreign travel may be required, involving long periods spent away from base. 

Camera Operator (Studio/Outside Broadcast) – TV

Studio/Outside Broadcast Camera Operator is a senior role within television camera departments, but precise responsibilities vary greatly depending on the type of production. Studio/Outside Broadcast Camera Operators cover all types of outside-broadcast (OB) and studio-based programmes. They operate one of several cameras capturing images simultaneously (multi-camera shoots), which involves receiving camera directions (usually over a headset) from the Director, who is based in a “gallery” (production area) away from the location or set.

Studio/OB Camera Operators must have excellent technical skills and expertise, and there is some scope for creative input. Some Studio/OB Camera Operators are employed in staff positions, but many are freelance, and shift work and unsocial hours are often involved.

Camera Assistant (Studio/Outside Broadcast) – TV

Camera Assistants support senior members of the Camera department, and undergo an important practical apprenticeship. Camera Trainees provide general support to the Camera department, while more senior Assistants carry out precise and complex technical tasks such as swinging camera cranes. Assistants learn crucial practical skills, which eventually help them to progress to more senior roles, such as Camera Operator and eventually Camera Supervisor. Hours may be long (12-14 hours a day), and the work is intensive and can be physically exhausting. Some travel may be involved, involving periods spent away from base, which can be challenging to home and family life. Established Camera Assistants can make a comfortable living, and are likely to progress to the next professional level within a few years.

Camera Assistant (Portable Single Camera) – TV

Camera Assistants support senior members of the Camera department, and undergo an important practical apprenticeship. Camera Trainees provide general support to the department, while more senior Assistants carry out precise and complex technical tasks involving camera maintenance and operation. Most television productions are shot on various tape or digital formats, other than high budget drama productions, or commercials, which may be shot on film. Techniques are similar, and Assistants need to know how to work in all media formats. 

Camera Assistants usually work on a freelance basis; work offers are unpredictable, and planning ahead can be difficult. Most bookings come via recommendations from more senior Camera Assistants, or DPs or Lighting Camera operators. Hours are long (12-14 hours a day), and the work is intensive and can be physically exhausting. Some foreign travel may be involved, involving long periods spent away from base. Established Camera Assistants can make a comfortable living, and are likely to progress to the next professional level within a few years.

Lighting Camera (Portable Single Camera) – TV

Lighting Camera Persons play the most senior role in television camera departments. They interpret the Director’s vision for the programme, and use their advanced technical skills in lighting and camerawork to produce and capture moving images. They also liaise closely with other members of the production team to create each required shot, and to motivate and encourage them in their work.

On a high-budget television drama or commercial, the role is referred to as Director of Photography (DP or DoP), and involves supervising a camera department of approximately six people. On other drama productions, documentaries, or factual or news productions, the role is known as Lighting Camera, and the crew sometimes comprises only two or three people, as budgets are usually much lower. As the DP or Lighting Camera person must work efficiently within budget and schedule restrictions, the role can be very stressful. The hours are long (around 12-14 hours a day), and the work can be physically exhausting. Most practitioners work on a freelance basis, and work opportunities can be very unpredictable making forward planning difficult. Bookings usually come from Directors with whom they’ve worked previously, or through word of mouth. Some foreign travel may be involved, involving long periods spent away from base. However, working as a freelance offers much more variation and creative opportunity. Although it may take many years to progress to this role, it can be financially rewarding.

Make-Up and Hair Designer – Film & TV

Make-up and Hair Designers usually work on feature films and high budget television dramas and must be proficient in both make-up and hair techniques.  Make-up and Hair are key elements in the overall design of films or television productions, creating a look for the characters in relation to social class, and time periods, and any other elements required to create the desired illusion.  Make-up and Hair Designers are responsible for the overall design, application, continuity and care of make-up and hair throughout the pre-production and production periods. 

The work involved ranges from creating contemporary looks to recreating period designs and styles, and transforming actors’ physical appearance.  Make-up and hair effects include the design and application of wigs, hairpieces, hair extensions, facial hair, bald caps, tattoos, body paint; as well as medical effects such as cuts, scars, bullet wounds, burns, bruises, blood and the physical symptoms of various diseases.  Ageing and death effects are also the responsibility of the Make-up and Hair department. 

Make-up and Hair Designers are employed throughout pre-production and production, and usually work on a freelance basis.  The hours are long and the job can involve long periods working away from home.

Make-Up and Hair Artist – Film & TV

Make-up and Hair Artists work on feature films and in television on commercials, pop promos, corporate productions, light entertainment programmes, documentary dramas, etc. They are also employed on TV dramas, and feature films working to Make-up and Hair Designers. They must be proficient in both make-up and hair techniques. Make-up and Hair are key elements in the overall design of films or television productions, creating a look for the characters in relation to social class, and time periods, and any other elements required to create the desired illusion.

Make-up and Hair Artists must be experienced in using a wide variety of professional make-up and hair products. They must be able to create make-ups and hairstyles to meet production requirements. They also work with wigs, and facial and false hair and may be required to affix any required prosthetics. They oversee make-up and hair continuity during the shoot, and remove products as required.

Make-up and Hair Artists are employed throughout pre-production and production, and usually work on a freelance basis. Dailies work on a day to day basis normally on crowd scenes. Personals are personal Make-up and/or Hair Artists employed to look after a specific Principal Actor or Personality. On Films or TV Drama productions, personal Make-up and/or Hair Artists must work to the overall design of each production. Make-up and Hair Artists’ hours are long and the job can involve long periods working away from home.

Make-Up and Hair Assistant – Film & TV

Make–up and Hair Assistants work on feature films and in television on commercials, pop promos, corporate productions, light entertainment programmes, documentary dramas, etc.  They must be proficient in both make–up and hair techniques.  Make–up and Hair are key elements in the overall design of films or television productions, creating a look for the characters in relation to social class, and time periods, and any other elements required to create the desired illusion.  Make–up and Hair Assistants combine the duties of the Assistant Make–up Artist and the Assistant Hairdresser into one role.  They are responsible to Make–up and Hair Artists, Chiefs and/or Designers. 

Their responsibilities vary depending on the size of the production.  If there are no Make–up and Hair Trainees on a film, Assistants assume their duties and the work involves setting up workstations, assisting senior staff, and working on crowd scenes.  However, on smaller productions Make–up and Hair Assistants may be given responsibility for make–up and hair for minor or principal characters.  Make–up and Hair Assistants are employed during pre–production and production, and usually work on a freelance basis.  The hours are long and the job can involve long periods working away from home.

Broadcast Journalist – TV

Broadcast Journalism is the collection, verification and analysis of information about events which affect people, and the broadcast and publication of that information in a fair, accurate, impartial and balanced way to fulfil the public’s right to know in a democratic society. This involves a variety of media including television, radio, the Internet and wireless devices. Broadcast Journalists working in television work in a variety of genres including news, current affairs, or documentaries. They may be employed by broadcasting companies, or work on a freelance basis.

Lighting Director – TV

Lighting Director is the most senior role in television lighting departments. Using the script or brief from the Production team they design the specific look required for each shot. They use their advanced technical skills to realise the design and, with the help of the rest of the lighting department, to set up and operate specialised lights and accessories. As lighting is an essential part of programmes’ overall design and style, this is a key creative and technical role. Lighting Directors work closely with the Lighting Console Operator, Senior Electrician (Gaffer) and several Electricians (Sparks). On single camera shoots, the Lighting Camera person often takes responsibility for the lighting, although a Gaffer, working alone or with a Spark, may be brought in to assist on large projects or special set-ups.

Lighting Directors usually work on a freelance basis; work offers are unpredictable, and planning ahead can be difficult. Early starts and long hours are often involved, and the work is intensive and can be physically exhausting. Although it may take many years to progress to this role, once established, it can be financially rewarding.

Gaffer – TV

Gaffers work on all genres of television programming, including multi-camera and single camera shoots, in studios, Outside Broadcasts (OBs), and on locations.  They report to the Lighting Director, Director of Photography (DOP), the Lighting Company or the Production Company.  They are responsible for all the practical aspects of lighting sets and locations.  They collaborate closely with Lighting Directors in order to fulfil their creative vision for the production’s lighting.  Gaffers may be employees of broadcasters or of lighting facilities companies or they may work as freelances.

Agent

Agents represent performers and creative team members who work across the disciplines of Film, Television (including Commercials), Radio, and Theatre. They also supply Artists for corporate and private events. Their clients may include Actors, Singers, Dancers, Walk Ons or Supporting Artists, Stand Up Comedians, Variety Artists, Presenters, Choreographers, Designers and Directors.

Agent – Actor

Actors interpret others’ words in order to bring a script to life, and to put flesh and blood on the characters they portray. Most Actors are expected to be able to work across all the disciplines of Television, Theatre, Film and Radio, and may also work as models, or provide Voice–overs for commercials, documentaries, talking books, dubbed foreign language films, etc. Although the basic abilities required are similar, each of these disciplines demands some specific skills. 

Television work is geared to a wide variety of audiences, from productions for very young audiences, to academic productions of great linguistic complexity, and Actors must be able to adapt to the differing requirements. They may also be involved in drama–documentaries, which may involve some ad–libbing, or in reality television. Actors are selected, or cast, by the Producer, Director, Casting Director or, in some cases, they may be recommended by the Scriptwriter, or by the Broadcaster.

Agent – Presenter

Presenters work at the front line of television and radio. They introduce and host programmes, read the news, interview people and report on issues and events. As the number of channels and radio stations increases, so do the openings, but opportunities to become a Presenter are still scarce and competition is fierce. 

Presenters work across the whole spectrum of broadcasting – national and regional television and radio, satellite and cable channels – and also in the non-broadcast sector, e.g. training and corporate productions. Most are employed on short contracts and the hours can be long and unsociable. The work may be studio based or on location. Some presenters achieve celebrity status and command high salaries, but life in the public gaze is not always desirable.

Agent – Walk Ons/Supporting Artists

Walk Ons and Supporting Artists are employed on Film and Television productions, and may also work as other kinds of performers, or in a variety of occupations outside the media industries, when not involved in shoots. 

They are selected, or cast, by Casting Directors or Casting Agencies. Although the work is mostly sporadic, and they may be asked to work at very short notice, if they are employed on continuing drama series, or soaps, they can make a good living.

Choreographer

Choreographers work with Directors, Producers, Designers and other members of the Production team to plan, create and realise the dance or movement design concept. Choreographers work with trained Dancers, and with Actors, to teach them the required steps and routines, and to ensure that continuity is maintained throughout productions. 

Choreographers are always employed on any film production involving dance routines, and on larger-scale musical and/or dance television productions. On bigger budget productions, they may work with an Assistant Choreographer. They may also be employed as Movement Directors, demonstrating correct Period etiquette, robotic movements, menacing movements for gang warfare sequences, helping male actors to play women characters and vice versa, etc.

Puppeteer

Puppeteers bring inanimate objects to life in order to make them perform and interpret scripts with the same degree of integrity as Actors. They work with a variety of different puppets, including hand puppets, stringed puppets (marionettes), puppets that are life size – or bigger, animatronics, etc. 

To make the puppets more believable, there is usually a subtle element of caricature in their performance; it is an interactive process, which also requires the audience to use their imagination to bring the puppets to life. Most Puppeteers are expected to be able to work across all the disciplines of Film, Television and Theatre. Some Puppeteers also make their own puppets.

Assistant Choreographer

Assistant Choreographers work with Choreographers to help them to realise their dance or movement design concepts. Choreographers may involve Assistants in the creative process before starting work with performers. 

Assistant Choreographers work with trained Dancers, and with Actors, to teach them the required steps and routines, and to ensure that continuity is maintained throughout productions. They are usually employed on all film productions involving dance routines; however, due to budgetary restrictions, they are only employed on larger-scale musical and/or dance television productions. 


Stunt Performer

Stunt Performers are highly trained and qualified professionals. They usually have some prior experience of working on film sets, as Extras, Walk Ons, Actors or Runners. They are employed by film production companies to take Actors’ places when dangerous or specialised actions are specified in the script, or to perform roles requiring specific skills, e.g. martial arts, diving, boxing, etc. Stunt Performers are subject to stringent checks, in order to verify that they can carry out the work effectively, and most importantly, safely. Their work is overseen and accredited by the Joint Industry Stunt Committee’s (JISC) Register of Stunt/ Action Co–ordinators and Performers (the Register), which is produced with the approval of the Producers Alliance for Cinema and Television, the BBC, ITV and Equity. The Stunt Register is divided into three categories of membership: Probationary, Intermediate and Full (Stunt Action Co–ordinators) and is the only approved directory of all potential employees in the UK visual and audio visual industries who are JISC qualified, and thus competent to manage and/or perform work of a dangerous, hazardous or specialised nature.

Director – TV

In television Directors work across all genres, including news, sport, documentaries, current affairs, light entertainment, children’s programmes, situation comedies, soaps or serial dramas, or one-off dramas. These programmes may be either transmitted live, recorded as live, or pre-recorded in any multi camera environment in studios or during Outside Broadcasts (OBs), or shot on single or multi camera film or tape shoots and edited in post production.

Directors are responsible for the look and sound of a production and its technical standards; they interpret the Producer’s and/or Writer’s vision. Every production has its unique internal dynamic, and Directors are responsible for ensuring that the final programme is faithful to the original concept. They are the guardians of the genre, and need to be able to push boundaries while remaining in total control of their material. They collaborate closely with all Heads of Department, including Designers, Camera, Sound, Lighting and Choreographers. Directors may be employed by broadcasters, or work on a freelance basis.

Executive Producer – TV

Executive Producers are responsible for the overall quality control of productions, and for ensuring that final products conform to commissioners’ specifications. They are part of the team who are responsible for selecting marketable projects and ensuring that every step is taken to guarantee success in the market. They lead the production of a range of television programmes, including dramas, serial dramas, documentaries, drama documentaries, etc. Commissioners who work for broadcasters are often credited as Executive Producers. On some productions the Executive Producer role may be combined with that of Line Producer, so that as well as procuring the funding, they are also responsible for monitoring its use during production.

On serial dramas, and some entertainment programmes, experienced and well known Writers may also be credited as Executive Producers. On current affairs and news programming, the Executive Producer role is often combined with that of the Programme Editor. Executive Producers are usually experienced industry practitioners, who bring their particular, individual skills and talents to this demanding role.

Location Manager – TV

Location Managers work on television drama, drama-documentaries and continuing drama productions. They research and assess suitable locations, negotiate contracts and payments, and present their findings to Producers and other decision makers.  They oversee all logistical aspects of the location during shooting. The hours are long, and they may be required to spend considerable periods working away from base.  They usually work on a freelance basis.

Production Manager – TV

Production Managers work across all genres in television production including documentaries, current affairs, light entertainment or children’s programmes, situation comedies, soaps or serial dramas, or one off dramas. They are responsible for all the organisational aspects of production scheduling and budgeting. They assist Producers to interpret and realise the Directors’ vision, both financially and logistically.  Production Managers may be employed by production companies or broadcasters, or work on a freelance basis.

Researcher – TV

Researchers work across all genres of television production, including news, sport, current affairs, documentaries and factual programmes, light entertainment, children’s, situation comedies, soaps or serial dramas, and one off dramas. They 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 for on-screen presenters. They must understand, and work within, relevant legislation and regulations. They may be employed by broadcasters, or work on a freelance basis.

Sound Supervisor – TV

Sound Supervisors are usually studio-based or work on Outside Broadcasts (OBs), contributing to multi-camera light entertainment, current affairs or drama productions and all multi-camera programming. They are in charge of sound crews, which may include Grams (Gramophone) Operators, Sound Technicians, Boom Operators, and Technical Assistants. They may be employees of broadcasters or facilities companies, or they may work on a freelance basis.

Sound Recordist – TV

As original sound is vital to the creative media industries, Sound Recordists (also called Production Mixers) play an important role within the production process by ensuring that high quality sound is captured at all times.

Jobs in sound generally fall into two areas: production sound and post-production sound. Sound Recordists/Production Mixers work in production sound. Most Sound Recordists/Production Mixers are freelance, and although some may register with agents and diary services, most work is gained on the basis of their reputation. They are often expected to work long and irregular hours, sometimes on location, which may involve extended periods away from home.

Sound Assistant – TV

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

As excellent studio sound recording is vital to the creative media industries, TV Sound Assistants work closely with TV Sound Supervisors and TV 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.

Boom Operator – TV

Boom Operators play an important role within the production process, working under the direction of the Sound Supervisor/Production Mixer to achieve the best quality sound recording. Good, clear sound is vital to TV productions, and Boom Operators play an important role within the production process, working under the direction of the Sound Supervisor/Production Mixer to achieve the best quality sound recording.

Jobs in sound generally fall into two areas: production sound and post–production sound. Boom Operators work in production sound, mostly as freelancers, usually gaining work through personal contacts, or on the basis of their reputation, or as part of a regular crew. Boom Operators are often expected to work long and irregular hours, often on locations, which may involve extended periods away from home.

Vision Mixer – TV

Vision Mixers work across all genres of television programmes, which are either transmitted live, recorded as live, or pre-recorded in any multi-camera environment in studios or during Outside Broadcasts (OBs). These include news, sport, current affairs, light entertainment, one-off studio-based dramas, children’s programmes, situation comedies, and soaps or serial dramas.  On studio-based programmes, Vision Mixers work in the Production Gallery, on OBs they are based in the mobile Production Gallery in the OB vehicle.

Vision Mixers edit programmes live (as they are being transmitted or recorded), using a variety of transition methods, such as cuts, mixes, wipes, frame manipulation, etc. They join together images from various visual sources, including cameras, video tape recorders (VTR Machines), graphic generators, digital video effects (DVEs). They are the Director’s “second pair of eyes” in the Gallery. The work is exhilarating but demanding, and requires patience, stamina and resilience. Vision Mixers may be employed by broadcasters, or work on a freelance basis.

Runner – Post Production

The role of Runner is usually the entry point to a career in Post Production Facilities Houses which provide complete end to end services for off-line, on-line and non-linear editing, visual effects, and DVD production to the independent, corporate and broadcast media sectors.  Post Production involves creatively weaving together visual and audio materials shot or created during the production process, and combining them with other media, graphics, effects, subtitles, archive footage, etc., to create a variety of final products including broadcast programmes, DVD titles, corporate productions, etc. 

Runners are part of the team that supports the work of senior Post Production personnel and clients.  The term Runner and the nature of the industry glamorises the function, but in fact they are often a combination of waiter, cleaner, handyman and messenger.  Although they are expected to perform a multitude of often menial tasks, the Runner role provides the opportunity to learn about every aspect of the industry, and to make valuable contacts, and it has nurtured the potential of some very talented individuals. 

Bookings Co-ordinator

The Bookings department is a key area of Post Production – all jobs a Post Production House gets commissioned for are allocated and monitored by this department.  Post Production Facilities Houses provide complete end to end services for off-line, on-line and non-linear editing, visual effects, and DVD production to the independent, corporate and broadcast media sectors.  Post Production involves creatively weaving together visual and audio materials shot or created during the production process, and combining them with other media, graphics, effects, subtitles, archive footage, etc., to create a variety of final products including broadcast programmes, DVD titles, corporate productions, etc.

Bookings Co-ordinators/Schedulers are part of the team that supports the work of Post Production personnel and clients.  Bookings personnel are the organisers and schedulers of work in progress; they must always know the exact location within the facility of each job, and the stage in the Post Production process which has been achieved.  They assist Facility Managers, and Front of House Client Services Managers.  They are usually employed by the company.  Many Bookings personnel stay in this department for most of their careers.

Audio / Dubbing Assistant

Audio or Dubbing Assistants are employed at Audio Post Production Houses which create, edit and mix sound, or at Post Production Facilities Houses which provide complete end to end services for off–line, on–line and non–linear editing, visual effects, and DVD production to the independent, corporate and broadcast media sectors. Post Production involves creatively weaving together visual and audio materials shot or created during the production process, and combining them with other media, graphics, effects, subtitles, archive footage, etc., to create a variety of final products including broadcast programmes, DVD titles, corporate productions, etc.

Audio or Dubbing Assistants assist with gathering, selecting and mixing the dialogue, music and effects which ultimately create the final sound track for a variety of productions.  They carry out a very similar role to that of Edit Assistants, but specialise in audio rather than picture editing functions.  Some Post Production companies have their own audio dubbing facilities, but most rely on Audio Post Production Houses for audio processes.

Edit Assistant

Edit Assistants work in Post Production Facilities Houses which provide complete end to end services for off-line, on-line and non-linear editing, visual effects, and DVD production to the independent, corporate and broadcast media sectors.  Post Production involves creatively weaving together visual and audio materials shot or created during the production process, and combining them with other media, graphics, effects, subtitles, archive footage, etc., to create a variety of final products including broadcast programmes, DVD titles, corporate productions, etc. 

Edit Assistants’ work is varied, but their main function is to assist Editors, Telecine Operators, Colourists and other senior personnel.  Edit Assistants are usually employees of the company.  The role provides the opportunity to learn about every aspect of the industry, make valuable contacts, and it has nurtured the potential of some very talented individuals.

Video Tape Operator

Video Tape (VT) Operators (Sometimes called CAR Operators, Technical Runners or Tape Operators) work in Post Production Facilities Houses which provide complete end to end services for off-line, on-line and non-linear editing, visual effects, and DVD production to the independent, corporate and broadcast media sectors.  Post Production involves creatively weaving together visual and audio materials shot or created during the production process, and combining them with other media, graphics, effects, subtitles, archive footage, etc., to create a variety of final products including broadcast programmes, DVD titles, corporate productions, etc.

VT Operator is a machine room role, requiring a good working knowledge of the technical aspects of each facility, how it is networked, what machinery is in the building, what equipment and formats are compatible with one another, and crucially, how to fix things quickly and correctly.  Many of the skills required are similar to those of Edit Assistants and, to a lesser degree, of Engineers, and in some smaller facilities Edit Assistants’ and VT Operators’ roles may be combined.  However, working in the VT machine room usually requires more technical skills and aptitude than are normally expected of Edit Assistants.  Larger facilities of 50 or more staff employ a number of VT Operators, with varying degrees of experience.  In some cases, particularly in smaller companies, the VT department also manage the Library system and database.

Editor

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 way a story unfolds and grabs the attention of the audience is one of the most important elements in filmmaking. 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. 

This highly creative, challenging and rewarding job is the work of the Editor, who works closely with the Director, crafting the daily rushes into a coherent whole. Editors work long, unsociable hours, often under pressure, in an edit suite or cutting room. 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.

Post Production Supervisor

Post Production Supervisors are responsible for the post production process, during which they maintain clarity of information and good channels of communication between the Producer, Editor, Supervising Sound Editor, the Facilities Companies (such as film labs, CGI studios and negative cutters) and the Production Accountant. Although this is not a creative role, it is pivotal in ensuring that the film’s Post Production budget is manageable and achievable, and that all deadlines are met. Because large amounts of money are involved, and most of a film’s budget is spent during Production, the Post Production period can often be difficult and challenging. 

The Post Production Supervisors’ role can be stressful and requires ingenuity, empathy and the ability to make tough decisions under pressure, while working long hours, to tight deadlines. Some Post Production Supervisors may be involved on a number of films at one time, but usually work on 3 or 4 films a year. They are employed on a freelance basis, by the Producer, often also with approval from a Completion Bond Guarantee company. They usually work alone, but on larger productions may employ an Assistant.

Assistant Editor

Assistant Editors are responsible for running and maintaining Editing systems, and for the smooth running of the cutting room on feature films. Individual Editors may have their own preferences about how the work is organised, but good Assistant Editors are able to adapt their own methods accordingly. They support the whole of the post production process on feature films and work closely with Film Labs, and with the Camera and Sound departments. 

Assistant Editors are usually recommended to Producers by Editors, who prefer to work with the same Assistant. Assistant Editors are normally employed, on a freelance basis, from the first day of principal photography and see the film through to picture lock (when the Director and/or Executive Producer give final approval of the picture edit). They work long hours and are the first to arrive in the morning, setting the cutting room up for the day, and usually the last to leave in the evenings when the cutting room has been tidied and prepared for the next day. Jobs last between six months and eight months on average.

Best Boy

*aka Assistant Chief Lighting Technician, Assistant Chief Lighting Operator, or Assistant Chief Lighting Electrician)

The term Best Boy* comes from “The Gaffer’s Handbook”, an American publication, and refers to the best electrician in the team led by the Gaffer (Chief Lighting Technician).  Best Boys co-ordinate the team of Lighting Technicians, and deal with all the logistics and paperwork relating to the role.  They liaise between the production office and the lighting company, and relay information for the Gaffer.  Best Boys ensure that equipment is ordered, arrange its delivery, and ensure that it arrives in the right place at the right time.  They are also in charge of dealing with any damaged or malfunctioning equipment.  This is a senior lighting role, and varies according to the size of the production.  The Best Boy is the Gaffer’s right hand person.

Electrician

(aka Lighting Operator or Lighting Electrician; the nickname “Sparks” is also commonly used)  

Lighting Technicians help to provide the relevant lighting and power supply for a film, either on a studio set, or on location.  Once they are fully qualified (having served as an apprentice or trainee for three years) they start to work “on the road” as part of the lighting team.  They usually require a minimum of two years’ working experience, and must have reached the age of 23 before they start to work on feature films or commercials.

Moving Light Operator

The Moving Light Operator controls all the ‘intelligent’, or automated, lights chosen by the Director of Photography.  Lighting technicians may choose to specialise in this role within the lighting department.  In recent years there has been a huge increase in the use of moving lights, most often on pop promos, light entertainment and music shows, but increasingly on feature films. 

Moving lights are computer-controlled from a console or desk.  Moving Light Operators must choose the appropriate desk for the job, and programme it to create the lighting effects required.  Moving lights go on and off with different levels of complexity and patterning.  They may change colour and position, and even project images.

Generator Operator

(aka Generator Operator) 

Generator Operator is a specialist role within the Lighting Department, and one a Lighting Technician may choose after initial training and some working experience.  The Genny Operator’s role is to maintain and operate the electricity generators which are taken to, and used at, locations where an electricity supply is difficult to obtain, or is insufficient for the requirements of the production, e.g., in a desert, in a field, on a bus or boat. 

Generators are also used to supplement the electricity supply when a particular lamp requires more power than can be obtained from the ordinary electricity mains; and also to supply power to specific equipment, such as a satellite dish.  Genny Operators work within the garage department of a lighting company, in order to gain experience of the vehicles used to transport the generators.

Sound Designer

Sound Designers (previously known as Sound Effects Editors or Special Effects (SFX) Editors) are responsible for providing any required sounds to accompany screen action. Most Sound Designers are experienced Supervising Sound Editors who carry out a managerial role, steering the work of the entire sound post production process, combined with the specialist role of creating the sound concept for films. As well as creating the sounds for giant explosions or car crashes, Sound design is also the art of creating subtle sounds that enrich the language and feeling of a film.

Sound effects are added after filming, during the editing process, to give the film its sonic identity, e.g., location, period, or a particular mood. Creating, manipulating and positioning these sound effects are the responsibilities of Sound Designers. They may be employed by Audio Post Production Houses, or work on a freelance basis and dry-hire a room close to the picture Editor(s) providing their own Digital Audio Workstations. They are also likely to own their own recording equipment, e.g., DAT recorders or direct to hard-disc recorders and various microphones. Sound Designers work long hours to meet a demanding schedule of deadlines.

Designer

Production Designers are major heads of department on film crews, and are responsible for the entire Art Department. They play a crucial role in helping Directors to achieve the film’s visual requirements, and in providing Producers with carefully calculated schedules which offer viable ways of making films within agreed budgets and specified periods of time. Filming locations may range from an orderly 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 is an essential element in making a film convincing and evocative. A great deal of work and imagination goes into constructing an appropriate backdrop to any story, and into selecting or constructing appropriate locations and/or sets.

Directors of Photography and Production Designers are largely responsible for informing and realising the Director’s vision. Production Designers begin work at the very early stages of pre-production and are requested by the Director and/or Producer. They work on a freelance basis, and may have to prepare detailed drawings and specifications in order to pitch for work on a number of productions before they are 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.

1^st Assistant Director

(aka First AD or First)  

The First Assistant Director (AD) is the Director’s right hand person, taking responsibility for a number of important practicalities so that the Director is free to concentrate on the creative process.  During pre-production, First ADs break down the script into a shot-by-shot storyboard, and work with the Director to determine the shoot order, and how long each scene will take to film.  They then draw up the overall shooting schedule (a timetable for the filming period).  Once the film is in production, Firsts are in charge of making sure that every aspect of the shoot keeps to this schedule.

2^nd Assistant Camera

2nd Assistant Cameras (ACs) are key members of the camera crew, and are responsible for the smooth running of the entire camera department. Audiences watching a finished film are not conscious of the camera – a complex piece of machinery, powered by batteries which must be charged and reloaded. Nor are they thinking of the difficult job of anticipating when a magazine (the sealed container that feeds the unexposed film into the camera) is about to run out, and what a pressurised job it is to reload quickly so that the flow of filming is not disrupted. These are some of the responsibilities of the 2nd Assistant Camera (until recently known as the Clapper Loader in the UK). Most 2nd AC’s are requested by a Camera Operator or 1st AC, and work on a freelance basis. They often work on a combination of commercials, promos and features.

2^nd Assistant Director

aka Second AD or Second)  

The Second Assistant Director is the First Assistant Director’s right hand person. The Second AD’s main function is to ensure that all the First AD’s orders and directions are carried out.  Seconds have two main responsibilities during production: they prepare and draw up the ‘call sheet’ (a document detailing daily filming logistics, which is distributed to cast and crew), under the supervision of the First; and they oversee all the movements of the cast, ensuring that the principal actors are in make–up, in wardrobe, or standing by on the set at the correct times.

On smaller productions, on which there is no Third Assistant Director, Seconds may also be responsible for finding and looking after background artistes (extras). Most Seconds also assist the First in liaising between the set or location and the production office, updating key personnel on the timings and progress of the shoot.

3rd Assistant Director

aka Third AD or Third)  

The main function of the Third Assistant Director is to support and assist the First and Second ADs in whatever ways are necessary on the set or location.  This can involve a wide variety of tasks, but the key duties of most Thirds revolve around the movement and activities of background artistes (extras).  Thirds may be required to direct the action of extras, or of vehicles appearing in the background of the shot, especially in large crowd scenes.  Thirds also act as messengers on the set or location, and are often required to convey messages and relay information to cast or crew members, usually by radio link.

Production Accountant

Production Accountants are responsible for managing finances and maintaining financial records during film production. They work closely with the Producer and the production office to prepare schedules and budgets for film productions, as well as managing the day-to-day accounting office functions, and reporting the projects’ financial progress against the budgets.

They are usually Accountants with experience in film production, and with a thorough knowledge of union, guild, tax and other relevant Government regulations. They usually work on a freelance basis, and the exact level of experience required depends on the size and scale of each specific film production. Career prospects are very good, both in the UK film industry and around the world.

Production Co-ordinator

Production Co-ordinators are directly responsible to the Line Producer and Production Manager for scheduling and co-ordinating the communications and day-to-day workings of the whole production team. They co-ordinate the crew, maintain the purchase order log, make sure paperwork is completed and filed, answer the telephone, and ensure that nothing is overlooked. Production Co-ordinators also produce new versions of the script as changes are made. Because they are most responsible for the day-to-day workings of the production office, Production Co-ordinators must work very long hours, particularly in the final week before the start of principal photography. Employment is usually on a freelance basis.

Producer

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.

Line Producer

The Line Producer is one of the first people to be employed on a film’s production by the Producer and Executive Producers. Line Producers are rarely involved in the development of the project, but often play a crucial role in costing the production in order to provide investors with the confidence to invest in the project. As soon as the finance has been raised, the Line Producer supervises the preparation of the film’s budget, and the day-to-day planning and running of the production. Line Producers are usually employed on a freelance basis. They must expect to work long hours, though the role can be financially very rewarding. Career advancement is based on their experience and reputation. Where a Line Producer has a creative input to the production, he or she is often credited as a Co-producer.

Associate Producer

Associate Producers carry out significant functions in the production or post-production process, which would otherwise be performed by the Producer, Executive Producer or Co-Producer. These responsibilities may range from helping to raise production finance at the beginning of the production process, to supervising the final stages of post-production. Associate Producers in Film are usually individuals within production companies who have played a particularly significant role in the development of the script or screenplay, or in the packaging process, or who have contributed important creative ideas to the production. They may be another producer; or a senior Script Editor who helps to shape the direction of the final drafts of the screenplay, and without whom the film may not be financed; or the Producer’s Assistant who supervises development or post production for the Producer in their absence. The term Associate Producer is also sometimes used to describe a Producer from a smaller production company which is co-producing the film, who has typically raised a small amount of funding for the project, but not enough to warrant an Executive Producer or Co-Producer credit.

Assistant Producer

Associate Producers carry out significant functions in the production or post-production process, which would otherwise be performed by the Producer, Executive Producer or Co-Producer. These responsibilities may range from helping to raise production finance at the beginning of the production process, to supervising the final stages of post-production. Associate Producers in Film are usually individuals within production companies who have played a particularly significant role in the development of the script or screenplay, or in the packaging process, or who have contributed important creative ideas to the production. They may be another producer; or a senior Script Editor who helps to shape the direction of the final drafts of the screenplay, and without whom the film may not be financed; or the Producer’s Assistant who supervises development or post production for the Producer in their absence. The term Associate Producer is also sometimes used to describe a Producer from a smaller production company which is co-producing the film, who has typically raised a small amount of funding for the project, but not enough to warrant an Executive Producer or Co-Producer credit.

Armourer

Armourers are responsible for the transport, storage and use of all weaponry and firearms on film sets. As it is illegal to use firearms on set unless a licensed Armourer is present, Productions must hire an Armourer when firearms or other weapons are used during filming, although there are some exceptions. Armourers are highly skilled individuals, with a great deal of responsibility for the safety of the cast and crew. They ensure that weapons are used safely and correctly, and that those who handle them (usually Actors) are competent to do so. They liaise with the Production Designer, Properties Master, Producer, Director, Camera crew and Actors, and they may work with a Fight Director and Stunt team if they are employed on the production.

Location Assistant

Assistant Location Managers (ALMs) work with Location Managers, Unit Managers and Location Assistants on feature films. On smaller films, the roles of the ALM 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. 

During filming, Location Department members work very long hours; they are usually the first on and last off the location each day. ALMs assist with much of the physical work involved in Location Management. They are freelance and usually work with the same Location Managers from film to film. They may be required to spend long periods of time working away from base.

Grip

Grips’ responsibility is to build and maintain all the equipment that supports cameras. This equipment, which includes tripods, dollies, tracks, jibs, cranes, and static rigs, is constructed of delicate yet heavy duty parts requiring a high level of experience to operate and move. Every scene in a feature film is shot using one or more cameras, each mounted on highly complex, extremely expensive, heavy-duty equipment. Grips assemble this equipment according to meticulous specifications and push, pull, mount or hang it from a variety of settings. The equipment can be as basic as a tripod standing on a studio floor, to hazardous operations such as mounting a camera on a 100 ft crane, or hanging it from a helicopter swooping above a mountain range.

Good Grips perform a crucial role in ensuring that the artifice of film is maintained, and that camera moves are as seamless as possible. Grips are usually requested by the DoP or the Camera Operator. Although the work is physically demanding and the hours are long, the work can be very rewarding. Many Grips work on both commercials and features.

Wardrobe Supervisor

(aka Wardrobe Master/Mistress)  

Although Wardrobe Supervisors are often referred to as Costume Supervisors, the Wardrobe Supervisors’ role is actually a separately defined position.  In UK feature films they are normally only employed on larger-budget productions.  Wardrobe Supervisors start work on productions shortly before shoots begin.  They are responsible to Costume Supervisors and Designers.  Wardrobe Supervisors oversee the day-to-day running and use of the wardrobe on set (the ‘running wardrobe’).  They manage on-set staff, including Costume Assistants, Standbys and Dailies, arrange transport, oversee continuity, and ensure that all the equipment needed for costume maintenance is functioning correctly.  The role involves logistical planning, scheduling, management and organisational skills.

Wardrobe Assistant

(aka Costume Assistant, Standby Wardrobe, Standby Costume)  

Costume Assistants may be employed on films at any stage during pre-production.  They are responsible for carrying out any tasks allocated to them by Costume Designers, Costume Design Assistants, Costume Supervisors and Wardrobe Supervisors.  Their tasks may include: assisting with the design of, and carrying out research into costumes; making, ordering and adapting the costumes and accessories required for productions; organising fittings, dressing performers, and overseeing continuity on sets.

Costume Designer

Costume Designers start working on 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. As Head of the Costume Department, Costume Designers are responsible for staffing and for managing a team of skilled personnel. Costume Designers also supervise practical issues, such as departmental budgets and schedules, the organisation of running wardrobes, and costume continuity.

Costume Design Assistant

Costume Design Assistants are selected because they have a stylistic taste and creative flair similar to that of the Costume Designer.  Costume Design Assistants start work on productions shortly after Designers, and liaise with the entire Costume Department.  They work very closely with Designers, assisting in the design process and removing all possible practical responsibilities from Designers, leaving them free to create.  Responsibilities vary enormously, depending on both the Costume Designers’ expectations, and on whether Costume Supervisors are employed throughout the pre-production period.  If no Supervisors are employed at this stage, Costume Design Assistants assume their responsibilities, and the emphasis of the role shifts to focus mainly on budget control, organisation and logistics.

Costume Maker

Costume Makers for feature films interpret designs, and fit, manufacture and alter costumes that for some reason cannot be bought or hired.  They work primarily during the pre-production stage, and liaise principally with Costume Designers, Costume Design Assistants, and/or Costume Supervisors.  Many Costume Makers work from their own homes or studios, but on some films a Costume Workshop is established within the production environment, and in this case Costume Makers may work as part of a larger team.

Director of Photography

Directors of Photography (DoPs) are key Heads of Department on film productions, and theirs is one of the major creative roles. They are requested by the Director, and must be approved by the financiers, studio and/or completion bond company. DoPs work closely with the Director and Production Designer to give a film its visual signature. Lighting is one of the fundamental elements in filmmaking; the way in which light falls on an actor’s face, reveals an interior space, or illuminates a landscape, can create mood, drama and excitement for the audience. The ability of cinema to entertain and emotionally move an audience is the result of a highly collaborative process which encompasses performance, editing and music. The role of the Director of Photography or Cinematographer is to provide a film with its unique visual identity, or look. 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, involving long periods spent away from base, the work is highly creative and very rewarding.

Unit Manager

Unit Managers (UMs) work in the Location Department and support the Location Manager and the Assistant Location Manager. UMs liaise between the film crew and the location, making sure that the property’s residents or landlords are kept informed and happy so that filming can progress quickly. If an angry resident complains because of a noisy generator, the UM must placate them, and try to resolve the problem without impacting on the shooting schedule.

UMs are responsible for parking and positioning most of the location’s vehicles, ranging from crew cars to Facilities trucks. UMs are also responsible for organising the collection and disposal of waste materials, e.g., water and/or rubbish from the location. They are responsible for the smooth running of the Unit Base including the Facilities trucks, vehicles for Hair, Makeup and Wardrobe, as well as the toilets – known in the industry as Honey Wagons. UMs work on a freelance basis. The hours are extremely long and the work can be physically demanding.

Stills Photographer

Photography is a highly creative and dynamic area of work within the creative media industries. Professional Photographers create permanent visual images for an exceptionally wide range of creative, technical and documentary purposes: everything from baby photos, portraits and weddings; to fashion, food or architecture; or records of crime scenes, medical procedures and scientific processes. Competition in this sector is vigorous, and the financial rewards vary greatly depending on the skills and specialisms of the individual photographer. That said, the work is usually interesting and seldom routine.



Photography involves choosing and preparing locations, setting-up lighting, selecting appropriate cameras, lenses, film (or pixel density) and accessories, setting the aperture, shutter speed, and composing pictures. A professional photographer usually works to a brief set by the client or employer. The brief may be very detailed, or it may allow the photographer scope for creative interpretation of the client’s ideas, after appropriate discussion.

While public bodies and large organisations still employ photographers on staff, most are self-employed or run their own studios, and have to cope with the usual challenges and uncertainties of running a small business. Typically, they devote much of their time – perhaps 85% of their working hours – to running their business, rather than taking photographs. Like most creative professions, photography is highly competitive, and rates of pay depend on the individual’s experience and reputation, the type of shoot and the budget available. Under these circumstances, a high level of determination and organisation is required in order to find regular work. The hours can be long and unpredictable, and photographers should always be prepared for periods where there may be little or no work. Success usually depends on steadily building up a business and gaining a reputation, which may then lead to more regular work and higher fees.

The relationship between photography, digital imaging and image manipulation has converged dramatically over the past few years, and these advances have expanded the range of image making tools available to the photographer. It is now the norm for images to be supplied in digital format, usually on CD-ROM or via the Internet, which may involve the photographer in extensive image manipulation using software packages like Photoshop or Aperture after the photographic shoot.

Steadicam Operator

Steadicam Operators are specialists within the camera department. They may be hired on a daily basis to perform specific shots within a scene, or employed as Camera Operators who specialize in Steadicam. The invention of the Steadicam was revolutionary in terms of film making. Previously, to achieve smooth movement, cameras had to be mounted on tracking equipment that required long and careful setting up. Steadicam allows Camera Operators to follow or create movement, wherever it is happening, without extensive use of grip equipment. The Steadicam system isolates the Operator’s body movements, enabling the camera to be moved with great fluidity, while remaining stable. This creates movement that appears effortless on screen. Feature film Steadicam Operators usually specialize in this area, have invested in their own equipment, and are normally requested by Directors or DoPs. Steadicam Operators must be willing to work long hours, and some foreign travel may be required, involving long periods spent away from base.

Stagehand

Stagehands work closely with all members of the Construction team, as well as with other departments, on a film production. They are involved in Pre-production, Production and Post Production.  On large films Stagehands have their own Head of Department, Supervisors, Chargehands and Stand-by staff.  They contribute to the construction, transportation, rigging, de-rigging and storage of sets.  The role requires a broad knowledge of the processes of film production, together with a combination of accredited qualifications and on the job experience.

Transport Co-ordinator

Transport Co-ordinators are employed to work on very large-scale feature films, which have major transportation requirements. They are usually hired by the Producer to manage the entire transport schedule, including freight shipping, the hire of facilities vehicles, and the movement of cast and crew to and from locations. The role requires good transport and film industry experience, as well as excellent planning, budgetary and management skills.

Transport Manager

Transport Managers are in charge of managing all the large vehicles on a film production. These include mobile make-up and costume units, artist caravans, mobile production offices, and mobile toilet units (known as honey-wagons), as well as HGV lorries and vans for moving props, sets and equipment. Reporting to the Transport Co-ordinator on bigger budget films, they work closely with other crew members, such as the Location Manager, Line Producer, or Second Assistant Director, to ensure that the right number of vehicles arrive, on time, and at the correct locations. This role requires good transport and film industry experience, as well as excellent planning and management skills.

Hairdresser

Chief Hairdressers are responsible for the overall design and execution of hair styling on feature films; they are in charge of the Hairdressing Department. As well as styling and dressing performers’ natural hair, they also design, make, style, dress and apply all wigs, and hairpieces.  Chief Hairdressers work closely with Costume Designers and Chief Make–up Artists to ensure that each artist’s overall “look” complements every aspect of the script.  Chief Hairdressers research and create the hair design, supervise its application, and oversee its continuity throughout the shoot.  They also set up the department: drawing up the budget and schedule, hiring staff, and organising facilities. 

On larger productions, when a Make–up/ Hair Designer is involved, the Chief Hairdresser is the senior member of the Hairdressing Department. In all cases, Chiefs are recruited during pre–production, and liaise with all staff in the Make–up and Hair Departments, with the Costume Designer, Director of Photography, Production Designer, Director, Actors and extras.  Chief Hairdressers usually work on a freelance basis.  The hours are long and the job can involve long periods working away from home.

Production Buyer

Production Buyers provide administrative support to Set Decorators, and carefully monitor and control the set decorating budget to avoid overspending. Even on small budget films, there are a plethora of objects that must be seen and/or used in order to make the story convincing: a scene shot in a house requires objects contained in a real house, e.g., furniture, pictures, books, etc., in order to appear realistic; similarly, street scenes without cars or street-signs would not be believable. 

There are two types of props: action props, or all props that are described in the shooting script; and dressing props, or items that help to bring characters to life or to give a certain atmosphere and sense of period to a place. Ensuring that these essential action and set dressing props are available when required during the shoot is largely the responsibility of Production Buyers. They are requested by the Production Designer or Set Decorator, and work on a freelance basis, usually on both television and film productions. The hours are long and the job can involve long periods working away from home.

Assistant Director

An assistant director (AD) is a person who helps the filmmaker in the making of a movie or television show. The duties of an AD include setting the shooting schedule, tracking daily progress against the filming production schedule, arranging logistics, preparing daily call sheets, checking the arrival of cast and crew, maintaining order on the set, rehearsing cast, and directing extras. In Australia, the first assistant director may carry a legal responsibility for health and safety as the “responsible person” and representative to the producer on set.

Assistant Floor Manager

An Assistant Floor Manager (frequently abbreviated to AFM) is responsible for setting a stage and prompting contributors on the studio floor and ensuring that everyone knows their place in the script, freeing the Floor Manager for other duties. They often oversee a team of Runners. Increasingly, Assistant Floor Managers are being asked to assist with the design and preparation of props, as well as setting and resetting the action on the studio floor.

Key Grip

The key grip is the head grip on the production set. It is a grip’s task to create shadow effects with lights and occasionally maneuver camera cranes, dollies and platforms while receiving direction from the cinematographer. The term grip is used in slightly different ways in American and British or Australian film making. In the British and Australian film industries, a grip is responsible for camera mounting and support, which can include anything beyond a basic tripod. Lighting in British and Australian film-making is headed by the gaffer, who is also part of the camera department. Grips can also be the people that do the laborious work on sets. These type of grips push, pull, roll, and lift various pieces of equipment under the watchful eye of the television director, producer, or art director.

Casting Director

Casts the actors. Usually one of the first crew members attached to the project. In fact, when a Television Pilot is initially cast the Executive Producer and Casting Director are often the only crew members.

Sound Editor

In television, the sound editor deals with the mixing, adjusting and fixing of the soundtrack. They usually have a major decision-making and creative role when it comes to sound and audio. A sound editor also decides what sound effects to use and what effects to achieve from the sound effects, edits and makes new sounds using filters and combining sounds, shaping sound with volume curves, and equalizing. A sound editor takes the Foley artist’s sounds and puts them in place so it works with the picture and sounds natural, even if the sound is unnatural. In many cases, a sound editor uses a sound effects library extensively, either self-compiled, bought or both, as many of the sounds don’t get enough focus if they were taken straight from the shoot of the show.

Aston Operator

The Aston Operator prepares and displays on-screen graphics.

Audience Coordinator

Responsible for day-to-day management of TV Recordings (e.g email correspondence with members, announcement of new shows, show administration) Attend and represent TV Recordings at recording studios, liaising with the production team onsite and handling the audience for the show. Ensuring the audience are given drinks prior to the show and that they are seated in the studio on time, and abide by any pre-agreed seating plan if necessary.

Management of audience guest list, including VIP guests. Checking tickets of audience members, and ID of any person suspected to be under the age of 16, or any other age limit pre-determined by the production team. Turning away any late-comers who cannot gain access to the studio due to the first-come-first-served over-allocation policy. Accompany audience throughout the show in case of any enquiries from production staff needing to be relayed to studio ushers. Exit flyering studio audience when required.

Boom Operator Assistant

Assist the sound mixer and boom operator both on and off the set. This includes fitting personal microphones to artists, setting up the sound recording equipment, running audio cables, and setting out production headsets. I also distribute daily dialogue scripts within my department, and operate the second boom. The film set may change several times during the day and it’s essential to have every item that’s required to hand.

Providing all the recording stock, ordering consumables and maintaining the sound store room are also part of my role. Other responsibilities involve watching rehearsals in order to prepare microphones and identify unwanted sources of noise. I also help repair any technical problems or faulty equipment. This involves soldering, cleaning, rewiring, and basic electronic maintenance.

Broadcast Assistant

Broadcast assistants work alongside producers and presenters, assisting them to research, deliver, present and produce radio programmes.

Broadcast assistants, known in the industry as BAs, work in a supportive role alongside radio presenters and producers. The job is varied with many different tasks, including operating studio equipment, manning the phones, interviewing guests and researching programmes. BAs are there to ensure that everything runs smoothly, troubleshooting and reacting to unforeseen hitches.

BAs are usually the most junior member of the studio team so, naturally enough, the job can also involve routine admin and other fairly mundane tasks such as making the tea. Every broadcast is unique so no two days in this job are the same, and although BAs spend the majority of their time in the studio, they might also spend time out on the streets conducting “vox pops” (interviews with the public) or researching in another location.

Cable Basher

The cable basher ensures that the camera cables are kept free from obstruction. 

Camera Crew

A camera crew is a group of people hired by a production company for the purpose of producing a programme, film or motion picture. Crew are distinguished from cast, the actors who appear in front of the camera or provide voices for characters in the film. Crew are also separate from producers, those who own a portion of either the film company or the film’s intellectual property rights. A camera crew is divided into different sectors, each of which specialises in a specific aspect of the production.

Property Master

The property master, more commonly known as the props master, is in charge of finding and managing all the props that appear in the film. The props master usually has several assistants.

Costume Buyer

On large productions a buyer may be employed to source and purchase fabrics and garments. A buyer might also be referred to as a shopper. This distinction is often made when the lead actor in a production has control over their wardrobe, and they may personally hire this person.

Music Arranger/Composer

The composer is responsible for writing the musical score for a film.

Set Decorator

The set decorator is in charge of the decorating of a film set, which includes the furnishings and all the other objects that will be seen in the film. They work closely with the production designer and coordinates with the art director. In recognition of the set decorator’s importance, the Academy Award for Art Direction is given jointly to both the production designer and the set decorator.

Set Dresser

The set dressers apply and remove the “dressing”, i.e., furniture, drapery, carpets—everything one would find in a location, even doorknobs and wall sockets. Most of the swing gang’s work occurs before and after the shooting crew arrives but one set dresser remains with the shooting crew and is known as the on-set dresser. In some countries, such as Great Britain and the Republic of Ireland, the set dressing department is referred to as dressing props department.

Set Designer

The set designer is the draftsman, often an architect, who realises the structures or interior spaces called for by the production designer.

Clapper Loader

A clapper loader, second assistant camera (2nd AC) or simply loader, is part of a film crew, whose main functions are that of loading the raw film stock into camera magazines, operating the clapperboard (slate) at the beginning of each take, marking the actors as necessary, and maintaining all records and paperwork for the camera department. The name “clapper loader” tends to be used in the United Kingdom and Commonwealth, while second assistant camera tends to be favoured in the United States, but the job is essentially the same whichever title is used. The specific responsibilities and division of labor within the department will almost always vary depending on the circumstances of the shoot.

Scenic Painter

Theatrical scenic painting is a wide-ranging craft, encompassing virtually the entire scope of painting techniques and often reaching far beyond. To be a well-rounded scenic artist, one must have experience in landscape painting, trompe l’oeil, portraiture, and faux finishing, to be versatile in many different media (such as acrylic-, oil-, and tempera- based paint), and be an accomplished gilder, plasterer, and sculptor. However, the techniques of the scene painter are different than traditional studio artists in many respects. The scene painter replicates an image on a very large scale. This is achieved with specialised knowledge that isn’t taught in artist studios. In addition one is often expected to make the finished product fire-proof, and to work quickly and within a tight budget.

Traditionally, scenic painters are drawn from the ranks of scenic designers, and in many cases designers paint their own works. But increasingly scenic painting is looked upon as a separate craft, and scenic painters are expected to subordinate their artistic ideals to those of the designer. Usually, the designer submits a set of ‘colour elevations’, or paintings, to the painter, who is then expected to paint the scenery to match. Alternatively, the designer may submit a scale model or photograph to the painter, sometimes accompanied by a full scale paint sample. In some cases the designer only presents their research and expects the scenic artist to adapt it. This is far from ideal from the painter’s perspective.

Production Assistant

As a production assistant, you would give practical support to the director and production team during the making of films and television programmes. It would be your job to handle administrative and organisational tasks so that the production runs smoothly and on time.

You would be involved in a wide range of tasks before, during and after filming, which would often include:

• hiring studio facilities and equipment
• booking hotels and making travel arrangements
• attending production meetings
• copying and distributing scripts
• typing and distributing schedules (‘call sheets’) and daily reports
• getting permission to use copyrighted music or film clips
• dealing with accounts and expenses.

In television, you may also carry out production duties such as:

• timing the show in the studio gallery
• calling camera shots
• cueing pre-recorded material
• keeping records (known as ‘logging’) of shots taken
• keeping continuity.

You would work as part of a large production team, including producers, researchers, and technical staff like camera crew and editors.

Avid Editor

The editor works in tandem with the director in editing the film that has been shot. The director has the ultimate accountability for editing choices, but often the editor has substantial contribution in the creative decisions concerned in piecing together a finalized product. Often, the editor commences their role whilst filming is still in process, by compiling initial takes of footage. It is an extremely long process to edit a television show, demonstrating the importance, and significance editing has on a production. Gradually more editors are beginning to work on a digital computerized editing system, limiting physical touching of the actual film, decreasing film corruption due to touch.

The editor follows the screenplay as the guide for establishing the structure of the story and then uses his/her talents to assemble the various shots and takes for greater, clearer artistic effect. There are several editing stages. In the first stage, the editor is supervised by the director, who spells their vision to the editor. Therefore, this first rough cut is often called the “director’s cut,”. After the first stage, the following cuts may be supervised by one or more producers, who represent the production company and its investors. Consequently, the final cut is the one that most closely represents what the studio wants from the film and not necessarily what the director wants.

Bookkeeper

A bookkeeper (or book-keeper), also known as an accounting clerk or accounting technician, is a person who records the day-to-day financial transactions of an organization. A bookkeeper is usually responsible for writing the “daybooks.” The daybooks consist of purchase, sales, receipts, and payments. The bookkeeper is responsible for ensuring all transactions are recorded in the correct daybook, suppliers ledger, customer ledger, and general ledger. The bookkeeper brings the books to the trial balance stage. An accountant may prepare the income statement and balance sheet using the trial balance and ledgers prepared by the bookkeeper.

Cinematographer

A cinematographer is one photographing with a motion picture camera (the art and science of which is known as cinematography). The title is generally equivalent to director of photography (DP), used to designate a chief over the camera and lighting crews working on a film, responsible for achieving artistic and technical decisions related to the image. The term cinematographer has been a point of contention for some time now; some professionals insist that it only applies when the director of photography and camera operator are the same person, although this is far from being uniformly the case. To most, cinematographer and director of photography are interchangeable terms. Sometimes, however, the term director of photography can refer to the person who supervises the photography in a videotaped television production.

The English system of camera department hierarchy sometimes firmly separates the duties of the director of photography from that of the camera operator to the point that the DP often has no say whatsoever over more purely operating-based visual elements such as framing. In this case, the DP is often credited as a lighting cameraperson. This system means that the director consults the lighting cameraman for lighting and filtration and the operator for framing and lens choices.

In the American system, which is more widely adopted, the rest of the camera department is subordinate to the DP, who, along with the director, has the final word on all decisions related to both lighting and framing.

The cinematographer selects the film stock, lens, filters, etc., to realize the scene in accordance with the intentions of the director. Relations between the cinematographer and director vary; in some instances the director will allow the cinematographer complete independence; in others, the director allows little to none, even going so far as to specify aperture and shutter angle. Such a level of involvement is not common once the director and cinematographer have become comfortable with each other. The director will typically convey to the cinematographer what they want from a scene visually, and allow the cinematographer latitude in achieving that effect.

Continuity Supervisor

A continuity supervisor or script supervisor — often credited under the shortened title, continuity — is a person tasked with ensuring that scenes filmed out of narrative order make sense when edited into the proper sequence. They thus have to watch carefully as principal photography continues, and take detailed notes as to the daily progress of the film unit. They ensure that actors render the script as precisely as is needed to convey the script writer’s intended meaning. They also keep an eye on visual details such as costume, make-up and props to maintain the narrative flow of the story, even though it may be filmed out of order. For instance, if the script calls for several versions of the same prop to be used at different stages in the script, the continuity supervisor is ultimately responsible for making sure the actor is holding the correct version of the prop as she says particular lines. The continuity supervisor is also responsible to making sure the actor remembers the emotional “level” of their character at a given moment of a script so that the tone of a building emotion can be preserved across a scene when edited together. In rarer instances, the script editor, who must be familiar with the script at a detailed level, may notice inconsistencies in the script itself, and may recommend on-set changes to the script editor, writer or director.

Continuity Script

A continuity script is a media script giving the complete action, scenes, etc., in detail and in the order in which they are shown on the screen. It also includes other features, such as sound effects, actors’ accents, emotions, and others.

Jimmy Jib Operator

The Jimmy Jib is usually operated by one operator in indoor environments, or for outside use, a jib tech/assistant maybe necessary in windy situations. A single cameraman can operate the arm as well as the head but, for more complex production needs, a configuration with an arm operator and a camera operator can be provided. In the latter case, a separate station for the camera can be used.

The Jimmy Jib Triangle is the premiere portable crane for television, movie or film camera support. Specifically, it is a portable crane that can be shortened down to 3 (.9m) feet or lengthened to 40 feet (12m) based on the needs of the current shot. It is similar to a crane dolly with a remote head that can be controlled by a camera operator.

The Jimmy Jib can be easily and quickly put in place. There is no need for additional safety for the camera operators, and the counterbalance is more simple than a crane dolly. This simplicity allows the use in productions with a tight budget, and allows the director to try and choose some changes to the original setup with little waste of time.

The Jimmy Jib or the Triangle as it is called because of the triangular design of the arm (or extensions) can handle almost all broadcast video cameras and some film cameras. “Prosumer” style cameras can be used but remote zoom and focus must be handled by each respective camera’s company accessories or aftermarket companies such as Varizoom. Film focus controls are usually handled by tethered or wireless remote focus.

Jib

In cinematography, a jib is a boom device with a camera on one end, and a counterweight and camera controls on the other. It operates like a see-saw, but with the balance point located close to the counterweight, so that the camera end of the arm can move through an extended arc. A jib permits the camera to be moved vertically, horizontally, or a combination of the two. A jib is often mounted on a tripod or similar support.

A jib is useful for getting high shots, or shots which need to move a great distance horizontally or vertically, without the expense and safety issues of putting a camera operator on a crane or laying track for a dolly. A jib can even be mounted on a dolly for shots in which the camera moves over obstacles such as furniture, when a normal dolly shot could not be used.

A jib is somewhat more complicated than a simple lever, since almost always the camera’s aim needs to be controlled independently of the swing of the jib arm. This can be done by relatively simple mechanical means or by the use of remotely controlled electric servo motors.

Since the camera operator is often not able to use the camera’s controls directly or look through the camera’s viewfinder, a jib is often used in conjunction with a remote camera control for focus and zoom and with a portable video monitor.

A device known as a ‘hot head’, attached to the long end of larger jibs, supports the camera and enables remote pan/tilt functions with focus/zoom control. In this setup, one person usually controls movement of the jib whilst another operates the hot head using a control box.

Honey Wagon

A honeywagon is a mobile toilet unit used in the film and television industry. The legend behind the name ‘honeywagon’ is thought to relate to the ‘honey-coloured’ liquid that comes out of it when emptying the holding tanks.

Technocrane

Technocrane is a telescopic crane that is used in the film industry. There are many different sizes available from 15 ft to 50 ft. The camera is mounted on the remote head on the end of the crane and is moved by a camera operator at a control desk. The Technocrane can telescope at different speeds controlled by the operator. It allows camera moves that cannot be achieved using a jib arm and dolly, and the telescoping can be used to compensate for the camera moving in an arc.

Translations

The rendering of something into another language or into one’s own from another language.

Track & Dolly

A camera dolly is a specialized piece of film equipment designed to create smooth camera movements. The camera is mounted to the dolly and the camera operator and camera assistant usually ride on it to operate the camera. The dolly is operated by a dolly grip who is a dedicated technician trained in its use.

Dolly track segments used for heavy camera use have traditionally been constructed of steel or aluminum. Steel, although heavier than aluminum, is less expensive and withstands heavier use. Longer track segments, while heavier to transport, allow track to be laid straighter with less effort. Curved track is also available in different radii. Plastic and PVC versions of track have been used with lightweight dolly systems. In the 2000s, flexible rubber track provided quicker set up and easier transport for light camera use.

Telecine

Telecine (pronounced /ˈtɛləsɪni/ or /ˌtɛləˈsɪniː/) is the process of transferring motion picture film into video form. The term is also used to refer to the equipment used in the process. Telecine enables a motion picture, captured originally on film, to be viewed with standard video equipment, such as televisions, video cassette decks or computers. This allows producers and distributors working in film to release their products on video and allows producers to use video production equipment to complete their film projects. The word telecine is a portmanteau of television and cinema. Within the film industry, it is also referred to as a TK, as TC is already used to designate time code.

Visas

An endorsement made by an authorised representative of one country upon a passport issued by another, permitting the passport holder entry into or transit through the country making the endorsement.

Walkie Talkies

A combined transmitter and receiver light enough to be carried by one person: developed originally for military use in World War II. Popularised in World War II army slang, from walk + talk.

Steadicam

A Steadicam is a stabilizing mount for a motion picture camera, which mechanically isolates the operator’s movement from the camera, allowing a very smooth shot even when the operator is moving quickly over an uneven surface. Informally, the word may also be used to refer to the combination of the mount and camera.

Senior producer

Senior producer is a title given usually to the second most senior person of a film of television production. Used mainly in the United Kingdom, a senior producer (who would occasionally replace a Series Producer for television drama or ‘soap’) would be the most senior member of production personnel underneath an Executive producer.

A Senior Producer oversees a particular production paying particular detail to budget, staffing and talent including casting, scripting and the legal and logistic affairs of the production(s).

Reporter

A reporter is a type of journalist who researches and presents information in certain types of mass media.

Reporters gather their information in a variety of ways, including tips, press releases, sources (those with newsworthy information) and witnessing events. They perform research through interviews, public records, and other sources. The information-gathering part of the job is sometimes called “reporting” as distinct from the production part of the job, such as writing articles. Reporters generally split their time between working in a newsroom and going out to witness events or interview people.

Most reporters working for major news media outlets are assigned an area to focus on, called a beat or patch. They are encouraged to cultivate sources to improve their information gathering.

Pyrotechnician

A pyrotechnician is an individual responsible for the safe storage, handling, and functioning of pyrotechnics and pyrotechnic devices. Although the term is generally used in reference to individuals who operate pyrotechnics in the entertainment industry, it can include all individuals who regularly handle explosives. For the purposes of disambiguation, however, individuals who handle more powerful materials for commercial, demolition, or military applications are generally referred to as explosive technicians.

Prop Buyer

Production Buyers provide administrative support to Set Decorators, and carefully monitor and control the set decorating budget to avoid overspending. Even on small budget films, there are a plethora of objects that must be seen and/or used in order to make the story convincing: a scene shot in a house requires objects contained in a real house, e.g., furniture, pictures, books, etc., in order to appear realistic; similarly, street scenes without cars or street-signs would not be believable. 

There are two types of props: action props, or all props that are described in the shooting script; and dressing props, or items that help to bring characters to life or to give a certain atmosphere and sense of period to a place. Ensuring that these essential action and set dressing props are available when required during the shoot is largely the responsibility of Production Buyers.

Production Secretary

The Production Secretary working in the film and television industry provides administration assistance to the Production Coordinator and Production Manager. This is more than a traditional secretarial role. It could be less, depending on the production and the company you are working for. You may be in a junior role as they have a hands on Production Assistant – or you could be the right hand person to the producer and/or director. You may work to one person you may be part of a large team. You will mainly be the full administrative support to the production. Work Activities The work of the Production Secretary involves maintaining phone communications by ensuring phones are in good working order, processing phone calls and recording and relaying messages. The Production Secretary assists in the organisation and running of the production office by maintaining filing systems, monitoring supplies of stationery and office supplies and ordering supplies as required. The Production Secretary assists the Production Coordinator by researching travel, transport and accommodation requirements of the cast and crew and helping to organise whatever is required. The Production Secretary is responsible for production paperwork such as typing and filing contracts, letters, documents and script changes and photocopying/faxing documents as required. He/she maintains a contacts list of relevant personnel by typing initial lists of names/address/contact telephone numbers of all cast and crew and ensuring that contact information lists are updated, filed and distributed to all relevant personnel. The role of the production secretary can vary; he/she may be office based, work on location or be mobile. On bigger-budget productions the position entails a greater level of responsibility, since there is a bigger cast and crew to service.

Prop Hire

A theatrical property, commonly referred to as a prop, is any object held or used on stage by an actor for use in furthering the plot or story line of a production. Smaller props are referred to as “hand props”. Larger props may also be set decoration, such as a chair or table. The difference between a set decoration and a prop is use. If the item is not touched by a performer for any reason it is simply a set decoration. If it is touched by the actor in accordance to script requirements or as deemed by the director, it is a prop.

Scenic Carpenter

A scene shop is often overseen by a shop foreman or master carpenter. This person assigns tasks, does direct supervision of carpenters, and deals with day-to-day matters such as absences, breaks, tool repair, etc. The staff of a scene shop is usually referred to as scenic carpenters, but within that there are many specialities such as plasterers, welders, and scenic stitchers. Scenic painting is a separate aspect of scenic construction, although the scenic painter usually answers to the technical director.

Construction Buyer

Construction buyers are responsible for ensuring that the materials required for construction projects are provided to schedule and according to projected budgets. They have a vital part to play in helping ensure the profitability of contracts since they are responsible for ensuring that the most cost-effective and appropriate materials are purchased.

Construction Manager

Construction Project Management is the overall planning, co-ordination and control of a project from inception to completion aimed at meeting a client’s requirements in order to produce a functionally and financially viable project that will be completed on time within authorised cost and to the required quality standards. Project management is the process by which a project is brought to a successful conclusion.

Carpenter

Carpenters on film productions are key members of the construction team, and they must be very skilled at their craft.  Reporting to the Chargehand Carpenter, they build, install and remove wooden structures on film sets and locations, and also make wooden props, furniture and scenic equipment.  The role requires extensive carpentry experience and creative skills, as well as the ability to work to deadlines, and under pressure.

Character Generator Operator

A character generator, often abbreviated as CG, is a device or software that produces static or animated text (such as crawls and rolls) for keying into a video stream. Modern character generators are computer-based, and can generate graphics as well as text. (The integrated circuit, usually in the form of a PROM, that decodes a keystroke in a keyboard, and outputs a corresponding character, is also referred to as a “character generator.”)

In the television business in North America, the graphics generated by character generators are also often called “Chyrons”, after the Chyron Corporation, whether or not Chyron made the character generator. Similarly, in the United Kingdom, such graphics are often called “Astons”, after Aston Broadcast Systems. These are examples of somewhat genericised trademarks. Even though genericised trademarks are present, it is generally known throughout the world that other character generator companies exist.

Script Coordinator

Script Coordinator is a role in the production of a film or television series. The script coordinator is responsible for producing each draft of the script and annotating it for ease of use for the production team.

On a television series the script coordinator is responsible for liasing between the writing and production departments. The writers deliver the first draft of a script to the script coordinator who prepares it for the production team and handles any clearance issues. Clearance refers to the need to check the script for potential legal problems and ensure that all names are cleared by the legal department. The script coordinator must check the draft for proper formatting, spelling, punctuation and continuity before releasing the draft. Once a script has been released other members of the production team offer notes to the writers necessitating revisions to the script. The process of how widely each draft is released (e.g. just to the writers, then to the writers and producers and then to the network) varies from show to show. With each round of revisions the script coordinator must ensure that the changes are clearly marked, re-issue the script and again check the script for errors. Many script coordinators are also responsible for foreign language translations and compiling a show bible that tracks plot points and character introductions as a reference tool.

Script Writer

Screenwriters or scenarists or scriptwriters are people in a film crew who write/create the screenplays from which films and television programs are made.

Neg Cutting

Negative Cutting (also known as Negative Matching and Negative Conforming) is the process of cutting motion picture negative to match precisely the final edit as specified by the film editor. Original camera negative (OCN) is cut with scissors and joined using a film splicer and film cement. Negative cutting is part of the post-production process and occurs after editing and prior to striking internegatives and release prints.

Offline Editing

Offline editing is the film and television post-production process in which raw footage is copied and edited, without affecting the camera original film or tape. Once a programme has been completed in offline, the original media will be conformed, or on-lined, in the online editing stage.

Modern offline editing is conducted in a non-linear editing suite. The digital revolution has made the offline editing process immeasurably quicker, as practitioners moved from time-consuming linear (tape to tape) suites, to computer hardware and software such as Adobe Premiere, Final Cut Pro, Avid, Sony Vegas and Lightworks. Typically, all the original footage (often tens or hundreds of hours) is digitised into the suite at a low resolution. The editor and director are then free to work with all the options to create the final cut.

Offline Editor

An Off-line Editor is person who performs the off-line work, completing preliminary editing done in a lower-cost editing facility, to prepare a list of edits for the final, or on-line editor.

Outside Broadcasting

Outside broadcasting is the production of television or radio programmes (typically to cover news and sports events) from a mobile television studio. This mobile control room is known as an “Outside Broadcasting Van”, “OB Van”, “Scanner” (a BBC term), “mobile unit”, “remote truck”, “live truck”, or “production truck”. Signals from cameras and microphones come into the OB Van for processing and transmission. The term “OB” is almost unheard of in the United States.

Picture Researcher

Picture researchers/editors find images for a wide range of media products including books, magazines, newspapers, television, multimedia and internet websites.

They work mainly with publishing, design, advertising, film, TV and video industries. Other employers include picture agencies, picture libraries, art galleries or museums. Picture researchers/editors may also work freelance.

The picture researcher/editor is briefed on the image needed, the format, the target audience and the budget available. Tasks then include: 

finding the appropriate image (mainly sourced from on-line image banks or using established picture libraries and archives);

liaising with the client ;

dealing with licensing and copyright restrictions; 

negotiating the terms and conditions of the contract and the fee;

keeping records, storing images and undertaking necessary administration;

using IT skills to edit and manipulate images and navigating online search facilities;

commissioning photographers to provide new images.

Series Producer

Series Producers have the important job of making sure a series of programmes has the same look, feel and outcome.

The Series Producer works with all members of the production team but in particular they work with the Director, Producer and Production Manager.

As a Series Producer it is your responsibility to make sure that single programmes that are part of a series have the same look and feel. This can often be tricky if you employ different Directors for different episodes, so the Series Producer needs to make sure all production teams are on the same wavelength when it comes to making their individual programmes.

Dubbing Editor

Foley – or the art of creating original sounds for television and film soundtracks – is part of the overall work of a Dubbing Editor. The Dubbing Editor is responsible for mixing the final soundtrack of a film. This means taking the dialogue recorded on set, adding music and any additional sound effects, then mixing them all together.

Dubbing Mixer

A dubbing mixer is part of a post-production team and is responsible for editing together the dialog, music and sound effects to create the final soundtrack for a production. They are responsible for ensuring that the sound in a film or television program is technically correct, and as near to the director’s or original idea.

The dubbing mixer acheives this by performing tasks such as mixing and cross-fading the sound, using the soundtrack that was prepared by the music editor.

In practice, the dubbing mixer is the head of the post-production division of the sound department.

Duplication & Format Transfer

Media Conversion is defined as a duplicate copy of data from one piece of media to another. The types of input or output media are irrelevant, as this is a straight bit for bit copy procedure. Format Conversion is defined as the transfer of data between logical formats, to enable the reading of data on one platform having been written on another.

Special Effects Supervisor

The illusions used in the film, television, theater, or entertainment industries to simulate the imagined events in a story are traditionally called special effects (often abbreviated as SFX, SPFX, or simply FX).

Special effects are traditionally divided into the categories of optical effects and mechanical effects. With the emergence of digital film-making tools a greater distinction between special effects and visual effects has been recognized, with “visual effects” referring to digital post-production and “special effects” referring to on-set mechanical effects and in-camera optical effects.

Optical effects (also called photographic effects), are techniques in which images or film frames are created photographically, either “in-camera” using multiple exposure, mattes, or the Schüfftan process, or in post-production processes using an optical printer. An optical effect might be used to place actors or sets against a different background.

Mechanical effects (also called practical or physical effects), are usually accomplished during the live-action shooting. This includes the use of mechanised props, scenery, scale models, pyrotechnics and Atmospheric Effects: creating physical wind, rain, fog, snow, clouds etc. Making a car appear to drive by itself, or blowing up a building are examples of mechanical effects. Mechanical effects are often incorporated into set design and makeup. For example, a set may be built with break-away doors or walls to enhance a fight scene, or prosthetic makeup can be used to make an actor look like a monster.

Shot Logging

Make a separate field for each part of the take ID: roll, scene, shot and take. That way, you can sort and display takes by any of those criteria.

Next, create fields for the take’s in point (start) and out point (end). These will be expressed either as time code or as elapsed hours/minutes/seconds, depending on your equipment. To find a shot on a tape, you only need the in point. The out point field is included so you can calculate the length of a take by subtracting the in point from the out point.

Camera angle is an essential field, to remind you whether the shot is a closeup, an insert or a long shot, for example. Next comes content, a text field in which you describe what happens in the shot. In shots with multiple takes, you may use this field only for the first one, unless there are major differences between takes.

Sound Stage

A sound stage is a soundproof, hangar-like structure, building, or room, used for the production of theatrical motion pictures and television shows, usually located on a secure movie studio property.

Focus Puller

In cinematography, a focus puller or first assistant camera (1st AC) is a member of a film crew’s camera department who is responsible for keeping the camera properly focused during a shoot.

The role of the focus puller is one of the most skilled jobs on a film crew. They are responsible for focusing and refocusing the camera lens as actors move within the frame of each shot, but they do not look through the lens to do this; they pull focus according to a set of complex marks (which are placed on the set, on the floor, on props, etc., during the director’s on-set rehearsal time with the cast), and by using their instincts and experience of judging focal lengths. As it is impossible to see whether the focus is sharp until the dailies are screened, 1st ACs rely on experience and instinct for each focal adjustment. Because re-shooting scenes is expensive, and actors may be unable to re-create their best take, 1st ACs must be extremely reliable and good at their work, and should be able to cope effectively in stressful situations.

Hot Head Operator

A device known as a ‘hot head’, attached to the long end of larger jibs, supports the camera and enables remote pan/tilt functions with focus/zoom control.

Jib Assistant

The Jib is usually operated by one operator in indoor environments, or for outside use, a jib tech/assistant maybe necessary in windy situations. A single cameraman can operate the arm as well as the head but, for more complex production needs, a configuration with an arm operator and a camera operator can be provided.

Floor Manager

Television floor managers ensure that sets, props and technical equipment are safe, ready to use and in the right position prior to filming. They are also responsible for all communications with the audience and any guests, for example ensuring they are seated in good time.

In studio settings, the floor manager is the link between the director (up in the gallery), and the floor below. The floor manager is responsible for health and safety, passing on cues to presenters and guests to ensure timings are met and the broadcast goes smoothly.

The work is mainly studio-based, but may also include outside broadcasts, depending on the production.

Final Post

Post-production is, in fact, many different processes grouped under one name. These typically include:

Editing the picture / television programme.

Writing, (re)recording, and editing the soundtrack.

Adding visual special effects – mainly computer-generated imagery (CGI) and digital copy from which release prints will be made (although this may be made obsolete by digital-cinema technologies).

Sound Design, Sound Effects, ADR, Foley and Music, culminating in a process known as sound re-recording or mixing.

Transfer of film to Video or Data with a telecine and Colour grading.

Typically, the post-production phase of creating a film takes longer than the actual shooting of the film, and can take several months to complete.

Food Stylist

The role of the food stylist is to make the food look. The main difference between how a home cook or chef may present food and what a stylist does is the time and effort a stylist takes to carefully and artfully arrange the food. Also required is the visual know how, and ability to translate the perception of taste, aroma and appeal that one gets from an actual dish, to a two-dimensional photograph.

Food stylists have culinary training; some are professional chefs or have a background in home economics. In addition to knowledge of nutrition and cooking techniques, food stylists must also be resourceful shoppers.

Post Production Coordinator

A person who works many facets of the post-production process, including ensuring the smooth operation of the editorial department, coordinating the production and delivery of final delivery elements, scheduling and coordinating ADR sessions, managing the administration of the department including post-production accounting and final delivery paperwork, organizing final post-production related documents, and coordinating the final wrap and proper storage of final video and audio masters and offline editorial materials.

Computer Animator

Computer animators create animations on the computer. They do the roles of an artist, engineer, and a story teller. Computer animators know how they would express emotions through movements. They can tell stories even without using dialogues. The main role of a computer animator is used in different textures, techniques, and technologies to create an illusion of movement of an image in the computer.

Computer Effects/Visual Effects

Visual effects (commonly shortened to Visual F/X or VFX) are the various processes by which imagery is created and/or manipulated outside the context of a live action shoot. Visual effects often involve the integration of live-action footage and computer generated imagery (CGI) in order to create environments which look realistic, but would be dangerous, costly, or simply impossible to capture on film. They have become increasingly common in big-budget films, and have also recently become accessible to the amateur filmmaker with the introduction of affordable animation and compositing software.

Accommodation

Room and board, lodgings. If the production is filming in a remote location or away from base they will provide a hotel, reimburse or pay a per diem. The type of accommodation will depend on the productions budget.

Action Vehicle Hire

Action vehicle hire is the supply of any type of historic or specialist vehicle for TV, film, commercial or promotional purposes.

Action Vehicle Co-ordinator

An action vehicle coordinator is responsible for hiring and arranging any on screen vehicle driven by actors or stunt performers.

Archive Researcher

The archive researcher is responsible for locating and source footage and stills for use in a production. They may also be required to negotiate rates and ensuring delivery on an appropriate format.

Artiste Trailers

Artiste trailers are motorhomes used to accommodate actors for film and television production. They are often luxurious, air conditioned & centrally heated and fully fitted to the highest standards with luxury amenities & are spacious with room slideouts and modern equipment.

Art Department Stylist

The Stylist is responsible for dressing the set with items sourced and specified by the Art Director. While shooting commercials they pay particular attention to the look of products seen in close shot. Also know as Set Decorator.

Sound engineer/technician

The expressions “audio engineer” and “sound engineer” are ambiguous. Such terms can refer to a person working in sound and music production, as well as to an engineer with a degree who designs professional equipment for these tasks.

Audio engineers are generally familiar with the design, installation, and/or operation of sound recording, sound reinforcement, or sound broadcasting equipment, including large and small format consoles. In the recording studio environment, the audio engineer records, edits, manipulates, mixes, and/or masters sound by technical means in order to realize an artist’s or record producer’s creative vision. While usually associated with music production, an audio engineer deals with sound for a wide range of applications, including post-production for video and film, live sound reinforcement, advertising, multimedia, and broadcasting. When referring to video games, an audio engineer may also be a computer programmer.

In larger productions, an audio engineer is responsible for the technical aspects of a sound recording or other audio production, and works together with a record producer or director, although the engineer’s role may also be integrated with that of the producer. In smaller productions and studios the sound engineer and producer is often one and the same person.

In typical sound reinforcement applications, audio engineers often assume the role of producer, making artistic decisions along with technical ones.

Production Electrician

As Production Electrician, you’re the Lighting Designer’s number one assistant. Every lighting team works in a different way, but generally as Production LX, you’ll be doing the following things:

Helping the lighting designer draw the plan and working out patching arrangements.

Using the lighting plan to carry out the gel call (preparing all the gels or colour filters required for the lighting rig).

Running the lighting get-in, together with the Lighting Designer. This involves rigging and geling all the lanterns indicated on the plan.

Helping with the patch, focus and programming of the lighting board during the plot.

Helping sort out any general problems. As you will most probably have been involved in the design process, you’re the best equipped person at the get-in to deal with questions like: “Why isn’t there any of this gel?”, “Where does this plug in?” and the other potential little problems during the get-in, as well as supervising any people not involved with the show as they help to rig lights.

Programme as completed

A programme as completed form is a complete analysis of the content of a programme from opening titles to end credits. It details the contributors, music, copyright used in the programme with durations and timecodes.

Senior Production Electrician (Gaffer)

Gaffers work on all genres of television programming, including multi-camera and single camera shoots, in studios, Outside Broadcasts (OBs), and on locations.  They report to the Lighting Director, Director of Photography (DOP), the Lighting Company or the Production Company.  They are responsible for all the practical aspects of lighting sets and locations.  They collaborate closely with Lighting Directors in order to fulfil their creative vision for the production’s lighting.  Gaffers may be employees of broadcasters or of lighting facilities companies or they may work as freelances.

Rushes Courier

Rushes couriers are responsible for ensuring the rushes are safely transported from set to either the production office or more commonly to the appointed post production facility.

Head of Production

The Head of Production is in charge of a company’s projects, so they have to keep an eye on every department to make sure projects are completed on time and within budget.

The Head of Production usually oversees several productions at once rather than working intensely on one. They have regular meetings with individual Production Managers who report back to them on how each programme is progressing. If a programme gets into trouble, the Head of Production often steps in.

Car and Van hire

The hire of cars for production, actors or contributors and vans for crew, props and equipment.

Cranes/Cherry Pickers

A shot taken by a camera on a crane is referred to as a crane shot.  Crane shots are used to for example view actors from above or to move up and away from them; this type of shot is often used at the end of a film.  Cameras can also be positioned on a boom arm which makes it easier to move around between ordinary set-ups.  Cranes can usually accommodate a camera and an operator, but some can be operated by remote control.

A cherry picker is also often referred to as a boom lift, man lift, basket crane or hydra-ladder.  A cherry picker is working platform or bucket which is at the end of a hydraulic lifting system.  It is sometimes mounted on the back of a large truck which is then sometimes called a ‘bucket truck’.  It can also be mounted on other vehicles such as on the back of a pick-up van or sometimes on a stand-alone trailer.

Dining Bus

Dining busses are busses that are driven to locations used by film and television crews.  The actors and crew have their meals inside the bus which can be either a single or double decker bus.   

Scenic Operative 

Scenic Operatives are responsible for setting rig, strike and studio sets and sometimes involves erecting audience seating.

Plasterer

A Plasterer is a tradesman who is responsible for applying thin layers of plaster to interior walls after walls have been constructed.  They also create decorative mouldings with plaster on ceilings or walls.

Casting Assistant

Casting Assistants are hired in the first instance to read the script and to help the Casting Associate and Casting Director to draw up lists of potential actors for the main roles.  Casting Assistants then liaise with the actors’ agents to check availability and later assist during casting sessions when actors perform screen tests on camera. Casting Associates usually operate the camera during these tests, and Casting Assistants ensure that the sessions run smoothly by providing general support.  Casting Assistants arrange for each screen test to be processed correctly and sent to the Director, Producer and/or Financiers.  Casting Assistants are no longer required once all actors have been employed for a production. 

Sculptor

Sculptors are responsible for creating props for film and television productions such as ancient Greek statues, miniature versions of life size statues or buildings such as the Eiffel Tower for example.  Sculptors liaise with Production Designers, Visual Special Effects Directors and Props Masters.  Sculptors use either freehand drawings, computer-aided design (CAD) or illustrative models to help colleagues visualise their finished products.  When models are approved by the Director, the sculpture is created.  Sculptors work with a variety of materials such as polystyrene foams, clay, metal or wood.  

Model Maker

Model makers are responsible for designing and creating three-dimensional scale models and miniatures for use on film and television productions.  These models can be used by the Visual Special Effects unit or the Props Master.  They work closely with Production Designers.  Model Makers in the film and television industry are usually self-employed.

Painter

Painters are responsible for painting, varnishing and wallpapering scenery and props for film and television productions. 

Script Editor

Script Editors work with Producers and screenwriters to perfect scripts.  They help screenwriters identify potential inconsistencies in screenplays by providing a critical overview.  Script Editors are normally employed on a freelance basis. 

Driver

Unit Drivers are responsible for transporting actors and crew to and from filming locations. They are usually self-employed and work with their own vehicles. 

Sound Assistant/Trainee

Sound Assistants work within the Production Sound Crew.  They provide general back up and support to the Production Sound Mixer and Boom Operator.  It is their responsibility to ensure the stock of microphones, batteries etc is up to date and current.  Sometimes Sound Assistants are required to operate the second boom which involves recording all off-camera lines of dialogue, therefore speech by characters that do not appear on screen.  Sound Assistants normally work on a freelance basis.  

Assistant Script Editor

Assistant Script Supervisors work closely with the Script Supervisor, Director and camera crew to maintain continuity of a script.  They take notes of everything that is filmed which includes descriptions of each shot, what lens was used, how long the shot was, whether there were any problems/mistakes, whether the dialogue differed from the script etc.  This annotated script is then used by the Editor. 

Camera Supervisor

A Camera Supervisor is responsible for managing a camera crew.  They work closely with production teams, Engineering Managers and Planning to understand the style and treatment of any given program.  Camera Supervisors are responsible for the deployment and supervision of camera operations and rigging on multi and single camera assignments.

Catering

Catering is provided on set or on location for film and television crews.  Specialist catering companies with catering trucks provide all meals for actors and crew throughout each days filming.  The trucks can be up to 35ft in length and weigh up to 8 tons.

Commissioning Editor

Commissioning editors commission work by production houses or publishers; this role is most associated with book publishing.  In magazine publishing however, commissioning editors commission writers to produce articles and features for magazines.

Courier

Couriers are responsible for delivering messages, packages or mail.  Couriers differ from ordinary mail services by features such as speed, security, tracking, signature and specialisation.

Costume Hire

The Costume Department is responsible for designing, fitting, hiring/purchasing plus the continuity of all costumes and jewellery used in films and television productions. 

Fixer

A fixer is responsible for ensuring filming goes smoothly overseas.  They provide logistical support, including facilitating necessary permits to film, obtaining local talent, crew, equipment, accommodation etc. 

Studio Director

A Director is responsible for supervising the placement of cameras, lighting elements, microphones, and props.  In a drama production, the Director’s role is similar to a film Director by giving cues to actors and instructing when to start and stop filming.  In a television series of individual episodes, a television Director may not work on all episodes.  In this type of television production the major creative role usually lies with the Producer. 

The role of Director differs depending on the production.  A news studio might have say four cameras and few camera movements.  In a sports broadcast, the Director might have 20 or 30 cameras and must continuously tell each of the camera operators what to focus on.

Seamstress

A seamstress is a woman whose role is much like that of a Tailor.  A seamstress makes and mends clothes and fabrics, embroiders, adjusts costume fittings etc.

Digitising

Digitising describes the process of making an electronic version of an audio or video file which can then be stored in small spaces online/on computers and disseminated across networks.

Low Loader/ A Frame

A low loader is sometimes referred to as a lowboy.  It is a semi-trailer that has two drops in deck height.  This allows the deck to be extremely low compared to normal trailers.

Music Director

Music Directors liaise with music librarians to ensure availability of scores for film and television productions.  They sometimes commission composers to write scores for films.  Music Directors plan and schedule rehearsals and performances, and arrange details such as locations, accompanists, and instrumentalists.