Description of roles and responsibilities of the media industry members.
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You can epect to start our career * getting $or+ eperience as a Runner on a 'ilm set or in
a production o''ice *e'ore $or+ing our $a up through entr&level positions over man
ears.
*serving success'ul Directors at $or+# $hilst immersing oursel' in the practical process o''ilmma+ing is a vital 'irst step on this 'iercel competitive and highl challenging career path.
nce the da8s 'ilming has *egun# Seconds must ensure that all 4ctors are read 'or 'ilming#
$hich means co&ordinating an transport re,uirements# as $ell as ma+e&up and $ardro*e
timeta*les.
In some cases# Seconds ma also *e in charge o' 'inding etras# sometimes in large num*ers
at short notice# and arranging their transport to# and activities on# the set or location.
Seconds $or+ on a 'reelance *asis and the -o* involves long and unsocial hours.
Will I need a qualification?
You don7t need a 'ormal ,uali'ication to *ecome a Second 4ssistant Director# ho$ever it is a
ver competitive industr and ne$ entrants o'ten have higher level ,uali'ications.
I' ou are considering ta+ing a 'ilm production course in higher education# the 'ollo$ing
courses have *een rigorousl assessed * the 'ilm industr and a$arded the reative S+illset"ic+ 'or the high standard o' education the provide and the degree to $hich the prepare
ou 'or a career in 'ilm:
• Film production courses a$arded the reative S+illset "ic+
You should ta+e regular health and sa'et training courses to +eep this +no$ledge up&to&date.
You $ill need a 'ull driving licence.
What's the best route in?You can epect to start our career * getting $or+ eperience as a Runner on a 'ilm set or in
a production o''ice *e'ore $or+ing our $a up through "hird 4ssistant Director .
"he Aine /roducer is one o' the 'irst people to *e emploed on a 'ilm8s production * the/roducer and ecutive /roducers. "he are in charge o' all the *usiness aspects o' the
production o' 'ilms.
"he are called Aine /roducers *ecause the cannot start $or+ until the +no$ $hat the 8line8
is *et$een the 8a*ove&the&line8 costs 'or $riters# producers# directors and cast# and the 8*elo$&
the&line8 costs $hich include everthing else.
Aine /roducers are given the script $hen in development to assess 8*elo$&the&line8 cost o' the
production. "he *rea+ do$n the screenpla into a timeta*le 'or the 'ilm shoot that sho$s
ho$ long it $ill ta+e to shoot each scene.
From this schedule the Aine /roducer estimates the cost o' each da8s shooting. "he produce
a provisional *udget to sho$ the total amount o' 'unding re,uired. nce the /roducer and
ecutive /roducers have raised the 'inance# the 'ilm can go into pre&production.
During pre&production# Aine /roducers $or+ $ith the Director # /roduction 6anager # First
4ssistant Director # 4rt Director and other %eads o' Department. "he prepare the production
schedule and *udget# and to set the shoot date.
Aine /roducers oversee all other pre&production activities. "he hire the production team# set
up the production o''ice# deal $ith location scouting# sourcing e,uipment and suppliers and
selecting cre$. "he also hire supporting artistes and contri*utors# and monitor productiondepartments.
During production# Aine /roducers hand over control o' the 'inal *udget to the /roduction
4ccountant. "he delegate the da&to&da operation o' the production o''ice to the
/roduction 6anager and /roduction o&ordinator. %o$ever# Aine /roducers are ultimatel
responsi*le 'or overseeing everthing and ma+ing sure the production is completed on time
and $ithin *udget.
"he set up and implement 'inancial monitoring sstems# controlling production ependiture#
controlling production materials# and monitoring and controlling the progress o' productions.
Aine /roducers usuall cater 'or un'oreseen circumstances# and spend much o' their time
-uggling 'igures and resources.
Aine /roducers are responsi*le 'or certain health and sa'et procedures# and 'or sorting out
an insurance claims. 4t the end o' the shoot# the Aine /roducer oversees the 8$rap8# or
$inding do$n# o' the production.
Aine /roducers are usuall emploed on a 'reelance *asis. "he $or+ long hours# though the
role is $ell paid. I' a Aine /roducer has a creative input# he or she is o'ten credited as a o&
• %ave good +no$ledge o' relevant health and sa'et la$s and processes
What does a $roduction %o&ordinator do?
/roduction o&ordinators run the production o''ice. "he report to the Aine /roducer and
/roduction 6anager . /roduction o&ordinators ta+e charge o' the o''ice $henever the
/roduction 6anager is on set.
/roduction o&ordinators start $or+ during pre&production. "he set up the production o''ice#
organising e,uipment# supplies and sta''. "he co&ordinate travel# accommodation# $or+
permits and visas 'or cast and cre$. "he also prepare and distri*ute shooting schedules#
cre$ and cast lists# scripts and script revisions. /roduction o&ordinators organise insurance
cover.
During production# /roduction o&ordinators are responsi*le 'or preparing# updating and
distri*uting cre$ lists# dail progress reports and script changes. "he also deal $ith call
sheets and transport re,uirements. "he let the "ransport aptain +no$ $hat is needed and
organise couriers and shipping companies.
4s the shoot dra$s to an end# /roduction o&ordinators help the /roduction 6anager to$rap7 the production. "he close accounts $ith suppliers# return surplus stoc+ and tie up all
loose ends.
Depending on the si>e o' the production# /roduction o&ordinators ma delegate tas+s to one
or more 4ssistant /roduction o&ordinators and /roduction Runners. /roduction o&
ordinators $or+ ver long hours# usuall on a 'reelance *asis.
Will I need a qualification?
You don7t need a speci'ic ,uali'ication. %o$ever it7s $orth doing health and sa'et courses.
You $ill also need a 'ull clean ( driving licence.
I' ou are considering ta+ing a 'ilm production course in higher education# the 'ollo$ing
courses have *een rigorousl assessed * the 'ilm industr and a$arded the reative S+illset
"ic+ 'or the high standard o' education the provide and the degree to $hich the prepare
ou 'or a career in 'ilm:
What's the best route in?
You can start out as a /roduction Runner# then 4ssistant /roduction o&ordinator *e'ore
moving into a /roduction o&ordinator role. It7s also use'ul i' ou have production o''iceeperience in "E or advertising# or have $or+ed in general o''ice management.
• Kno$ $here to recruit relia*le production personnel
• (nderstand insurance issues
• (nderstand the relevant health and sa'et la$s and procedures
What does a $roduction "anager do?
/roduction 6anagers are in charge o' the 8*elo$&the&line8 *udget. "his covers costs relating
to the cre$ and the practicalities o' running a production.
In pre&production# /roduction 6anagers $or+ $ith the /roducer # Aine /roducer and First
4ssistant Director to prepare a provisional schedule. /roduction 6anagers then consult $ith
the various %eads o' Department. "he estimate the materials needed and prepare dra't
*udgets.
nce the overall *udget has *een agreed# /roduction 6anagers help /roducers to recruit cre$
and suppliers. "he negotiate rates o' pa# and conditions o' emploment. "he arrange the
rental and purchase o' all production materials and supplies.
/roduction 6anagers oversee the search 'or locations# sign location releases. "he also liaise
$ith local authorities and the /olice regarding permits. n smaller productions the ma also
negotiate contracts $ith casting agencies.
During production# /roduction 6anagers ensure that all *ills are paid and that the team is
$or+ing $ell. "heir responsi*ilities include setting up controlling the spending# paper$or+
and liaising $ith the First 4ssistant Director to ma+e sure the production schedule and
departmental *udgets are on target.
/roduction 6anagers sign and authorise all purchase orders# and help the /roduction
4ccountant to prepare $ee+l cost reports. "he ma+e changes to the schedule and to the
*udget as needed. /roduction 6anagers deal $ith an personnel pro*lems or issues that ma
arise# and ensure that everone complies $ith %ealth and Sa'et regulations.
4t the end o' the shoot# the /roduction 6anager 8$raps8 the production. "his involvesensuring that all 'inal invoices are dealt $ith# locations signed o''# rental agreements
• )e a*le to $or+ calml and e''ectivel under pressure
• %ave good I" s+ills
• %ave good organisational and administrative s+ills
• )e a*le to $or+ $ithout supervision
• )e versatile and a $illing to learn
• )e a$are o' relevant health and sa'et la$s and procedures
What does a $roduction unner do?/roduction Runners are used * the /roducer and * other production sta''. "he help out
$herever the are needed on productions. "heir responsi*ilities var depending on $here
/roduction Runners are assigned.
In the /roduction ''ice duties might include ans$ering telephones# 'iling paper$or+ and
data entr. r arranging lunches# dinners# and transportation reservations# photocoping#
general o''ice administration# and distri*uting production paper$or+.
n set# Runners might have to act as a courier and help to +eep the set clean and tid. "he
also distri*ute call sheets# health and sa'et notices# and other paper$or+. n location shoots#/roduction Runners ma also *e needed to help co&ordinate the etras# and to per'orm cro$d
control duties.
Runners are usuall emploed on a 'reelance *asis and their hours are long and irregular.
Will I need a qualification?
You don7t need a speci'ic ,uali'ication# *ut a good education is an advantage. You $ill also
need a 'ull# clean ( driving licence.
I' ou are considering ta+ing a 'ilm production course in higher education# the 'ollo$ing
courses have *een rigorousl assessed * the 'ilm industr and a$arded the reative S+illset
"ic+ 'or the high standard o' education the provide and the degree to $hich the prepare
ou 'or a career in 'ilm:
What's the best route in?
Start out * getting some eperience in 'ilm# drama or *roadcasting. It can *e in amateur
dramatics# student radio or 'ilm ma+ing# shorts or communit media. "his $ill put ou in a
*etter position to appl 'or $or+ as a /roduction Runner# as there is a lot o' competition 'or -o*s despite the lo$ pa.
• .e diplomati% and ta%t+ul w'en wo)in* wit' %ast and %ew
• )now a.out 'ealt' and sa+ety le*islation and po%edues
('at does a Die%to o+ $'oto*ap'y !Do$" do/
Directors o' /hotograph 9Do/s are +e %eads o' Department on 'ilm productions and theirsis one o' the ma-or creative roles. "he provide a 'ilm $ith its uni,ue visual identit# or loo+.
Do/s must discover the photographic heart o' a screenpla# using a variet o' source material
including stills photograph# painting# other 'ilms# etc.
"he create the desired loo+ using lighting# 'raming# camera movement# etc. Do/s
colla*orate closel $ith the camera cre$ 9amera perator # 1st and 2nd 4ssistant amera#
amera "rainee and rips.
During 'ilming# Do/s also $or+ closel $ith the a''er 9$ho runs the lighting team# the/roduction Designer# ostume Designer# and the %air and 6a+e&up Department.
4'ter reading the screenpla# Do/s meet $ith the Director to discuss the visual stle o' the
'ilm. "he conduct research and preparation including carring out technical recces o'
locations. "he prepare a list o' all re,uired camera e,uipment# including lights# 'ilm stoc+#
camera# cranes and all accessories etc.# 'or the production o''ice to order.
During preparation Do/s also test special lenses# 'ilters or 'ilm stoc+s# chec+ing that the
results 'it $ith the Director8s vision 'or the 'ilm.
n each da o' principal photograph# Do/s and their camera cre$s arrive earl on set to
prepare the e,uipment. During rehearsals# the Director and Do/ *loc+ 9decide the eact
movements o' *oth actors and camera the shots as the actors $al+ through their actions#
discussing an special camera moves or lighting re,uirements $ith the amera perator#
a''er and rip.
ach shot is mar+ed up 'or 'ocus and 'raming * the 1st 4# and# $hile the actors 'inish
ma+e&up and costume# the Do/ oversees the lighting o' the set 'or the 'irst ta+e.
n smaller 'ilms# Do/s o'ten also operate the camera during the shoot. 4t the end o' each
shooting da# Do/s prepare 'or the 'ollo$ing da8s $or+ and chec+ that all special
re,uirements 9cranes# Steadicams# remote heads# long or $ide lenses# etc. have *een ordered.
"he also usuall vie$ the rushes 9ra$ 'ootage $ith the Director.
During post production# Do/s attend the digital grading o' the 'ilm# $hich ma involve up to
three $ee+s o' intensive $or+.
6ost Do/s $or+ on commercials and promos as $ell as on 'eature 'ilms. 4lthough the hours
are long# and some 'oreign travel ma *e re,uired# the $or+ is highl creative and ver
re$arding.
(ill I need a uali%ation/
You could ta+e a degree in stills photograph to gain a good# all&round understanding o'
composition and light. %o$ever# a drama# art or a 'ilm;media studies degree all provide a
good grounding.
I' ou are considering ta+ing a 'ilm production course in higher education# the 'ollo$ing
courses have *een rigorousl assessed * the 'ilm industr and a$arded the reative S+illset
"ic+ 'or the high standard o' education the provide and the degree to $hich the prepare
ou 'or a career in 'ilm:
Film production courses a$arded the reative S+illset "ic+
4lthough ou do not need to have an electrical ,uali'ication# ou $ill need to understand the
'unctions o' a variet o' lighting e,uipment and to have thorough +no$ledge o' cameras#
lenses and 'ilm stoc+s.
('at4s t'e .est oute in/
You can epect to start our career in a -unior capacit# e.g.# as 2nd 4ssistant amera on short
'ilms or promos and progress through the amera Department.
I' ou $or+ as a amera perator# ou could *ecome a Do/ * carring out second unit$or+. It7s also possi*le to ma+e the transition to Do/ 'rom the Aighting Department.
4lthough eperience o' $or+ing on short or student 'ilms can provide a good introduction to
'eature 'ilm production# ou $ill need to $or+ as part o' a camera cre$ to 'ull learn the on&
set hierarch and traditions o' $or+ing.
)ecoming a Do/ can *e a long and arduous process *ut the eventual re$ards are great.
• .e diplomati% and sensitive w'en wo)in* wit' atists and %ew
• )now a.out 'ealt' and sa+ety le*islation and po%edues
('at does a Camea peato do/
amera perators carr out the Director o' /hotograph7s 9Do/ and Director7s instructions
'or shot composition and development. "he are usuall the 'irst people to use the camera8s
eepiece to assess ho$ all the elements o' per'ormance# art direction# lighting# composition
and camera movement come together to create the cinematic eperience.
amera perators usuall start at the end o' pre&production and attend technical recces $ith
other %eads o' Department. "he $or+ closel $ith the Director o' /hotograph# Director
and rip# and are responsi*le 'or the First 4ssistant amera 91st 4# Second 4ssistant
amera 92nd 4 and the amera "rainee.
4'ter the Director and Do/ have rehearsed and *loc+ed the shots# the amera perator and
Do/ decide $here to position the camera and $hat lenses and supporting e,uipment to use.
amera perators liaise $ith the rip and other %eads o' Department# and +eep them
in'ormed a*out ho$ the position and movement o' the camera might impact on their$or+load.
During shooting# perators are responsi*le 'or all aspects o' camera operation# ena*ling the
Do/ to concentrate intensivel on lighting and overall visual stle.
amera perators ma+e sure the camera and e,uipment are prepared 'or the re,uired set&ups
and read 'or an last&minute changes. "he must *e a*le to multi&tas+ and to $atch# listen
and thin+ on their 'eet $hile carring out comple technical tas+s.
"he liaise closel $ith the Director# 'ine&tuning the eact details o' each shot# suggestingcreative improvements or alternatives. "he supervise the logistics o' moving the camera#
and oversee the amera maintenance $or+ carried out * the Focus /uller and the 2nd 4.
amera perators $or+ closel $ith per'ormers# guiding them on $hat can and cannot *e
seen * the camera. 4s Do/s no$ also operate the camera on smaller 'ilms# man amera
perators specialise in the operation o' other precision e,uipment# such as Remote %eads or
Steadicam. 6ost also $or+ on commercials# promos and television drama.
"he Do/ or Director o'ten as+s 'or a speci'ic amera perator# $ho in turn ma+es
recommendations a*out the rest o' the camera and grip departments.
It is the Script Supervisor7s role to monitor $hether it is possi*le 'or each 'ilmed scene to *e
edited into a ver*all and visuall coherent se,uence. Film and T dramas are usuall shot
entirel out o' script se,uence. "he Script Supervisor ensures that the 'inished product ma+es
continuous ver*al and visual sense. "he $or+ as part o' the camera department.
During pre&production the chec+ the script 'or an errors and;or inconsistencies and prepare
estimated running times. "he develop stor snopses and character *rea+do$ns. "he chec+ the shooting schedule to ensure that the re,uired scenes $ill *e shot and covered 'rom all
re,uired angles# distances# etc. "he attend recces and pre&production meetings to 'eed *ac+
an identi'ied issues. During rehearsals the record detailed timings $hich in'orm the
shooting schedule.
During the shoot# the $or+ closel $ith the Director to anticipate and solve an potential
pro*lems. "his entails +eeping detailed $ritten and photographic records o' dialogue# action#
costumes# props and set design# all camera and lens details# all slate and scene num*er
in'ormation# so that $hen di''erent ta+es are edited together# the 'ictional $orld o' the 'ilm is
not disrupted * continuit errors. "hese records provide an invalua*le resource 'or Directors
and ditors ena*ling them to assess the coverage# including ho$ man shot options there are
'or each scene and ho$ each shot $as 'ilmed.
n each da o' principal photograph# Script Supervisors 'ile their record o' the previous
da8s shoot and prepare all paper$or+ 'or post production. During 'ilming the closel
monitor the script to chec+ that no dialogue is overloo+ed# and cue actors $here necessar.
"he liaise closel a*out continuit $ith other departments including sound# costume# ma+e&
up and hair# props and lighting. !here pic+&up shots are re,uired# the provide actors $ithdialogue start points and eact continuit details. "he re&tpe scripts to re'lect an ma-or
dialogue changes# and mar+ up scripts $ith slate num*ers# cut points# and other relevant
You don7t need a 'ormal ,uali'ication to *ecome a Script Supervisor. %o$ever# some 'ilm
schools and training courses o''er a good *asic grounding in the s+ills and +no$ledge ou7ll
need.
You $ill need good +no$ledge o' the theor and grammar o' 'ilmma+ing and# in particular#o' editing. "his is essential in order that ou can understand the cra't o' constructing scenes
out o' individual shots.
I' ou are considering ta+ing a "E or 'ilm production course in higher education# the
'ollo$ing courses have *een rigorousl assessed * the 'ilm and "E industries and a$arded
the reative S+illset "ic+ 'or the high standard o' education the provide and the degree to
$hich the prepare ou 'or a 'ilm or "E career:
"E production courses a$arded the reative S+illset "ic+
Film production courses a$arded the reative S+illset "ic+
/ost production courses a$arded the reative S+illset "ic+
('atHs t'e .est oute in/
You could start out as an 4ssistant /roduction o&ordinator or as a /roduction 4ssistant in
television & this $ould give ou essential on&set $or+ eperience.
You $ould need to assist an eperienced Script Supervisor 'or a minimum o' 30 $ee+s *e'ore
ou could progress to script supervision on 2nd camera shoots# and 2nd unit $or+#
progressing 'inall to *ecome a Script Supervisor.
('ee mi*'t t'e ole ta)e me/
From *eing a Script Supervisor# ou could move into other areas o' production# including
producing# $riting# directing# editing and script editing.
• ndestand t'e elevant 'ealt' and sa+ety laws and po%edues
('at does a Sound Desi*ne do/
4 Sound Designer 9previousl +no$n as Sound ''ects ditors or Special ''ects 9SFN
ditors is responsi*le 'or providing the sound 'or screen action. Depending on the 'ilm7s
*udget# Sound Designers usuall start $or+ at the same time as the other Sound ditors.
n a *ig e''ects 'ilm# this ma *e *e'ore shooting *egins. n a modest *udget production# it
could *e $hen the Director and;or ecutive /roducer have approved the 'inal picture edit
9picture loc+.
"he 'irst tas+ 'or Sound Designers is to identi' the three main +inds o' sound e''ects needed.
"hese ma *e gunshots# cloc+s# doors closing# dog *ar+ing 9spot e''ects or rain# $ind#tra''ic# *irdsong 9atmosphere e''ects. "here are also specialist sound design e''ects such as
dinosaurs# aliens# spaceships or computers. Sound Designers source these di''erent sounds
and o'ten create and record original ne$ material.
"he spend time manipulating the original recordings using snthesi>ers# samplers and audio
plug&ins. "his is a highl creative# eperimental part o' the -o*. For eample# the might use a
slo$ed do$n voice in reverse $ith added rever* to create the roar o' a dinosaur.
!hen the have all the desired sound e''ects# Sound Designers la them all onto a computer
using the latest so't$are. "he net step is called the /remi# $hen the Sound Designer $or+s
$ith the Re&Recording 6ier to smooth out all the e''ects trac+s. "his is 'ollo$ed * the
Final 6i. "his is $hen dialogues# 4DR 94utomated Dialogue Replacement# Fole#
atmosphere# music and special e''ects trac+s are *lended together.
6ost Sound Designers are also Supervising Sound ditors# so the usuall oversee the
Odelivera*lesP. "hese include the 6usic and ''ects version o' the 'ilm $hich allo$s the
dialogue trac+ to *e replaced $ith di''erent language versions.
Sound Designers ma *e emploed * 4udio /ost /roduction %ouses# or $or+ on a 'reelance *asis. "he usuall hire a room close to the picture ditor 9s and ma use their o$n
e,uipment. Sound Designers $or+ long hours to meet a demanding schedule o' deadlines.
(ill I need a uali%ation/
You $ill need a minimum ).6us 9"onmeister ,uali'ication or e,uivalent 'or an entr&level
position. You can also do postgraduate courses in 'ilm and television sound. %BD courses are
also availa*le.
I' ou are considering ta+ing a 'ilm production course in higher education# the 'ollo$ingcourses have *een rigorousl assessed * the 'ilm industr and a$arded the reative S+illset
I' ou stud 'ilm# television and theatre design ou could also gain eperience $or+ing on
lo$ *udget productions *e'ore progressing to -unior roles on television programmes or
'eature 'ilms.
You could trans'er across 'rom a similar role in the theatre# having learnt to conceptualiseideas and communicate them dramaticall and visuall< ho$ever# ou $ill have to learn
techni,ues speci'ic to 'ilm and "E.
Inteested/ Find out moe===
Websites
• Bitis' Film Desi*nes ;uild
• BEC& 7 t'e 64s media and entetainment tade union, %ovein*
.oad%astin*, lm, independent podu%tion, t'eate and t'e ats, leisueand di*ital media
4ssistant 4rt Directors help to translate ideas into practical realities# turning initial s+etches
into $or+ed&up dra$ings 'rom $hich a variet o' cra'tsmen 9the term is used 'or *oth men
and $omen *uild sets or adapt locations.
"he $or+ on 'eature 'ilms# commercials and certain tpes o' television production and their
duties var depending on the si>e o' the production:
•
n smalle flms o in television podu%tions, t'ey 'elp t'e At Die%to wit' a wide an*e o+ tas)s in%ludin* esea%', a%%essin* and ma)in*pops, suveyin* lo%ations, model7ma)in* and 'elpin* to podu%e sets=
• n .i* .ud*et studio7.ased +eatue flms, moe t'an one At Die%to will.e involved in t'e desi*n and ealisation o+ many %ompli%ated sets=Assistant At Die%tos on su%' lms may ta)e esponsi.ility +o a num.eo+ t'e smalle sets= &'ey ae also esponsi.le +o pops and +o ensuin*t'e sets ae )ept %lean=
"here is a strict chain o' command in art departments $hich must 'unction smoothl in order
to meet the artistic demands o' the Director and the 'inancial and logistical demands o' the production. "he 4ssistant 4rt Director8s role is vital $ithin this structure.
4ssistant 4rt Directors s+etch up a variet o' ideas *ased on the /roduction Designer8s
speci'ications using computer s+etching programmes such as S+etch&(p or Eector$or+s.
"he sho$ these ideas to the /roduction Designer# then re'ine the dra$ings and *egin $or+
on 3D models.
I' locations are to *e used# the carr out technical recces 9site surves to provide the
Supervising 4rt Director $ith an relevant in'ormation to *e communicated to the /roduction
• )now a.out elevant 'ealt' and sa+ety le*islation and po%edues
('at does a Con%ept Atist do/
oncept 4rtists $or+ on *ig *udget sci&'i# 'antas or historical 'ilms $here visual and special
e''ects create design spectacles# 'antastical creatures or other invented elements. "here are
usuall a num*er o' oncept 4rtists# each $or+ing on a speci'ic element# e.g.# a 'antastical
creature and;or scene.
oncept 4rtists start $or+ at the *eginning o' pre&production# up to si months *e'ore 'ilming
is due to *egin.
I' the screenpla is an adaptation 9'or eample# o' a *oo+# the analse the descriptions in
the original source material. "he ma $or+ $ith Specialist Researchers $ho also help
source and suppl relevant in'ormation and materials.
oncept 4rtists $or+ in the art department studio alongside Draughtsmen and Specialist
Researchers and o'ten produce their dra$ings on a computer using /ainter or /hotoshop
so't$are. 4'ter approval * the /roduction Designer # the dra$ings are presented to the
/roducer # Director and Eisual ''ects o&ordinator.
oncept 4rtists must produce illustrations that are stri+ing *ut also accurate and clear. "he
$or+ on illustrations throughout the shoot and ma o'ten *e re,uired to change and adapt
their original ideas as 'ilming progresses.
"he ma also *e involved in the development process# producing a series o' illustrations that
help to sell the 'ilm to potential Financiers and;or Distri*utors.
oncept 4rtists $or+ on a 'reelance *asis. "heir role is highl specialised and there is a
limited demand 'or this $or+.
(ill I need a uali%ation/
You can stud an arts school course $ith a 'ocus on draughting s+ills# graphics and
conceptualising ideas e.g.# 'ine art# graphics# illustration etc. %o$ever# there is no 'ormal
training or ,uali'ication 'or this -o*.
('at4s t'e .est oute in/
"here is no tpical career route to *ecoming a oncept 4rtist. You could start o'' as a raphic
4rtist# Illustrator or raphic Bovelist. ther$ise# ou can $or+ in special or visual e''ects oranimation and ma+e the transition to oncept 4rtist via stor*oarding.
• )now t'e euiements o+ t'e elevant 'ealt' and sa+ety le*islation and
po%edues
('at does a $odu%tion Desi*ne do/
/roduction Designers are ma-or heads o' department on 'ilm cre$s# and are responsi*le 'or
the entire art department.
"he help Directors to de'ine and achieve the loo+ and 'eel o' a 'ilm.
Filming locations ma range 'rom a Eictorian parlour# to a late&night ca'J# to the interior o' an
alien space ship. "he loo+ o' a set or location is vital in dra$ing the audience into the storand ma+ing a 'ilm convincing. 4 great deal o' $or+ and imagination goes into constructing
the *ac+drop to an stor and choosing or *uilding locations and;or sets.
/roduction Designers *egin $or+ at the ver earl stages o' pre&production. "he ma *e
as+ed to loo+ at scripts to provide spending estimates *e'ore a Director is even approached.
n 'irst reading a screenpla# the assess the visual ,ualities that $ill help to create
atmosphere and *ring the stor to li'e.
4'ter preparing a care'ul *rea+do$n o' the script the meet $ith the Director to discuss ho$
*est to shoot the 'ilm and $or+ out $hether to use sets and;or locations# $hat should *e *uilt
and $hat should *e adapted and $hether there is a visual theme that recurs throughout the
'ilm.
"he also consider $hether there are design elements that ma give more depth to the 'ilm
and $hether I 9computer generated imager should *e used.
/roduction Designers must calculate the *udgets and decide ho$ the mone and e''ort $ill *e
spent. "hen there7s an intense period o' research during $hich the and their Specialist
Researchers source ideas 'rom *oo+s# photographs# paintings# the internet# etc.
/roduction Designers deliver their design s+etches 9sho$ing mood# atmosphere# lighting#
composition# colour and teture to 4rt Directors $ho oversee the production o' technical
dra$ings and models# $hich are used * the onstruction Department to *uild the sets and
adapt locations. /rops )uers and Set Decorators source props and organise the manu'acture
o' specialist items.
4s the start o' shooting approaches# /roduction Designers manage lots o' people# prioritise
the $or+ schedule and care'ull monitor the *udget. !hen shooting starts# the are usuall
up earl each morning to vie$ each ne$ set $ith the Director# Director o' /hotograph and
• 'ave .asi% te%'ni%al )nowled*e o+ lm %ameas and lenses
• )now a.out t'e Die%to4s ole
• .e s)illed in ima*e manipulation pa%)a*es
• 'ave e%ellent dawin* s)ills
• .e a.le to t'in) %inemati%ally
• 'ave e%ellent %ommuni%ation s)ills
• visualise pespe%tive and 3D spa%e
• visually intepet ot'e people4s ideas
• daw and wo) ui%)ly w'en euied
• )now a.out elevant 'ealt' and sa+ety le*islation and po%edues
('at does a Stoy.oad Atist do/
Stor*oard 4rtists ta+e a screenpla and turn it into a series o' illustrations# li+e a comic
*oo+. "his helps the Director get a clear idea o' eactl $hat the $ant to achieve and sho$s$hat7s needed# e.g.# prosthetics 'or ma+e&up# omputer enerated Images 9I 'or visual
e''ects# props 'or the 4rt Department# etc.
Stor*oards are mostl needed on 'ilms $ith large amounts o' action and;or I# $here
comple chase# 'ight or *attle scenes need to *e visualised and care'ull planned. 6an *ig
*udget 'eature 'ilms are stor*oarded *e'ore shooting *egins. 4lthough some sa this sti'les
the creative process o' directing a 'ilm# it is a sensi*le $a o' avoiding overshooting and
spiralling *udgets.
Stor*oard 4rtists usuall start $or+ earl in the production process. 4'ter reading the
screenpla# the meet $ith the Director to discuss the mood and atmosphere o' an scenes to
*e stor*oarded.
During this process# Stor*oard 4rtists must visualise the scene 'rom the camera8s point o'
vie$# $or+ing out the characters8 positions# $ho or $hat else is in the 'rame and 'rom $hat
angles the are seen and imagining their 'eelings.
4'ter delivering the 'irst 'e$ illustrations# Directors usuall allo$ them to suggest their o$n
ideas 'or the net scenes# although some Directors alread +no$ eactl $hat the $ant anduse stor*oards as a reminder rather than as a template.
• .e a.le to see t'e .oade pi%tue and %o7odinate ee%tively
• wo) as pat o+ a team
• )now a.out elevant 'ealt' and sa+ety le*islation and po%edues
('at does a Set De%oato @ Assistant Set De%oato do/
Set Decorators meet $ith the /roduction Designer to discuss the agreed loo+ o' the 'ilm.
"hen the visit prop houses to choose the *igger props and *oo+ them 'or the shoot.
In the art department o''ice# Set Decorators put together a detailed prop *rea+do$n using the
script to list the action props# animals# vehicles# dressing props and an graphics items
9letters# ne$spapers# posters# *oo+s etc.
/roduction )uers and raphic 4rtists also prepare their o$n lists $hich are compared tochec+ 'or an missing items. "hese lists are com*ined to ma+e the de'initive list 'rom $hich
Set Decorators $or+.
Items are then located# purchased or hired and $here necessar# model ma+ers are
commissioned# arrangements are made 'or 'urniture to *e re&upholstered# etc. !hen the Final
Schedule 9shooting order o' scenes in the 'ilm is delivered# de'initive lists o' all props and
set decoration are made according to $hat7s needed each da.
Set Decorators ma also $or+ on product placement 9$here a commercial product is placed
$ithin a scene as a 'orm o' mar+eting# or on clearing copright 'or *randed items.
@ust *e'ore the shoot# Set Decorators photograph all items# ta+e care'ul measurements and
allocate the right props to each set.
"he da *e'ore shooting *egins Set Decorators and their teams arrive earl to *egin dressing
the set. 4'ter the Set Designer , Director and Director o' /hotograph have chec+ed it and
made an last&minute changes# Set Decorators move on to the net scene. )ecause locations
and prop hire can *e ver epensive# stri+ing 9ta+ing apart each set and returning all the
props must *e completed as ,uic+l as possi*le.
6an Set Decorators $or+ on commercials# $here the are +no$n as Stlists# as $ell as on
'ilms.
Set Decorators $or+ on a 'reelance *asis# the hours are long and the -o* can involve long
periods $or+ing a$a 'rom home.
(ill I need a uali%ation/
You can stud a degree in art 9painting# tetiles# interior or 3D design to get a good *asis in
• )e a$are o' the relevant health and sa'et la$s and procedures
What does a $ro+ert, "aster- do?
/ropert 6asters are the 'irst mem*ers o' the /ropert Department to *e recruited onto productions. "he usuall start $or+ 'ive $ee+s *e'ore shooting *egins. /ropert 6asters are
responsi*le to /roduction Designers# and $or+ as part o' the 4rt Department. During pre&
production /ropert 6asters liaise $ith /roduction Designers and 4rt Directors to $or+ out
$hat props are needed.
4t this stage /ropert 6asters ma $or+ $ith production *uers to research period props and
stles o' 'urniture. r the discuss the re,uirements $ith specialist advisors. /ropert
6asters then dra$ up complete properties lists. From the lists# /ropert 6asters select $hich
properties are to *e *ought in# or hired# and $hich are to *e made.
Aiaising $ith production *uers# /ropert 6asters plan and manage the *udgets 'or ma+ing# *uing or hiring props. "he prepare the overall production schedule 'or their Department#
and produce the dail schedules 'or the team. For purchased or hired props# /ropert 6asters
ma+e sure accurate lists o' sources are +ept * /roduction )uers and /rops Storemen. For
props that have to *e made# /ropert 6asters $or+ closel $ith arpenters# /rop 6a+ers or
other artists.
"heir $or+ ma include planning# designing and adapting an special hand or set props. "he
attend all rehearsals# in order to note props8 placement and use# and an change in action that
a''ects props. /ropert 6asters ma also discuss hand props $ith 4ctors# teaching them ho$
to care# maintain and operate them. /rior to the shoot# /ropert 6asters $or+ closel $ith Set
Designers# Set Dressers# /rops Storemen# and Dressing /rops. "he have sort out the'urniture and set dressing re,uirements.