roles

exploring the film and tv departments and key roles!

the development department

director

what do they do?

famous director

skills

who do they work for?

Directors are the creative leads of the film. They hold the creative vision throughout the whole process, from pre-production through to the final edit.

• Leadership: share the vision of the film with a range of people from different departments, inspire them to do their best work, manage the cast and crew, make creative decisions
• Imagination: envisage the film you want to make, see it, hear it, create the vision and execute it
• Arts knowledge: have a passion for and deep knowledge of film and TV drama, appreciate all genres of art, so as to be able to draw ideas from a range of sources
• Production: understand the film or TV drama production process from start to finish, from both technical and creative points of view
• Staying calm under pressure: work methodically within a high-stress environment, make creative decisions when things don’t go to plan

They are employed by the executive producer or producer, who is ultimately in charge of a production. Directors hold the creative vision for the whole production, so they have relationships with every department head. In pre-production, they work particularly closely with the producers and casting directors. During production, they have close on-set relationships with the director of photography and the first assistant director. In post-production, directors work with editors to ‘cut’ the film or programme to a desirable final product.

producer

famous producer

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what do they do?

who do they work for?

Producers are at the financial, practical and creative heart of a film or TV drama. They are often the first to get involved, spotting the creative opportunity and commercial viability of a production. They continue as the driving force right through to distribution.

Everyone. Producers lead and communicate with the whole production team as well as distribution and marketing teams. They answer to executive producers who serve as the overseeing face of the film studio, financiers, or who (in TV drama) are the overall leads on a series.

• Film and TV production: have extensive knowledge of all the creative processes of making a film or TV programme including screenwriting, directing, and editing
• Storytelling: know how to tell a story, make and approve creative decisions to help do this well
• Commercial awareness: understand what makes a successful film, be able to market it to distributors and the public
• Leadership: motivate and communicate well with everyone throughout the project, take the lead on decisions, create a good working atmosphere and adhere to legal workplace regulations
• Organisation: be on top of the whole project, prepare schedules and a production budget using financial skills to secure funding and negotiate salaries

screen writer

famous screenwriter

who do they work for?

what do they do?

skills

Screenwriters are almost always freelancers. In film, initially, screenwriters develop roughly three drafts of a screenplay, with the third being known as ‘the polish’. This is the version that gets pitched to a producer or film studio. Alternatively, a screenwriter may be commissioned by a producer or studio to create a screenplay. Once a screenplay is picked up by a studio, more screenwriters may be brought in to work with a development producer to get it ready for production. In this case, any new screenwriter may share a credit with the original screenwriter, or they may be credited for additional dialogue, or as a story consultant. In some cases, the original screenwriter may be replaced entirely by another screenwriter.

Screenwriters write and develop screenplays for film or TV drama. They do this either based on an original idea, by adapting an existing story into a screenplay or by joining an existing project (TV).

• Knowledge of screenwriting: understand all the features of a great screenplay, know how to improve and amend one
• Creativity: write well and innovatively, express your ideas effectively in screenplay-form
• Arts knowledge: have a deep and wide knowledge of all genres of art, so as to be able to source ideas from a range of sources and understand the cultural context
• Watching film and TV drama: have a passion for the genre and a love of the industry
• Freelancing: find work opportunities for yourself and manage your finances, be self-motivated

production development department

locations manager

famous locations manager

what do they do

who do they work for?

skills

The location in which a film is set has a huge impact on its look, feel and story. It’s the job of location managers to find that place in the physical world and make sure it’s accessible, safe and not too expensive to hire.

• Sourcing locations: have an eye for architecture, knowledge of landscapes, ability to research and visualise how a location could be turned into a set
• Interest in photography: take good photographs of locations to present to the rest of the production team
• Law: know how to comply with public liability, trespass, public highway and health and safety legislation
• Negotiation: get the best price for the location and facilities
• Organisation: plan, budget, attend to detail and spot potential problems in advance
• Communication: work sensitively with location owners, members of the public and production colleagues
• Not getting lost: have a good sense of direction and ability to read maps

Based on scripts and discussions with the director, production designers and other department heads, location managers start their research. They might be looking for deserts, stately homes or shady underpasses. They arrange recces (visits) to the locations, take photographs, detailed notes, start discussions with the location owners and work out costs. They present their findings to the director and, once approved, negotiate and confirm contracts with owners.

production runner

skills

what do they do?

production runner

who do they work for?

Production runners are the hands and feet of the production team. They copy the call sheets, sides, scripts, health and safety notices and other paperwork and run around distributing it to the crew. They take lunch and breakfast orders for the production office, do runs to the post office or other suppliers.

Production office runners work with the production secretary, production coordinator, line producer and production manager. On large TV dramas and feature films, the team can be much bigger and include assistant coordinators and travel and accommodation coordinators.

• Taking instruction: listen carefully, do what’s asked quickly, stay calm under pressure
• Taking initiative: have common sense, see what needs to be done in a situation, work without supervision
• Multi-tasking: be able to be organised and prioritise when asked to do different things by different people at the same time
• Watching film and TV drama: have a passion for the genre and a love of the industry
• Learning by watching and asking: observe what’s happening and know when to ask about things you don’t understand
• Reliability: get to set on time
• Communication: work well with the rest of the production team and the crew

cashier

what do they do?

who do they work for?

skills

Cashiers help assistant accountants and production accountants keep accurate records of how the money on a film or TV drama is spent. They primarily deal with expense claims, comparing what people have claimed with the receipts they have submitted, and making sure VAT is claimed where appropriate. They also track money that’s been given to crew (floats), and make sure this money is available to the relevant crew members (and returned at the end of a shoot).

Cashiers work with production accountants and finance controllers.

• Maths: enjoy figures, spreadsheets and data
• Watching film and TV drama: have a passion for the genre and a love of the industry
• Learning by watching and asking: observe what’s happening and ask questions at the appropriate moments
• Taking instruction: listen to the production accountant and do what’s asked
• Discretion: able to keep confidential information to yourself
• Communication: be social and work well with the accounts department, be able to chat to people in each department and learn what is going on in the production
• Working long hours: work the same hours as the crew who will be working longer than 9 to 5 to make the most of the shooting day

craft departements

production designer

what do they do?

skills

who do they work for?

Production designers have one of the most visually creative jobs in television. They design and create the sets inside which programmes are made. Most sets are built in studios, but are often created in other locations, such as on theatre stages or within a hired space (referred to as 'on location'). Production designers create sets for a variety of programming, from talent shows and quizzes to lifestyle series like cookery or painting, awards ceremonies and music programmes.

As the head of the art department, they work with the director, producer, lighting director, floor manager, camera supervisor and sound supervisor to ensure the set they design and oversee the building of incorporates the needs of the whole production. They work closely with the construction company and liaise with them on details, constantly problem solving during the build process. They have to consider what content needs to be made within their set and how to style and dress it, whilst also ensuring it meets the technical requirements of the other departments, is accessible, meets health and safety guidelines and is within budget.

• Creativity: create a unique visual home for a programme, visualise the look of a set, be able to imagine how it will accommodate the production brief and department requirements
• Art: draw quickly and confidently by hand, do technical drawings to scale and computer-aided design, create 3D models of studio sets
• Knowledge of construction: source appropriate materials, know how a set will be built, be aware of the latest developments in production design, including technology and materials
• Knowledge of production: understand production techniques, studio environments, studio capabilities and the challenges of working on location
• Leadership: share the vision with a wider number of people such as lighting designers and camera operators, manage budgets, draw up schedules, prioritise and meet deadlines

prop master

what do they do?

who do they work for?

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A prop, or property, is any moveable item that can be seen on a film. It could be a hat, gun, cushion, wine glass, lightsaber, carpet, kitchen unit, tree or aircraft. Prop masters run the property department which makes, stores and transports the props as well as preps the props for each day’s shoot.

Prop masters report to production designers and set decorators as part of the art department. They work closely with the director, art director, set decorator, prop buyer, location manager and construction manager.

• Understanding film: pick up the director’s vision, break a script down for props requirements take account of the need for continuity
• Historical knowledge: research different eras, dress a set authentically
• Craftsmanship: work with a wide variety of materials, craft and repair items
• Moving items: handle large, heavy but fragile items
• Communication: work closely with the production designer and other departments, share the vision with the props team
• Organisation: manage staff, budgets, complex schedules, transport and storage

constructions manager

what do they do?

skills

who do they work for?

Construction managers look after the building of studios and sets. They make sure that sets look as realistic or otherwise as desired. They interpret the drawings of the production designer, art directors and draughtspersons and work out how to build them in ways that are safe and environmentally friendly.

Then they hire the workforce, the carpenters, painters, riggers and plasterers, and ensure everyone knows what needs to be done and by when. They are responsible for getting the necessary materials and tools on site and for the safety of the crew working with machines and at heights.

• Construction: know all aspects of building work
• Reading drawings: interpret drawings to plan size and scale, understand the designer’s vision, work out what this means in terms of building requirements
• Organisation: manage a budget, work to a schedule, recruit hundreds of constructors within a tight timeframe
• Communication: be able to liaise between the artists and the construction workers, get a team to work well together
• Staying safe: ensure all health and safety measures are in place

technical department

Director of photography

what do they do?

who do they work for?

skills

Directors of photography are responsible for the photographic heart of a production. They read the screenplay and work closely with the director to discuss the look and feel of a film. They then research how to create the look through lighting, framing and camera movement and what they will need in terms of kit and crew to achieve this.

On each day of filming, DoPs and their camera crews arrive early to set up and rehearse. Working with the director, the DoPs do blocking (decide the exact movements of both actors and camera). They discuss any special camera moves or lighting requirements with the camera operator, gaffer and grip. Each shot is marked up for focus and framing by the focus puller and then the DoP oversees the lighting of the set for the first take.

• Photography: have an eye for composition, know how to tell a story through a shot, understand camera and lighting techniques, know how to use them to affect emotions
• Technical knowledge of cameras: have an in-depth understanding of all motion picture equipment, cameras, lens, monitors and lights
• Editing knowledge: understand the post-production work flow, have a good eye for colour in the editing process
• Making decisions: think quickly, often under pressure
• Organisation: plan, know how to do things and how long it will take, get the right kit and crew, manage the budget, think about logistical and artistic considerations at the same time
• Communication: ensure everyone in the team knows what’s expected, work closely with the grips and the gaffer, lead the team and resolve conflicts in situations that can sometimes be stressful

sound mixer

what do they do?

who do they work for?

skills

Sound mixers head up the department responsible for all the sound recorded during filming. This is predominantly dialogue but can include sound effects and atmosphere.

Before shooting starts, they meet with the producer and director to discuss the best method of capturing sound alongside the director’s shooting style. They visit locations to check for potential sound problems, like passing trains or road noise.

• earing: be able to hear precisely and to concentrate on sound in a distracting environment
• Understanding sound: know how it moves, how we hear, how sound can be manipulated and distorted
• Knowledge of equipment: understand electronics, recording, playback and editing gear
• Attention to detail: be able to listen to and manipulate tiny sounds, keep accurate and precise records
• Film production: know how sound can tell a story, understand the requirements of other departments, including camera, rigging, art, wardrobe and hair and make-up

Gaffer

what do they do?

who do they work for?

skills

• Understanding light: have an artistic eye, know the techniques required to achieve different lighting effects and the kit needed to achieve them
• Electrical knowledge: have an in-depth understanding of circuits, power supplies, motors, cables, fuses, thermal relays, fault current protection switches, heating, lighting, air conditioning and more
• Knowledge of film-making: be able to understand the production process, particularly the roles of the director of photography and how the gaffer role fits in
• Communication: be able to draw up plans and explain them to the crew, communicate well with the director of photography and the lighting crew, be clear and approachable even when making quick decisions under pressure
• Organisation: work within budget, schedule the crew and the kit requirements, prioritise and meet deadlines
• Working at heights: be good at climbing ladders as most lights are set up above head height

They work with the DoP to understand the desired light effects and figure out how to achieve them. They go on recces too see how the lighting will work on location and draw up a list of the kit that will be needed to achieve the artistic vision. Then they pitch for the kit. They put in a request to the line producer for the equipment they need and appoint a best boy to hire the crew and order the gear. During filming, they work out the positioning of the lights and fastest way to change the lighting setups between shots. Gaffers mediate between the DoP and the rest of the lighting crew.

Gaffers work closely with the director of photography (DoP) to bring to life the overall look of a film by creating and controlling light.