Job Roles - Set Builder

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Set construction is the process undertaken by a construction manager to build full-scale scenery suitable for viewing by camera, as specified by a production designer or art director working in collaboration with the director of a production to create a set for a theatrical, film or television production. 

The set designer produces a scale model, scale drawings, paint elevations (a scale painting supplied to the scenic painter of each element that requires painting), and research about props, textures, and so on. Scale drawings typically include a groundplan, elevation, and section of the complete set, as well as more detailed drawings of individual scenic elements which, in theatrical productions, may be static, flown, or built onto scenery wagons. Construction supervisors interpret the drawings and allocate labour and resources, with the Production Designer giving approval of the finished set on the Directors behalf. 

The construction department is led by a construction coordinator. The coordinator reports to the art director and production designer and is in charge of budgeting and implementing designs. The construction coordinator, or construction company, provides all tools and equipment apart from small hand tools specific to a craftsman's work, such as screw guns, paint brushes and plastering trowels. This makes logistics and efficiency the responsibility of the construction manager and leaves each crew member as fluid freelancers to be hired and off hired at extremely short notice throughout the production.

https://en.wikipedia.org/wiki/Set_construction

Job Role - Lighting Designer

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Lighting Designers use the script or brief from the production team to 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. 

Lighting Designers make extensive preparations before recording days, including script reading and taking part in discussions about the style required. Following the planning meeting, Lighting Designers may prepare a lighting plan (or plot) which provides information about the position, type and colour of all the lights to be used. 

Lighting Designers oversee the set-up and operation of the lights, by instructing a team of Sparks on the studio floor, and the Lighting Console Operator who controls studio lighting effects, using equipment in the gallery (technical area). During recordings or live transmissions, any final adjustments are made as and when required.

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Job Roles - Production Assistant (PA)

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Production Assistants are responsible for assisting in the smooth running of the production. Their precise responsibilities vary depending on the studio and the size of the production, and may include: 

• taking notes in production meetings and distributing reports to the appropriate people 
• operating equipment for viewing tests and dailies 
• co-ordinating and logging incoming and outgoing materials 
• maintaining a database for tracking work progress

Production Assistants help to take care of the crew. They make sure that work is ready and available for them to begin. They ensure that the delivery schedule is met and check that the necessary materials, equipment and references are available.

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Job Roles - Production Manager

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Production Managers are responsible for all the organisational aspects of production scheduling and budgeting. They also assist the Producer to interpret and realise the Director’s vision, financially and logistically. They prepare production schedules or script breakdowns to confirm that sufficient time has been allocated for all aspects of the production process, and to check the Producer’s budget and schedule.

They are in charge of the 'below-the-line' budget. This covers costs relating to the crew and the practicalities of running a production. In pre-production, Production Managers work with the Producer, Line Producer and First Assistant Director to prepare a provisional schedule. Production Managers then consult with the various Heads of Department. They estimate the materials needed and prepare draft budgets. 

Once the overall budget has been agreed, Production Managers help Producers to recruit crew and suppliers. They negotiate rates of pay, and conditions of employment. They arrange the rental and purchase of all production materials and supplies. Production Managers oversee the search for locations, sign location releases. They also liaise with local authorities and the Police regarding permits. On smaller productions they may also negotiate contracts with casting agencies.

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Job Roles - Sound/Boom Operator

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Boom Operators assist the Production Sound Mixer and operate the boom microphone. This is either hand-held on a long arm or dolly mounted (on a moving platform). If radio or clip microphones are required, Boom Operators position them correctly around the set or location, or on actors’ clothing. 

Boom Operators are responsible for positioning microphones so that Sound Mixers can capture the best quality dialogue and sound effects. If this is done well, a great deal of money can be saved by not having to re-record (post-sync) the dialogue at a later stage.

Boom Operators are also responsible for all the sound equipment, ensuring that it is in good working order, and carrying out minor repairs where necessary.

Boom Operators begin work on the first day of principal photography. They have to read the script and familiarise themselves with the characters and their lines of dialogue. Members of the Sound Department arrive half-an-hour before call time, in order to unload and set up all the sound equipment.

Boom Operators are given “sides” (small booklets of pages from the script that are to be shot each day. They have to memorise all lines of dialogue and anticipate when to move the boom during filming. During rehearsals Boom Operators carefully note all planned camera movements and lighting requirements. They have to make sure that the microphone does not accidentally fall into shot or cast shadows.

Boom Operators are on set virtually all day. They work very closely with the Camera Crew. They are often asked to move slightly because of lights or camera angles and Boom Operators may also make similar requests. They finish work when the film wraps (is completed).

Most film sets are challenging environments for Mixers because there are often unwanted noises to deal with, or the required camera shots hamper the placing of microphones.

Approximately two weeks before the first day of principal photography, Production Sound Mixers meet with the Producer and Director. They discuss their creative intentions, (is the sound naturalistic or stylised, etc.), technical requirements and budgetary issues. They also meet with the Costume Department and Visual Effects Supervisors to discuss the placement of microphones on or around the actors, and visit all locations to check for potential sound problems. 

When filming begins, Sound Crews arrive on set half-an-hour before call time to prepare their equipment. During rehearsals, the Production Sound Mixer and Boom Operator plan where they should place microphones to get the best possible sound quality. After each take, Production Sound Mixers (who are situated off set, but close by), check the quality of sound recording and, if necessary, ask for another take.

Production Sound Mixers work with the Boom Operator to select suitable types of microphone. They carefully reposition these microphones for each set-up, to ensure adequate sound coverage.

If music is required in a scene, Production Sound Mixers also set up playback equipment and speakers for the actors. At the end of each shooting day, Production Sound Mixers may send the day's sound recording files to post production. They also hand over originals to the Camera Assistant, who packages them up with the camera rushes. Production Sound Mixers finish work when the film wraps (is completed).

Production Sound Mixers work on a freelance basis on features and drama productions. The hours are long and the work often involves long periods working away from home.

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Job Roles - Camera Operator

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Camera Operators carry out the Director of Photography’s (DoP) and Director’s instructions for shot composition and development. They are usually the first people to use the camera's eyepiece to assess how all the elements of performance, art direction, lighting, composition and camera movement come together to create the cinematic experience.

Camera Operators usually start at the end of pre-production and attend technical recces with other Heads of Department. They work closely with the Director of Photography, Director and Grip, and are responsible for the First Assistant Camera (1st AC), Second Assistant Camera (2nd AC) and the Camera Trainee.

After the Director and DoP have rehearsed and blocked the shots, the Camera Operator and DoP decide where to position the camera and what lenses and supporting equipment to use. Camera Operators liaise with the Grip and other Heads of Department, and keep them informed about how the position and movement of the camera might impact on their workload.

During shooting, Operators are responsible for all aspects of camera operation, enabling the DoP to concentrate intensively on lighting and overall visual style.

Camera Operators make sure the camera and equipment are prepared for the required set-ups and ready for any last-minute changes. They must be able to multi-task and to watch, listen and think on their feet while carrying out complex technical tasks.

They liaise closely with the Director, fine-tuning the exact details of each shot, suggesting creative improvements or alternatives. They supervise the logistics of moving the camera, and oversee the Camera maintenance work carried out by the Focus Puller and the 2nd AC.

Camera Operators work closely with performers, guiding them on what can and cannot be seen by the camera. As DoPs now also operate the camera on smaller films, many Camera Operators specialise in the operation of other precision equipment, such as Remote Heads or Steadicam. Most also work on commercials, promos and television drama.

The DoP or Director often asks for a specific Camera Operator, who in turn makes recommendations about the rest of the camera and grip departments.

The work is physically demanding, and requires high levels of strength and stamina. Hours are long (12-14 hours a day) and some foreign travel may be required, involving long periods spent away from base.

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Job Roles - Producer

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Producers have overall control on every aspect of a film's production. They bring together and approve the whole production team. Their key responsibility is to create an environment where the talents of the cast and crew can flourish. Producers are accountable for the success of the finished film. They steer the film from beginning to completion and beyond.

The Producer is often the first person to get involved in a project. The many responsibilities of the Producer span all four phases of production. In the Development stage, Producers are often responsible for coming up with the idea for a production, or selecting a screenplay. Producers secure the rights, choose the screenwriter and story editing team. They raise the development financing and supervise the development process.

In pre-production, Producers bring together the key members of the creative team. This includes the Director, Cinematographer and Production Designer and key cast members. They help the Executive Producers to raise money for the production. Once the initial finance is in place, they select other key production office personnel and Heads of Departments. 

Producers also approve locations, studio hire, the final shooting script, production schedule and budget. More time and money spent in pre-production can reduce time and money wasting when the production gets under way.

Once the film is in production, Producers are responsible for the day-to-day smooth operation of the team. Producers are also in constant communication and consultation with the Director and other key creatives, on and off set. Producers approve all script changes and cost reports. They are the first point of contact for all production partners, investors and distributors. 

During post production, Producers are expected to liaise with the Director and post production department. The Producer will deal with the finance and distribution companies in planning the marketing and distribution of the finished film.

The Producer is usually supported by a hand-picked production office team. Many of the key people will have worked with the Producer on several film projects. Producers have a legal responsibility, under the Health and Safety at Work Act 1974, to prepare health and safety procedures for the workplace. The Producer's ultimate responsibility is to the production company and the Executive Producers.

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Job Roles - Director

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Directors are responsible for creatively translating the film's written script into actual images and sounds on the screen. They are ultimately responsible for a film's artistic and commercial success or failure.

Directors may write the film's script or commission it to be written, or they may be hired after an early draft of the script is complete. They must then develop a vision for the finished film and work out how to achieve it.

During pre-production, Directors make crucial decisions, such as selecting the right cast, crew and locations for the film. They then direct rehearsals and the performances of the actors once the film is in production. 

They also manage the technical aspects of filming including the camera, sound, lighting, design and special effects departments. 

During post production, Directors work closely with Editors through the many technical processes of editing, to reach the final cut or version of the film. 

At all stages, Directors are responsible for motivating the team to produce the best possible results. Directors must also always be aware of the constraints of the film's budget and schedule and manage the expectations of the film's financiers.

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Job Roles - Editor

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

The Editor works closely with the Director, crafting the daily rushes into a coherent whole and a story. 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, giving the film a 'vision'.

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

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

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

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

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Job Roles - DoP

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The Director of Photography is responsible for the visual identity or 'look' of the film. They work very close with the director, lighting department and camera crew to achieve this. They manage all aspects of filming, from ordering and hiring equipment to recce checks to reviewing footage. 

DoPs must discover the photographic heart of a screenplay, using a variety of source material including stills photography, painting, other films, etc. They create the desired look using lighting, framing, camera movement, etc. 

After reading the screenplay, DoPs meet with the Director to discuss the visual style of the film. They conduct research and preparation including carrying out technical recces of locations. They prepare a list of all required camera equipment and test special lenses, filters or film stocks, checking that the results fit with the Director's vision for the film. 

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

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

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

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