Career Opportunities in the Film Industry

This person is usually a writer, but can also be a non-writing producer. In television, this individual is often the series creator. Essentially all of the producers, directors and actors answer to the executive producer. A writing executive producer who is in charge of the creative direction of a show. This person hires the writing team, signs off on all aspects of the storylines and scripts, and signs off all decisions regarding the look of the show; including wardrobe, set dressing, props and art direction.

A writer who is given an outline of an episode and is required to turn that outline into a script. They also create characters, dialogue, dramatic situations, and written aspects of a TV series. Not only must they establish a good relationship with their actors, they must also understand all technical issues regarding television. A producer is hired by both the Executive Producer and the Studio. This person is the liaison between these two entities. They are responsible for all financial aspects of the television show. They are also very instrumental in hiring and managing all below-the-line crew members.

It is their responsibility for keeping the show on budget. The Associate Producer helps the producer with all "line" aspects of the production. They deal with scheduling the production, hiring crew and ordering all equipment for the show. This person is also known as the "Post" producer. They are responsible for all aspects of post production, including picture editing, music scoring, title session, final color correction, all audio editing and final audio mixing.

The UPM is hired by the producer to coordinate and supervise all administrative, financial, and technical details of television production. This individual assists the producer in hiring the crew and makes all the first contacts for dates, locations, and fees. Individual responsible for keeping track of all financial costs and transactions incurred in the making of a television show. Works closely with the UPM in preparing preliminary budgets and monitors the budgetary status of the production.

Generates a "hot cost" report that outlines where an episode is financially on a daily basis. Responsible for maintaining order and discipline on the set, keeping production moving to meet scheduling goals, establishing the crew and shooting calls, and oversees the selection and management of the extras. This person runs the set and is responsible for keeping the director on course with the production day.

Responsible to the 1st AD for preparing and distributing the daily paperwork, call sheets, production reports, SAG contracts, etc. This individual sees to it that the cast and crew is in the right place at the right time, maintains the schedule for each shooting day, and selects positions and directs movement of the extras.

This person assists the 1st and 2nd A. Their main job is the manage the extras and to establish with the director the movement and action of the extras.

Maintains an accurate shooting script and recording in detail all information related to each take, including length of shot, scene and take number, camera placement, and printable takes, as well as any notations on dialogue, action, props, set dressing, wardrobe, make-up, and hair in order to provide continuity during shooting and to facilitate editing. A production assistant is an entry level position within the television industry. This position is responsible for assisting the producers and the production staff with all aspects of production.

They answer phones, schedule meeting, copy scripts, deliver scripts. Person who finds, auditions, and negotiates for the services of actors. He or she breaks down the script by role, characteristics, and age. Compiles list of potential candidates, checks their availability, contacts agents, and schedules all auditions and call backs. Individual works closely with producers and director to determine how they see the show, and by choice of colors, textures, and materials determines the overall "look" and contributes to the emotional tone of the show.

The Production Designer supervises the search of locations, designs sets, oversees the drawing up of blue prints and the building and dressing of all sets. This person works with the studio and the executive producers to create a "look" for a show.

Film director

This person designs the sets that are later built for a television series. Responsible for the execution of detailed drawings of the sets and construction elements within the set to be built. He or she drafts blue prints from descriptions of drawings from the Production Designer or Art Director and thereafter oversees the construction of sets. After receiving the set plans from the Set Designer, this person is responsible for managing the crew that builds the sets. They also budget the build and monitor all set costs.

Works closely with the Production Designer to achieve the visual look of the show.

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Individual decorates with furniture, drapes, textures, etc. Set dec also supervises set dressing crew. Works closely with the Director in translating the screenplay into moving images. They orchestrate the lighting, framing and shooting of the show in close consultation with is three key supporting crew members: Progressing to this senior role will require genuine passion and creativity, carrying out work experience and networking at any opportunity.

You may start in a junior role, such as a runner or programme researcher, to get your foot in the door. Film editors work with raw footage in post-production to compile an end result that's suitable for release. They'll often work closely with the director to ensure their work is in line with the director's intentions for the film. It's no simple task - crucial, 'invisible' aspects of film, such as comedic timing, pacing and suspense, are what often elevate a production from good to outstanding quality and are the result of sharp, seamless editing.

This may involve changing up the order of scenes or removing some completely. Successful editors pay close attention to detail, bring creative flair and a passion for film to the role, and have the patience and self-motivation to experiment with editing. To become a film editor, you'll need to build a wealth of experience working in TV and on smaller productions before progressing to editing feature-length films. You might enter the industry as a runner, trainee or second assistant, moving up the ranks to first assistant before becoming an editor in your own right.

The most junior position in any film production department, it's a runner's job to carry out administrative tasks and aid the smooth running of film production. As a runner, your work will involve setting up locations for a shoot, hiring props and transporting equipment, among other tasks. Runners are resilient, enthusiastic and work diligently. Many are hired through being in the right place at the right time or their contacts rather than their qualifications, and can be in the position for a year or longer before progressing onto researcher roles. See what else being a runner involves.

In any film, good lighting is key to creating the right atmosphere. This is what a lighting technician brings to the production process through technical knowledge and a good level of physical fitness for lifting heavy lighting equipment and creative flair.

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Many lighting technicians working in the film industry are already qualified electricians, while some may also have a specialist degree in a relevant subject such as lighting technology or design. Whichever route you choose, pre-entry experience into this role is essential - whether that's through finding a job as a technician, helping on student film projects while you're studying or securing work experience with a professional. Find out more about a lighting technician 's salary, working hours and more.

A location manager is responsible for researching, identifying and organising access to sites for film shoots. It's a demanding role, where you'll need to manage cast and crew to ensure your stints on location are completed within time and budget constraints. Location managers are organised, good problem solvers and work well under high levels of pressure. While you won't need a degree in a particular subject, those related to media or production will give you an advantage.

You may also look into completing a course accredited by the industry's skills body, Creative Skillset. Take a look at what else you'll need to do to become a location manager. It's the job of a sound technician operate the equipment needed to record, mix and enhance the audio of a film. In this role you could either be working on set, liaising with producers to meet their sound requirements and monitoring the recording process, or in post-production where you'll integrate audio with visual content and create and alter sound effects among other tasks.

Many film productions require a team of sound technicians to run smoothly, so you'll have to be an excellent communicator and good team player. You'll also need patience to work with the meticulous attention to detail and timings the role requires. You don't need a degree to become a sound technician. However, as you'll need an in-depth understanding of the technicalities, equipment and practices the role encompasses, studying for a relevant HND or degree will be to your advantage. Discover the full range of responsibilities sound technicians have.

As a programme researcher on a film, you'll provide support to the producers, director and writers by carrying out factual and picture research to ensure what's being shown in the film is accurate. As well as using the internet, film archives and museum collections to carry out your research, you'll be responsible for gaining copyright clearance for the use of music and literary material in the production.

This area of work is open to all graduates, although having a degree in a relevant subject will be an advantage. You may be required to have specialist knowledge depending on the film's subject area. Learn more about becoming a programme researcher. Providing a crucial visual aspect to any film, hair and makeup artists ensure the actors in a film appear authentic to the time period the film is set, its geographical location and age of the character they're playing.

They're able to analyse a script and identify the appropriate hair and makeup needed in each scene, and keep it consistent throughout all scenes. This requires a keen eye for detail as well as a broad and deep understanding of the hair and makeup industry and its history. They're also responsible for liaising with wig and prosthetics companies and accompanying actors to fittings. You'll need to be technically qualified to work as a hair and makeup artist, to at least Level 2 standard in media make-up and Level in hairdressing. You'll also benefit from gaining work experience wherever you can, whether you work in a salon or theatre.