So you want a job in film and television?

Transcription

1 So you want a job in film and television? There are huge numbers of young people competing for very few jobs. It is difficult to stress exactly how competitive film and television work is, but a good guide is that 9 out of 10 actors are out of work at any given time. Up until recently you had to be a member of the actor s union Equity to get a professional acting job and you were allowed an Equity Card only after you had worked professionally for some time. Thankfully this catch 22 situation no longer exists, although the film and television industry remains a very closed shop to all but the most dedicated and well connected. Only 6% of actors earn more than 30,000 per year. A recent survey found that nearly half of those working in the UK film and television industry earned less than 6,000 a year from the profession. Many actors and film makers work for very little, especially at the beginning of their careers. Most jobs are short term. Many experienced actors and film makers need to do other work to supplement their income. If you are you still interested in film and television work after reading the above information, then you clearly have the strong commitment necessary to begin a career in film and TV. However, commitment on its own is not enough. How can I get a career in film and television? You need specific training and experience in film and TV. Most of the careers below require formal training, usually in the form of academic courses. Entrance to courses will depend on relevant exam results at post-16, and auditions (for actors) Depending on your chosen career, you will also need experience in screen-acting or filmmaking. You should begin making films right now and start compiling material for your showreel. Your showreel is a vital piece of equipment for the actor and film-maker, showing future employees your skills and range. As your career progresses, your showreel will also develop, tracking how your skills and experience develop over time Whatever your chosen career in film and television, ACT 2 CAM is here to help you get to the next level, offering new skills, vital experience and showreel material to help you on your way to success. What is included in this pack? With more than 60 pages and more than 100 job descriptions and career paths in film and television, we hope you find this career pack useful. We have also included careers advice, tips for becoming a successful actor or film-maker as well as some links to useful websites. Please consider the environment and do not print out this document unless necessary (although please feel free to forward it to whoever you think may benefit from it!). If you would like to discuss any aspect of this career pack, please get in touch with us by info@act2cam.com or by phone

2 Here is ACT 2 CAM s list of top 10 tips on how to become a successful working screen actor or film maker: 1. Decide now if you really want to do screen acting or film making. You have to be dedicated. If you are, then read on. 2. Start getting experience in front of and behind the camera, right now! Build up a showreel of your work. Follow every opportunity to make films. The better the quality, the more professional you come across and the more likely you are to get noticed. 3. Enrol in a screen acting or film making classes. Join your local ACT 2 CAM group and MAKE FILMS NOW! Visit or for more information. Get expert training on screen and behind the camera. Good actors and film makers study their entire lives. Good classes are run by professional teachers and industry experts with enhanced CRB checks. 4. Seek out and mix with like minded people. There are plenty of ambitious young actors and film makers out there. Make opportunities to meet industry professionals whenever possible. "Who you know" is extremely important. 5. Promote yourself. Send your showreel and CV with a brief cover letter to all the casting directors and agents in your area. Follow up with postcards every four to six months, updating them on your current film projects. 6. Seek out work. Read the trade papers regularly, as well as online publications. The Stage, The Knowledge and Production and Casting Report are just 3 of the many resources out there. Make sure you know what is being filmed and where, and get your showreel directly to directors and producers whenever possible, requesting work. 7. Get yourself where the work is. Make sure you are in the right place at the right time. Find out about auditions and screen tests in your area. Look out for film festivals and media competitions. 8. Be realistic. Know that you can be successful even if you don't become famous. There are very many people wanting to get into in film and television. Do not expect too much too soon. 9. Persevere. Keep going, and believe in yourself. There will be times when you will need to ask yourself that question #1 again Is this what you really want? 10. Give yourself the best possible chance. The competition is huge, and the opportunities are few and far between. You have to make sure you have the experience, the skills and the showreel when that opportunity arrives. 2

3 Actor What is the job? An actor communicates a character and/or situations to an audience through speech, body language and movement. This usually involves interpreting the work of a writer under the instruction and support of a director, although some work may require the actor to devise a character or improvise the reactions of a character to a situation. Work varies enormously, from live stage performances of the classics and community theatre to soap operas, radio work and film parts. An actor's role may also involve education, training or therapy, as well as entertainment. An acting career inevitably incorporates periods of unemployment, underemployment and alternative employment. Work activities vary from actor to actor and even for the same actor, depending on the contract. However, activities include varying combinations of the following: job seeking and networking; liaising with an agent; preparing for and attending auditions; learning lines and rehearsing; researching or undertaking activities to help prepare for a part; discussing interpretation and delivery with company members and the director; performing for a live audience; performing in a studio or 'on location' for film, television, internet and radio broadcast; doing voice-overs for advertisements or recording audiobooks; managing the performance area, costumes and props; undertaking activities associated with touring, such as driving a van, get-ins and getouts at theatres (i.e. setting up and dismantling the performance area); liaising with venue managers and accommodation providers; keeping records for company managers; working as a walk-on or extra for television or film. It is essential to realise that, on average, actors spend about 90% of their working life 'resting' (i.e. not employed as an actor), so it is important to have other ways of being occupied and generating an income. Skills Being an actor requires a range of skills, including: Good stage, screen or vocal presence The ability to enter into another character and engage with an audience The ability to memorise lines Good understanding of dramatic techniques Having the confidence, energy and dedication to perform Creative insight Typical career routes: Getting into acting almost always requires formal training, and this is usually in the form of academic courses at drama schools or performing arts centres. Different schools have different reputations and those with the best reputations are extremely competitive. 3

4 Many courses are similar to university degrees, entailing three years of full-time study although it is possible to take a one year postgraduate qualification if relevant previous study has been completed. The most popular courses are in acting, drama or musical theatre and acceptance depends on factors including: Relevant exam results: A levels, GCSEs and BTEC diplomas in subjects such as English, Drama and Performing Arts Auditions Experience in amateur or professional acting Without these qualifications, the best option would be to pursue practical opportunities as much as possible, and participate in amateur productions, films and workshops wherever possible. Experience and building a CV is important in acting, although it is not everything and strong or appealing actors, especially younger ones, may find major roles without a huge amount of prior activity. Most actors do work steadily, though, and many see their work as a lifelong progression, using self discovery and internal reflection to improve their skills, broaden their repertoire and build their reputation. Some useful websites: Some North East agents: Acting agents and casting directors prefer you to write to them rather than , including your CV, headshot and showreel (if you have one). If you are under 18 please remember to take an adult chaperone to every audition, casting or work placement. For free advice on acting as a career, more details of agents and casting directors nationwide, or free audition and casting help, contact ACT 2 CAM on ADR Recordist Automated Dialogue Replacement, also known as looping or dubbing. This is the critical process in film and TV whereby dialogue is recorded in a studio for any number of reasons: to replace existing production sound that is not usable either for technical considerations (usually due to a noisy location) or editorial ones (lines of dialogue have been changed); to add a voice-over to a film (often planned from the outset, but occasionally added at the last moment to help clarify a hazy plot); to add group voices not covered by production sound; to record dialogue for an animated production; or to dub the film into another language. Aerial Specialist Camera Pilots fly the aircraft that carries the aerial camera crew (aerial director of photography (DoP) and aerial camera assistant). Together they shoot the aerial sequences 4

5 that form part of the finished feature film. Camera Pilots are also responsible for flying any aircraft, including helicopters, planes, hot air balloons, etc., that appear as action props in finished films. This may involve performing difficult stunts requiring a high degree of expertise and experience. Anchor/Host Anchor/Presenters work at the front line of television and radio. They introduce and host programs, 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. Some Presenters work on a range of programs; others specialize in a particular type, such as current affairs. The calm and relaxed manner of successful Presenters makes the job seem easier than it is. They are usually involved in the careful planning that goes into every program, including rehearsals and research, and they keep the program running to plan while on air, working closely with the production team, often following detailed instructions while reading from an autocue and/or script, and responding positively to any problems or changes. They may write their own material and they also need to be able to memorize facts and ad lib when necessary. Animal Trainer Animal Trainer - Someone who conditions animals to perform various behaviors on cue. Animator Animation is the art of making images that appear to come to life on screen. It features in all kinds of media, from feature films to commercials, pop videos, computer games and websites. Animators use a range of techniques to make images appear to move, and most specialize in one of the following: * 2D drawn animation * 2D computer animation * stop frame or stop motion animation * 3D computer generated (CG) animation 2D drawn animation consists of a series of images which the Animator draws on special paper. Each image represents one stage of a movement, for example, of a character walking or smiling. Traditionally the images are traced onto film and colored. Scenery is then added by layering sheets of film. Increasingly, however, the images are scanned into a computer and colored using specialized software. When viewed at speed and in sequence the images appear to move. In 2D computer animation, the Animator works with a specialized software package which is used to create and animate characters, and add scenery and a soundtrack. Stop frame or stop motion animation uses models, puppets or other 3D objects. The model is photographed, then moved a fraction by the Animator and photographed again. When the photographs (or frames) are played at normal speed, the images appear to move. 5

6 3D CG animation uses specialized software to create animations. This technique is often used in feature films and computer games. The work can be extremely painstaking and time consuming, but Animators are expected to meet deadlines and production schedules. Although some Animators create their own characters and stories, others follow a brief from a director, animation director or key animator. Often they work with established characters and layouts. Animator (with Live Action) A live action/animated film is a motion picture that features a combination of real actors or elements: live action and animated elements, typically interacting. Originally, animation was combined with live action in several ways, sometimes as simply as double printing two negatives onto the same release print. More sophisticated techniques used optical printers or aerial image animation cameras, which enabled more exact positioning, and better interaction of actors and animated characters. Often, every frame of the live action film was traced by rotoscoping, so that the Animator could add their drawing in the exact position. With the rise of digital special effects, combining live action and animation has become more common. The Star Wars prequels and the Lord of the Rings trilogy, for example, include substantial amounts of animation, though it may not be recognized as such because of the animation's realistic, non cartoony appearance. Art Dept, Leadman AKA: Leadman, Lead Person Member of the art department who is in charge of swing gangs and/or set dressers and reports to the set decorator. Art Dept, Swing Set Dressers who dress and strike sets, as well as pick up and return the dressing. They work apart from the shooting crew, as they are always either prepping a set for shooting or striking it after it's been shot. Art Director Art Directors act as project managers for the biggest department on any film - the art department. They facilitate the production designer's creative vision for all the locations and sets that eventually give the film its unique visual identity. Art Directors are responsible for the art department budget and schedule of work, and help the production designer to maximize the money allocated to the department. Art Directors are usually requested by the production designer, and are responsible for the assistant art director, the draughtsman* (as many as 20 draughtsmen may be employed on big budget films), the art department assistant(s) and all construction personnel. As Art Directors must find practical solutions to creative problems while simultaneously monitoring the budget, this is highly skilled work. Many Art Directors work on television dramas and commercials, as well as on films. The hours are long and the job can involve long periods working away from home. Art Directors work on a freelance basis. What is the Art Director job? On big budget films, Art Directors start work up to 4 to 5 months before shooting begins (on low 6

7 budget films 8 weeks may be sufficient). When the final schedule is delivered (detailing the precise order of scenes in which the film will be shot), Art Directors begin the work of overseeing the preparation of the first sets required. Art Directors analyze the script to identify all props or special items that may require longer lead times. Simultaneously, a team of draughtsmen draw up numerous plans for sets and locations for use by Art Directors when working with the construction managers and their team. This is an extremely busy, pressured time for every member of the art department; as well as coping with this pressure, Art Directors must also tightly control the budget (which is prepared and monitored on a spreadsheet). On big productions, weekly meetings with the accountant are key to this process. A major part of Art Directors' work is troubleshooting - they must find cost effective solutions which also provide practical answers to construction and decorating problems. During pre-production, they are also responsible for commissioning all special effects (such as explosions or car crash sequences), hiring all vehicles (from cars to horse drawn carriages) and organizing the casting of all animals (chosen by the director). As the shooting date approaches, Art Directors liaise closely with the location manager to negotiate when locations can be prepared and dressed. During filming, Art Directors continue to oversee the construction, dressing and striking (dismantling) of the remaining sets. After the film wraps (shooting is completed), Art Directors must ensure that all sets are struck and locations cleared, and that all outstanding art department bills are paid. Assistant Director (1st) 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. Responsibilities: First ADs' main duties are assisting the director, coordinating all production activity, and supervising the cast and crew. They are also in charge of a department of other assistant directors and runners. Overall, they provide the key link between the director, the cast and the crew, while also liaising with the production office, and providing regular progress reports about the shoot. Before the shoot, the Firsts' main task is to create the filming schedule, working in careful consultation with the director in order to fulfill his or her creative ambitions. When drawing up the shooting schedule, First ADs must also be aware of budgetary constraints, cast availability and script coverage. Preparing the storyboard, overseeing the hiring of locations, props and equipment, and checking weather reports, are all key pre-production duties for Firsts. During production, they must ensure that everyone is on standby and ready for the director's cue for action. First ADs' core responsibility is to keep filming on schedule by driving it forward, so they frequently make announcements and give directions to coordinate the cast and crew. They also control discipline on the set, supervise the other assistant directors, and oversee the preparation of the daily 'call sheet' (a document detailing daily shooting logistics, which is distributed to all cast and crew). Firsts are also responsible for health and safety on set or location, and must take action to eliminate or minimize hazards at all times. Skills: 7

8 First ADs must be authoritative team leaders and motivators, while also being approachable team players. They need exceptional organizational and time management skills. The ability to plan ahead, trouble shoot and pay close attention to detail is vital in this role. Being an excellent communicator, with tact and diplomacy skills, is also essential as they must routinely deal with problems or even crisis situations. They must also constantly prioritize tasks, and may be frequently interrupted, the ability to multi task is crucial. Firsts work long and often unsocial hours on a freelance basis, so a strong commitment to the job is essential. As they also usually work under highly pressurized and stressful conditions, a flexible and positive approach is highly valued. Assistant Director (2nd 2nd) AKA: 2nd 2nd Assistant Director, Third Assistant Director, 3rd Assistant Director An Assistant to the second assistant director; responsible for (among other things) directing the movements of extras. Assistant Director (2nd) 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 makeup, 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 artists (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. Responsibilities: On each day of a shoot, Seconds must prepare and draw up the next day's call sheet, (which involves confirming the details of who needs to be on set and at what time, the transport arrangements, extras required, etc.). These details must be approved by the production office before the Seconds can distribute the call sheet to the cast and crew. Ensuring that everyone knows their 'call time' (the precise time they will be required on set) is a key responsibility any delay to filming due to bad time keeping negatively affects the day's schedule and budget, and is considered unprofessional and extremely inefficient. Once the day's filming has begun, Seconds must ensure that all actors are ready for filming when they are required, which entails coordinating any transport requirements, as well as makeup and wardrobe timetables. In some cases, Seconds may also be in charge of finding extras, sometimes in large numbers at short notice, and coordinating their transport to, and activities on, the set or location. Skills: Seconds must have excellent organizational and time management skills to coordinate arrangements and to make efficient plans. First class communication and interpersonal skills are also essential, as Seconds must deal with a large number of people, convey messages and give instructions clearly, concisely and confidently. Cast members may be under pressure to learn script lines, or to hone their performance, and need to be dealt with tactfully and diplomatically at all times. 8

9 Paying close attention to detail and always attaining very high standards of efficiency are vital skills for successful Seconds. To foster the confidence of first ADs, Seconds must consistently offer capable support and assistance. As the work is on a freelance basis, and involves long and unsocial hours, Seconds must be extremely motivated and always flexible. Assistant to Producer The Assistant to the Producer is an administrator who works closely with producers throughout the production process. They are involved at the pre-production stage through to post production and marketing and distribution. They must be well organized, flexible, and have a good overview of the production process. The producer will determine their responsibilities throughout the production on a day to day basis. Their tasks may include writing coverage on scripts, drafting letters, making phone calls, running an office, interviewing personnel, coordinating the fundraising process, assisting with duties on and off set, liaising between the producer and the post production team, and helping to prepare publicity materials. They may also be asked to help with copyright, arranging meetings and events, and managing money. They are sometimes asked to contribute to strategic thinking in relation to projects in development. A good Assistant to Producer can have a significant influence over the production and is sometimes given an associate producer credit. They may work as freelancers or employees of a production company. As well as excellent organizational and administrative skills, script reading skills, experience with script writing software, and knowledge of the film industry is an advantage. Associate Producer An Associate Producer position can often be an entry level one. Often referred to as the 'AP', an Associate Producer generally assists the producer in putting the TV program or film together. Duties may include writing, editing, organizing scripts, running the teleprompter in news casts, or helping the editor by making beat calls. An Associate Producer needs good writing and editing skills, and may often be called upon to make simple editorial decisions when editing video by choosing the shots that match the copy. The Associate Producer will generally be required to rewrite wire copy, and may also be responsible for cueing up tapes, and making sure scripts are in order. The Associate Producer may also pitch story ideas, help guide the editorial content of the program, assist with promotions, handle some bookings as well as manage the growing tape needs on the program. The role may also have the responsibility for assisting with the show's or film's webpage. Audio Recordist A member of the sound crew responsible for operating the audio recording equipment on a set. Autocue Operator Autocue is a name commonly given to the computerized prompting system used by presenters. The Autocue Operator follows the script and ensures that no matter how fast or slow you re talking, the Autocue keeps up with you. Best Boy 9

10 The term Best Boy refers to the best electrician in the team led by the gaffer (chief lighting technician). Best Boys coordinate 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. Responsibilities: Best Boys have specific responsibility for liaising with other members of the production team, e.g., the first assistant director, the special effects director or the art director. On location they may liaise with the building maintenance team, or with the electrician in a particular building. It is the Best Boys' responsibility to check the lighting team members' time sheets in order to verify the hours they have worked. Best Boys issue written orders, and assist the gaffer in coordinating the other lighting technicians in the team. The work is demanding, and the hours long and unpredictable. Best Boys may work a six day week, and up to 12 or 13 hours per day. Skills: Lighting technicians need several years working experience before becoming Best Boys, and it is unlikely that anyone would attain this position before reaching the age of 25. They must be organized, able to motivate other team members and to communicate effectively with other production departments, as well as acting as the liaison with the lighting company. Best Boys must be aware of health and safety legislation and procedures. Boom Operator Boom Operators assist the production sound mixer on film and television sets, and operate the boom microphone, which 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 rerecord (post sync) the dialogue at a later stage in the film or television production. 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, after reading the script several times, and familiarizing 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), so that they can memorize all lines of dialogue and anticipate when to move the boom during filming. During the morning rehearsal with the director, director of photography and the actors, Boom Operators carefully note all planned camera movements and lighting requirements, so that they can ensure that the microphone does not accidentally fall into shot or cast shadows. Boom Operators are on set virtually all day, positioned with the camera crew, with whom they must develop good working relationships as they are often asked to move slightly because of lights or camera angles; Boom Operators may also make similar reciprocal requests. They finish work when the film wraps (is completed). Boom Operators work on a freelance basis, and report directly to production sound mixers in production sound departments. They usually specialize in either film or television, but may also work on commercials. The hours are long and the work often involves long periods working away from home. 10

11 Boom Operators need a basic understanding of electronics. They should also have a good working knowledge of all sound recording equipment and microphones. Key Skills include: excellent aural skills dexterity and agility ability to anticipate a good memory good timing precise attention to detail diplomacy and sensitivity on set knowledge of the requirements of the relevant health and safety legislation and procedures Broadcast Engineer Broadcast engineering is the field of electrical engineering, and now to some extent computer engineering, which deals with radio and television broadcasting. Audio engineering and RF engineering are also essential parts of broadcast engineering, being their own subsets of electrical engineering. Broadcast engineering involves both the studio end and the transmitter end (the entire airchain), as well as remote broadcasts. Every station has a Broadcast Engineer, though one may now serve an entire station group in a city, or be a contract Engineer who essentially freelances his services to several stations (often in small media markets) as needed. Modern duties of a Broadcast Engineer include: Maintaining broadcast automation systems for the studio and automatic transmission systems for the transmitter plant. There are also important duties regarding radio towers, which must be maintained with proper lighting and painting. Occasionally a station's Engineer must deal with complaints of RF interference, particularly after a station has made changes to its transmission facilities. Camera Assistant (1st) When characters in films run out of a burning building or simply walk across a room to open the door, they are usually moving closer or further away from the camera. This means that the focal length the distance of the camera lens from the subject is constantly changing. Adapting or "pulling" focus to accommodate these changes is the main responsibility of the 1st Assistant Camera (AC). 1st ACs are usually requested by the director of photography or the camera operator and work on a freelance basis. Hours are long and the work can be physically demanding. What is the job? The role of the 1st AC (until recently known as Focus Puller) is one of the most skilled jobs on a film crew. 1st ACs are responsible for focusing and refocusing the camera lens as actors move within the frame of each shot, but they do not look though 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 rushes are screened, 1st ACs rely on experience and instinct for each focal adjustment. Because reshooting scenes is expensive, and actors may be unable to recreate their best 11

12 take, 1st ACs must be extremely reliable and good at their work, and should be able to cope effectively in stressful situations. 1st ACs are also responsible for camera equipment such as lenses, filters and matte boxes, and for assembling the camera and its accessories for different shots. 1st ACs arrive on set or in the studio before the director, director of photography and camera operator, and ensure that the camera and all required lenses are prepared for the day's shoot. If the director or DoP wants to try out a specific lens, the 1st AC assembles the camera so that they can look through the eyepiece to assess the shot. At the end of each shooting day, 1st ACs clean the equipment and pack it up in preparation for the next day. If there is a problem with the rushes (such as a scratch on the film), focus pullers liaise with the film lab to rectify any faults with the camera or stock. Typical career routes: Since becoming a 1st AC is about acquiring hands on experience, it is essential to serve an apprenticeship, starting out as a camera trainee and progressing to become a 2nd then 1st AC. Some 1st ACs may start out by working at a junior level in a film lab or camera equipment facilities house. However, since the essence of the job is learning how to gauge focal length to such a degree that it becomes second nature, being around working cameras and learning how to use them is a crucial part of any apprenticeship. Some of the best 1st ACs see this role as an end in itself and make a good living; others go on to become directors of photography. Essential knowledge and skills: 1st ACs must develop their ability to pull focus to such a degree that it becomes instinctive. This requires excellent knowledge of cameras, lenses and all related equipment. They must also keep up to date with new techniques and equipment. They need expert knowledge of photochemical and digital film processing. Key Skills include: good eyesight and the ability to accurately judge distances agility and speed precise attention to detail ability to collaborate and to work as part of a team diplomacy and sensitivity when working with artists and crew physical stamina and strength knowledge of the requirements of the relevant health and safety legislation and procedures Camera Assistant (2nd) 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 pressurized 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. 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. What is the job? 2nd ACs assist the camera operator in positioning and moving the camera, and are responsible for loading and unloading film magazines, changing and charging camera 12

13 batteries, changing lenses, operating the clapper board, filling out and filing all camera sheets, liaising with film labs, and ordering the correct amount and type of film stock. 2nd ACs work closely with 1st ACs (focus pullers), and supervise any camera trainees. Depending on the size of the feature film, 2nd ACs start work two or three weeks before the first day of principal photography, assisting the director of photography (DoP) and camera operator with any tests required on film stock or/and with artists. During the shoot, 2nd ACs begin work early in the mornings, unloading, organizing and preparing all the camera equipment for each day's work. During rehearsals, they mark up the actors' positions, enabling the 1st AC to calculate any changes in focus. When the camera starts to roll, 2nd ACs mark each take with a clapperboard (which identifies the take and enables the assistant editor to synchronize the sound and picture in preparation for editing). 2nd ACs position themselves next to the camera, where they can anticipate all camera movements, and monitor how much film stock is being used. They must know when a new film magazine should be prepared. At the end of each shooting day, 2nd ACs pack away all the equipment, label up film cans, and dispatch them to the labs with detailed camera sheets. Typical career routes: The majority of 2nd AC's serve an apprenticeship as a camera trainee before progressing through the ranks of the camera department. Because the job involves an in depth knowledge of, and feel for the camera, actual experience of handling camera equipment and stock is vital. Working in a camera rental facilities house such as ARRI or Panavision can also provide a good route to an apprenticeship. Essential knowledge and skills: 2nd ACs must have an exhaustive knowledge of all camera equipment, film stocks and processing techniques. They also need a thorough understanding of how to manage and maintain all camera department paperwork and administration. Key Skills include: excellent organizational skills agility and speed effective communication skills precise attention to detail ability to collaborate and to work as part of a team diplomacy and sensitivity when working with artists and crew physical stamina and strength knowledge of the requirements of the relevant health and safety legislation and procedures Camera Operator A Camera Operator works with digital, electronic and film cameras in multi and single camera operational conditions, producing pictures for directors by combining the use of complex technology with creative visual skills. The work is based in either a studio, where the Camera Operator usually follows a camera script (which gives the order of shots practiced at rehearsal and is cued by the director during recording) or on location, where there is likely to be more opportunity for creativity through suggesting shots to the director. A Camera Operator usually works under the direction of a director or director of photography and is sometimes supported by a camera assistant (or a focus puller/clapper loader, although with the advent of digital and electronic cameras these functions are in decline). The role is an interesting mix of the creative and technical. Typical work activities include feeding film into automatic film processor that develops, fixes, 13

14 washes, and dries film; measuring original layouts and determines proportions needed to make reduced or enlarged photographic prints for paste up; exposing high contrast film for predetermined exposure time; immersing film in series of chemical baths to develop images and hangs film on rack to dry; performing exposure tests to determine line, halftone, and color reproduction exposure lengths for various photographic factors; mounting material to be photographed on copyboard of camera; measuring density of continuous tone images to be photographed to set exposure time for halftone images; selecting and installing screens and filters in camera to produce desired effects; adjusting camera settings, lights, and lens; being prepared to innovate and experiment with ideas; taking instructions from the Director or the Director of Photography; working quickly, especially as timing is such an important factor; taking sole responsibility in situations where there is only one Camera Operator involved in the filming; keeping up to date with filming methods and equipment; repairing equipment; demonstrating a good awareness of health and safety issues. Part of the role involves interacting and maintaining good working relationships with other members of the camera crew, including sound recorders,lighting technicians, and actors. Casting Director Assistant Good casting is crucial to making characters credible on screen, and is fundamentally important to a film's success. Casting Assistants perform general running duties around the casting office, and assist with specific casting related jobs. They are employed as freelancers on a film by film basis by casting directors. Casting agencies vary in size but are usually quite small, comprising of the casting director and casting associate. As work on casting a film usually lasts no longer than ten weeks, Casting Assistants must be continuously on the lookout for their next job, and should be prepared to work hard in this role for many years before they are offered the opportunity to become casting associates. What is the job? The duties of Casting Assistants vary according to the scale and budget of each film, and also according to the willingness of the casting director to delegate responsibility. Casting Assistants are usually hired during development casting; their first responsibility is to read the script and to help the casting associate and casting director to draw up lists of possible actors for the main roles. Casting Assistants subsequently call the actors' agents to check availability, and relay this information to the casting director so that the lists are kept up to date with all relevant information. Casting Assistants provide general running duties in the office, including answering phones, sending faxes and s, liaising with couriers, making teas and coffees, etc., as well as assisting 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 making tea and coffee for the actors and providing general support. After each casting session, casting associates make selections, and edit together the best takes. These must be labelled correctly and sent to the director, producer and/or financiers by the Casting Assistant. Casting Assistants finish work on a film when most of the cast have been contracted. Typical career routes: Although there is no typical career route for this role, most Casting Assistants are graduates with an interest in acting and casting, who have managed to enter the film industry at junior levels as assistants in talent agencies, thereby gaining experience of selecting and working with actors, or as runners for production companies and/or on feature films. Those involved in 14

15 casting should constantly keep up to date with new and interesting actors, and must develop the confidence and taste which are vital for any casting director. Acquiring casting credits on feature films is important for casting directors' career progression, but as Casting Assistants are not usually credited it is difficult to develop a good reputation. Many talented, hard working Casting Assistants work for many years for the same casting director, before they are offered more responsibility, e.g., running a casting session on a modestly budgeted film, and before they are promoted to casting associates. Essential knowledge and skills: Casting Assistants must have a wide knowledge of cinema and actors. An interest in the theater and stage actors is also a prerequisite. A basic understanding of how to operate a video camera (framing, focus, etc.) is also an advantage. Casting Assistants must be computer literate. Key Skills include: excellent communication skills ability to recognize talent a good memory excellent organizational skills precise attention to detail ability to take direction knowledge of the requirements of the relevant health and safety legislation and procedures Casting Director/Agent Casting Directors organize and facilitate the casting of actors for all the roles in a film. This involves working closely with the director and producer to understand their requirements, and suggesting ideal artists for each role, as well as arranging and conducting interviews and auditions. Once the parts are cast, the Casting Director negotiates fees and contracts for the actors, and acts as a liaison between the director, the actors and their agents. Casting Directors must have an extensive knowledge of actors and their suitability for a particular role. On larger productions, Casting Directors may supervise casting assistants, who will support and assist them in this work. What is the job? In pre-production, Casting Directors must liaise with both the director and the producer, who rely on the Casting Director to assist them to assemble the perfect cast for the film. Consequently, Casting Directors must have in depth and up to date knowledge of new and existing acting talent. They are responsible for matching the ideal actor to each role, based on a number of factors, such as the actor's experience, ability, reputation, availability and box office appeal. Casting Directors also work closely with production accountants to prepare the casting budget. Casting Directors organize and conduct interviews and auditions for each part, and are also in charge of offering each actor an appropriate fee to appear in the film, as well as drawing up and negotiating the terms and conditions of contracts with agents, once casting is complete. Casting Directors need a vast knowledge of a huge range of actors, and an extensive understanding of their abilities, as well as a thorough appreciation of changing talent trends within the film industry. This requires a strong instinct for acting talent, and great dedication and commitment. A deep passion for the craft of acting is essential. Excellent communication and interpersonal skills are vital in order to liaise with a range of people, including other 15

16 production staff, talent agents, and the actors themselves. Negotiation and organizational skills are also invaluable for agreeing actors' fees, and arranging the terms and conditions of their contracts. In order to cast the ideal actor for a key role in a film, directors and producers have to be highly selective, and may be extremely demanding, so it is vital that Casting Directors are patient, hard working and diplomatic at all times. Essential knowledge and skills: Casting Directors must have a wide knowledge of cinema and actors. An interest in the theater and stage actors is also a prerequisite. A basic understanding of how to operate a video camera (framing, focus, etc.) is also an advantage. Casting Directors must be computer literate. Key Skills include: excellent communication skills ability to recognize talent a good memory excellent organizational skills precise attention to detail ability to take and give direction knowledge of the requirements of the relevant health and safety legislation and procedures Caterer Film crews work long hours and need to eat well. On sets or locations, the standard daily meals are breakfast, lunch and dinner, plus coffee or snacks if the crew are required to work late into the evening. Catering is provided by specialized companies who drive catering trucks packed with food and a range of equipment including ovens, extraction fans, fridges, gas and water, to each unit base. On big films, these trucks can be 35 feet in length and weigh up to 8 tons. Catering companies vary in size; the biggest have as many as 20 trucks, employ hundreds of staff and have their own garage for maintaining their vehicles. The smallest comprise of one or two individuals who prepare the menus, buy, cook and serve the food, make teas and coffees, and clean and drive the truck to and from the location. Catering companies are hired by production managers who put the work out to tender according to the catering budget agreed with the producer. Catering companies prepare quotes and supply sample menus, and if their tender is accepted, provide catering for the production. On big films, the Catering Crew typically involves unit leaders, location chefs, salad persons and dish washers. As in all jobs in the catering profession, the work is hard and hours can be long. What is the job? Two days before the start of principal photography, unit leaders organize the packing of the catering truck with equipment and food. On each shooting day, they set off early in the morning, to arrive on set in time to prepare cooked breakfasts for the cast and crew. If they need to drive a long distance to the location, or if it is difficult to find, they rendezvous with the location manager who escorts them to the unit base. Location chefs cook the meals according to their previously approved menus, ensuring that any special dietary requirements are catered for. The salad person is responsible for the 16