The job that i would like is director I will talk about that job and how I will get there. I have done this in the director section. I have talked about the path that ill need to take to achieve my goal.
Producer
I will
start by talking about managerial jobs and one of the more important roles is
the role of producer. The producer
is seen as the leader of the team and their job is to organise and manage the
production from the start to the finish. Also the producer is the first member
of the team.
A
producer can come from many parts of the industry as they can be an investor,
writer, director or even an actor. The lead producer is known as an executive
producer and this can be an actor who would work as an actor and would work on
the project with the producer from start to finish.
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. 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
underway.
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 creative, 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 skills that a budding producer would need to have are; being a good
business person, having good interpersonal skills, having an eye for good ideas
and being able to work under pressure.
The example I have chosen for the producer is Steven Spielberg. Although
famed for being one of the biggest movie directors of our time. Spielberg also
produces film too with titles including Jurassic Park, Men in black and
Transformers.
To become a producer you should get started in the Production Office it is
worth getting experience as a Production Assistant or Runner. If you can prove
that you are reliable, trustworthy and enthusiastic you may progress.
Steven Spielberg
Assistant producer/
Associate producer
After the producer there is also
the assistant producer/associate
producer who will work closely with the producer and will ‘cover’ for the
producer and executive producer in pre-production, the actual production itself
and post production.
Associate Producers are usually individuals within production companies who
have played a significant role in the development of the script or screenplay.
The term Associate Producer is also sometimes used
to describe a Producer from a smaller production company which is co-producing
the film. They may have risen some funding for the project, but not enough to
get an Executive Producer or Co-Producer credit.
Associate Producers take on responsibilities delegated to them by the
Producer. They work on the development and pre-production stages, and on the
production. Duties can range from supervising the production design team or
post production, or coordinating the work of visual effects companies.
An example of an assistant
producer is Charles Song who is American and has worked on shows such as Family
Guy, American Dad and The Simpsons.
The role of Assistant Producer is varied, so you
can come from a range of backgrounds within the film industry. You can start
out as a senior Script Editor, Production Manager or Post Production Supervisor
and use your specific experience as an Assistant Producer. But as with many
jobs in this industry it’s usual to start as a runner and work your way up
through the tree from the there.
Executive Producers
Executive Producers are responsible for the overall quality control and
success of TV productions, and for ensuring that final products conform to
commissioners' specifications.
They are part of the team who are responsible for selecting marketable projects and ensuring that every step is taken to guarantee success in the market. They lead the production of a range of television programs, including dramas, serial dramas, documentaries and drama documentaries.
They are part of the team who are responsible for selecting marketable projects and ensuring that every step is taken to guarantee success in the market. They lead the production of a range of television programs, including dramas, serial dramas, documentaries and drama documentaries.
Executive Producers' roles vary depending on the genre, broadcaster or
production. They must be able to identify commercial, marketable projects from
a range of proposals. They may help to develop scripts. They are responsible
for finding suitable markets for projects.
The cost of a television production may be shared amongst
a number of partner organizations who will all eventually broadcast the finished
programs. They ensure that a range of publicity and marketing materials are
prepared in order to attract co-production partnerships and funding.
During production Executive Producers may act as a
sounding board for Producers in the decision-making processes. They may be
involved in some aspects of scripting, casting, and/or crewing. In the role of
Executive Producer, the executive producer may perform a dual role on
productions, such as Writer and Executive Producer.
To be an
executive producer you should have; highly effective negotiating skills to be
able to get the production done for the least amount of money. They must
understand current audience requirements and what is getting the biggest
audiences so they can make an educated decision as to what I getting the best
ratings.
An example
of an executive producer is Chuck Lorre who is American and is responsible for
giving America and Britain some its biggest sitcoms such as Two and a half men,
the Big Bang Theory and Mike and Molly. He has been in the business since 1984
and has a real understanding of how the world of making a good and successful
comedy show works, proof of this is that he has been nominated for 8 Emmys and
has had 9 other wins and 15 nominations.
You will normally need to establish yourself as
a Producer who is able to bring money to a project. You could also move from
another background as a distributor, Sales Agent or financier. There are other
ways to be a producer from other sectors such as director or actor.
Chuck Lorre
Line
Producer
The Line Producer is one of the first people to be employed on a film's
production by the Producer and Executive Producers. They are in charge of all
the business aspects of the production of films. During pre-production, Line
Producers work with the Director, Production Manager, First Assistant Director,
Art Director and other Heads of Department. They prepare the production
schedule and budget, and to set the shoot date.
During production, Line Producers hand over control of the final budget to
the Production Accountant. They delegate the day-to-day operation of the
production office to the Production Manager and Production Co-coordinator.
However, Line Producers are ultimately responsible for overseeing everything
and making sure the production is completed on time and within budget.
They set up and implement financial monitoring
systems, controlling production expenditure, controlling production materials,
and monitoring and controlling the progress of productions. Line Producers
usually cater for unforeseen circumstances, and spend much of their time
juggling figures and resources.
Line Producers are responsible for certain
health and safety procedures, and for sorting out any insurance claims. At the
end of the shoot, the Line Producer oversees the 'wrap’ or winding down, of the
production.
Line Producers are usually employed on a
freelance basis. They work long hours, though the role is well paid. If a Line
Producer has a creative input, he or she is often credited as a Co-producer.
You can usually progress to the role of Line Producer by working your way
through a variety of roles in assistant direction, location management and/or
the production office. Many start their careers as Runners or Production
Assistants. Line Producers must also attend the required health and safety
courses.
I will now
move onto the creative job roles
which required a whole different set of skills that to managerial job roles.
The job that I’ve chosen to cover is in the directing sector.
Director
This is the job that i would like to undertake in the future and i will show how to achieve the stature and position of director.. The director is the creative force behind a production and I
one of the few people on a production who can give it a personal touch. The
director has the job of carrying out
duties such as casting, script editing, shot composition, shot selection and
editing.
The Director is ‘top dog’ as far as directors are concerned
being the director is as high you can possibly get. 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. You don’t need a formal
qualification to become a Director.
However, the role can only really
be mastered through in-depth practical experience. You will find writing a
screenplay, directing your own short film or an amateur play is all good
starting places.
You will also need extensive
industry experience; up-to-date knowledge of film making techniques and
equipment is vital, as is learning how to work with actors to create a
performance.
The ideal way to get into this job is to start as a runner
and then work your way up through the roles of 3rd, 2nd
and 1st assistant director. It is also advised that your produce
your own work in this subject such as short films, plays and record live stage
shows such as bands, and other live performances.
An example of a famous director is Ron Howard who has worked
on productions such as Apollo 13, Rush and A Beautiful Mind. During his time as
a director Ron Howard has picked up 2 Oscars, and has had 32 wins from other
awards and also got 60 nominations for awards. There are many more examples that i can choose from and they include people such as Wes Anderson, Tom Hooper and James Cameron.
Ron Howard
1st
Assistant director
The first assistant’s director’s
job is being the Director's right-hand person, taking responsibility for a
number of important jobs so that the Director is free to concentrate
on the creative process.
Before the shoot, the Firsts'
main task is to create the filming schedule, working in careful consultation
with the Director. When drawing up the shooting schedule, First ADs must
also be aware of the budget, cast availability and script coverage.
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,
cast and crew, whilst also liaising with the production office, and providing
regular progress reports about the shoot.
Preparing the storyboard,
overseeing the hiring of locations, props and equipment and checking weather
reports are all key pre-production duties for Firsts. Firsts are
also responsible for health and safety on set or location, and must take action
to eliminate or minimise hazards.
Some of the first assistant
director’s responsibilities include preparing the storyboard, overseeing the
hiring of locations, props and equipment and checking weather reports are all
key pre-production duties for Firsts.
There are many ways in which you can become a first assistant
director you can expect to start your career by
getting work experience as a Runner on a film set or in a production office
before working your way up through Third Assistant Director and Second
Assistant Director.
2nd Assistant Director
The job of the second assistant
director is to be the First Assistant Director's right-hand person. Preparing
and drawing up the 'call sheet' to make all of your crew and cast get to a
location on time and to the right place. Overseeing
the cast, ensuring that the principal Actors are in make-up, in wardrobe, or
standing by on the set at the correct times.
The Second AD's main function is to ensure that all of the First AD's
orders and directions are carried out. 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.
3rd assistant
director
One of the first roles of a third assistant
director is supporting the First and Second ADs on the set or location. They
may have to direct extras or vehicles appearing in the background of the shot,
especially in large crowd scenes. They will act as a sort of link between the
first and second assistants by conveying messages and relaying information to
cast or crew on the set or location, usually by radio link.
To do this role, you will need to have excellent
organisational and time-management skills and also you will need to have common
sense and initiative to carry out all responsibilities forwarded to you by the
first and second assistants. They will also have to take and carry out
instructions with enthusiasm and efficiency and be diplomatic and patient when
coordinating and directing large groups of extras. They will also need to be
highly motivated and have good communication skills while working with actors
and extras. They will also need to work effectively under pressure and make
sure that the film runs smoothly. You will also need to know the necessary
health and safety skills needed for any accidents that may occur on set or
location.
The main function of the Third Assistant Director is to manage the movement
and activities of background artists (extras). Thirds co-ordinate the extras to
arrive at the right time and place for filming. Once the extras are on set or
location, Thirds prepare and cue them, and sometimes also direct them in any
required background action.
They must also supervise and look after the extras – they may be on standby
on the set or location all day, despite only being needed for a short period. Thirds
may have to keep members of the public out of shot and off the set or location,
so that they don't interrupt filming, cast or crew. Thirds may also liaise with
the Location Manager, and may be given responsibilities with regard to the
security and locking up of studios or locations after filming has taken place.
You can expect to start your career by getting
work experience as a Runner on a film set or in a production office before
becoming a Third Assistant Director. This role can then take you onto the role
of being a second and then first assistant director.
Now I will talk about a technical job role. The
job I have chosen to do is editor, and all the roles needed to achieve this job
role including assistant editor and runner.
Editors
One of the jobs of an editor is working closely
with the Director to craft the finished film. They will also be working in an
edit suite for long hours to make sure that the film is finished on time and
too a good standard. They will also be running a team of assistants and
trainees on big productions that will help with the editing process.
To do this role, you will need to have technical
aptitude and have a wide range of experience in the post production process
including a good knowledge of different editing software. You will need to know
how to create a good storyline in the film although they will be accompanied by
the director. They will need to handle the pressure of the tight deadlines that
comes with the job. You will also need to understand a narrative and have an
imagination for creating a story. You will also need good communication skills
within your team and will also need to be able to lead a team. You will also
need patience and have incredible attention to detail. You will also need to have
good organisational skills to be able to command a team.
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. 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.
Editors work long, unsociable hours, often under pressure, in an edit suite. They are employed on a freelance basis by the Producer based on their reputation and experience. Editors often work on television drama, as well as on feature films. 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.
During the post-production period, the Editor and the Director work closely together, refining the assembly edit into the Director's Cut, which must be approved by the Producers, until they achieve picture lock or Fine Cut the film?
Traditionally, you could go from being a Runner to a Trainee, Second Assistant, and First Assistant and eventually to become an Editor. However, with digital editing, 2nd Assistants are now only employed on very big budget films.
As a Trainee with at least two years' experience you would have to work as an Assistant in television or on low budget films for a considerable period of time before becoming First Assistant on feature films. Some big budget productions take on Trainees and Second Assistants, and it is important to keep up to date with films in pre-production by reading the trade press.
If you can work with an Editor as an Assistant, you may be allowed to carry out the assembly edit of some sections of the film. If you can become an experienced Assistant, you may also work as an Editor on short films, which will enable you to showcase your talents.
The example of an editor is Barney Pilling who has worked on films such as the Grand Budapest hotel, Never let me go and Bad Education. Barney has won 1 golden globe, 1 Bafta award along with two other wins and 4 nominations.
Editing
assistant
Some of the jobs of an editing assistant are running
and maintaining editing systems they are also expected taking responsibility
for the smooth running of the cutting room on feature films. They will have to
be supporting the whole of the post production process on feature films and
working closely with film labs, and with the camera and sound departments.
Assistant Editors take charge of the day-to-day running edit suite, leaving the Editor free to concentrate on the work of editing the film. The first task is to communicate with other relevant departments (production, camera, sound, etc.) to understand and analyses the work flow, and to pass this information on to the Editor.
During the shoot, while the Editor starts to work on a rough assembly of selected rushes.
Assistant Editors often work in a different room to the Editor and, on low budget films, may be required to sync rushes early in the morning or late at night when the editing machine is not being used by the Editor. Consequently, the traditional apprenticeship model for Assistant Editors has changed, as less time is now spent watching and learning from the Editor. Assistant Editors must therefore be more proactive in monitoring how the edit is progressing.
Depending on the workload, and providing the Editor trusts the Assistant, whole segments of the assembly edit may be given over to Assistant Editors, who can use this opportunity to demonstrate their flair and ability. When picture lock is achieved, one of the Assistant Editors' last tasks is to compile an Edit Decision List, which provides a record of all the edit points. An assistant editor works like an editor on a free-lance basis and not contacted to a certain company.
Most Assistant Editors start their careers by
working as runners on feature films or at editing facilities houses and
progress to becoming Trainees, 2nd Assistants and eventually Assistant Editors.
Some big budget productions take
on Trainees and Second Assistants, and it is important to keep up to date with
films in pre production by reading the trade press. Some Assistants decide not
to become Editors, choosing to continue working as Assistants on bigger budget
films, which can be equally demanding and rewarding. Some productions will even do a compromise working with contributing editors who may be only needed if the work load is too great or if the production is running behind schedule.
Runner
I have decided to put the
part of runner at the end and this is because the job of runner connects all of
my chosen jobs as runner is the best place to start the ladder. A runner would
be working in the office, around the set and on location and dealing with
varied office admin tasks they would also be dealing with a range jobs on
locations.
To do this role, you will need to be flexible
and well organised and be able to think on your feet to fit the task given to
you. You will need to be able to take orders and for that require good
communication skills. You need to be organised, punctual and enthusiastic about
what you’re doing. You need to work calmly and effectively under pressure. You
would need to show a wiliness to learn and be able work without supervision.
You would need to be organised.
You don’t need a specific qualification, but a
good education is an advantage. You will also need a full, clean EU driving license. Start out by getting some
experience in film, drama or broadcasting. It can be in amateur dramatics,
student radio or film making, shorts or community media.
Working Patterns
Directors: Directors often work on a freelance basis and reputation counts for a lot and a big reputation can bring in more work. Some directors develop a relationship with producers or companies and this can be almost a guarantee of work in the future. This is the same for 1st, 2nd and 3rd assistant directors who work with certain directors too. The director will work for the whole production because like the producer its thier name and reputation on the line and they have to work hard to make it a success.
Editors: Editors in the film industry are sometimes free lance but can be contracted to companies unlike directors who are rated on previous work and thier reputation. Links and contacts are important to editors too who because they spend a lot of the production with directors are more likely to build a good workign relationship with eachother. For assistant editors, second assistant editors and runners, it can all depend on the head editor or lucky breaks onto whether or not they get work. If they prove they have a talent for this industry then a editor may take them on as a right hand person for future work. Editors will spend most of thier time in post production and barely any in the actual production although thier work load comes in at the end they have to work at the start with the director to help create the film.
Producers: A producer works nonstop through a production with thier staff making sure that the production is on track and money isnt being wasted. They are at the top of the film chain which means that they are all in the postion of hiring and firing the staff on and off set. The producer has to keep a close eye on all staff to make sure that thier production runs smoothly.
Bibliography
http://creativeskillset.org/creative_industries/film/job_roles/1701_production_runner
http://www.kitchendesign2015.com/american/american-sniper-issaquah-theater.html
http://en.wikipedia.org/wiki/Chuck_Lorre
http://tvbythenumbers.zap2it.com/2014/04/03/discovery-communications-ron-howard-brian-grazer-to-fund-new-form-digital-studio/250794/
http://wallpaperswide.com/film_camera-wallpapers.html
http://www.kitchendesign2015.com/american/american-sniper-issaquah-theater.html
http://en.wikipedia.org/wiki/Chuck_Lorre
http://tvbythenumbers.zap2it.com/2014/04/03/discovery-communications-ron-howard-brian-grazer-to-fund-new-form-digital-studio/250794/
http://wallpaperswide.com/film_camera-wallpapers.html
No comments:
Post a Comment