Index
1. Animation
Layout Artist
A Layout Artist stages every scene and camera set up through drawings.
Must have a thorough knowledge of camera mechanics, as well as computer literacy and familiarity with painting/animation software, Good drawing skills are essential.
Compositor
A Compositor is a highly responsible member of the animation production team. It is their responsibility to construct all the coloured digital filaments of individual scenes using computer based colouring systems. They will also add any necessary camera moves to ensure continuity.
Storyboard Artist
A Storyboard Artist is responsible for interpreting scripts and sketched ideas to create storyboards. They will plan shots, visualise and conceptualise the story before drawing it, using different angles and maintaining continuity between shots. They will do clean up and prepare and revise storyboards for clients, including dialogue and characters.
Model Maker
There are essentially two types of Model Maker, those who create 3D models using computer software, and those who create solid models, such as Claymation. Computer Model Makers use graphics software to create 3D models and props. Practical Model Makers may create clay models for animation sequences, use puppets or even robotics (animatronics) to create the desired characters and effects.
Special Effects Animator
Special Effects Animators use 3D painting software to model natural or imagined phenomena. They will work closely with the Animation Designer in planning all visual effects, and are responsible for ensuring that the intended aesthetics are realised in the final sequence.
Background Painter
A Background Painter is responsible for designing and creating back¬grounds based on layout drawings, working closely with the Layout Artist. They must be able to determine the medium for translating drawings into colour backgrounds, and use various media to print these backgrounds, depending on production specifications.
Animation Assistant
Assistant Animators focus on specific details of an animated sequence, as directed by other animators. They may be required to interpret rough drawings, develop characters or flesh out movement in animated sequences. They may also develop specifications for 'in-betweening.
In-Betweener
An In-Betweener interprets selected frames of animators' work and is required to flesh out the movement of animated sequences by pro¬viding detailed step by step drawings needed to create the illusion of movement and action.
Other occupations in this area include Cel Painter, Animation Producer, Character Designer and Cartoonist.
2. Art & Design
Production Designer
The Production Designer is the Head of the Art Department and acts as the visual co-ordinator of every aspect of a production. They work from the first stages of pre-production through to the end of filming and are responsible for the visual look of all sets and locations. They will develop design concepts and review material that is to appear in productions. They decide how best to present the information visually, so it is eye-catching, appealing and organised. They will work closely with the Director, Director of Photography, Costume and Set Designers to ensure that production requirements are met. They may have to conduct research, direct other team members, make decisions about which shots, photographs, artwork or graphics to use, and produce design ideas for Set Crate, Special Effects and Costume Departments. They are also responsible for ensuring the continuity of design themes throughout the production, and have overall responsibility for the Art Department budget.
Art Director
The Art Director is the Production Designer's assistant in the area of location and set design. Art Directors are responsible for the day to day running of the Art Department and its budget, keeping the Production Designer informed at all times. It is their job to realise the environmental vision of the Production Designer in the construc¬tion of sets and scenes utilising the production requirements.
Set Designer
The Set Designer is often the Production Designer or Art Director, depending on the size of the production, if the Set Designer is a sep¬arate member of the creative team they will work to the Production Designer's brief. Set Designers research, design and supervise the construction of sets and scenery and aid the visual aids required in stage, film and television productions, taking into consideration budget allocations aid the artistic requirements of the Director or Producer.
Artist
Artists create visual and three-dimensional forms through painting, drawing, printmaking, carving, sculpting, photography, modelling, video and computers to communicate an impression or idea, They will work closely with the Director and Production Designer to produce suitable artwork for the production, whether it be for set, props, costume, hair and make-up or special effects. Artists will also produce preliminary artwork for others to work from.
Graphics / Graphic Designer
Graphics use a variety of print, electronic and film media to create designs lo meet clients' needs. Graphics for film and television use film and latest video and computer technology to produce opening titles, credits and programme information sequences that embrace a variety of visual styles.
Model Maker/Miniatures
Model Makers are required to design, create and build models and miniatures for a variety of purposes. Such models may be used in the creation of Physical and Visual Special Effects, as set, scenery or props, or in the creation of an animated sequence.
Puppet Maker
Puppet Makers work closely with the Production Designer and Props Master/Mistress to create realistic and life-like puppets to production requirements. The type of puppet depends on the production, but tasks may include: sculpting and painting puppet heads; building puppets; designing and painting scenery for puppet shows; creating pup¬pets to likeness; and working with animatronics.
Sculptor
A Sculptor is responsible for the execution of sculptural design through the application of various tooling techniques and associated materials. Sculptors may work with polystyrene, foam and clays. They may be required to sculpt, do pewter work, etc/lings, line drawings and painting as required.
Assistant Art Director/Standby Art Director
The Assistant Art Director works to the Art Director's instructions, break¬ing down the script and specifying action props. They will usually meet and consult with the Director, Production Designer and Art Director prior to shooting to see what is required and whether it is obtainable.
Props Master/Mistress
The Props Master/Mistress is responsible for the procurement, upkeep, monitoring and maintenance of all props for a particular production in a timely manner within budgetary limits.
Production Buyer/Props Buyer
Production Buyers buy and schedule material according to production requirements, and assure that material is available for the production. They will liaise closely with the Production Designer, Set Dresser and Properly Master/Mistress to establish exactly what is required, and the scope of the budget.
Scenic Artist
Scenic Artists create large narrative images from scale flat art. They may work on a range of projects, from murals (cartoon, fantasy, chil¬dren's', futuristic and scenic) to super graphics or stenciling, depending on production requirements.
Lettering Artist / Type Designer
Lettering Artists and Type Designers create artistic forms of type. Depending on the technology used for making the designs or creat¬ing the type, this can involve several different tasks.
Set Dresser
Set Dressers work to the Production Designer's brief. They are responsible for choosing the furniture and props needed in order to dress a set or location.
Art Department Runner
This is the entry-level job for the Art Department. Duties include cleaning, making coffee, photocopying, developing film, picking up and dropping off various items as necessary, running between set, office and location as required.
3. Costume / Wardrobe
Costume Designer
The Costume Designer interprets production requirements in terms of costumes and accessories to ensure historical accuracy and an accurate portrayal of the style and ethos of the period in which the film or programme takes place.
Wardrobe Master/Mistress/Costume Design Assistant
A Wardrobe Master/Mistress co-ordinates the buying and/or making of costumes for television, film and stage productions.
Costumier
The Costumier provides the Costume Designer with the information required to obtain the correct period, style and look of costume In line with production requirements.
Costume Maker
A Costume Maker is required to make costumes and clothing to spe¬cific production requirements, for actors/artistes involved in a film or production.
Wardrobe Assistant
The Wardrobe Assistant works closely with the Costume Designer and Wardrobe Master / Mistress assisting in the making, ordering, or adaptation of costumes and accessories required.
Dresser
The Dresser is responsible for fitting and dressing the artists for a film or production, ensuring continuity throughout.
4. Make Up & Hairdressing
Make-up Designer/Chief Make-up Artist
The Make-up Designer works closely with the artists. Director and Production team to interpret the requirements of the production, ensuring accurate representation of the design concept, maintaining continuity throughout.
Make-up Effects / Prosthetics
Make-up Effects Artists are responsible for specialist make-up tech¬niques, including direct applied effects, materials and prosthetics. These may include latex, moulding, ageing, scarring, bruising and prosthetic limbs.
5. Set Crafts
Construction Manager
Construction Managers are responsible for co-ordinating the con¬struction of the set and stage. They will consult with the Set Designer and Director to establish the requirements of the set, as well as the size, design, colour, texture and final look of the set and/or stage as a whole.
Painter
Painters and Decorators apply paint, varnish, wallpaper and other finishes to props, scenery and set. They will work under the direc¬tion of the Set Designer and Construction Manager to establish what finishes are required and where, colour schemes, textures and any special requirements.
Carpenter
Carpenters and Joiners construct, erect, install and repair wooden structures and fittings used in internal and external sets and cut, shape, fit and assemble wood to make props, furniture, decorative objects and scenic equipment
Plasterer
Plasterers apply plaster and cement mixtures to walls and ceilings, fix fibrous sheets and cast and fix ornamental plasterwork.
6. Special Effects
Special Effects Trainee
Special Effects Trainees assist other Special Effects personnel in the construction and operation of special effects.
Special Effects Technician
It is the responsibility of the Special Effects Technician to produce rigs and effects in line with client specifications and production requirements,
Special Effects Senior Technician
The Senior Technician will assist the Supervisor in the preparation, construction and execution of Special Effects as required. They will usually be in control of the floor or Special Effects workshop, and will co-ordinate the team of Special Effects Technicians, providing prac¬tical, aesthetic and economic solutions on any problems encoun¬tered.
Special Effects Supervisor
Special Effects Supervisors create and supervise the construction and operation of Special Effects for a production, within technical limitations and budget.
7. Camera
Director of Photography
Directors of Photography usually work on features, dramas, commercials and sometimes light entertainment. The Director of Photography (DoP), or Cinernatographer, works in close partnership with the Director and Production Designer, interpreting flair ideas and turning them into a visual reality.
Lighting Cameraman
The Lighting Cameraman essentially performs the same role as a Director of Photography, but will more usually work on documentaries, arts programmes, current affairs and some light entertainment.
Camera Supervisor/Senior Cameraman
The Camera Supervisor usually leads the camera crew in multi-cam¬era viideo shoots in studios or outside broadcasts. They will work closely with the Director and DoP, discussing types of film, video and tenses to be used, as well as focus and distance settings, to achieve the 'look' of a film or production.
Camera Operator
Camera Operators set up, position and operate camera equipment in studios or on location to shoot required scenes. Tasks will vary con¬siderably depending on whether they are working in film or television, and on single or multi-camera shoots.
Unit Stills Photographer
The Unit Stills Photographer makes a stills photographic record of all scenes and makes portraits for the use of the Unit Publicist, Broadcaster and Distributor.
First Assistant Cameraman (Focus Puller)
All shooting requires that the correct focus is maintained, but it is usually only on features, drama, commercials and sometimes light entertainment, that a 1st Assistant Cameraman (AC) forms part of the camera crew.
Second Assistant Cameraman (Clapper Loader}
Working mainly in film, the 2nd Assistant Cameraman (AC) is respon¬sible for loading the film into the camera magazines and unloading the exposed film stock.
Video Playback Operator/Video Assist Operator
The Video Playback Operator records and plays 'back the output of the video assist of a film camera for the use of the Director, Script Supervisor, DoP and other necessary technicians.
Camera Assistant
The Camera Assistant is the junior member of the camera team. On a tape shoot they may label the tapes and keep records of what has been recorded on each tape, and will make sure there are sufficient tapes available for each days recording.
8. Lighting
Lighting Director
The Lighting Director is responsible for the creative, effective and efficient design and delivery of lighting for films and television productions, of all programme types, both in studios and on outside broadcasts/location shoots.
Console Operator
The Console Operator is usually a Senior Lighting Electrician, responsible for the operation of lighting consoles under the supervision of the Lighting Director.
Lighting Qperator / Lighting Electrician
Lighting Operators position, set up and operate lighting equipment to light sets or studios during stage performances, television broad¬casts or film productions. They are responsible, Both creatively and technically, for lighting interior and outside scenes and must achieve the desired effects through the placement, intensity and colour of lighting.
Best Boy
The Best Boy is responsible for the ordering and co-ordination of the supply of lighting equipment.
Lighting Assistant
Lighting Assistants are responsible for ensuring that lighting equipment is properly and safely transported and maintained for location shoots and outside broadcasts, as well as helping Lighting Operators with their tasks in the studio or on location.
9. RIggers, Grips and Cranes
Gaffer
Gaffers are responsible for the operation and maintenance of lighting equipment for film productions. They work directly to the Lighting Director or DoP and manage the team of electricians.
Crane Operator
The Crane Operator is responsible for the setting up and safe operation of cranes used in a production.
Rigger
Riggers assemble and Install rigging gear such as scaffolding, cables, ropes, pulleys, winches, lifting equipment and specialised access equipment for all trades and departments on productions.
Grip
The Grip handles the equipment that enables a camera to move and elevate during a shot. There may be many pieces of equipment available depending on the desired effect. The Grip operates this equipment after discussion with the Camera Operator or Supervisor to work out which type of movement is required.
Rigger Driver
The Rigger Driver is responsible for driving vehicles to the site on outside broadcasts, and rigging all the cables and camera mountings necessary for the shoot.
Stagehand
Film and Television Stagehands assist in making and erecting sets.
10. Sound
Sound Designer/Sound Director
The Sound Designer interprets the requirements of a production in terms of sound collection. They will work closely with the Production Mixer, Sound Supervisor, the Editors and the Director to create original sound elements to production requirements, using synthesisers and combinations of sounds,
Sound Supervisor
The Sound Supervisor oversees the sound production and post-pro¬duction processes of a film or television production creatively and rnanagerially. They work closely with the Director and Sound Designer to co-ordinate the sound editing and mixing processes and make the final decisions on sound editing.
Production Mixer/Sound Recordist
Production Mixers record sound on location or in a studio, usually in synchronisation with the camera, to ensure that the highest quality 'real' sound is recorded at the time of filming/recording.
Boom Operator
The Boom Operator works closely with the Production Mixer or Sound Recordist, and is responsible for achieving the best quality sound recording.
Sound Assistant
The Sound Assistant works with the Boom Operator and Production Mixer or Sound Recordist, helping them to record sound in the studio or on location.
Sound Technician
Sound Technicians assemble, operate and maintain technical equipment to amplify, enhance, record, mix or reproduce sound for films, television programmes and live performances.
Re-recording Mixer /Dubbing Mixer
Re-recording mixers work with dialogue, music and sound effects, They will generally work as part of a team to combine, balance and adjust a film or television programme's audio elements, including original production sound, dialogue, effects, and music into a soundtrack using work of the various sound Editors and the Sound Designer.
11. Technical and Studio Operations
Sound Editor
A Sound Editor creates the soundtrack by cutting and synchronising to the picture, sound elements, such as production wild tracks, dialogue tracks, library material and Foley, in analogue or digital form.
Dialogue Editor
A Dialogue Editor assesses original production sound tracks for the clearest reading of dialogue, and corrects imperfections such as 'clicks', 'pops' or 'lip smacks', disguising that which cannot be removed or replaced.
Music Editor
Music Editors are required to incorporate background or incidental music into the soundtrack for a film or television programme. The Music Editor will research suitable music to meet production requirements, and may need to work with a Musician to obtain a scored music track, composed and recorded to match the emotional content of individual scenes.
Foley Editor (Post-synchronised Sound Effects)
The Foley Editor assesses the amount of foley required and prepares the picture for the foley session. They will direct the 'footsteps artistes' and fit the resulting soundtracks in synchronisation with the picture.
Foley Artist (Sound Effects)
A Foley Artist creates and performs replacement sound effects in a recording studio to supplement any missing synchronised sounds or to enhance action on screen.
Vision Mixer
Working closely with the Director in a studio control room (sometimes known as the 'gallery') or outside broadcast unit, the Vision Mixer selects and controls which images to use from a number of sources (e.g. multi-camera shoots) to build the programme.
Technical Operators
Technical Operators may perform a variety of multi-skilling tasks in a studio environment, including key gallery functions.
VT Engineer
Videotape Engineers operate video recording and playback equipment in the studio, programme, and commercials transmission areas, and on outside broadcasts.
VT Operator
A Videotape Operator is responsible for setting up and operating videotape-recording equipment; recording and playing back what the camera records during takes, for review on set or location.
12. Producing / Production
Executive Producer
Executive Producers oversee production and manage the other Producers. They will supervise all producing organisation, as well as the writing and editing of stories and scripts.
Series Producer
A Series Producer oversees the production team and has final responsibility for the series, from initial hiring to final programme delivery. The Series Producer is supported by the Production Co-ordinator in hiring and directing the rest of the production team.
Senior Producer
The Senior Producer is responsible for planning and managing productions from conception to completion. They work with Producers and Directors to define production requirements and specifications.
Producer
Producers 'manage' the production and bring together all the elements to make a film or programme work, such as finance, cast and crew. Some Producers are more creative and 'hands on' developing the initial concepts and commissioning Writers and Directors, some¬times doing their own script editing and becoming involved with cast¬ing decisions.
Director
The Director takes overall responsibility for the creative, visual and audio affect of a production. They must convey ideas to the Director of Photography, the Production Designer and the Costume Designer who will endeavor to make them a reality.
Line Producer
The Line Producer deals with budgeting and allocation of funds, scheduling, hiring and firing of staff and crew and the co-ordination of materials and fabrication.
Associate Producer
The Associate Producer schedules and directs the timely preparation of production assignments, ensuring project specifications and milestones are met.
Assistant Producer
The Assistant Producer is responsible for managing a specific subset of production, as defined by the Producer, as well as filling in for the Producer in his/her absence,
Production Manager
As budgets get lighter Production Managers are increasingly important. Overseeing the Production Assistant and the Production Co-ordinator, the Production Manager has a large financial responsibility and works closely with the Production Accountant to ensure that the production gets made on time end on budget.
Floor Manager
In TV studios, the Floor Manager co-ordinates and manages everything that happens during a rehearsal or production, from cueing actors to organising props and overseeing an audience.
Location Manager
Location Managers are involved at every stage, -from finding locations to making sure they are left in a satisfactory condition when 'handed back' to the owner.
Casting Director
The Casting Director works closely with the Director and Producer to come up with a list of the kind of people wanted for a production.
Script Supervisor/Continuity
Also called Continuity, the Script Supervisor is responsible for pre-timing the script (important when a programme has been commissioned for an exact slot).
Senior Researcher
The Senior Researcher is responsible for researching and analysing production requirements.
Researcher
Researchers are responsible for all the behind-the-scenes information used in TV programmes and films, and may also offer specialist medical, legal or script-writing advice.
Production Coordinator
The Production Co-ordinator works closely with the Production Assistant and the Line Manager/Production Manager to ensure that all the necessary paperwork is generated and distributed, accommodation and transport arrangements made, equipment booked and all artist and crew contracts arranged.
2nd Assistant Director
The 2nd AD is responsible for organising the daily call sheet (a document for all crew detailing who needs to be on set and at what time, transport arrangements, extras required, etc.).
3rd Assistant Director
The 3rd AD is the right-hand person to the 1st AD. Their duties are not usually so clearly defined as in other profiles, and they may have to assist with a variety of tasks depending on the production.
Programme/Presentation Producer
The Programme Producer ensures that all programme elements, including music, commercials, news, features, programmes etc, are broadcast at the required times.
Programme Editor
A Programme Editor has overall responsibility for the quality, style and shape of a new programme's output.
Location Assistant/Assistant Location Manager
The Location Assistant works directly with the Location Manager and assists them in their work.
Production Assistant
An essential part of the production team, PAs provide vital administrative support.
Casting Assistant/Associate
The Casting Assistant works directly with the Casting Director and assists them in their work.
1st Assistant Director
The 1st AD is the right-hand person to the Director of a feature film or television programme, but also answers to the Producer.
Broadcast Assistant
The Broadcast Assistant will assist the Producer and works as part of a team to plan, research and produce radio or television programmes.
Production Secretary
The Production Secretary provides general secretarial and administrative support to the Producer, Production Manager, Production Co-ordinator and PA.
Assistant Editor
The Assistant Editor provides administrative and editorial support to the editor in preparation and production of the final draft or product,
Runner
A Runner basically runs around getting everything in place. They have to know exactly what is needed on a film or television set and get it there as quickly and efficiently as possible, whether it's a cup of coffee for the star or a vital prop gone missing.
13. Post-Production
Videotape Editor
A Videotape Editor conforms an edited picture to a video tape using an edit decision (EDL). They will add titles and credits, fix minor blemishes, undertake some picture editing, and may do some minor effects depending on the production.
Assistant Film Editor
The Assistant Film Editor organises the editing room and co¬ordinates schedules for the Film Editor. They are responsible for loading the DV tapes onto a non-linear editing system such as Avid or Final Cut Pro, and may also have to digitise analogue videotapes.
Colour Grader
The Colour Grader balances the colour, density, and contrast on the film negative or tape on a scene by scene basis. They must ensure consistency and continuity among the colour intensity, lighting and shade and smooth out transitions between cuts.
Post-Production Supervisor/Co-ordinator
The Post-Production Supervisor/Co-ordinator oversees all aspects of post-production to ensure that the final version of the film or programme meets production requirements, is suitable for on-air broad¬cast if applicable, and satisfies the correct time-length requirements.
Picture Editor
A Picture Editor may use a variety of equipment including online, offline, linear and non-linear to produce a finished programme.
Film Editor/Offline Editor
The Film Editor uses digital non-linear editing equipment to combine selected shots for each scene in sequence and also combines sequences to form a logical and smooth running story.
14. Screenwriting
Screenwriter
Screenwriters work to produce scripts for a variety of radio, TV or film productions. Tasks may include: choosing themes for written work; conducting research into the subject; assembling background material and obtaining necessary data; planning and organising material and writing the work; revising or editing the work; and ensuring coherence of style,- proper development of theme, plot and characterisation; and correct referencing where applicable. They may also adapt other people's work for productions, e.g. turning a book into a screenplay.
Script Developer
A Script Developer will work closely with a Scriptwriter to read a script (or place it with a reliable script reader) and develop the script ready for production. They may suggest changes or alterations where necessary, and will help to place the script with a suitable producer or production company, who may be interested in creating the film, series, drama or programme.
Script Editor
A Script Editor works with the Scriptwriter, Script Developer and Producer, Director or Commissioning Editor (sometimes all of these people at once). They are responsible for checking the story structure, pacing and characters to ensure that production requirements are being met, and help to spot and resolve problems in a script.
Script Reader
A Script Reader is simply that, someone who reads the script and writes reports on it to pass up the line to Script Developers, Producers, Directors or companies as appropriate.
Selected Bibliography
Document has been obtained from
AFDA - South African School of Motion Picture Medium and Live Performance in conjunction with
Mapppseta.
- Screen Actors Guild, 5757 Wilshire Blvd; Los Angeles, CA 90036-3600
- American Federation of Television and Radio Artists – Screen Actors Guild, Suite 204, 4340 East-West Hy, Bethesda, MD 20814
- National Office for Arts Accreditation in Higher Education, 11250 Roger Bacon Dr, Suite 21, Reston, VA 22091
- Society of Cable Telecommunications Engineers, Certification Department, 140 Phillips Rd, Exton, PA 19341
- Satellite Broadcasting & Communications Association, 225 Reinekers Lane, Suite 600, Alexandra, VA 22314
- Accrediting Council on Education in Journalism and Mass Communications, University of Kansas, School of Journalism, Stauffer-Flint Hall, Lawrence, KS 66045
- National Association of Broadcast Employees and Technicians, Communications Workers of America (NABET/CWA) International, 501 Third St. NW; Washington DC 20001
- National Association of Broadcasters, 1771 N St. NW; Washington DC 20036
- Society of Broadcast Engineers, 9247 North Meridian St. Suite 305, Indianapolis, IN 46260
- Society of Motion Picture and Television, Engineers, West Hartsdale Ave. White Plain, NY 10607
