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• The lowdown
What skills do you need to do this role?

•What does the Director do in a production?

•Will I need a qualification?

•What’s the best route in to the role?
the skills you need to be a director:

have exceptional artistic vision and creative skills.

have unerring commitment.

have a deep passion for filmmaking.

be a strong and confident leader.

make decisions.

delegate and collaborate with others.

have excellent communication and interpersonal skills.

inspire and motivate the team.

What does a Director do?

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

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

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

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

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

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

Will I need a qualification?

You don’t need a formal qualification to become a Director.

There are numerous training courses and reference books on directing and studying the art and craft of directing is important.

If you are considering taking a film production course in higher education, the following courses have been rigorously assessed by the film industry and awarded the Creative Skillset Tick for the high standard of education they provide and the degree to which they prepare you for a career in film:

Film production courses awarded the Creative Skillset Tick

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 are all good starting places.

You will also need extensive industry experience; up-to-date knowledge of filmmaking techniques and equipment is vital, as is learning how to work with actors to create a performance.

What's the best route in?

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 entry-level positions over many years.

Observing successful Directors at work, whilst immersing yourself in the practical process of filmmaking is a vital first step on this fiercely competitive and highly challenging career path.

ref: http://creativeskillset.org/job_roles/758_director

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• The lowdown
What skills do you need to do this role?

•What does the Producer do in a production?

•Will I need a qualification?

•What’s the best route in to the role?
the skills you need to be a producer:

creativity and vision

presentation and negotiation skills

leadership and management ability

planning and organisational skills

financial skills and the ability to work to a budget

What does a Producer do?

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

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

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

Producers also approve locations, studio hire, the final shooting script, production schedule and budget. More time and money spent in pre-production can reduce time and money wasting when the production gets 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 creatives, on and off set. Producers approve all script changes and cost reports. They are the first point of contact for all production partners, investors and distributors.

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

It is rare to find one Producer who has the expertise and vision to exercise personal decision-making authority across all four phases of production, but

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

Will I need a qualification?

You don’t need a specific qualification. If you are considering taking a film production course in higher education, the following courses have been rigorously assessed by the film industry and awarded the Creative Skillset Tick for the high standard of education they provide and the degree to which they prepare you for a career in film:

Film production courses awarded the Creative Skillset Tick

What's the best route in?

Top filmmakers work with the same people over and over again. To 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.

ref: http://creativeskillset.org/job_roles/757_producer

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• The lowdown
What skills do you need to do this role?

•What does the Camera Operator do in a production?

•Will I need a qualification?

•What’s the best route in to the role?

the skills you need to be a camera operator:

sound theoretical, practical and technical knowledge of cameras

the ability to frame and compose shots

the ability to perform camera moves accurately

interpersonal and communication skills

the capacity to multi-task and take direction from others

team working skills and the ability to lead and motivate others

tact and diplomacy

the ability to work under pressure and to deadlines

flexibility, creativity and patience

attention to detail.

What does the Camera Operator do in a production:

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

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

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

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

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

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

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

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

Will I need a qualification?

Like many Camera Operators, you can study for higher level qualifications, although no specific qualifications are required to work in this role.

Film schools and training courses offer a good basic grounding in the skills and knowledge required and the most useful courses offer practical experience and may also include work experience placements.

You could take a City & Guilds course, BTEC HNC/HND, foundation degree, first degree and/or postgraduate qualification in media, film and TV production or cinematography.

If you are considering taking a film production course in higher education, the following courses have been rigorously assessed by the film industry and awarded the Creative Skillset Tick for the high standard of education they provide and the degree to which they prepare you for a career in film.

Film production courses awarded the Creative Skillset Tick

You will also find basic stills photography, which develops visual and composition skills, a useful starting point for this role.

You can expect to learn most of your practical skills through hands-on experience on the job. However, continual professional development is vital, especially as technology changes rapidly.

What's the best route in?

You can expect to begin your career as a Camera Trainee or Runner, progressing to 2nd AC and, as you gain more experience, to 1st AC. You will have to continually build upon your experience and competence when operating a variety of cameras in order to achieve the role of Camera Operator.

ref: http://creativeskillset.org/job_roles/3073_camera_operator

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• The lowdown
What skills do you need to do this role?

•What does the Editor do in a production?

•Will I need a qualification?

•What’s the best route in to the role?
what skills do you need:

planning, organisational and staff management skills.

a good command of English with strong writing and IT skills.

creativity and good visual sense.

financial skills.

an eye for detail.

an understanding of target audiences.

negotiating and decision-making skills.

what does an editor do in production:
An editor supervises a range of functions in a publishing house and has many tasks that need to be accomplished before a book is ready to be launched. When people hear the word “editor” they usually imagine someone who spell checks and is a stickler for grammar. While this is true, a lot more goes into editing a manuscript.

The first editor a manuscript goes through is the Acquisitions Editor. This is the editor that picks out the manuscript and decides if it would be a profitable choice for the publishing house. He or she makes a pitch to the house to publish the manuscript and figures out all the budgeting, marketing, and contractual decisions. This editor also facilitates communication between publisher and writer.

When a manuscript has been chosen it may need a heavy amount of editing. This work goes to the Developmental Editor. This editor works very closely with a writer as they try to develop the work to be its best. Content, organization, and presentation are all considered. He or she assists the writer in developing material including characters, setting, and plot, if needed. The editor may suggest additional research to be done to “flesh out” certain parts of the material for clarity and to create better flow. Comments are made on style, structure, and flow of information. Spelling, grammar, and punctuation are also checked along with URL links, captions, graphics, footnotes, references, photos, tables, quotes, bibliography, and citations. This type of editing is the most invasive, so the editor works closely with the writer to be sure that he approves changes and the author's original voice is preserved.

Next in line is the Line Editor. They will go through a manuscript line by line and find grammar and spelling errors that compromise the quality of the material. The editor will also make sure that word choice contributes to the overall tone of the book. In some publishing fields the Line Editor and Copy Editor positions are combined into one.

The Copy Editor goes over a manuscript before it is ready for print. He or she will examine the document for inconsistencies in theme, style, and factual information. Permission is checked for copyright material, ensuring there will be no legal conflict. Grammar, spelling, and punctuation are also scanned again. The main purpose of a Copy Editor is to make sure the import of text is clear and will maintain the interest of the reader.

Will I need a qualification?
There are no set requirements, but many employers prefer you to have a degree. Most subjects are accepted, but a degree in publishing, media or a related subject may give you an advantage. To work in a specialist area, like engineering, you'll need a related degree.

You could also:

use social media or a website to promote yourself online

build a network of contacts

attend book fairs

join a professional organisation like The Society for Editors and Proofreaders (SfEP) or Women in Publishing

What’s the best route in?
Traditionally, you could go from being a Runner to a Trainee, Second Assistant, 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.

Will I need a qualification ref:
https://nationalcareersservice.direct.gov.uk/job-profiles/copy-editior#entry-requirements
What’s the best route in ref: http://creativeskillset.org/job_roles/2940_editor

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The lowdown

Animating models or puppets one frame at a time to create a performance and provide the action outlined in the storyboard

What skills do you need:

have strong observational, acting and timing skills

be able to work in a range of stop motion animation techniques, including excellent sculpting skills (if working in clay)

have good communication skills, including in liaising with members of other departments, particularly model making

have good team-working skills

be able to clean up models or puppets and make replacement parts, if required

be able to operate relevant animation and camera equipment

have a good understanding of character development and storytelling

be flexible and adapt to the requirements of different types of production for a variety of media, such as television, films, commercials, etc.

be able to take direction and accept constructive feedback

be able to work without supervision and follow a brief

be able to deliver on schedule, working calmly and efficiently under pressure

show respect for the procedures and requirements of a particular studio or production

have knowledge of the requirements of the relevant health and safety legislation and procedures

What does an Animator (Stop Motion) do?

Stop Motion Animators bring models or puppets to life, animating them one frame at a time to create a performance and provide the action outlined in the storyboard.

They follow a brief from a Director, Animation Director/Supervisor or Studio Director, and may also refer to established characterisation developed by a Director or Key/Senior Animator.

Stop Motion, also called Stop Frame, describes animation that is created by moving models, puppets or any three-dimensional objects frame-by-frame in front of a camera to create the illusion of movement. Other terms used are Model or Puppet Animation, Table Top or 3D, although nowadays 3D usually applies to computer animation.

In character animation, Animators could be ‘cast’ like actors, for their particular talents, such as comedy, dialogue, action, charm, simplicity; or their ability to animate certain types of character; or for their skill at animating inanimate objects. However, they should also be all-rounders with the ability to replicate the animation style that the Senior Animator has set for each particular character.

Depending on the size of the production, they may be involved with pre-production and are likely to collaborate with Model Makers and Riggers to ensure that the models or puppets are prepared for the action that is required.

On smaller productions, they may work alone. On larger projects they may be one of a team and supported by an Assistant Animator. They can be responsible for supervising the work of more junior animators.

Will I need a qualification?

To become a Stop Motion Animator, it will generally help you to have a degree in animation, fine art, sculpture, graphics, illustration, or another related subject.

If you are considering taking an animation or art and design/graphics course in higher education, the following courses have been rigorously assessed by the industry and awarded the Creative Skillset Tick for the high standard of education they provide and the degree to which they prepare you for a creative career:

Animation courses awarded the Creative Skillset Tick

Art and design/CGI/graphics courses awarded the Creative Skillset Tick

Your showreel will need to demonstrate your talent in order to set you apart. The more experience you can gain in a range of stop motion techniques, the more employable you will be. Some studios also want to see evidence of good life drawing. Directors and Producers will be looking for you to have proven ability to develop characters and produce good performances.

What’s the best route in?

To become a Stop Motion Animator, you will need to work your way up from the position of Assistant or Junior Animator. It is very rare that you would be able to gain a job as an Animator straight after graduating.

You could apply to be an Animation Trainee through Trainee Finder, which gives you hands-on experience in the industry and helps you build those all-important contacts that are essential when competing for a job:

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Careers, jobs and skills training in film, TV, VFX, animation and games

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