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.

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.

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:

What skills do you need to do this role?
-Understand the role of editing.
-Understand the editing program
-Have a creative mind.
- Be able to lead a team.

•What does the Editor do in a production?
-Makes sure the volume is working correctly.
-Make sure all technical equipment is working

•Will I need a qualification?
You don’t need a specific qualification. But 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.

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

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.

Source: http://creativeskillset.org/creative_industries/film/job_roles/2940_editor

What skills do you need to do this role?

- Have steady hands so the camera does not wobble.
-How to work a camera professionally
-How to move a camera around with out shaking it.
Know all camera angles.

•What does the Camera Operator do in a production?

-Focuses on position of the camera to get a nice shot.
-Makes sure the camera does not wobble. Or out of focus.
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.

The work is physically demanding, and requires high levels of strength and stamina. Hours are long (12-14 hours a day) and some foreign travel may be required, involving long periods spent away from base.

•Will I need a qualification?
You do not need a qualification

•What’s the best route in to the
role?
 You can begin to continue your career as a trainee progressing to 2nd AC.

Source: http://creativeskillset.org/creative_industries/film/job_roles/3073_camera_operator

What skills do you need to do this role?
- need to know how to edit such as pitch, mixing,
- Deciding what pitch connects perfectly with the scene.

•What does the Producer do in a production?
-Edit
-Make sure everything works correctly.
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?
Yes you will need a qualification in media and music.

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

- 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.

Source: http://creativeskillset.org/creative_industries/film/job_roles/757_producer

What skills do you need to do this role?
-You need to be a strong confident leader and make decisions
- Need to collaborate to get the work finished to the standard you want.
- Have Excellent communication
- Have a creative mind.

•What does the Director do in a production?

-know what scenes are next, knowing what location you will be filming at and also knowing what goes well with what scene such as: Music, special effects.
They are responsible for the outcome of the music video.
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

•What’s the best route in to the role?
Being a leader.

Source: http://creativeskillset.org/creative_industries/film/job_roles/758_director