Where TV and film is an industry with a vast variety of job opportunities I will focus on only a couple of job roles. One from a management perspective, one from a creative role and another from a technical aspect of TV and film.
Job Role.
Producer.
Responsibilities.
The producer is effectively the ‘chief of staff’ on a movie production in all matters from the beginning of any production (Baylis & Procter) except for the creative efforts of the director. The Producer will be responsible for raising funds, hiring key personnel and arranging for distributors (IMDB).
Training/Qualifications.
You officially do not need any qualifications to become a producer, however it does help if you do study TV and Film through a college/university as it will give you a greater understanding and help develop practical skills (National Careers Service). You can also learn by working with experienced and respected producers already in the industry (National Careers Service).
Working Pattern.
Working patterns can vary drastically as effectively a producer works freelance. The hours can be long and irregular depending on the demands of a production. The work also tends to be more office based than field based (National Careers Service).
Typical Contract Agreements & Potential Salary.
Due to the sheer requirements on a producer it can see them agreeing to a wide variety of jobs and responsibilities. The main responsibility is deciding on appropriate projects to produce as without a good project there job is short lived. Then they will be responsible for acquiring all legal factors of a film be it from book rights to screenplays. Raising the funds for a project also falls under their responsibility however this tends to be more with movies than TV shows as TV shows are commissioned and funding is not a problem. If they are in charge for the production of a TV show they will have to pitch it to be commissioned however (National Careers Service). These are only the major agreements a producer undertakes and they have many more varied roles as the whole production rests on their shoulders. Producers working freelance do not have a set wage. It can vary greatly from project to project depending on the format of the production. Rates can also be negotiated depending on the budget available and your track record. Also some contracts may see you receive a percentage of the profits from a feature film (National Careers Service).
Career Pathways.
The producer can look to become an executive producer who focuses purely on the business and legal side of a production (IMDB). Also as they gain more credibility the producer can move from small projects onto to larger projects if met with successful productions.
Job Role.
Director.
Responsibilities.
In charge of the aesthetics of a production and the entire crew on set (Baylis & Procter) and is the principal creative artist on a movie or TV set. They will have both a 1st and 2nd assistant director to help delegate some of their responsibilities to and the director works directly under the producer (IMDB). They will be expected to direct cast, guiding technical crew, interpreting scripts and developing storyboards, deciding on how and where a production should be filmed and supervising the editing process (National Careers Service).
Training/Qualifications.
There are multiple routes to becoming a director but the most direct route is having substantial experience in TV or film, in-depth understanding of the production process, and a network of contacts in the industry (National Careers Service). Another option is through experience working in front or behind the camera as either an actor or camera technician (National Careers Service). Taking a film production course can also help as it will develop your knowledge, practical skills and make contacts (National Careers Service).
Working Pattern.
Working patterns can vary depending on the production. These hours can vary greatly and include weekends, early mornings and late nights (National Careers Service).
Typical Contract Agreements & Potential Salary.
A director will be responsible creativity and imagination, good communication and 'people skills', the ability to lead and motivate others, excellent organisational and planning skills, initiative and problem-solving ability, decision making ability, good time management and budget awareness, calmness under pressure and awareness of health and safety issues (National Careers Service). They will also be responsible for shoot keeping on schedule. Directors are normally paid a fee for each individual contract or production. The rates can vary greatly depending on the production type, budget and you track record (National Careers Service). Some agree to work for a lower rate but on the understanding they will share in the profits of the production. The exact terms should be checked before agreement just in case it is a bad deal (National Careers Service).
Career Pathways.
Directors can transfer skills into becoming a producer if they wish to have more in line with seeing a productions success over its creative aspects.
Job Role.
Camera Operator.
Responsibilities.
A camera operator is dictated to by the director of photography to achieve the vision of the director (IMDB). They will help with setting up and positioning camera equipment, planning and rehearsing shots, choosing appropriate lenses and camera angles, solving practical and technical problems and working closely with other technical departments (National Careers Service).
Training/Qualifications.
Employers will find practical experience and technical skills more desirable than formal qualifications. This can be developed through college and university courses such as BTEC National Certificate or Diploma in Media Production or trainee courses run by the GBCT (camera guild) (National Careers Service).
Working Pattern.
Hours can be long and irregular. It can also include shift work and nights depending on the production. Flexibility may also be require as you may need to work at short notice. You could also work in a studio or out on location and with many productions find you are doing both (National Careers Service).
Typical Contract Agreements & Potential Salary.
A camera operator will be required to have good practical skills and knowledge of camera equipment, an interest in photography, film and video, good communication and 'people skills', the ability to carry out instructions accurately and with attention to detail, good colour vision, calmness under pressure, the ability to work as part of a team, patience and concentration and good levels of stamina, for holding and moving camera equipment and working long hours (National Careers Service). Rates of pay can vary depending on the production and negotiated based on personal track record (National Careers Service). BECTU suggest a camera operator can be looking at a salary of £371 - £620 based on a 10 hour work day.
Career Pathways.
Camera operators can progress into various different areas of the TV and Film industry. This can include director or director of photography who works directly under the director.
Job Role.
Producer.
Responsibilities.
The producer is effectively the ‘chief of staff’ on a movie production in all matters from the beginning of any production (Baylis & Procter) except for the creative efforts of the director. The Producer will be responsible for raising funds, hiring key personnel and arranging for distributors (IMDB).
Training/Qualifications.
You officially do not need any qualifications to become a producer, however it does help if you do study TV and Film through a college/university as it will give you a greater understanding and help develop practical skills (National Careers Service). You can also learn by working with experienced and respected producers already in the industry (National Careers Service).
Working Pattern.
Working patterns can vary drastically as effectively a producer works freelance. The hours can be long and irregular depending on the demands of a production. The work also tends to be more office based than field based (National Careers Service).
Typical Contract Agreements & Potential Salary.
Due to the sheer requirements on a producer it can see them agreeing to a wide variety of jobs and responsibilities. The main responsibility is deciding on appropriate projects to produce as without a good project there job is short lived. Then they will be responsible for acquiring all legal factors of a film be it from book rights to screenplays. Raising the funds for a project also falls under their responsibility however this tends to be more with movies than TV shows as TV shows are commissioned and funding is not a problem. If they are in charge for the production of a TV show they will have to pitch it to be commissioned however (National Careers Service). These are only the major agreements a producer undertakes and they have many more varied roles as the whole production rests on their shoulders. Producers working freelance do not have a set wage. It can vary greatly from project to project depending on the format of the production. Rates can also be negotiated depending on the budget available and your track record. Also some contracts may see you receive a percentage of the profits from a feature film (National Careers Service).
Career Pathways.
The producer can look to become an executive producer who focuses purely on the business and legal side of a production (IMDB). Also as they gain more credibility the producer can move from small projects onto to larger projects if met with successful productions.
Job Role.
Director.
Responsibilities.
In charge of the aesthetics of a production and the entire crew on set (Baylis & Procter) and is the principal creative artist on a movie or TV set. They will have both a 1st and 2nd assistant director to help delegate some of their responsibilities to and the director works directly under the producer (IMDB). They will be expected to direct cast, guiding technical crew, interpreting scripts and developing storyboards, deciding on how and where a production should be filmed and supervising the editing process (National Careers Service).
Training/Qualifications.
There are multiple routes to becoming a director but the most direct route is having substantial experience in TV or film, in-depth understanding of the production process, and a network of contacts in the industry (National Careers Service). Another option is through experience working in front or behind the camera as either an actor or camera technician (National Careers Service). Taking a film production course can also help as it will develop your knowledge, practical skills and make contacts (National Careers Service).
Working Pattern.
Working patterns can vary depending on the production. These hours can vary greatly and include weekends, early mornings and late nights (National Careers Service).
Typical Contract Agreements & Potential Salary.
A director will be responsible creativity and imagination, good communication and 'people skills', the ability to lead and motivate others, excellent organisational and planning skills, initiative and problem-solving ability, decision making ability, good time management and budget awareness, calmness under pressure and awareness of health and safety issues (National Careers Service). They will also be responsible for shoot keeping on schedule. Directors are normally paid a fee for each individual contract or production. The rates can vary greatly depending on the production type, budget and you track record (National Careers Service). Some agree to work for a lower rate but on the understanding they will share in the profits of the production. The exact terms should be checked before agreement just in case it is a bad deal (National Careers Service).
Career Pathways.
Directors can transfer skills into becoming a producer if they wish to have more in line with seeing a productions success over its creative aspects.
Job Role.
Camera Operator.
Responsibilities.
A camera operator is dictated to by the director of photography to achieve the vision of the director (IMDB). They will help with setting up and positioning camera equipment, planning and rehearsing shots, choosing appropriate lenses and camera angles, solving practical and technical problems and working closely with other technical departments (National Careers Service).
Training/Qualifications.
Employers will find practical experience and technical skills more desirable than formal qualifications. This can be developed through college and university courses such as BTEC National Certificate or Diploma in Media Production or trainee courses run by the GBCT (camera guild) (National Careers Service).
Working Pattern.
Hours can be long and irregular. It can also include shift work and nights depending on the production. Flexibility may also be require as you may need to work at short notice. You could also work in a studio or out on location and with many productions find you are doing both (National Careers Service).
Typical Contract Agreements & Potential Salary.
A camera operator will be required to have good practical skills and knowledge of camera equipment, an interest in photography, film and video, good communication and 'people skills', the ability to carry out instructions accurately and with attention to detail, good colour vision, calmness under pressure, the ability to work as part of a team, patience and concentration and good levels of stamina, for holding and moving camera equipment and working long hours (National Careers Service). Rates of pay can vary depending on the production and negotiated based on personal track record (National Careers Service). BECTU suggest a camera operator can be looking at a salary of £371 - £620 based on a 10 hour work day.
Career Pathways.
Camera operators can progress into various different areas of the TV and Film industry. This can include director or director of photography who works directly under the director.
References.
Baylis, P. Procter, N. 2010. “Creative Media Production Level 2.” Pearson Education Limited. Essex.
https://www.bectu.org.uk/advice-resources/library/1639 - Date Accessed - 04/10/14
http://www.imdb.com/glossary/C - Date Accessed - 04/10/14
http://www.imdb.com/glossary/E - Date Accessed - 04/10/14
http://www.imdb.com/glossary/P - Date Accessed - 04/10/14
https://nationalcareersservice.direct.gov.uk/advice/planning/jobprofiles/Pages/tvorfilmcameraoperator.aspx - Date Accessed - 04/10/14
https://nationalcareersservice.direct.gov.uk/advice/planning/jobprofiles/Pages/tvorfilmdirector.aspx - Date Accessed - 04/10/14
https://nationalcareersservice.direct.gov.uk/advice/planning/jobprofiles/Pages/tvorfilmproducer.aspx - Date Accessed - 04/10/14
Bibliography.
Baylis, P. Procter, N. 2010. “Creative Media Production Level 2.” Pearson Education Limited. Essex.
https://www.bectu.org.uk/advice-resources/library/1639 - Date Accessed - 04/10/14
http://www.imdb.com/glossary/C - Date Accessed - 04/10/14
http://www.imdb.com/glossary/E - Date Accessed - 04/10/14
http://www.imdb.com/glossary/P - Date Accessed - 04/10/14
https://nationalcareersservice.direct.gov.uk/advice/planning/jobprofiles/Pages/tvorfilmcameraoperator.aspx - Date Accessed - 04/10/14
https://nationalcareersservice.direct.gov.uk/advice/planning/jobprofiles/Pages/tvorfilmdirector.aspx - Date Accessed - 04/10/14
https://nationalcareersservice.direct.gov.uk/advice/planning/jobprofiles/Pages/tvorfilmproducer.aspx - Date Accessed - 04/10/14
Patz. S. 2002. “Film Production Management 101.” Michael Wiese Productions. Studio City.
Baylis, P. Procter, N. 2010. “Creative Media Production Level 2.” Pearson Education Limited. Essex.
https://www.bectu.org.uk/advice-resources/library/1639 - Date Accessed - 04/10/14
http://www.imdb.com/glossary/C - Date Accessed - 04/10/14
http://www.imdb.com/glossary/E - Date Accessed - 04/10/14
http://www.imdb.com/glossary/P - Date Accessed - 04/10/14
https://nationalcareersservice.direct.gov.uk/advice/planning/jobprofiles/Pages/tvorfilmcameraoperator.aspx - Date Accessed - 04/10/14
https://nationalcareersservice.direct.gov.uk/advice/planning/jobprofiles/Pages/tvorfilmdirector.aspx - Date Accessed - 04/10/14
https://nationalcareersservice.direct.gov.uk/advice/planning/jobprofiles/Pages/tvorfilmproducer.aspx - Date Accessed - 04/10/14
Bibliography.
Baylis, P. Procter, N. 2010. “Creative Media Production Level 2.” Pearson Education Limited. Essex.
https://www.bectu.org.uk/advice-resources/library/1639 - Date Accessed - 04/10/14
http://www.imdb.com/glossary/C - Date Accessed - 04/10/14
http://www.imdb.com/glossary/E - Date Accessed - 04/10/14
http://www.imdb.com/glossary/P - Date Accessed - 04/10/14
https://nationalcareersservice.direct.gov.uk/advice/planning/jobprofiles/Pages/tvorfilmcameraoperator.aspx - Date Accessed - 04/10/14
https://nationalcareersservice.direct.gov.uk/advice/planning/jobprofiles/Pages/tvorfilmdirector.aspx - Date Accessed - 04/10/14
https://nationalcareersservice.direct.gov.uk/advice/planning/jobprofiles/Pages/tvorfilmproducer.aspx - Date Accessed - 04/10/14
Patz. S. 2002. “Film Production Management 101.” Michael Wiese Productions. Studio City.