2. • Jobs in the media can be divided into two
categories creative and non-creative. There
are many different categories of job roles in
the media which give a unique perspective on
the industry.
3. Management roles
• Financial Controller
• Construction Manager
• Marketing and Publicity Manager
• Location and Unit Manager
• Production Manager
• Transport Manager
4. Marketing and Publicity Manager
• Marketing and Publicity Managers oversee the creation and planning of films'
marketing campaigns.
• Marketing and Publicity Managers' main responsibility is to enhance a film's
visibility, and to raise the public's awareness, by convincing audiences that this
is a 'must-see' movie. They must ensure that the overall desire peaks when
the film opens. Subsequently, Marketing and Publicity Managers need to
increase interest in the film with further promotion, by directing their
team, and troubleshooting any problems.
• Tactical skills are vital because of the ongoing need to develop and enhance
promotional campaigns. Organisational and planning skills are crucial, as are
creativity and adaptability. A thorough knowledge of film marketplaces, and
the ability to read and capitalise on popular patterns and cultural trends, are
crucially important.
• Marketing and Publicity Managers usually have higher-level qualifications in
Marketing, PR, Business or subjects related to business.
5. Transport Manager
• Transport Managers are in charge of managing all the large vehicles on a film production.
These include mobile make-up and costume units, artist caravans, mobile production
offices, and mobile toilet units. They work closely with other crew members, such as the
Location Manager, Line Producer, or Second Assistant Director, to ensure that the right
number of vehicles arrive, on time, and at the correct locations. This role requires good
transport and film industry experience, as well as excellent planning and management skills.
• If delivery problems arise, Transport Managers need to rectify them as quickly as possible. As
film shoots run to very tight schedules, they must be comfortable working under a great deal
of pressure. Above all, they need excellent communication skills, in order to ensure that
transport plans are carried out effectively and efficiently. They need a thorough knowledge of
driving legislation, and of the Health and Safety legislation relating to transport issues.
• Transport Managers are likely to have experience of working in the transport industry, and an
HGV1 license.
6. Creative roles
• Costume Designer
• Prosthetics Artist
• Composer
• Prop Maker
• Film Director
• Draughtsman/ junior Draughtsman
7. Prosthetics Artist
• Prosthetic Artists create specialised items which can be bought or hired for the production. They liaise
with the Director, Make–up Designer, Production Designer and Actors in order to design, make, apply and
maintain prosthetics in line with the Make–up design. They may change the face and hands, or even the
whole body of the Actor. They are usually employed during pre–production and production, and normally
work on a freelance basis. When the prosthetic has been made, they use the appropriate colouring and
finishing techniques, and deliver it to the production. Normally Prosthetic Artists apply prosthetics to
performers themselves. As this can take many hours, they may employ an Assistant, or work with a Make–
up Artist. After applying the prosthetics, they usually stand by on set to ensure that the prosthetics are
sustained under shooting conditions.
• Prosthetics Artists must understand how to translate abstract design ideas into practical
applications. They need creative flair, and craft skills, combined with a strong sense of colour and
design. They should have a good understanding of anatomy, and a talent for sculpting. They should also
be proficient in techniques such as face and body ageing using prosthetics, and creating bald caps, false
noses, wounds, scars, skin diseases and tattoos.
• Most Prosthetics Artists are self–taught to an intermediate level of proficiency. They may acquire further
skills by taking a short course, a BA degree, or vocational qualifications in Prosthetics, Model–
making, Make–up or Sculpture.
8. Draughtsman/ junior Draughtsman
• Draughtsmen are responsible for drawing up set designs. Working to the Production Designer's references
and specifications conveyed via the Art Director, Draughtsmen use their knowledge and skills to translate
these ideas into detailed technical drawings, showing plans, elevations and sections. Construction crews
on films work to a set of blueprints created especially for them, and these accurate drawings are the
responsibility of Draughtsmen. They work on a freelance basis, and usually specialise in either film or
television production. As many as four Draughtsmen and several Junior Draughtsmen may be employed on
big budget films, all producing drawings and models. On this kind of production, Draughtsmen start work
approximately six months before filming is due to begin, and are often involved until the end of filming.
• On big budget films, Draughtsmen produce hundreds of drawings, which are scanned and sent by
computer to be printed out by the relevant departments. On smaller films, Draughtsmen are likely to be
more actively involved in the supervision of all set construction.
• Draughtsmen must have expert knowledge of all building materials and construction techniques. As
Draughtsmen must have excellent drawing skills, a degree in Fine Art, Graphics, Theatre, Architecture or
3D Design is a prerequisite.
9. Technical Roles
• Gaffer
• Grip
• Camera Operator
• Production Sound Mixer
10. Grip
• Grips' responsibility is to build and maintain all the equipment that supports cameras. This
equipment, which includes tripods, dollies, tracks, jibs, cranes, and static rigs, is constructed of delicate yet
heavy duty parts requiring a high level of experience to operate and move. If particular challenges are
identified, Grips work with specialist companies to devise tailor-made pieces of equipment to facilitate
difficult camera maneuver's which are sometimes performed on location in extreme terrain and/or severe
weather. Grips should be ready as soon as the camera starts to roll, and they must anticipate all the
camera moves, whilst also keeping in mind the preparations required for the next camera set-up. At the
end of each day's shooting, Grips oversee the packing up of all camera-support equipment.
• Grips must have excellent up-to-date knowledge of all camera-support equipment. Grips should also be in
possession of a clean driving license. Some Health and Safety certification is desirable too. Grips will also
need an NVQ for Grips at Level 2 and 3.
11. Production Sound Mixer
• Production Sound Mixers are responsible for the difficult job of ensuring that dialogue recorded during
filming is suitably clear. Production Sound Mixers work on a freelance basis on features and drama
productions. The hours are long and the work often involves long periods working away from home.
Production Sound Mixers work with the Boom Operator to select suitable types of microphone (e.g. close-
ups or extreme angled shots may require clip microphones that do not appear in frame), and carefully
reposition these microphones for each set-up, to ensure adequate sound coverage. If music is required in
a scene, Production Sound Mixers also set up playback equipment and speakers for the actors.
• Production Sound Mixers must have a good understanding of electronics and an expert knowledge of
acoustics and all sound recording, playback and editing equipment (analogue and digital). As the head of
the production sound department, Production Sound Mixers must undertake specialist training in sound
recording before starting out at junior levels within the sound department and progressing through the
sound roles.
13. Specialist Researcher
• Specialist Researchers work closely with the Production Designer, the Supervising Art Director, Art
Director's) and Set Decorator, but also provide backup in the form of detailed research to the entire Art
Department. This may involve anything from finding a visual reference to inspire a specific set, or sourcing
details that enable the Draughtsmen* to produce accurate technical drawings, to researching a specific
craft or skill that might be needed to make a prop. It is the Production Designer's job to ensure that every
detail on sets, which can range from the interior of an alien spaceship to the contents of a Victorian
drawing room, is as authentic and believable as possible. Specialist Researchers work alongside the
Draughtsmen in the drawing studio, and are also responsible for keeping up-to-date, well organised files of
all research materials. Specialist Researchers are expert in finding unusual references and information
from difficult to access sources.
• Specialist Researchers must have good general knowledge, combined with working experience within Art
14. Financial Roles
• Film Production Accounting
• Financial Controller
• Production Accountant
• Assistant Accountant
• Accounts Trainee
15. Financial Controller
• Financial Controllers are responsible for controlling accounting, taxation and financial analysis for all the
company's areas of operation, which may encompass development, production and distribution. On
individual productions, Financial Controllers normally help Producers and Executive Producers to prepare
original budgets and to raise finance, taking into consideration any relevant Government Tax Incentive
schemes that may be available at that time. Financial Controllers may undertake some or all of the Film
Production Accountant's activities, depending on the scale of the individual production. These can involve
a wide variety of tasks, ranging from controlling cash flow in order to ensure that payments are made on
time, to setting up and managing the Accountancy team.
• Financial Controllers need an excellent grounding in commercial and film production accounting, as well as
in film finance and all relevant Inland Revenue and Government Tax regulations. Financial Controllers are
usually qualified Accountants with a BA in Accountancy, combined with a number of years'
experience, ideally within film production, media or film finance. Freelance Senior Production Accountants
who are engaged as Financial Controllers on large films must have an excellent track record in large film
productions, in order to be approved by the production's various Financiers.
16. Assistant Accountant
• Assistant Accountants are experienced bookkeepers who assist Production Accountants and Key Assistant
Accountants to control finances during feature film production. Assistant Accountants assist in the day-to-
day running of the Accounts Office. They help the Key Assistant Accountant and Production Accountant to
maintain records of invoices and creditors' payments. They keep records of all transactions, and are usually
responsible for the preparation of accounts payable, invoices and purchase orders, and petty cash and
payroll calculation.
• Specific accountancy skills required for the role include the ability to: record financial information and
prepare the production's accounts; process payments; assist in administering the production's floats and
petty cash; contribute to the monitoring of production costs; run a payroll in line with Inland Revenue and
other relevant Government regulations; and prepare insurance claims. Assistant Accountants also have a
more general responsibility to contribute to a safe and secure production environment, and they must be
able to conduct an assessment of risks in the workplace. Assistant Accountants may possess a BA in
Accountancy, or vocational qualifications in accounting (NVQs/SVQs), or otherwise be able to demonstrate
that they have acquired the necessary level of competence through work experience, for example as a
Cashier, Bookkeeper, or in a junior financial administration capacity.
18. Runner
• Runners are responsible for client hospitality, including providing food and drinks. ne of the Runner's main
tasks is to ensure the cleanliness and tidiness of the facility, including edit suites, reception, kitchen and
rest rooms, for the benefit of clients and colleagues. They also take care of dispatch - delivering and
collecting packages, tapes, other media, and/or sometimes hardware. They provide cover when required
for other junior members of staff, including Reception, Junior Tape Operators. They carry out fault
finding, and repair basic office materials - phones, chairs, etc., and move, carry and connect up tape
machines. They deposit cash and cheques, and collect cash floats from banks, as well as undertaking some
administration duties, e.g., checking invoices and job sheets.
• They must have an understanding of the Post Production process, including the requirements and
characteristics of different media formats, the difference between on line and off line editing, and the
difference between masters and dubs. No specific academic or training qualifications are required for
Runners. Media studies degrees are not necessarily considered particularly relevant when selecting
Runners, and many companies are more interested in applicants with retail or catering experience.
19. Second Assistant Editor
• Second Assistant Editors are only employed on very big budget films. They assist 1st Assistant Editors and
Editors in the Picture Editing department. 2nd AEs also work closely with Trainees, teaching them how to
perform basic assisting tasks such as syncing up (synchronizing) rushes (aligning the sound with the
image). On films where 2nd AEs are employed, they acquire significant experience, easing their
progression to 1st AE. Both 2nd AEs and Trainees are freelance, and are expected to work long hours.
• 2nd AEs assist 1st AEs to ensure the smooth running of the cutting room. On big budget films, overseen by
1st AEs, 2nd AEs carry out the majority of the hands-on assisting duties; these vary from film to film, but
usually include digitizing rushes, recording play-outs onto tape or DVDs, labeling up tapes/DVDs and
sending them to the labs.
• 2nd AEs normally start their careers as Trainees. They usually gain entry into the industry as Runners
working for Post-production Facilities Houses which may provide them with opportunities to meet
Assistant Editors or Editors who are willing to take on Trainees. Individuals are likely to work on low budget
films and/or television as Assistants for several years after completing their training, before progressing to
become 1st AEs on feature film productions.2nd AEs should be computer literate and have knowledge of
digital editing software and equipment. They must also understand how cutting rooms work. Trainees
should be computer literate and have a basic knowledge of digital editing.
