Jobs Behind the Scenes J-Z

Journalist
Journalists work across a range of factual, news and current affairs programming for radio and television, generating and reporting on local, national and international stories. Many start as researchers and move into other production areas. Others start in print journalism.

An eye for a story and a focus on the viewer or listener is paramount. A good command of language and the ability to meet deadlines and work well under pressure are other essential skills.

Lawyer
Specialist 'media lawyers' are increasingly important before, during and after productions, advising on a range of issues, including copyright, foreign sales and contracts.

The ability to apply the law to film, television, radio and new media business is essential. A law degree, followed by training in a media l aw firm, is the usual way in.

Lighting Cameraperson
The Lighting Cameraperson leads the camera team and is involved in the planning and execution of a shoot from the pre-production stage. Works in close partnership with the Director to achieve the 'look' of a film.

Must be artistic and possess extensive technical knowledge of cameras, stock and lights. Also the ability to manage a camera team and communicate with the Director and other Heads of Department. The usual route in is from Clapper Loader to Focus Puller to Operator.

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. They negotiate access, charges for use, permissions, parking, power sources, 'green rooms' (rest areas) for the cast, make-up and wardrobe rooms, as well as looking after safety and security.

Locations Assistants and sometimes Assistant Directors move into this role. Must be well organised and a good communicator, with persuasive powers when it comes to obtaining the location the Director has set their heart on.

Locations Assistant
The Locations Assistant works directly to the Location Manager and assists them in their work (see above).

Entry as a Locations Assistant is common from 3rd A.D. or runner positions.

Music Specialist
Music is an important component of many productions. Music specialists are becoming more common on feature films as the soundtrack can be a high revenue source. Other jobs in this area include music research, music clearance and music library resources.

An understanding of the Director's needs is required to source the correct type of music. Research and archive experience is useful plus an appreciation and passion for music.

Postroom
A surprising number of careers have started in the postroom. On ly large organisations and Broadcasters have opportunities in this area, but it is definitely a good place to get in. Networking opportunities abound and it's a great way to find out about what goes on in the various departments.

Being cheerful, organised and very efficient is the key to success here.

Post-Production Co-ordinator/Supervisor
Post-production for a programme can sometimes take as long as pre-production and production combined. So much goes into a production at this stage that often it is useful to have someone responsible for overseeing it - to make sure the music is being produced, special effects created, editing finished, sound editing and dubbing happening - not to mention the reams of post-production paperwork that are necessary for every production.

A thorough knowledge of post-production processes and timing is needed.

Post-Production Special Effects
Very sophisticated special effects can now be added even to mid-budget productions, thanks to specialis ed computer technology. A broad area of work incorporating music promos, commercials, documentary, features… in fact just about everything these days.

High level computer literacy is required, along with a good artistic eye. There are many different programmes and packages for special effects. People usually start as assistants and get to know the packages in down time.

Press and PR
Communicating information about the industry is a growth area, as more programmes, channels and radio stations embrace the concept of branding. Persuading people to watch / listen to a programme is an important part of the media industry in an increasingly competitive arena.

The ability to communicate and befriend journalists and people who can help you is important. Presentation and writing skills are looked for, along with enthusiasm for what you are trying to 'sell'.

Producer
Producers 'manage' the production and bring together all the elements to make a 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. Others come from a more business-oriented background, such as finance or law.

Producers must have a thorough knowledge of the industry and a good understanding of everyone's role. Communication skills are paramount, plus patience and stamina - the average time a Producer spends on a feature film, from start to finish, is 7 years and the average wage for a Producer is £12,000 a year!

Production Assistant
An essential part of the production team, P.A.s provide vital administrative support. A wealth of material is generated by a production office such as scripts, call sheets and daily reports and the Production Assistant will be involved in creating these, as well as booking hotels, hiring equipment and sorting travel arrangements.

Communication and administrative skills are vital, as is the ability to keep calm in a crisis. Hard work and sheer stamina are a m ust - the production office team are usually the first to arrive in the morning and the last to leave at night!

Production Co-ordinator
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.

First-class administrative skills and a calm, friendly and extremely efficient manner are needed. The production office will be the first port of call for any gripes, complaints and problems from the crew, cast and suppliers so, as they say, patience is a virtue, and you should possess it!

Production Designer
The Production Designer works from the first stages of pre-production through to the end of filming and is responsible for the visual look of all sets and locations. Works closely with the Director, the Director of Photography and the Costume Designer.

A good design background is essential, as well as strong visual awareness. May be in charge of a large team, depending on the production size, so good management skills are important. Also responsible for a large design budget, so financial skills are required. People often move up into design from other areas in the art department, such as Art Director.

Production Manager
As budgets get tighter Production Managers are increasingly important. Overseeing the P.A. and the 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 and on budget.

Experience of the whole production process and appreciation of other people's roles is important. Must have sound financial ability and organisational skills. Should be calm and patient.

Props Manager
Ensures that all the props are sourced and on set when required. Also responsible for making sure they are returned afterwards. Works closely with the Production Designer and may control the allocated props budget.

Needs a good creative eye (usually art school trained) and a knowledge of period furniture and props.

Researcher
Researchers contribute ideas to a production and source information and contacts. Invaluable in documentary, news and current affairs work. May also be involved in interviewing contributors and writing material for programmes.

Must be well motivated and a constant source of ideas. Should be credible and good at putting people at ease. Excellent communication skills are required.

Rights Assistant
Agreeing and marketing the 'rights' for every production is an essential part of production in today's global marketplace. Agreeing who owns what, and for how long, can have a major effect on the profitability of a programme.

Good administrative and communicat ion skills are required. A knowledge of law can be useful.

Runner
Many people start off as runners and then move on to other departments, such as Production, Assistant Direction or Art Department. As a runner you will be in the best place to get a real appreciation of what goes on. Runners may work for the entire production, but on a larger project, such as a feature film, there could be a floor runner, an art department runner and a production office runner. A runner is expected to do whatever is asked (within reason!) quickly and efficiently; this could be making the tea, buying a newspaper for one of the cast, photocopying etc.

Must be efficient and pleasant. If you are, other departments will snap you up and you will not remain a runner for long. Enthusiasm, stamina and initiative are the vital traits.

Script Editor
A Script Editor works with the Writer and Producer, Director or Commissioning Editor (sometimes all of t hese people at once!). They have good knowledge of story structure, pacing and characters, and help to spot and resolve problems in a script.

A good command of language is a must, along with an understanding of story structure, the principles of story telling and genres. A Script Editor must be able to forge strong relationships with Writers and Producers and possess a great deal of tact.

Script Supervisor
Also called Continuity, the Script Supervisor is responsible for timing the script for an approximate length (important when a programme has been commissioned for an exact slot). During the filming the Script Supervisor watches for any continuity errors, as well as ensuring that all the dialogue has been covered and that all the scenes have been shot and are the right length.

Attention to detail is essential, as is a clear, concise mind. Must have stamina and patience as you could be standing by the camera watching the action for hours on end.

Scriptwriter
A Scriptwriter m ay come up with the initial idea for a film, television or radio programme or they may be commissioned by a Producer, Production Company or Broadcaster. There are many scriptwriting courses (both long and short) but a lot of Writers have had no formal training. Original ideas are what people are looking for. A good knowledge of story structure is important.

Writing can be a lonely task and it is one of the few jobs in the industry that is a fairly solitary activity. Writers must be self-motivated and able to work to deadlines. Be prepared for a long hard slog to get your work recognised.

Set Crafts and Design
The people in this department are responsible for visual aspects of sets, such as drapes, fibrous plastering, carpentry and scenic painting. Each member of the team is usually highly skilled in a specific area. Currently an area of skills shortage.

Often from an art school background. Need to be very creative and practical. Art Department Assistant is a good place to start, le arning a specific skill from 'inside'.

Sound
Sound specialists work at different levels, to interpret the audio needs of a production.

Sound Recordist
Sound Recordists record sound on location or in a studio, usually in sync with the camera, to ensure that the highest quality 'real' sound is recorded at the time of filming. The sound is monitored through headphones and a Boom Operator will be close to the action holding the microphone.

Boom Operator
The Boom Operator holds the long 'boom arm' with the microphone attached, as close to the 'action' as possible (whilst not getting it into shot!) to achieve the best quality sound recording. The Boom Operator works in conjunction with the Sound Recordist.

Sound Editors
Sound is such a vital part of a production that a Sound Editor is often used, building layer upon layer of sound, using a mixture of 'live' sound recorded by the Sound Recordist, stock sound footage and sound created or re-made by the Foley Artist.

Skills required for sound work are good technical ability, perfect hearing and attentiveness. Generally people start as a sound assistant and gradually learn their trade from the inside.

Sound Effects
Often called 'Foley Artists', these individuals add ambient sound and special extra noises, such as creaking floorboards and fight sounds. They use a mix of very high and very low-tech effects - (hilarious to watch people jumping up and down on cabbages to create the sound of a butcher cutting meat).

Perfect timing, lateral thinking, dexterity and imagination are key skills for this area. A good knowledge of picture and sound editing is also essential.

Special Effects
Specialists in this area manage all live effects such as explosions, rain and snow. The original work may be enhanced using computer technology in post-production. Health and Safety is absolutely paramount in this area to protect cast, crew and of course, yourself.

Must be of a calm disposition. Lateral thinking and t he ability to make things work in a safe and controlled way are required. Art and design and/or engineering are good backgrounds. Some people start as junior assistants to gain relevant experience.

Stunt Performers, Arrangers and Co-ordinators
Although much 'action' is now computer generated, Stunt Co-ordinators and Performers are still required on a regular basis. Stunt work can vary from high-speed car chases to jumping off the Empire State Building. Stunt workers may have an area of specialisation, or a good thorough knowledge of a range of areas. Health and Safety is obviously an important issue and qualified Stunt workers are members of a register and strictly unionised.

Stunt workers may come from an acting/drama background and are often proficient in horse-riding, fencing and choreography. Good physical co-ordination is required plus the ability to make people feel at ease and 'safe'. Often start as assistant to a Stunt worker, gradually learning the ropes.

Technical Operations
The provision of general support to technical staff across a range of functions, including sound and vision, often using complex IT technology. This is one of the main entry points into the larger TV companies.

Good IT skills are essential, as well as enthusiasm for constantly changing technology.

Transmission Engineering
Transmission engineers make sure that each broadcast happens at the right time and at the highest technical quality. When problems in transmission do occur they are dealt with as unobtrusively and quickly as possible.

Need to have specialist engineering and IT skills and relevant TV, radio or telecoms qualifications.

Vision Mixing
Working closely with the Director in the gallery of a studio 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 th e programme.

Must be patient and clear-headed, have good concentration and be an excellent communicator.

Web Producer
Increasing use of the Internet has produced jobs for individuals who can move easily between IT and programme-making, communicating effectively to produce and update web pages.

Should have a good knowledge of the production process and computer and IT technologies.

Jobs Behind the Scenes A-I