Camera operator

Role

Preparing and operating the camera and all its equipment

Working with the Director and Director of Photography to achieve the visual style of the film
Managing other camera department staff and communicating with Actors

Areas
Camera Operators usually carry out the Director of Photographys and the Directors instructions for shot
composition and development. They are 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.
After pre-production has finished, they start to look at the technical recces with other Heads of
Department to which 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.
Camera Operators ensure that the camera and equipment are already prepared for the set-ups required and
to prepare for any last-minute changes. They have to be persistent in multi-tasking and to watch, listen
and think on their feet while carrying out complex technical tasks. They have the power to decide where
to position the cameras and which equipment is appropriate to use.
The Director and the DoP often decides on a specific camera operator who in turn makes recommendations
about the rest of the camera and grip departments.

Editor
Role

You need to be able to work with the Director confidently to craft the films masterpiece.
Be able to work in the editing suite for hours.
To handle your assistants and trainees on film productions

Areas
Editors have the most central roles in the film industry. They are responsible on making bigger
productions, First Assistant Editors, handling Trainees and Second Assistants. For scenes shot and taken
out in the sequence, they usually work on this after the end of the film and must be able to maintain a
good sense of how the story is unfolding
They can decide which scene is the most convincing and edit them together to create scenes. In some
cases, they might get the actors to improvise on their lines to create that on-screen magic which can be
developed into creating a new and exciting scene. During post production, they work with the Director work
closely, refining the assembly edit into the Director's Cut, which must be approved firstly by the
Producers, until they are able to achieve picture lock or Fine Cut (when the Director and/or Executive
Producer give final approval of the picture edit) Editors usually work in a supervisory role during the
subsequent music and track laying, and sound mix.

Alan Edward Bell

Production Designer
Role

Defining and managing every visual aspect of a film

Working with the Director and Producer to produce a budget and schedule
Directing the team responsible for producing the visual elements e.g., sets and costumes

Areas
Production Designers are major heads of department on film crews, and are responsible for the entire art
department.
They help to define and achieve the look and feel of a film for Directors. For instance, Filming
locations may range from a Victorian parlour, to a late-night caf, to the interior of an alien space
ship. The appearance of a set or location is vital in order to draw the audience into the story and to
making a film convincing. A great deal of work and imagination goes into constructing the backdrop to any
story and choosing or building locations and/or s
They begin working at the very early stages of pre-production- they often may be asked to look at the
script to begin spending estimates before a Director is even approached. On first reading a screenplay,
they assess the visual qualities that will help to create atmosphere and bring the story to life.
Production Designers deliver their design sketches (this is used to show the mood, atmosphere, lighting,
composition, colour and texture) to Art Directors who oversee the production of technical drawings and
models, which are used by the Construction Department to build the sets and adapt locations. Props Buyers
and Set Decorators source props and organise the manufacture of specialist items.
As a product designer, you need to prepare detailed drawings and specifications in order to pitch for
work on a number of productions before being offered work on one of them. Although the work can be very
demanding and the hours long, this is one of the most highly-skilled, creatively fulfilling roles within
the film industry.

Professional Development
Roles
Management and leadership;
Developing diverse audiences;
Technical skills in new technologies for digital cinema projection;
analyzing audience data and marketing campaigns.
Areas
As the production teams exhibition designer, they are mostly pressurized by deadlines if they
are working with one project at a time. Professional Development work with organisations and
individuals to turn their ideas into engaging displays that tie in with an overall theme or
promote products in their best light. They use a combination of graphics, props, multimedia,
lighting and sound to help develop the atmosphere of the films settings
Marketing and Publicity Manager
Able to oversee the creation and planning of marketing campaigns for films
Liaise with the Distributor, film studios and filmmakers
Areas
Their main responsibility is to convince the public that this is a 'must-see' movie that they
should watch. Once the Distributors identified the target audiences and the films potential
revenue, the marketing campaign should be able to reach their target audiences before and during
the release of the film. When the film opens, the audiences interest should be at its
peak. After the releasing, the Marketing and Publicity Manager needs to find ways to increase
interest in the film with more promotion and troubleshoot any problems.
They have to work on a film's marketing campaign which usually begins over a year prior to its
release. in some cases, the lead time is several months.
Marketing and Publicity Managers must first be fully aware of the Distributors' needs and
requirements. As every film is different, every marketing campaign must also be unique. For

instance, Big budget films involving top stars usually spend more money on marketing and
publicity because they have more production costs to recoup. Smaller 'indie' films have less to
spend,