PRODUCTION DESIGNER

The production designer collaborates with the director and the cinematographer to establish the look of a film or television production. Every story is intended to leave the audience with a particular emotion, and the design of the set and scenery is just as vital in that mission as an actor’s portrayal of a character and the music that plays under the images on screen. 

Duties

In the preproduction stage the production designer produces a portfolio of sketches and models that serve to illustrate his or her vision for each set and location. These are a guide for the location scout, set decorator, props master, construction crew, scenics, and greensmen. This person will outline a color palette, period, textures, and tone for all of these artists to reference when pulling together the aesthetic of a movie or TV show. Working closely with the producer, the production designer narrows down a list of shooting locations for the approval of the director and also participates in setting the production’s budget. He or she may also be given the authority to select his or her own art director, set designer, and other art department heads.

During principal photography, the production designer is a coordinator who is charged with maintaining the overall aesthetic vision. This person influences decisions on lighting, wardrobe, hair and make-up, and special effects. He or she is also involved in post-production, advising the artists to ensure that computer-generated material matches and maintains the physical photography’s look and feel. 

 Skills & Education

A successful production designer will be artistically talented, resourceful, and an untamed dreamer—imagination is a prerequisite, and the ability to make dreams tangible is a requirement. A college degree is not required, but an education in film and television production, theater, or fine art is preferred. The production designer should have considerable skills in drawing and painting; sculpting and computer modeling are also helpful to presenting your vision. You should understand color theory and lighting, and how these elements affect photography. Courses in art history, architecture, and world cultures are also useful, as the production designer is tasked sometimes with creating realistic representations of ancient societies, sometimes with imagining vast foreign lands. 

 What to Expect

There is a great deal of artistic freedom in this job, but that freedom is constrained to the extent that the director and producer will let you roam. A production designer who can cooperate effectively, compromise when necessary, and show respect for the ideas and input of others will be go far. Film and television production is a business of collaboration—if you can’t play nice, you won’t work. Production designers can expand their careers to work in theater, concert production, theme parks, and other live entertainment. Extensive experience as an art director and assistant art director can lead to advancement to the role of production designer. To pave your path to this gig, take any job you can get in the art department of a student film, independent project, or theatrical play, then take focused steps to move up the ladder. IATSE Local 800 represents production designers and other related artists. 

DP.. Shhh creative at work

The camera serves as the audience’s eye into worlds that are strange, dramatic, and fascinating. Through film and television the viewer suspends disbelief to accompany the cast on an adventure—to end in catastrophe or celebration. The director of photography is perhaps most responsible for guiding our eye on the journey the director has designed.

 Duties

The director of photography (also known as the DP or cinematographer) is hired at the start of preproduction, and is typically hand-picked by the director. This person will supervise the camera, lighting, and grip departments, and is tasked with selecting the cameras, lenses, filters, film, and other accessories required for principal photography. She or he will also have input on hiring camera operators and assistants and grip and electrics crews. The first task is a thorough read of the script and consultation with the director. The two work out storyboards, consult with the production designer, and plan a shooting schedule and budget.

Under the International Cinematographers Guild (IATSE Local 600) basic agreement, the director of photography is not permitted to operate a camera during production. Instead, the DP instructs the camera operator in framing, focus, aperture, and movement. She or he directs the key grip and gaffer in the setup of lighting and other effects to achieve the shot to match the director’s vision and portray the proper mood and emotion of the scene. The DP also makes suggestions to the director concerning how to capture complicated action sequences and tracking shots, the use of cranes and dollies, and the actors’ blocking. At the end of each shooting day, the director of photography sits down with the director to review dailies and take notes. After principal photography has wrapped, the DP oversees the digital grading and film development process. She or he will also participate in any necessary reshoots and the addition of visual effects in post.

Skills & Education

A director of photography needs expertise in lighting, color theory, camera operation, and the techniques of cinematography. It is possible to pick up a general knowledge by studying under a mentor on the job, but a college degree in film and television production is the most comprehensive education toward this career. As a supervisor of the camera, lighting and grip departments, this person must be proficient in each area. Prior professional experience in one or more production departments is required. The most successful DPs, however, are artists, not simply experienced technicians—visual maestros like Sven Nykvist, Haskell Wexler, Roger Deakins, and Lance Acord create moving paintings out of light and shadow.
What to Expect

The camera department is still the standard proving ground for future cinematographers, but it is becoming more common to see DPs who have graduated from the lighting crew as gaffers. To work on projects for major film and television studios, a director of photography must become a member in good standing with the International Alliance of Theatrical Stage Employees. If working on independent productions, the specific scope and duties of this position can vary widely. Cinematographers are both skilled technicians and talented visual artists. It is important to practice your craft, familiarize yourself with the camera at the component level, and continue to stay abreast of the innovations and inventions in camera technology, but also to nourish your eye: Visit museums and art galleries and keep up-to-date with contemporary art trends. You should be prepared to work for many years to rise to the senior-level role of the director of photography. This is a freelance career that requires long hours, substantial travel, willingness to adapt to changing conditions, and the patience to work with personalities from diverse backgrounds.

I AM THE DIRECTOR,,, HEAR ME ROAR!!!

The director is the ultimate creative voice of a film; he or she holds the core vision of the project and leads the cast and crew through preproduction, principal photography, and post-production. Like a general on the field of battle, the director sees the whole picture, and is the one who plans strategy, delegates tasks, and inspires the troops to achieve the goal.

Duties

In most cases, the director selects crew heads like the DP (an important hire, and often the person who works most closely with the director to achieve his vision), assistant directors, second unit directors, and an editor. These staffing decisions must be approved by the producer and may be written into the director’s deal memo. Likewise, the director is usually given the discretion to fire and replace crewmembers as needed.


During preproduction the director is provided with the shooting script, any pertinent supporting material, and a detailed budget. She or he may have the authority to make changes to the script and works with the producer, DP, unit production manager (or line producer), to establish a shooting schedule, determine locations, and hire production crew. The director also collaborates with a casting director to cast the actors, usually subject to the producer’s approval. Decisions on costume and set design, cameras, and all other creative elements fall to the final approval of the director and are determined during preproduction.


In addition to directing action in front of and behind the camera, this person is responsible for rehearsing the actors, establishing their blocking, and coaching their performance. During post-production the director supervises editing, dubbing, looping, and any pick-up shots that must be added. He or she is ultimately charged with delivering the finished product on time and on budget.

Skills & Education

Numerous notable directors have been quoted regarding their notions of the necessity of film school; reviews are mixed. Yes, a certain natural talent is required, but if you’re not related to Ron Howard or the Weinstein brothers, a college degree in film and television production is a valuable addition of skills to that inborn talent. This education will give you the necessary technical expertise in the operation of production gear (cameras, lighting, audio recording, grip equipment), as well as the theoretical knowledge of the art and technique of filmmaking. Courses in still photography, literature, and theater can also be worthwhile to someone who is expected to direct and interpret story, images, and performance. As for on-set skills, directors need to inspire their troops to perform—an ability to delegate efficiently while managing to keep an eye on all the moving parts is a necessity.
What to Expect


Membership in the Directors Guild of America is a requirement to work for signatories of the organization, which most major studios are. Rarely does one fall into the director’s chair without significant prior experience in the film and television industry, but a talented few find success with independent productions that leverage their life savings against a risky dream. Tarantino gained fame from his appearance at the Sundance Film Festival with his self-written project, Reservoir Dogs; Steven Spielberg was an assistant editor (not credited) on Wagon Train; and James Cameron worked as a miniature model-maker at Roger Corman Studios. The trick is to get noticed, either by rising through the ranks of the production crew or through screenings of your own independent work. Passion is of the utmost importance; it will push you through the uncertain times and inspire your ability to create.

EVERYONE WANTS TO BE ONE...... THE PRODUCER!!!!

This title must be one of the most misused and misunderstood in the film industry—so much so that, after the stampede of producers that took the stage to accept the Best Picture Oscar for Shakespeare in Love, the Academy instituted a three-person limit to the nomination credits.

Duties

On major motion pictures, producer credits are sometimes handed out like party favors; one to the guy who wrote the big check, another to the lead actor, and a couple more to long-suffering personal assistants and the guy who offered the shooting location for free. This is a common practice, but one that the Producers Guild of America is trying to change. In its effort to standardize credit guidelines, the guild recognizes a producer as the individual who is most responsible for the film’s production; this includes securing financing and holding “significant decision-making authority” over development, pre-production, principal photography, and post-production. The producer conceives of the initial concept, hires the writer and director, and sometimes staffs other key positions. He or she is also heavily involved in final casting decisions and contract negotiations. With the help of the UPM or line producer, this person must establish the production budget and shooting schedule, and may participate in scouting locations.


During principal photography, the producer trades time between supervising activities on set and coordinating logistics in the production office. He or she provides continual support to the director and is responsible for approving weekly cost reports. Creative decisions are ultimately at the discretion of the director, but the producer will consult on matters involving costume design, art direction, stunts, and mechanical effects. In post-production the producer collaborates with the director to hire a composer to score the film, supervises editing and visual effects, and facilitates necessary logistics for marketing and distribution upon completion of the final cut. In short, the producer is on the line for getting the movie in the can and shipped out to theaters before the money runs out. Some of the best-known directors work with the same producers over and over; producer Brian Grazer and director Ron Howard have made more than a dozen films together, from 1984’s Splash to Apollo 13, A Beautiful Mind, Frost/Nixon, The DaVinci Code, and many more.

Skills & Education

Richard Zanuck is frequently quoted as having said, “The producer is like the conductor of an orchestra. Maybe he can’t play every instrument, but he knows what every instrument should sound like.” The producer is not required to know how to set the F-stop on a camera or check the gate, but he or she should know the difference between the two. A formal education is not required, though a college degree in film production and entertainment business is beneficial. A producer must understand the complete filmmaking process from development to post-production, distribution, and overseas licensing. She or he also needs to be extremely familiar with the negotiated stipulations of the Screen Actors Guild, IATSE, Directors Guild of America, and other pertinent associations and unions.

What to Expect

There are essentially two ways to become a working movie producer: Work your way up the ranks from production assistant, or put up the cash to make your own independent film. Either way, the road ahead is not an easy one and requires an opinionated individual ready with a take-charge attitude. If you take the entry-level route, concentrate your efforts on learning as much as you can about what goes on in the production office. Do not pass up opportunities to work on set, but you will not get to the producer’s chair by chatting up the grip. After you’ve put several credits under your belt, look for advancement as a production coordinator, line producer, and associate producer. Once you have landed your dream job, you can expect more than a few headaches and emergencies. On the upside, you will have the freedom to make the movies you are passionate about, and have significant creative control.

WHAT THE HELL DOES A LINE PRODUCER DO?

And now those pesty Line Producers. Why is it important for someone to be in charge of "lines"?

Expenditures on every film or television production are divided in two segments: above the line and below the line. Above the line refers to writers, producers, directors, and actors (including extras). Below the line refers to everything else: that is, crew, sets, equipment rental, insurance, and so on. In the middle of that division is the line producer—the line. He or she is hired by the executive producer(s) to oversee the production from a business standpoint. Whereas the creative control of the film or show is the director’s domain, the logistics, labor, and financial concerns rest in the hands of the line producer.

Duties

The line producer is brought on during pre-production and first must dissect the script to estimate costs based on personnel, locations, equipment, and all other requirements of the project. This cost estimate is presented to the producers to raise funds for filming. He or she will work closely with the director, production manager, and other department heads to create a budget and shooting schedule. The line producer will participate in below-the-line decisions like hiring crew and renting gear based on the budget he or she has established and that has been approved by the producers. During filming, the line producer will act as the eyes and ears of the producer to ensure the production runs on schedule and on budget. This person is a troubleshooter on set and has the authority to make decisions that will affect the schedule or budget.


To keep the production running smoothly, the line producer will implement a cost monitoring system as well as conduct a health and safety assessment and deal with any insurance concerns, including regulatory compliance. While it is the production accountant’s responsibility to handle payroll and track invoices, the line producer establishes departmental budgets for salaries, expendable materials, and equipment. Additional labor hours or materials require the approval of the line producer. At the end of a film shoot, the line producer oversees the wrap of the production and conducts a preliminary audit of costs in cooperation with the accounting department. In television the line producer may also serve a variety of functions and take on tasks similar to those of a production manager, remaining in this role through the life of the series.

Skills & Education

There’s no specific college degree that trains you to be a line producer, though an extensive knowledge of every aspect of the film and television industry is a must. If a script calls for the hero to evade his captors by hijacking a cigarette boat from a Miami marina, you need to be able to quickly estimate the associated costs. Education through a college-level film/TV production program is beneficial, as it will give you a firm foundational knowledge of production. You can build your experience through student films, independent productions, or internships with production companies. Breaking in to bigger productions is possible by working as a PA or administrative assistant in a production office. The best experience for becoming a line producer is experience as a unit production manager. Courses in accounting, finance, or business administration are helpful as the line producer is expected to have excellent skills in quickly creating cost estimates and scheduling large-scale projects.

What to Expect

The line producer is most often an industry veteran who has worked in a variety of positions, gaining a well-rounded knowledge of production. Expect to work for several years to reach this level. This is a freelance role, so there may be long periods of inactivity between gigs. You should frequent film festivals, industry seminars, and workshops for opportunities to network. Resourcefulness, diplomacy, and efficient decision-making skills are invaluable for a line producer. You must be comfortable moderating compromises between members of the crew and be able to stand behind your choices. You will be working in a highly collaborative environment, but are also a leader and at the end of the day are responsible for the cost of a project. You are entrusted with potentially massive financial investments, so attention to detail is crucial and failure can mean huge losses for the studio and producers. Expect long hours and daily fires to put out. This can be both a professionally and financially rewarding career for those with strong problem-solving and leadership skills.

DUTIES OF UNIT PRODUCTION MANAGER

There were some issues on a recent film set that I was producer, so I wanted to clear up some guidelines of department head's responsibilities. The role of the unit production manager is similar to that of a line producer, in that the UPM is hired by the producer during preproduction to oversee the creation and finalization of the operating budget and scheduling of the film or television show. Line producer is a role recognized by the Producer's guild of America, but a upm is a member of the Directors Guild of America and works under a bargaining agreement between the union and the studio or production company.

Duties

In pre-production, the ump is responsible for preparing a preliminary shooting schedule and below-the-line budget by breaking down the script and accessing time and cost. This person will also work with the location manager to search for and survey all shooting location and secure permissions. The upm will participate in the hiring of below-the-line crew and coordinate arrangements for housing and transportation, as well as obtaining rental agreements for gear and materials. During principal photography, the ump will have final approval over all financial expenditures, approve salary and time sheets for crews and sign off on each day's call sheet. The ump is also the producer's eyes and ears on set; production reports are produced daily detailing the shoot's progress, cost incurred and changes made to the schedule or budget. If the film or show is lagging behind projected goals, the upm must step in to identify the cause and take action to get the shoot back on track. Ultimately this person is responsible to the producer(the person signing the checks) to keep the project on time and on budget.

When conflicts arise that threaten the smooth operation of the crew, the upm will step in to mediate the situation and decide on a course of action. It's not a creative role, but the person in it does have authority to terminate crew employment, alter the equipment and materials lists, or advise the director on what is and is not feasible under the budget and schedule.

Skills & Education

Unit Production Managers are highly experienced veterans of the film and television industry. A college degree in film/TV production is advantageous, giving you a firm knowledge of the equipment, job functions and techniques related to the industry. Courses in finance, human resources, mathematics, statistics and entertainment business are also invaluable to a ump. The most important skill a ump can have is the ability to look at the script and instantly know what each element will cost and how long it will take to shoot. That is not easily taught, but comes with experience and a good mind for numbers.

What to Expect

A unit production manager must be a skilled diplomat capable of devising compromises. The ump controls the purse strings and must be prepared to say no when the director is insisting on six more hours of shooting and the crew is about to hit overtime. A ump who goes over budget and over schedule will not get much work, but if you can offer creative solutions to complex problems, you will be a sought after professional. You can reach this role on-set through experience as an assistant director or through the production office as a production coordinator or assistant production manager. A ump can move up from small, low-budget production to larger films and television series or can parlay his or her experience into work as a producer.