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3rd Assistant Director (3rd AD)

Also known as: Thirds

What does a 3rd Assistant Director (3rd AD) do?

Thirds are the 1st AD’s right-hand on set. They are responsible for coordinating extras, preparing and cueing them, as well as sometimes directing them in any required background action. They may have to keep members of the public out of shot, or off the set and/or the location, and will liaise with the Location Manager regarding the security and tidying up of studios and locations after filming.

The 3rd AD reports directly to the 2nd AD. The 3rd AD’s key responsibilities include moving actors from point A to point B, organizing extras, and supervising Production Assistants. The individual may also serve as the set messenger, conveying information between cast and crew members – usually by radio.

Because the responsibilities of 2nd and 3rd AD overlap, the specific function on-set may vary from film to film. However, it will most likely include things like keeping the public out of the Director’s shots so that they don’t disrupt the expensive production schedule, locking up a studio, and securing a location when filming is completed. There may even be some directing involved – cueing extras and drivers of on-set vehicles and generally coordinating the background action.

What’s a 3rd Assistant Director (3rd AD) good at?
  • Multi-tasking

    Pay close attention to what is happening in one shot while getting ready for the next one

  • Attention to detail

    Ensure everything is on screen as it should be - cueing extras and even directing

  • Communication

    Able to let a wide range of people know exactly what is required of them and get them to work together, ability to listen to the director

  • Organization

    Plan, multi-task, work calmly under pressure

Who does a 3rd Assistant Director (3rd AD) work with?

The 3rd AD reports directly to the 2nd AD and on set works closely with the 1st AD.

How do I become a 3rd Assistant Director (3rd AD)?

Like many roles in film and TV, there are many routes to becoming a 3rd AD. From getting degrees, diplomas, certificates, internships, apprenticeships, or even freelancing and volunteer work, there is no standard recipe. Training on-set is also a great route, and there are lots of ways to do it, both extended and short-term.

More tips

For more tips on finding job opportunities, lists of training programmes, and other great resources, check out our Career Resources page.

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Production Management

A 3rd Assistant Director (3rd AD) works in the Production Management Department

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2nd Assistant Director (2nd AD)

What is a 2nd Assistant Director (2nd AD)?
What does a 2nd Assistant Director (2nd AD) do?

The 2nd Assistant Director is the right-hand man of the First Assistant Director (1st AD). The main responsibility of the 2nd AD is to ensure that all of the 1st AD’s orders and directions are followed. Under the supervision of the 1st, the 2nd AD’s prepare and draw up the ‘call sheet,’ which is the document that details daily filming logistics and is distributed to all cast and crew; they supervise all cast movements, ensuring that the principal actors are in makeup, wardrobe, or standing by on the set at the appropriate times.

The 2nd AD may also be in charge of finding and looking after background artists (extras) on smaller productions without a Third Assistant Director. The majority of 2nd ADs also assist the 1st AD in liaising between the set or location and the production office, keeping key personnel up to date on the shoot’s timings and progress.

The film’s 2nd Assistant Director reports directly to the 1st Assistant Director. The 2nd AD will typically use a headset and/or walkie-talkie to communicate with the film’s 1st Assistant Director at all times.

What’s a 2nd Assistant Director (2nd AD) good at?
  • Planning

    Co-ordinate the schedules of various departments including camera, make-up, hair, costume, design, and visual effects, think ahead and create call-sheets

  • Time-management

    Coordinate logistics, make arrangements, and draw up detailed plans for the 1st AD's review

  • Innovation

    Think of creative solutions under pressure when the unexpected happens

  • Communication

    Able to let a wide range of people know exactly what is required of them and get them to work together, ability to listen to the director

Who does a 2nd Assistant Director (2nd AD) work with?

The 2nd Assistant Director works directly with the 1st Assistant Director. They also manage the movements of the actors and work closely with the hair/makeup and wardrobe departments.

How do I become a 2nd Assistant Director (2nd AD)?

Like many roles in film and TV, there are many routes to becoming a 2nd Assistant Director. From getting degrees, diplomas, certificates, internships, apprenticeships, or even freelancing and volunteer work, there is no standard recipe. Training on-set is also a great route, and there are lots of ways to do it, both extended and short-term.

More tips

For more tips on finding job opportunities, lists of training programmes, and other great resources, check out our Career Resources page.

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Production Management

A 2nd Assistant Director (2nd AD) works in the Production Management Department

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Production Coordinator

What does a Production Coordinator do?

Production Coordinators help ensure a film or television project runs smoothly. Working under the Production Manager or Producer, they help to arrange the day-to-day running of the production office and the team to make sure everyone has the information they need to work effectively.

Production Coordinators can also be the key travel coordinators on small to mid-sized productions. They organize travel plans, book flights and hotel rooms, and they also acquire necessary travel visas for the cast and crew. Production Coordinators are also the main contact at the production office and usually are responsible for communications and document deliveries such as sending out schedules, scripts, script revisions, and call sheets.

Production Coordinators need to communicate well with everyone. They liaise with production and post-production. It’s their job to help to keep everyone informed and on target so the project is finished on time and on budget.

Read

What’s a Production Coordinator good at?
  • Communication

    Work within a team towards a shared goal, be able to communicate clearly with all team members

  • Organization

    Be good at managing projects and working to deadlines, be organized, show attention to detail, be able to multitask and prioritize

  • Software knowledge

    Be able to use database and scheduling software, be good at learning new software, understand common file formats and resolutions

  • Resilience

    Remain calm and confident under pressure, cope well with fast-paced environments and short deadlines, be adaptable, use initiative, have a positive attitude

Who does a Production Coordinator work with?

Production Coordinators work closely with office staff throughout production and post-production. They usually report to the Production Manager.

How do I become a Production Coordinator?

There are a few routes into becoming a Production Coordinator. You need to show you have very strong teamwork and organizational skills as well as a good understanding of the way a film is made. Entry level as a Production Assistant in the office is a great way to work your way up to Production Coordinator.

Here are some more tips:

Educational Requirements: You can take courses in business studies, film studies, media studies, English, math, and economics.

Get an Internship: Internships are jobs with training. They’re a great opportunity to earn while you learn. You might be able to get an internship as an Assistant Production Manager or project manager.

More tips

For more tips on finding job opportunities, lists of training programmes, and other great resources, check out our Career Resources page.

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Production Management

A Production Coordinator works in the Production Management Department

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Assistant Production Accountant

Also known as: Junior Production Accountant, 1st Assistant Accountant, Cashier, Key Assistant Accountant

What does an Assistant Production Accountant do?

Assistant Production Accountants (APA) help Production Accountants keep accurate records of how the money on a film or TV production is spent.

They primarily deal with expense claims, comparing what people have claimed with the receipts they have submitted. A major responsibility of the APA is to log timesheets given by crew members for the Payroll Accountant to process. They alsotrack money that’s been given to the crew (floats), and make sure this money is available to the relevant crew members (and returned at the end of a shoot).

They also perform petty cash reconciliations, where the cash on the site is counted and cross-referenced with outgoing spending. They photocopy, input data, and back up data. They might help ensure the production isn’t over-spending by providing comparisons between the budget and the actual spending.

What’s an Assistant Production Accountant good at?
  • Math and Computer Skills

    Enjoys crunching numbers , preparing spreadsheets and logging/computing data

  • Taking instruction

    Listen to the Production Accountant and do what’s asked

  • Discretion

    Able to keep confidential information to yourself

  • Communication

    Be social and work well with the accounts department, be able to chat to people in each department and learn what is going on in the production

  • Working long hours

    Work the same hours as the crew who will be working longer than 9 to 5 to make the most of the shooting day

Who does an Assistant Production Accountant work with?

APAs work with Production Accountants and Payroll Accountants, as well as Production Managers and heads of departments.

How do I become an Assistant Production Accountant?

There isn’t a single route to become an Assistant Production Accountant, you have to be interested and skilled in budget mathematics. You should try to sharpen your skills in this area and look for similar jobs in accounting and project management.

Here are some more tips:

Educational requirements: You might find going into a university program that has a focus in accounting, business or business studies and math useful. It will also look good on a resume when applying for different jobs.

Get an internship: Internships are jobs with training. They’re a great opportunity to earn while you learn. Try reaching out to different organizations and production companies and inquiring about possible internships.

More tips

For more tips on finding job opportunities, lists of training programmes, and other great resources, check out our Career Resources page.

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Production Management

An Assistant Production Accountant works in the Production Management Department

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Production Accountant

What does a Production Accountant do?

Production Accountants do all the things accountants do, but they do it on film and television productions amidst the buzz and creativity of making a movie. They calculate finances, work out the cost of a production, talk to the completion guarantor (an insurance policy to make sure the film is delivered on time and on budget) and control the cash flow, or spending.

In pre-production, Production Accountants help the Producers and Production Managers prepare budgets and estimated final cost reports. During production, they oversee all payments, manage payroll and provide daily or weekly cost reports. They also produce cost forecasts to evaluate the impact of any production changes.

Production Accountants prepare a statement of account showing all income and expenditure for the Producer or production company and the financiers. They may also have to arrange an independent audit. Depending on how the film is financed, they may also have to deal with bank finance and completion guarantors.

On larger productions, Production Accountants may work with Finance Controllers, who are often permanently employed by studios and broadcasters. Production Accountants are usually freelancers.

What’s a Production Accountant good at?
  • Accountancy

    Keeps records meticulously, knows and understands Canadian revenue regulations and insurance. Using finance software: be able to use Movie Magic Budgeting or other budgeting packages

  • Knowledge of film production

    Have a thorough understanding of how film dramas are made and a love of the industry

  • Communication

    Be able to listen to and be understood by everyone from producers, financiers, finance controllers and cashiers

  • Discretion

    Be trustworthy with personal and production information

Who does a Production Accountant work with?

If the production has a Finance Controller, the Production Accountant works closely with them. If it doesn’t, then the Production Accountant heads up a team that may comprise an Assistant Production Accountant, and an Accounts Trainee. They may also work closely with the Production Manager and Assistant Production Managers.

How do I become a Production Accountant?

Some Production Accountants have a degree in accounting but by no means all. Some get into the accounts department having worked in other roles in the industry. A good route is to start as a Cashier and work your way up to an Assistant Production Accountant role before becoming the Production Accountant.

Get a degree: A degree in accountancy will be immensely beneficial, but it is not essential. Some people get qualified as bookkeepers then work their way up without a degree.

More tips

For more tips on finding job opportunities, lists of training programmes, and other great resources, check out our Career Resources page.

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Production Management

A Production Accountant works in the Production Management Department

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Prop Master

Also known as: Property Master, Prop Person

What does a Prop Master do?

A prop is any moveable item that can be seen on a film. It could be a hat, gun, cushion, wine glass, lightsaber, carpet, kitchen unit, tree or aircraft. Prop Masters run the property department which makes, stores and transports the props as well as preps the props for each day’s shoot.

Prop Masters usually start work a few weeks before shooting begins. They work with Production Designer, Set Decorators and Art Director to work out what props are needed. They do research and then draw up properties lists, deciding which are to be hired and which are to be made. They create a ‘set and strike’ schedule to share with location and construction departments.

Where props are to be made, Prop Masters recruit the Carpenters and prop makers and manage the schedule for production. Where they are hired, they work with the Production Buyers to source them.

When shooting is finished, they return all hired props and organize the sale or safe disposal of everything else.

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What's a Prop Master good at?
  • Understanding film

    Pick up the Director’s vision, break a script down for props requirements take account of the need for continuity

  • Historical knowledge

    Research different eras, dress a set authentically

  • Craftsmanship

    Work with a wide variety of materials, craft and repair items

  • Moving items

    Handle large, heavy but fragile items

  • Communication

    Work closely with the Production Designer and other departments, share the vision with the props team

  • Organization

    Manage staff, budgets, complex schedules, transport and storage

Who does a Prop Master work with?

Prop Masters report to Production Designer and Set Decorators as part of the art department. They work closely with the Director, Art Director, Production Buyers, Location Manager and Construction Manager. They also might work with the Script Supervisor to maintain set continuity (keeping track of whether a glass is full or empty, where a particular item is placed at the start or end of a take, how objects move, and so on).

How do I become a Prop Master?

This is a senior level role, so college-level technical education in art and design, along with several years of experience in the art department, are required. Apprenticeships or on the job training are also possible. This position requires the ability to work well with your hands and construct materials to form props when needed, as well as organizational skills and an interest in the historical accuracy of items and scenes on a film set.

Here are some more tips:

Learn how to drive a van or a truck: Being a Prop Master can often involve moving heavy props and travelling around different locations. Learning to drive is essential for this, as is learning how to move large, heavy but fragile items safely.

More tips

For more tips on finding job opportunities, lists of training programmes, and other great resources, check out our Career Resources page.

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Art Department

A Prop Master works in the Art Department

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Art Director

What does an Art Director do?

The role of an Art Director varies slightly depending on the kind of production being produced. Art Director is a title that appears in many industries, including film, theatre, advertising/marketing, fashion, and more. The Art Director makes decisions about visual elements.

Art Directors start by examining the script and working with the Director to understand the vision for the film or TV show. They then create their designs and determine the tone, mood and colour palettes.

In a studio show, Art Directors are responsible for turning the creative vision of the Production Designer into reality by drawing plans and visuals and making models. They organize the art department and oversee the construction of the set. They are responsible for the way the set is dressed and the inclusion of any props. They remain on set throughout the production to ensure the set is maintained and dressed appropriately to accommodate the varied content.

On shows where there isn’t a set, but where the content is filmed at various locations, they work with the Producer and Director. They create ‘mini-sets,’ managing the dressing and styling of an area (indoors or outdoors) in which to film. Often, they design these props themselves and oversee their build.

While the Production Designer is the creative mind behind the overall look of a production, the Art Director is the hands that makes that vision come to life. Art Directors are the metaphorical “architects” of the art department. If there is not a Production Designer on a production, Art Directors ensure that what they are doing meets health and safety guidelines as well as the needs of the Producer and Director, and is within budget.

In animation, Art Directors are responsible for the visual style of the animation. They decide how the characters, props, and environments are going to look and provide a basis for the rest of the art department to work from.

This is a job that involves a lot of communicating with people and needs strong management skills. Art Directors are responsible for ensuring all artwork is of high quality and in keeping with the Director’s vision. They are also responsible for making sure everyone in the art department stays on budget and on schedule.

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What's an Art Director good at?
  • Creativity

    Visualize what a production requires, the look of a set or location, imagine how it will accommodate the production brief and department requirements. Have the artistic skill and imagination to produce original and high-quality designs

  • Leadership

    Have strong management skills to lead a department, be able to communicate visual ideas, and be able to work as part of a team

  • Art

    Be able to draw conceptually and technically, work with specialist design software, build props and small sets, have knowledge of art history

  • Knowledge of construction

    Source appropriate materials and props, be aware of the latest developments in production design

  • Knowledge of production

    Understand production techniques, studio environments, studio capabilities and the challenges of working on location. In animation, be able to understand what is going to be achievable further down the line on an animation production by the animation and post-production teams

  • Leadership

    Be able to share their vision with a wide number of different people, manage budgets and people, draw up schedules, prioritise and meet deadlines

  • Communication

    Understand what the director wants, be able to explain ideas, give constructive feedback, have good presentation skills

Who does an Art Director work with?

Art Directors project-manage work within an art department. They oversee construction teams, Production Buyers, Art Department Assistants, Carpenters, Greensmans, Painters, Scenic, Set Dec and Production Assistants. Art Directors work closely with Production Designers, particularly on studio shows, and on-location work with Producer and Directors and their teams of Associate Producers, Researchers and Production Designers. They also collaborate with camera, sound and lighting operators to ensure their work complements theirs and doesn’t create technical issues, such as with colour, lighting or the creation of unnecessary sound problems. They also work closely with Production Managers in planning and budgeting.

In animation, Art Directors work closely with the Director and as well as the artists in their teams, including Background Designers and Modellers.

How do I become an Art Director?

Art Directors typically need a bachelor’s degree in an area relating to visual art or design, preferably as they relate to film. Courses in theatre, architecture, digital design, fine art, film history, and interior design are all relevant to study.If you’re going the film school route, courses in production design are especially useful.

On-set experience is also key, as well as organizational and administrative skills. Art Director is a senior position, so you usually need some experience before you can progress to this role. A good route would be through starting in a junior position in the art department, such as a Set Decorator. You’ll also need to develop strong management skills. To be an Art Director in the animation realm, you will also need a good understanding of how an animation project works.

Here are some other tips:

Develop a wide range of art skills: Learn how to paint, do 3D modelling and graphic art. The more you can do at this stage, the more chance you have of being useful in the art department later on.

Learn to drive: If possible, get access to a car. This makes you more versatile and means you can help more.

Build a portfolio: Create work that you can show off to employers. As an Art Director, you will be hired based on your personal style and skill, so you need to have a strong portfolio. This could be made up of your own independent artwork or work you’ve done for collaborative projects. This is essential for impressing collaborators and people in the film industry.

Look outside the industry: Art Directors are needed in many industries outside of film and animation, including advertising, theatre, print magazines and product design. Getting experience working in the art department of a company in one of these fields would be a good way to gain relevant experience which you can translate into film.

More tips

For more tips on finding job opportunities, lists of training programmes, and other great resources, check out our Career Resources page.

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Art Department

An Art Director works in the Art Department

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1st Assistant Director

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1st Assistant Director

Also known as: 1st AD, First, First AD, Assistant director, AD

What does a 1st Assistant Director do?

The 1st Assistant Director (AD) is the director’s right hand. They are directly responsible for running the set during production, and most of the main crew report to the 1st AD. 1st ADs plan the filming schedule, working with the Director, Production Manager, Director of Photography and other heads of department to ensure an efficient shoot.

In pre-production, 1st ADs break down the script, analysing it for what will be needed in terms of cast, locations, equipment and crew. Along with the Director, the 1st AD prepares the shooting script which identifies all the specific shots that will be taken during the shoot. Then they input the scripts into computer programs such as Movie Magic software, which helps them work out what to film and when, depending on the availability of cast and locations. They write the shooting schedule and work out how long each scene will take to film. Along with the 2nd AD, the 1st AD helps to prepare the daily “call sheet” and makes sure everyone stays on a schedule in accordance.

On many sets, at crew call, the 1st AD will prepare a safety and logistics meeting with the main crew. During filming 1st ADs manage the set, which leaves the Director free to focus on the actors and framing the shots. A 1st AD must have general knowledge of every department on a production and know how to delegate tasks to each department on behalf of the Director. Another task of the 1st AD during filming is to “call roll” which is when the 1st AD cues the heads of departments to ready themselves for filming. In many cases, the 1st AD may even call “action!” for the Director.

Watch

What’s a 1st Assistant Director good at?
  • Visualizing the script

    Read the script and know what this means in terms of cameras, locations and cast, understand the Director’s vision

  • Planning and Organization

    Analyze what is needed for a shoot, and co-ordinate the schedules of various departments including camera, make-up, hair, costume, design and visual effects, think ahead

  • Multi-tasking

    Pay close attention to what is happening in one shot while getting ready for the next one

  • Innovation

    Think of creative solutions under pressure when the unexpected happens

  • Communication

    Able to let a wide range of people know exactly what is required of them and get them to work together, ability to listen to the Director

Who does a 1st Assistant Director work with?

1st Assistant Directors work closely with the Production Manager, who supervises the production expenditures and arrangements as a whole. They also work closely with the 2nd Assistant Director, who is the main off-set contact with other departments and prepares the call sheet, as well as the 3rd Assistant Director, who is the 1st Assistant Director’s right-hand on set.

How do I become a 1st Assistant Director?

This is a senior role that requires many years of experience. Most 1st Assistant Directors start out as PA’s and work their way up. Here are some more tips:

Network online: Create a LinkedIn profile. See if there are Facebook pages or other social media groups for people making films or TV in your area. There might even be groups for Production Assistants and other entry-level roles.. Join them. Find a film office near you and get connected. If you do sign up to paid sites, make sure they specialize in the areas in which you’re interested.

More tips

For more tips on finding job opportunities, lists of training programmes, and other great resources, check out our Career Resources page.

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1st Assistant Director

Production Management

A 1st Assistant Director works in the Production Management Department

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Location Manager

What does a Location Manager do?

The location in which a film is set has a huge impact on its look, feel and story. It’s the job of Location Managers to find that place in the physical world and make sure it’s accessible, safe, and not too expensive to hire.

Based on scripts and discussions with the Director, Production Designers, and other department heads, Location Managers start their research. They might be looking for deserts, stately homes, or shady underpasses. They arrange visits to the locations, take photographs, detailed notes, start discussions with the location owners and work out costs. They present their findings to the Director and, once approved, negotiate and confirm contracts with owners.

Once filming has started, Location Managers manage the location. They make sure everyone in the cast and crew knows how to get there. They negotiate parking, noise reduction, power sources, catering requirements, and any official permissions that may be needed with the site’s management or owner. They are responsible for ensuring it’s safe.

After the shoot, they make sure that the location is cleaned and locked up, before returning it to its owners in a satisfactory condition. Any damage must be reported to the production office and any insurance claims dealt with.

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What's a Location Manager good at?
  • Sourcing locations

    Have an eye for architecture, knowledge of landscapes, ability to research and visualize how a location could be turned into a set

  • Interest in photography

    Take good photographs of locations to present to the rest of the production team

  • Law

    Know how to comply with public liability, trespass, public highway, and health, and safety legislation

  • Negotiation

    Get the best price for the location and facilities

  • Organization

    Plan, budget, attend to detail, and spot potential problems in advance

  • Communication

    Work sensitively with location owners, members of the public, and production colleagues

  • Not getting lost

    Have a good sense of direction and the ability to read maps

Who does a Location Manager work with?

Assistant Location Manager or Location Scout
Assistant Location Managers must prepare movement orders and assist with scouting or additional locations by researching, photographing, and making appointments to meet with owners and residents. If a location is approved, the Assistant Location Manager organizes technical visits for heads of other departments. During production, they are responsible for writing and distributing letters to local residents informing them about the filming and liaising between the crew and location owners. At the end of each day, they help the unit manager to clear and tidy the location and set.

Location Production Assistant
Location trainees or locations production assistants assist the locations manager and assistant locations manager on set.

How do I become a Location Manager?

Some key skills to becoming a good Location Manager include the ability to read, understand and draft contracts, logistical and administrative skills, take photos, drive a car, and interact with people in a professional manner. While there is no direct educational route to become a Location Manager, some have a background in geography, real estate. Gaining experience on-set as a Locations PA, and working towards the locations department is an excellent way to get into the field.

Here are some tips:

Take a health and safety course: This can be a valuable skill on set, especially when working with equipment and vehicles. Taking a course in health and safety can set you apart from other candidates.

Learn to drive: If possible, get access to a car. This makes you more versatile and means you can help more.

More tips

For more tips on finding job opportunities, lists of training programmes, and other great resources, check out our Career Resources page.

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Locations Department

a Location Manager works in the Locations Department

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Distribution Executive

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Distribution Executive

Also known as: Distribution Manager, Distribution Director

What does a Distribution Executive do?

Distribution Executives get films and tv shows in front of an audience in any and all ways that are appropriate, including movie theaters, broadcast and cable channels, and streaming platforms.

In film, Distribution Executives go to film markets where they look at films and acquire them from production companies or Sales Agents. They negotiate for the rights to release them. These deals cover a set period of time (“window”), and a specific territory or territories, and include agreements about promotion, classification of the film and any edits allowed. Distribution Executives then pitch the film to exhibitors (usually theaters). They deliver the film materials to them and they plan the release, including how to market the film, targeting the film’s core audience to bring in the most profit. How well a film does when it first opens in the theater has a big impact on the rest of its release cycle.

In TV, Distributors play a slightly different role. Big budget dramas are usually financed by a combination of TV channels and distribution companies. The distribution company will advance money for the production of the drama against the right to sell broadcast rights in the programme for a set time period in specific countries. They might also be responsible for any merchandising or publishing spinoffs. Distribution Executives are often essential to the financing of the show in development (prior to production) and can also play an important part in helping form the content of new dramas.

Learning or knowing different languages and a desire to travel are advantages when considering a career in distribution.

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What's a Distribution Executive good at?
  • Watching films

    Have a passion for and wide knowledge of the industry, critically analyze scripts and production packages, know film festivals and how they work

  • Market knowledge

    Identify and understand the core audience for a film, know how to excite them, research box office and viewing figures, be aware of cultural trends including past statistics, predict what will be successful

  • Industry knowledge

    Have an in-depth understanding of the film and TV drama industry, including the production process, how to turn talent into commercial success, convert master materials from filmmakers into exhibition formats

  • Negotiation

    Be good at selling, execute deals on an international and global level, understand contractual agreements

  • Finance

    Manage a budget and handle accounts, be very well organized

  • Networking

    Communicate well with a wide range of people in the film industry

Who does a Distribution Executive work with?

Distribution Executives acquire films from Producers, studios or Sales Agents and then work with exhibitors to get the film out to audiences.

How do I become a Distribution Executive?

Distribution Executives often begin their careers in business or marketing so a good route into this role is as a Marketing Assistant. You might also get there through training in film production. Whether your background lies mostly in the production or business side of the industry, you need to demonstrate a strong understanding of both.

Here are some more tips:

Get a degree: A degree in business, marketing, or finance would equip you well for this role. Or you might want to study film production as a route.

Start your own channel: Set up a review blogging site or content channel. This is the marketing version of having a portfolio. You can send a link with your resume to show your writing and online skills, and, equally importantly, your interest in film and TV drama.

Look outside the industry: Consider any advertising or marketing roles in any industry, as experience in these will be helpful in getting into film later. Marketing agencies may have more roles available than film companies and often the technical marketing approaches and techniques you will learn will be the same as the ones used in film marketing. Experience as a journalist or a press officer will be useful for the publicity side of the job.

More tips

For more tips on finding job opportunities, lists of training programmes, and other great resources, check out our Career Resources page.

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Distribution Executive

Marketing and Distribution

A Distribution Executive works in the Marketing & Distribution Department

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Sales agent

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Sales Agent

Also known as: Film Sales Executive

What does a Sales Agent do?

Sales Agents, or sales companies, act on behalf of the Producer to sell the rights to an independent film or TV drama to Distributors, who then release films on different platforms (cinema, TV, DVD, Blu-ray, streaming platforms like Netflix or Amazon). An independent film is one that has not been produced by a Hollywood studio or ‘major’. Their productions are distributed by their subsidiaries worldwide instead. Sales Agents negotiate with the Distributors, based on the sales estimates and detailed assessment of the production’s commercial value.

Sales Agents are also responsible for promotion. They promote the films they represent at festivals and film markets, invite Distributors to screenings and hold premiere parties. They assemble and organize the delivery of any physical film materials and are usually involved in developing the marketing plan.

The point at which Sales Agents get involved in a production varies. Unknown Directors, who usually need an Agent, might have to finish their film before they can find someone to take it on. In other cases, a Sales Agent might sell a film to a Distributor as a concept, a draft script, or at the filming or post-production stage. Funding for a film is often dependent on the deals the Sales Agent has managed to broker at the start.

Sales Agents are continuously acquiring new content to sell from filmmakers and they build relationships with Distributors all over the world, so the job usually involves travel.

What's a Sales Agent good at?
  • Commercial awareness

    Have an awareness of cultural trends, understand and predict the market both globally and within individual countries, have an eye for talent that fits this (with the ability to read scripts quickly and thoroughly)

  • Knowledge of the film-making process

    Understand all aspects involved in making a film, from script to finance to post-production

  • Marketing

    Be enthusiastic with strong sales skills to secure competitive deals, be able to outline the story of a film in a succinct and engaging way face-to-face, have an understanding of digital marketing and social media

  • Networking

    Establish good relationships and communicate constantly with distribution outlets and festival programmers as well as with filmmakers, use language skills to travel and embrace other cultures, have a wide knowledge of film festivals and markets

  • Negotiation

    Be flexible, able to negotiate conditions, draw up contracts, understand licensing, copyright

  • Finance

    Deal with figures, have the financial knowledge to make sales predictions, negotiate funding and handle a budget

Who does a Sales Agent work with?

Sales agents communicate with Distributors on behalf of Producers so they work closely with both of these groups. They also collaborate with other people in sales and distribution like Marketing Managers and Publicists.

How do I become a Sales Agent?

Sales Agent roles are senior positions. To become a Sales Agent you need to have a high level of knowledge and experience of the industry. Occasionally companies will take on film Sales Assistants. Another good route into sales roles is as a Marketing Assistant.

Here are some more tips:

Get a degree: A degree in film studies, law, business studies or media and communication is a good way into this field. You would also benefit from studying film production, film history or film finance.

Educational requirements: Courses in business studies, economics, English, film studies or politics are useful.

Get an internship: Internships are jobs with training. They’re a great opportunity to earn while you learn. It might also be worth looking for a job as an apprentice in an industry that uses similar skills, such as literary agent in publishing. This could help you develop your craft and create a body of work for a portfolio that you can use to find your way into the Canadian film industry at a later point.

Take a short course: Learn more about the process of getting a film funded to improve your knowledge of business and finance relations within the film industry.

Look outside the industry: Consider law, finance, business, or marketing roles in any industry as work experience in film sales is highly competitive. A background in sales, business, or finance will show you have the necessary analytical skills for this role.

More tips

For more tips on finding job opportunities, lists of training programmes, and other great resources, check out our Career Resources page.

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Sales agent

Marketing and Distribution

A Sales Agent works in the Marketing & Distribution Department

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Producer

What does a Producer do?

Producers are generally the people “in charge” of a film or TV production. They’re responsible for developing a project from the beginning, raising and managing the money, assembling the team and supervising all aspects of pre-production, production and post-production. They are often the first to get involved, spotting the creative opportunity and commercial viability of a production. They continue as the driving force right through to distribution. Producers are the overall decision makers. They will come up with story ideas and hire Screenwriters or choose and secure rights to a script. This is known as ‘optioning’ a script.

They decide on the scale and budget of the film and source financing from investors, studios and distributors. They hire all the “above-the-line” team members such as Line Producer and Director. They then work with creative ideas from the Director, often making creative decisions, and then approve production costs. Producers spot and solve potential problems throughout the production process.

They approve locations and hire a team of staff for the production, delegating certain responsibilities to a Line Producer or the Production Manager. It’s their job to create a good working environment and they constantly communicate with everyone to make everything run smoothly. They have ultimate legal responsibilities for the health and safety of the crew on set and delivery of a completed film at the end of the production process.

Producers need to be good communicators to ensure everyone is working towards the same end and are responsible for creating a good working environment and smooth production.

Are there different levels to being a producer?

Yes! There are different levels of involvement from different producer positions, depending on the needs of the production. These different roles have different aspects of involvement and responsibility but all require you to have the same skill-set of being a producer. The lead producer receives a simple “Producer” credit. While there are other credits (such as Executive Producer) that might sound more senior, the Producer is the one in charge.

Associate Producer
An Associate Producer (often called an Assistant Producer, or simply the AP) is a junior Producer who works closely with the Lead Producer in putting together a television show or film project. The goal of an AP is to eventually become a lead Producer and so they must be trained in every aspect of production. Associate Producers report directly to the lead Producer.

Executive Producer
Executive Producers give high-level contributions so the project can be created. These could include providing funding, developing the project for a studio, making key introductions, providing resources, or mentoring. EPs usually don’t participate in the creative process or day-to-day production management, aside from advice they may offer. Some EPs are the first point of contact in the production workflow—optioning a script or greenlighting a film – but they then pass the responsibility on to the Producer(s). They are the silent partner, or a leader in the film and television industry and require being a producer first.

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What's a Producer good at?
  • Film and TV production

    Have extensive knowledge of all the creative processes of making a film or TV programme including screenwriting, directing, and editing

  • Storytelling

    Know how to tell a story, make and approve creative decisions to help do this well

  • Commercial awareness

    Understand what makes a successful film, be able to market it to distributors and to the public

  • Leadership

    Motivate and communicate well with everyone throughout the project, take responsibility for decisions and outcomes, create a good working atmosphere and adhere to legal workplace regulations, be a figure head

  • Adaptability

    Work well in challenging and changeable environments, problem solve on the go, make quick effective decisions and be able to prioritise

  • Organization

    Be on top of the whole project, prepare schedules and a production budget using financial skills to secure funding and negotiate salaries

  • Knowledge of the industry

    Have extensive knowledge of and a passion for TV drama, appreciate trends in viewing, predict what will be popular

  • Creativity

    Generate new and exciting ideas, recognize new and exciting script ideas in others, have an entrepreneurial spirit

  • Negotiation

    Have a good business head, be good at selling, persuading, and striking a financial deal

Who does a Producer work with?

Everyone. Producers lead and communicate with the whole production team as well as distribution and marketing teams. They sometimes answer to Executive Producers in television production who serve as the overseeing face of the film studio, financiers, or who are the overall leads on a series.

How do I become a Producer?

While producing is something that can be learned in school, usually one gains experience elsewhere in the production department, such as working up from a Production Assistant, to a Production Coordinator, Production Manager or Line Producer. They do not necessarily attend a film school. You’ll need a combination of business skills and creative vision for this job and an understanding of both sides of the industry.

Build a portfolio: Create a showreel that you can show off to collaborators and financiers.

More tips

For more tips on finding job opportunities, lists of training programmes, and other great resources, check out our Career Resources page.

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Above the Line

A Producer works in the Above the Line Department

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VFX Producer

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VFX Producer

Also known as: Executive VFX Producer, Show Producer, Bidding Producer

What does a VFX Producer do?

VFX Producers manage the whole process of creating the VFX for film or TV. They make sure that the client, usually the film or TV series’ Producer or Director, is happy with what the VFX studio makes.

VFX Producers create the “deck” document through which they persuade the film or TV series’ Producer to take their VFX studio on to do VFX work on a project. VFX Producers put together the team of VFX Artists and other technical staff. They set the schedules for the work and they manage the budget.

While filming is happening, VFX Producers work closely with the live-action production crew. They also work with the Editor in post-production. They communicate between the crew and Editor. How much they interact with the client varies between studios. They might report to them on a weekly or even daily basis.

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What's a VFX Producer good at?
  • Organization

    Effectively plan and manage the project using VFX production pipeline organization software, be able to budget accurately

  • Leadership

    Be confident in giving direction and leading a team, communicate well with everyone, create a positive atmosphere within the team

  • Knowledge of VFX

    Understand all aspects of VFX pipelines, know the processes, the creative challenges and the software used by the artists

  • Problem-solving

    Anticipate any issues that might occur during the project, adapt to changing timescales and technical issues

  • Working with clients

    Communicate well with the film and TV producers, keep them informed it things don’t go to plan, be diplomatic, keep good relationships

Who does a VFX Producer work with?

VFX Producers communicate with the Producer or Director of the production company making the film. Within their own studio, they work closely with the VFX Supervisor, who oversees the creative work. The VFX Producer then works with the Production Manager and Production Coordinators to make sure the work is done on time.

How do I become a VFX Producer?

VFX Producer is a senior position so you’ll need a lot of experience in VFX first. Some get to the role of VFX Producer by working first as a Production Assistant in VFX and then as a Production Coordinator and then a Production Manager. Others come in through a VFX art route; you can start off as a Junior VFX Artist and then gain experience to become a Compositor or Technical Director (TD) and then move into production management.

You need to have excellent leadership and organization skills. A degree in VFX or a related course is a good idea for this role. VFX Producers have excellent project management skills.

Here are some tips:

Get a degree: You could either take a degree that equips you with the technical skills of a VFX artist or a degree in film production.

Create some VFX sequences: A good way of understanding the processes in VFX, is to learn the software, and start making some.

Look outside the industry: See if you can get a job as a Production Assistant with a 3D animation studio or company. This will help you build contacts, skills and knowledge related to VFX. While you are trying to break into VFX production, get management or project management experience. Any job that involves planning, organizing and budgeting will give you good experience.

Take a short course: Hone your skills in production management by taking a specialist course.

Search for jobs: Research VFX companies you’d like to work for. Go to their websites and check if they are advertising for junior roles. Even if they aren’t, send in your CV and showreel and ask them to bear you in mind for future roles or work experience. Keep looking on job websites too.

More tips

For more tips on finding job opportunities, lists of training programmes, and other great resources, check out our Career Resources page.

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VFX Producer

Effects Department

A VFX Producer works in the Effects Department

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Line Producer

Also known as: Co-producer, Unit production manager (UPM)

What does a Line Producer do?

Line Producers (LP) are at the heart of the production, hiring the crew, allocating the money, and making sure the filming is done safely, creatively, on budget, and on time. They are typically the most senior member of the production team, second only to the Producers.
Working closely with heads of departments, they decide how the money gets spent, delivering the best possible product to the Producer or series producer while offering the Director and heads of department enough money to realize the vision.

Line Producers are ultimately responsible for all the crew and all the contracts. They hire crew, heads of department, caterers, and studio facilities, overseeing all the deals and paperwork. Some of these tasks may be delegated to the Production Manager who reports directly to the Line Producer. LPs understand the artistry of film-making, foresee pitfalls and disasters and never let the spending extend beyond the bottom line.

During production, Line Producers keep track of the budget and the filming process. They are on set and in the office, dealing with the unexpected and helping find creative solutions. At the end of the shoot, they oversee the wrap or winding down of the production and hand-over to the Post-production Supervisor.

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What's a Line Producer good at?
  • Communication

    Get on well with a wide range of people, be clear about contracts and expectations, ensure everyone understands what needs to happen and when and why to create a strong team

  • Film production

    Have an in-depth knowledge of how films are made, love of the process, good contacts in the industry

  • Organization

    Plan a production schedule, shooting schedule, budget, keep accounts and do the math

  • Negotiation

    Get the best deals for services, keep everyone happy, especially when there’s a gap between the director’s aspiration and what there is to spend

  • Innovation

    Think clearly when the unexpected happens, come up with good ideas even when under pressure

  • Knowledge of law

    Understand health and safety, insurance and personnel legislation

Who does a Line Producer work with?

Essentially all departments report to the Line Producer. All department heads create budgets for their departments and work closely with the Line Producer to know what they can and can’t have and have their costs approved. The LP reports directly to the lead Producers and directly oversees the Production Manager.

How do I become a Line Producer?

Line Producers generally start as Production Assistants or interns in the production office and work their way up to becoming Production Coordinators, then Production Managers, and then Line Producers. There’s a shortage of line producers, so if you’re good, you should be able to find work.

Here are some more tips:

Educational requirements: If you want to go to university, courses in film studies, media, or art, and design are relevant. As it’s a role that combines understanding film production with project management and accounting, subjects that develop your skills in that way are useful too. Combine film studies with business or business studies and math for a well-rounded skill set.

Get project management experience: While you are trying to break into film or TV drama, get management or project management experience. Any job that involves planning, organizing, and budgeting will help equip you for the role.

More tips

For more tips on finding job opportunities, lists of training programmes, and other great resources, check out our Career Resources page.

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Production Management

A Line Producer works in the Production Management Department

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Reel Opportunities

Production Buyer

Also known as: Props Buyer, Buyer

What is a Production Buyer?
What does a Production Buyer do?

Production Buyers shop for the props and set dec needed for a production. They work closely with Set Decorators to source, for example, barbed wire, machetes, telephone kiosks and hotel luggage trollies; anything that’s needed for the action and look of a set. They mark up (make notes on) the script and make a list of all the props needed. After this list has been checked with the Set Decorator, they go to prop houses and book them.

The Buyers then write a detailed schedule of the props, working out dates and durations of hire to minimize costs, and confirming collection and return dates with the props master. They produce weekly budgets for the production accountant so that all spending can be closely monitored.

They are also responsible for the art department petty cash, which must be carefully monitored and reconciled at the end of each production. Production Buyers usually work on a freelance basis.

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What's a Production Buyer good at?
  • Knowledge of Prop Houses

    Have a wide network of useful contacts with prop houses, suppliers and specialist manufacturers

  • Organizing

    Schedule and manage a budget and keep track of the detail of many different sets at the same time

  • Resourcefulness

    Find cost-effective solutions

  • Communication

    Work closely with the set decorator, props master, accountant and props houses

  • Knowledge of period furniture and architecture:

    Have an interest in the creative side of set decorating

Who does a Production Buyer work with?

On large productions, a Production Buyer has an Assistant, an Assistant Buyer or Petty Cash Buyer, who helps with research, sourcing items, managing a petty cash float and listing all expenditures per set.

How do I become a Production Buyer?

There is no set route to being a buyer, but it’s helpful to have a background in art. Consider becoming an art trainee first and working your way up to working on a big budget feature film from there. This will help you make the contacts and build up the industry knowledge to get work in the art department of a film or TV drama.

More tips

For more tips on finding job opportunities, lists of training programmes, and other great resources, check out our Career Resources page.

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Art Department

A Production Buyer works in the Art Department

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Reel Opportunities

Production Manager

Also known as: PM, Unit Production Manager (UPM)

What is a Production Manager?
What does a Production Manager do?

Production Managers (PM) act on the decisions that have been made by the Producer and Line Producer. They create the detailed schedule for the project, hire the crew, hire 3rd party contractors (such as equipment rentals or catering), prepare permits and contracts, oversee location management and look after the allocation of the budget. On most productions the Production Manager is the “foreman” of the crew and most heads of departments report directly to the PM.

Once shooting begins the PM is responsible for the daily reports which go to the Executive Producers and lead Producer. They account for any deviation in the budget or schedule.

A PM splits their time between the office and the set. On a smaller production, the role of the PM is often paired with the role of the Line Producer.

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What's a Production Manager good at?
  • Communication

    Keep in contact with the various departments on a production in order to inform them of their schedules, relate to your colleagues and explain yourself well

  • Organization

    Plan, prioritize, multitask and use your own initiative to manage schedules

  • Anticipation

    Listen and be one step ahead of what’s going on, enable everyone to be able to get on with their job

  • Leadership

    Be confident in giving direction and leading a team, communicate well with everyone, create a positive atmosphere within the team

  • Relationships

    Maintain relationships with outside vendors such as equipment rental companies and keep an extensive contact list for crew hiring and replacing in emergencies

  • Knowledge of Laws and Regulations

    An in-depth knowledge of labour laws, insurances, health and safety, contract law and basic human resources is a must

Who does a Production Manager work with?

Production Managers work under the Line Producers, and sometimes directly under the Producers. They manage the Production Coordinators and must liaise with the heads of departments.

How do I become a Production Manager?

A good route to become a production manager is to start off as a Production Assistant, then gain enough experience to become a Production Coordinator, then Assistant Production Manager and then a Production Manager.

More tips

For more tips on finding job opportunities, lists of training programmes, and other great resources, check out our Career Resources page.

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Production Management

A Production Manager Works in the Production Management Department

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Career: Costume Supervisor

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Costume Supervisor

Also known as: Wardrobe Supervisor

What does a Costume Supervisor do?

The Costume Supervisor is the head of the costume department. They oversee all aspects of the department including management of dressers, designers, assistants and fitters. Other duties include buying wardrobe and costume pieces, designing and repairing costumes.

Costume Supervisors keep everything shipshape in the ‘costume or wardrobe department’ and thrive on being organized. Working to the Costume Designer’s plans, they coordinate the work of the department, work out what clothes and accessories need to be made, hired or bought, what staff are needed and where. They also organize storage and supervise the tasks that need doing to ensure all work is done to schedule and budget.

Costume Supervisors work with the Costume Designer to ensure costumes or outfits are of the standard they require, ready and prepared in time for fittings, rehearsals, and shooting. During filming, they supervise continuity of outfits, the cleaning, maintenance and any repairs or adjustments. When filming is over, they supervise any cleaning, repairing and returns.

What's a Costume Supervisor good at?
  • Organization

    Schedule the costume production or hire, maintenance, repairs and adjustments, oversee the department budget and the petty cash

  • Leadership

    Manage large teams of people with different skills and responsibilities, deliver costumes and outfits when required, meeting department and production deadlines

  • Communication

    Work well with others and have good relationships with designers, PR (public relations) and brands who may supply clothing or costumes, explain clearly to staff what’s expected of them

  • Dressmaking and Tailoring

    Draw, sew, make and source clothes, including fabrics and accessories

  • Knowledge of Design

    Be aware of the history of design and costume, and have an understanding of colour, pattern and texture

Who does a Costume Supervisor work with?

A Costume Supervisor typically spends most of their time in their own department, overseeing the creating, sourcing, adjusting, maintenance, cleaning and repair of outfits. They work closely with the Costume Designer to ensure the team they manage makes the costumes or outfits the designer wants and will often work with the same designer on all their big productions. They may work closely with the hair and make-up team, particularly if wigs are required.

Costume Supervisors have regular updates with the production management team regarding budgets and schedules. They have contact with members of editorial and production to ensure all needs are being met.

How do I become a Costume Supervisor?

Costume Supervisors usually start out working as trainees or assistants in the costume department and work their way up. A background in fashion or costume production is helpful.

More tips

For more tips on finding job opportunities, lists of training programmes, and other great resources, check out our Career Resources page.

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Career: Costume Supervisor

Wardrobe Department

A Costume Supervisor works in the Wardrobe Department

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