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Sound Mixer

Also known as: Production Sound Mixer

What does a Sound Mixer do?

Sound mixers head up the department responsible for all the sound recorded during filming. This is predominantly dialogue but can include sound effects, music, and atmosphere.

Before shooting starts, they meet with the Producer and Director to discuss the best method of capturing sound alongside the Director’s shooting style. They visit locations to check for potential sound problems, like passing trains or road noise.

During filming, Sound Mixers ensure audio from radio and boom microphones are recorded at a good level for every take. If they flag up a problem, the Director decides whether to do another take or correct it in post-production.

A lot of sound on a film or TV drama is added afterward in the edit. Speech is often corrected through ADR (automated dialogue replacement), a way of re-recording in a studio.

Most film sets are challenging environments for Mixers. Costumes rustle. Generators hum and cameras point in places where a microphone needs to be. Sound Mixers solve the problems, often under pressure. They must put all the elements of sound together in a way that not only sounds seamless and natural but also heightens the dramatic tension or emotional impact that the Director wants in each scene. They work on a freelance basis.

What's a Sound Mixer good at?

Hearing
Be able to hear precisely and to concentrate on sound in a distracting environment
Understanding sound
Know how it moves, how we hear, how sound can be manipulated and distorted
Knowledge of equipment
Understand electronics, recording, playback and editing gear
Attention to detail
Be able to listen to and manipulate tiny sounds, keep accurate and precise records
Film production
Know how sound can tell a story, understand the requirements of other departments, including camera, rigging, art, wardrobe and hair and make-up
Communication
Be able to listen to the director, give instructions to other members of the team, persuade other departments of the importance of the needs of the sound department and share decisions made while under pressure

Who does a Sound Mixer work with?

Boom Operator or First Assistant Sound
A boom is an extendable arm on which a microphone can be mounted. They are designed to pick up the sound without appearing in the shot. Boom Operators are responsible for operating booms as well as placing radio or clip microphones to capture the best quality dialogue and sound effects. They must carefully note all planned camera movements and lighting requirements to make sure the microphone is always hidden.

Sound Assistant (Second Assistant Sound, Third Assistant, Utility Sound Technician, Cable Person)
Sound Assistants begin work on the first day of shooting and help unload, check and set up sound equipment. They find and stop unwanted noise (including laying carpets) and check batteries for the sound crew. They may help attach clip microphones, negotiate cables on the studio floor, and ensure sound rushes are correctly filed at the end of the day.

How do I become a Sound Mixer?

A good route to becoming a Sound Mixer is to start as Production Assistant and work your way up through the roles outlined above.

Here are some tips:

Get a degree: It’s not necessary to have a degree, but you might want one in sound engineering or music technology.

Educational Requirements: To go to university for a sound-related course, you might want to study courses in math, physics, and music. A program in Media or Film studies, concentrating on post-production audio, is also useful. Experience using editing software is key, as is working on small projects to build your portfolio

Get an internship: Internships are jobs with training, so they’re a great opportunity to earn while you learn. Think about taking that job, learning the core skills of sound and transferring those skills into film and TV drama at a later point. Before taking any internship, check what you’ll be learning with your prospective employer and college, so you can be sure it will be giving you the skills you want.

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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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Professional Organizations Associated With This Role

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Audio Post Production

A Sound Mixer works in the Audio Post Production Department

Boom Operator

Department: Sound Department

Boom Operator: A member of the sound department who operates the recording equipment and holds the boom microphone.

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Sound Editor

Department: Audio Post Production

Sound Editor: Manages the team that looks after each part of the sound of a film or TV production.

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Reel Opportunities

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.

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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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Professional Organizations Associated With This Role

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CMPA

Above the Line

A Producer works in the Above the Line Department

Production Manager

Department: Production Management

Production Manager: The “foreman” of the crew, who schedules the production, hires crew, oversees permits and more. Most departments report to the PM.

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Director

Department: Above the Line

Director: The creative lead of the film from pre-production through post-production.

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Director

Also known as: Filmmaker

What is a Director?

What does a Director do?

Directors are the creative leads of the film. They control a film‘s artistic and dramatic aspects and visualize the screenplay (or script) while guiding the technical crew and actors from pre-production through to the final edit in the fulfillment of that vision.

They are employed by the Executive Producer or Producer, who is ultimately in charge of a production. Directors start with a script, and work with a Screenwriter and sometimes a script editing team such as Story Editor. It’s not uncommon for the Director to be the Screenwriter as well.

It is the job of a Director to imagine the script in a visual form. As soon as a production has raised the cash it needs , they work closely with the Producers to appoint the heads of department, such as the Director of Photography, 1st Assistant Director and Production Designer.

They then work with Producers and Casting Directors to select the actors and with the Director of Photography to develop the filming style, including notes about camera shots and script changes. Some Directors rehearse actors ahead of shooting, though not all do. They ‘block’ the performance with the actors before filming begins, meaning they choreograph where actors are positioned in relation to the camera, where they and the camera will move over the course of a shot, and how they will deliver their dialogue.

At the same time, a Director will also be instructing other members of the crew, especially lighting, wardrobe, and make-up supervisors. Directors work to get the best performance out of the actors but also need to ensure that all technical aspects are in place to get a great scene filmed.

After filming, they lead the editing of a film, preparing a ‘director’s cut’. That cut will be reviewed by Producers, Distributors, and other collaborators before the final cut is completed.

What's a Director good at?

Leadership
Share the vision of the film with a range of people from different departments, inspire them to do their best work, manage the cast and crew, make creative decisions
Imagination
Envisage the film they want to make, see it, hear it, create the vision and execute it
Arts knowledge
Have a passion for and deep knowledge of film and TV drama, appreciate all genres of art, so as to be able to draw ideas from a range of sources
Production
Understand the film or TV drama production process from start to finish, from both technical and creative points of view
Staying calm under pressure
Work methodically within a high-stress environment, make creative decisions when things don’t go to plan

Who does a Director work with?

Directors hold the creative vision for the whole production, so they have relationships with every department head. In pre-production, they work particularly closely with the Producers, Casting Directors and the production designer. During production, they have close on-set relationships with the Director of Photography and the First Assistant Director. In post-production, Directors work with the Picture Editor and Sound Editor to ‘cut’ the film or programme to create a desirable final product.

How do I become a Director?

There are many pathways to becoming a film Director. Some start as Screenwriters, Cinematographers, Producers, film Editors or actors. Others go to film school and start by making their own independent short films before “graduating” to feature-length works.

Whatever the route, this is a role that requires extensive knowledge of the film or TV drama production process. It’s worth starting your career by getting work as a Production Assistant on set or in a production office before working your way up through entry-level positions

Here are some more tips:

Training: Training is always a good idea. In Canada, there are tons of courses at college or university. Also lots of stand-alone courses. Both extended and short-term. You can also plunge in, try to get on-set, and gain the experience.

Build a portfolio: Create work that you can show off to employers. Direct your own short film, maybe using your smartphone, and edit it. This process is very 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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Professional Organizations Associated With This Role

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Above the Line

A Director works in the Above the Line Department

Director of Photography

Department: Camera Department

Director of Photography: The head of both the lighting and camera departments.

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Producer

Department: Above the Line

Producer: Responsible for developing a project from the beginning, and supervises all aspects of pre-production, production and post-production.

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Screenwriter

Also known as: Screenplay Writer, Scriptwriter, Writer

What is a Screenwriter?

What does a Screenwriter do?

Screenwriters write and develop screenplays for film or TV drama. They do this either by basing it on an original idea, by adapting an existing story into a screenplay or by joining an existing project (TV).

Screenwriters prepare their script in a way that enables readers to envisage the setting, emotion, and the way it will work on screen. They collaborate with Producers, Directors and Actors to draft and redraft their scripts, often working to tight deadlines.

Screenwriters are almost always freelancers. In many cases, a Screenwriter shops their feature-length script around through their Agent, or through competitions until it garners interest from a Producer. The Producer (or production company) then “options” the screenplay for a starter fee which can be as low as $1. This means the Producer has the right to try and produce the screenplay for a certain length of time. If the Producer is successful they then pay the Screenwriter a pre-negotiated sum for the screenplay rights. If they are unsuccessful the screenplay rights return to the Screenwriter. Alternatively, a Screenwriter may be commissioned by a Producer or production company to create a screenplay. Once a screenplay is picked up by a production company, more Screenwriters may be brought in to work with a Story Editor to get it ready for production. In this case, any new Screenwriter may share a credit with the original Screenwriter, or they may be credited for additional dialogue, or as a story consultant. In some cases, the original Screenwriter may be replaced entirely by another Screenwriter.

Television Screenwriters generally work as part of a team of Writers, led by a Story Editor or Supervising Producer. The Screenwriter pitches their ideas for stories/episodes and works through the storylines with the Story Editor (and writing team) to create a polished script that fits the continuity of the episodic television show.

Animation Writers develop story ideas and present them in the form of scripts. Their scripts are used by Storyboard Artists and Directors to work out the visual art style of a project.

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9 Questions television writers must answer when developing a television show by Peter Russell

What's a Screenwriter good at?

Knowledge of screenwriting
Understand all the features of a great screenplay, know how to improve and amend one
Creativity
Write well and innovatively, express your ideas effectively in screenplay-form
Arts knowledge
Have a deep and wide knowledge of all genres of art, so as to be able to source ideas from a range of sources and understand the cultural context
Watching film and TV drama
Have a passion for the genre and a love of the industry
Freelancing
Find work opportunities for yourself and manage your finances, be self-motivated

Who does a Screenwriter work with?

Screenwriters work with Development Executives, Producers, Directors, and their assistants. They are sometimes assisted by Researchers, who provide information to allow for screenplays to be fact-checked. Screenwriters may have their screenplays overseen by Story Editors, who, in turn, may be supported by Assistant Story Editors.

How do I become a Screenwriter?

Write your own screenplays as soon as possible. Practising the form is essential. A degree is not a prerequisite to become a Screenwriter, but having relevant education, whether that be in English or screenwriting subjects, is very useful.

Read and write: Practise writing screenplays in a professional format. Read existing screenplays online to familiarize yourself with the form.

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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Professional Organizations Associated With This Role

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WGC

Above the Line

A Screenwriter works in the Above the Line Department

Script Supervisor

Department: Production Management

Script Supervisor: Ensures that the continuity of a film is maintained from shot to shot.

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Fight Choreographer

What does a Fight Choreographer do?

Fight Choreographers design and direct combat sequences for film and TV. Much like dance choreographers, they instruct actors on how to move in various ways, in order to make fight scenes appear realistic and/or historically accurate, while also ensuring the safety of the cast and crew. While knowledge of various fighting styles is necessary for this career, Fight Choreographers must also understand theatrical staging and the principles of choreography. Before choreographing fights, individuals must first be trained in how to fight in particular styles, such as hand-to-hand combat, fencing, and martial arts.

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Intro to FIGHT CHOREOGRAPHY– With Yung Lee! (GakAttack)

What's a Fight Choreographer good at?

Physical Fitness
Physically fit, knowledgeable in physical fitness, aware of the intricate movements of the human body, and some skills in martial arts or gymnastics
Flexibility
Thrive in changing situations, and enjoy spontaneity
Choreography
Able to plan out large fight and stunt sequences
Physical Attributes
Good eyesight, quick reflexes, flexibility, and good sense of timing
Organizing
Need to have the skill to organize the stunt crew, paperwork, and plans for each scene

Who does a Fight Choreographer work with?

Fight Choreographers will work with the director and the actors to gain an idea of what a fight scene should entail. They will also work with stunt performers when the actors are unable to perform the fight sequences or part of the fight sequences. They will teach the Stunt Performers and actors the moves of the fight. They will also work with the Stunt Coordinator to go over the specific stunts performed in the fight.

How do I become a Fight Choreographer?

Fight Choreographers should be physically active and be trained in some form of martial arts, gymnastics, or combat discipline. Many Fight Choreographers start out as Stunt Performers before they can take on the role of Fight Choreographers. Fight Choreographers may also find it useful to choreograph a dance or large-scale theater productions, to gain knowledge of planning and working with a large number of people.

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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Stunts Department

A Fight Choreographer works in the Stunts Department

Stunt Performer

Department: Stunts Department

Stunt Performer: A trained professional who performs stunts (often an athlete or martial artist).

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Cast Coordinator

Also known as: Cast Personal Assistant

What does a Cast Coordinator do?

A Cast Coordinator is the primary liaison between the key talent and the production crew on a film or tv set. Their role is a little more in-depth than a Production Assistant as they are responsible for taking care of all the needs of the talent including but not limited to: scheduling, running errands, liaising between costumes, hair and makeup departments, booking appointments, preparing riders (talent preference lists), and even taking care of pets or children.

When production needs the talent they first go through the Cast Coordinator who is responsible for overseeing the schedule of the talent. Cast Coordinators must be aware of where the talent needs to be at all times – whether they need to be at a fitting, prosthetics or on set. In most cases, the Cast Coordinator is responsible for all the lead and sub-lead talent on a production. This can mean coordinating schedules and needs for dozens of talents all at one time! Therefore, a Cast Coordinator must be very organized, good at problem solving as well as personable.

What's a Cast Coordinator good at?

Organization
Must keep tasks and schedules of several talent organized at all times
Problem solving
Must think quickly and make decisions in the best interest of the talent and the production
People-skills
Must interact with many different personalities between talent and crew

Who does a Cast Coordinator work with?

A Cast Coordinator works closely with the lead actors on a film or TV set. They often interact with the talent’s management and Publicists. Cast Coordinators also work closely with the Production Assistants, and the 1st and 2nd Assistant Directors. In many cases a Cast Coordinator will also liaise between the various departments such as Catering, Transportation, Costume, and Hair and Makeup.

How do I become a Cast Coordinator?

A great way to become a Cast Coordinator is to start with an entry-level position such as Production Assistant. Another route would be to start in a talent management firm or casting agency as an Assistant.

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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Professional Organizations Associated With This Role

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CDC

Casting Department

a Cast Coordinator works in the Casting Department

Casting Director

Department: Casting Department

Casting Director: Manages all aspects of choosing the stars and actors for a film or TV show, from the auditions, to negotiating the actors’ contracts.

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Casting Assistant

Department: Casting Department

Tagged: Entry Level

Casting Assistant: Helps the Casting Director find actors to star in a film or TV production.

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Stunt Coordinator

What is a Stunt Coordinator?

What does a Stunt Coordinator do?

A Stunt Coordinator is in charge of coordinating and arranging the stunts for a film or TV show and hiring the Stunt Performers to do them. In many cases, the Stunt Coordinator budgets, designs, and choreographs the stunt sequences to suit the script and the Director’s vision. They are usually an experienced Stunt Performer.

Many stunts performed by Stunt Performers are very dangerous and the Stunt Coordinator is in charge of making sure safety measures are in place. They will collaborate with the cast and crew to create the best possible way to execute the stunts that are required in the film.

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What's a Stunt Coordinator good at?

Physical Fitness
Physically fit, aware of the intricate movements of the human body, and some skills in martial arts or gymnastics
Choreography
Able to plan out large fight and stunt sequences
Organizing
Need to have the skill to organize the stunt crew, paperwork, and plans for each scene
Flexibility
Thrive in changing situations, and enjoy spontaneity
Physical Attributes
Good eyesight, quick reflexes, flexibility, and good sense of timing

Who does a Stunt Coordinator work with?

Stunt Coordinators work with the Director and the Producer to get the feel of the film and to identify the planned stunts. They work with the Stunt Performers to rehearse the choreography of the stunts beforehand while having safety measures in place. Stunt Coordinators will also work closely with the onset crew such as Grips, to make sure everything is in place for the stunts.

How do I become a Stunt Coordinator?

Many Stunt Coordinators start out as Stunt Performers before they can take on the role of Stunt Coordinator. Stunt Coordinators should be physically active and be trained in some form of martial arts, gymnastics, or combat discipline. Stunt Coordinators may also find it useful to choreograph a dance or large-scale theatre productions, to gain knowledge of planning and working with people.

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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Stunts Department

A Stunt Coordinator works in the Stunts Department

Stunt Performer

Department: Stunts Department

Stunt Performer: A trained professional who performs stunts (often an athlete or martial artist).

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Fight Choreographer

Department: Stunts Department

Fight Choreographer: Designs and directs fight sequences for film and TV, ensuring they’re realistic and/or historically accurate, while also ensuring the safety of cast and crew.

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Casting Assistant

What does a Casting Assistant do?

Casting Assistants offer general help with finding actors to star in a film or TV drama. They are generally employed as freelancers by Casting Directors, although they can also be hired on a permanent contract within busier casting offices.

Casting Directors are taken on by Producers and Directors to cast actors who fit the character brief, look right for a role, act well, are available, whose fees cost a suitable amount for the production’s budget and who will attract the right audience. Casting Assistants help with this, though their role can vary depending on the scale and budget of the production.

They read the script and help the Casting Director draw up a list of possible actors for the main role. The Casting Assistant will call agents to check actors’ availability. They help out with screen tests, operating the camera and offering general support in casting sessions. They also assist with general office duties. They answer the phone and make tea and coffee. General office admin and excellent computer skills are also a large part of their job. This includes editing and uploading footage from casting sessions for the Producer and Director to watch.

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What's a Casting Assistant good at?

Knowledge of the industry
Have strong knowledge of and a passion for film or TV drama with the ability to recognize talent
Knowledge of actors and networking
Build up connections with actors and industry professionals, have an understanding of the art of acting and be aware of new and existing talent
Video
Operate video cameras in screen tests, use software to edit together clips
Administrative skills
Complete office and organizational tasks efficiently, have a professional phone and email manner for contacting actors and clients, anticipate what needs to be done next
Communication
Band producers, work efficiently alongside the casting director and team to ensure the smooth-running of casting sessions

Who does a Casting Assistant work with?

Casting Assistants work with Casting Directors, and sometimes Casting Associates. They work directly with Actors and liaise with Producers and Agents.

How do I become a Casting Assistant?

There are no specific qualifications or training to work in casting. The most important thing is to have a wide knowledge of film or TV productions and be well informed about new and existing actors. You need good taste and an eye for talent. You also need experience of working with actors. A Casting Director is a senior role so you need a lot of experience and connections before you can become one. A good route into this role is as a Casting Assistant.

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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Professional Organizations Associated With This Role

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CDC

Casting Department

A Casting Assistant works in the Casting Department

Casting Director

Department: Casting Department

Casting Director: Manages all aspects of choosing the stars and actors for a film or TV show, from the auditions, to negotiating the actors’ contracts.

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Cast Coordinator

Department: Casting Department

Cast Coordinator: The primary liaison between the key talent and the production crew on a film or tv set.

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Casting Director

What is a Casting Director?

What does a Casting Director do?

Casting Directors find the stars to bring the characters in a film or TV drama to life. They are hired by the production company to match actors to their roles.

Casting Directors read scripts and meet with Producers and Directors to get a sense of the type of person they are looking for. They have to find someone who looks right for the role as well as acting it well. They need to understand the art of acting. Sometimes producers will have a lot of demands. Other times they won’t give much guidance at all. Casting Directors consider the actor’s availability, fees and how much box office buzz they’re going to create. While an experienced Casting Director may consult on the leading roles, the bulk of their job is to fill the many supporting and small parts that the film requires.

They are then in charge of putting out a “casting call” (an announcement to actors and their agents that auditions will be held for certain roles), creating a list of available roles and brief descriptions of the characters, choosing the actors who will be called in to “read”, managing the audition process, and working with director and producers to make the final selections and negotiate their deals (such as what they will be paid, and other aspects of their contract/agreement with the production). After the film is cast, the Casting Director’s job isn’t quite done! They remain the main liaison between the production and the performers’ agents/managers throughout the production.

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What's a Casting Director good at?

Knowledge of the industry
Have strong knowledge of and a passion for film or TV drama and an appreciation for changing trends in the industry
Knowledge of actors
Understand the art of acting and be aware of a wide range of new and existing talent, have a good memory for actors you have seen in the past
Eye for talent
Be able to spot actors with star quality and who will fit well into individual projects and roles, have the patience to conduct a long and thorough search for the right actor for each role
Communication
Communicate well with the Producer and Director to understand their requirements and be able to give direction to actors
Negotiation
Be diplomatic, work with agents to negotiate contracts, have good financial skills, stick to a budget

Who does a Casting Director work with?

Casting Directors work with Producers and Directors (and sometimes Writers). They work with the Director to find what they are looking for in an actor and search for potential candidates. They also work with the incoming actors at the auditions to make them feel comfortable and prepare them for their sides (small sections of Script).

How do I become a Casting Director?

There are no specific qualifications or training to work in casting. The most important thing is to have a wide knowledge of film or TV productions and be well informed about new and existing actors. This role is learned on the job, by assisting established casting Directors and working your way up. Networking and reaching out to casting companies is one way to get started in this field. Starting with an internship, you’ll learn the ropes by helping to run the auditions, with tasks such as bringing actors into the room, setting up microphones and camera equipment, reading out the lines of the “other characters” for an actor during their audition, and so on. Interns can apply for opportunities as casting assistants and work their way up to casting associate and beyond.

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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Professional Organizations Associated With This Role

Click on your region to find out which professional organizations in your area are associated with this career and watch videos to learn more about them.

CDC

Casting Department

a Casting Director works in the Casting department

Cast Coordinator

Department: Casting Department

Cast Coordinator: The primary liaison between the key talent and the production crew on a film or tv set.

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Casting Assistant

Department: Casting Department

Tagged: Entry Level

Casting Assistant: Helps the Casting Director find actors to star in a film or TV production.

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Set Costumer

What does a Set Costumer do?

Set Costumers are the right hand of the Costumer Designer and Costume Supervisor. While Costume Designers design the entire look of a character and supervise the construction of costumes, they seldom go to set. A Set Costumer is responsible for assembling the costume of the actor on set and making sure the Costume Designer’s vision is realized.

Set Costumers will track clothing to ensure that they are loaded and unloaded safely and without causing damage or stains. They supervise the clothing and accessories being delivered to the appropriate actors, and are taught about proper clothing care. This includes educating performers on not eating, drinking, or smoking while wearing specific garments. They create rules for performers to follow when it comes to ensuring that their clothing stays free of filth, rips, and other flaws.

Making sure that the production’s “clothing continuity book” is up to date is a key aspect of the job. This book details each shot in chronological order, including what each actor looks like in each scene. In addition to ensuring that actors wear the right costumes at the right time, this book can also record the use and placement of each costume during the production process.

What's a Set Costumer good at?

Dressmaking and tailoring
Be able to draw, sew, make, alter and maintain clothes and accessories, prepare outfits to look faultless on screen
Styling
Understand the stylist’s or designer’s vision for a show, know what styles suit different people best and create the right looks with flair and creativity
Attention to detail
Spot and deal with any design or styling flaws or issues during filming, keep the department organised and tidy
Knowledge of design
Have a passion as well as an understanding of fashion, the history of design and costume, colour, lighting, pattern and texture, and knowing where to source fabrics, accessories and outfits
Communication
Work well with others, listen and respond to stylists’, presenters’ and contributors’ needs, be trusted and have good relationships with designers, PR and brands who may supply clothing or accessories

Who does a Set Costumer work with?

A Set Costumer works directly with the Costume Designer, Costume Supervisor or Stylist, or all three. They also work with everyone and anyone on the production, in particular the hair and make-up team, to ensure they all create a complete and coherent ‘look’ for any contributors featuring in a programme. They have contact with studio and technical staff, particularly sound when putting on and removing mics, and have regular updates with the production management team regarding budgets and schedules.

How do I become a Set Costumer?

Set Costumers are often the entry-level role in the costume department. Some start as Production Assistants, but others go straight in as Set Costumers. To get in, you need to develop your craft. Here are some more tips:

Educational Requirements: If you want to go to university, classes in art and design, fashion, textiles, theatre studies, graphic design or graphic communication are useful.

Get an Internship: An internship is a job with training, so it’s a great opportunity to earn as you learn. However, it can be challenging to find jobs as an intern within production companies. It might be worth looking for a job as an intern in an industry that uses similar skills, such as being a tailor for a clothing designer or tailoring company. Try to hone your skills through an internship in fashion and textiles or costume and wardrobe.

Build a portfolio: This is essential. Build a Costume Portfolio, get in touch with costume designers and ask if you can shadow them on productions.

Get work experience: Try to get work experience by writing to local production companies and asking if they offer any internships.

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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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Wardrobe Department

A Set Costumer works in the Wardrobe Department

Costume Designer

Department: Wardrobe Department

Costume Designer: Designs the costumes and wardrobe for all the cast on a film or TV show.

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Production Designer

Department: Art Department

Production Designer: Creates the way a film or TV production looks, and working with all other visual departments to design the world in which the story is set.

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Makeup Artist

Also known as: Key Makeup Artist

What is a Makeup Artist?

What does a Makeup Artist do?

A Makeup Artist is responsible for transforming people’s appearance via makeup, paint, and other substances (putty, silicon, fake blood, etc.)

The Makeup Artist usually works with Directors and performers in order to determine the desired appearance of each character. They often examine sketches, photographs, and other references from Concept Artists to get inspiration for the desired look. They read and analyze scripts in order to determine the necessary makeup and changes depending on different scenes and settings.

Some Makeup Artists also specialize in doing Special FX Makeup, which can include everything from putting a prosthetic nose on an actor’s face to creating fake wounds or a ghoulish monster mask.

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How Movie Makeup Comes To Life At Cinema Makeup School

What's a Makeup Artist good at?

Communication
Be clear with clients regarding specific requirements and concerns.
Drawing
Be able to sketch design ideas.
Teamwork
Make sure all members of the makeup team are on the same page creatively.
Visual Perception
Keep in mind lighting, colors, and the photographic process.
Health and Safety
Maintain an awareness of health and safety guidelines that need to be followed.
Research
You’ll want to stay on top of the latest kits, products, and tools.
Time management
Make sure your work is done on time so that the production can meet deadlines.

Who does a Makeup Artist work with?

The Makeup Artist works closely with the Costume Designer, Production Designer and Director in order to create a look for each actor that best captures the character.

How do I become a Makeup Artist?

Here are some tips:

Take a makeup course: Improving your skills means getting an education. This is where beauty school comes in – there, you’ll learn the skills and techniques necessary to be successful in the beauty industry.

Build your portfolio with makeup photos and other visual effects: Like any artist, your portfolio shows what you’re capable of. Use attractive visual effects to highlight all the things you can do. For a high-quality, professional look, be sure to take the best photos.

Learn new makeup styles and trends: Stay curious and understand the latest trends and technologies, and practice them to enhance your skills.

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Professional Organizations Associated With This Role

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Hair and Makeup

A Makeup Artist works in the Hair and Makeup Department

Special Effects Makeup Artist

Department: Hair and Makeup

Special Effects Makeup Artist: Specializes in prosthetics and other specialized make-up design, for creating wounds, as well as monsters or fantastical creatures.

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Hair Stylist

Department: Hair and Makeup

Hair Stylist: A Hair Stylist is part of a team of artists in charge of designing character hairstyles and styling actors’ hair or wigs on set.

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Hair Stylist

What does a Hair Stylist do?

The Hair Stylist is part of the Hair and Make-up department and reports directly to the Key Hair Stylist. The Key Hair Stylist is the head of the hair department and collaborates with the Director, Production Designer, and Key Make-up Artist to create unique designs that complement the overall look of the film.

They begin working full-time on designs long before the film begins production and before additional Hair Stylists are hired to join the crew on set. They may also be in charge of any wigs required and on a larger set, this is usually handled by the Hair Stylist specifically assigned to the wig-wearing actor. They are in charge of the hair look for everyone on screen, which can involve designing and execution, including hiring a hair team to cover every actor and extras.

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What's a Hair Stylist good at?

Hair
Be adept in the craft of cutting and colouring, wigs, extensions, and beards.
Hair history
Know the story of hair throughout the ages, be able to research.
Styling
Understand the Director’s vision, know what that means for hair, have a good eye for the look.
Communication
Share the vision of the style with team members, be the liaison between the Director and the rest of the team, put actors at ease.
Organization
Break down a script into hair requirements, schedule the hair needs, manage the team, budget, and daily call sheet.

Who does a Hair Stylist work with?

The Hair Stylist will work closely with the Production Designer and the hair and makeup team to deliver on the Director’s vision.

How do I become a Hair Stylist?

Many colleges provide diploma programmes in hairstyling, where health and safety issues, professional ethics, communication skills, and entrepreneurial practices are taught alongside the skills of haircutting, styling, and colouring. Hairstyling is a skilled trade, so an apprenticeship is often required. There are always new styles and trends to follow, so keeping up-to-date is important too. Volunteering for small theatre or film productions in high school is a great way to start applying your skills in hairdressing within the setting of the performing arts.

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Hair and Makeup

A Hair Stylist works in the Hair and Makeup Department

Costume Designer

Department: Wardrobe Department

Costume Designer: Designs the costumes and wardrobe for all the cast on a film or TV show.

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Makeup Artist

Department: Hair and Makeup

Makeup Artist: Creates the makeup looks for all performers on the production and applies the makeup on set.

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Special Effects Makeup Artist

Also known as: SFX Makeup Artist

What does a Special Effects Makeup Artist do?

A Special Effects Makeup Artist (SFX) is a specialized member of the Makeup team responsible for creating specialized makeup effects such as abrasions, bloody wounds, deformities, bruises, supernatural beings, zombies, etc. They use different materials to create prosthetics, which are fake additions to the actors body to make them appear this way. In some situations a SFX Makeup Artist might also be responsible for creating an “aged” look. Depending on the script, they estimate the time and cost of making prosthetics and create bald caps, prosthetic pieces, facial parts, and scars.

Mold-making, casting, applying and removing prosthetics, and working with common materials such as latex and silicone are their responsibilities. They must be skilled in procedures such as face and body aging, bald cap creation, and wound or scar creation. Normally, they will use make-up artists and assistants to apply the prosthetics to the actors themselves (which can take hours). They usually stay on set to make sure the prosthetic is in good working order.

They work closely with the rest of the Makeup team and the Prosthetics team to create these unique looks. They usually come equipped with their own kit.

What's a Special Effects Makeup Artist good at?

Makeup Techniques
Must understand traditional makeup techniques, along with specialized makeup techniques.
Creativity
A vivid imagination, as well as the ability to create and solve problems in novel ways, are required, along with the necessary technical skills and experience. Great design and interpretive skills, as well as the ability to comprehend a project's prosthetics requirements and implement them in both practical and imaginative ways.
Organization
One SFX Makeup Artist might be responsible for dozens of looks on one production
Collaborating
Works closely with several different departments to create a specific look
Research
Must be able to research intricate details of wounds, abrasions and deformities in order to recreate the looks effectively
Working with materials
Such as foam, latex, and silicone, as well as processes like mold-making and casting. Tattoos, false noses, wounds, and scars are all common prosthetics requirements.

Who does a Special Effects Makeup Artist work with?

A SFX Makeup Artist works closely with the Costume, Makeup and Hair departments to assemble a whole look. They may take suggestions from the Production Designer over the severity of a look to fit in with the whole design. SFX Makeup Artists work closely with talent as well. They also work directly with actors.

How do I become a Special Effects Makeup Artist?

SFX Makeup Artists are trained through college, usually Cosmetology school, but this is not necessarily the only route to becoming a SFX Makeup Artist. You can also apprentice under a senior SFX Makeup Artist and learn the techniques this way. Keep a portfolio of all your looks to show potential gigs.

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Hair and Makeup

A Special Effects Makeup Artist works in the Hair and Makeup department

Makeup Artist

Department: Hair and Makeup

Makeup Artist: Creates the makeup looks for all performers on the production and applies the makeup on set.

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Hair Stylist

Department: Hair and Makeup

Hair Stylist: A Hair Stylist is part of a team of artists in charge of designing character hairstyles and styling actors’ hair or wigs on set.

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VFX Supervisor

Also known as: Lead Visual Effects (VFX) Artist, Senior VFX Artist

What is a VFX Supervisor?

What does a VFX Supervisor do?

This role is responsible for overseeing all VFX work and managing technical and artistic VFX personnel. While it is a creative role, most Visual FX Supervisors possess a strong technical background and are capable of making informed decisions about the most efficient and effective technique to employ to solve the problem at hand. Often a supervisor will work in tandem with a Visual Effects Producer and Computer Graphics Supervisor.

VFX Supervisors begin their work on a project in the early stages of pre-production. They are the main point of liaison between a VFX studio and the Director or Producer of the film or TV program. Together, they decide on what VFX is needed for every shot of the film. VFX Supervisors then work with the VFX Artists to create prototype materials to present. These can include concept art and 3D computer-generated images (CG). The prototype materials help to inform the style of the VFX in the production.

VFX Supervisors are present for filming during production so that they can see if the shots are satisfactory and will work with the VFX elements. VFX supervisors continue to lead their team when the film is being put together during post-production. They oversee the quality of all work produced and make sure that it is in line with the vision of the Director and/or Producer.

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What's a VFX Supervisor good at?

Art
Have excellent design, layout, colour, and composition skills
Knowledge of photography
Understand cameras, cinematography, and how films are made, be able to influence the shoot so it works for the VFX
Knowledge of VFX programs
Be adept at using relevant programs such as Maya, Blender, Nuke, and Photoshop
Collaboration
Work in pre-production with the director or producer to decide on which shots will need VFX work, respond to their creative and artistic direction
Leadership
Share the director or producers’ vision of the film with the VFX artists of all departments, inspire them to do their best work, manage their output in terms of quality and deadlines
Communication
Be able to clearly articulate what needs to be done on-set to achieve the desired VFX shots, be able to relay information between the production and your artists

Who does a VFX Supervisor work with?

VFX Supervisors work with film Directors and Producers. Together, they decide on what VFX is needed for every shot of a film. They also lead all of the different kinds of VFX Artists within a VFX company or studio.

How do I become a VFX Supervisor?

The VFX Supervisor job is the highest leadership role within an entire VFX company or studio; therefore, you will work in other, more junior, VFX roles first before reaching this position. VFX Supervisors need the same technical skills and relevant software proficiency as Junior VFX Artists do, so you could start VFX work as a Roto Artist or Prep Artist and progress from there. In this case, an important thing that you can do is to create a show-reel to illustrate your abilities (even established VFX supervisors can have their own show-reels). Alternatively, you can start work in the production department as a Production Coordinator or Production Assistant and go from there.

Educational requirements: A college degree in film and TV production, computer animation, or art and design is key. These are taught at many colleges, universities, and art schools. Training in the use of visual effects and animation software is a must.

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Effects Department

A VFX Supervisor works in the Effects Department

VFX Producer

Department: Effects Department

VFX Producer: Manages the whole process of creating the VFX for film or TV.

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Roto Artist

Department: Effects Department

Roto Artist: Manually draws around and cuts out objects from movie frames, in scenes where live-action and computer generated images overlap.

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Compositing Supervisor

Also known as: Comp Supervisor, Head of Compositing

What does a Compositing Supervisor do?

Compositing Supervisors are in charge of the department that puts together all the different elements of the visual effects (VFX) shots. They manage the Compositors, who do this work, and check it for quality. They are also responsible for ensuring the continuity of colour between shots.

Compositing Supervisors are very experienced in compositing. They are experts in taking different digital materials, like computer-generated (CG) images and live-action footage, and combining them to appear as one cohesive shot. They organize the team of Compositors to meet the deadlines so the film or TV production company gets the VFX work on time. They may also composite shots themselves if needed.

Compositing Supervisors tend to be employed by VFX companies or studios rather than being freelancers.

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What's a Compositing Supervisor good at?

A good eye
Recognize what makes an image appear realistic in terms of light, colour, composition and perspective
Knowledge of photography
Understand cameras, cinematography and how films are made
Communication and leadership
Be able to manage compositors and share the creative vision of the project with them, inspire them to do their best work, manage their output in terms of quality and deadlines
Organization
Plan workflows with a view to meeting deadlines, distribute work amongst your team
Knowledge of VFX programs
Be adept at using relevant programs such as Adobe After Effects, Blackmagic Fusion, Blender, Cinema 4D, Houdini, Maya, Nuke, RenderMan and 3ds Max

Who does a Compositing Supervisor work with?

Compositing supervisors work with the Compositors in their team. They also have to work out precisely what’s needed and the order in which things need to be done. They work with the head of the whole project (the VFX Supervisor) and with the Computer Graphics (CG) Artists in order to do that. They also talk to the film production company and VFX Producers.

How do I become a Compositing Supervisor?

Supervisor roles are some of the most senior in film production. To be a Compositing Supervisor, you need to have four or five years experience in a senior VFX role, such as senior Compositor or a technical director (TD) role. You can start off in a more junior VFX role, such as Motion Capture Technician, Prep Artist or Roto Artist. You might find a company that’s offering a junior compositor position.

A degree in a VFX subject is useful too. Or you might want a degree in animation, computer programming or computer science. It’s important to create a show-reel that shows off your abilities (even established compositing supervisors can have their own show-reels).

Here are some tips:

Build a portfolio: Learn the software, experiment with VFX programs and create a show-reel that you can show to collaborators or employers. Focus on producing a portfolio which includes relevant work to showcase your immediate practical skills This is essential. It’s really important to develop your appreciation for VFX. Make sure you’re familiar with what’s out there.

Get VFX industry skills: There are various VFX image and video-editing programs in which it’s useful to receive training.

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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Effects Department

A Compositing Supervisor works in the Effects Department

Compositor

Department: Effects Department

Compositor: Takes all the digital materials of a shot (live-action footage, CG images, special effects, etc) and combines them as a single, cohesive final image.

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Computer Graphics (CG) Supervisor

Department: Effects Department

Computer Graphics (CG) Supervisor: Responsible for the delivery and quality of the 3D computer-generated elements of a VFX project.

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Compositor

Also known as: Compositing Artist, Finishing Artist, Visual Effects (VFX) Artist

What does a Compositor do?

Compositors create the final image of a frame, shot, or sequence of a film, television show, or animation. They take all the various digital materials used (assets), such as computer-generated (CG) images, background plates, graphics and special effects (SFX), live-action footage, and matte paintings, and then combine them to appear as one cohesive image and shot.

Compositors consider visual aspects of a scene, such as realistic lighting. Anything caused by light hitting a “lens” is a compositor’s responsibility. They relight in order to improve the look of the image. They also create shadows and motion blurs as necessary to improve the shot.

Compositors are also responsible for continuity; making sure art from different sources and different artists looks the same. They make sure the blacks and other colours match each other in the image. They spot mistakes and either correct them or send the work back through the pipeline to be improved. Compositors ensure the overall style of the film is consistent and in line with the director’s vision.

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What's a Compositor good at?

A good eye
Recognize what makes an image appear realistic in terms of light, colour, composition, and perspective. Be able to scrutinize the media and work on compositions until they appear cohesive and consistent
Knowledge of photography
Understand cameras, cinematography and how films are made
Knowledge of compositing programs
Be adept at using relevant programs such as After Effects, Blackmagic Fusion, Houdini, Maya, Nuke, and Photoshop
Knowledge of the animation production pipeline
Have a thorough understanding of the computer-generated animation process
Collaboration
Be able to work with other VFX artists, use each other’s resources effectively and efficiently
Working to deadlines
Work within given time frames, be able to complete work under pressure

Who does a Compositor work with?

Compositors work with the Visual Effects Supervisor to understand the final expectations. They also work with the various artists that create all the different elements such as:

Lighting technical director (TD)

There is some overlap between, and blurring of responsibilities of, the work of Compositors and Lighting Technical Directors (TDs), as lighting is such an important part of a film. Lighting Technical Directors are incharge of managing and creating the artificial lighting in a scene to match the scene requirements. Whether that be to match it realistically or add more of a fun lighting scheme.

Roto Artist

Roto Artists work closely with Compositors, as the mattes which Roto Artists produce serve as important layers for Compositors to work with. Often, Roto Artists work towards being promoted to a Compositor position. Compositors are expected to know how to rotoscope.

Compositors will also often work with Background Designers, Matte Painters, and Compositing Supervisors.

How do I become a Compositor?

It takes many years working in the industry to become a Compositor. However, some companies have Junior Compositor roles, which give you the opportunity to develop into a Senior Compositor position. You might get into a Junior Compositor role straight after college or university, or you might start in a related role, such as a roto artist or modeler, and work your way into the compositor role from there. The most important thing that you can do to become a Compositor is to create a showreel to illustrate your abilities to potential employers. A degree in VFX is useful too, especially as it gives you time to build up a portfolio.

Build a portfolio: Learn the software, experiment with programs, and create a showreel that you can show to potential collaborators or employers. Focus on producing a portfolio that includes relevant work to showcase your immediate practical skills. This is essential. Make sure you’re familiar with what’s out there.

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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Effects Department

a Compositor works in the Effects Department

Compositing Supervisor

Department: Effects Department

Compositing Supervisor: Is in charge of the department that puts together all the different elements of the visual effects shots.

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Roto Artist

Department: Effects Department

Roto Artist: Manually draws around and cuts out objects from movie frames, in scenes where live-action and computer generated images overlap.

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Roto Artist

Also known as: Junior Visual Effects (VFX) Artist

What does a Roto Artist do?

Roto Artists manually draw around and cut out objects from movie frames so that the required parts of the image can be used, a process known as rotoscoping.

The parts of an image that are wanted after cutting out are known as mattes. Roto Artists work on the areas of live action frames where computer-generated images (CGI) or other live-action images will overlap or interact with the live image.

If the live-action camera is not moving within a shot, rotoscoping might involve only one frame. If the camera’s moving, roto artists trace the relevant areas of every frame within the shot so that CG can be combined accurately with the live-action. Roto Artists need to have a keen eye and patience in order to complete this meticulous and repetitive work.

In addition to rotoscoping, Roto Artists assist in the preparation of material for compositing.

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What's a Roto Artist good at?

Drawing skill
Trace accurately with a good line
Patience
Be methodical and thorough, taking care to rotoscope well so as to help to produce a high-quality final image
Knowledge of programs
Be adept at using relevant programs such as Photoshop
Delivery
Work well with strict deadlines, be able to complete work under pressure
Taking initiative
Observe what’s happening, be proactive, ask questions at the appropriate time

Who does a Roto Artist work with?

Roto Artists work most closely with Compositors, as the mattes which Roto Artists produce serve as important layers for Compositors to work with. They pass on their work to Prep Artists, as part of a VFX production pipeline, to help prepare plates for Compositors.

How do I become a Roto Artist?

It is important that you create a showreel to show potential employers and collaborators what you can do. In terms of formal education, there are degrees available specific to the VFX industry, and they can help you to become a Roto Artist.

Build a portfolio: Learn the software, experiment with VFX programs and create a showreel that you can show to collaborators or employers. Focus on producing a portfolio which includes relevant work to showcase your immediate practical skills.

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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Effects Department

A Roto Artist works in the Effects Department

VFX Editor

Department: Effects Department

VFX Editor: The link between the live action shoot and the VFX studio that does the visual effects.

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VFX Producer

Department: Effects Department

VFX Producer: Manages the whole process of creating the VFX for film or TV.

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Motion Capture Technician

Also known as: Mocap Tech

What does a Motion Capture Technician do?

Motion capture jobs, often shortened to Mocap, focus on using a special camera and set of tracking systems to record movement for later animation.

In the capture, cleanup, and processing of high-quality 3D motion capture data for both real-time in-game animation and pre-rendered cinematics, a Motion Capture Technician works closely with the Lead Animator and animation teams. Before, after, and during shooting, the Motion Capture Technician is in charge of setting up and maintaining the motion capture studio. During shots, Motion Capture Technicians will be in charge of running the capture station and ensuring high-quality marker tracking and motion capture.

When appropriate, the Motion Capture Technician can also provide direction, comments, and support to the performers on site. In preparation for the animation team, they’ll also be responsible for cleaning up the marker data and processing it using a custom pipeline. Mocap experts collaborate with the animation team to design, refine, and optimize the studio’s motion capture method and pipelines.

What's a Motion Capture Technician good at?

Being accurate
Be methodical in your work, pay close attention to detail, have strong problem-solving skills
Technical knowledge of cameras and animation
Have an in-depth understanding of all motion picture equipment, cameras, lenses, monitors, and lights
Understand the animation pipeline
Know the process through which animation productions are made
Using software
Use the data sharing application, be able to operate and maintain your data collecting equipment yourself
Being efficient
Work quickly and accurately on set so that the physical production can run smoothly, organize and prioritize your tasks
Programming and coding skills
Have knowledge of programming with a high level of technical ability
Communication and teamwork
Communicate well with the other technicians, and animations artists, when necessary so that there is a cohesive and structured file storage system
Organization
Be attentive to the detail of the files and data that you process and store, maintain a working system of file storage
Efficiency
Work quickly and accurately, organize and prioritize your tasks

Who does a Motion Capture Technician work with?

Motion Capture Technician works closely with the Lead Animator and animation team. They communicate with all of the other departments in the animation company, as well as the talent. On set, they work with the Director and specialized camera team.

How do I become a Motion Capture Technician?

Like many roles in film and TV, there are many routes to becoming a Motion Capture Technician. 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.

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Effects Department

A Motion Capture Technician works in the Effects Department

Previsualisation (Previs) Artist

Department: Effects Department

Previsualisation (Previs) Artist: Plans out what a film is going to look like by digitally visualizing scenes before shooting them, in order to map out how VFX will fit into a scene.

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VFX Editor

Department: Effects Department

VFX Editor: The link between the live action shoot and the VFX studio that does the visual effects.

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VFX Editor

Also known as: Editor

What does a VFX Editor do?

VFX Editors work as the link between the film or TV production team, which shoots the live-action footage and the VFX studio that does the visual effects. A VFX Editor can be employed by a VFX studio or directly by the film or TV production company. The role varies depending on whether they are in-house (employed by the studio) or client-side (employed by the film or TV production company).

Client-side VFX Editor: Client-side VFX Editors work on set, while the live-action footage is being shot. They check everything is being captured in a way that makes it possible for the VFX to be created and integrated effectively. They keep track of the Director’s notes and make sure that the VFX Editor employed by the VFX studio knows about any changes that will affect the way the VFX needs to be created. The client-side VFX Editor brings drafts of the shots together so that the Director can see how they will look with the VFX incorporated and make sure the footage all comes together to create a cut of the film or TV programme that’s in keeping with what was signed off in previsualization.

In-house VFX Editor: In-house VFX Editors work closely with client-side VFX Editors but are responsible for ensuring that the VFX Artists at the VFX studio have everything that they need to create their work. While the project is being worked on, the VFX Editor creates a workflow that allows the VFX Supervisor to evaluate the VFX Artists’ work and provide feedback on the aesthetic and on the technical direction. As the client approves shots or versions, the VFX Editor incorporates them into the current cut (edit) and oversees the passing of work back to the team that is editing the film or TV programme.

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What's a VFX Editor good at?

Attention to detail
Be meticulous with a strong eye for detail, making sure all shots are of the highest possible quality
Editing
Have a good understanding of story-telling and be adept at using editing software
Communication
Have excellent communication skills, understand exactly what the desired effect is in each shot and give effective direction to achieve that, keep clients informed on progress
Organization
Be on top of the work that needs to be done and its progress with a good understanding of the pipeline, keep track of any changes in the project and keep all staff informed
Working to deadlines
Have very good time-management skills, make sure the project stays on track for its deadline and cope well with working under pressure towards tight post-production deadlines at the end of the project

Who does a VFX Editor work with?

Client-side VFX Editors work closely with the Director, Producers, Editors in post-production and in-house VFX Editors. In-house VFX Editors work closely with a large range of staff across the VFX pipeline. They work directly under the VFX Supervisor. They work closely with Data Input/Output Technicians, TDsand VFX Producers to manage all incoming media and outgoing deliverables. They also communicate with the client-side VFX Editor and the post-production Editor of the film or TV programme.

How do I become a VFX Editor?

VFX Editor is a senior role so you will need to gain experience of both working in VFX production pipelines and doing editing work. There are a variety of routes into this job. You might want to start working as Production Assistant or Assistant Technical Director in a VFX studio. Alternatively, you could find your way into the industry by working as a Post-production Assistant in a post-production studio. Most VFX Editors have a degree in computer graphics, animation or a related subject.

Get a degree: Provided you have strong show-reel and know VFX software, it’s not essential to get a degree to become a VFX Editor, but it can help.

Get an internship: Internships are jobs with training. They’re a great opportunity to earn while you learn. You might want to enter the VFX industry through an internship as an Assistant Technical Director or a Junior 2D Artist. If you can’t find an internship with a VFX company, it might be worth getting an internship in a related industry, such as games or animation, which could give you some experience to help you find your way into VFX at a later point.

Build a portfolio: Learn how to use, and then experiment with, VFX programs and create a show-reel that you can show to admissions personnel or employers.

Network: Get to know people in VFX by attending events. Meet professionals and ask them questions about their work, while demonstrating interest and knowledge in the sector. Offer to provide them with your professional contact details and try to stay in touch with them. Research VFX companies you’d like to work for. Go to their websites and check if they are advertising for junior roles in the art or technical art department. Even if they aren’t, send in your CV and showreel and ask them to bear you in mind for future positions.

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Professional Organizations Associated With This Role

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Effects Department

A VFX Editor works in the Effects Department

Editor

Department: Video Post Production

Editor: Assembles and edits the raw footage of the film into a cohesive final product.

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Assistant Editor

Department: Video Post Production

Assistant Editor: Keeps the flow of post-production smooth by communicating with production departments, organizing daily footage, and assisting the Editor.

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Special FX Supervisor

Also known as: SFX Coordinator, FX Coordinator

What does a Special FX Supervisor do?

Special effects (sometimes known as practical effects or SFX) are either manual or mechanical effects that are applied on set during production. Explosions, earthquakes, vehicle chases, animatronic dragons, and even atmospheric effects like fog and rain are now standard fare in any live-action feature picture.

The Special Effects Supervisor (also known as an SFX Supervisor or an SFX Coordinator) is in charge of a team of Special Effects Technicians who work together to create special effects. The SFX Supervisor is a senior-level professional in charge of ensuring that the effects are carried out efficiently and securely.

Early in pre-production, the SFX Supervisor reports directly to the Director and Producers to ensure that they grasp the Director’s vision for the effects. They also collaborate with Production Designers and Art Directors to iron out the finer points, such as how to attain specific appearances or what particular equipment they’ll need to construct. On-set special effects (SFX) or (SPFX) differ from those made in post-production, which are referred to as “visual effects” (VFX).

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What's a Special FX Supervisor good at?

Being accurate
Be methodical in your work, pay close attention to detail, have strong problem-solving skills
Being efficient
Work quickly and accurately on set so that the physical production can run smoothly, organize and prioritize your tasks
Familiarity with technical equipment
From fog machines to high-tech prosthetics, SFX Supervisors are expected to understand, use, and even repair many complex pieces of equipment on set
Collaboration
Work in pre-production with the director or producer to decide on which shots will need SFX work, respond to their creative and artistic direction
Leadership
Share the Director or Producers’ vision of the film with the SFX artists of all departments, inspire them to do their best work, manage their output in terms of quality and deadlines

Who does a Special FX Supervisor work with?

The Special FX Supervisor works closely with the director, producer, actors, and all of the special effects department.

Professional Organizations Associated With This Role

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Effects Department

A Special FX Supervisor works in the Effects Department

Stunt Coordinator

Department: Stunts Department

Stunt Coordinator: Coordinates and arranges stunts for film and TV.

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Stunt Performer

Department: Stunts Department

Stunt Performer: A trained professional who performs stunts (often an athlete or martial artist).

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