Camera Lighting Art Costume

Camera Camera Lighting Production Costume operator Jib operator Grip Gaffer Art director supervisor director designer designer

Art Digital Lighting Production Costume Camera Autocue Data console Spark department imaging buyer assistant supervisor assistant operator technician wrangler operator

Sound Creates the Designs look, designs Responsible the lighting, Hair and make-up and builds for the style of installs the sets and presenters and Records electrical props contributors sound, mixes equipment audio, creates sound effects

Sound Sound supervisor recordist Hair and make-up designer Styles the hair and make-up of those on Entry level Entry level Entry level Entry level Entry level Entry level screen

Grams Art Hair and operator Kit room department Costume Hair and Sound Runner make-up make-up artist assistant assistant runner assistant assistant

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Go to ScreenSkills for more details: Craft and technical career map www.screenskills.com/careers-in-tv the success of acquired shows like Queer technical service companies rather than The university route are often £65k and up. Entry level pay What is unscripted television? Eye (Netfl ix) and The Grand Tour (Amazon production companies. If you work for a It isn’t necessary to go to university to get can start with the UK minimum wage. Prime). Unscripted programming is production company, it’s sensible to keep into craft and technical roles. However, It’s a good idea to check out the rate The term ‘unscripted’ really means ‘without actors’. In truth, every big business and offers the prospect of fl exible, short-term work wherever you can if you want a degree, take a look at cards published by Bectu, the media and TV programme has a narrative and a script. It’s perhaps easiest to exciting and stimulating careers. get it, to tide you over during your gaps ScreenSkills’ Select list of recommended entertainment union (bectu.org.uk) to Looking for further advice? between contracts. courses at screenskills.com/courses and gage what is reasonable in your role. think of unscripted TV as non-fi ction television. It can be on any Why choose a career in The joy of working on a project basis is fi nd one in unscripted TV. We recognise unscripted television? Hours of Work If you're interested in a career in unscripted TV, check out these websites to fi nd out more: subject, from natural history, religion and music to dating, interior that every job is different. Jobs can also courses where they have strong links Working in unscripted TV involves early Careers in TV offer real ‘money can’t buy’ involve a lot of travelling and meeting new to industry, so these courses should be design and learning a skill. It’s programmed on primetime TV, starts and late fi nishes. Days are usually experiences. You could be making-up the people. Many people have long, rewarding useful in helping you make contacts and ScreenSkills, for information on careers and courses: screenskills.com/careers-in-TV daytime TV and children’s TV, as well as streaming platforms like scheduled for eight, ten or 12 hours, but next superstar, fi lming dolphins under and well-paid careers working in this way. get your fi rst job. there can be travel on top too. It’s rarely a Bafta Guru, career advice for games, fi lm and television: Bafta guru.bafta.org Netfl ix and YouTube. water or being responsible for the sound The entry level job route Monday to Friday job, or even a fi ve-day during a live transmission of a global Routes in BBC Academy, training and development for the BBC and wider industry: bbc.co.uk/academy Getting an entry level job is a great way to week job, so expect to work weekends sporting event. You can travel and get Unscripted TV genres experience like travelogues or learning a It’s not essential to go to university or fi lm get to know the industry, build contacts regularly. On the plus side, you can have access to places many don’t see. Few jobs Royal Television Society, bursaries, jobs and training schemes in the TV industry: skill. school to enter the unscripted TV industry, and make your way up to your chosen days off in the middle of the week. If you Entertainment are ever the same. rts.org.uk/education-training Examples: Love Island, MasterChef, This but you do need to develop your craft. Get role. Every new entrant will start in an need workplace stability and set hours, Fast-paced, visually exciting, heavily- Morning In craft and technical roles, the core skills skills-based qualifi cations and then on- entry level role, including graduates. this is probably not the industry for you. Bectu, the media and entertainment union: bectu.org.uk produced and formatted programmes the-job experience. Common fi rst job tasks include delivery News in unscripted TV are similar to those designed to entertain. Entertainment needed in fi lm and TV drama and it’s driving and maintenance of specialist kit, Networking programmes are usually hosted by a Presented by a trained journalist, who The vocational training route possible to transfer your skills between taking reference photographs and notes, TV relies on personal introductions Produced by ScreenSkills known presenter. When they’re recorded usually writes their own scripts. News the two types of programme. However, Some equipment companies offer entry running errands and checking supplies. and recommendations. Increase your in a purpose-built studio, they are from around the world is packaged into level jobs in the hire of audio equipment, there are signifi cant ways in which the There may also be opportunities to work connections by going to industry events. Supported by National Lottery funds awarded to ScreenSkills from the British Film Institute sometimes referred to as ‘shiny fl oor’ short bulletins throughout the day, with cameras, outside broadcast facilities, different work environments require skills with a senior professional, like a camera ScreenSkills.com/events is a good place to deliver its Future Film Skills programme because the vinyl fl oors refl ect the studio longer programmes at lunchtime and in and interests that are different from each lighting and staging. There are also roles supervisor or sound recordist, who will to start. Do some skills training. Create lights. This genre includes game shows, the evening. Programmes are made up of available with service companies that other. On a documentary, for example, train you on the job as you assist them. your own content. Update your social With thanks to Anya Francis, executive producer; Jude Winstanley, line producer; Nick Harris, festival coverage, panel shows, live music live reports 'in the fi eld', interviews with make and hire costumes, props and sets. it’s important for a camera operator to platforms and let people know when you multi-camera studio director; Chris Kershaw, producer director; Steven Hulbert, camera events, quiz shows, talent elimination experts and pre-recorded reports. Getting jobs respond quickly to a situation in which Competition for these roles is fi erce – but are available to hire. supervisor; Greg Holt, camera operator; Mel Wiffen, Autocue operator; Alison Lewis, production formats and talk shows. Examples: Channel 4 News, BBC News at anything might happen, whereas on a they are worth going for. And take a look Finding work in the TV industry is all executive, Blakeway North; Gurdip Mahal, lighting director; Dr Neil Hillman, sound designer; Examples: The X Factor, The Money Drop, Ten, Good Morning Britain feature fi lm, every shot is planned. There at the work experience opportunities about networking. To get an entry level Dominic Tolfts, production designer; David O'Brien, costume designer; Lyn Evans Bushnell, hair Saturday Night Takeaway are similar differences in hair and make- offered by some broadcasters and role, you need to get in touch with senior and make-up designer; Gavin Binder, hire manager, Media Dog Sport up, costume and the other crafts. It’s production companies, although these industry professionals and ask if you can Factual Often technically complex (especially therefore a good idea to think carefully often aren’t specifi cally in craft and work with them. There are various ways of Written and produced by Jo Ind Television that documents actual events if broadcast live) coverage of sporting about what your preference is - unscripted technical roles. Check out their websites doing that. A good way is to meet them and real people. Some programmes are events, or analysis programmes discussing TV or scripted. Start making your contacts and social media accounts. through attending industry events. Visit Design by Dave Gray (iamdavegray.com) ScreenSkills.com/events to see if there Inclusivity presented by known TV personalities, the sports action. Sport is heavy on action and build your career in the type of The apprenticeship route journalists or professional experts. This replays, graphics and unscripted chat. programming you like the best. is anything in your area. Read the trade The television industry is committed Originally commissioned by Yen Yau from Into Film An apprenticeship is a job combined with is a very broad category, ranging from press. Find out what’s shooting. Watch to building an inclusive and culturally Examples: Match of the Day, The Big Fight training, so it’s a great opportunity to current affairs like Panorama to cookery Employment prospects the credits at the end of unscripted TV diverse workforce, welcoming talent Based on an original concept by Ian Murphy and Allan Burrell (www.compositingcoach.com) Live, Cricket on 5 earn as you learn. Broadcasters, such as programmes like Ainsley’s Caribbean programmes. Find the names of the regardless of age, disability, ethnic or If you want to work in craft or technical the BBC, Channel 4, Channel 5, ITV and Kitchen and to children’s TV shows like people that you would like to work with socioeconomic background, gender, The UK's unscripted TV industry roles in TV, it’s more likely you will be Sky offer apprenticeships. Check their Nina and the Neurons. It also covers and connect with them through social religion or sexual orientation. working on a freelance basis than be staff. websites to see if they are offering them documentaries, docudrama, observational The UK’s unscripted TV programmes are media. Many regions have Facebook Most TV shows are made by production in your chosen role. You might fi nd one and fi xed rig documentary and survivalist. renowned all over the world. ITV’s Britain’s groups that industry professionals use companies on a project basis. A team is as an outside broadcasting engineer or a What next? Got Talent has spin-offs in 68 counties when they need to crew up in the area. Examples: Planet Earth II, Stacey Dooley put together to make a programme - and props technician. If you aren’t successful, and has been named the world's most Find them and join them. Do some skills To see our career map about roles Investigates, Gogglebox then disbanded once the programme, or there aren’t any where you live, it might successful reality TV format ever. Dancing training. Update your social platforms and in editorial and production, go to or series of programmes, is complete. be worth taking an apprenticeship in a with Stars, based on the BBC’s Strictly let people know when you are available ScreenSkills.com/resources Factual entertainment Depending on your role, you could work related industry. There are apprenticeships Come Dancing, can now been seen in 42 for hire. on one production for just a few days, in hair and make-up, costume and Details of the routes into each job role can Television that documents real events and different territories, while Blue Planet II weeks or months. You may fi nd yourself wardrobe, electrical installation and many Pay be found at ScreenSkill.com/careers-in-TV people but with a stronger entertainment has been sold to more than 30 countries. working on more than one project at a more. Learn your craft and then move Pay is usually negotiated on daily or element than serious factual programmes. There is information about freelancing, time. into TV at a later point. For details of the weekly rates, depending on the role and Content © 2020 ScreenSkills. All rights reserved. Often hosted by TV personalities, factual Streaming companies like Netfl ix and networking and building a portfolio at apprenticeships relevant to your chosen production. Senior executives are usually entertainment programmes include Amazon Prime now commission their Permanent staff roles tend to be attached ScreenSkills.com/careers role, go to screenskills.com/careers-in-TV permanently employed staff and salaries magazine shows, reality, dating and own unscripted programmes. They have to facilities like studios, equipment hire or makeover formats, celebrity or expert-led bases in the UK for their teams, following and click on the relevant icon.

Camera ready for the camera operator. They help de-rig, an interest in engineering. Senior electricians with specialised software and kit. Grams good relationships with fashion designers Runner load and store equipment after each shoot. are also known as gaffers. operators are also known as deputy sound and clothing brands, who supply garments. Assists everyone on the team, Camera supervisor supervisors. Sometimes they work one-on-one with whether working in the offi ce, on Careers in unscripted television Autocue operator Lighting console operator celebrities or presenters when they tend to be location, in a studio or driving crew Is the most senior role in the camera Art department. Working closely with the Formats the programme script to work Operate all lights on a set. This involves known as fashion stylists or costume stylist. and cast between them. On location, they director, camera supervisors attend on a device attached to a camera, setting up the console or dimmer The department can also be called wardrobe. might fetch tapes, cable and scripts and sort enabling the presenter to read it with desk, programming and wiring. They Production designer out kit bags. In a studio, they might look after Craft and technical site visits and use their expert knowledge of Designs the sets in which programmes cameras and lighting to assess the technical the illusion they are speaking from memory or balance the picture and programme Costume supervisor cast and help on the studio fl oor. They might are made, including talent shows, issues of a shoot. without prompting. Autocue operators operate the lights to maintain the “look” set by the Coordinates the work of the costume be called studio runners or fl oor runners a computer linked to the prompter during a lighting director. During the recording or quizzes and awards ceremonies. Camera supervisors mostly work on multi- department on bigger, multi-camera and often go on to work in craft and technical recording, making changes and controlling broadcast, they follow instructions and Production designers consider what content camera, outside broadcast and studio-based productions. Working to the costume positions. the speed at which the words scroll. This role is interpret ideas according to the plans and cues. needs to be made within their set, how to programmes. On single camera programmes designer’s plans, costume supervisors work out sometimes known as teleprompter. style and dress it. They work with the director, Kit room assistant like documentaries, the head of department what clothes and accessories need to be made, Spark producer, lighting director, fl oor manager, Works for a broadcaster or an is the lighting camera operator. Lighting hired or bought. They ensure continuity of Digital imaging technician Installs the lights and makes sure all camera and sound supervisors to ensure the equipment rental company hiring camera operators work alone, or with outfi ts on screen and supervise their cleaning Works on set with the camera electrical aspects of a set work. Sparks set meets their technical requirements. They out kit. Kit room assistants prepare an assistant, and usually own their own and maintenance. They are also responsible for department to ensure the action is work with the lighting director to make sure it’s accessible, safe and within camera, lighting and sound equipment. They equipment. Sometimes they are known as the staffi ng, budget and schedule. captured in the best format and the position the lighting and create the desired budget. check items in and out, action repairs, report directors of photography, usually when they post-production team gets the rushes in the effects. They monitor power supply systems damage and deliver and collect the kit from contribute more to the artistry of the shots. Hair and make-up way it needs. Digital imaging technicians (DITs) and ensure they are safe. Sparks work on Art director clients. Training is usually offered, which is set up the cameras and checks for issues that smaller single-camera programmes, while Manages the art department. In studios Camera operator Hair and make-up designer useful for people wanting to go into camera, could cause problems in the edit. They are senior electricians work with teams on multi- art directors help turn the production Operates a variety of different Is responsible for the overall design, lighting, grip and sound roles. Kit room especially useful to TV directors not yet familiar camera shoots. Sparks are also known as designer’s vision into a reality, through cameras in the studio and on location. application, continuity and care of assistants usually go on to work in one of with digital photography. On some productions electricians. recruiting a team and creating the set. They Camera operators carry out complex make-up and hair. During pre- these departments. DITs do the role of the data wrangler too. may also plan special effects like fake snow, technical tasks, all the time listening to the pyrotechnics and gunge. On shows fi lmed on production hair and make-up designers design Sound the look, working out how hair and make-up Art department runner director. They also suggest shots. On single Data wrangler location, they manage the dressing and styling will appear in the conditions of the show. They Supports the art department with camera shoots, the camera operator is often Handles the rushes, ensuring they of an area (indoors or outdoors) in which to Sound supervisor source products, prepare budgets, recruit staff any tasks required. Art department responsible for the lighting and sometimes get safely from the camera to the edit fi lm. Often, they design props themselves and Is the senior sound person on large, and calculate call times. They usually work runners run errands, collate receipts, the sound. facility. Data wranglers transfer and oversee their build. multi-camera programmes with on the main presenters but oversee all other help to make props and generally keep the backup digital rushes from multiple drives. complex elements. During pre- Jib operator performers. Some celebrities trust a designer’s department running smoothly. They have a They check the data on the fi les and label production sound supervisors attend site Production buyer Operates cameras attached to a skills so much that they are contracted for can-do attitude, as well as being skilled in art them. As footage is passed from the shoot to meetings with the director. They understand Shops for the items required for the long arm – a jib - fi xed to a wheeled all the performer’s work. Hair and make- and digital image manipulation. Being able to the edit, they log who has received what. Data the production requirements, advise on production design. Production buyers platform, called a dolly. They swing up designers are also known as make-up drive is essential. wranglers work in a similar role to DITs but are potential audio issues, recruit the team and know the specialist suppliers. Working the jib arm to move the camera, offering supervisors. less experienced. liaise with other departments. They are experts to a brief, they are expert researchers and Costume assistant moving shots while adjusting the pan, focus, at choosing microphones, mixing audio signals negotiators and spend a lot of time shopping. Maintains the clothes and tilt and zoom. They work closely with a jib Hair and make-up artist and operating mixing desks and recording They record all items used in a production accessories. Costume assistants wash, assistant who moves the jib base around the Lighting Tests looks with performers, checking devices. During recording or transmission, and make sure everything is returned, sold, iron and steam clothes. They run studio fl oor. scrapped or recycled after fi lming. for allergies or sensitivities before Lighting director they may work from a specially equipped fi lming begins. Hair and make-up errands, check the continuity of the costumes vehicle, often with a sound engineer or sound between shots, make notes and fi x minor Grip Designs the lighting, usually for multi- Art department assistant artists help get the kit together during pre- assistants. problems. After fi lming fi nishes, they prepare Is responsible for building and camera productions. In pre-production, Supports the team with whatever is production. During shooting they apply make- maintaining the equipment that lighting designers prepare a lighting up and cut and style hair or wigs. They also take items for storage, return or re-sale. Assistants Sound recordist required, including creating small supports the cameras, whether that be a plan (plot) with information about the light notes and photos for continuity. also have dressmaking and tailoring skills. This Captures the sound required for the TV props and set dressing. Art department tripod or a 100ft crane. While directors think of position, type and colour, as well as the staff role is sometimes known as stylist’s assistant. programme, including dialogue and assistants are creative, with an eye the artistry of the shots, grips work out how to required and the schedule. They may also background noise. Sound recordists for detail. They’re skilled in practical art skills, Entry level roles Hair and make-up assistant position cameras, so they move smoothly to program and design media for LED screens may work within a studio. On single-camera like drawing, painting and sculpture as well as Helps the hair and make-up designers. achieve the effect. They closely work with the and moving lights. Sound assistant style programmes they may work alone. They digital art and computer-aided design. Hair and make-up assistants set up director, camera supervisor and jib operator. Does jobs like unload the van on Gaffer own the majority of their equipment, or they and tidy workstations, prepare tools location, labelling the sound fi les or Works with the lighting director to hire it from specialist kit or rental companies. Costume and products, update notes and reference Camera assistant tidying the cables in a studio. With position lighting according to the plot. photographs. Sometimes hair and make-up Works with camera operators or experience, sound assistants take on signifi cant Senior electricians are responsible Grams operator Costume designer assistants fi nish looks for senior team members supervisors to help in any way from responsibility, becoming the eyes and ears of for safety, monitoring electricity usage and Plays music or sound effects during Creates the costumes and styles the to approve. They usually have qualifi cations in setting up the equipment rigs to the sound supervisor. They are responsible for identifying if additional power resources are recording or broadcast, usually on stars. Costume designers oversee the hair and make-up before entering this role. making tea. When camera assistants work setting up sound equipment, public address required. On large productions with lots of entertainment or sports programmes. styling, buying, hiring or making of on location, they make sure the batteries are systems and microphones. Sound assistants are lights and LED video projection, they manage Grams operators prepare the sound fi les outfi ts. They manage the team that charged and have any camera accessories called sound fl oor operators on entertainment the team. They combine creative thinking with for use. They follow the script and director’s shop for garments, makes clothes, fi ts them instructions on when to play them in, working and adjusts them. Costume designers have programmes.