The Sector Skills Council for the Audio Visual Industries

NATIONAL OCCUPATIONAL STANDARDS DIRECTORS APRIL 2003

NATIONAL OCCUPATIONAL STANDARDS DIRECTORS APRIL 2003

INTRODUCTION D1 D2 D3 D4 D5 D6 D7 D8 D9 D10 X2 F1 INVESTIGATE THE VIABILITY OF IDEAS FOR PRODUCTIONS CAST PERFORMERS TO REALISE THE CREATIVE IDEA SEEK FINANCIAL RESOURCES FOR THE PRODUCTION INPUT INTO PRE-PRODUCTION PLANNING SELECT A CREATIVE AND TECHNICAL TEAM REVIEW THE SUITABILITY OF POTENTIAL LOCATIONS AND STUDIOS DIRECT THE PRODUCTION DIRECT THE ACTORS (DRAMA) DIRECT THE CONTRIBUTORS (DOCUMENTARY) SUPERVISE THE POST PRODUCTION PROCESS ENSURE YOUR OWN ACTIONS REDUCE RISKS TO HEALTH AND SAFETY MANAGE AND MARKET YOURSELF AS A FREELANCER

3 5 7 9 11 13 15 17 19 21 23 25 27

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NATIONAL OCCUPATIONAL STANDARDS DIRECTORS APRIL 2003

INTRODUCTION
The role of the director in film or television is to use their skills to lead a team in developing a project into an end product for an intended audience. As a director you will need to be motivated in the highest degree.You need vision, creative drive, artistic judgment, a wide knowledge of the social and cultural background of the subjects that interest you, a passion to communicate them, a capacity for extended hard work, and a high degree of interpersonal skills. You will be called upon to make endless numbers of decisions, often at high speed and under severe pressure. You will be continuously torn between artistic, and financial or practical considerations. So you must be able to make creative compromises, and turn limitations to your advantage. There is no formal training that will develop these qualities, but you can and must develop them within yourself. Unless you possess a large number of them you will not make any progress in this difficult profession. b) Make yourself familiar with a wide variety of world cinema (e.g. @ NFT) c) Read about the profession of directing, biographies of directors. d) Talk to others, share ideas on films and programmes. e) Decide your preferences, analyse why they appeal This should continue throughout your professional career. In order to build up your artistic, technical and interpersonal skills you will need to combine the following into your way of life.

STUDY THE ART OF DIRECTING:

Study the art of Directing to learn what techniques and methods you empathise with and would wish to develop for yourself.This will be progressed by undertaking the following activities on a regular, and integral basis : a) See as many films and programmes as possible,

FUNDAMENTAL TERMINOLOGY:
Skills - artistic, technical and interpersonal Team - cast, contributors or crew

to you f) Study audience reactions to the films or programmes you like. g) Relate your preferences to theirs

Project - script, concept or event h) Read screenplays, analyse them, try to write a End Product - film or programme screenplay.

THINK ABOUT CONTENT: SELF DEVELOPMENT

This is about the skills, knowledge and self knowledge that you will need to acquire in order to enter the profession of directing films or television programmes. Before attempting to enter the profession you will need to embark on a process of artistic self development to prepare yourself for the creative challenges you will face. This is essential as it requires you to begin building up your knowledge and developing your skills in researching, initiating and developing ideas for production. a) Establish what ideas and themes you might wish to make a film or programme about.

SKILLSET APRIL 2003

NATIONAL OCCUPATIONAL STANDARDS DIRECTORS APRIL 2003

b.)Consider what interests you and what is about the subject that intrigues. c) Research those ideas and themes d) Talk to ordinary people in every walk of life to find out what their concerns and opinions are. e) Look at different trends and see what have become regarded as pivotal creations in their time

STUDY THE CRAFT OF DIRECTING:

You will need to learn the terminology and technology for the art of Directing and this means being able to in everyday parlance talk the talk and walk the walk. By doing some or all of the following this will again build up your own personal skills and experience portfolio. a) Join an appropriate directors' organisation (eg DGGB) b) Read about the industry, in books and trade magazines. c) Follow new technical developments (e.g CGI, digital projection) d) Learn about photography.Take photographs with a stills camera. Make personal films with a DV Cam e) Decide the type of film or programme you would most like to make. f) Select an area in which you believe you can succeed. Focus on your own strengths and your weaknesses. g) Seek opportunities to observe industry practitioners at work h) Study the role of the producer

SKILLSET APRIL 2003

NATIONAL OCCUPATIONAL STANDARDS DIRECTORS APRIL 2003

D1 INVESTIGATE THE VIABILITY OF IDEAS FOR PRODUCTIONS
UNIT OVERVIEW This unit concerns the skills and knowledge involved in investigating the viability of ideas for productions.This will involve you, as Director, investigating the viability of ideas you have had yourself or have had offered to you. It requires you using your creative drive and judgment to decide whether they have artistic viability as well as audience appeal for a particular market. d) the importance of researching the viability of ideas The process demands vision and an ability to see how an idea can be turned into a project with creative input and expertise.To be successful in this process requires skilful negotiation and making the most of your creative talent. Above all you will probably have to form a fruitful working relationship with a producer. e) how to use your experience, judgment and expertise in selecting ideas for potential projects f) the objectives you are trying to fulfil when selecting ideas g) the necessary factors affecting decisions about selecting ideas including: artistic financial logistical an overview of contractual, copyright and intellectual property issues h) how to identify and evaluate the cost implications surrounding the project resource implications surrounding the project cost of contractual and copyright issues i) the most appropriate people/writers to help develop ideas j) the relevant people with interests and preferences in the idea (these may be investors or commissioning editors for example) b) how to keep such information and contacts current and reliable c) the current and changing needs of the market with which you are familiar

KNOWLEDGE AND UNDERSTANDING This is what you must know

a) how to keep up-to-date about sources of ideas, trends and developments in the industry

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NATIONAL OCCUPATIONAL STANDARDS DIRECTORS APRIL 2003

k) the most likely audience for the project l) the nature of the producer's role, how it interfaces with yours and the different ways producers work m)the particular medium in which you wish to work including whether multi-camera or single-camera format

D1 INVESTIGATE THE VIABILITY OF IDEAS FOR PRODUCTIONS PERFORMANCE STATEMENTS This is what you must be able to do
1. ensure you keep yourself up-to-date with trends and developments in the industry including those with relevance to the context of the medium in which you work 2. network to establish good working relationships with people known to possess potential ideas 3. initiate ideas and encourage new ideas from others 4. review and select ideas that meet your own capabilities and objectives or those of your organisation 5. where appropriate, organise the securing of the necessary rights for development and production of potential projects in good time 6. establish with relevant people the commercial and artistic viability and audience appeal 7. appoint and negotiate with relevant people who will bring quality and value to the proposed projects 8. manage the development process by encouraging constructive discussion with relevant people 9. review the development work and base final decisions about the feasibility of projects on appropriate research and discussion 10. collate necessary information to enable the preparation of an attractive pitch to be made to relevant people 11. interact with the producer in the way that best suits their own individual modus operandi and this particular project

SKILLSET APRIL 2003

NATIONAL OCCUPATIONAL STANDARDS DIRECTORS APRIL 2003

D2 CAST PERFORMERS TO REALISE THE CREATIVE IDEA
UNIT OVERVIEW This unit is about the process of identifying the most appropriate performers for the production, in conjunction with other personnel (producer, executives, casting Directors etc). It involves you using your knowledge of all aspects of the project, to evaluate what performers, their talents and their reputations can bring to it. d) the requirements for a narrator or voice-over artist e) budgetary limitations regarding casting f) the person to consult for determining the casting needs of the production g) the particular acting requirements of the production h) the acting techniques and styles of potential performers i) where to obtain background information on performers j) how to assess the value to the production of performers k) how to identify strengths and weaknesses of performers whilst auditioning them l) how to communicate clearly and sympathetically during this process b) the main characters in the production that need to be cast c) the demands of the text or script are in terms of characters

KNOWLEDGE AND UNDERSTANDING This is what you must know

a) your rights over casting, as against those of the producer(s)

SKILLSET APRIL 2003

NATIONAL OCCUPATIONAL STANDARDS DIRECTORS APRIL 2003

D2 CAST PERFORMERS TO REALISE THE CREATIVE IDEA PERFORMANCE STATEMENTS This is what you must be able to do
1. establish the limits of any contractual casting rights with the producer 2. liaise with producer and others as appropriate to establish casting needs, narrator and voice over artist requirements 3. lead discussions regarding the casting needs of the production bearing in mind the budget 4. make decisions about the main characters in the production 5. lead discussions of performers through evaluation of their background information 6. take into account the general creative approach agreed with the producer 7. agree a short list of those who would add value to the production and match the general creative approach 8. decide the type of audition or selection process that would be appropriate 9. conduct interviews or auditions with chosen per formers, narrators or voice-over artists and where appropriate with the producer present 10. assess what the performers contribution to, and impact on the particular production is likely to be 11. play a leading role in final selection decisions with the producer and others

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NATIONAL OCCUPATIONAL STANDARDS DIRECTORS APRIL 2003

D3 SEEK FINANCIAL RESOURCES FOR THE PRODUCTION
UNIT OVERVIEW This unit covers the procedures behind seeking funding for the production. It is about using your acquired knowledge, skills and understanding of the various aspects of the production process to acquire information on the costs, and hence the levels of funding required. It also includes the need for you to draw up a comprehensive, realistic appraisal and rationale for securing funding for the production. It is also necessary to realise which funding sources are available.The identification of potential financial backers and others such as producers are crucial to the successful completion of a project. Funding could be for development or for some or all of the production, depending on the circumstances and constraints in place. This is essentially the producer's role, but in these days of stiff competition and flexible markets the Director frequently has to perform some or all of these functions. f) how to get an accurate budget and schedule done g) the importance of contingency planning h) how to prepare and present a clear rationale to potential investors/partners for funding the production i) negotiation strategies to use when agreeing financial arrangements d) how to estimate the timescales, technical and logistical demands and their implications in time and money to enable the preparation of a full proposal e) the minimum funding required given the estimates of costs, resource requirements and time schedules c) the artistic and audience demands which the project can claim to fulfill b) the main investment players in the appropriate sector and the current range of investment and funding sources available

KNOWLEDGE AND UNDERSTANDING This is what you must know

a) the potential markets for production ideas and the reasons why potential investors would be attracted by the proposal and why people invest in productions

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NATIONAL OCCUPATIONAL STANDARDS DIRECTORS APRIL 2003

D3 SEEK FINANCIAL RESOURCES FOR THE PRODUCTION PERFORMANCE STATEMENTS This is what you must be able to do
1. determine your vision of the production and the resources required to achieve it 2. ensure that all available evidence regarding production scale and costs is evaluated and appropriate decisions taken 3. approach an experienced production manager who can draw up an accurate schedule and budget 4. research and identify possible investors and forms of funding for the project, and their respective advantages and disadvantages 5. identify criteria and procedures to be followed for contingency purposes 6. ensure that all documentation relating to the planned production is put together in a manner to appeal to potential backers and their relevant schedules 7. make your case for funding clearly and forcefully in a way to that will appeal to potential investors 8. ensure that any funding proposals are checked against the production costs, budget and schedule. 9. carry out effective negotiations on financial agreements to ensure the best deal for the production 10. ensure proper records on all contracts and agreements are in place and maintained

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10

NATIONAL OCCUPATIONAL STANDARDS DIRECTORS APRIL 2003

D4 INPUT INTO PRE PRODUCTION PLANNING
UNIT OVERVIEW Within the pre-production planning stage the Director plays a critical role in ensuring that everyone is clear on the essential concept of the production and helping to schedule the production to ensure that there is sufficient time to execute it. At the same time it is critical that the Director knows what the Budget and the resources available are to execute the Production. Research also plays a critical point at this stage of the pre-production planning. Notes:
Key Personnel this includes the following people: cinematographer, designer, first assistant, costume designer, makeup designer, editor, composer. Relevant Person(s) these are the other people who will also contribute to the decision making involved in hiring key personnel. They will include the producer and production manager.

KNOWLEDGE AND UNDERSTANDING This is what you must know

a) how to communicate and portray the essential concept to all relevant persons including the producer, production team and technicians b) the required visual effects for the production to achieve the visual concept c) how those desired effects complement the overall theme of the production d) how to ensure that the schedule is planned out with sufficient time to execute it and the importance of your input into the scheduling e) how to determine whether the budget and the resources within it are sufficient and the feasibility of the sections of the budget that directly affect your work f) those aspects of the production for which research is necessary and how to conduct the research and present the findings in such a way to inform all relevant team members

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NATIONAL OCCUPATIONAL STANDARDS DIRECTORS APRIL 2003

D4 INPUT INTO PRE PRODUCTION PLANNING PERFORMANCE STATEMENTS This is what you must be able to do
1. clarify and refine the essential concept and communicate it to all relevant persons 2. ensure that sufficient time is available to the team to: analyse how your vision can be met by their speciality evaluate their potential role discuss ideas with you 3. ensure that sufficient time is available to execute the planned production by being closely involved with the discussion over the scheduling process. 4. ensure you have access to the budget to determine if sufficient resources are available to execute the production 5. identify the feasibility of the key aspects of the budget, especially those sections that impact on your work 6. recommend the most effective way to spend the available budget and ways in which cost savings might be achieved 7. research the relevant background information, and make sure the research is available to relevant team members

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12

NATIONAL OCCUPATIONAL STANDARDS DIRECTORS APRIL 2003

D5 SELECT A CREATIVE AND TECHNICAL TEAM
UNIT OVERVIEW This unit is about your contribution to the selection and hiring of key personnel within the creative and technical team in conjunction with the producer. b) the budget that is available for hiring key personnel It involves establishing precisely the extent of your involvement and authority in this field and then contributing to the process accordingly. It is about reviewing the portfolios and CVs of potential personnel and selecting them for interview. It then involves your taking the interview process and sharing in selection decisions. This unit also requires you to ensure that the work of key personnel is monitored throughout the production to ensure that it remains consistent with the required production standards and the creative concept. Notes:
Key Personnel this includes the following people: cinematographer, designer, first assistant, costume designer, makeup designer, editor, composer. Relevant Person(s) these are the other people who will also contribute to the decision making involved in hiring key personnel. They will include the producer and production manager. Relevant Methods these are the methods that might be employed to attract potential candidates.These include previous contacts, specialist agencies, word of mouth, advertising in industry newspapers and journals, etc.

KNOWLEDGE AND UNDERSTANDING This is what you need to know:

a) the terms of your contract of employment relating to the extent of your authority and involvement in the hiring of key personnel

c) the numbers, type and basis of contract of key personnel d) how to advertise for potential sources of key personnel e) how to determine the creative and technical talents of those you are interviewing f) a general knowledge of the terms and conditions of the contracts for personnel g) how to evaluate budgetary and contractual constraints and the production concept when considering whether any key personnel replacements are required

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NATIONAL OCCUPATIONAL STANDARDS DIRECTORS APRIL 2003

D5 SELECT A CREATIVE AND TECHNICAL TEAM PERFORMANCE STATEMENTS This is what you must be able to do:
1. determine the extent of your responsibility and authority vis a vis the producer regarding the selection and hiring of key personnel 2. evaluate the pool of people from whom a shortlist of potential interviewees should be compiled 3. carry out interviews with potential candidates in collaboration with the producer 4. ensure that potential personnel are fully conversant with the intentions of the production and creative concept 5. evaluate the interview performances of potential candidates and select them in agreement with other relevant person(s) 6. justify key personnel appointments in terms of the budget, production concept and their contract of hire in agreement with the producer

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14

NATIONAL OCCUPATIONAL STANDARDS DIRECTORS APRIL 2003

D6 REVIEW THE SUITABILITY OF POTENTIAL LOCATIONS AND STUDIOS
UNIT OVERVIEW This unit is about deciding which locations and studios will be necessary to fulfill the requirements of the production. b) the budget allocation for locations and It is about considering the potentially suitable locations and studios that are presented to you, visiting them and assessing their features, advantages and disadvantages, in view of the budgetary and script requirements. You should advise the relevant person(s) of your choice, and also inform them whether any alterations to the location or studio will be required. Notes:
Key Personnel this includes the following people: cinematographer, designer, first assistant, costume designer, makeup designer, editor, composer. Relevant Person(s) these are the other people who will also contribute to the decision making involved in hiring key personnel. They will include the producer and production manager.

KNOWLEDGE AND UNDERSTANDING This is what you need to know

a) the requirements of the script and such practical aspects as permissions, availability, etc

studios. c) how to assess the advantages and disadvantages of a location and / or studio and make your selection accordingly d) the degree of alteration that would be required to render a potential location/studio suitable e) the procedure needed to be followed to obtain permissions f) the format in which contractual agreements for locations or studios should be presented to you

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NATIONAL OCCUPATIONAL STANDARDS DIRECTORS APRIL 2003

D6 REVIEW THE SUITABILITY OF POTENTIAL LOCATIONS AND STUDIOS PERFORMANCE STATEMENTS This is what you must be able to do
1. assess the choice of potential locations and studios presented to you: for their advantages and disadvantages for their applicability to the content and quality of the production with respect to their optimum usage to minimise costs 2. with the producer, calculate the cost of using a particular arrangement and review the available budget 3. ensure that the relevant person(s) provides you with sufficient details about: the degree of alteration that a potential location/studio would require the availability of potential locations/studios within the shooting schedule alternative locations and studios that could be available as contingencies health and safety issues 4. select the location/studio based on your review and assessment in consultation with other relevant people 5. ensure final arrangements with selected studios and locations are made with and carried out by the production and design teams.

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NATIONAL OCCUPATIONAL STANDARDS DIRECTORS APRIL 2003

D7 DIRECT THE PRODUCTION
UNIT OVERVIEW This unit deals with the process of directing the production as it is being shot. The Director is looked to for guidance, leadership and of course direction on the overall concept, its theme, content, characters, narrative and visual style. It is essential that the Director can articulate his/her requirements to the entire creative and technical team. c) the intended visual style for the production It is also incumbent upon the Director to encourage and make use of the professional skills and experience of each member of the team to ensure the agreed standard and quality of the production. Notes:
Key Personnel this includes the following people: cinematographer, designer, first assistant, costume designer, makeup designer, editor, composer.

KNOWLEDGE AND UNDERSTANDING This is what you must know

a) the dramatic essence of the project, its message or point, its narrative structure, emotional significance, and the relationships of its principal characters and themes. b) the budget, schedule and desired standard of the production

d) the precise role of every major member of the creative team in delivering and reinforcing the production e) how to give direction to the Director of Photography and designer that will achieve your desired effect in the production f) how to effectively work alongside key personnel including (as appropriate) DOP/lighting/camera personnel production designer/art directors costume and hair/make-up designers assistant directors and production team

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NATIONAL OCCUPATIONAL STANDARDS DIRECTORS APRIL 2003

D7 DIRECT THE PRODUCTION PERFORMANCE STATEMENTS This is what you must be able to do
1. ensure that your agreed vision and desired look of the production are communicated to key personnel in the creative team 2. communicate desired means of working and expectations with the creative team and ensure that effective means of communication are clearly established 3. articulate the need for both team work and the aim of standards of work that match the available budget and timescale 4. ensure that sufficient time is made available to the creative team to: analyse how your vision can be met by their expertise discuss, review and develop ideas with you 5. ensure that decisions about new developments regarding the creative aspects of the production are communicated to all relevant personnel either by yourself or others as instructed 6. ensure that any major changes agreed upon are recorded and distributed to appropriate personnel 7. identify where camera technique and lighting relates to the theme of the production in these scenes 8. ensure the camera and lighting teams are aware of your plans and the effect that they will have upon their work 9. ensure during production that effective direction is given to ensure appropriate use is being made of camera and lighting techniques 10. regularly liaise with appropriate personnel to ensure your desired visual theme are being realised

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NATIONAL OCCUPATIONAL STANDARDS DIRECTORS APRIL 2003

D8 DIRECT THE ACTORS (DRAMAS)
UNIT OVERVIEW This unit is not only about how the Director relates to the actors, but also how their performance is maximised for the good of the overall production. It is not the role of the Director to train actors, but to get the best, most relevant performances from them. Consequently the unit covers such aspects as you as Director communicating your vision and ideas, observing, listening, and providing appropriate feedback on performances.You must have a clear idea of the concept and how the actors are to fit into the overall dramatic framework of the production Notes:
Key Personnel this includes the following people: cinematographer, designer, first assistant, costume designer, makeup designer, editor, composer.

KNOWLEDGE AND UNDERSTANDING This is what you must know

a) the main elements in the agreed overall creative approach to the production b) how to communicate those elements clearly and effectively c) the key aspects of the production that must be com municated to actors d) how to motivate groups of artistic personalities. e) the expectations of actors and other members of the production team f) what constitutes a good performance in the context of the production g) how to be sensitive to actors needs and requirements h) how to conduct rehearsals so as to maximise the actors' potential

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NATIONAL OCCUPATIONAL STANDARDS DIRECTORS APRIL 2003

D8 DIRECT THE ACTORS (DRAMAS) PERFORMANCE STATEMENTS This is what you must be able to do
1 design and communicate rehearsal schedules to relevant parties including the assistant Director 2. communicate clearly the overall creative approach, vision and style to key personnel: actors assistant Director production crew extras 3. communicate with actors and performers so as to develop mutual trust and respect 4. discuss with the actors the artistic interpretation of the production, their role in it, and their characterisations, 5. encourage performers and production staff to have mutual respect for each other 6. ensure you explain clearly your methods of working and expectations to the cast and crew prior to shooting 7. ensure that actors are given sufficient time, motivation and opportunity to rehearse and achieve their potential 8. make sure that actors are aware of the technical requirements of a scene and provide the actors with information about their movement and speech 9. identify strategies to overcome any problems and communicate solutions clearly to all concerned 10. collaborate with writers so that the script is modified if necessary to take into account findings from rehearsals, whilst maintaining continuity - (see next page for an alternative unit for Directors of documentaries ) 13. keep the producer informed of developments on a regular basis 11. evolve appropriate moves for the actors, to enable them to express their performance 12. make sure any suggestions to performers are supportive and constructive

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NATIONAL OCCUPATIONAL STANDARDS DIRECTORS APRIL 2003

D9 DIRECT THE CONTRIBUTORS (DOCUMENTARY)
UNIT OVERVIEW This unit is about how you relate to the contributors, and help them maximise their contribution for the good of the production, whilst ensuring viewers are not misled through false statements or incorrect inference.You, as Director, should structure preparatory work and schedules so as to get the best, most natural and relevant performance for the production. d) how to develop production teams where necessary Consequently the unit covers such aspects as communicating ideas, observing, listening, mentoring and guiding, and providing appropriate feedback on performances and what the production requires of participants. Above all it is about you knowing how to choose and guide contributors while retaining a clear idea of the central objectives of the production. NB. It is normal for the producer and director of a documentary to be the same person. Notes:
Key Personnel this includes the following people: cinematographer, designer, first assistant, costume designer, makeup designer, editor, composer.

KNOWLEDGE AND UNDERSTANDING This is what you must know

a) the main elements in the agreed overall approach to the subject matter of the production b) how the contributors relate to the underlying story that needs to be told c) how to communicate clearly and effectively what you need the contributors to do

and appropriate e) how to explain complex production systems and requirements to non-specialists f) how to motivate individual contributors and any members of the production team g) how to design and maintain shooting schedules with researchers and others in the production department h) how to develop a trusting relationship with contributors that will enable them to perform naturally in front of camera, whilst maintaining the integrity and reality of the subject matter i) how to be sensitive to the needs of contributors and to support and motivate them j) the need to abide within your responsibilities of fairness and accuracy and not mislead viewers k) the importance of following professional ethics and not allowing contributors to be misrepresented or unfairly treated l) how to obtain releases, permissions, clearances and licences for all the elements of your production (contributors, locations, music, etc)

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NATIONAL OCCUPATIONAL STANDARDS DIRECTORS APRIL 2003

D9 DIRECT THE CONTRIBUTORS (DOCUMENTARY) PERFORMANCE STATEMENTS This is what you must be able to do
1. review and plan the priorities for production 13. analyse and interpret the integrity and veracity of 2. design and communicate the desired shooting sequence to relevant people 3. shoot enough material of sufficient variety to ensure that sequences can be edited 4. communicate clearly and clarify the overall creative approach, vision and theme to available key personnel including: assistant producer and executives contributors production crew researchers 5. communicate with contributors so as to develop mutual trust and respect 6. encourage contributors to discuss their role in the production and any difficulties they may have in contributing to it 7. explain clearly your methods of working and expectations to the contributors and crew prior to any shooting 8. keep producer informed of developments on a regular basis 9. ensure that contributors are given sufficient time and opportunity to prepare for the production process 10. maintain a sensitive manner in regard to any delicate subject matter the subject matter and/or contributors to avoid any distortion 11. agree with the executive producer on the format and type of interviewing and the most effective way to carry out the interviews 12. maintain the pace of the production to ensure the success of the overall product

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NATIONAL OCCUPATIONAL STANDARDS DIRECTORS APRIL 2003

D10 SUPERVISE THE POST PRODUCTION PROCESS
UNIT OVERVIEW It is usually you as Director who has responsibility for supervising the whole post production process, not simply the final stages of editing.You are responsible for knowing why scenes were prepared in a certain way and being able to communicate this to other people. You must ensure that the post production process is executed to ensure that the final print meets agreed objectives.To achieve this you will have to prepare relevant items of information for others, such as the editing schedule and assembly / cutting order. After shooting ends you must have time to do your Director's cut with the editor, without input from the producer.You must show this to him/her on an agreed date, and discuss any changes necessary before the film is presented to financiers, distributors or broadcasters. Further discussions will then lead to the "locked" or Final Cut. At this stage the sound effects and music are prepared prior to a final mix, and the film is graded. Notes:
Key Personnel this includes the following people: cinematographer, designer, first assistant, costume designer, makeup designer, editor, composer. Relevant Person(s) these are the other people who will also contribute to the decision making involved in hiring key personnel.They will include the producer and production manager.

KNOWLEDGE AND UNDERSTANDING This is what you must know

a) time constraints and budget at your disposal b) how to timetable the post production process accurately c) how to prepare an editing schedule, an assembly / cutting order, a shot list as necessary d) the music and sound effect requirements of the production e) sufficient knowledge of the processes of looping (post synching), sound mixing / dubbing to advise on changes that will enhance the product f) your level of involvement in the product after the fine cut is completed g) your legal responsibilities and liabilities throughout the post production process, particularly in relation to those of the producer

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NATIONAL OCCUPATIONAL STANDARDS DIRECTORS APRIL 2003

D10 SUPERVISE THE POST PRODUCTION PROCESS PERFORMANCE STATEMENTS This is what you must be able to do
1. plan the editing to ensure that it is completed within the post production budget and schedule 2. clarify who has responsibility for deciding any final changes 3. ensure an editing schedule is available for use by the relevant person(s) at the appropriate time 4. advise the relevant person(s) of any changes or special requirements for the editing schedule 5. produce a cutting order for the editor, indicating preferred takes and/or dialogue, with allocation of time for preparation and viewings 6. ensure the producer has access to the necessary information to enable their participation in the post production process 7. provide the producer with your Director's cut of the film or programme, and view it with them 8. agree any changes with the producer and other relevant person(s) based on the Director's cut 9. select and agree the following with the relevant person(s): the music and choice of recording that will be used for the production where music and any sound effects will feature in the production 10. specify any prerecorded music that may be required so that copyright clearances can be made 11. supervise looping, post synching, music recording and sound mixing with the appropriate persons 12. ensure that the final print is consistent and of an acceptable standard, and that any subsequent copies are as close as possible to the agreed original version

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NATIONAL OCCUPATIONAL STANDARDS DIRECTORS APRIL 2003

X2 ENSURE YOUR OWN ACTIONS REDUCE RISKS TO HEALTH AND SAFETY
UNIT OVERVIEW Fundamental to this unit is an understanding of the terms hazards and risks. A person competent in this unit is not required to undertake a full risk assessment, but needs to have an appreciation of significant risks in the workplace and knowing how to deal with them.
Unit imported from Emplotment NTO

KNOWLEDGE AND UNDERSTANDING This is what you must know

a) your legal duties for health and safety in the workplace as defined by the Health and Safety at Work Act 1974 b) your duties for health and safety as defined by any specific legislation covering your job role c) agreed workplace health and safety procedures relating to controlling risks to health and safety d) responsibilities for health and safety in your job description e) the responsible persons to whom to report health and safety matters f) the specific organisational health and safety policies covering your job role g) suppliers' and manufacturers' instructions for the safe use of equipment, materials and products h) safe working practices for your own job role i) the importance of personal presentation in maintaining health and safety in the workplace j) the importance of personal conduct in maintaining the health and safety of yourself and others k) your scope and responsibility for rectifying risks l) workplace arrangements for handling risks which you are unable to deal with m)what hazards exist in your workplace and the importance of remaining alert to and dealing with or promptly reporting risks n) the particular health and safety risks which may be present in your own job role and the precautions you must take

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NATIONAL OCCUPATIONAL STANDARDS DIRECTORS APRIL 2003

X2 ENSURE YOUR OWN ACTIONS REDUCE RISKS TO HEALTH AND SAFETY PERFORMANCE STATEMENTS12. your personal conduct around the workplace does You must be able to identify the hazards and evaluate the risks in your workplace, so... 1. you correctly name and locate the persons responsible for health and safety in the workplace 2. you identify which workplace health and safety procedures are relevant to your working practices 3. you identify those working practices in any part of your job role which could harm yourself or other persons 4. you identify those aspects of the workplace which could harm yourself or other persons 5. you evaluate which of the potentially harmful working practices and the potentially harmful aspects of the workplace present the highest risk to you or to others 6. you report those hazards with a high risk to the persons responsible for health and safety in the workplace 7. you deal with hazards with low risks in accordance with workplace health and safety procedures and legal requirements You must be able to reduce the risks to health and safety in your workplace, so... 8. you carry out your working practices in accordance with legal requirements 9. you follow the most recent workplace health and safety policies for your job role 10. you rectify those health and safety risks within your capability and the scope of your job responsibilities is in accordance with workplace health and safety policies not endanger the health and safety of yourself or other persons 13. you follow the workplace procedures and suppliers or manufacturers instructions for the safe use of equipment, materials and products 14. you report any differences between workplace procedures and suppliers or manufacturers instructions as appropriate 15. your personal presentation at work ensures the health and safety of yourself and others, meets any legal duties, and 11. you pass on any suggestions for reducing risks to health and safety in the workplace to the persons responsible for health and safety

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NATIONAL OCCUPATIONAL STANDARDS DIRECTORS APRIL 2003

F1 MANAGE AND MARKET YOURSELF AS A FREELANCER
UNIT OVERVIEW This unit is for you if you operate in the multi-media business as a freelancer. In order to be successful you will benefit from having deeper knowledge and understanding about how to promote your achievements, how to sell yourself and keep your reputation and knowledge up-to-date. Furthermore you need to have the required skills to seek and find work, negotiate your own contract (unless you have an agent) and ensure that the terms and conditions are fair and just. d) what are the best and most effective self-promoting There is also a whole range of business skills which you need to be able to employ in order to survive. Such skills and knowledge extend from self-promotion, knowledge of IT, through budgeting and legal requirements to the need to identify training and developments needs. e) whether an agent would be able to help you to find work f) how to access work opportunities with production and distribution companies g) how to estimate going rates including those for: schedules fee rates resources such as accommodation, expenses, etc h) how to negotiate terms and conditions in line with legal and production industry requirements i) how to maintain contacts and conduct negotiations with potential clients in the production business j) how to negotiate and agree contracts with reference to: relevant employment legislation expected income time available clearly established outcomes
SKILLSET APRIL 2003

KNOWLEDGE AND UNDERSTANDING This is what you must know

a) who are the major commissioning organisations in your field of expertise and how best to make contact b) how to maintain your professional ethics and practices, and keep abreast of new developments with in the multi-media industry c) how to market yourself and your services including making, following up and maintaining contact with potential clients

tools to use

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NATIONAL OCCUPATIONAL STANDARDS DIRECTORS APRIL 2003

k) the relevant sources of advice on employment, insurance, tax regulations and other small business legislation l) how to keep simple accounts (Income, expenditure and cash flow) and how to invoice and chase late payments m)how to set and manage personal and business budgets n) how to recognise the difference between creative and business decisions o) how to carry out contingency planning, scheduling and future planning so as to maintain a viable work and cash flow

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NATIONAL OCCUPATIONAL STANDARDS DIRECTORS APRIL 2003

F1 MANAGE AND MARKET YOURSELF AS A FREELANCER PERFORMANCE STATEMENTS this is what you must be able to do
1. establish, follow-up and regularly maintain business contacts within the industry 2. participate within relevant networks and expert organisations to support your freelance activity 14. plan ahead to organise and maintain a viable work 3. identify and follow appropriate strategies to enhance your professional reputation and promote yourself to potential clients 4. ensure that you have systems in place that help identify work opportunities at an early stage 16. negotiate terms and conditions that meet legal 5. maximise your reputation by ensuring the circulation of current and succinct information about your experience, past work, achievements and availability 6. investigate potential agents or other representatives available in your area 17. estimate and agree realistic fee rates, schedule and 7. make use of others as models of competence thereby enabling the identification of development and training needs 8. seek constructive feedback from relevant people about your performance and evaluate feedback so as to identify development needs 9. regularly revisit, review and set realistic objectives in terms of: training needs performance and progress business targets the use of time and other resources in achieving objectives 18. establish clear performance outcomes 19. ensure the contract contains details regarding payment terms and time limit to payment and the obligations of all parties clearly communicated 20. ensure that the details of the contract match agreements and securely store a written copy of the final signed contract other expenses equal opportunities employment law production industry regulations requirements in terms of: 15. ensure you are flexible and prepare to adapt to the demands of others whilst maintaining your personal work ethic and reputation and cash flow 10. prepare and keep simple but accurate and up-to-date accounts and records 11. ensure that record keeping is kept up-to-date, is accurate and relevant 12. set up and use effective systems for managing budgets, finance and paperwork 13. establish and maintain effective support services

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