Welcome To The Course

Welcome to the course
Welcome to Film Production: Behind the Scenes of Feature

Filmmaking. The Production Guild of Great Britain are
delighted that youre joining us on this journey.
Firstly, if you havent yet completed the pre-course survey, please

do so now.
Over the next three weeks, guided by respected film

professionals, this course will demystify the process of making a
feature film. You will discover the key stages of how a film gets
made and the different types of production.
We will explore the different departments and how they interact

and work together. We will look at the structure of a film crew, how
individual job roles fit into the wider crew and get to grips with
industry jargon and etiquette.
Week 1: The types and stages of Film Production.

Week 2: The departments and the people involved in feature
filmmaking.
Week 3: Working collaboratively and becoming film runner.
We recommend that you follow the course week by week in

chronological order so that you can build up your work and share
with fellow learners. Each week you will have the opportunity to
test your own knowledge and understanding via multiple choice
quizzes and post your thoughts and ideas for discussion with your
fellow students.
Anyone with a more specific interest in working in the film industry
will gain an understanding of being a runner, an entry level job,
and learn about the potential career progression pathways. Well
also share hints and tips for how to get on in the industry and
pursue your dream.
Throughout the course, do make the most of FutureLearns social

features: post your thoughts or questions in the comment feed
below each post, and dont be afraid to like other learners posts
and start conversations. If you need any help using FutureLearn,
have a look at thisguided tour video.
To get warmed up, use the comments section to tell us what

films youve particularly enjoyed in the past year and why?
Also, are there any particular producers, directors or
cinematographers (Directors of Photography) you particularly
admire?
Production Guild of Great Britain

VIDEO
Welcome to the course. My name's Paul Sarony. I am a film line producer. During the course,
we're going to introduce you to filmmaking, the levels of production, where productions start,
who gets employed, the terms we use, what roles people start working on within the industry,
which areas of interest particularly suit you. We'll also then talk about what makes a good
runner, where runners fit into production, which departments have runners, what makes a good
runner, and of course, interaction with others on the course. Enjoy.
Want a certificate?
If you complete the majority of steps on the course and attempt
every test question, you will be eligible to purchase a Statement of
Participation, which comes in the form of a printed and digital,
shareable certificate.
This is a great way to show your interest in the subject, your
commitment to your career, or as evidence of Continuing
Professional Development (CPD). A Statement of Participation is
also a great souvenir!
FutureLearn
Meet the team

The Production Guild Of Great Britain team will be on hand
over the next three weeks, guiding you through the course.
We recommend you follow the educators on this
course: Lesley Lipscombe and Paul Sarony.
Paul Sarony: Line Producer, Producer, Co-Producer
Paul Sarony is a highly-experienced Line Producer and has

extensive International experience including Production Adviser
UK Shine (Oscar winner); General Manager of HTV International;
Board Member First Independent UK Distributor; Associate
Producer Brookside, and General Manager Mersey TV. Latest
credits as a line producer includes The Adventurer: The Curse of
the Midas Box.
Lesley Lipscombe: Training and Development Manager
Lesleys first job in the Film industry was working for Film Unit
caterers, before moving onto an Admin/Co-coordinator role for a
Special Effects Company. She worked for the next ten years in
various roles supporting training and development of new entrants
and Film & TV professionals. Lesley joined The Production Guild
as Training and Development Manager in March 2015.
This course has been put together with a range of insights

from industry experts in the world of feature filmmaking. For
further information, follow the links below to their IMDB
profiles.
James Merifield: Production Designer
James Merifield is a graduate of the Slade School of Fine Art in

London and started his career working with legendary film director
Ken Russell on films such as Lady Chatterley for the BBC, as well
as collaborating with the director on Operas for the English
National Opera and Bonns Opera House. James was nominated
for a BAFTA for Best Production Design for his work on The Life
and Adventures of Nicholas Nickleby, and also designed Sense
and Sensibility and Little Dorrit for UKs BBC. He also earned an
Emmy Award for Outstanding Art Direction and another BAFTA
nomination for his work on Little Dorrit.
Gabby Le Rasle: Production Manager
Gabby Le Rasle began her career as a runner and then worked as

a Production Coordinator before becoming a Production Manager.
Recent credits include: The Early Years, Bill, and The Riot Club.
Lydia Currie: 1st Assistant Director (1st AD)
Lydia Currie is a very experienced 1st AD and a regular guest

lecturer on film and TV courses. Recent credits include: Jekyll &
Hyde, The Man Who Knew Infinity and 24: Live Another Day.
Neil Corbould: Special Effects Producer & Director
Neil Corbould is a British special effects supervisor with over 30

years experience best known for his work on major blockbuster
films such asGladiator, Saving Private Ryan and Black Hawk
Down. Neil has won two Oscars for: Gravity and Snow White and
the Huntsman and four BAFTAs for: Gravity, The Day After
Tomorrow, The Fifth Element and Saving Private Ryan.
David Tanner: Producer/Head of Production
David Tanner worked his way up through the ranks starting out as
a Runner and Producers Assistant to become a successful
producer in his own right. David is currently the head of production
at Rainmark Films and his recent Producer credits include: The
Frankenstein Chronicles andMuhammad Alis Greatest Fight.
Mairi Bett: Line Producer, Co-Producer
Mairi Bett established Skyline Films with partner Steve Clark-Hall

over 25 years ago. Skyline started out producing documentaries
and telefilms and has since expanded into feature film work all
over Europe. In 2004 Mairi was honoured with the Women in Film
Production Management Award and in 2015 she received The
Production Guild Inspiration Award in association with Creative
Skillset, in recognition of her long-standing dedication to assisting
the career development of young producers and production crew.
Recent credits include: Co-Producer - Victor Frankenstein,
Executive producer - Ali & Nino
Deryn Stafford: Production Co-ordinator

Deryn Stafford is an experienced Production Co-ordinator with a
background in low and medium-budget films and television, as
well as larger US-backed studio films
(Sony/Paramount/Disney/Universal). Recent credits as a co-
ordinator include: The Gunman, The Woman in Black: Angel of
Death and Fleming.
So why are you passionate about filmmaking? And who are

you looking forward to hearing from?
Film budgets and the types of

production
The amounts of money spent on film productions range
incredibly. Below in information on the different levels of
production and the cost/budgets involved.
No Budget
No Budget productions are often listed as shorts and include
many films made by student filmmakers whilst on university
courses and shortly after leaving training courses to showcase
their talent. Crews can range from one to ten people with a budget
of nil to a maximum of 50,000.
Low Budget
Low Budget productions are films which have to be made with a
small budget, as they may not attract a very commercial
distribution and Producers can only fund them if they are at a low
budget level. Budgets probably fall in the range of 100,000 up to
a couple of million pounds. Crew may not be paid full union rates
and these may be construed as non-union shoots, offering profit
share with everyone getting the same minimum wage or tiered in
three levels for example:
750 per week for Heads of Department (HODs)

600 per week for No. 2s
300-500 per week for basic crew
Low Budget feature are good for getting experience and some
credits but should not be considered as a major step into the
industry, unless the project is a properly registered low budget film
which will be around 1,000,000 to 3,000,000.
Medium Budget
Medium Budget productions cover a very wide range of
productions, from around 5,000,000 to around 30,000,000, or
perhaps even more. These are likely to be British/European
independent features and are often referred to as indie pictures.
Studio & High Budget

Studio & High Budget productions are the Harry Potters, 007,
Pirates of the Carribean, Mad Max, etc. with budgets from
50,000,000 upwards and most often backed by a major studio.
The range of costs involved in productions are vast. Does the

amount of money in high-budget pictures surprise you? How
much do you think it would cost you to make your first short
film? Check out your favourite film, what budget bracket does
it fit into? Does that cost suprise you?
The seven stages of film

production
Now weve looked at the money involved in filmmaking, its
time to take a more detailed look at the stages a film goes
through. Below are the seven key stages in getting a film
from an initial idea through to watching it on the big screen.
1. Development
The start of a project varies, but generally will begin with
development of a script, be that an existing script, a book, a brief
story outline. Development may also start with a Director and/or
Writer pitching an idea to a Producer.
2. Pre-Production
This is the phase where you would narrow down the options of the
production. It is where all the planning takes place before the
camera rolls and sets the overall vision of the project. Pre-
production also includes working out the shoot location and
casting. The Producer will now hire a Line Manager or Production
Manager to create the schedule and budget for the film.
3. Production
During this phase it is key to keep planning ahead of the daily
shoot. The primary aim is to stick to the budget and schedule, this
requires constant vigilance. Communication is key between
location, set, office, production company, distributors - in short, all
parties involved
4. Principal Photography
This is when the camera rolls. It is nearly always the most
expensive phase of film production, due to actor, director, and set
crew salaries, as well as the costs of certain shots, props, and on-
set special effects. Everything that has happened up to this point
is to make principal photography go as smoothly and efficiently as
possible. Communication between all parties is crucial during the
shoot and the production must maintain a full set of records and
strive to remain on time and on budget.
5. Wrap
The period immediately after shooting ends. It is when we strike
(dismantle) the set and clear the location. Everything must be
returned in good order to suppliers and there must be a full set of
records of the shoot.
6. Post-Production
This stage starts when principal photography ends, but they may
overlap. The bulk of post-production consists of reviewing the
footage and assembling the movie - editing. There will be
contributions as required from Visual Effects (VFX), Music and
Sound Design. The picture will now be locked and delivery
elements will be created. Further information on Post Production
can be found later on in Week 1 of the course.
7. Distribution
Once the film is completed, it must be distributed. This is how
producers make their money back and a considerable amount of
time and energy will be invested to secure the right distribution
deals for their projects. The film will go into the cinema and/or be
distributed via various platforms such as Amazon Prime, Netflix,
and HBO etc.
Who has overall responsibility for

getting a film made?
In Week 2 well go into much more detail about the roles and
responsibilities within a film production. For now, its useful
to have an idea of the key players and what their roles are.
Producer
The Producer supervises raising finance, hiring key Heads of

Departments and finding and contracting distributors. The
Producer is involved from the very beginning of film through to
delivery of the production. They oversee all areas of production,
both creative and financial.
Director
The Director oversees all creative elements of the film. They

visualise the story by directing actors performances and managing
the technical aspects of the film e.g. which shots and angles as
best to tell the story in that scene. The Director may have a little
input in the script (not always) and they will build the film in the
edit, with the Editor, in the way they best thinks tells the story.
Screenwriter
The Screenwriter is responsible for developing and researching

the story, the characters and the plot. They will write the
screenplay and deliver it, make required redrafts before filming
and make revisions during filming if required.
Director of Photography/Cinematographer
The Director of Photography (DOP) is responsible for the

cinematic look of the film. They decide what lighting, filters, lenses,
filming speed, crane shots, framing and medium (digital or film) etc
is required to best tell the story the way the Director wants it to be
told.
Casting Director
The Casting Director works closely with the Director and Producer
to understand requirements, suggests artists for each role, as well
as arranging and conducting interviews and auditions.
Location Manager
The Location Manager is the Head of Department for Locations

and they are ultimately responsible for the locations of a film
production. They oversee the initial scouts and research locations,
work out the availability, logistics, cost and restrictions of working
at the location to ensure it is a truly viable option for the Director.
Production Designer
The Production Designer is in charge of the Art Department and is

responsible for the overall look of the physical film, in terms of the
set, locations, props and dressings.
Film Editor
The Film Editor creates the story by assembly the shots given.
They work closely with the Director, arranging shots in the final
film.
Getting a production ready to

shoot
Once a film production has been given the go ahead, work
will progress into the pre-production stage.
In this video, Line Producer Paul Sarony briefly describes the

principal stages of the production process and identifies who will
be involved as the production progresses. He discusses the
important roles of the Location Manager, the Designer and the
Casting Director. More information on these role, and others will
be highlighted later in the course.
All the work in this stage enables detailed scheduling to be

produced, allowing a methodical and systematic approach to
shooting the film.

VIDEO
0:10Skip to 0 minutes and 10 secondsSo we've seen how a production starts, with a
producer commissioning a script, talking with the director, and starting to get our production
manager grown to look about the costings and scheduling of the same. With finance in place,
we now progress into pre-production. And two of the key points of pre-production are finding
the locations and costing. Those are our priorities. So early crew will be the location manager,
the designer, and the casting director. And whilst this is happening, we're starting to schedule,
putting all the information together through that process. We'll have a lighting cameraman or
director of photography.
0:50Skip to 0 minutes and 50 secondsHe'll be coming round and looking at the locations and
discussing the look of the picture and how he can get that look of the picture in the various
locations. We'll start having a costume designer on who'll have creative meetings with the
director and the other heads of department to decide the look of the picture. All this will start
building. And we'll end in a pre-production process that comes with a technical reccy, when all
the crew go round looking over the areas where we're going to film, and then in a pre-
production meeting, where everyone discuss the schedule and how the film is going to be
operated on a day-to-day basis, so filming which scene on which day.
Shooting a film: What happens in

one day?
Once Pre-Production has completed, a filming schedule will
be produced. This schedule is crucial as it forms the basis of
the Call Sheet. The Call Sheet is provided the night before
every shoot and contains all the information as to what will
be undertaken the following day.
In this video Line Producer, Paul Sarony highlights the daily tasks
undertaken on a film set, the use of the Unit Base, the types of
departments you expect to find and the types of roles a Runner
may undertake.
Check out the Downloads section below for a sample Call Sheet
and sample Progress Report.
View228 comments
VIDEO
0:10Skip to 0 minutes and 10 secondsSo our next process is the shooting process. The
shooting process is geared very much working to what we call the call sheet. The call sheet is
the daily information taken from the schedule that we prepared during production. And we work
to a call sheet given out on the day before on the information for what we require each day that
we shoot. What about the day? The days often start very early, if we're shooting days, or start
late, if we're shooting night. Now, shooting days can be 10 hours, 11 hours, 12 hours, or 14
hours. They can be location close to London. They can be location in the Sahara desert. They
can be studio. They can be all around the world.
0:53Skip to 0 minutes and 53 secondsWhat is location? Location will be the set, i.e., where
the actual filming is taking place. And there will be the unit base. What do we see at unit base?
Unit base, we find the wardrobe trailer. We find the makeup trailer. We find the production
office. The toilets. The caterers. The dining bus. And we find transport. So we have to look
after artists. And one of the jobs of runner can, indeed, be looking after the artists, making sure
they're watered, they're fed, they have everything they need, and they get to set on time. On
the location itself, we'll find all the equipment trucks. There'll be a camera truck, a lighting truck,
a grip truck, props truck.
1:34Skip to 1 minute and 34 secondsAll the elements to support all the technical
requirements and the artistic requirements on the set. Now, at the end of each day, we have
something called a progress report. The progress report is a document that dictates to us or
tells us what we have achieved in the day. Cost of extras. The cost of catering. The cost of
additional equipment. So we've finished filming. What do we do? We need to wrap or strike.
Strike a set means taking all the equipment down and all the elements of the set away. We
need to load the trucks up and put all the equipment back in the trucks, take it back to unit
base or on to the next location.
2:15Skip to 2 minutes and 15 secondsWe also need to get the rushes away. The rushes are
the information that has been contained within the camera for that day. And there will be a
rushes runner who will take that equipment to the editing suite. The one thing you can be sure
of, they'll be long days. And they'll be very tiring days. And for the runners, they'll probably be
the longest of all the days.
Post-Production: What happens

when shooting finishes?
Post-Production, known simply as Post, initially involves the
Director and Editor working together to cut (assemble) the
picture to get the best end result with the footage shot. This
can take from six to 20 weeks. On average it is at least ten
weeks before the Director is satisfied that the film is ready to
show to producers and perhaps financiers. There may also be
a test screening to see how a specially-invited audience
responds to the film. Once the Producers and Director agree
on a locked cut, i.e. the film cut locked, then the sound
preparation begins.
Sound preparation starts with checking for clean dialogue, i.e.

dialogue unaffected by other lines or outside noises, and may lead
to some ADR (Additional Dialogue Replacement). A specialist
effects editor starts work on creating sound effects for the film.
Another editor starts to create and record foley: simple effects
such as doors closing, footsteps, etc. Yet another editor works on
selecting music for the soundtrack of the film.
Once all of these elements are ready the production goes into a
mix of the sound elements. This results in a combined sound
recording for the film which is then added to the picture. Whilst the
sound elements are being worked on, the film itself is being
cleaned, graded for lighting and have visual effects (VFX) added,
along with tiles and end credits. The completed, combined film is
then screened for checking.
Once it has been technically approved, the team creates all of

thedeliverables required for the film to be delivered to the
distributors, and through them to the exhibitors of the film. The
deliverables are the final elements sent out for theatrical
distribution, TV distribution and DVD distribution. In addition, the
deliverables include the elements which overseas distributors and
exhibitors will use to create foreign versions in different languages
with either a replacement soundtrack or sub-titles.

Week 2
Different departments and what
they do
As you would expect, there is a vast range of job roles on a
film set. In this video Paul Sarony highlights some of the key
roles and departments and their functions.
Key departments include:
Production Department
Accounts Department
Camera Department
Locations Department
Sound Department
Grip Department
Electrical Department
Art Department
Hair and Make-up
Costume
Post Production
Post Production Sound & Music
Visual Effects (VFX)
In the next step, you can a Glossary of roles and a downloadable

document showing who does what in the production of a feature
film.
VIFRO
0:10Skip to 0 minutes and 10 secondsSo we've seen the different sizes of production. Now
let's investigate who is in production, and the makeup of all the departments. Let's start at the
top with the producer-- overall control of the picture, financial and the business side. We then
have the director, who's in charge of the artistic side of the film. And then we go to production.
And within production, we have different areas. And let's start at the top, with production itself,
where we have a line producer, a production manager, a production coordinator, an assistant
coordinator, a production secretary, and then we have a production runner.
0:53Skip to 0 minutes and 53 secondsWe then go to accounts and the accounts department,
where we'll start with a financial controller, an accountant, an assistant accountant, various
assistant accountants doing different things within the accounts department, and a cashier.
Then we've got the assistant directors' department, where we have the first assistant director,
running the shoot on the floor, and the right hand to the director. And working with them, they'll
have a second AD who helps with the scheduling and looking after the artists. They'll have a
third AD, who assists on the management of the floor, working to the first assistant. And again,
we have a runner-- a floor runner, the floor runner helping out and doing everything the first
needs them to do.
1:34Skip to 1 minute and 34 secondsCamera department-- we'll start with the director of
photography, the camera operator, the first assistant camera, the second assistant camera, the
digital imaging technician. Then we will have a trainee, a camera trainee, or a runner working
within the department. They have working to them the grip department. The grip department
run the dolly, move the camera around, and generally the heavy equipment associated with the
camera. We then go to the electrical department, which also works to the director of
photography. And in that department, we start with a gaffer, the chief electrician. He has
working to him the best boy, this number two electrician. And they will have a genny operator,
or a generator operator, and various electricians.
2:22Skip to 2 minutes and 22 secondsThen we've got the art department. And in the art
department, we have the designer, the supervising art director, the art director. And working to
them, they will have prop buyers, prop masters. They will have draughtsmen drawing things
up. And they will also have a trainee or a runner. We then have the hair and makeup
department. The hair, obviously, looking after the artists' hair, the makeup looking after the
makeup, and prosthetics-- which is specialist's makeup-- putting scars and blemishes and
injuries on people's faces and body. Costume department-- there we've got a costume
designer, a costume supervisor, a wardrobe mistress or a wardrobe master, and various
costume assistants or dressers. Then let's look at locations.
3:11Skip to 3 minutes and 11 secondsLocations are people going out and finding locations
and managing them. There we've got a location manager, an assistant location manager, and
a unit manager who will look after the unit and the backup to the unit. Sound department-- we
have a sound recordist, a boom operator, and could be more boom operators, depending on
the size of the production. They also will have a trainee in that department. Post-production--
this is a large department, and starts with the editors. We have picture editors, and then we'll
have sound editors. Within the sound editors, we have the dialogue sound editor, the effects
editor, and the Foley editor. They also may have a trainee within their department.
3:54Skip to 3 minutes and 54 secondsWe also have visual effects, which is another large
department in itself, and getting larger all the time. And they also may have trainees within
those departments. One other area is casting-- the casting director, who works to the director
in finding the right cast for the film.
Departments and their associated
roles
This article provides an overview of the roles and
departments you would expect to find on a film production.
Key Roles
Accounts
Assistant Directors
Camera/DIT/Video
Sound Department
Grip Department
Art Department/Set Decoration/Props/Construction
Hair & Make-Up Department
Costume Department
Post-Production
Post-Production: Sound/Music
Other Crew
Key Roles
Producer
The Producer supervises raising finance, hiring key Heads of

Departments and finding and contracting distributors. The
Producer is involved from the very beginning of film through to
delivery of the production. They oversee all areas of production,
both creative and financial.
Director
The Director oversees all creative elements of the film. They

visualise the story by directing performances and managing the
technical aspects of the film e.g. which shots and angles best tell
the story in a given scene. The Director usually, but not always,
will have a little input in the script and are responsible for building
the film in the edit, with the Editor, in the way they best thinks tells
the story.
Screenwriter
The Screenwriter is responsible for developing and researching

the story, the characters and the plot. They will write the
screenplay and deliver it, make required redrafts before filming
and, if required, make revisions during the shoot.
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Executive Producer
The term Executive Producer (EP) can be used in two ways. In

smaller productions, the EP may be an investor in the film and
thus be given an EP credit. However, on large Studio Pictures the
EP credit is often given to the role covered by a Line Producer,
managing the budget and overall day-to-day shooting.
Line Producer
The Line Producer creates and manages the budget, acting as the
primary person responsible for production. They oversee the day-
to-day shooting, signing contracts for cast, crew and locations.
Production Manager
The Production Manager (PM) oversees the budget in a more

detailed manner than the Line Producer, making deals with the
crew and Heads of Department. They ensure the project stays on
budget, regularly checking the different department budgets,
seeing where cuts may be necessary to keep on budget.
Production Co-ordinator
The Production Co-ordinator is responsible for the logistics of

running the film shoot. They distribute all the major paperwork
including Call Sheets and schedules. They oversee the Production
team, who are the central information hub of the production,
handling all contracts for cast and crew, travel, renting equipment,
visas, clearances etc.
Assistant Co-ordinator
The Assistant Co-ordinator, or APOC, assists in managing the

day-to-day organisation of the film shoot. They may have specific
responsibility for elements such as travel and accommodation
(finding short term lets for artists), crew contracts or set
clearances.
Production Secretary
The Production Secretary is normally responsible for creating key

lists for the Production e.g. Cast, Crew and Suppliers lists.
Depending on what is required, they will also assist the Production
Office in all manner of tasks to help successfully manage the film.
Production Assistant
The Production Assistant is the hands-on help in the Production

Office, potentially doing Runner activities as required. They will
help run the office, ordering stationery, photocopying and
distributing paperwork.
Production Runner
The Production Runner will usually be responsible for

purchasing/collecting various items for the production including
shopping for breakfast and break items, collecting materials and
delivering packages - using their own car, a rental or a Production
owned vehicle. The Production Runner will also work within the
Production Office, performing administration duties and managing
their floats.
Travel, Shipping and other Departmental Co-ordinators
A standard production would, typically, have Departmental Co-

ordinators for art, construction and special effects and, larger
studio pictures may also have co-ordinators for costume, make-
up, action vehicles etc. Bigger budget films, with overseas
locations, will usually have Travel Co-ordinators and Shipping Co-
ordinators.
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Accounts
Financial Controller
The Financial Controller works closely with the Line Producer and
Production Manager to oversee the finances of the production.
They will forecast costs for the budget, oversee the Accounts
Department, ensure financial records are maintained and
people/companies are paid in a timely manner.
1st Assistant Accountant
The 1st Assistant Accountant supports the Financial Controller in

running the Accounts Department. They assist in creating the Cost
Report, showing actual costs of items and forecasted spends.
Accounts Payable
Accounts Payable pay all invoices from companies, paying for

hired or purchased items.
Payroll Accountant
In film production crew are paid WEEKLY not monthly and the
Payroll Accountant overseas paying the crew and cast. They
collate Start Form for staff, including a copy of their Passport, P45,
P60 or Certificate of Incorporation - used to calculate tax.
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Assistant Directors
1st Assistant Director
The 1st Assistant Director (1st AD) runs the set it is in fact them
that shouts action not the Director. The 1st AD schedules the
movie, taking into account script requirements, the locations and
the cast availability, crafting a working schedule and ensuring the
daily tasks are completed on time.
2nd Assistant Director
The 2nd Assistant Director (2nd AD) co-ordinates the cast,

informing them of their schedule and call times, liaising with
transport for pick-up times. The 2nd AD liaises with all
departments to write the daily Call Sheet, which is then signed off
by the 1st AD, the Line Producer and PM.
3rd Assistant Director
The 3rd Assistant Director (3rd AD) directs the background on a

shoot. They give the background extras directions and ensure
appropriate payment for their work. The 3rd AD works closely with
the 1st and 2nd AD, ensuring general cast logistics including
distribution and return of radios on-set.
Floor Runner
The Floor Runner is based on-set and is responsible for ensuring

the smooth running of the set. The Floor Runner collects cast from
their dressing rooms, provides their lunch and generally looks after
them. They also look after the crew, providing refreshments, lunch
and snacks as required.
Base Runner
The Base Runner is located at the Unit Base with the 2nd AD.
They are responsible for the cast whilst they are arriving and
getting ready for set - supporting them through costume and
make-up, checking that they have all they need.
back to top
Camera/DIT/Video
Director of Photography/Cinematographer
The Director of Photography (DOP) is responsible for the

cinematic look of the film. They decide what lighting, filters, lenses,
filming speed, crane shots, framing and medium (digital or film)
are required, to best tell the story the way the Director wants it to
be told.
Camera Operator
The Camera Operator operates the camera under the guidance

and direction of the DOP. They may also be trained as a
Steadicam Operator.
1st Assistant Camera/Focus Puller
The 1st Assistant Camera (1st AC) is responsible for ensuring that
a shot is in focus, using their technical skills to pull focus.
2nd Assistant Camera/Clapper Loader
If a shoot is using film, the 2nd Assistant Camera (2nd AC) would
be responsible for loading the film into the camera, dark room
and/or sealed bag and keeping the camera clean of any dirt and
grime. The Loader has significant responsibility as incorrectly
loading could make the shots unusable, but you wouldnt know
until the negative is developed. Camera loading is happening less
and less, as camera cards and digital cameras take precedence.
Script Supervisor
The Script or Continuity Supervisor has several responsibilities,

timing the script (enabling the Producer to make cuts if it is
overlong), tracking scenes (marking-up the script for the Editors
with the Directors preferred shots) and ensuring set continuity
(e.g. ensuring the same hand picks up a coffee cup, or that the
injury always remains on the same side of their face).
Camera Trainee
The Camera Trainee (previously Camera Assistant) helps carry

equipment, prepare the camera for shoot and check levels of
camera consumables e.g. tape and batteries. They will also be
responsible for ensuring refreshments and lunch is provided for
the rest of the Camera Department.
Digital Imaging Technician
The Digital Imaging Technician (DIT) is only used on digital

productions. Under the instruction of the DOP they will make
technical adjustments to the digital camera, manipulate the image,
detect faults and monitor the working of the camera.
Data Wrangler
A Data Wrangler is responsible for the download and back-up of

the digital material from the raw cards used in the cameras. They
provide copies for the edit, verify the copy of the data and ensure
there is a back-up before the raw camera cards are wiped.
Video Assist or Video Playback Operator
The Video Assist will create the video village, providing a plethora
of monitors around the set, giving the exact on-set image to a
variety of departments including, most importantly, the Director,
Producers, DOP, Costume and Make-up.
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Location Manager
The Location Manager is the Head of Department for Locations

and they are ultimately responsible for all the locations of a film
production. They oversee the initial research and scout locations,
ensure availability, manage logistics and monitor cost and
restrictions, confirming viability of the location for the Director.
Assistant Location Manager
There will likely be several Assistant Location Managers on a job,

supporting the Location Manager. Their responsibilities include:
finding Unit Bases, working out the logistics for the location,
making licence applications to the authorities and negotiating
appropriate parking. They will liaise with the facilities and transport
departments, oversee location prep and create movement orders.
Unit Manager
The Unit Manager is responsible for the Unit Base, when out on
location. They will most likely see the Unit in, when it moves
location for the next day of shoot. They plan the best formation for
all the trailers, ensuring they fit in the Unit Base and oversee its
general running.
Location Assistant
The Location Assistant may help the Assistant Location Manager

and Unit Manager with some of the above. They may be in charge
of the rubbish at a location, help assemble the video village or
maintain the dry area for hair and make-up.
Location Marshall
Location Marshalls are generally stationed at a point or lock off to

give entry information to the crew or public. They may wear a
high-visibility jacket and direct cars for parking when the Unit
arrives in the morning.
Security
The Locations Department will work out how much security is

needed for a particular location in advance. An exterior company
will usually be employed to prevent public access and ensure
valuables items to do not get lost/stolen.
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Sound Department
Production Sound Mixer/Sound Recordist
The Production Sound Mixer is Head of Department for Sound

and is responsible for all on-set sound. They are responsible for
choosing the recording equipment and mixing audio signals.
Boom Operator
The Boom Operator is responsible for placing the boom near the
artist (but out of shot!), ensuring the best sound is recorded.
Cable Guy
The Cable Guy or Sound Maintenance Engineer attend to the

cast, placing the radio mics if theyre being used - radio mics are
used in wide shots or where a boom would be too intrusive to the
frame. The Cable Guy will also operate a second boom, if
required.
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Grip Department
Key Grip
The Key Grip is head of the Grip Department and works closely
with DOP to help achieve the required shots. Moving shots are
achieved via a Dolly (a camera rig on a track) and the Grips
moves the Dolly at the required speed. Grips will also oversee the
use of camera cranes, action vehicles rigging and tracking, jib
arms, rickshaws etc.
Crane Grip
A Crane Grip is hired specifically to assemble and help operator a

camera crane.
Dolly Grip
A Dolly Grip is used to assemble the Dolly and push and pull the
camera rig on the track.
Head Technicians
Head Technicians specifically control the head on a crane or rig,

so that it can rotate and move to certain angles smoothly, 20-50ft
in the air.
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Gaffer
The Gaffer is in charge of the Electrical Department. They work

closely with the DOP to get the exact lighting required for the shot
whether on a lighting rig in a studio, in a location or on an exterior
night shoot.
Rigging Gaffer
The Rigging Gaffer is in charge of the lights on location, working

to the Gaffers requirements. The Rigging Gaffer may also work in
advance to set up difficult and complex rigs in studios and on
location.
Best Boy
The Best Boy is the chief assistant to the Gaffer on-set, ordering
the kit and consumables, and ensuring all the work the Gaffer
requires is undertaken.
Electricians
The Electricians (or Sparks) set up the lighting required for a

shoot. They load and offload the equipment, test it, change the
bulbs and ensure cable power to the Unit.
Gennie Operator
The Gennie Operator maintains the Generator, used to powers

the lights/Unit for the set. They maintains the smooth running of
the generator, adding diesel and driving it from location to
location.
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Art Department / Set Decoration / Props / Construction
Production Designer
The Production Designer is in charge of the Art Department and is

responsible for the overall look of the physical film, in terms of the
set, locations, props and dressings.
Art Director
The Art Director oversees the Art Department in a nuts and bolts
way. They likely budget the department, hire the crew and
oversee any on-set builds.
Standby Art Director
Based on-set, the Standby Art Director will oversee the general
look of the set, as per the Designers requirements. They will also
ensure continuity of props on-set.
Draughtsperson
The Draughtsperson will schematically draw the builds and sets

required, providing detailed and precise measurements, enabling
the construction team to create the set directly from their plans.
Graphic Designer
The Graphic Designer designs all of the mocked-up art on-set.

They work closely with the Clearances person to create fake
banners, branding, posters, shop signs, name tags etc.
Scenic Painters
The Scenic Painters paint the backdrop that wraps around the
stage, ensuring it look as lifelike and as realistic as the location
itself.
Set Decorator
The Set Decorator is in charge of the physical dressing and props

on-set. They work closely with the Designer and Prop Buyer to
identify the style of each set and the items that best portray the
characters.
Buyer
The Buyer will work closely with the Designer and the Set
Decorator to purchase/rent items which will be used to dress the
set.
Petty Cash Buyer
The Petty Cash Buyer usually buys the smalls- small items
required on-set and purchased with cash from shops or second
hand stores.
Props Master
The Props Master is head of the Props Department, overseeing

the management of all props. They work closely with the Buyer
and Petty Cash Buyer, ensuring they have the right props, for the
right scene, on the right day.
Storeman
The Storeman will work within the Props store to carefully

organise the many props used on a film, ensuring everything is
available for a particular days filming. They will help load the
required items for transport to set.
Standby Props
Based on-set, Standby Props oversee the use of the props during
the filming of a scene, making sure there are repeats if they are
needed. They will also help the Standby Art Director to place items
on-set as required.
Greens Team
The Greens Team will usually be a separate company hired by the

Props department to place the greens required on a set. They
may add a variety of plants/trees to the exterior of a house to
make it look real, create a fantasy waterfall or rock pool with
wonderful colourful flowers.
Armoury
If required, the Armoury will be employed by the Props

Department to safely provide firearms or swords/daggers to a
production. If shots are to be fired/heard, they will consult with
Health and Safety and sometimes the local Police Department.
Action Vehicles
Booked by the Art Department they provide any vehicle

requirements for the set. They may provide period cars or stunt
cars and are responsible for checking the running of the car.
Construction
The Construction Manager will lead the Construction Team,

building anything required for the film. These could be massive
builds (e.g. on the 007 Stage at Pinewood Studios or recreating a
Roman battle scene in the woods). The Construction Manager will
oversee a team of welders, plasterers, painters and builders to
create amazing sets only for them to be generally ripped out and
binned once the shoot has finished!
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Hair & Make-Up Department
Hair & Make-up Designer
As the Head of Department, the Hair & Make-up Designer will

oversee the general looks of the characters - after conversations
with the Director and lots of research. They will decide which
characters may need wigs, which need haircuts and which will use
their existing hair. They generally will do the hair and make-up for
the key cast.
Hair & Make-up Artist
Hair & Make-up Artists are responsible for looking after a range of
artists on-set, either key cast members, day players or
background cast. If there are special effects make-up or
prosthetics used, these will usually be applied by a specialised
prosthetics make-up artist.
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Costume Department
Costume Designer
The Costume Designer is responsible for all the clothing and

costumes worn by the cast. They design and plan construction of
the garments down to the fabrics, colours and sizes required.
Costume Supervisor
The Costume Supervisor works closely with the Designer to

supervise the creation or sourcing of garments, hiring of support
staff, budget, paperwork, and department logistics.
Costume Standby
The Costume Standby is present on-set at all times to monitor the

quality and continuity of the casts costumes before and during
takes. They will also assist the cast with dressing.
Buyer
On large productions a Buyer may be employed to source and

purchase fabrics and garments.
Cutter/Fitter/Costume Technician
The Costume Technician (also called Seamstresses or Tailors) fits

or tailors costumes on-set.
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Post-Production
Film Editor
The Film Editor creates the story by assembly the shots given.
They work closely with the Director, arranging shots in the final
film.
Assistant Editor
The Assistant Editor supports the Editors by collecting and

organising all the elements needed for the edit.
Post-Production Supervisor
The Post-Production Supervisor overseas and co-ordinates Post-

Production. They hire key staff, book edit suites and equipment,
help schedule the Post-Production period, and assist with any
additional photography required on the movie.
Colourist
The Colourist adjusts the colour of the film to ensure greater

consistency throughout the final film.
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Post-Production: Sound/Music
Sound Designer
The Sound Designer is in overall charge of the Post-Production

sound of a movie.
Dialogue Editor
The Dialogue Editor is responsible for assembling and editing all

dialogue in the soundtrack.
Sound Editor
The Sound Editor is responsible for assembling and editing all

sound effects in the soundtrack.
Re-recording Mixer
The Re-recording Mixer balances the sounds and levels prepared

by the dialogue, music and effects editors.
Music Supervisor
The Music Supervisor works with the composer, mixers and

editors to create and integrate the films music. They negotiate
licensing of the necessary rights for all source music used in a
film.
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Visual Effects Supervisor
The Visual Effects Supervisor is in charge of the Visual Effects

Department.
Compositor
A Compositor is responsible for compositing images from different

sources such as video, film, computer generated 3-D imagery, 2-D
animations, matte paintings and text.
Roto/Paint Artist
A Roto/Paint Artist manually creates mattes for use in

compositing, they may also paint visual information out of a
scene, such removing wires and rigs, logos and scratches.
Matte Painter
Matte Painters draw/paint entire sets or extend portions of an

existing set.
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Other Crew
Casting Director
The Casting Director works closely with the Director and Producer
to understand requirements. They suggest artists for each role
and conducting interviews and auditions.
Storyboard Artist
The Storyboard Artist visualises stories using sketches. Quick

pencil drawings and marker renderings are two of the most
common traditional techniques, although nowadays Flash,
Photoshop and specialist storyboard software applications are
being used more often.
Unit Nurse
The Unit Nurse provides first aid cover and primary healthcare to
the cast and crew on a film production. They will deal with any
illness or accidents on-set. A production may additionally hire
paramedics or ambulances or even air ambulances if the risk of
stunt or shot is deemed significant enough.
Caterers
Catering is provided by specialist companies, who drive catering

trucks packed with food and equipment to each Unit Base for
filming. They may also provide Craft Catering which is basically a
snack haven for the crew offering coffees, smoothies, chocolate
and light snacks!
Unit Publicist
The Unit Publicist is responsible for Unit press and the publicity
budget set by Producers. They usually work on a freelance basis,
and are hired only for the duration of each shoot. They will
manage any journalists who come to interview the cast and
oversee the Electronic Press Kit (EPK) team - who do the B-roll
shots, shooting the crew and cast interviews for DVD extras etc.
Stills Photographer
A Stills Photographers usually work on-set and will take stills for
the Publicity department, promotional purposes and film posters.
Clearances
A clearance expert is hired to work solely on the copyright

clearance and checking of the script, the movie, the visual content
and other brands. Depending on the individual policy on
clearances, any brand featured should have a release form giving
permission for the brand to be used. Clearances may also deal
with product placement.
Health & Safety
On bigger movies there may be a full time Health & Safety Advisor
who oversees all the risky elements of the movie. They will be
given the script and schedule and attend the technical recces.
They will create Risk Assessments for each day or each location
of shoot outlining what the risks are, advising when there may be
a need for additional safety measures such as fire cover, an
ambulance or water safety cover.
Who does what in the Art

Department?
The Art Department if often the largest department on a film.
In this video James Merrifield will tell us who works in the
department and give an overview of what they do.
James (IMDb Profile) is an experienced Production Designer.

James started his career working with legendary film director Ken
Russell on films such as Lady Chatterley for the BBC, he was
nominated for a BAFTA for Best Production Design for his work
on The Life and Adventures of Nicholas Nickleby, and also
designed Sense and Sensibility and Little Dorrit for UKs BBC. He
also earned an Emmy Award for Outstanding Art Direction and
another BAFTA nomination for his work on Little Dorrit.
An overview of the structure of the Art Department is provided in
the graphic below. A PDF of this graphic is available to download
in the links section below.
VIDEO
0:11Skip to 0 minutes and 11 secondsI am James Merifield and I'm a production designer.
The production designer is in charge of creating or helping to establish the look of a film. And
that is basically their role is to work alongside the director and produce, design the sets. My
crew involves myself as production designer, an art director, or if the project is a larger project,
a supervising art director, who would then be in charge of a crew below him or her, consisting
of an assistant art director, a draughtsman, an art department assistant, and a art department
runner.
0:58Skip to 0 minutes and 58 secondsSo the supervisor art director is somebody who is
really running the art department for me, enabling me to focus on the design itself and
spending my time with the director developing the overall look at the film together. The
assistant art director is somebody that may get involves with drawing, i.e., technical drawing or
indeed, CAD, designing sets, doing surveys, and generally being the second in command to
the art director. The art department assistant is somebody who is able to cover many different
fields, working with maybe the set decorating team department or, indeed, with the art director.
The set decorator is somebody who is responsible for dress the sets, i.e.
1:49Skip to 1 minute and 49 secondsonce to sets are built, they are to fill them with props,
so to speak, and dressing. The props buyer is somebody who is responsible for the budgeting
of the set decoration department and, indeed, may take an active role in buying props as well.
The standby props are the team that work by the camera with, generally, a standby art director
and are facilitating the needs of the director and the cameraman onset in terms of moving
props and making sure the set remains dressed in the correct way.
2:40Skip to 2 minutes and 40 secondsThe prop master is responsible for making sure that
the whole infrastructure of the props team, both his army of men and, indeed, all the props that
are brought in to the set, arrive on time, made sure that they are picked up on time, dressed on
time, and then returned on time. The construction manager works with the supervising art
director and the production designer and is in charge of his construction team, building the set.
The art department runner is somebody who I would look to to help assist myself, along with all
other members in the art department. I very much am looking for somebody who has maybe an
art background, who can drive-- very importantly they can drive.
3:44Skip to 3 minutes and 44 secondsSo I always ask have they passed their test-- who can
therefore do the running, i.e., go and collect things that may need collecting from the printers.
Or they may need to go and help do some buying. Or they may need to go and collect
drawings from the printing office. Also I'm looking for someone who can be responsible, i.e.,
always turn up maybe first in their department in the morning to open up the department, get
the keys, and put on a very nice, hot cup of coffee.
Assistant Director (1st AD)

In this video Lydia Currie talks us through what a 1st AD
does, explaining who works within her department, and what
she looks for when employing a Floor Runner. Lydia (IMDb
Profile) is a very experienced 1st AD and a regular guest
lecturer on film and TV courses. Recent credits
include: Jekyll & Hyde, The Man Who Knew Infinity and 24:
Live Another Day.
As the 1st AD, Lydia runs the department and has responsibility
for the schedule and running the floor. The 2nd AD is responsible
for tomorrow and the 3rd AD acts as the right-hand man for the
1st AD on set.
Communication is crucial in the AD Department, liaising with

different crew departments in different ways and working with
actors in the way they want to work, ensuring you can get the best
out of them during the shoot.
VIDEO
0:10Skip to 0 minutes and 10 secondsMy name is Lydia Currie, I'm first assistant director in
film and television. A first AD is predominantly responsible for three roles in the pre-production
period. We write the schedule that the whole shoot will hopefully stick to and make sure that it's
communicated to each day works for all departments. And when we get the set, we're
responsible for running the floor, making sure that we complete the schedule that we wrote,
and make sure that all the changes and things coming up are communicated well and
effectively to all departments. We are also responsible for health and safety on set. My
department consists of me at the top and a second AD is next.
0:54Skip to 0 minutes and 54 secondsAnd the second AD is primarily responsible for
tomorrow and they also run the base. So the base is the costume and makeup departments.
They make sure all actors and supporting artists get ready on time for sets, that's their job for
the day. And at the same time, they're writing the call sheet for tomorrow, making sure all the
actors know which seems they're going to be shooting, making sure all the key props,
everything that we need, is ready and lined up tomorrow. The third AD is my right hand person
on set. They'll make sure everything I need is communicated and is ready for me.
1:28Skip to 1 minute and 28 secondsSo they'll make sure the artists for the next scene
ready and waiting for me, they'll make sure doors are locked off, make sure there's no noises
coming through on rehearsals or takes, they will look after the artists and they will make sure
they know where they are at all times. That can be challenging. My floor runner works
predominantly to the second and the third and they will assist with all of those things. Making
sure the mini buses are in the right place, that people can get to and from set effectively. They
will help lock off during rehearsals and takes and they will make sure everyone has everything
they need.
2:02Skip to 2 minutes and 2 secondsIn dealing with the crew, you'll find that most
departments come from different backgrounds. So the art department will have a totally
different background to the riggers or the drivers or the electricians. And we find that we have a
different way of approaching-- communicating with them to make sure they understand the
message that we give them. In dealing with the actors, they come from different backgrounds
and they come from different training methods, and we have to take them as we find them and
find the best way to communicate with them that works for them, rather than us.
2:32Skip to 2 minutes and 32 secondsSome actors need a lot of time in the mornings, some
actors want to come straight to set and rehearse and we have to work with what they want to
get best performances from them.
In focus: The role of a Special

Effects Supervisor
In this video, Neil Corbould explains the role of Special
Effects (SFX) Supervisor and talks about some of the films he
has worked on. Neil(IMDb Profile) is a British special effects
supervisor with over 30 years experience best known for his
work on major blockbuster films such as Gladiator, Saving
Private Ryan and Black Hawk Down. Neil has won two Oscars
for: Gravity and Snow White and the Huntsmanand four
BAFTAs for: Gravity, The Day After Tomorrow, The Fifth
Element and Saving Private Ryan.
Neil explains that the SFX Department is responsible for the

practical, filmed effects which happen on a film set. He highlights
the difference between SFX & VFX and explains the make-up of
an SFX crew. To progress within the SFX department, there is a
structured training programme available, to ensure competence in
the discipline.
Check out the See Also section below for more information on
SFX, VFX and how they work together.
VIDEO3
0:10Skip to 0 minutes and 10 secondsSpecial effects supervisor looks after all the practical
effects on a film, on the set and the preparation, and in the planning of the whole movie. The
difference between special effects and visual effects is that special effects is all in camera, and
visual effect is all digital, so there is a quite clean line between what we do and what they do.
But the finished article, once it's all put together with special effects and visual effects is
hopefully invisible. So that's the aim of both of our departments, is to-- the end result is a
seamless, amazing effect. The size of a special effects crew depends on what sort of movie it
is.
0:57Skip to 0 minutes and 57 secondsOn movies like Gravity or The Martian, science fiction
type movies, we had quite a smallish crew, say 25, 30 people. On movies like war movies, like
Saving Private Ryan or Black Hawk Down, because of the physical-- the bullet hits, and the
amounts of bullet hits that are involved, we have a lot more people. And we're looking at
maybe 80 or 90 people for those type of physical movies. Health and safety within special
effects, it plays such a huge part, because of just the nature of what we do. A lot of the stuff is
potentially dangerous. And it's our job to really make it safe as possible. There's a lot of
guidelines that have come in over the last 10 years.
1:42Skip to 1 minute and 42 secondsAnd it's ever-changing. Part of the supervisor's job is to
keep up to date with what's going on, what new legislations are coming in, because there's so
many different areas. We have pyrotechnics with the explosives, we have engineering, we
have pneumatics, electrics, plumbing. All those trades are rolled into one department. It is quite
difficult to get into special effects. A lot of time, it's who you know. But a lot people write to me,
they send resumes off to me, and every now and again, you have people that just wander in.
2:24Skip to 2 minutes and 24 secondsAnd what I look for, really, is somebody is very
enthusiastic, knows their stuff, knows about movies, and it's not just about the money, because
it is a passion, really, special effects in the film business. Within the [INAUDIBLE] grading
scheme, we have designed our own structure of training. So we have five years as a trainee,
another additional five years to a technician, in addition five years to senior technician. And
only when you've done those 15 years, can then you apply for a supervisor.
3:04Skip to 3 minutes and 4 secondsIn those 15 years, you have to have done a certain
amount of films in those particular grades. So you can do one movie and then five years' time
say, I'm going to be a technician. You have to have done a certain amount of movies to get to
that grade. One of the effects are most proud of, really, is one of the ones that we did in The
Fifth Element. And it was probably one of the biggest indoor explosions that I know about. And
it was on the James Bond stage, and it was a set called Fhloston Paradise, and then at the end
of the movie, the whole thing blew up.
3:37Skip to 3 minutes and 37 secondsSo we rigged it all, we had sprinklers rigged into the
ceiling of the Bond stage. And we know what the director wanted, he gave us very detailed
description of what he wanted and we'd cleared the stage out and we did the shot, and this
huge fireball erupted from the set, everyone sort of took a deep intake of a breath. A massive
fireball started to roll up into the roof and then as soon as the camera shouted cut, we just
switched all the sprinklers on. And they put it all out and it was, like-- big round of applause, big
high fives, and everyone was very happy with that.
4:18Skip to 4 minutes and 18 secondsOne of the best comments I got from a director was
from Steven Spielberg's on Saving Private Ryan. In the script, it read that the sniper gets his
eye shot out through the scope of the rifle. When I spoke to Steven about it, I said, we can do
this for real. And he said, no, no, don't worry about that. That's going to be CGI. So I thought, I
didn't want to take no for an answer. So I got my brother in to rig up a scope on a dummy rifle,
and what we did is that we bored the scope out, took the glass out, and we put a prosthetic
appliance of the eye into the end of the scope.
5:03Skip to 5 minutes and 3 secondsAnd we put some air in there, and some blood, and
then we put little pyrotechnic charge at the front of the scope. So my brother [INAUDIBLE] did
the video. He was the sniper. We shot it and he got the gun like this, he looked over, put his
eye down the scope again, looked above, and then, at the last minute, he pushed his eye
against the scope, which stuck the prosthetic around his eye. And then we went bang, and he
threw his head back, as he threw his head back, we had a blood charge up the back of his
head that went against the wall.
5:35Skip to 5 minutes and 35 secondsWe had a little blood that blew-- an air that blew blood
onto his face and his hair, and we have a bit of the charge at the end and we've got a great
one take on video. Took it down to Steven, who's at the monitors doing another shot, and I
went up to him gingerly, shaking a bit, because I know he's a very busy man, and I tapped him
the shoulder and said, would you like to look at this, Steven? And he said, well, what is this?
So I said, well, just have a look. And he saw the sniper in the video, and he thought, why are
you showing me this?
6:08Skip to 6 minutes and 8 secondsAnd we showed him the shot, and he looked at it and
he liked it so much, he said, how did you do that? He kept replaying it, trying to see where the
cut was. He said, that was one shot, how did you do that? I said, oh, I can't tell you, Steven,
but if you like it, then that's good.
In Focus: The role of a Production

Manager
In this video Gabby Le Rasle explains in more detail the role
of a Production Manager. Gabby (IMDb profile) began her
career as a runner and then worked as a Production
Coordinator before becoming a Production Manager. Recent
credits include: The Early Years, Bill, and The Riot Club.
The Production Manager is responsible for anything production-

related and is brought onboard during the pre-production stage.
They are responsible to the Line Producer and deal with booking
all the equipment and hiring the crew. Gabby details wht she
thinks makes a good Production Manager and the skills needed to
progress in this department.

VIDEO
0:10Skip to 0 minutes and 10 secondsMy name is Gabby Le Rasle. I am a production

manager within the film industry. The role of a production manager on a film is basically to be
responsible for anything production-related. I would start early on in pre-production through the
filming, and then on to wrap afterwards. I would be responsible to the line producer, who is
ultimately in charge of the budget overall. My work for them would be to make them aware if I
thought anything was going over budget or if there were any problems arising within that, or
indeed, if we were going under budget. Everything has to be reported down. I would deal with
booking equipment-- camera equipment, lighting equipment, sound equipment, facility vehicles,
grip equipment, et cetera.
1:03Skip to 1 minute and 3 secondsI would be given a list as to what equipment was
needed, and then I would get, say, three quotes from different companies. And I would
basically not always go with the cheapest quote, but see if I could negotiate a deal for the rate
that we have within our budget. I am responsible for booking all the crew. So I have the lovely
job of negotiating their deals with them-- which can sometimes be easy and can sometimes be
hard, depending on the type of budget that you're working to. I believe that what makes a good
production manager is someone that can be firm but fair. It is a thankless task, and you're not
going to be the most popular person on set.
1:44Skip to 1 minute and 44 secondsYou do have to have quite a thick skin. Because you do
have to say no to people, and people don't like being told no. However, I think if you are nice
and fair to people, then you will get the most out of them, and you will have a happy crew,
which I believe is very important. It makes a big difference when you're working long hours. A
typical day for a production manager during the filming period-- I would get to work for the
breakfast call, which would be an hour to 45 minutes before the crew call time.
2:12Skip to 2 minutes and 12 secondsAnd I would make sure that I see people that I need to
discuss things with, or that they can see me if they've got any problems or issues arising
throughout for the day. I would then go to set and just make sure that all the equipment that
needs to be there is there, that all the people that need to be there are there, and everything's
going smoothly. Once that happens, I would then go back to the unit base where I'd work out of
the production trailer alongside the line producer and the production coordinator. And I'd work
in the office there.
2:41Skip to 2 minutes and 41 secondsAnd I would go back to set maybe in the afternoon or
maybe a few times throughout the day, just to check that everything's all right. And during the
day, I would be booking equipment or doing deals for anything coming up in the future, or
dealing with issues that might have come up during that day. And then at the end of the day, I
would make sure that I'm on set for wrap. Sometimes if you run over and you go into overtime,
I would need to go down, see the crew, and check that they're OK about us going into
overtime.
3:10Skip to 3 minutes and 10 secondsAnd just generally deal, make sure that everything's
OK and deal with any problems that might have arisen during the day, or anything that we
need to think about for the following day, or the following few days
Understanding the production

paperwork
Lots of paperwork is used in the Production Office. In the
article below, we highlight some of these important
documents and provide examples where relevant.
For anyone interested in entering the film industry its useful to
have an overview and understanding of the types of documents
youll be exposed to.
Pre-Production Documentation
Pre-Production Planner The Pre-Production Planner provides
a useful overview / snapshot of the production, the major daily
tasks, the locations and activities for the shoot. A sample Pre-
Production Planner is provided in the links section below.
Pre-Production Diary The Pre-Production Diary provides more

detail of the daily activities and timings for a film production, with
particular reference to Director and other Heads of Departments.
A sample Pre-Production Diary is provided in the links section
below.
Shooting Schedule The Shooting Schedule provides detail

what is to be shot and when; what is required to accomplish the
shoot on a daily basis (including cast, sets, props, extras,
additional crew and facilities).
DODS (Day Out Of Days) Using scheduling software (e.g.

Movie Magic Scheduling) DODS enable various elements to be
shown separately in a calendar, detailing who or what is required
on each day. Main elements include Cast/Extras/Extra
Equipment/Additional Crew/Props/Special Effects/VFX etc.
Daily Documentation
Call Sheet The Call Sheet is based on the Shooting Schedule,
providing more detail and specific call times for cast; crew and
facilities. Itll also provide and useful notes on locations, weather
etc.
Movement Order- The Movement Order provides information on

each days locations, how to get there and where to park, travel
time and transport routes/options. The Movement Order will also
list local contacts for police, doctors, hospitals etc. A sample
Movement Order is provided in the links section below.
Progress Report A Progress Report is produced after every

day of filming, citing what has been achieved from the Call Sheet,
who and what was used to accomplish this and information on the
working hours for all crew and cast. This report will also show
which scenes were shot, how long they ran and whether the shoot
was longer or shorter than originally envisaged. Comments will
include any problems (e.g. accidents, injuries, delays, cast, crew
or facilities issues) to be signed off by the Production or Location
Manager. A sample Progress Report is provided in the links
section below.
Sides Sides refers to a double-sided A3 sheet outlining the

scenes being shot on a specific day. Sides are distributed to all
cast and majority of departmental heads.
Script and Script Amendments Once a locked script is

distributed, all changes will go out on coloured paper with date of
amendments and asterisks where the changes are. The software
FINAL DRAFT is usually used, with all changes made within this
software.
Legal and Contractual Documentation
Release Forms These are required for releases for products
and goods to be shown on screen in the film.
Cast & Crew Contracts The contracting forms for cast and
crew. Sample Cast and Crew Contracts are provided in the links
section below.
Other Documentation
Purchase Order - A very important piece of paperwork is the
Purchase Order which is the system used to order all equipment
and supplies and the runner may be required to make sure these
are distributed to Production Manager; Accounts; Related
department heads and copies filed.
Other paperwork not shown but could include: Shipping

paperwork, Unit List, Cast list, Suppliers list, Rushes paperwork
including camera and sound sheets, 2nd Assistant Director daily
report, Script Supervisor Editor sheets and daily reports which
show start and stop of filming and time taken for breaks and any
delays.
Foley sound
Foley sound is live action sound recreated in a studio. The
hands-on nature of the creation of Foley sounds, using
everyday objects, makes it achievable for people of any age.
Foley sound takes its name from Jack Foley, a sound editor
at Universal Studios.
Of course, sounds can also be created using musical instruments
or apps, but the kinaesthetic learning process, without the need
for specialist musical knowledge, makes creating Foley sounds a
sensory experience to draw upon when reading and writing, and
enables deeper learning.
John Fewell has been a Foley artist for over 20 years, working on
films including Gosford Park (2002) and Panic Button (2011).
In the interview above, John shared with us some of his best kept
secrets on the creation of Foley sound, and in the following steps
were going to create some written text using images for
inspiration and then create Foley sound to illustrate our writing.
VIDEO
These are stuff that I usually use in my more gory projects. We have the ordinary lettuce here.
We have celery. And we have a melon. Foley art is a form of enhancing sound and sound
effects. It doesn't make the whole scene, but what it does do it just enhances what the sound
crew have actually done already. It's footsteps. It's basic domestic things, like cups,
downpours, things like that. But what you're doing, you're actually enhancing the original
sound. So what I would use first of all, is with the lettuce and a knife, if we come a bit closer to
them, I can-- [CRUNCH] So I think you get the-- [CRUNCH] --idea of that. That would be one
track.
0:58Skip to 0 minutes and 58 secondsThen on top of that track, we would put the ordinary
celery. [CRUNCH] And then to top it all off, just the ordinary melon there. So it's a case of--
[SMUSH] If a scene is a chapter, say, I would say Foley is a description. So for example, if
somebody's going to a shop and we hear the footsteps of somebody coming from outside the
shop to inside the shop. Because if the performance is there, it can just enhance. It's a
descriptive thing of what the actor or the actress is doing in that scene. So it kind of brings it to
life a bit more. So it's a bit of-- as I like to say, a bit of light and shade.
1:53Skip to 1 minute and 53 secondsSo I've used these in ordinary dramas, film and TV
stuff, and I've also used these in wildlife films and documentaries. And it's, basically, people or
animals, which are in snow. Now the three components I have in each of these socks, one is
rock salt, one is dishwasher salt, and the other one is common old garden corn flour. So this is
the dishwasher salt. So if you'd like to bring the boom in a bit more so we can get a nice sound,
this I will obviously sync up with if there's somebody on the screen then I would just--
[CRUNCH] We need it for two reasons.
2:39Skip to 2 minutes and 39 secondsFor technical reasons say, for example, if somebody's
doing a period piece by a motorway or something like that. And then when all the sound and
the rushes come back they'll notice that, perhaps, a plane's gone over or the M40 motorway or
somewhere. So in that position, the whole scene has to be recreated in a studio, which means
that the actors have to come back and re-voice themselves. We need it to also enhance. So
say for example in the mix, the director or the producer or even the mixer of the sound scene
themselves will say, "Oh yeah, this sounds very nice and everything, but it would be nice to
hear that person's footsteps who was just walking past."
3:22Skip to 3 minutes and 22 secondsAnd so the mixer can go, oh yeah, that's in track
seven. So we can just enhance this or we can just bring that out. We can do the sound of a
small animal. [PATTER] If you have a DVD or a film, just play a scene and see if you can walk
along the same time that person's walking. If somebody, I don't know, sits on the chair or pulls
a chair out or pours a glass of water into another glass, see if you can do that at the same time
that they're doing it. People have said to me through the years, well, actually, you're doing your
footsteps, but we've got thousands of discs we can get these footsteps.
4:02Skip to 4 minutes and 2 secondsBut the two things on that one is that by the time
somebody actually cuts in each footstep on the scene, I could've done it about a hundred times
quicker. And this is containing corn flour, which gives it a really nice texture. So with a human it
would be-- [CRUNCH] When we walk, we scuff. Whatever mood we're in, we might be in a
panic. We might be loitering. We might be sad. We might be happy. But whatever that actor or
that actress is doing on the screen, it's not OK to just walk in the same way that they do as far
as putting their feet down when you put your feet down or the other way around.
4:46Skip to 4 minutes and 46 secondsIt's how that person walks. It's a performance.
Glossary of industry terms

A film production is littered with terms and lingo it can take a
while to get your head round. Check out the glossary of
terms, locations and other information below.
Whats the best piece of film lingo youve heard? Are there
any missing from the list below?
0-10 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
0-10
10-1:
Code over the radio of the AD department that someone has gone
to the toilet (be it an actor or member of crew or
themselves!) Check out other walkie-talkie lingo here.
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A/B Rolls:
Two or more rolls of film having alternate scenes intercut with

opaque leaders in such a way that the A roll presents its picture
at the same time that the B roll presents opaque leader, and vice
versa. (Film Editing)
Above the Line:
Refers to the creative elements of a production such as the writer,

producer, director and actors. Literally, these are the elements
which appeared above a bold line which divided standard
production budget sheets. (Production)
ADR:
Automatic Dialog Replacement. Also known as looping. A

process of re-recording dialogue in the studio in synchronization
with the picture. (Post Production)
Aerial Shot:
An extremely high angle view of a subject usually taken from a

crane or a high stationary camera position, but may also refer to a
shot taken from an actual airplane or helicopter. (Production).
Alan Smithee:
A notorious pseudonym used by directors unwilling to have their

own name slapped on a film when they werent happy with the
final cut. After the ironic calamity that was Burn Hollywood Burn, a
film about the practice that was itself eventually credited to one
Alan Smithee, its been retired.
Anamorphic:
An optical system having different magnifications in the horizontal

and vertical dimensions of the image.
Apple Box:
A box built of strong wood or plywood which is capable of

supporting weight. These may be of various sizes, the smallest of
which is also known as a pancake because it is nearly flat.
(Lighting/Grip)
Aspect Ratio:
The proportion of picture width to height (1.33:1, 1.66:1, 1.85:1 or

2.35:1).
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Baby Legs:
A short tripod. (Camera)

Background:
This is a term with a broad range of meanings, depending upon

the context. In production, it has the same connotation as
atmosphere, meaning extras who are staged to supply detail in
the form of normal human traffic in a scene. In sound, it can mean
the same as ambience or it may refer to relative volume.
Backlight:
A light which is generally mounted behind a subject to light the

subjects hair and shoulders without illuminating a subjects front.
(Lighting)
Barndoors:
Folding doors which are mounted on to the front of a light unit in

order to control illumination. (Lighting) Or the stage doors if you
are working in a studio.
Base Camp:
Sometimes located away from set. This is where the trailers,

parking, and meals are usually located.
Base Runner:
A runner who is located at the base and looks after the artists
when they arrive and are in their trailers putting them through
costume and make up etc.
Bazooka:
Similar to a 2K stand, but without support legs. It has a junior hole

at one end and a junior stud at the other, and it usually has a
sliding riser. (Grip/Lighting)
Below the Line:
Refers to the technical elements of the production staff. Literally,

these are the budget elements that appeared below a bold line on
a standard production budget form. (Production)
Best Boy:
The assistant chief lighting technician or the assistant to the key

grip. (Grip/Lighting)
Blocking:
Plotting actor, camera and microphone placement and movement

in a production or scene. (Production)
Blonde:
An open face 2K lighting unit, also known as a mighty. (Lighting)
Bluescreen:
Also known as green screen. This is a blue or green backdrop that

actors are filmed in front of. Later the blank screen can be filled
with digitally generated images to complete the background.
Boom:
A telescoping arm for a camera or microphone available in a

variety of sizes from the very small handheld types to the very
large, which might be transported as an integral part of a motor
vehicle. (Production)
Box Rental:
A fee or allowance paid to a crewmember for providing his/her

own equipment or other specialized apparatus for use in a
production. (Production)
Burn-in Time Code:
A videotape in which a window displaying the time code count on

the tape is superimposed over part of the picture.
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C Stand:
A general purpose grip stand. (Grip/Lighting)
Call Sheet:
A form which refers to all of the scenes to be filmed and all of the
personnel and equipment required for shooting on a particular
day. (Production)
CGI:
Computer Generated Imagery; refers to the inclusion of

computerized graphics in otherwise live-action films to enhance
special effects.
Chit:
Background extras contract whereby their pay will be logged and

added up depending on what they have done i.e. what hours, if
they got wet, if they reacted in a scene, if they are being
reimbursed travel, miss a meal, work at night etc.
Clapper Board:
A chalkboard (or plastic board nowadays), photographed at the

beginning of a shot, upon which are written the pertinent data for
the shot. A clapstick on top of the board is snapped shut and the
resultant sound and image are used later to synchronise picture
and sound.
Craft Service:
On some pictures they may have craft service which in addition to

the catering provides snacks and drinks throughout the day.
Core:
A plastic cylinder on which film is wound for transport or storage.

Film stock only.
Coverage:
An indeterminate number of more detailed shots which are

intended to be intercut with a master shot or scene. (Production)
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D
Dailies:
The first positive prints made by the laboratory from the negative
photographed on the previous day. It also now refers to video
which is transferred from that original negative. (Laboratory)
Daily:
A Crew member who is only hired for one or a few days.
DAT (Digital Audio Tape):
Two-channel digital audio has become increasingly common as a

professional master reference and for use in field recording.
(Sound)
Day for Night:
When planning on shooting a night scene, during the day on

stage.
Day Out of Days:
A form designating the workdays for various cast or crew

members of a given production.
Day Player:
A cast member hired for only one day or a handful of days worth
of work
Deal Memo:
A form which lists the pertinent details of salary, guaranteed

conditions, and other essentials of a work agreement negotiated
between a member of the cast or crew and a production company.
DGA:
Directors Guild of America. A union which represents directors,

assistant directors, production managers, and various video
personnel.
Dolly Shot:
Any shot made from a moving dolly. These may also be called
tracking or travelling shots. (Production)
Double:
A person who temporarily takes the lead actors place for a stunt
or to stand in for the actor in a shot when they are not available or
unwilling to be shot (such as in a nude scene). Shots are done in
a way to avoid seeing the doubles face.
DIT:
Digital Imaging Technician.
DOP:
Director of Photography or Cinematographer who is responsible

for the filmic look of the feature through the use of light and
camera.
Dress the Set:
Add such items to the set as curtains, furniture and props.
Dubber:
A high quality sound reproducer which is mixed with outputs from

other dubbers that are generally loaded with sprocketed magnetic
film. (Post Production)
Dubbing:
An actors voice synchronization with lip movements which are not

the originally recorded sound. This is used to replace unusable
dialogue or recordings, and also used to prepare foreign films for
new markets. (Post Production)
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Flat:
A section of a studios set constructed of wood that simulates a

wall. One side is decorated; the other is structural only.
Flat Rate:
Usually an agreement to perform work or provide a service for a

fixed fee or wage which will not be affected by overtime
restrictions or unexpected costs.
Focus Pull:
The refocusing of a lens during a shot to keep a moving subject in

focus or to change the person or object of attention.
(Cinematography)
Foley/Foley Artist:
The process of adding noises or sound effects to a film in post-

production in synchronization with the action on the screen.
Forced Call:
When a person is required to be back on set in a shorter period of

time than the required turnaround time
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Gaffer:
The chief lighting technician for a production who is in charge of

the electrical department.
Gate:
The aperture assembly - the rectangular opening in the front of a

motion picture camera, printer or projector where the film is
exposed to light
Genny:
Short for the generator which supplies power. Usually on a truck.
Greenlit or Greenlight:
A commitment from a financing entity that allows a project to move

from development to preproduction.
Grip:
Works with both the electrical and camera departments. Trained

lighting and rigging technicians who put in lighting set-ups, move
set pieces and equipment around and rig camera mounts. Handle
lighting equipment needed to diffuse and shape light at the
direction of the D.P. The key grip is head of the department.
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Hiatus:
Time during which a film or tv show is out of production. The crew

are stood down.
Honeywagon:
Portable trailer with toilets.
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Jib Arm:
A mechanical arm which is supported on a dolly, tripod, or other

device, and is counterweighted to hold a camera for an increased
range of motion. (Production)
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L
Library Shot:
American term for Stock footage shot or other footage which is

germane to a given visual presentation but which was not
generated for that specific film or television presentation. (Film
Editing)
Lip-Sync:
The relationship of sound and picture that exists when the

movements of speech are perceived to coincide with the sounds
of speech.
Looping:
A continuous sound track that runs repeatedly in playback as a

guide for re-recording. (Post Production)
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Magic Hour:
The time right before sunrise/after sunset in which the sky is

somewhat dark but still illuminated. Often lasts only 20 minutes
despite its name
Meal Penalty:
A set fee paid by the Producer for failure to provide meals or meal
breaks as specified by the contract.
Mix:
Electrically combining the signals from microphones, tape, and/or

reproducers and other sources. (Post Production)
Montage:
The assembly of shots and the portrayal of action or ideas through

the use of many short shots. (Film Editing)
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Offline:
The videotape editing process whereby the final edit list is

compiled, usually in a more inexpensive edit room, in preparation
for the on-line edit. (Video)
Online:
The videotape editing process that creates the final video edit
master, including effects, from the offline edit list. (Video)
Out-Take:
A take of a scene which is not used for printing or for the final
assembly of a film.
Overtime (O/T):
Work extending beyond the contractual work day.
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Pick-ups:
Footage filmed after shooting wraps, usually of minor shots.
Per Diem:
Set fee paid by a producer on location shoots to compensate a

performer for expenditure spent on meals not provided by the
producer
Playback:
A technique of filming music action first, playing the music through

loudspeakers while performers dance, sing, etc.
Post-Production:
The period in a projects development that takes place after the

picture is delivered, or after the production. This term might also
be applied to video/film editing or refer to audio post-production.
Principal Photography:
The main photography of a film and the time period during which it
takes place. (Production)
Production Sound:
Recording and/or mixing sound on location during the film or video

shoot. Typically this has been recorded to an analog Nagra reel-
to-reel machine, though DAT recorders and other digital formats
are now making significant inroads.
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R
Redhead:
An open faced 1K lighting unit. Also known as a Mickey.

(Lighting)
Rough cut:
A preliminary trial stage in the process of editing a film. Shots are

laid out in approximate relationship to an end product without
detailed attention to the individual cutting points. (Film Editing)
Rushes:
This refers to daily prints of a film used for evaluation purposes.

(Laboratory)
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SAG:
Screen Actors Guild. An American union which represents Artists

(both American and overseas artists can attempt to become a
member).
Second Unit:
A photographic team that shoots scenes which do not involve the

principal cast, such as stunts, car chases, or establishing shots.
Set Up:
Each discrete position of the camera, excluding those in which a

dolly or crane is used to move the camera during filming.
(Production)
Sparks:
An electrician in the Lighting Department
SFX:
Also FX, SFX, SPFX. The techniques used to create illusions

(such as space travel, animatronics, etc.) or to safely perform or
give the appearance of performing normally dangerous acts
(explosions, gunshots, etc.).
Silk:
A lighting diffusion or reflective material, formerly real silk.

(Grip/Lighting)
Single:
A shot with only one subject in the frame. (Production)
Slate:
The identifier placed in front of the camera at the beginning of a

take.
Shot list:
A planned list of the scenes and angles to be shot that day,

including details such as location and which actors and
departments are involved. Created by the Director with the DOP.
Splice:
The act of joining two pieces of film by any of several methods.

(Film Editing)
Squib:
A small explosive device that simulates a bullet hit or very small

explosion.
Stand In:
Someone of similar appearance and measurements to the lead

artist who stands in their place whilst the shot is being lit so that
the actual artist can go and finish in hair and makeup etc.
Steadicam:
A special harness-based system that allows a cameraman to

perform steady, dolly-like shots with a handheld camera, allowing
for much greater freedom of movement.
Storyboard:
A group of illustrations that summarize the various shots required

and provide a general overview of a proposed film. Created by a
storyboard artist with the Director and sometimes the DOP.
Synching Dailies:
Assembling, for synchronous interlock, the picture and sound

workprints of a days shooting. (Film Editing)
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T
Telecine:
A machine that transfers film to a video signal. This also

generically refers to the process of film-to-tape transfers.
Time Code:
Also known as Longitudinal Time Code. A high frequency signal

that allows the accurate locking of film audio and video
equipment.
Trailer:
A short publicity film which advertises a film or forthcoming

presentation.
Travelling:
If someone is outside of the location, or walking to set, they are

travelling.
Turnaround:
The number of hours between dismissal one day and call time the
next day.
TV Safe:
The area of a filmed image which will normally appear on a home

television set after a film has been transferred in a telecine and
then transmitted.
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Underscore:
Music that provides emotional or atmospheric background to the

primary dialogue or narration onscreen.
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Video Assist:
The process of simultaneously recording filmed picture onto video

tape by means of the same lens system in order to immediately
evaluate a take as soon as it is completed. (Production)
Video Village:
The area in which viewing monitors are placed for the director and
other production personnel. Referred to by this name because of
the propensity to fill with people, chairs. Usually set up by the
Video department.
VFX:
Visual Effects Department. Mostly executed in postproduction,

visual effects involves coordinating live action footage with CGI or
other footage (animation, models) to produce a visual that would
otherwise be too costly, impossible or dangerous to film.
Voice-over:
Narration or non-synchronous dialogue taking place over the

action onscreen.
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Walk-through:
First rehearsal on the set, used to figure out lighting, sound,

camera positions and some rudimentary blocking.
Wedges:
Wood wedges cut from 2x4 lumber which is used for levelling and
stabilizing. (Grip)
Wild Track:
Audio elements that are not recorded synchronously with the

picture.
Wrap:
The span of the tape path along which the tape and head are in
contact. (Audio/Video) More often, this refers to securing
equipment at the end of the day or when work is completed at a
particular set or location.
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What different types of runner do you

get on a film set?
In this video Production Manager, Gabby Le Rasle explains the different types of
Runner and the types of task they undertake. Gabby (IMDb profile) began her career
as a runner and then worked as a Production Coordinator before becoming a
Production Manager. Recent credits include: The Early Years, Bill, and The Riot Club.
Gabby describes how Production Running is a great way to start in the film industry, as it
gives you a well rounded introduction to the different stages of production. Gabby also
looks at other key running roles (floor, art, costume and location) and those departments
which usually require trainees with specialised equipment or software knowledge (camera,
grip, sound, hair & make-up and accounts).
Check out the downloads section below for more information on the specific roles expected
of a Floor Runner and Production Runner.
View79 comments
VIDEO:
0:10Skip to 0 minutes and 10 secondsSo the different types of runner that you would get
within the film industry-- I would start with the production runner. The production runner is a
very good place to start if you want to get into the film industry because you would start from
pre-production, filming, and straight through to wrap. So you get a very broad range of
experience throughout that period. You also get to see what other departments do. You get to
see what production does. It can be quite long hours, and it can be, some people would think,
mundane, just photo copying, making tape. It's a very important role.
0:45Skip to 0 minutes and 45 secondsTo be a floor runner, it's a little bit harder to get into
than being a production runner because you are going to have to be on set and deal with
actors and the crew, et cetera. So most AD departments would prefer the floor runner to have
had some sort of experience on a film previously. So if you've been a production runner, it's
quite good to have that grounding, and then you can go into being floor, if that's the route you
decided to choose. Being a floor runner is not a glamorous role. You often don't actually get to
be on set that much. You might be offset, shutting doors, telling people to be quiet, locking off.
1:25Skip to 1 minute and 25 secondsBut it would be a good experience if you want to be in
the assistant director department. To be an art department runner, you would probably need to
have some sort of qualifications within the art world, just have a general interest in art
department. An art department runner would very much likely need to drive. It's is very
important because you'll be running around buying things, getting things, just general support
for the art department. Costume department runner-- you would more than likely be expected
to have some sort of background or qualifications within textiles, fashion, or even in costumes.
You would more than likely need to have to sew because you may have to do some minor
alterations, et cetera.
2:08Skip to 2 minutes and 8 secondsAnd you would certainly need to drive because you are
very often running around fetching costumes or going to shops to buy things, et cetera. The
location department runner-- you would definitely need to have very good stamina for this role
because you will be working very, very long hours. You will be outside in all sorts of weather.
You have to have very good people skills because you'll be dealing with the crew, and you'll be
dealing with location owners. It may also be useful if you are able to drive a van. You need to
have a very good sense of direction. You need to have a very good sense of humour.
2:40Skip to 2 minutes and 40 secondsYou cannot be too precious because you will be
picking up rubbish left by the crew at the end of the day. Other departments that would not
necessarily have to runner as such, more of a trainee, would be the camera department, the
grip department, sound department, hair and makeup department, accounts department, and
editing department. These roles would normally require you to have a little bit of basic training
before entering them, and this is because you will be dealing with specialist equipment and
specialist software. So those departments would expect some sort of training beforehand.
THE ROLE OF PRODUCTION RUNNER WHAT DOES A PRODUCTION RUNNER DO? Production
Runners are used by the Producer and by other production staff. They help out wherever they are
needed on productions. Their responsibilities vary depending on where Production Runners are
assigned. In the Production Office duties might include answering telephones, filing paperwork
and data entry. Or arranging lunches, dinners, and transportation reservations, photocopying,
general office administration, and distributing production paperwork. On set, Runners might have
to act as a courier and help to keep the set clean and tidy. They also distribute call sheets, health
and safety notices, and other paperwork. On location shoots, Production Runners may also be
needed to help co-ordinate the extras, and to perform crowd control duties. Runners are usually
employed on a freelance basis and their hours are long and irregular hours. WHAT SKILLS DO THEY
NEED? You will need to: Be flexible and well organised Be able to think on your feet Have
good communication skills Be able to take orders Be tactful and diplomatic Be punctual Be
enthusiastic Be able to work calmly and effectively under pressure Have good IT skills Have
good organisational and administrative skills Be able to work without supervision Be versatile
and a willing to learn Be aware of relevant health and safety laws and procedures Have a full,
clean EU driving licence. WHAT'S THE BEST ROUTE IN? Start out by getting some experience in
film, drama or broadcasting. It can be in amateur dramatics, student radio or film making, shorts
or community media. This will put you in a better position to apply for work as a Production
Runner, as there is a lot of competition for jobs despite the low pay. This is a good entry-level role
into the film industry. You can make valuable contacts and may progress to a trainee position or
another role in the Production Office.
THE ROLE OF FLOOR RUNNER Behind the scenes on Suffragette 2015 Ruby Films, Path, Film
Four WHAT DOES A RUNNER / FLOOR RUNNER DO? The role of Runner is the entry-level position
within the film production industry - the first rung on the ladder. Many highly successful Directors,
Producers or Technicians begin their careers as Runners. A number of Runners may be employed
on larger productions. They are usually supervised and instructed by Assistant Directors. As the
name suggests, Runners first and foremost run errands. Their responsibilities vary widely, but
usually involve conveying messages, organising props, looking after cast and crew (making tea and
coffee can be an hourly task), driving, delivering technical equipment, and following specific
requests from the Producer, Director or Assistant Directors. The overall responsibility of Runners is
to complete whatever task is assigned to them as quickly and as efficiently as possible. As even
small details may cause interruptions or delays to filming, all their duties must be carried out
rapidly, so that the shoot can progress smoothly. The work is usually freelance and involves long
hours, so Runners must be motivated and flexible. WHAT SKILLS DO THEY NEED? You will need to:
complete every task efficiently and quickly pay attention to detail use common sense and
initiative at all times take and carry out instructions with humility, good grace and enthusiasm
Downloaded from FutureLearn Course: Film Production: Behind the Scenes of Feature Filmmaking
2 Production Guild of Great Britain (February 2016) have a 'can do' attitude have stamina
and drive be very observant be reliable and organised be flexible Have a full, clean EU
driving licence WHATS THE BEST ROUTE IN? You can try and get a work experience placement as a
Runner. Any personal experience of working on the production of an amateur play, or short film is
helpful.
What makes a good runner and

how can you stand out from the
crowd?
In this video Co-Producer and Line Producer Mairi Bett talks
about what makes a good runner, the essential skills needed
and provides some great tips on CV writing. Mairi (IMDb
Profile) started out producing documentaries and telefilms
and has since expanded into feature film work all over
Europe. Recent credits include: Co-Producer - Victor
Frankenstein, Executive producer - Ali & Nino
Mairi highlights the importance of research individuals before

sending them a CV and ensuring you tailor your CV to them as an
individual. To stand out from the crowd, you need a passion for
film and storytelling, and must not think its all about hanging out
with famous people.
Check out the links below for the key industry website Mairi
mentions.
VIDEO
0:10Skip to 0 minutes and 10 secondsProbably the thing that I'd like to say first is the
approach that you make. I must get in the region of six to eight CVs a week. And I think that
how you address yourselves-- I know a lot of work goes into a CV. You're very anxious about
getting a job, about getting an interview. I think the thing is to make sure that you address your
CV to the correct person. Do a bit of research, find out, maybe identify some films that you
really like. Find out who the people are involved, and address it to them. Don't just do a
blanket, "Dear Sir or Madam." There's too many people wanting to become runners and to get
into the business.
1:00Skip to 1 minute and 0 secondsSo why do you want to come into the business? If you
have a passion for film and storytelling and you want to have an interesting job in the creative
field, then that's great. If you just want a job or you think you're going to hang out with famous
people, this is probably not for you. Production offices are the nav centres of a production. We
have to control all the information, make sure it gets out to the right people at the right time.
People are busy. They're under a lot of pressure. And you as the runner, part of the team, and
a very important part of the team, because we depend on you. So you have to be clear-
headed.
1:48Skip to 1 minute and 48 secondsYou have to have good demeanour, a good attitude.
And you have to have a lot of enthusiasm and you have to have a sense of humour. That's
really important. Production offices are busy. People will ask you to do things. If you don't
understand what you've been asked to do, for goodness sakes, say, I'm sorry. I don't
understand. And you'll get a more definite explanation. And if you still don't understand, ask
again. It's much better that you go off and do your chores knowing what's expected of you than
to go off and assume that you know, when actually that's probably not terribly helpful. Even on
the best run productions, things go wrong.
2:38Skip to 2 minutes and 38 secondsIf you make a mistake, and we all make mistakes,
make sure that you stick your hand up and say, I'm sorry. I made a mistake. It's much easier to
solve a problem or to make things right if we know about it. If we don't know about it, it can cost
us time, money, and a lot of distress for everyone. It would be really useful if you had some
computer skills, some basic word processing, if you can use Excel, that you're familiar with all
the industry-based websites-- IMDB, theknowledgeonline, Kays Directory. You're going to be a
font of knowledge. You going to be asked to do and research certain things, and you need to
know.
3:27Skip to 3 minutes and 27 secondsYou need to also to know how to work the
photocopier. I'm a bit of a nightmare. I walk past it and it breaks down. So you need to be able
to fix the jams and to know what the copier number is. So things about you-- don't need to
wear a suit to come to work, but we do expect you to be smart. We do expect you to pay
attention to personal hygiene. You need to make shoes you wear the correct clothes.
Sometimes you get caught out in the rain and it's measurable working in wet clothes. So make
sure that in your car you've got another change of outfit or dry shoes. Remember
confidentiality.
4:05Skip to 4 minutes and 5 secondsIt's a real important issue in production offices. We are
trusted with very private and secure information, and it has to remain that way. You will
probably be asked to sign a non-disclosure agreement, which means that nothing that happens
in the production office can be reported outside of the production office. No social networking--
keep off Twitter. Don't sit around doing nothing. If you've completed all your chores, go around
and ask the people in the office or in your department if there's anything that you can do. It's
busy. I'm sure your help will be very welcome.
In focus: The role of the

Production Co-ordinators and
Production Runners
in this video Deryn Stafford will introduce us to the roles of
Production Co-ordinator and Production Runner. Deryn (IMDb
profile)is an experienced Production Coordinator with a
background in low and medium-budget films and television,
as well as larger US-backed studio films
(Sony/Paramount/Disney/Universal). Recent credits as a
coordinator include: The Gunman, The Woman in Black:
Angel of Death and Fleming.
On a daily basis Production Co-ordinators juggle numerous tasks

and solve the multitude of puzzles that can come up during a
production. Equally, the role of the Production Runner should not
be under estimated, they can be hugely important in the detail of a
production, need to maintain a cheerful, can-do attitude.
You can find out more about the Production Department structure
in the downloadable document below.
Production Co-ordinators are calm, organised, detailed,

accurate and dynamic problem solvers. They have to have
strong research skills and deal with difficult people. Does this
role interest you? Do you think you have these skills?
VIDEO
0:10Skip to 0 minutes and 10 secondsThe role of a production coordinator, in my view, is to

juggle a lot of elements of production and to solve puzzles, which occur every day, all day in
production. And specifically, you have to be experienced at contracts that support cast and
crew, travel accommodation, UK and foreign. Insurance, you need to be, to some extent,
knowledgeable about. You need to be able to deal with all of the departments and liaise
between departments. You need to keep the diary, not just for one person, but for the whole
crew, and calendars. You need to-- on this production, say, that I'm currently working on-- you
need to be liaison between foreign crew and UK crew. You need to deal with shipping.
1:05Skip to 1 minute and 5 secondsYou need to deal with all of the elements that come up
when you're moving a crew abroad and back again to the UK to shoot. What makes a good
production coordinator very organised and very detailed and as accurate as possible, given the
parameters of time and pressure, calm and the ability to cope and get along with, often, very
difficult people.
1:36Skip to 1 minute and 36 secondsAnd also, the ability to research and solve problems.
The role of a production runner is really important in a production and is hugely
underestimated. And the runners, on a day to day breakdown of what they do, they open up
the offices. They close the offices at the end of the day. They keep supplies in the kitchen. And
they do the usual photo copying and checking of scripts and sending out. But much, much
more, for instance, if you're on a small production, they do get to do a lot of research. And they
get to handle certain areas that are literally, the production team have not got time to do.
2:27Skip to 2 minutes and 27 secondsWhat I look for in a good runner is good health,
stamina, what I would call sticking ability. If you're given something, do it, and do it well. And if
you can't do it, come back and say you couldn't do it. Cheerfulness-- really, you are it at the
bottom rung and you need to be cheerful. And you need to be pleasant to every single person
on the crew. So where do runners go from here? They very often go into locations, the location
department, or they stay in production. They are the main areas where production runners
stay. And they carry on to be production secretary, a system coordinator-- coordinator.
3:17Skip to 3 minutes and 17 secondsI very often come across line producers and
producers who've been runners-- very common. And they go to be location assistance, location
managers, who then, sometimes, become line producers. I think the most common mistake
that runners make is not appreciating how important what they're doing is. If they're given
instructions, it seems to them that they're doing something which is very trivial. But in fact, it
can be incredibly important. And they can't seem to understand that. Say if you're picking
something up, it could be a lens. It could be a notebook. This might be something critical, and
they trivialise it. So they don't see they're all actually as important. So they may not do it on
time, which infuriates everyone.
4:09Skip to 4 minutes and 9 secondsSo they have to understand that what they do is vital,
and they need to do it quickly. And they need to do it well, whatever they're asked to do. When
I'm looking to interview a runner and initially looking at CDs, I want something crisp and clear
and uncluttered. Bullet points are really good, that you drive, that you have or have not got a
car. That where you live, very important-- or where you could live. And, also, perhaps a
reference and some experience, however small. When it comes to interview stages,
enthusiasm. That you're actually interested, that you may have looked up what a runner even
does.
Where might you fit in?

Now that weve learned about the different teams which make up a film crew and
heard from a handful of experienced people already working in film production, take
a moment to consider which role appeals to you the most.
Accounts Trainee? Youd probably need more specific training first, from a course such as
The Production Guild Of Great Britains Assistant Production Accountant Training Course.
Art Department Runner? With a view to starting on the ladder in Art Department.
Camera trainee? Its more difficult to get into due to the technical knowledge needed.
Could be more easily obtained by working as a trainee in one of the camera companies.
Continuity Trainee? If this is of interest, it may mean more specialist training first in
script continuity.
Costume Trainee? It would be an advantage to have some previous costume experience

from other media area or have attended specific costume design training.
Floor Runner? Working in the Assistant Director department is an area to start if you want
to go into Assistant Director work , with possible view of Directing.
Grip Trainee? A possible route if youve got an interest in becoming a Grip.
Location Trainee? This role could take you into Location Management. A clean license
and car is a must, as is a good knowledge of maps and dealing with people from all walks
of life.
Hair/Make-Up Trainee? For this role, you may need more specialist training in hair
and/or Make-up.
Producer PA? Enabling an understanding of the role of the Producer, possibly requiring
more specific Producing training first.
Production Office Runner? Youd be working to the Production Co-ordinator and get a
good start in working in the Production Office.
Sound Trainee? Possibly stationed in the Post-Production facility, acts as a starting point
to sound recording on location.
Trainee Editor? Good previous knowledge of the technical and software side of the
editing process a must for this role.
Given a choice, where would you like to work? What steps would you need to take to
get to the role youre interested in?
View(319) Join the discussion

Spotlight on success: From
Runner to Producer
In this video David Tanner explains how he worked his way
up from Runner to a Producer. David also provides some
advice on how to stand out as a runner, ensuring you become
invaluable to set, being trustworthy and respecting the
running function as the crucial role it is.
David (IMDb profile) worked his way up through the ranks starting
out as a runner and producers assistant to become a successful
producer in his own right. David is currently the head of production
at Rainmark Films and his recent producer credits include: The
Frankenstein Chronicles andMuhammad Alis Greatest Fight.
VIDEOVIDEO
0:10Skip to 0 minutes and 10 secondsMy name is David Tanner. I'm a producer of a six part
TV series for ITV called the Frankenstein Chronicles. My path from being a runner to being a
producer is varied. I started work experience for BBC Radio in Manchester, and then Granada
News, also in Manchester at the age of 17. I did that for a couple of years within university. I
moved to Mercy television, my first role as a runner in drama, and from there went down the
AD route as a third, second, and first AD. I moved to London as a third AD.
0:49Skip to 0 minutes and 49 secondsAnd doing various other jobs, including reception work
for production companies and unpaid work on short films, managed to get an interview to be a
production runner again on a feature film called Stardust at Pinewood Studios. Coming back
down to a runner was a conscious decision in order to work in the high end market. I worked as
a production runner on that film, then a production assistant on the same film, a producer's
assistant on the same film, and finished as a post-production coordinator two years later. It's
incredible learning experience. I just kind of hung on for the ride, really. Something that's made
my career.
1:26Skip to 1 minute and 26 secondsI moved on as a accounts assistant staying with
Paramount on a feature film called Angus Thongs and Full-Frontal Snogging. Again, a great
experience for budget and cost reporting. And then went into a run of three films as a producer
and director's assistant. From that I became head of production at a small independent
company, and have script edited and raised finance on two projects-- one HBO film called
Muhammad Ali's Greatest Fight. And the second, and the thing we've just delivered this week,
the ITV series called The Frankenstein Chronicles. So my advice in order to become a
successful runner, and then in turn to progress from beyond being a runner, would be two key
things, I feel.
2:13Skip to 2 minutes and 13 secondsThe first is to make yourself invaluable to that
production or to that team that you're working with. It's at the very least, you should add value.
What you should be aiming for is to be invaluable. So really expertise yourself in that project.
Read the scripts, know everybody's name, make sure you're always offering yourself to do
more. And in that way, people won't have a choice in order to give you more work. You'll
become a real asset. I would say the second thing is to be reliable. Turn up, be punctual, be
smart, turn up five minutes early-- 10 minutes early. Be trustworthy and people will trust you
with more responsibility.
3:00Skip to 3 minutes and 0 secondsAnd that's how they will know that you are capable of
more than what is often entry level work in a production runner. And I think finally I would say,
respect the role as a production runner. Don't always look beyond. It's a very valuable starting
position in the industry. It's an apprenticeship industry. You will learn a lot there. Be a good
runner. Don't try and escape it too quickly. But make yourself invaluable, be reliable, and
people will take you on to the next step.
Career progression routes

Runners and Trainees are employed in several departments,
and have a variety of career progression routes.
Below are graphics for the usual routes of progression within the
main departments on a film production.
Accounts Department Career Progression

Art Department Career Progression
Assistant Director Career Progression
Camera Department Career Progression

Costume Career Progression
Editing Career Progression
Grips Career Progression
Locations Career Progression

Hair and Make Up Career Progression
Production Department Career Progression
Sound Department Career Progression
Finding a job: CVs

When starting a job search, youll first need to prepare a CV.
This CV is your chance to sell yourself to potential
employers, and getting it right is important.
Hints and Tips for Successful CVs
Streamline: Keep your CV simple and short and

streamlined, preferable one side of A4.
Break up your CV: List distinct sections, making it easier to
read. Ensure sections include: personal information;
education; relevant media courses completed; relevant work
experience.
Mission Statement: Include a mission statement e.g. I
want to learn the film business from the bottom up, to
eventually work towards becoming a Production Co-
ordinator.
Previous Employment: For your list of previous
employment only list what is real and relevant, do not write
half a page about working in McDonalds.
Courses: List any relevant generic courses such as Health
& Safety; First Aid; Excel; Accounts Packages etc. You
should certainly mention that youve completed this course
from The Production Guild on FutureLearn!
Technical Skills: List the computer packages you can work
with if relevant such as Final draft, Movie Magic Scheduling,
Movie Magic Budgeting, Word, Excel, Final Cut Pro.
Drivers Licence: Ensure you state you have a full, clean UK
Drivers Licence, if you do.
Tailoring: Tailor your CV to the specific position you are
applying for so include relevant art department experience
for Art department, dealing with people and pressures for
Floor Running, experience of scripts and final Draft software
for production runner, experience with working with cameras
for camera etc.
Regional Work: If you know a production is going to be
based in the regions and you have a relative you can stay
with their and know the area from family visits mention this.
Things to avoid on your CV
You dont need to add a photo.

Dont give details of your referees unless they are
specifically relevant industry referees. Stating Referees on
request is acceptable.
Dont go into too much detail about School, College or
University films or productions, unless specifically
nominated for serious awards.
And remember, always have your standby CV for general work.

Whilst you wait for your break in the film industry you may need
bar or restaurant work or similar to pay your bills!
Production Guild of Great Britain Finding a

job: The interview
Getting Interviews
All experience is good experience, as long as you are
learning, making contacts and being paid! The industry is
competitive and you will need to keep your options open to
opportunities that do not necessarily fit exactly with your
desired path. For example, interviewing for a Floor Runner
role when your interest is as a Production Office Runner will
give you varied experience, and you never know where it will
take you.
Generally, within this industry, people are needed at short notice,
so be prepared and flexible to go for interviews with little or no
notice. Whichever role you secure, ensure you do it to the best of
your ability and try and make your mark with the department that
you are most interested in.
Before the Interview
Check the information youve been given. Research the

person youre meeting and check out the
production on IMDb or any relevant social media site.
Prepare questions you would like to ask during the interview
see the section below.
Check your route to interview and leave plenty of time for
unexpected hiccups on your way.
Bring at least one clean copy of your CV with you be
willing to give this to the interviewer if they do not have a
copy.
Bring a notepad/pen and additional notes and
documentation you think you might need to refer to - its
perfectly acceptable to have some notes with you.
Look smart, but casual. The Film Industry has the benefit of
not requiring people to dress as City Slickers, but keep your
dress smart and nonspecific. If you are going for a make-up,
hair or costume job pay particular attention to your hair,
make-up and what you wear.
Arrive early to check out the local area and identify where
the interview is taking place.
If you have time, find somewhere for a drink, calm
yourself and check you have everything with you. Ensure
you put your phone on silent.
During the Interview

Remember what people are most interviewing you for is your
personality, your enthusiasm and passion and you need to show
that long hours and hard work at the bottom are not a problem for
you. You are there to work hard and learn.
The interview is your opportunity to put across your experience,

knowledge and enthusiasm for a role. Whilst its important to be
confident in your approach, do not oversell yourself or appear over
confident in your level of experience.
The interview is not the time to discuss the rates for the roles. If
you get offered the job, you will get the opportunity to ask financial
and general job questions.
An interview is a two way thing so here are some tips on what you
need to find out, if they dont tell you then ask some questions as
below. Use your notepad to take any relevant notes, so you can
refer back to them later.
What is the project?

What is the specific job?
What is the duration of the job?
Where is the job based?
What would your key responsibilities be?
Who would you be responsible to?
Will you need to use your own car?
Useful links for those interested in

becoming a Runner
We hope that you have enjoyed the course and that you now
know a little more about how a film gets made and the roles
that people play in taking a film from initial stages of
development to the screen. If youve decided that becoming a
runner is for you, you may find the following resources useful
when pursuing your first rung on the ladder.
Runners Training
Production Guild Course: Runner Training - How to get

ahead in film and TV
Industry Endorsed Courses & Apprenticeship Schemes
Creative Skillset Creative Courses
Getting a Runner Role
Production Base: Runners Jobs in Film, TV and Commercial

Productions
Prospects: Runners Job Description, Activities &
Opportunities
Total Jobs: Runners Job Description & Guidance
National Careers Service: TV Production Runner Job Profile
My First Job in Film: Everyone Starts as a Runner
Broadcasting Entertainment Cinematograph and Theatre
Union (BECTU): Job Grades and their going rates
BBC Academy: Getting into Production
ITV Jobs: Working for ITV
Sky Academy
Are there any other useful resources youve come across? If

so, please do post the links in the discussion for others to
see.
Runners
Running is a time-honoured route into film. Sometimes referred to as the
footsoldiers of the industry, the responsibility of a runner will vary greatly
depending on where they work and what needs doing at any given time.
Everyone Starts as a Runner
Many people begin as runners, even those that decide to work in different
areas of film-making. The proximity of runners to the shooting process
mean it can be an opportunity to pick up a great deal about production
something that is helpful for people working at any stage of the film-making
process.
At the same time, new entrants should be aware that runners are asked to
do a wide range of work, some of which is not glamorous in the least and
may take them away from the set for duties such as keeping traffic away
from an area on camera.
Floor Runners
Floor Runners can expect a physically intensive job at times. They support
the assistant directing team on the set and, as such, their primary role is to
ensure things (and people) are ready for each set up. This also involves
looking after the needs of the cast and, to a certain extent, crew as well.
Production Runners
Production Runners assist in the production office. They arent usually

involved much in pre-production but come on board a little before shooting
at which point they help keep the flow of information between the crew
through the distribution of paperwork as well as researching with the
production team.
Rushes Runners
Rushes Runners are entrusted with each days footage and transport it to
the facilities house where the post-production work can take place.
Although the work does not involve working with the production team or on
set, it can prove a useful first step and usually includes some time on the
set while waiting for shooting to finish, giving an insight into the production
process.
Offices Runners
Office Runners work for the companies involved in film-making. Not all
companies have office running positions but those that do exist provide a
way in to areas of film-making beyond production. In particular, this can be
an entry route towards post-production or working for a production
company. As there are few positions, however, the competition can be
great. Internships can, in certain circumstances, act as a precursor to office
running.
Building Experience
Initial experience can be gained through working on low-budget short films.

As there are so many shorts made each year, they provide a realistic
starting point for new entrants. It is worth considering, though, which shorts
are likely to give the greatest level of experience. This is particularly useful
for those looking to work in production.
It is standard practice for people making short films to provide for the travel
expenses of those working for them and to feed crew throughout the day.
Due to the tight budgets, roles are rarely paid.
Many establishing themselves in production also work on commercials and

music videos. As well as another opportunity to gain experience and apply
their craft, these jobs tend to be comparatively well paid and provide
necessary financial support alongside low or unpaid work on short films.
In focus: What makes a good floor

runner?
In this video 1st Assistant Director Lydia Currie talks about
what she looks for when employing a Floor Runner and gives
some tips on what makes a good Floor Runner.
Lydia (IMDb profile) is a very experienced First AD and a regular

guest lecturer on film and TV courses. Recent credits
include: Jekyll & Hyde,The Man Who Knew Infinity and 24: Live
Another Day.
VIDEO
0:10Skip to 0 minutes and 10 secondsWhat I'm really looking for in a floor runner is initiative.
I tend to find that those with initiative do very well in our business. The call sheet, for example,
has almost every piece of information about the day on it, and it's in your hand. I really
appreciate people who can read it properly, and interpret what it means. On the radios, I'm
looking for someone who can communicate well, who can keep their sentences short, and who
always responds. As simple as it sounds, we have radios because we're all spread out all over
the place. I can't see you. I can't see that you're doing the thing that I've asked you to do.
0:46Skip to 0 minutes and 46 secondsI need you to tell me that you've heard me, and that
you're doing it immediately. And the other thing that really gives people away when they first
join our business is the lack of urgency that tends to come with them. We're up to a 400 pound
a minute unit. Therefore, if something isn't done immediately, you're crossing somebody who
gave you the job money. When I'm selecting from the CVs that I'm given to interview for my
floor runner, I'm not necessarily looking for experience. A lot of the best people in our industry
are on second careers.
1:18Skip to 1 minute and 18 secondsTherefore, I'm looking for things if you're not a floor
runner, and you can't prove your experience to me, I'm looking for things like managerial posts,
ex forces, people that come from caring professions, people who turn up on time for their
interview, who are well presented, who present themselves with a smile. I'm always happy to
help someone like that.
What to expect on your first day

and the etiquette of a film set
When you do land your first job as a runner, youll no doubt
be nervous and excited to start work. Below youll find
information on what to do on your first day and a short list of
dos and donts that will help you avoid making a faux pas!
First Day
Check your route and get there at least 15 minutes early.

If you received a contract before starting, make sure youve
read it and the accompanying information. Ensure you
understand the contract, the first day is the day to ask any
questions about if, if you have any.
Take your P45, passport, National Insurance number and, if
applicable, a copy of your last payslip. Have your Bank
details for any starting documentation you complete.
Take your phone and, if appropriate, your laptop. Take
documentation to show you have them insured for work use.
Remember first impressions count. Get to know who is who
and what they do, take notes if needed.
Your Team Manager should introduce you around, if they
havent ask them if they could spare a moment to do so.
Remember, most people happy to answer questions and
queries. So, when you do not know its better to ask not
guess.
Keep smiling and keep supporting your team - when you
have nothing to do offer your services to everyone. If you
want to learn anything specific, always ask if you can watch
and learn, where not confidential.
The Dos and Donts of a Film Set
Dont just be on time be early.

Always be courteous to others.
Have integrity and respect confidentiality at all times.
Never be afraid to ask, that is how you can find out and get
on. However, you must pick your moment, do not interrupt
people when they are obviously very busy.
Be prepared to help anyone and everyone.
Be prepared and willing to do the most menial of jobs with
good humour.
Remember who is senior and always take last place in
catering queue or mini bus transport.
Never have your mobile phone on in a meeting or on set.
Remember the set is run by the 1st Assistant Director so
always ask them if you can come on or leave set.
Always check with your HOD before leaving the office or
undertaking work for someone else.
It does no harm to refer to senior members of the production
or cast as Sir or Madam or Mr or Miss, until such time as
they tell you to address them differently.
Mastering the kitchen! Running

roles and responsibilities
Below are some of the key roles and responsibilities a runner
would undertake in their day to day role. Its important that
you be the best runner you can possibly be. If you are good
at what you do, show willing at all times, shine at and when
you are ready to move up the openings will come but do not
rush ahead too quickly.
Key Responsibilities
The Kitchen: Whichever department you work in you will become
the master of the kitchen! Tea and coffee making are key - find out
who likes what and make sure you keep lists in the kitchen. Go
around as often as you can, asking people if you can get them a
drink. Remember to collect the empties, wash up keep the kitchen
tidy and clean at all times.
Lunch: You will generally be asked to arrange lunch for the

members of your department. Take clear notes of orders, keep
good accounts and get receipts for everything.
Photocopying: You will likely also become the master of the

copier! Get know how to fix it when it jams and understand how all
aspects of the copier work including internet connection, size
reduction, two sided copying, A3 and A5 copying etc.
Phones: Communication is key in this business, so ensure you

can communicate in a clear, concise, timely and informative
manner. Keep a phone message book to duplicate all messages,
in case you need to refer back once youve passed the message
on. Understand the phone system and how calls can be diverted
etc.
Research: You may be asked to do some computer-based
research. Make sure youre confident with using search engines
and that and computer you use is up to the job.
Purchase Orders: Make sure you know how to complete a

Purchase Order. Ensure they always have costs attached and
never send out unless signed by a Head of Department or
appropriate signatory.
Filing: Different organisations work with different filing systems.

Make sure you know the approach used and the requirements of
your department.
Distributing paperwork: This will be a large part of your work

and needs to be done in a timely and correct manner. The only
thing worse than not getting something is getting something which
was not intended for you!
Confidentiality: Be aware of confidentiality, you may be placed in

a position of dealing with confidential paperwork, keep this to
yourself and never discuss anything confidential with anyone but
your Head of Department.
Purchasing and Petty Cash: Youll be required to purchase small

things on a regular basis. This is done with a float from Accounts,
not your own money. Balance your float daily, accounting for all
spends and keeping all receipts (with the purchase details,
company name and VAT number). Keep your float separate to
your own money and keep a file to put all your receipts in. If you
lose a receipt, you may have to pay out of your own money.
Remember to approach any set cautiously, in case the camera is
turning as any noise you make will interfere with the scene being
filmed. If you are unsure find a Floor Runner and ask them.
Remember are a Runner and you will be running everywhere so
watch your time keeping. Make sure you know your task, where
youre going and how soon it is required.
Moving on and moving up

Once you have established yourself as a good runner your
mind will turn to moving on and here are some suggestions
on how best to achieve moving up.
Get yourself listed on IMDb.

Make contacts and tell them where you want to move to.
Build your own contacts file for work including list of Heads
of Department who might assist in getting you work.
Let people know you are happy to take on more
responsibility, in areas you might be specifically interested in.
Dont forget to ask those people whose role interests you if
they can spare the time to show you what their job entails
and let you try some basic elements.
Some useful links to help you on your way are provided below.
Support and Guidance Organisations
Creative Skillset
The Production Guild of Great Britain
British Film Institute (BFI)
Production Resources
Mandy: Film and TV Production Resources

Kays: UK Production Manual
Industry News
Broadcast Now: News, Analysis & Commentary on the

Broadcast Industry
The Knowledge: Production Directory on UK film, TV and
commercial Productions
ScreenDaily: Film news, reviews and reports
IMDb
Are there any other tips you think would be useful for people
moving on from running? Please add any to the discussion
below.
Weekly round-up & end of course

information
We hope you enjoyed this week and this course. Thanks for
staying with us.
This week we took a more detailed look at the crucial role runners
play in film production. Running roles and trainee positions are a
vital first step taken in progressing in this competitive industry and
we looked at the different types of runner you get, how you can
stand out from the crowd.
A few final things before you finish:
Wed be very grateful if you could take a few minutes to fill

out the post-course survey with your impressions and
feedback on the course and what you have learned.
Dont forget, you can purchase a Statement of

Participation for this course, if you think it would be useful in
your future endeavours. It could be a great thing to add to a
CV if youre interested in getting your foot into the door of the
highly competetive industry.
If you are interested in taking that next step, dont forget to

check out the Production Guild Course: Runner Training -
How to get ahead in film and TV
You can also check out industry endorsed courses &

apprenticeship schemes, for film, TV and other Creative
Industries via the Creative Skillset Creative Courses site
We look forward to hearing how youve got on throughout the

course.

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Welcome To The Course

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Welcome to the course

Welcome to Film Production: Behind the Scenes of Feature

Firstly, if you havent yet completed the pre-course survey, please

Over the next three weeks, guided by respected film

We will explore the different departments and how they interact

Week 1: The types and stages of Film Production.

We recommend that you follow the course week by week in

Throughout the course, do make the most of FutureLearns social

To get warmed up, use the comments section to tell us what

Production Guild of Great Britain

Meet the team

Paul Sarony: Line Producer, Producer, Co-Producer

Paul Sarony is a highly-experienced Line Producer and has

Lesley Lipscombe: Training and Development Manager

This course has been put together with a range of insights

James Merifield: Production Designer

James Merifield is a graduate of the Slade School of Fine Art in

Gabby Le Rasle: Production Manager

Gabby Le Rasle began her career as a runner and then worked as

Lydia Currie: 1st Assistant Director (1st AD)

Lydia Currie is a very experienced 1st AD and a regular guest

Neil Corbould is a British special effects supervisor with over 30

David Tanner: Producer/Head of Production

Mairi Bett: Line Producer, Co-Producer

Mairi Bett established Skyline Films with partner Steve Clark-Hall

Deryn Stafford: Production Co-ordinator

So why are you passionate about filmmaking? And who are

Production Guild of Great Britain

Film budgets and the types of

750 per week for Heads of Department (HODs)

Studio & High Budget

The range of costs involved in productions are vast. Does the

Production Guild of Great Britain

The seven stages of film

Production Guild of Great Britain

Who has overall responsibility for

The Producer supervises raising finance, hiring key Heads of

The Director oversees all creative elements of the film. They

The Screenwriter is responsible for developing and researching

The Director of Photography (DOP) is responsible for the

The Location Manager is the Head of Department for Locations

The Production Designer is in charge of the Art Department and is

Production Guild of Great Britain

Getting a production ready to

In this video, Line Producer Paul Sarony briefly describes the

All the work in this stage enables detailed scheduling to be

Production Guild of Great Britain

Shooting a film: What happens in

Production Guild of Great Britain

Post-Production: What happens

Sound preparation starts with checking for clean dialogue, i.e.

Once it has been technically approved, the team creates all of

Production Guild of Great Britain

Key departments include:

In the next step, you can a Glossary of roles and a downloadable

The Producer supervises raising finance, hiring key Heads of

The Director oversees all creative elements of the film. They

The Screenwriter is responsible for developing and researching

The term Executive Producer (EP) can be used in two ways. In

The Production Manager (PM) oversees the budget in a more

The Production Co-ordinator is responsible for the logistics of

The Assistant Co-ordinator, or APOC, assists in managing the

The Production Secretary is normally responsible for creating key