Section 2: Professional Development

2.1 – Please upload or summarise the crew test you did with Rupert

Director – Directs actors and camera, and some directors have a clear vision of how they want the film to look.

DOP / cinematographer – Works alongside the director to achieve his/her vision, as well as working with the camera and lighting crew of the film.

Producer – evolved in all aspects of film-making.

1st AD – helps direct, more people oriented, helps the cast and is responsible for the film schedule and breaking the film down into scenes and a shot list.

2nd AD – Haps the 1st AD and looks after the actors , point of contact between the actors and the set, so they will bring the actors on and off set and tell them their call times for the next day.

Location manager – finds locations and accounts for what is needed, (e.g. a power source like a generator, or parking nearby…), they request permission and negotiate costs and timing with the owners of the location.

Production manager – help to produce the film, in charge of the financial side e.g. the budget of the film and how the money is spent…

Camera operator – communicates with the DOP or art director to physically operate the camera and frame shots for the film

Focus puller – pulls focus between people or objects, making sure the right parts of the image are always in focus and never soft, (unless that is the desired effect).

Clapper loader – logs the shots with the clapper and helps the editor to organise the film and audio as well as sync it. They sometimes monitor the camera and also time shots (e.g. the frame rate…).

Sound mixer – controls the level of sounds picked up by the boom

Sound designer / foley artist – mixing sound effects post-production, mixing ‘foley’ (clothes, glass clinking, footsteps etc.)…

Boom operator – physically operates the microphone on a boom that captures the required sound for the film (e.g. dialogue)

Editor – assembles the shots into a coherent film

Script supervisor – controls the continuity through the scenes, logging shots (talks to the clapper loader) and making sure there is continuity within the editing.

(Here are my notes from Rupert’s class):

Film Roles from class with Rupert


2.2 – Describe the structure and interrelationships of the production department. 



The structure and interrelationships of the production department are slightly complicated but extremely important. They can vary from are to crew depending on the scale of the project (If it is a massive production like Avatar or a low-budget student film, like ours,) however, this is the general layout that all production departments will follow. Everyone has a job and responsibilities and using this structure, makes everything a lot more efficient.

Essentially, everything starts with the executive producer, who communicates to the producer. The producer communicates with the location manager, casting director and the production manager, as well as the director himself. The director communicates with his/her 1st and 2nd ADs, and the heads of department.

On the main visual film aspects, the director of photography communicates with the assistant camera and the assistant camera will communicate with the gaffer (who communicates to the best boy and sparks) and the clapper loader, focus puller and grip.

For the sound aspect, comparatively it is a lot simpler, the sound designer communicates with the sound recordist who communicates with the boom. Similarly for the editing side of things, the editor will communicate with the dubbing editor, and sometimes the editor will work with other editors for different cuts to see the different ways in which the film can be edited together.

Lastly, the production designer communicates with the art director (who communicates to special effects, costume, props and make up.)

Role Allocations The End

Role Allocations Spaghetti


2.3 – Describe at least 2 potentional progression routes into the film industry (e.g. university, apprenticeships, entry level work, film festivals etc)

There are many different progression routes into the film industry. One of these could be done academically, through school, like taking Film and media for GCSE, A-level or at university, or even taking a vocational, like a B-tech. For example, this amazing short-course that I am currently on, I am working towards an NCFE qualification which is an equivalent to a GCSE qualification. From this, you could go on to study at a film school like London film academy, NFTS, or you could study Film at university.

Secondly, there are also other routes, like apprenticeships or work experience. From gaining experience, you can apply to study film, or even create your own films that you can submit to film festivals, or you can make your own showreel to to find work to add to your portfolio. By making connections and having experience you can get started in the world of film. 

What do you plan to do when the academy is finished?

I plan to try and get onto a residential in which I could gain more experience, and I plan to go on work experience and internships to explore the different sides of the film industry and see what is best suited for me, and what aspects of working in film I really enjoy the most.

Briefly describe the job of one of your tutors, and what they have done in their career

My sound tutor, Carine Koleilat is the co-founder of a company called ‘Blue fox productions’. Carine graduated from the London film academy where she directed her third short film. It was during this time she discovered her passion for sound design. Over the past three years she has managed to work in sound across different mediums, from broadcasted shows (Al Ghad TV, BBC, Channel 4) to short films, pilots, documentaries and feature films. With her creative partner Carine Co-Founded Blue Fox Productions where they work closely to bring their ideas to life.

(Here are the notes, and some of the things I learnt from Carine in our first class):

Sound notes from class with Carine

2.4 – What is the wider creative media sector?

The wider creative media sector is essentially a sector made up of a lot of different types of creative industries like: design, music, theatre, costume, advertising, architecture, crafts, visual arts (like VFX or animation), fashion, TV and radio, literature, computer games and the performing arts.

Explain how film production connects to the wider creative media sector

Film production has many connections to the creative media sector. In a way, they all benefit from these connections, for example, the music industry. The music industry leans on the film industry for their work to be used, or for music videos to be made and similarly, the film industry will reach out to use music. Furthermore, there have been many documentary-style films based on singers, bands or popular online figures like  ‘Amy’ – the documentary about Amy Winehouse; ‘Haters Back Off’ – (a youtube-made famous comedian) and ‘One Direction: This is Us’. These films can be extremely successful due to the already existing fanbase the person may have however they generally don’t appeal to those who are not fans.

In addition to this, there are other visual art industries that work along side and help the film industry for example, animation and VFX. They aid the film industry greatly, helping companies like Disney or other big productions to Create top-notch animated films, or for VFX, helping to create more realistic looking films, like in the newly remade ‘The jungle book’, or a film ‘San Andreas.’

On the literary sides, many popular and best-selling books and even video games have been adapted into films, like ‘The hunger games’, ‘Maze Runner’ or the well known ‘Harry Potter’. The film industry also relies on people in other media sectors as they may have transferrable skills, like someone who has learnt to edit short clips can learn to edit a short film, or people who work in the literature sector are often a good source of well written scripts or ideas, many authors have learnt to become really great script writers.

Additionally, The film industry in itself is changing. As the internet expands, and people begin to use more and more streaming services like Netflix, Hulu and Amazon Prime, the way films and TV series are made is also changing too. As there is more accessibility, and an arguably larger audience online, it can mean that a film that didn’t do so well at the box office to being a hit and getting great reviews on a streaming service like Netflix that predicts what type of film or TV series their customer might like to see.

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