A

Art Director (Film)

The art director will realize the vision of the Production Designer. It is the more practical side of the production. It is a hands-on job and really challenging and this is why, I want to see how my skills can be applied to it.

• good all-round knowledge of interior design and architecture and the history of both (3/5)

• practical understanding of building and construction (2/5)

• understand the work of other TV/film departments, such as camera, lighting, sound, props, and to know how your set designs affect their work (2/5)

• good knowledge of computer budgeting software (1/5)

• possess a full clean driving licence (5/5)

• have excellent free-hand drawing, perspective and technical drawing skills (3/5)

• possess a good eye for decoration and detail (3/5)

• able to conceptualise ideas (3/5)

• able to think visually (4/5)

• methodical approach to work (3/5)

• strong leadership skills, to motivate and direct a team (4/5)

• able to see the broader picture and to co-ordinate effectively (4/5)

• show diplomacy and sensitivity when working with artists and crew (4/5)

• be willing to work long and irregular hours (5/5)

• understand the requirements of the relevant health and safety legislation and procedures, particularly relating to potentially hazardous working conditions or materials (2/5)

• be aware of and sensitive towards different working practices and cultures when working in other countries (4/5)

 

Art Director Assistant

Before you become an Art Director, you start with several entry-level jobs, such as the Art Director Assistant. I think, working as an assistant has many advantages, because you learn your profession from the ground up and you still have your boss, in case a production requires knowledge, what you are not able to provide on your own just yet. A job as an assistant gets you also in contact with various creative people, who might be future collaborative partner for you, as well.

• learn on the job (4/5)

• basic free-hand and technical drawing skills (4/5)

• basic computer skills (4/5)

• take direction and work as part of a team (4/5)

• good communication and people skills (4/5)

• show initiative and awareness (5/5)

• stress-resistant (5/5)

• have a strong visual sensibility (4/5)

• keen interest in design, architecture and film (4/5)

• full, clean driving licence (5/5)

 

Assistant Stage Manager (ASM)
The ASM or ASMs assist the SM and DSM during the entire time period of pre-production and during performances. They should have (it is very likely to be more than one) endless energy, enjoying people’s company and be reliable. They organize the actors, attend fittings and calls while they source/make props, service team and help with setting-ups. The Stage Management- Team will assist with auditions to make sure, that they run smoothly.

It is a time consuming entry-level job, which helps learning about the process backstage and to get in contact with different companies, actors, directors and designers. The job has multiple facets and different challenges are coming up each day. There is no Stage Management Team in german theatres and therefore, the Costume Design Assistant covers the work of the ASM and partly of the DSM, as well.    

• Passion for the job (5/5)

• Love of people (4/5)

• Caring (4/5)

• Patience and Tolerance (4/5)

• Understanding of people and their needs (5/5)

• Ability to work as part of the team (4/5)

• work on your own initiative (5/5)

• Ability to take criticism (4/5)

• punctual and professional (5/5)

• Flexible and will take initiative (4/5)

• good organizer (5/5)

• Neat and tidy worker (4/5)

• Clear thinker (4/5)

• Good note taker (3/5) (I am good at note taking, but my handwriting can be challenging to decipher sometimes.)

• Ability to take instruction (4/5)

• Understanding of all things technical (3/5)

• have boundless energy (4/5)

• be utterly reliable (5/5)

 

C

 

Chief LX

He/she ensures that the electrical equipment will be handled right by training and controlling the assistants. The Chief LX is responsible for the rigging, focussing and plotting in time. He/she is also in charge of the departments budget and has to source, hire everything what is needed for effects.

 

Company Stage Manager

In large Repertory and Commercial Theatres he/she is responsible for the running of a performance. In pre-production the Company Stage Manager employs production stuff and coordinates different departments. He/she documents the payment of the stuff and controls the sells at the box office via receipts.

 

Costume Designer

The Costume Designer works closely with the Director, Set & Lighting Designer. It is his/her responsibility to create a visual and stylistic design for the costume, so that they emphasize the characters and serve the intentions of the Director. To ensure that the Wardrobe Supervisor realizes the right design the Costume Designer brings fabric samples, drawings etc. Normally the Costume Designer is in charge of staying in budget with the expenses. He/she oversees the making and hiring of costumes and attends all fittings, technical-, and dress rehearsal and the first night.

 

Costume Design Assistant

Working as a Costume Design Assistant has the advantage, that you learn about the process backstage and the development of a design, while not the entire responsibility lays on your own shoulder. It is a good way to learn from an experienced designer and to get your foot in the door, through the connections you will make backstage. Nevertheless, it is a challenging job and you should bring all of those skills with you. For the opera Carmélites I worked as a Costume Design Assistant and even though it was tough, I am grateful for the experience and I really enjoyed facing challenges on a daily basis.

• be highly-organised and efficient (5/5)

• have a good memory (5/5)

• pay keen attention to detail (4/5)

• be familiar with costume budgets and estimate costs (4/5)

• good descriptive abilities (4/5)

• understand research processes and know how to source information (5/5)

• demonstrate leadership and managerial skills when overseeing Assistants and Dailies during crowd fittings (575)

• have good communication skills (5/5)

• stress- resistant (5/5)

• have a positive attitude (5/5)

• creative problem-solving skills (5/5)

• be flexible (4/5)

• have stamina (5/5)

• be experienced in the design process (4/5)

• know about fabric qualities, clothing cuts, fits and techniques (4/5)

• be familiar with period costumes (4/5)

• knowledge of both costume history and contemporary fashion (4/5)

• have good foundation skills in ironing, steaming, adapting garments, dyeing, hand and machine sewing, alterations, pattern cutting and drawing (5/5)

• know how to dress Actors in different types of clothes (4/5)

• gauge clothing sizes at a glance (4/5)

• put others at ease (when working closely with Actors to dress them) (5/5)

• know health and safety regulations (2/5)

• have good IT skills (Mac and PC) (4/5)

 

Crew

The Crew is normally employed on a show-by-show basis. They assist with get-ins, fit-ups, scene changes, flying, following spotting and get-outs. The Production Manager is responsible for the Crew.

 

Cutters/Tailors

They work to make the costumes in time and follow the design made by the Costume Designer. They might attend technical-, and dress rehearsal and first night to take notes of required alterations (if the Head of Costume is not already covering this).

 

D

 

Deputy Stage Manager (DSM)

The DSM prompts during the rehearsals and keeps track of the actor’s moves and cues the show for performances. The DSM can be resident or employed only for one play.

It is necessary that he/she works closely with the director, understand the concept of the play, design and actors. The DSM should be really patient, especially because the DSM makes the “prompt copy” or so-called “bible”. This is a complete record of the entire production and includes every move, pause, action each actor makes, the detailed technical cues and actors calls.

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Here are some of the DSM tasks explained:

 

Blocking: This is the record of performers entrances, exits, moves, gestures, pace and the use of props against the script;

Prompting: If an actor forgets his/her lines, the DSM will give a word or a line to help the actor, remember. Therefore, the DSM needs to speak clearly to guarantee a continuous flow throughout the performance.

Rehearsal Notes: The DSM will write a list about everything what was decided/ changed during a rehearsal and pass this list on to the different production departments. Normally, the Director checks this, before it is send out. The SM and the DSM should meet everyday to discuss priotities and problematic items.

Rehearsal Calls: The DSM posts a Call Sheet on a specific note board every day. These Calls are discussed with the Director.

Contact Sheet: This holds all the contact details of each company member. It inclused names, addresses and phone numbers.

Setting Plots: This regards all props, furniture and dressing on stage and the changes it undergoes during the play.

Running Plot: This Plot will be updated as soon as the Director decided to change something or an item was removed. It is also stated, when this will happen. The Plot includes probably the following cues: beginn, scene changes, handing props to performer, food preparation, live sound cues, cueing performers on stage, strike (remove item from set), set (bring item on stage) and reset (move item from one position to another on stage). The Stage Management Team is normally involved in those.

 

Director

This role varies depending on the kind of theatre the Director is working for.

In a subsidized theatre he/she will be chosen via application by the board of governors of the theatre. The Director will have specific intentions and a basic approach to art.

In a Repertory Theatre the General Manager and the Director will work very close together to estimate the costs for the production/staff/building.

For a Commercial Theatre the Director will deal with all aspects of a production. He/She will be called in by the Producing Management. Through development of ideas/visions and directing the performers, the Director need to ensure that the entire performance will be a cohesive whole.

The Director in Theatre has the luxury of being involved in nearly every decision and he/she enters many collaborations for a production. The Director is in charge of the creative process and the freedom of “translating” a script into a performance, entails a lot of responsibility. Personally, I always take responsibility for my action and I am not afraid, of taking a risk, if I think that it will enhance the project. The job of a director is multi-faceted and this makes it so appealing. To face and challenge different problems and people with each production, makes and keeps the job interesting over years.

• creativity (5/5)

• able to express yourself through talking and writing (4/5)

• persuasiveness and a willingness to take artistic risks (4/5)

• negotiation and interpersonal skills (4/5)

• self-motivation (5/5)

• inspire and motivate a team (4/5)

• management and leadership skills (3/5)

• meet deadlines (5/5)

• understanding of technical issues (1/5)

• understanding the process of a theatre, performance and acting (4/5)

• creative problem solving (5/5)

• develop innovative ideas and spark initial ideas (5/5)

• organisational and research skills (5/5)

• know health and safety regulations (2/5)

• dedication and enthusiasm (5/5)

 

Dressers (maintenance)

The Dressers are responsible for costume changes during the technical-, dress rehearsal and during the performance is running. They assist the performers and try to maintain the quality of the costumes throughout the run. In a very small company this might be covered by the Assistant Stage Managers, as well.    

This is an entry-level backstage job, which can help you getting a foot in the door. Through the work of a dresser, you can improve your knowledge regarding costume design, historical costumes and fabric behaviour. You get to know the costume department and the designer and to get an insight into the process, is always helpful.

• creativity and style (4/5)

• excellent attention to detail (3/5)

• the ability to follow instructions (4/5)

• good organisational skills (5/5)

• stress-resistant (5/5)

• calm, tactful and patient manner (4/5)

• practical skills in hand and machine sewing, pattern cutting and dressmaking (4/5)

 

F

Front of House/ Box Office Manager

He/she is responsible for the auditorium, restaurant and bar area and box office. He/she is in charge of training and managing bar/ restaurant/support staff and ushers. The Box Office Manager supervises the observation of health and safety regulations.

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H

 

Head Flyman

The Head Flyman maintains the fly floor, flying station and ensures a safe rigging, compiles flying plot and operates during a show.

 

L

Lighting Designer

He/she works closely with the Director, Set & Costume Designer. The Lighting Designer works out the entire lighting interpretation for the production while remaining in budget. It is his/her decision to make on the right lamps, effects and the required equipment. After the right positions for the lights are found, he/she needs to make a plan which shows this and will be used for the rigging. The Lighting Designer will at least oversee the plotting sessions, technical rehearsal and dress rehearsal.

 

M

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Master Carpenter

He/She is responsible for building the set in time. The Master Carpenter also trains and controls the work which was done by assistants and checks the health and safety regulations. The budget of the set lays also in his/her hands and the safe delivery of the set. Overall the Master Carpenter is responsible for ensuring the quality of the set.

 

P

 

Producer

The Producer works in the commercial sector of the theatre and he develops the idea of the production of a certain text with possible actors in a likely place. To make profit the chosen place will need to be large enough to actually do so. The producer will take this bundle (play/actors/place) to possible investors. These are often called “Angels”. As soon as the finances are guaranteed, the production can start. To ensure that the original idea behind the production will not be lost, the producer will find a director and designers who understand the core. If the liaison of this collaboration is successful and the producer is satisfied, it is more than likely that he/she will work with the same team of director and designers again. It is also the Producer’s job to clarify that the text is not protected by copyright, that the performers/staff/venue is booked and the publicity is commissioned.

The producer is the head of a production and has complete freedom in finding collaboration partners and he/she has the last word on each decision. The producer can implement his/her ideas in each faculty. Many directors start producing, as well. As a producer, you will not need to constantly justify your decision and I think this is a really liberating feeling.

• experience of working in the industry (2/5)

• good business sense (3/5)

• good understanding of finance (2/5)

• good creative vision (4/5)

• self-motivated (5/5)

• good at negotiating (3/5)

• good at motivating people (4/5)

• good at problem-solving (5/5)

• Understand the creative processes (4/5)

• able to secure finance for the production (1/5)

• prepare and control the production budget (2/5)

• excellent communication skills (4/5)

• stress-resistant (5/5)

• motivate the production team (4/5)

• compliance with regulations and codes of practice (1/5)

• knows health and safety regulations (2/5)

 

Production Designer

This profession combines the roles of a Set and Costume Designer.

The Production Designer in Film and TV works closely with the Director and is responsible for creating the look and the right atmosphere. This jobs combines many tasks, which I absolutely love doing. First, it is about reading the script and interpreting the characters. Second, you enter a collaboration with, mostly the Director, but also with a lot of other very creative and inspiring people. Third, your design will be realized and to see your ideas coming to live, is just magical. In general, I enjoy creating things, because you have something completely different or nothing and then you end up with your vision being build. The Production Designer is normally free-lanced and therefore works at many different locations. To organize one’s own transport and timetable, is challenging and requires a huge amount of independence. Through my various journeys, I have gained this skill and I never step away from a fascinating challenge. Each production also requires a different background knowledge and because I love research, I enjoy broaden my horizon about various, relevant topics.  

• visual awareness and design skills (3/5)

• knowledgeable regarding art and design-related subjects (3/5)

• inspire and motivate a team (4/5)

• able to use CADS (1/5)

• management and leadership skills (3/5)

• prioritize (4/5)

• meet deadlines (5/5)

• diplomatic (4/5)

• self-motivation (5/5)

• creative problem solving (5/5)

• develop innovative ideas and spark initial ideas (5/5)

• know health and safety regulations (2/5)

 

Production Manager

In commercial and subsidized theatres the Production Manager plans the technical side of a production and checks the overall cost effectiveness. He/ She should have a good knowledge about scenery construction, costumes, lighting, sound and stage management. The Production Manager advises and has an eye on the technical work of others, while be aware of the costs and schedule.

 

Prop Maker

When I helped a final year Film and Animation Student building the props for her film, I realized how much I love prop making. I gained some experience in model making before, but working accordingly to a drawing, is something completely different. It was great to have the freedom to choose from a wide range of materials and colours to create an objects, which matches the design. To be able to create the required look, I do like to research. My research enables me to evaluate the different possibilities and to arrive at a decision, which will work best for this certain build.

• wide knowledge of the basics of prop making (3/5)

• knowledge of computer design packages (2/5)

• work safely with materials like fibreglass, latex, foam and polystyrene (3/5)

• work with a variety of different machinery and tools (4/5)

• specialist skills such as sign writing, upholstery, sculpture, casting, furniture making (2/5)

• flexible and versatile (4/5)

• imagination and ingenuity (5/5)

• creative problem solving skills (5/5)

• open to new ideas (4/5)

• open to learn new skills and techniques (5/5)

• deadlines (5/5)

• work on your own initiative (5/5)

• good eye for detail and accuracy (3/5)

• good communication skills (4/5)

• working in a team (4/5)

• know health and safety regulations (2/5)

 

Props Master

The Props Master is responsible for the props budget and has to deliver the needed props in time. To ensure this, he/she checks that the props shop is running smoothly. The prop makers might handle dangerous substances and equipment, that is why the Props Master need to know the health and safety regulations very well, to ensure that no one will be harmed.

 

Publicity Manager

He/she is in charge of selling the show and raising the public’s awareness. The Publicity Manager works closely with General Manager and Artistic Director. To raise funds he/she seeks and wins sponsors. The Publicity Manager produces posters, leaflets and any kind of advertisement. He/she arranges press and photo calls with performers.   

 

R

 

Resident Stage Manager

This profession can be found for venues, where touring companies stop and perform. The Resident Stage Manager’s know how includes technical aspects and show staffing. The position is normally hold by someone who worked for the theatre for a long time and therefore knows everyone and everything. It is advised to ensure a solid working relationship with the Resident Stage Manager, while he/she can make your life easier or harder.

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Runner

It is an entry-level job, which helps you understand the process of a production. Throughout the job you get in contact with various people and you can experience and see, if the buzzing film and TV world, is something you want to be part of.

• flexible and well organised (4/5)

• able to think on your feet (4/5)

• good communication skills (4/5)

• able to take orders(4/5)

• tactful and diplomatic (4/5)

• punctual (5/5)

• enthusiastic (4/5)

• stress-resistant (5/5)

• good IT skills -  Word and Excel (4/5)

• organisational and administrative skills (3/5)

• work self-sufficient (5/5)

• willing to learn (4/5)

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S

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Scenic Artist

I really enjoy using my creativity to create a painting or drawing. The job is also fascinating, because you learn to work with different materials and to apply various techniques. As a scenic artist, you can build up your portfolio with different skills and start proving your use- and resourcefulness to a company. It also combines theoretical knowledge with a practical performance and this makes this job very appealing.

• excellent, comprehensive artistic and scenic skills (3/5)

• know about basic scenic painting techniques, layout and paint application skills, and colour mixing (4/5)

• talented in the fine art skills of sketching, rendering, and painting (3/5)

• skilled in techniques such as marbling, ragging, wood graining and texturing (2/5)

• good understanding of art history, period styles, motifs and architecture (3/5)

• interpret Designers' small-scale ideas and develop them into full-scale reproductions (4/5)

• handle scenic painting materials safely (4/5)

• work independently but also as part of a team (4/5)

• work to deadline (5/5)

 

Scenic Painter

A Scenic Painter is responsible for the painting off all element of the set in the allocated time frame and oversees that the paint shop is running smoothly. The budget for the painting lies in his/her hands. And while observing health and safety regulations all the time, the Scenic Painter also ensures that the assistants get trained.

 

Set Designer

To conceive the visual, stylistic elements of the set, props and furniture the Set Designer has to work closely with the Director to create a suitable design for the vision of the Director. He/she will build a set model in the scale 1:25, produces ground plan and creates drawing to visualize his/her ideas. Aside the liaison with the Director, the Set Designer works closely with the Costume Designer and Lighting department. To make sure that the design stays within the budget a teaming with the Production Manager is inevitable. The Set Designer will supervise the building, painting, fit-ups, technical and dress rehearsal.

 

Sound Designer

He/she needs to work closely with the Director and Musical Designer to design the sound for a production. In collaboration with the Production Manager will the Sound Designer decide on the types and positions of speakers, monitors and mixers. The Sound Designer needs to guarantee the quality of sound and that it is balanced. He/she attends technical- , and dress rehearsal and first night to check that the design equals the original intentions.

 

Sound Technician

The Technician checks that the in-house equipment has a high standard and needs to order and hire if something is missing for a production. If required, the Sound Technician will record sound effects and he/she operates the sound during the entire run of a production.

 

Stage Manager (SM)

The SM works to the Production Manager. He/she is responsible for the running of rehearsals, overviewing the finding of props and later services the show during performances.

 

T

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Technical Stage Manager

The Technical Stage Manager is in charge for all moving elements on the set and works closely with Production Manager, Lighting Designer and Flyman. He/she manages crew, plans scene changes, trains and equips staff and applies health and safety regulations. During the production week and the run, he/she monitors all technical on-stage work.

 

V

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Visual Merchandiser

Visual Merchandising is kind of similar to production design. It is key to create a matching atmosphere and/or a complete new world in which the customer can completely indulge in.

• talent for design, colour and style (4/5)

• creative flair and imagination (4/5)

• strong interest in current and future design trends (4/5)

• visual/spatial awareness (4/5)

• effective communication and negotiation skills (4/5)

• engaging and working well with a range of teams (4/5)

• able to work with constructive criticism (4/5)

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W

 

Wardrobe Supervisor/ Head of Costume

He/she is in charge of ensuring that everything in this department runs smoothly and needs to deliver all costumes in time and controls budget. The Head of Costume supervises the making and hiring of costumes and orders the needed materials. The Wardrobe Supervisor runs fitting and costume call and checks back with the performers to see that they are comfortable. He/she attends technical-, and dress rehearsal and first night.