Livias work

Directors Responsibilities

Directors may write the film's script or commission it to be written; or they may be hired after an early draft of the script is complete.  Directors must then develop a vision for the finished film, and define a practical route for achieving it.  During pre-production, Directors make crucial decisions, such as selecting the right cast, crew and locations for the film.  They then direct rehearsals, and the performances of the actors once the film is in production.  Directors also manage the technical aspects of filming, including the camera, sound, lighting, design and special effects departments. 


Producer Responsibilities


Producers have overall control on every aspect of a film's production, bringing together and approving the selection of the whole production team. Their primary responsibility is to foster an environment in which the creative talents of the cast and crew can flourish - Producers are therefore ultimately accountable for the success of the finished film. The many responsibilities of the Producer span all four phases of production:

Development - Producers are often responsible for coming up with the underlying premise of a production, or for selecting the screenplay. Producers secure the necessary rights, select the screenwriter and story editing team, raise the development financing and supervise the development process.

Pre-production - Producers typically select and bring together the key members of the creative team, including the Director, Cinematographer & Production Designer and potential key cast members. They assist the Executive Producers to raise finance for the production and, once the initial finance is in place, they select other key production office personnel as well as the essential Heads of Departments. Producers also approve locations, studio hire, the final shooting script, production schedule and budget. More time and money spent in pre-production can reduce time and money wasting in production.

Production - Producers are responsible for the day-to-day smooth operation of the production team. Producers are also in constant communication and consultation with the Director and other key creative personnel, on and off set. Producers approve all script changes and cost reports, continuing to serve as the primary point of contact for all production partners, investors and distributors.

Post-production and marketing - Producers are expected to liaise with the Director and post-production departments, including editing - both picture and sound, music and visual effects. The Producer will deal with the finance and distribution companies in planning the marketing and distribution of the finished film.

It is rare to find one Producer who has the expertise and vision to exercise personal decision-making authority across all four phases of production, but they are usually supported by a hand-picked production office team whose key people will have worked alongside the Producer on several film projects.


Editing Responsibilities


Editors are one of the key Heads of Department on feature films, responsible for First Assistant Editors, and on bigger productions, Second Assistants and Trainees. The way a story unfolds and grabs the attention of the audience is one of the most important elements in filmmaking. To ensure that the story flows effortlessly from beginning to end, each shot is carefully chosen and edited into a series of scenes, which are in turn assembled to create the finished film.

This highly creative, challenging and rewarding job is the work of the Editor, who works closely with the Director, crafting the daily rushes into a coherent whole. Editors work long, unsociable hours, often under pressure, in an edit suite or cutting room. They are employed on a freelance basis by the Producer (sometimes with the approval of the film's financiers), based on their reputation and experience. Editors often work on television drama, as well as on feature films. 


Camera D.o.P Responsibilities


Camera Operators perform a vital role within the camera department on feature films. They support the Director of Photography (DoP or DP), and the Director, by accurately carrying out their instructions regarding shot composition and development. The seamless ease with which the camera moves is key to the narrative flow of feature films, and is the Camera Operators' responsibility. They are usually the first people to use the camera's eye piece to assess how all the elements of performance, art direction, lighting, composition and camera movement come together to create the cinematic experience.

Andys work

Location Manager

It is important for location managers to work closely with the director so that they are able to fully understand the vision for the film. This helps a lot and make a big difference for the location manager to make decisions and chose locations. The Location manager would take pictures of the location they have chosen and then compile them into a storyboard. When the ideal location has been agreed on, Location managers then start negotiations over contracts and fees for the location and make all the necessary arrangements for filming to take place. Some of the tasks involve co-ordinating parking facilities, finding power sources, catering requirements and permission from the authorities to record in that location.  

To be a Location manager you have to have strong creative and imaginative skills to visualise all the possible uses for the location they find. Also the location they chose has to match the directors requirements. The Location manager also has to have good organisational skills and the ability to negotiate are essential in order to gain permissions to film in the ideal locations as well as to remember and keep fees on budget. Administrational skills are very useful to have as well as location managers would have to draw up contracts and negotiating permissions with the local authorities. Communication skills are also required as well.

Stunt performer

A stunt performer is the person who preforms supervised stunts while usually being  monitored by a stunt action co-ordinator on set who are responsible for stunts across all the filming units involved.  Stunt performers sometimes carry out individual stunt sequences with out the director personal supervision of a stunt co-ordinator, provided that he or she is the only performer and that they have carried out all the necessary planning and prepared all risk assessments and other health and safety documentation.

Although their work on set or on location may last a short time compared to other workers, stunt performers must carry out a lot of precise and reliable research in order to perform stunts safely while duplicating as closely as possible the actors appearance and body language while in character. 

To work as a stunt performer they must be 18 years old or over. Once they are accepted onto their JISC register they must work for at least 3 years as probationary members  of the register and then an extra 2 years as an intermediate member before they can progress to full membership in which they are given the title of Stunt Action Co-ordinator. 

Stunt performers must be able to communicate effectively in order to explain their actions and any possible repercussions to other members of the production team. They have to be adaptable, fast reacting to certain situations, take orders, and they also have to have really good research skills and have a general knowledge and understanding of the production process. A stunt performer also need strength and stamina as well as specific physical skills.

Camera operator

Camera operators usually start working at the end of pre-production. They work closely with the director of patography and are responsible for the 1st Assistant Camera, 2nd Assistant Camera and the Camera Trainee. After the Director and DoP have rehearsed and blocked the shots, the Camera Operator and DoP decide where to position the camera, and what lenses and supporting equipment to use.

Shooting scenario script

Script	Visuals
Ill have text saying "have you ever experienced a day as bad as this"	Ill start of with a long shot of the college over looking the motor way Ill then have a shot of me coming out of the train station. Ill then have a long sot of me crossing a road followed by a shot of me running towards the camera. Ill then have a medium side shot of me taking my phone out of my coat.