ACTOR
Job Description
An actor needs to be able to convey a particular character well to an audience using speech, body language and movement. Becoming immersed in the role of a character usually involves the interpretation of the work of an author or scriptwriter, with the additional support and guidance of a director. However some work may involve improvisation.
Work could include acting in live stage performances, soap operas, radio work and film parts, although an acting career is likely to result in periods of unemployment and alternative employment. It is a fact that, on average, most actors spend 80% of their working life unemployed, and that’s why it is crucial to have other ways of generating an income during these periods.
Some typical work activities for an actor include attending meetings with agents, preparing for/attending auditions, learning/ rehearsing lines, and performing in front of a live audience or in front of a video camera. Other activities may include doing voiceovers for talking books or adverts, or having a small role in a film/ TV production such as a walk on or extra.
Salary
If you are a member of Equity (Actor’s Union), the minimum rate for theatre performers is £350 per week, with the exception of performers in London’s West End who earn a minimum of £450 per week. Non Equity Members are also expected to work for less pay than members. However, minimum rates for film, television and radio work can vary.
Most actors sign up with the help of an agent, whose charge is 10-25% of earnings, depending on the type of work (eg theatre or television). Not many people become wealthy in the acting profession, and there is little relation between how hard you work and the amount of pay you receive.
Conditions
Actor’s working hours tend to start very early in the morning and finish quite late at night, with mostly indoor work in theatres or television studios. However, some actors may be required to film outdoors for example on location. Auditions are usually made available to actors at very short notice. Actors are usually self-employed, and many employ accountants to take care of their financial affairs. Actors may also find themselves touring either in the UK or abroad, which means that actors must be prepared to forsake their social and family lives for some time and work away from home.
Requirements
You may benefit from doing work experience at places such as theatres or at the BBC. Quite a few actors have also entered the industry by working as holiday camp entertainers, with others joining local theatre groups at a young age or gaining small roles in television adverts.
A degree in drama or HND (Higher National Diploma) would certainly help improve your chances of becoming an actor, but it is not absolutely essential. Courses at specialist performing arts schools will also prove beneficial, and are more vocational and practical than university courses. A Postgraduate Study in a certain area of performing arts is not essential, but would prove to be useful in helping you attain more skills, experience and contacts.
Drama involvement through school, university, youth theatre or amateur dramatics is a must, while previous experience as an extra could also gain contacts and work in that area.
Actors must have good communication and listening skills, the ability to interpret/ analyse roles, be able to work well as part of a team and take criticism. Punctuality and reliability are also important attributes, as well as determination to get into the acting industry and stamina to cope with long working hours and learning lines. Another important quality to possess is confidence in both acting work and following up contacts.
Additional Information
· Skills are developed as you progress and this is made evident on your CV.
· Other talents such as singing, dancing and the ability to play a musical instrument are bonus additions which may make you stand out among other actors.
· Acting is excluded from the sex discrimination laws.
· Acting is a highly competitive career.
· Talent, determination, hard work and good luck are of extreme importance in an acting career.
FILM/TV EDITOR
Job Description:
A film or video editor is responsible for the creation of a finished product which is suitable for broadcasting, using raw camera footage, dialogue, sound and special effects and other graphics. How skilled an editor is at doing his/ her job plays a very important part in the finished product, and this is why the editor may work as part of a team and will work with the director of the product.
Most film/ video editors are employed on a freelance basis, with work on short-term contracts for employers such as post-production studios and television companies. Work may include a wide variety of productions including feature films, television programmes, advertisements or music videos etc.
While in some cases, an editor may be given creative freedom when performing a task, at other times they may not and are needed primarily to operate the machine. Before they begin, editors will be given a brief, and perhaps an outline of footage, script, or shot list. They will then have to assemble all raw camera footage in order to transfer this to an editing programme on a computer, and determine what footage is usable. After this, an editor will need to adjust and edit the footage in chronological order and create a ‘rough cut’ of the product, and plan the exact changes which need to be made in order to make it the finished product. Once they have made these changes, and checked them over with the director, the product will be sent off to an online editor, who will check the quality of grading/ colouring and special effects as well as faulty footage before it can be shown on television.
Sometimes, additional work such as suggesting or selecting music, writing voiceovers or commentary’s, and experimentation with the styles and techniques involving the graphics of different shots may also be required.
Salary/ Conditions
Typical starting salaries for a film editor range from £18,000- 25,000 for those employed by television or a post production studio, with more experienced editors earning between £20- £35,000 per year, and the most senior editors earning between £37- £70,000 a year.
Although there is a strong possibility that working hours will be the same as office hours, this depends on the production and overtime may be required if under pressure to meet deadlines. Work may also be a joint effort with other editors, and may include an effects editor, music editor and director. Editors spend most of their working time in an editing suite, however freelance editors may choose to work from home if they have the necessary equipment.
Requirements/ Training
You can become an editor without possessing a degree or HND, but those who don’t must show determination and lots of commitment to enter the industry. Evidence of previous film editing experience is also very important. However, film/ TV editing is quite high up in the industry, and many people start in lower jobs such as being a runner, and work their way up to being an editor themselves.
It helps if you know how to use a variety of editing software programmes, and have experience of the latest technology. The ability to work well as part of a team, communication, organisation, commitment and dedication, as well as a keen eye for detail and creativity are all essential while working as an editor.
As competition for this sort of job is fierce and rarely advertised, the use of job seeking methods such as sending your CV to every production company and post production house possible is well advised. Entering competitions with a home made film or maintaining good relationships with people in the industry are other ways of making you favoured/ noticed.
Training courses in graphic design, special effects and screen writing may also prove beneficial, and an extension of talents into areas such as camera and sound work will provide you with a wider base of skills to help keep you employed and gain contacts.
FILM DIRECTOR
A film director is responsible for the overall look, sound and style of a film, plus overall guidance of the film crew as they search for the best locations, cast, sets and lighting etc.
Directors usually begin work once they receive the script from the scriptwriter. They will then set about interpreting the script, liasing with other staff, directing staff, developing storyboards etc.
Directors will have substantial experience in the film industry and may come from a range of different backgrounds for example production, camera crew or editing. Most directors are based in London or in another large city in the UK.
They must possess creative talent, leadership, communication skills and a massive sense of commitment to the film industry in order to succeed.
FILM/ TV/ THEATRE PRODUCTION DESIGNER
Job Description
Production managers create the overall design style in areas such as the sets, locations, graphics, props, costumes etc, and are responsible for the visual concept of a film. They are also known as stage or set designers in theatre.
Production designers tend to work closely with a director, and an appointed art department consisting largely of a design and construction team. Most production designers tend to specialise in either television, film or theatre, and form a strong partnership with a director in the making of a production.
Typical jobs and work activities for a production designer include producing design ideas for various aspects of the production including costumes and special effects, attending progress meetings and discussing ideas with actors/ director, and providing scale drawings or models for set designs.
Salary/ Conditions
The recommended minimum salary for an art designer (the step below a production designer) is £638 per 40 hour week. The salaries for actual production designers vary, and, as the job is not an entry level position, many people start as art department runners, or design assistants, with minimum wages of £282 for a 40 hour week. However, these figures are based on film/ TV, and theatre stage/ set designers may be paid less. Production designers who work on West End Productions may furthermore receive a percentage of profits or royalties.
The working environment for a production designer varies, and is usually in cities where studios and theatres are located, or could be at home or at a design office. Production designers must be prepared to travel within a working day, and even leave home for long periods of time at short notice if called away to work on location. Stress may also be a problem due to time/ budget constraints and working with demanding people, however the work can prove to be both stimulating and very exciting.
Requirements
A relevant degree or HND related to graphic design, and subjects such as creative art, theatre studies and performance design are likely to provide a decent amount of relevant skills and knowledge in that area. Without a HND, and with an exceptional design portfolio, you may be able to work your way up from a design job in the industry.
The ability to work independently and as the leader of a design team are crucial attributes, along with original creative ideas, a good knowledge of visual arts and production processes, plus the ability to meet tight deadlines.
Involvement in student theatre/ film/ music societies will help you to gain contacts, build up your portfolio and help you gain experience in the industry. Entering competitions will also prove to be helpful. It is also acceptable to work your way up in the film industry and start as a runner, before hopefully progressing to higher jobs such as design assistant and art director, as competition in this area is fierce.
COMPOSING MUSIC FOR MEDIA
I have chosen to write about this job description, as it covers all four topics I have picked out in the lesson to be my favourites. It fits in well as music, film (soundtrack), creative writing (lyrics for songs), and drama/ theatre, which are connected to film.
The Requirements
High level of proficiency in at least one instrument, preferably piano or keyboard.
· Ability to read and write music, or convey musical ideas using conventional notation, time signatures etc.
· Good level of knowledge around music technology, computers and recording techniques.
· Self-promotion (website etc.), networking.
· Practical experience writing for various instruments and working with musicians. Conducting skills.
· Good knowledge of music as used in film, TV and other productions.
· Sound knowledge of copyright and licensing laws and practices.
· Outgoing, confident personality. Excellent communication skills.
· Creative ability to come up with appropriate musical ideas quickly and work under extreme pressure.
· Flexibility in musical styles.
· Excellent time management skills.
Typical activities of the Media, Film or TV composer
· Liaison with directors, producers, studio personnel, musicians, clients, accountants, film and sound editors.
· Following up leads, drafting contract proposals and licensing deals.
· Arranging and orchestration work. Music copying, score and part creation for sessions.
· Composing, performing and recording using samples and sequencer software, film, commercials, documentary.
· Studio technical work, cabling, computer fixing.
· Calls, meetings, lunches, networking.
· Planning and implementing future potential work generating activities.
The Positive/Negative Aspects of being a Media, Film or TV composer.
Negative
· Lack of apprenticeship opportunities.
· High reliance on contacts.
· High reliance on good fortune and luck.
· Sheer number of people aspiring to do this work.
· Exploitation by commissioners of music services, limited budget assigned to music.
· Poor production and script quality of large amounts of TV, film.
· Low pay
Positive
· Creative collaboration particularly with those more skilled in visual, dramatic areas.
· Challenge and intellectual stimulation from working under time constraints and the struggle to get the right music.
· Recording and conducting live sessions with orchestra.
· Involvement in the glamourous world of mass entertainment.
· Potential for high status, financial and social success.
Some threats/opportunities/challenges to working in the field.
Threats
· Massive volume of cheap library music
· Devaluation of music, cheap, disposable
· Lack of adequate musical education.
Opportunities
· Vast increase in Games requiring film-like music scores.
· Web becoming greater commercial environment as well as popular choice for accessing content like film, music, TV.
· Increase in online worldwide community leading to opportunities to deliver to wider audience.
· Greater possibilities for TV and film to be made on lower budgets, even by non-pro individuals.
Challenges
· Staying mentally positive over several years of low income and lack of opportunities.
Recent technical innovations that may impact positively or negatively on the profession.
· Virtual instruments and samples have greatly increased the quality of what can be achieved with a computer and soundcard.
· However the ease by which music can be now created, almost without any music theory knowledge or skill in orchestration, means that almost anyone can do it. Long gone are the days when you had to be able to write out music notes on score paper and imagine the sound of the orchestra in your head.
Patrick Johnson 11S1
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