Monday, February 27, 2012
Career Profile - Sound Recordist
Sound Recordist - TV
As original sound is vital to the creative media industries, Sound Recordists (also called Production Mixers) play an important role within the production process by ensuring that high quality sound is captured at all times.
Jobs in sound generally fall into two areas: production sound and post-production sound. Sound Recordists/Production Mixers work in production sound. Most Sound Recordists/Production Mixers are freelance, and although some may register with agents and diary services, most work is gained on the basis of their reputation. They are often expected to work long and irregular hours, sometimes on location, which may involve extended periods away from home.
What is the job?
Sound Recordists/Production Mixers record sound on location or in a studio, usually in synchronisation with the camera, to enable the highest quality 'real' sound to be recorded at the time of filming/recording. They monitor the quality of the sound recording through headphones, and work closely with the Director, Boom Operator and sometimes the Sound Editor, often using multiple microphones.
They are also responsible for setting up talkback communication between production staff, presenters and artistes and other communication systems such as 'live' links by land line, microwave link or satellite. They also record sound effects and atmosphere tracks.
Recordists/Production Mixers may work on a wide range of single or multi-camera shoots, and their duties can vary considerably. Depending on the scale of the production they may work closely with the Director and Producer at the planning stage to identify their creative role, and to clarify technical requirements and budgets.
As Sound Recordists are responsible for producing the final sound mix, they directly supervise the Sound Assistants and Boom Operators, and may also manage the rest of the sound crew. They may also occasionally operate the Boom themselves. They are often required to supervise frontline maintenance in order to keep the production on track.
Typical career routes
The most important starting point for a career in Sound is to develop and demonstrate an interest in sound by exploring, experimenting and learning about audio technology and its capabilities, perhaps using the increasingly sophisticated equipment which is available at accessible prices on the high street.
Sound personnel usually start in a trainee role and work their way upwards. On-the-job training or shadowing of more experienced personnel is the best way to learn. Experience of working in theatre or the music industry, hospital or community radio provides a useful background for this role. Working with equipment manufacturers or hire companies can also provide valuable experience and training, and is a good way of learning about sound equipment, making industry contacts, and getting a foot in the door.
Essential knowledge and skills
A major part of the job of a Sound Recordist/Production Mixer is the ability to work as part of a team. Many of the skills needed for this role involve enabling the team to work as efficiently and effectively as possible, and must include the willingness and ability to compromise. Despite the need to record high quality sound in often difficult circumstances, the Sound Recordist/Production Mixer must understand that perfection is not always possible, and that the needs of the team come first.
As much of the job involves solving problems created by particular locations or situations, the ability to think creatively is vital. As microphones pick up every sound, the ability to concentrate and pay close attention to detail is crucial.
Key skills include:
•good knowledge of audio equipment and sound technology;
•knowledge of the television production process, including camera and lighting techniques;
•knowledge of management and licensing of radio transmission systems;
•excellent hearing, concentration and attention to detail;
•excellent balance, agility and good sense of timing;
•good communication, interpersonal and team skills;
•patience, self-discipline and reliability;
•diplomacy and sensitivity when working with artistes and crew members;
•knowledge of the requirements of the relevant Health & Safety legislation and procedures.
Training and qualifications
Although there are no formal entry requirements for TV Boom Operators, a demonstrable interest in sound and an understanding of its physical properties is essential. Courses are available throughout the UK, from HND to degree level in Sound Technology, Audio Engineering, Acoustics and Music Recording.
Short courses at various training providers are also available, including those run by the National Film & Television School (NFTS), National Short Course Training Programme.
Industry led new entrant training schemes, such as those run by Cyfle(Wales) and Scottish Screen provide a mixture of attachments and formal training, but competition for places is fierce. Broadcasters also run occasional trainee schemes, and Skillset's regional training partners offer a range of new entrant, freelance and attachment training programmes.
Continual professional development is important for anyone working in TV Sound, in order to keep their skills up-to-date in an industry where technology is continually changing.
Where to go for more information
Skillset is the Sector Skills Council for the creative media industries. The first sources of information for all jobs in the industry are the National Occupational Standards. Browse Skillset's website for links to our network of training partners, information about training and access to the comprehensive Skillset/BFI course database. Finally, Skillset Careers is the UK's only specialist media careers advice service; for detailed media careers information and advice, visit www.skillset.org/careers.
– The Broadcasting and Entertainment Trade Union BECTU, offers advice about employment terms and rights and useful information on health and safety.
– The Institute of Broadcast Sound - A forum for broadcast audio professionals and an invaluable resource for interchange of ideas.
– The Association of Motion Picture Sound (AMPS) - a membership organisation for UK sound personnel.
– The Association of Professional Recording Services (APRS) (APRS) is the trade association for all aspects of the sound industry; including events, training, health and safety advice, and a helpline.
– BKSTS: The Moving Image Society - a membership organisation which runs events and training courses, and publishes Image Technology.
– The Audio Engineering Society - an US-based professional society devoted to audio technology which has a thriving UK section.
Source: http://www.skillset.org/tv/jobs/sound/article_2794_1.asp
Careers Profile - Television/Film Camera Operator
The Work
As a camera operator, it would be your job to record moving images for film, television, commercials, music videos or corporate productions. You would operate film, videotape or digital video cameras, usually under instructions from the Director or Director of Photography.
Your work could involve:
setting up and positioning camera equipment
planning and rehearsing shots
following a camera script and taking cues from the director or floor manager (in TV studio recording)
choosing the most suitable lenses and camera angles
solving practical or technical problems such as lighting
working closely with other technical departments such as lighting and sound.
You may be the only camera operator and use a portable single camera, or you could be part of a TV studio camera team. On feature films and TV drama productions you may be part of a large crew with a specific role, such as:
second assistant camera (clapper loader) – loading and unloading film, counting the takes and helping the camera crew
first assistant camera (focus puller) – judging and adjusting the focus on each shot
grip – building and operating any cranes and pulleys needed to move a camera during shooting.
You would usually specialise in either film or television work, as the equipment and techniques can differ, however with the advent of digital cameras and HD technology, camera professionals are finding it easier to work across all sectors ensuring more stable employment.
Hours
Your hours could often be long and irregular, and may include shift work and nights depending on the production. You may also need to be flexible and work at short notice, particularly for news programmes.
You could work anywhere from studios to outside locations in all weather conditions. You may have to work at heights on cranes or scaffolding.
Location work could be anywhere in the UK or overseas. News camera jobs may involve working under difficult or dangerous conditions such as riots or war zones.
Income
Freelance camera operators are usually paid a fee for each contract.
Rates can vary widely. You could negotiate fees based on the type of production and your own track record. Contact BECTU for current pay guidelines.
Entry Requirements
Employers will be more interested in your technical skills and practical experience than your formal qualifications. In practice, many camera operators take a college or university course to develop the necessary skills before looking for work. Relevant courses include:
City & Guilds Diploma (7501) in Media Techniques (Level 1, 2 and 3 Award, Certificate and Diploma in Media Techniques (7601) from September 2010)
BTEC National Certificate or Diploma in Media Production
BTEC HNC/HND in Media (Moving Image)
degrees in media production, media technology or photography
trainee courses run by the GBCT (camera guild).
The most useful courses offer practical experience and may include work placements. Please check with colleges or universities for exact entry requirements.
As well as gaining technical skills, you should also build practical experience and make contacts in the industry. Courses can help you with this, but you can also get useful experience from:
getting involved in community film projects
working for a camera equipment hire company
finding work experience as a runner or camera assistant with a production company.
You may also find it useful to have skills in stills photography and basic electronics.
You should also make a 'showreel' DVD of productions that you have worked on, to demonstrate your skills to employers when you are looking for work.
Training and Development
You will usually start as a camera trainee or assistant and learn on the job from experienced camera operators.
At the start of your career you may be able to get some training as part of an apprenticeship-style new entrant scheme, such as programmes occasionally run by broadcasters, regional screen agencies and media training organisations. Contact the Skillset Craft and Technical Skills Academy for information on publicly funded schemes.
As a grip or crane technician, you could take one of the following work-based qualifications:
NVQ Level 2 Crane Technician for Film and Television
NVQ levels 2 and 3 Grip for the Audiovisual Industries.
See Skillset’s website for details.
You should keep up to date with new equipment and technology throughout your career. Employers may organise some training, but as a freelance worker you are usually responsible for your own development. Visit Skillset's website to search for relevant industry approved courses, and for advice about how to fund your training as a freelance.
The Guild of British Camera Technicians and BKSTS – The Moving Image Society both offer a range of short courses and seminars to their members. See websites for details.
Skills and Knowledge
good practical skills and knowledge of camera equipment
an interest in photography, film and video
good communication and 'people skills'
the ability to carry out instructions accurately and with attention to detail
good colour vision
calmness under pressure
the ability to work as part of a team
patience and concentration
good levels of stamina, for holding and moving camera equipment and working long hours.
Opportunities
You would usually work on freelance contracts, although larger TV broadcasters employ some permanent staff.
About two thirds of UK film and TV production is based in London and the south of England. You will increase your chances of a successful career if you are prepared to go anywhere in the UK or overseas to work.
Some jobs are advertised in the national press, trade press and industry websites. However, it is more common to get work by networking, contacting companies yourself, and using a crew directory or diary service to market yourself. Competition for work is strong.
You may find the following useful for job vacancies and contacts (links open in new window):
Mandy.com
Broadcast Freelancer
BBC Recruitment
ITV Jobs
Grapevine Jobs
Production and Casting Report
The Knowledge (contacts directory)
Kays Production Guide (contacts directory)
In film, you could progress from camera assistant to clapper loader, then focus puller and camera operator (and eventually director of photography, with extensive experience). In TV, you could progress from camera assistant to camera operator and camera supervisor.
We do not accept responsibility for the content of external sites.
More Information
Skillset
Focus Point
21 Caledonian Road
London
N1 9GB
www.skillset.org
Skillset Careers
Tel: 08080 300 900 (England and Northern Ireland)
Tel: 0845 850 2502(Scotland)
Tel: 08000 121 815 (Wales)
www.skillset.org/careers
Skillset Craft and Technical Skills Academy
Easling, Hammersmith and West London College
The Green
Ealing
London
W5 5EW
info@craftandtech.org
http://www.craftandtech.org/
Guild of Television Cameramen
www.gtc.org.uk
Guild of British Camera Technicians
c/o Panavision UK
Metropolitan Centre
Bristol Road
Greenford
Middlesex
UB6 8GD
Tel: 020 8813 1999
www.gbct.org
BKSTS - The Moving Image Society
http://www.imagetechnology.info
www.bksts.com
Broadcasting Entertainment Cinematograph and Theatre Union (BECTU)
373-377 Clapham Road
London
SW9 9BT
Tel: 0845 850 2502
www.bectu.org.uk
(Source: https://nextstep.direct.gov.uk/PlanningYourCareer/JobProfiles/JobProfile0519/Pages/default.aspx)
Career Profile - Web Entrepeneur
James Proud – Teenpreneur
Founder James started programming in HTML when he was 9 years old – by age 12 he was working commercially with C++. After finishing his A levels (one in Computer Science) he has set up his own website company, which is gaining huge commercial interest and growing traffic figures by the week.
Giglocator
James explains, “Giglocator enables like-minded lovers of live music to find and keep up-to-date with the gigs they want to hear about. Our intelligent system is able to match you to the gigs that'll interest you. The more gigs you attend, the better the results GigLocator is able to offer to you. You can also find people who live near you who also like the same music as you, so you'll never go to a gig alone again. Your friends can track what each of you is planning to attend, view photos, videos of events and even more. Without quality gigs it'd be nothing, right? Our system crawls all over the web looking for the latest gigs for our members and our members can submit straight to our database.”
www.giglocator.com
Career Profile - Social Network Entrepeneur
Chris Muktar – Entrepreneur
Following a degree in Physics from Manchester University, Chris studied for a Masters in Technology before joining the BBC. He now runs his own hugely successful website, helping graduates on the milk round. The site gains 150,000+ hits a week and is launching in the US this year.
Wikijob
WikiJob is the UK’s largest graduate jobs website. Started by two friends in 2007, it now delivers nearly 2 million pages a month, and regularly appears on BBC News and in the press. Founders Ed Mellett and Chris Muktar went to university together, and after having experienced graduate jobs that weren’t for them, decided to help educate fellow graduates about the world of work when they leave university.
www.wikijob.co.uk
Career Profile - Innovations Director, Digital Marketing
Perry Price – Innovations Director
Dare Digital’s innovations director earned his degree in Economics at York University in England and spent several years in vetting for the UK Ministry of Defence and NATO. This was all before he decided to dive boldly into new media, schooling himself in Flash, and then setting up a software company and a small print media shop with a group of friends. The websites his company created soon drew attention from agents and eventually, from the UK-based Dare, who three years ago signed him as a software developer.
Dare
Dare is an interactive marketing agency which was founded on the core belief that strong ideas lead to better business results. Something they call “ideas that work”. They differ from traditional advertising ideas in that they are participative, or interactive, in essence. This is what defines them as digital - although often they will have the potential to live beyond digital channels.
So their specialism is in “marketing for the digital world”. By this they mean not only reaching consumers in relevant and engaging ways within their preferred digital channels, but also appealing to their digital mindset - one which demands transparency, generosity and responsiveness from all brands. They have considerable expertise, ranging from web development to eCRM to social media marketing - an area in which their Dare XL joint venture brings the market-leading specialism into the heart of their strategic thinking.
www.daredigital.com
Career Profile - Lighting Director
Talli Peled – Digital Lighting Director
Following a BA in Communication Design, Talli took an MA in Digital Effects. She is one of the few female animators on the phenomenally successful Framestore team, with credits like the Golden Compass to their name. Talli worked as a technical lighting animator on the Hollywood film, Prince of Persia.
Framestore
Framestore remains the largest visual effects and computer animation studio in Europe, with more than 20 years' experience in digital film and video technology. With three buildings in London’s Soho district, and offices in New York and Iceland, Framestore is a leading operator and innovator in visual effects, animated features, commercials, design and new digital media and film production.
They have excelled in every area to which they have turned their talents, winning dozens of international accolades over the years. 2008 was a stand-out year for Framestore, with the company winning both the BAFTA and the Academy Award for Visual Effects, in recognition of their creation of the polar bears and their environments in The Golden Compass. In 2009 they were nominated again for The Dark Knight, which included everything from vehicles and digital doubles to crowds and the development of the year’s best bad guy: Harvey Two-Face.
www.Framestore.com