
Casting Director
Casting directors read scripts and meet with producers and directors to get a sense of the type of person they are looking for.They have to find someone who looks right for the role as well as acting it well. Casting directors consider the actor’s availability, fees and how much box office buzz they’re going to create. There are no specific qualifications or training to work in casting. Need experience of working with actors, it is a senior role so lots of experience is needed and connections. A good route into the role is as a casting assistant. Can earn £250,000 per production.
Colourist

Colourists contribute to the mood and look of a film by defining its colours. They work with the director and director of photography to decide the palette; whether it’s restrained or hyper-coloured, whether it uses milky colours or primary ones. Colourists are able to contribute to these looks by changing the luminance levels (brightness) and chroma (colour). Most colourists start out as post-production edit or tech assistants or runners and get to know the post-production process well over several years. Afterhours and weekends are when bulk film work is done.
Hair and make-up designer

In pre-production, they work closely with the director to understand the style of the story. They make appointments for actors' wig fittings, prosthetic and dental appointments. They draw up notes about actors, detailing each scene’s hair and make-up changes and work with the camera department on test shots to see how the hair and make-up looks under different lighting conditions. To take this route you will need to start off as a hair and make-up trainee and work your way into the positions of hair and make-up assistant and hair and make-up artist before becoming a designer. Average salary around £10.46 per hour.
Digital imaging technician

They advise the director of photography (DoP) on contrast, brightness and the effects of under or over-exposure, as these constraints are different from shooting with film. They also advise the camera crew on shots in progress, reporting any soft focus, framing issues or unwanted reflections and shadows. Typically, digital imaging technicians work their way up through the camera department. A good route into this is through becoming a camera trainee.

Directors of photography are responsible for the photographic heart of a production. They read the screenplay and work closely with the director to discuss the look and feel of a film. They then research how to create the look through lighting, framing and camera movement and what they will need in terms of kit and crew to achieve this. Some start as a camera trainee and work their way up, others become DoPs through being an assistant director first. Can earn anywhere between £50,000 and £300,000 per annum. Junior camera operators likely to earn around £15,000 a year.
Set decorator

They create the background of the action, explaining the context, adding mood and visual interest as the drama unfolds. While prop masters deal with the placing of objects an actor holds, set decorators are concerned with the walls, floors, vehicles and furniture. They first go through the script and work out what sets are needed. They make a list and a plan for the props master to follow. Then they buy or hire the items and get in props makers to make furniture. Often, they will have experience working as a production buyer or an assistant set decorator. Can earn about £18,000 to £23,500 per year.
Production designer

Production designers create the way a film or TV drama looks. Films can be set in any number of places; a Victorian orphanage, a Caribbean cruise ship, or another planet, for example. They work with all the other visual departments, costume, lighting, visual and special effects, and graphic design. They help create the visual world in which the story is set. Most production designers have worked in the art department for many years. Aim to start as a runner or trainee and work your way up.
Video assist operator

Video assist operators (VAOs) take the images generated by the film or digital cameras and display them on video monitors so the director and other crew members can see exactly what’s been shot. These images are also recorded for playback, so the action can be reviewed after each take. They are a reference through which continuity can be checked. The most common route to becoming a VAO is though working at a junior level for camera hire companies or video playback companies. This helps you to understand the equipment and to get contacts in the industry.
Gaffer

Gaffers work closely with the director of photography (DoP) to bring to life the overall look of a film by creating and controlling light. They work with the DoP to understand the desired light effects and figure out how to achieve them. They go on recces to see how the lighting will work on location and draw up a list of the kit that will be needed to achieve the artistic vision. Gaffers should be fully qualified electricians, so your first step is to get yourself qualified and experienced in electrical installation. Then you need to develop contacts in the film and TV drama industry to get experience working on film sets. Average hourly wages range from £8 - £12.50, and overtime is £12.50 - £20.50 per hour. Work hours constantly vary as they are a freelance position.
Sound mixer

You need to explain where the info is from Faith. It's good work but reads like the basis of the booklet rather than the full booklet itself, aimed at school pupils. Could do with an introduction and a 'to find out more' bit at the end perhaps? Merit at the moment.
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