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Television Production Roles and Responsibilities

This document outlines the various roles and responsibilities in television production, including production roles like the production manager, floor manager, camera operator, and audio operator. It also covers post-production roles such as editor, composer, and opening titles designer. Each role has specific tasks, like the production manager organizing crew and resources, the camera operator taking direction from the director, and the editor cutting together shots and audio under the director's guidance.

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163 views20 pages

Television Production Roles and Responsibilities

This document outlines the various roles and responsibilities in television production, including production roles like the production manager, floor manager, camera operator, and audio operator. It also covers post-production roles such as editor, composer, and opening titles designer. Each role has specific tasks, like the production manager organizing crew and resources, the camera operator taking direction from the director, and the editor cutting together shots and audio under the director's guidance.

Uploaded by

Remark Nuya
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PPTX, PDF, TXT or read online on Scribd
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TELEVISION

PRODUCTION
ROLES AND
RESPONSIBILITIES
CRE
1. Production manager. The
role of the production manager is
head of the administrative
business of the production,
organizing the crew and its
technical requirements.
2. Floor Manager. In a studio-based
program, the floor manager holds
responsibility for operation of the studio
floor where filming takes place,
coordinating the talent, crew, props, set
and tech equipment - acting as the main
line of communication from the director
within the control room.
3. Camera operator/Cinematographer/Director of
Photography. A camera op generally operates at
the instruction of the director, and the composition
(or framing) of their shots may be left to their own
initiative or instructed specifically to the director’s
desire. A talented camera op has a natural feel for
shot composition and light factors; takes instruction
well and has good stamina and stays attentive on a
long day’s shoot, in addition to a good instinct to
the action taking place
A cinematographer (or Director of Photography) is only
necessary for productions that wish for one (generally
when a director/producer has a specific vision of the
program’s appearance), as the role is concerned with the
creative aesthetic of the TV program - evoking themes,
emotions and setting a tone for the audience. This is
done by capturing and manipulating light, as well as
factoring in the use of lenses, camera type (or film stock,
if not shooting on digital) and various factors related to
film photography
4. Audio operator. This role can
advise on-air presenters and
guests of the positioning of their
lapel or wireless microphones,
while mixing the audio output
from these mics within the control
room’s audio mixing desk.
5. Boom operator. Whether in-studio
or on location, a boom operator’s
main task is operating and placing a
microphone from lengthy boom poles.
A boom op positions the mic to record
audio as required, ensuring the mic
hovering above or near the action on-
camera, is out of shot.
6. Vision switcher. A vision switcher (or
mixer) performs switching between the
different video sources - both from camera
shots and videos to be played during an in
studio shoot, selecting shots presented
before them on a bank of screens in the
control room. Along with this, the role
requires managing the contrast balance
and color of the final broadcast output.
7. Graphics operator. This role prepares
and displays on-screen graphics to go to
air, usually via the use of a graphics-
operating software on a computer. They
conduct this role during an in-studio shoot,
with a swift reaction and flexibility to
opportunities for the display of a graphic
as required by the action on camera.
8. Make-up artist and costume designer. This
crew member is tasked with applying make-up
to those appearing on screen. The use of
make-up isn’t essential to all productions,
though in those which elect to use it, this is to
make the on-screen face appear more
aesthetically pleasing - or whatever the
production requires - in some cases applying
materials to evoke more elaborate or
grotesque features.
A hair stylist and wardrobe designer may
multi-task under this role, or be separate
altogether. Along with the make-up artists,
the hair stylists, costume designers, and
dress technicians all combine their effort
into transforming an actor into a
character, or a person into a presenter.
9. Production designer. The production
designer holds the responsibility of the
visual appearance of a production, evoking
a vision in accordance with the producer or
director. They design, plan, organise, and
arrange set design, equipment
availability,as well as the on-screen
appearance a production will have.
10. Gaffer/Lighting director. A gaffer is the primary
electrician on-set, tasked with lighting the stage at
the instruction of the cinematographer or tech
manager. The term “gaffer” is often limited to film
production and lighting may even be coordinated
by the tech manager where possible.

The term “best boy” refers to one of the gaffer’s


electrical assistants. In a smaller television
production, the Gaffer positions lighting to ensure
the set is well-lit.
11. Dolly Grip and Key grip. A dolly grip places and
moves the dolly track (“dolly’s” being a vehicle which
allows for smooth camera movement along the ground)
where equired by the camera op or cinematographer,
motioning the dolly along the track during filming.

A key grip’s responsibility is the movement of equipment


for camera mountings and support when that equipment
is more complex than a simple tripod. Grips may also be
tasked with manoeuvring of tech equipment on a large
set.
12. Runner. Runners are tasked
with carrying out the
miscellaneous tasks required
for the production, in support
of those crew members
requesting it.
POST-PRODUCTION
1. Editor. On programs which do not go live-
to-air, in post-production an editor will work
alongside the director (and possibly the
producer) to edit the footage that has been
shot to create the final product. An editor’s
role is largely one of cutting together and
juxtaposing shots and audio to the
requirements of the director/producer.
2. Music/Composer. This role is required for
productions requiring their own original music -
whether for an opening theme, closing credits, or
music to be played throughout the program. The
composer writes and sometimes also performs this
music. They may also conduct or produce a group
of musicians to perform the work they have
written. The tone of the composition and theme
may be communicated by the producer or written
based on a viewing of the cut of an episode
3. Opening titles designer/motion
graphics designer. The opening titles
displayed at the beginning of a
program can set the tone of the
program to come. As such, a producer
will communicate to an opening titles
designer a brief of what they may like
these titles to convey.

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