Space LA
The Society for Production, Art, and Creative Entertainment
A California Non Profit 501 © 3 Organization

View our intern position descriptions:


PRODUCER


DIRECTOR


ASSISTANT DIRECTOR


WRITERS


SCRIPT SUPERVISOR


SET DESIGNER/SUPERVISOR


PROPS MANAGER


MAKE-UP ARTIST


COSTUME DESIGNER


DIRECTOR OF PHOTOGRAPHY


CAMERA OPERATOR/ASSISTANT


PRODUCTION SOUND MIXER


BOOM OPERATOR


GAFFER


KEY GRIP


FILM + ASSISTANT EDITOR


SOUND EDITOR


RE-RECORDING MIXER


Producer

A film producer “sets the stage” for making movies. The producer begins the process, then coordinates, oversees, and controls matters such as raise money, hiring key personnel, and arranging for distributors. The producer is involved throughout all phases of the filmmaking process from development to completion of a project.
Provide a budgetary plan on a current project
Be involved in the decision making process for media projects from conception to completion
Supervises all aspects on a project from pre through post production
Learn networks involved in the distribution of a project



Director

The director is accountable for supervising the creative aspects of a film, including controlling the content, flow and motion of the film's plot, directing the performances of actors, selecting the locations in which the film will be shot, and managing technical details such as the positioning of cameras, the use of lighting, and the timing and content of the film's soundtrack.
Works with and directs all Departments Key personnel in the Preparatory phase of production
Communicates to the actors the direction he/she feels the scene should be played out
Works with and directs all Departments Key personnel in the production of a project
Learn techniques to communicate their creative vision
Works with and directs all Departments Key personnel in the post production completion of a project



Assistant Director (1st and 2nd)

The Director's right hand person who takes on the duties of a number of important tasks so that the Director is open to focus on the creative process. During pre-production, AD’s break down the script into a shot-by-shot list and work with the Director to decide on the shoot order and how long each scene will take to film. They then draw up the complete shooting schedule (a timetable for the filming period). Once the film is in production, Firsts are in charge of making sure that every aspect of the shoot keeps to this schedule. A Second Assistant Director is responsible for information dispersal and reporting, cast notification and preparations during the shooting process, recording of all data relative to the working hours of the crew and cast, management of the background cast (atmosphere or "extras"), preparation of call sheets, production reports, and other documentation. When needed, the Second Assistant Director can take on the duties of the First Assistant Director on a temporary basis.
Learn to breakdown a script to make a shooting schedule
Learn to run and coordinate the workings of a set
Learn the intricacies of cast and crew communication
Manage and record working hours of students involved in production
Learn to manage and direct extras
Learn to prepare call sheets and production reports



Writers

People involved in the creation and/or development of all types of creative writing for different mediums. A writer details every aural, visual, behavioral, and lingual element required to tell a story.
Learn to use the program Final Draft, and its tools and applications
Learn the different elements needed to create a well developed story
Learn the principles of screenplay formatting, structure and style



Script Supervisor

Also known as the "continuity person", the script supervisor keeps track of what parts of the script have been filmed and makes notes of any difference between what was actually shot and what appeared in the script. They take notes on every shot, and keep track of props, blocking, and other details to guarantee continuity from shot to shot and scene-to-scene. The Script Supervisor's notes in the form of a “lined script” are given to the Editor to aid the editing process. The script supervisor works very closely with the director on set.
Learn to identify and track details to keep continuity from shot to shot and scene to scene
Take proficient notes detailing any deviation from what was shot and what was in the script
Keep notes tracking props, blocking, and many other details in every shot
Compile notes from camera and sound reports into a lined script for editors



Set Designer / Decorator

The set designer is the draftsman, often an architect, who creates the structures or interior spaces called for by the Director and or Producer. A person who has total charge of decorating the set with all furnishings, drapery, interior plants, and anything seen on indoor or outdoor sets.
Techniques to build camera/lighting/audience friendly sets
Supervise set construction
Envision, Design, and supply all furnishings and objects that inhabit every set



Props Master

The property master is in charge of finding, buying, acquiring, manufacturing and managing all the props that appear in the film. Props are anything an actor touches or uses on the set. In addition to knives, guns, bottles, cups, etc., food and animals are also in this category. The property master is responsible for all aspects of prop use on the set.
Keeping a log and managing the application of all props in a project
Learning the attributes and conditions of the different props
Techniques in how to acquire or build props



Make-up Artist

Make-up artist’s work with makeup, hair and special effects to create the characters look when appearing on screen. Their role is to manipulate an actor's on-screen appearance to make them look more youthful, larger, older, monstrous, or whatever else is needed. There are also body makeup artists who concentrate their abilities on the body rather than the head.
Techniques to make actors appear camera ready
Techniques to enhance or transform appearances in line with character
Learn a series of special effect make-up techniques



Costume designer

The costume designer is responsible for all the clothing, jewelry, and costumes worn by all the actors that appear on screen. They are also responsible for designing, planning, and organizing the construction of the garments down to the fabric, colors, and sizes. The costume designer works closely with the director to understand and interpret "character" and to achieve an overall tone of the film. Most items are borrowed from the studio's costume stock or rented/purchased from outside companies; others may be created specifically for the production.
Training to create and design a look for individual characters that represent the script sensibilities
Learn basic tailoring skills
Be able to purchase/procure clothing and their accessories
Organize and distribute wardrobe based on script breakdown



Director of Photography

The director of photography is the chief of the camera and lighting crew of the film. The DP makes decisions on lighting and framing of scenes in conjunction with the film's director. Typically, the director tells the DP how they want a shot to look, and the DP chooses the proper aperture, filter, and lighting to achieve the desired effect. The Director of Photography has other possible duties: selection of film stock, cameras and lenses; directing the gaffer's placement of lighting; film developing and film printing.
Design the lighting and composition of a scene in collaboration with the director.
Learn how to use different camera and lighting techniques to achieve specific conditions.
Communicate effectively and creatively to his/her team to achieve the desired result.
Obtain practical knowledge of film stock, cameras, lenses, and film developing / printing.



Camera Operator / Assistant

The camera operator uses the camera at the direction of the cinematographer, director of photography, or the film director to capture the scenes on film.
Learn different camera techniques to communicate a desired ‘feel’ to the viewer such as sticks, handheld, dolly, etc.
Learn to use different film and video cameras and media, such as film, tape, P2 cards, hard drives, etc.
Anatomy and technical aspects of film and video cameras
Assistant duties including slating, and media management



Production Sound Mixer

The production sound mixer is head of the sound department on set, responsible for recording all sound during filming. This involves the choice and deployment of microphones, operation of a sound recording device, directing the boom operator, and sometimes the mixing of audio signals in real time. Also records wild track and sound ambiance / room tone for all scenes.
Learn to record production sound through a mixing board
Learn about different microphones and their associated techniques



Boom Operator

The boom operator is an assistant to the production sound mixer, in charge of microphone placement and movement during filming. The boom operator uses a boom pole, a long pole made of light aluminum or carbon fiber that allows exact positioning of the microphone above or below the actors, just out of the camera's frame. The boom operator may also attach radio microphones and position hidden set microphones.
Learn boom microphone placement and movement techniques
Learn about different microphones and their uses



Gaffer

The gaffer is the head of the electrical department, responsible for the design and implementation of the lighting plan for a production. Sometimes the gaffer is recognized as "Chief Lighting Technician". Early films used mostly natural light, which stagehands controlled with large tent cloths using long poles called gaffs.
Learn functions and anatomy of lights and lighting apparatus
Learn different techniques and skills needed to light a set
Coordinate set-ups with camera and electrical departments



Key grip

The key grip is the chief grip on a set, and is the head of the set operations department. The key grip works with the director of photography to help arrange the set and to attain correct lighting and blocking. Grips are skilled lighting and rigging technicians. Their main job is to work closely with the electrical department to put in lighting set-ups required for a shot. On the sound stage, they move and adjust major set pieces when something needs to be moved to get a camera into position. The key grip is also in charge of camera movement whether on a dolly, camera crane or mounted on the hood or bumper of a vehicle.
Set-up and rigging of lighting, set pieces, and cameras
Set-up and rigging cameras for movement on a variety of mediums
Coordinate set-ups with the lighting, camera, and electrical departments.



Film Editor / Assistant Editor

The film editor is the person who composes the various shots into a coherent film. They take the production dailies, and sculpt them into sequences creating a natural rhythm and flow to a succession of scenes to tell a story.
Learn to use the program Final Cut Pro, and its tools and applications
Learn the technical functions of importing and exporting digital media
Learn how to use techniques and effects to tell a compelling story
Learn to create flow, rhythm, and timing with picture and sound that totally immerses the viewer into the story



Sound Editor

A member of the sound crew who performs editing on the production soundtrack. Types of sound editing include dialogue, ADR, Walla, sound FX, and Foley.
Learn to use the program Pro Tools, and its tools and applications
Dialogue editors will edit the production dialogue
ADR editors will edit the re-recorded dialogue by actors in a sound studio during post-production
Walla editors will edit background conversation recorded in a sound studio during post-production
Sound FX editors will edit sounds and backgrounds added during post-production in addition to learning sound design
Foley editors will edit recreated incidental sound effects (such as footsteps) in synchronization with the visual components of a movie



Re-Recording Mixer

A member of a post-production sound team who works specifically with dialog, music and sound effects, mixing them to create the final soundtrack for a production. They are responsible for ensuring that the sound in a film or television program is technically correct and broadcast ready. The finished product should be as close to the director’s, sound designers, or mixers idea of what it should sound like.
Learn to use the program Pro Tools, and its tools and applications
Learn to use a mixing board
Be able to create a pre-mix of all individual elements
Be able to create a final mix which becomes the soundtrack of the production






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