Crew Roles:

The following is a list of crew roles in filmmaking,


The Director is responsible for overseeing the creative aspects of a film, including controlling the content and flow of the film’s plot, directing the performances of Actors, organizing and 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. Though directors wield a great deal of power, they are ultimately subordinate to the film’s Producer or Producers. Some Directors, especially more established ones, take on many of the roles of a Producer, and the distinction between the two roles is sometimes blurred.
The First Assistant Director (1st AD) assists the Production Manager and Director. The ultimate aim of any 1st AD is to ensure the film comes in on schedule while maintaining a working environment in which the Director, principal artists (Actors) and crew can be focused on their work. They oversee day-to-day management of the cast and crew scheduling, equipment, script, and set. A 1st AD may also be responsible for directing background action for major shots or the entirety of relatively minor shots, at the Director’s discretion.

The Second Assistant Director (2nd AD) is the chief assistant of the 1st AD and helps carry out those tasks delegated to the 1st AD. The 2nd AD may also direct background action andextras in addition to helping the 1st AD with scheduling, booking, etc. The 2nd AD is responsible for creating Call Sheets that let the crew know the schedule and important details about the shooting day. In Canadian and British functional structures there are 3rd ADs and even Trainee ADs; in the American system there are 2nd 2nd ADs.

I have had experience officially as a director but unoffically I have had experience as a 1st and 2nd AD, I feel I have skills to jump into any 2nd AD or trainee AD role. 1st AD’s and Directorial roles would depend on the size and scale of the project.
The term Cinematographer has been a point of contention for some time now. It is usually synonymous with Director of Photography, though some professionals insist this only applies when the Director of Photography and Camera Operator are the same person.
The Director of Photography, DoP or DP, is the chief of the camera and lighting crew of the film. The DoP makes decisions on lighting and framing of scenes in conjunction with the film’s director. Typically, the Director tells the DoP how he or she wants a shot to look, and the DoP chooses the correct aperture, filter, and lighting to achieve the desired effect as per the Director’s requirements.
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. Generally, a Cinematographer or Director of Photography does not operate the camera, but sometimes these jobs may be combined.
The First Assistant Camera, 1st AC or Focus Puller, is responsible for keeping the camera in focus as it is shooting, as well as building the camera at the beginning of the day and taking it apart at the end. They also thread the film when a new magazine is loaded.
The Second Assistant Camera, 2nd AC or Clapper loader, operates the clapperboard at the beginning of each take and loads the raw film stock into the camera magazines between takes, if there is no additional specifically designated Film Loader. The 2nd AC is also in charge of overseeing the meticulously kept notebooks that record when the film stock is received, used, and sent to the lab for processing. Additionally, the 2nd AC oversees organization of camera equipment and transport of the equipment from one shooting location to another.
  • Film Loader
The Loader transfers motion picture film from the manufacturer’s light-tight canisters to the camera magazines for attachment to the camera by the 2nd AC. After exposure during filming, the Loader then removes the film from the magazines and places it back into the light-tight cans for transport to the laboratory. It is the responsibility of the Loader to manage the inventory of film and communicate with the 1st AC on the film usage and remaining stock throughout the day. On small production crews, this job is often combined with the 2nd AC. With the prevalence of digital photography, this role is taken on by the Digital Imaging Technician.
  • Camera Production Assistant
The Camera PA, Camera Intern or Camera Trainee, assists the crew while learning the trade of the Camera Assistant, Operator or Cinematographer.
On digital photography productions the Digital Imaging Technician, or DIT, is responsible for the coordination of the internal workings of the digital camera. Under the direction of the Cinematographer or Director of Photography, the DIT will make adjustments to the multitude of variables available in most professional digital cameras to creatively or technically manipulate the resulting image. It may also be the responsibility of the DIT to archive and manage the digital data, create compressed dailies from raw footage and prepare all digital images for post-production.
  • Steadicam Operator
A Steadicam Operator is someone who is skilled at operating a Steadicam (trademark for a camera stabilization rig). This person is usually one of the Camera Operators on the production.
  • Motion Control Technician/Operator

This Technician operates a motion control rig, which essentially is a ‘camera robot’ able to consistently repeat camera moves for special effects uses.“Motion Control Frequently Asked Questions”. Mark Robert’s Motion Control. Retrieved 2010-09-19. Motion control rigs are typically rented with an experienced operator.

I see myself as a camera operator, I am a good DOP but I understand that I am not a fantastic one. I still need a little bit of guidance, I don’t always have the intuitive to make major decisions when it comes to camera. This will come in time and I have already seen how much my skills and reactions have improved in repeated shoots.
I have also tried my hand at producing and I feel my skills are not bad in this area. However I find myself getting easily stressed in this role, I don’t see this area as a future career path but I have skills to use when required.

How to make a living.

As I will likely be freelance for the forseeable future it is important to look into how I can make money from this. It is highly unlikely I will be able to go straight into making enough income from this to support my self for a good while. However here are some steps available from giving a simplistic step by step guide I will then state where I am with these goals.


    • 1

      Decide what type of videographer you want to become. Your training will vary based on the type of services you will offer such as videotaping weddings, conferences, corporate video, local musicians, baby births, bar mitzvahs or sporting events or becoming an independent or studio film producer or a legal videographer.  Although I have skills elsewhere I am starting to focus my abilities at corporate and live event film-making, my next step is to focus more on this by getting experience with more companies and shooting even more sporting and music events.

    • 2

      Enroll in any classes you might need that will teach you what you need to know. Check your local college or night school for videotaping, video editing and business courses. Of course, practice is the most important element in becoming a skilled videographer. Coventry University have this covered

    • 3

      Borrow or rent a camcorder if you cannot buy one at first. Shoot lots of video. The more you shoot and analyze your work, the better you’ll get at it. When you get good enough, you can start your own business or apply for jobs as a videographer. Here’s the challenge, Money is obviously a problem and I do not have access to my own kit. This is priority number one (first step decent editing gear) however for the near future I will work with other people’s kit or hiring out equipment and charging the employer for the expense. I aim to get a bar or shop job in the near future to fund this expense as well as any extra money I make from freelancing.

    • 4

      Obtain any other equipment you will need. Besides the camera you will most likely need a tripod, extra batteries and lighting equipment, a computer, digital storage devices, editing equipment and sound mixing equipment. For your home office you will need a phone with voice mail or an answering machine, business cards and a way to bill customers. See above about equipment, the rest is being covered.

    • 5

      Break into your field by being proactive. Hang around busy locations waiting for things to happen, or listen to police radio if you want to capture news on video. Create your own mini-documentaries if you want to break into that business or volunteer to tape seminars if you’d like to shoot educational events. I have my showreel and vimeo account showing off my talents and abailites, I’d say I have been pro-active during my time at Coventry and hopefully my web and physical presence has helped show that off. I will keep in touch with my contacts and also build some new ones in the northamptionshire area to keep myself in the ‘loop’.

    • 6

      Start an event videography business by videotaping events for friends. The best form of advertising is word of mouth, and it doesn’t cost you a cent. Do jobs for friends and family to gain experience and then let them get the word out about your services. I have already made some videos for friends that run small businesses and this would be an area i would look into in the future. Of course, budget and time do play a lot into what I would be able to do.


      What this shows is something I already knew, that the next few weeks,months and years will be a struggle, probably the biggest challenge of my life, It will be a true test to see whether this career path is the right one for me. I will be focusing my efforts in the midlands area but will move from this if the right job comes up unexpectedanly. As stated before I will consider moving anywhere for the right job, although if long-term it would need to be an english speaking place or country due to my lack of language skills. (I can dream)

Work Experience gained over the last few months.

Over the last few months I have filmed or otherwise worked on several events and for several different companies. The events and companies will be listed below as well as a short upcoming or potential upcoming list, I will then go into how I feel this has helped me or will help me in the future.

BMW-Mini Synter

BBC Big Screens

Coventry Council (producing videos for the Big Screens)

Rocked Up (Music demo session)

Matt Lakey and the Whatever (Music video Shoot)

Coventry Blaze ENL (Scorched Ice TV)

Cities of Conflict Documentary (Dresden)

and potential upcoming

BBC Big Screens (during olympics)

Orchestra recording

NHS video

Radio/Short Film experience in Norway.


All of the videos I have helped on have helped me out in some way. The BMW shoot was possibly the most rewarding in terms of quality footage that the group managed to get, but the rest certinanly helped me to look at different areas of video production (sports and music video) more professionally. The Blaze and Council videos were extremely helpful as I would like to move into sports or live event  recordings, I feel I have a good eye for fast paced action and I know that in sports or a live event you only get one chance to capture an action so being alert is a necessity, however Blaze and the big screen videos have shown me that I am up to the task and actually I rather enjoy the challenge.

My next step is to get more footage supporting this style, You may notice that my showreel has a lack of ‘live’ footage there, this was because the quality of said footage was either lost (Coventry Council) or was handed to me at a poorly exported rate (Blaze) this left me unwilling to use the footage in my show reel as it would have dramatically lowered the quality of the piece.

The forthcoming experiences are still orginisation progress with the exception of the bbc work, I have had training for this and I am going through ‘refresher’ sessions before working on the screens during the olympics, I hope that this will lead on to further work and/or contacts within the industry.

The NHS video should be moving on soon, due to my own commitments I have been unable to help move this forward, I spoke to John recently who is in charge of the project and he informed me that the full proposal had been approved so this video should be happening in the near future. It will be my job to get a crew involved in this project, If all goes well this video could lead into a series of videos. More information will appear on here when possible (although after deadline)

The norway idea is something that has appeared in the last few days I am still waiting for full details from Alton but this would likely take place in august/September and would see me spending two weeks helping to run a radio show and two weeks making a short film, In all honesty i’m interested in the travelling aspect but I have experience in radio as well as making short films and documentaries so I’m sure I can be a hand even if it’s just as a runner/researcher.

The main thing I learnt from these experiences was to be more professional in terms of what clients expect and how to react to last minute changed, but also how to be a better camera operator, I now ‘hold’ my shot for longer as I am aware of what a nightmare it can be for an editor not to do so. If given a role I now also stick to it. Too many times in second year people would not stick to their roles causing massive problems in the creation of projects, this CAN NOT happen professionally, I’m glad to see most of our year now getting used to that idea.

My next step after these experiences are unknown, I am updating my CV to apply for new job roles nationwide, I am at a stage in my life where if the job is right I can confidently say I will move to work for it. The challenge is making everyone else believe that and also believe that I am the best person for said job or jobs.


This is my website that I designed using At the moment it is a work in progress but very little of it will change structurly I will be buying the URL for this site later as an easier to remember address than the one above. This will appear more professional than the site as it is with it’s wix advertising (which will be removed on payment)


Deciding what footage to use for the showreel was a problem, I found that a lot of the stuff I had made in my second year or even the first half of third year were unusable and would not show of my skills well, some footage was unattainable for various reasons and I refused to lower the quality of the piece to accommodate it.

I’d like to make a point about the length of the piece. I have seen a good few showreels (including some on the course) That I felt were miles too long and a lot of the footage was of variable quality. I feel that this is the WORST way to attract any interest from a showreel, The plan for mine was to have a series of beautiful images (throwback to second year) that showed off my various ways of telling a story. I always planned to make the video about a minute to a minute and a half. I feel the worst thing you can do is bore somebody with a showreel, and 3-5 minutes just leaves people skipping through from experience. Hell i know people will just skip through my own showreel, which was why I planned a ‘scale’ of beautiful images in the piece which i liked. Although I think all of the shots are worthy, the start, middle and end is where I focused on having the ‘moneyshots’ so to speak, as I knew this would likely be the points people would skip to.

I decided to use commercial music due to the pacing of the partiuclar song, I would like to avoid any legal consequences by getting a new showreel done but with a song designed solely for the showreel.

Below are some showreels I used as a form of inspiration.


Two posts require passwords to access content, One is a post which accesses a rough version of my finished film and another is the finished video itself via vimeo. Both of these posts require the same password, that password can be found in my production folder which will be handed in with the physical copy of my work. (both on the inside of the box on a sticky label and on a piece of paper in a plastic wallet.)


If for whatever reason this password has gone missing or for some reason i am forced to make the video public, please contact me at


My reasons for keeping these posts private are to do with festival entries, It may hinder my chances of entering certian festivals if the film is easily available to view on vimeo and/or youtube. I hope this is no inconvenience