Entry Level Jobs Film is a short documentary that follows four young people as they navigate the world of entry-level jobs, looking for their first professional positions.

The film will explore how these young people are affected by their lack of experience and how they cope with being thrown into the workplace without any prior experience, training or guidance. It will also examine how society views this generation and how employers view this generation based on stereotypes about millennials. The film will also look at what kind of expectations are placed upon these new employees, including their ability to wear many hats in a fast-paced environment where there is little room for error or mistakes that could cost them their jobs.

The film will focus on four main characters: Lucy, who works in retail; Kyle, who works at an auto repair shop; Genevieve, who works in customer service at a bank; and Leo, who works in construction. Each character has different motivations for getting into the workforce such as financial independence or helping out their parents financially so they don’t have to pay rent anymore once they move out on their own one day soon.

Entry Level Jobs Film

A film crew is a group of people, hired by a production company, for the purpose of producing a film or motion picture. The crew is distinguished from the cast, as the cast are understood to be the actors who appear in front of the camera or provide voices for characters in the film. The crew is also separate from the producers, as the producers are the ones who own a portion of either the film studio or the film’s intellectual property rights. A film crew is divided into different departments, each of which specializes in a specific aspect of the production. Film crew positions have evolved over the years, spurred by technological change, but many traditional jobs date from the early 20th century and are common across jurisdictions and filmmaking cultures.

Motion picture projects have three discrete stages: development, production, and distribution. Within the production stage there are also three clearly defined sequential phases (pre-production, principal photography, and post-production) and many film crew positions are associated with only one or two of the phases. Distinctions are also made between above-the-line personnel (such as the director, screenwriter, and producers) who begin their involvement during the project’s development stage, and the below-the-line technical crew involved only with the production stage.

Contents
1 Director
2 Production
2.1 Production office
2.1.1 Production managements
2.1.2 Accounting
2.2 Locations
2.3 Digital service
2.4 Continuity
2.5 Casting
3 Camera and Lighting
3.1 Camera
3.2 Lighting
3.3 Grip
4 Sound Production
5 Art department
5.1 Art (sets and graphic art)
5.2 Sets
5.3 Construction
5.4 Scenic
5.5 Property
6 Costume department
6.1 Hair and make-up
7 Special effects
8 Stunts
9 Post-production
9.1 Editorial
9.2 Visual effects
9.3 Sound and music
10 Previsualization
11 Animation
12 See also
13 References
13.1 Further reading
Director

Film director Dorothy Arzner had a successful career that spanned the silent film era into talkies. She started as a film editor and designed the first boom microphone.
A director is the person who directs the making of a film. The director most often has the highest authority on a film set. Generally, a director controls a film’s artistic and dramatic aspects and visualizes the screenplay (or script) while guiding the technical crew and actors in the fulfillment of that vision. The director has a key role in choosing the cast members, production design, and the creative aspects of filmmaking. Under European Union law, the director is viewed as the author of the film.

The director gives direction to the cast and crew, and creates an overall vision through which a film eventually becomes realized or noticed. Directors need to be able to mediate differences in creative visions and stay within the boundaries of the film’s budget. There are many pathways to becoming a film director. Some directors started as screenwriters, cinematographers, film editors, or actors. Other directors have attended a film school. Directors use different approaches. Some outline a general plotline and let the actors improvise dialogue, while others control every aspect, and demand that the actors and crew follow instructions precisely. Some directors also write their own screenplays or collaborate on screenplays with long-standing writing partners. Some directors edit or appear in their films, or compose the music score for their films.

Production
Production is generally not considered a department as such, but rather as a series of functional groups. These include the film’s producers and executive producers and production office staff such as the production manager, the production coordinator, and their assistants; the various assistant directors; the accounting staff and sometimes the locations manager and their assistants.

Producer
A film producer creates the conditions for filmmaking. The producer initiates, coordinates, supervises, and controls matters such as fund raising, hiring key personnel, and arranging for distributors. The producer is involved throughout all phases of the film making process from development to completion of a project. There may be several producers on a film who may take a role in a number of areas, such as development, financing or production.[1]
Executive producer
An executive producer (EP) is a producer who was not involved in the technical aspects of the filmmaking process in the original definition, but has played a financial or creative role in ensuring that the project goes into production. Today, however, the title has become ambiguous, particularly in feature films. Since the 1980s, it has become increasingly common for the line producer to be given the title of executive producer, while the initiating producer takes the “produced by” credit. On other projects, the reverse happens, with the line producer taking the “produced by” credit. So the two credits have become effectively interchangeable, with no precise definition.
Production office
Line producer
The line producer is the liaison between the studio or producer and the production manager, responsible for managing the production budget. The title is associated with the idea that they are the person who is “on the line” on a day-to-day basis, and responsible for lining up the resources needed.
Production assistant
Production assistants, referred to as PAs, assist in the production office or in various departments with general tasks, such as assisting the first assistant director with set operations.
Production managements
Production manager
The production manager supervises the physical aspects of the production (not the creative aspects) including personnel, technology, budget, and scheduling. It is the production manager’s responsibility to make sure the filming stays on schedule and within its budget. The PM also helps manage the day-to-day budget by managing operating costs such as salaries, production costs, and everyday equipment rental costs. The PM often works under the supervision of a line producer and directly supervises the production coordinator.
Assistant production manager
The assistant production manager is the assistant to the production manager (PM) and carries out various jobs for the PM. Normally only big budget Hollywood feature films have an assistant PM.
Unit manager
The unit manager fulfills the same role as the production manager but for secondary “unit” shooting. In some functional structures, the unit manager subsumes the role of the transport coordinator.
Production coordinator
The production coordinator is the information nexus of the production, responsible for organizing all the logistics from hiring crew, renting equipment, and booking talent. The PC is an integral part of film production.
First assistant director
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 safe 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.
Second assistant director
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 and extras 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.
Other assistant directors
Sometimes other assistant directors are needed such as in Canadian and British functional structures the 3rd assistant director (3rd AD) and even trainee assistant directors (trainee AD). In the American system there are 2nd 2nd assistant director (2nd 2nd AD). Normally in the American system 2nd 2nd ADs control big crowd extras and make sure if shooting on location none of the public get into shots.
Accounting
Production accountant
Production accountants manage the money and ensure the production comes in on budget and everyone gets paid. The industry is notorious for unusual accounting methods which are collectively labelled Hollywood accounting. Production accountants are often assisted by assistant accountants, sometimes called clerks, responsible for accounts receivable, accounts payable and payroll.