If you are prepared to wear many hats, perhaps even more than the characters in the movie or TV show you help a producer put together, you may thrive as an Associate Producer or AP. Your to-do list will likely include diverse tasks, ranging from script-related work to scheduling and budgeting to ensure a... Continue Reading
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What are the typical responsibilities of an Associate Producer?
An Associate Producer would typically need to:
Associate Producers typically work on sets, which may be indoors in studios and theatres or on filming locations worldwide, which makes travel part and parcel of the job. You may also work in the office of their production company or from home.
When working outdoors, you may face unfavourable weather conditions, and modern conveniences may be limited if filming occurs in remote locations.
Given the nature of their work, Associate Producers can expect extended shifts and irregular hours, with weekends often busy as well. The scale of the project you are engaged with and the requirements of the producer and director will determine whether you are hired freelance or full time.
You may carry out different production tasks on several different projects simultaneously or focus on a part of one project at any given time, such as when filming on a specific location or overseeing a particular segment of a documentary. If you work with a specific television production, you will stay occupied with it through its duration, even needing to spend time away from home during the week for several months at a stretch.
Research suggests that flexible hours and generous telework policies appeal more than salary to the younger generation. There has been an incremental increase in employers willing to give promising employees a chance to adjust their schedules per the job demands. The pandemic and advancing technology have given rise to innovative methods of remote production, making it possible for production staff to work from home.
Finding a new job might seem challenging. Associate Producers can boost their job search by asking their network for referrals, contacting companies directly, using job search platforms, going to job fairs, leveraging social media, and inquiring at staffing agencies.
Associate Producers are generally employed by:
Professional associations and organisations, such as the International Federation of Film Producers Associations (FIAPF), are crucial for Associate Producers interested in pursuing professional development or connecting with like-minded professionals in their industry or occupation.
Professional associations provide members with various continuing education avenues, networking opportunities, and mentorship services. Membership in one or more adds value to your resume while bolstering your credentials and qualifications.
Aspiring Associate Producers must begin early to acquire relevant experience by participating in school or college performances as part of the cast or crew and by writing plays or short stories. You may also script and produce students’ films to learn informally about the production process. Even if you do not aim to enter the field of acting, try to audition to play a movie extra to get a feel of the sets and a firsthand view of how filming is done.
Join some groups, try some hobbies or volunteer with an organisation of interest, so you can have fun while learning about yourself and be directed toward a future career.
Read about the profession and interview or job shadow experts working in film and television production to prove your commitment to course providers and prospective employers.
Any academic program that a potential Associate Producer takes up typically requires a period of supervised experience, such as an internship. Aspiring Associate Producers will benefit from tasks outside the classroom that align perfectly with lessons inside it. One may hear countless stories from more experienced professionals and obtain valuable hands-on experience when they turn seemingly routine incidents into unique learning moments.
Aim for summer internships, part-time work at an entry-level position, or short-term paid/voluntary work in film, television, radio, theatre and music at a television or broadcasting station, which offer a taste of the career, give valuable insight into how a company or institution operates, help build useful contacts and improve your prospects of getting a permanent job. In addition to experience in the film industry, you may also earn college credit.
The experience may also help determine whether the public, private, or voluntary sector is best suited to realise one’s ambitions. Your educational provider’s career service department can provide information about viable opportunities for work placements, internships and voluntary work in diverse sectors. Even in high school, you can check with a teacher or counsellor about relevant work-based learning opportunities available in your school or community that can help you connect your school experiences with real-life work.
Formal experience on TV or film production sets strengthens your resume at least as much as academic qualifications, if not more. Aspiring Associate Producers may approach the career having acquired experience in different roles, such as a writer, actor or editor, or you may have interned with trade organisations. A year to five years or more of experience can stand you in good stead, based on the specific requirements of the job for which you are applying.
Make sure to create and update your portfolio, whether online or on paper, with details of all your projects to present to prospective employers.
Networking with relevant professionals in the industry, on and off set, is of prime importance to learn about and use available opportunities. Ensure you impress your faculty, colleagues, supervisors and clients with excellent behaviour, attitude and hard work. To begin climbing the ladder in the field, you must land a production job at the earliest, even as an assistant on the sets. This way, you can become acquainted with producers, their work, and how the industry operates. Even if you have only a partial understanding of production at first, your direct experience as an assistant will familiarise you with the process, the participants, and what role each one plays and when.
Since experience is highly valuable to landing a role as a creative in the film/TV industry, aspiring Associate Producers may not need formal qualifications. However, an associate or bachelor’s degree in film/TV production, communications, broadcasting, journalism, arts management or a related field may help you build a network, learn essential skills, and land an entry-level role. Qualifications in business administration or marketing may also be handy, or even a degree in liberal arts. Consider taking courses in advertising, digital editing, internet media, and the history and use of broadcast media.
Remember that completing a particular academic course does not guarantee entry into the profession. Be that as it may, professional qualifications and transferable skills may open up more than one door.
Do your homework and look into all available options for education and employment before enrolling in a specific program. Reliable sources that help you make an educated decision include associations and employers in your field.
Aspiring Associate Producers may prepare for their career by taking high school courses in English, any foreign language, speech, mathematics, business and psychology. Drama classes will help you build familiarity with scriptwriting, staging shows and working with the cast and crew, all of which will help you produce entertainment shows in the future. Acquire at least intermediate computer proficiency as you will need it for the technical aspects of production, which are now highly dependent on technology.
Certification demonstrates an Associate Producer’s competence in a skill set, typically through work experience, training, and passing an examination. When acquired from an objective and reputed organisation, it can help you stand out in a competitive job market, carry a significant salary premium of up to 18 per cent, increase your chances of advancement, and become an independent consultant. Successful certification programs protect public welfare by incorporating a Code of Ethics.
Associate Producers may also need to undergo an employment background check including but not limited to a person’s work history, education, credit history, motor vehicle reports (MVRs), criminal record, medical history, use of social media, and drug screening.
Performance, experience, and the acquisition of professional qualifications drive career progression. Employees with consistently high levels of performance may be eligible for promotion every two to three years and rise to become Producer or Executive Producer or step into management roles.
Given that Associate Producers tackle diverse tasks at work, they have several career paths open to them, depending on their interest, experience, education and available opportunities. You may continue to remain a generalist or specialise in production or marketing. You can become a Screenwriter or Script Doctor if you have excellent writing skills. With an interest in and flair for business or a related degree, you may take on production management or financial responsibilities.
The desire to accelerate career growth and personal development has an increasing number of millennials choosing to job hop and build a scattershot resume that showcases ambition, motivation, and the desire to learn a broad range of skills.
Studies prove that job hopping, earlier dismissed as “flaky” behaviour, can lead to greater job fulfilment. Employees searching for a positive culture and interesting work are willing to try out various roles and workplaces and learn valuable, transferable skills along the way.
Candidates with the necessary skills, experience on sets, education and a strong, extensive, well-presented and updated portfolio have the best job prospects.
Continuing professional development (CPD) will help an active Associate Producer build personal skills and proficiency through work-based learning, a professional activity,
formal education, or self-directed learning. It allows you to continually upskill regardless of age, job, or level of knowledge.
Staying current with the latest industry trends, production tools and technology is imperative for Associate Producers to deliver top-notch productions and land new assignments. Taking courses in playwriting, set design, acting, directing, advanced script editing and documentary/commercial production will help you build and advance your knowledge and skills. Engaging with the community through local theatre and acting classes is helpful and fun.
Networking helps you find new assignments and sharpen your skills. Reach out to and keep in touch with colleagues within your company and professionals, such as producers and directors, in the wider film and TV industry through social media, by attending industry events in person or online, or by joining relevant professional organisations.
You may advance your career by undertaking continuing education (CE) through a bachelor’s or master’s degree in fine arts or related specialisations.
Associate Producer vs Assistant Producer & Co-Producer
In television production, Associate Producers and assistant producers often play a similar role, a difference being that, sometimes, an Associate Producer is more actively engaged in the creative process.
Co-producers are typically a rung higher than Associate Producers, particularly in the film industry. However, in television, they may also be writers. Each production determines the specific responsibilities of each role. In general, both Associate Producers and co-producers may receive the credits for contributing to the production but typically do not have the authority of a producer or executive producer.
Executive Producer
The role of executive producer typically exists in television drama production. Executive producers usually spearhead the show, taking it from script to screen. They pitch ideas, acquire screenplays to develop, and manage the production's legal, financial and promotional aspects, with the final say in decisions. However, in some shows, the executive producers may be writers and help with the script, but they may not contribute to other aspects, such as casting the show and hiring the crew, instead leaving them to the producer, production manager and casting director. Executive producers often freelance, working on several projects simultaneously. They may also own the production company.
Producer
Integral to any film, television show or broadcast, a Producer is the overall decision-maker, overseeing a project from its inception to delivery. Producers lead and coordinate the creative, technological, financial and administrative aspects in all phases of the production process. They pinpoint creative opportunities, generate story ideas, and hire scriptwriters or “option” the scripts (secure rights to them). Assessing the commercial viability of a proposal, they also source, organise and allocate human, technical and financial resources, delegating responsibilities to production team members and formulating budgets and schedules.
Assisted by Associate Producers, they troubleshoot and resolve issues, create and maintain a safe and conducive working environment in keeping with health and safety legislation, and keep the lines of communication open throughout the production process. Collaborating with the director and other production professionals, they take the production to the point of delivery and distribution.
Above-the-Line vs Below-the-Line Jobs
Jobs responsible for the creative development of a film or TV show and those that involve production or direction are referred to as above-the-line (ATL). Professionals working in ATL roles guide a project before sets are built or filming is launched. They provide leadership and put in intensive work, taking critical decisions on what the overarching tone and aesthetic of the project should be. Their remuneration is typically based on a pre-decided and fixed rate, regardless of schedule variations.
ATL professionals collaborate with below-the-line (BTL) personnel, including technical crew and non-key cast. Since BTL workers are not critical to producing the film or show, they may be replaced at any time and typically receive an hourly allowance.
Production Software
Given the growing dependence of daily life and industry on technology, Associate Producers also have a range of software at their disposal to use as necessary. It is up to them to make their choices, depending on the specific needs of a project, although scheduling programs are typically handy to organise production tasks for their producer.
Stages of Film &TV Production
Tips for Portfolio Development
Produce as much quality work as possible to develop your portfolio. Seek opportunities in smaller markets or with lower-budget productions. Archive your finished work, keeping it organized and presentable in clip form to show to prospective employers.
Find a more extended project of your own, if not feature-length, at least longer and more involved than your college projects, and secure needed funds and resources. Determine whether you will write your own script, hire a writer, or purchase a completed literary work.
Take on what might appear less glamorous work, such as producing educational films for a school that may not match a Hollywood studio but has potential learning experience. Submit your projects to students or small independent film festivals. Making a mark at this level could ultimately impress the right people and lead to greater opportunities.
The Pitch Package
Throughout the development and pre-production phases, the Pitch Package for potential investors is put together to present to film financing companies and sales organizations that may sell the film to foreign distributors.
The pitch package typically consists of a treatment/presentation of the script, generally from one to ten pages long, and a copy of the rights to the story, all options, and acquisition agreements. It also contains an investment proposal that lays out the terms and conditions of the investment.
The pitch package includes a document outlining comparable box office returns on films of a similar genre or tone and market research on current trends and recent production projects.
The talent section of the pitch package identifies the director, screenwriter, and cast and their experience. It also comprises their contractual commitment to or letter of interest in the project and any crew agreements in place.
Also included is a copy of the budget, with strategies for funding and distribution, revenue projections, and any evidence of commitments or interest. Any examples of press coverage the company has generated, along with any marketing materials commissioned, would also be useful.
How Producers Decide the Cast
Producers and casting directors collaborate to generate lists of renowned actors or other specific actors to approach for lead or other roles. It could be that the producer is also an actor who will play a role in the production. For supporting roles, agents or managers submit suitable candidates, who are reviewed and selected for one or more rounds of audition before a decision on the final casting is made. Sometimes an open call is held, which is similar to an audition except that it invites many more direct submissions from aspiring actors and there are several selection rounds to make a decision. A method combining offers and auditions may also be used for different roles or even the same role to generate options or as a strategy to negotiate.
Production vs Principal Photography
When the term “production “ is used to refer to the specific stage of creative execution in the making of a film or television show and is distinct from pre-production and post-production, then it means the same as principal photography. However, when the term is used to denote the entire process of making a movie or a show, the principal photography phase is a part of the process and does not imply the same meaning as “production”.
Some Elements of the Production Stage
Some production tasks happen on a daily basis, some periodically, and some may overlap.
Performance Direction: It is often identified as the core of making a TV show or film and the element that leads to outstanding performances by the cast. Directorial styles vary with each director and project. Some Directors may provide detailed guidance for every shot, while others may allow some liberty, guiding when asked. Whatever style it may take, the quality of direction determines the quality of the final product to a large extent.
Camera & Lighting Setup: Although it takes time to configure the camera and lighting setup perfectly before the first take of every single shot, the attention to detail saves time and effort in the long run as shots are not wasted due to poorly focused cameras or dim lighting.
Costume and HMU (hair & makeup) Preparation: Time is precious on set. To ensure that the production adheres to schedules, cast members typically arrive at work much earlier than when the shot is due to put on their costumes and complete their hairdressing and makeup.
Set Dressing: Whether a set is to be used repeatedly or for just one shot, the location must be dressed before any filming so that the director and cast need not wait on the production crew to finish their work.
Scene Filming: A shot may last a few seconds or several minutes and require a single or multiple takes. Either way, once the cast, set and equipment are ready, the actual filming can take less time than the other elements of the production process.
Sound Capture: The sound in most shots, such as dialogue, ambient noise or a special effect, is recorded alongside visual images, which means that both the camera and sound equipment must roll when “action” is called out.
Location Changes: Given that filming may need multiple sets or locations, the production crew aims at winding up work on one set or location before moving to the next. Prepping the subsequent location while filming goes on at the earlier one helps reduce downtime.
The Difference Between Camera Shot & Camera Angle
The angle is the perspective from which a subject is shown. Camera angles, such as low or high, define where the camera lens is centred or positioned to capture a shot. A scene may be shot from various angles, or the same camera angle can take multiple shots for different types of impact. Typically, camera angles and placement serve to create the mood more than spatial awareness.
A camera shot comprises a series of frames shot during the time that the camera rolls uninterrupted. Various shots, angles and camera movements add up to create the overall impact of the scene. A shot also defines a scene’s “coverage component” or the proportion of the subject portrayed against its surroundings; in other words, the subject's size within the frame.
As stylistic devices, camera shots and angles enrich a production and enhance its impact on the audience by adding meaning, highlighting emotions and establishing themes. The viewers may not realise the impact of the various shots and angles, but these devices keep the audience's attention engaged by breaking the monotony of the narrative and making it well-rounded.
Basic Camera Shots
Viewers may see an actor’s iris close up or a vast landscape, depending on the camera shot. Some of the most typical ones are as follows.
Current Scenario
The employment outlook of a particular profession may be impacted by diverse factors, such as the time of year (for seasonal jobs), location, employment turnover (when people leave current jobs), occupational growth (when new roles are created), size of the occupation, and industry-specific trends and events that affect overall employment.
The growing interest in international television shows and films and the mushrooming of streaming platforms will likely raise the demand for production professionals over the next few years.
Potential Pros & Cons of Freelancing vs Full-Time Employment
Most Associate Producers freelance and accept work on a project-by-project basis. Freelancing Associate Producers have more flexible work schedules and locations. They fully own the business and can select their projects and clients. As an experienced freelancer, you must be prepared to work extended hours and keep changing gigs as you complete them. However, you may experience inconsistent work and cash flow, which means more responsibility, effort and risk.
On the other hand, full-time Associate Producers have company-sponsored health benefits, insurance and retirement plans. They have job security with a fixed, reliable source of income and guidance from their bosses. Yet, they may experience boredom due to a lack of flexibility, ownership and variety.
When deciding between freelancing or being a full-time employee, consider the pros and cons to see what works best for you.
You may have to work hard to match the producer’s vision each time you join a new production or take on a different task, but that is what makes you versatile and indispensable to a film or television show. With your organisational abilities, persuasive skills, and quick thinking to resolve unexpected hurdles, you help create an environment on set that is conducive to bringing the cast and crew together to deliver a profitable project on time, within the budget and one that will have the desired impact on audiences.
Having produced a film or two does not qualify you to think you’ve learned it all and that tackling budgets, call sheets and story breakdowns are simple enough. Be prepared to learn at every step, or you risk failure.
In virtual production, real-time 3D game engines create photorealistic sets to display on LED walls behind physical sets. Cameras synced with the engines enhance the realism and depth of perspective.
What do Associate Producers do?
An Associate Producer would typically need to:
Accredited
$74,918
