Overview of the role
The DV director role is a mid-level role for someone who has been in the industry for several years and has worked their way up from either shooting assistant producer or come from a background where they are used to filming full sequences and stories independently.
The DV director should both be editorially minded and technically proficient. This is usually a purely shooting role, where the main responsibilities are filming usable content for the film, series or commissioned brief. They will be expected to shoot full sequences from start to finish, filming off of a shooting script, or reacting to the situation occurring, depending on the type of programme. They won’t however, have the full management or editorial responsibilities as the more senior shooting producer director and will have to answer to the more senior editorial team.
The DV director will be expected to have a strong technical understanding of how the camera works and how to get the best out of it. Often working alone, the DV director often works autonomously so must be self sufficient, self reliant, and organised. They must work independently, while satisfying the demands of the wider production, sticking to the show style and format.
Although this is usually an independent role with key responsibilities, the DV director should still have the full support of senior editorial team and be able ask for advice and help as needed.
Core responsibilities
These core responsibilities are provided as a guide and are not exhaustive. The exact responsibilities in a particular job will vary depending on the scale / budget band / genre of the production.
- The DV director should be familiar with and be able to shoot on a variety of broadcast cameras.
- They should always have their camera kit ready and prepped with charged batteries and all the accessories needed to be able to film at short notice, and be ready to shoot all day without returning to a base.
- They should have experience in shooting creatively, and covering full scenes or sequences for the edit, including but not limited to interviews, actuality, wide shots, cutaways, non-sync wides, b-roll and GVs.
- They should be familiar with sound and radio mics and how to place them on contributors to get the best quality sound.
- They may be expected to operate other accessories to a good creative standard, including gimbals, sliders and GoPros. They might benefit from having a drone license but this is not essential.
- The DV director might be expected to shoot master interviews on their own, so they would need to be able to implement a simple lighting set up and ask interview questions.
- They could be working with talent or nervous contributors and will need to be able to get the best out of them, often within tight time constraints.
- Generally the shoot has already been set up when the DV director comes on board, but they may still have to coordinate independently with location and contributors, making sure everyone is at the right place at the right time.
- The DV director might be filming in public on their own and might have to deal with members of the public trying to intervene or distract them, and must be able to deal with them proficiently and politely.
- They should have a good knowledge of compliance and their rights of where they are allowed to film in public.
- They may also have to collect release forms for each location, material or contributor, or at the very least know how to film valid on camera consents from willing but minor contributors on the fly.
- Working independently, the DV director may also be asked to perform risk assessments for some locations, as well as drive long distances to and from locations and be responsible for their own food for the day.
- At the end of the shoot the DV director may be expected to log or write up story notes for the edit, including any compliance, consent or technical issues, and time codes for key moments.
- They may also be expected to wrangle and back up their rushes for the day using ShotPut Pro or other method approved by the production company.
- The DV director will often be expected to shoot pickups and master interviews while the program is in the edit, fulfilling a specific brief from the edit producer and editor.
Skills
Check out role specific skills, transferable skills and attributes for the role of DV director.
- Understanding editorial brief and deliver filmed content that adheres to the brief.
- Understand camera set up and having technical skills required to shoot competently.
- Filming on location or in the studio either independent stories or cross shooting; understanding what editorial shots are required to complete the sequence, including but limited to actuality, on the fly or master interviews, GVs, b-roll, cutaways.
- Possibly using other cameras or equipment to achieve dynamic shots, including go pros, gimbals and sliders.
- Logging or writing filming notes for the edit so they understand what material was shot and where they will find it.
- Possible wrangling or backing up rushes to hard drives, using ShotPut Pro or other approved method by production company, keeping rushes log up to date.
- Maintaining good communication and relationships with senior editorial team, keeping them abreast with content being filmed and any issues to occur on the ground.
- Highly organised and self sufficient, being able to work independently and having everything required for the camera to function for the full shooting day, including enough charged batteries and cards.
- Knowledge of compliance and public filming, where they can and can’t film and what to do when challenged by the public.
- Knowledge of risk assessments and health and safety compliance
- Organisation: being meticulous at having all the correct camera and sound equipment ready and available to film at short notice.
- Multi-tasking: handling complex tasks at the same time- shooting, sound, following action, asking questions, managing contributors or talent.
- Decision making: deciding what to film and how to cover a scene, and sticking to it.
- Working under pressure: keeping a cool head and still be able to capture the scene needed under predictable or chaotic circumstances.
- Time management: organising own time and workflow, being able to film scenes or story in agreed allocated time.
- Troubleshooting: keeping calm under pressure when a technical problem inevitably arises on location, being able to work through the equipment methodically to understand what the problem is, then being able to solve it or communicate with production what needs to done to fix the issue.
- Resilience: dealing with last minute change of plans, long shooting days, potentially being stood down or go somewhere entirely different to film something else.
- Ethics and integrity: often as an independent shooter working with a vulnerable contributor deciding whether it is appropriate to keep filming and communicating with senior team about concerns.
- Flexibility: adapting to last minute changes and unpredictable scene, and willing to modify filming plans to cope with the changes.
- Editorial judgment: knowing how to film a strong sequence for the edit and shots are needed to cover it, being able to prioritise shots or sequences above others if
- Communication: being a good communication of often difficult environments, informing senior team members of what material has been filmed or any issues on the ground involving contributors. Don’t be afraid to ask for help or advice though, you should be well supported from senior editorial team, and they would rather you ask them for help than not get the right material or put yourself in danger.
- Team player: while being a hugely important role to get the extra content needed for a commission, remembering the position and sticking to the brief or what has been given and not deciding that your own style of filming is better than what the commissioner has asked for!
- Knowing your limits and backing yourself: it’s easy and often expected to keep filming and working well beyond safe limits, especially when there might be long driving distances after shoots. This is particularly important when working alone, which is inherently more dangerous and tiring. Being able to push back and communicate what you think are safe working practices and limits while working on your own or being responsible for contributors and knowing when to stop is extremely important.