Overview of the role
The shooting assistant producer role is a medium entry hybrid role suitable for someone who has been in the industry for several years and has moved up from shooting researcher.
A shooting assistant producer will be expected to perform all of the roles of an assistant producer but will also be technically proficient and shoot to a good standard. They usually work on location but may also have office based work depending on the production, often researching locations, casting contributors and setting up shoots. They will be more editorially responsible than a shooting researcher and will work closely with senior PDs or the series producer to develop stories and ideas, then research and set up the relevant shoots.
The shooting AP will have a fair amount of responsibility editorially and technically, but this is not a senior role and the shooting AP should have the ability to learn and develop on the job while having the full support of the more senior members of the team, where they can ask advice or questions as required.
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.
- Just as a non-shooting AP might do, the shooting AP will be expected to work independently to identify stories and ideas that fit the editorial brief, and set up the shoots, while always answering to a senior member of the editorial team.
- On location they will be responsible for their own camera kit and be technically proficient enough to maintain it, troubleshooting any technical issues that might arise.
- They will be expected to have the camera ready at all times, with charged batteries and radio mics ready in the event of any last minute filming, depending on the production.
- The shooting AP will be technically proficient enough to be able to shoot simple sequences on their own, shoot B Cam on a cross shoot, or shoot strong b-roll, GVs and cutaways.
- They should know how best to cover a sequence with editorially appropriate coverage including wide shots, singles, cutaways and non-sync shots among others, all which would be needed to help the edit.
- They might shoot scenes independently or cross-shoot on bigger scenes with the shooting PD. They should be able to safely create a basic lighting set up for master interviews and ask questions during the interview.
- Depending on the production they might be expected to react to an ongoing story, filming observationally and making editorial decisions quickly and independently, with support of the team.
- They should always be in tune with the needs of their PD, helping the senior editorial team in whichever way they can, to capture the footage needed to complete the brief.
- Along with shooting, the shooting AP may be responsible for coordinating with the location or contributors and have the relevant paperwork to hand such as location, contributor and material release forms or any permits needed for shooting.
- Depending on the size of shoot, the shooting AP may also be responsible for providing snacks and lunch for the crew and contributors, or driving to and from locations.
- In the event that there is no DIT on the production, the shooting AP may be required to wrangle the rushes and back them up on a previously agreed method by the production company, filling out the Rushes Log for the edit.
- Post shoot the AP might be required to log the rushes and write up story notes for the edit, including any issues with compliance and consents, or any technical issues that arose during the shoot. This is vital for the edit to understand what has been shot and production to chase any possible legal challenges.
- If shoots occur while the program is in the edit, often the shooting AP will be trusted to go and shoot pickups with less supervision on location than usual. In this instance, the shooting AP should ask for a specific brief from the edit.
- Coordinating supply of archive footage, music, photos, UGC, through the edit.
Skills
Check out role specific skills, transferable skills and attributes for the role of shooting assistant producer.
- Strong editorial judgement to find and set stories, locations and contributors and filming them to match the brief.
- Technical skills to get the most out if the camera and shoot well covered scenes that include the shots that the edit will need, such as wide shots, cutaways, non-sync shots, GVs, B-Roll and interviews.
- Competency with basic lighting and sound equipment, how to put up appropriate lighting equipment and master interviews and capture usable sound on booms or radio mics.
- Interview skills needed to conduct interviews for formal master interviews or on the fly chats. E.g. eyeline, answering in complete thoughts.
- Compliance savvy and organise paperwork including but not limited to location, material and contributor release forms and any permits required.
- Multitasking: juggling several tasks at once and often to a tight deadline. Shooting is entirely multitasking, thinking about picture, sound, editorial, compliance and contributors all at once.
- Organisation: exceedingly organised when dealing with release forms, scripts, camera equipment, and backing up rushes.
- Working under pressure: being able to keep a cool head and finding a solution quickly when a difficult problem inevitable arises.
- Communication: being honest and clear when communicating to senior team members about an issue, or a vulnerable contributor who has to have a clear understanding of what is being asked of them
- Attention to detail: knowing what the big picture of the content is, but being able to notice small details, including but not limited to correct release forms being signed, rushes uploaded properly, shooting on the right specs, understanding what might be missing from a filmed scene.
- Resilience: ability to cope in an ever changing environment and working with potentially unpredictable people.
- People skills: confidence in talking to anyone, whether it’s keeping a nervy contributor on side, convincing a suspicious press officer to let you film, or pitching a story to the exec.
- Independence: being a self-starter who can work independently but answering to senior editorial and production team.
- Time management: prioritising which task needs to be completed for the appropriate deadline, making sure shoots don’t run over on location.
- Ethics and integrity: knowing when it’s appropriate to pursue filming with a contributor or story and when to speak up and be honest to senior team members if it’s not the right time to film with them. Welfare of the contributor and crew should always come first and as often the main point to contact with the relationship, the shooting AP might be the best person to make a judgment call on whether the contributor should take part in filming.
- Honesty and communication: knowing your limits and asking for help. The shooting AP isn’t expected to know everything about shooting and it’s much better to ask for help and get it right then muddle through shooting expecting no one will notice, they will in the edit!