That's Entertainment Behind the Scenes - jobs in movie and TV industry - Statistical Data Included

Camera shy? No problem. Take a look at all the jobs behind the camera.

Just watch the credits at the end of a motion picture, and you'll get an idea of the number and variety of positions for people who want to work their magic behind the scenes.

A Booming Business

According to the U.S. Bureau of Labor Statistics, there were close to 300,000 salaried employees in the motion picture production and distribution industry in 1998, and that doesn't include the thousands more who worked freelance or on a part-time basis.

Although the industry is booming, competition for these jobs is fierce, and breaking into the industry can take years. Rejection and disappointment are common. But success is possible, say the experts, with tenacity, a lot of talent, and a little luck.

Though New York and Los Angeles are the entertainment capitals in the United States, television stations and movie production companies exist all across the country. Often, these smaller markets are ideal places to start a career in the entertainment industry. Behind-the-scenes jobs in motion pictures and television fall into three categories: pre-production, production, and post-production. Local or regional television stations give the novice experience working in all aspects of the industry, including props, lighting, camera work, producing, and writing. Whatever area you are interested in, the keys to success are the same: hard work, talent, and luck

Take It from the Top--Pre-production Jobs

Pre-production refers to the planning stage. Before your favorite feature film or television program comes to life, dozens of people contribute to its creation. First, there is the scriptwriter (screenwriter), who puts pen to paper to come up with the concept, the plot, and the dialogue. Then there is the art director, who designs the sets and supervises the painters, carpenters, set decorators, and even the costume designers. The casting director works with talent agents to find just the right actors for the various parts.

There certainly are plenty of positions in pre-production, but breaking into the business is not easy. Genia Shipman is a scriptwriter who knows firsthand how difficult it can be. "I tell people thinking about a career in the entertainment industry this: If you want security, buy a blanket," she says. Shipman sold her first script--a one-hour drama--after struggling for four and a half years in Los Angeles.

"To work in TV, you really have to live in Los Angeles or New York. You can start a career writing movies from anywhere but TV producers--and your prospective agents--want you where the work is done."

Shipman watches a lot of television. She says it is important to familiarize yourself with the different formats. "To write for television (sitcoms and hour dramas), you really have to watch a lot of TV. More than that, you really should love the art form. If you say 'I never watch TV, but how hard could it be to write that stuff?' please do something else." She adds that the keys to being a successful scriptwriter are, "Read a lot, do a lot, take interesting classes in college, work at different jobs--and write a lot."

Lights, Camera, Action--Production Jobs

Behind-the-scenes jobs in production include camera operator, lighting technician, sound engineer, boom operator, and special-effects technician. All of these positions involve working with equipment. For example, sound engineers work with microphones, mixers, and synthesizers to ensure great-sounding dialogue and sound effects. Special-effects technicians are the creative minds who use science and technology to wow audiences with everything from blazing infernos to lifelike dinosaurs.

You might think production is the glamorous stage of the business, where you get to work directly with the stars. After all, it's during production that the actual filming gets done. Some experts beg to differ, however.

"It's a difficult business," notes Los Angeles-based cinematographer Charles L. Barbee. Lugging a heavy camera around in inclement weather, sometimes over rough terrain, is not exactly glamorous, and the hours are long and irregular. Like Shipman, he says the industry does not offer a lot of stability. "I think people don't always understand the amount of work that goes into finding work." Barbee's credits include the first Star Trek movie and an Emmy nomination for his work on the television series Night Court. Even after more than 30 years in the business as a freelancer, Barbee feels he still has to prove he can do the job. Barbee is also an experienced diver, an underwater photographer, and a licensed pilot. That versatility, fortunately, opens a few doors too.

To succeed in the business, Barbee recommends a background in still photography. He admits he is a visually oriented person, and that has no doubt helped him to reach the top of his game. Barbee originally wanted to become an architect, but a part-time job as a prop man at a TV station convinced him to change his major to film.

Emmy award-winning director of photography Jim Furrer was partway through his post-secondary education when he got an entry-level position at a local PBS station. Both men spent several years at those jobs, learning the business, before getting degrees in broadcast journalism and moving on to larger markets.

Film or broadcast journalism school is not absolutely necessary, but it is the place to meet and network with the right people. Furrer says, "It is important to understand crew structure and hierarchy when you get that first job on the set." This is true even if your work experience turns out to be very different from your film-school experience.

As a director of photography, it's Furrer's job to hire the cinematographers, camera operators, and gaffers (lighting technicians) for a project. Furrer looks for people with experience and enthusiasm. You can get that experience by volunteering at a local cable access channel. "That gives you access to the equipment, and you can become a little more visually literate and qualified on some higher-end gear," advises Furrer.

It's a Wrap!--Post-Production

Post-production takes place in editing rooms and recording studios. It's where editors select the best shots and splice them together to create the action and mood of the script. Sound effects editors add background music and other sound effects to the film or television show.

And once this stage is completed, the marketing department kicks into gear and decides how they are going to bring people into the theater or get them to turn on their show.

Whether you are interested in pre-production, production, or post-production, expect to start at the bottom and slowly work your way up the ranks. Success won't happen overnight. But success can happen for those willing to stay with it.

Show Me the Money

Salaries in the entertainment industry vary dramatically, depending on location, experience, and project.

Screenwriters

The minimum payment for a motion picture screenplay and treatment (story outline) as agreed to by the Writer's Guild of America (WGA) is between $45,490 and $85,330. An established motion picture screenwriter can earn $100,000 to $600,000 (and up) per screenplay.

Staff Writers

TV staff writers earn a minimum of $3,180 per week for a 13-week series. While these earnings may seem high, the WGA cautions that less than half of its members sell a script in any given year.

Camera Operators

Median (middlemost) yearly salaries for camera operators are $21,530. The middle 50 percent earn between $15,330 and $34,200. The highest 10 percent of salaries are more than $53,470.

Broadcast and Sound Technicians

Median earnings in this field are $25,270 per year. The middle 50 percent earn between $16,940 and $40,310. The highest 10 percent of salaries are more than $67,020, according to the Bureau of Labor Statistics.

Film Editors

On the low end, editors earn $24,000 annually, but the salaries range to more than $50,000.

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