Program Directors (Television or Radio) compile and direct programs for television or radio. Radio and television program directors plan and schedule program material for stations and networks. They determine what entertainment programs, news broadcasts, and other program material their organizations offer to the public. At a large network, the program director may supervise a large programming staff. At a small station, one person may manage the station and also handle all programming duties.

ANZSCO ID: 212315

Specialisations: TV or Radio Program Director
   
Knowledge, skills and attributes
   
Program directors must be creative, alert, and adaptable people who stay up to date on the public’s interests and attitudes and are able to recognize the potential in new ideas. They must be able to work under pressure and be willing to work long hours, and they must be able to work with all kinds of people. Program directors also must be good managers who can make decisions, oversee costs and deadlines, and attend to details.

(Source: Your Career)

Duties and Tasks
   
Program directors plan and schedule program material for radio and television stations and networks. They work in both commercial and public broadcasting and may be employed by individual radio or television stations, regional or national networks, or cable television systems.

Program directors oversee material including entertainment programs, public service programs, newscasts, sportscasts, and commercial announcements. Program directors decide what material is broadcast and when it is scheduled; they work with other staff members to develop programs and buy programs from independent producers. They are guided by such factors as the budget available for program material, the audience their station or network seeks to attract, their organization’s policies on content and other matters, and the kinds of products advertised in the various commercial announcements.

In addition, program directors may set up schedules for the program staff, audition and hire announcers and other on-the-air personnel, and assist the sales department in negotiating contracts with sponsors of commercial announcements. The duties of individual program directors are determined by such factors as whether they work in radio or television, for a small or large organization, for one station or a network, or in a commercial or public operation.

At small radio stations the owner or manager may be responsible for programming, but at larger radio stations and at television stations the staff usually includes a program director. At medium to large radio and television stations the program director usually has a staff that includes such personnel as music librarians, music directors, editors for tape or film segments, and writers. Some stations and networks employ public service directors. It is the responsibility of these individuals to plan and schedule radio or television public service programs and announcements in such fields as education, religion, and civic and government affairs. Networks often employ broadcast operations directors, who coordinate the activities of the personnel who prepare network program schedules, review program schedules, issue daily corrections, and advise affiliated stations on their schedules.

Program directors must carefully coordinate the various elements for a station while keeping in tune with the listeners, viewers, advertisers, and sponsors.

• Studies scripts and scenarios to determine theme and setting.
• Oversees creative aspects of television and radio productions.
• Plans and organises the preparation and presentation of programmes.

Working conditions
  
Program directors at small stations often work 44–48 hours a week and frequently work evenings, late at night, and on weekends. At larger stations, which have more personnel, program directors usually work 40-hour weeks. Program directors frequently work under pressure because of the need to maintain precise timing and meet the needs of sponsors, performers, and other staff members.

Although the work is sometimes stressful and demanding, program directors usually work in pleasant environments with creative staffs. They also interact with the community to arrange programming and deal with a variety of people.
Tools and technologies

(Source: AFTRS)

Education and training/entrance requirements

You need experience in the entertainment industry and proven ability to work as a Program Director (Television or Radio). While formal qualifications aren't essential, a university or Vocational Education and Training (VET) course in screen or radio production may be useful.

Additional Information

If your high school or university has a radio or television station, you should volunteer to work on the staff. You also should look for part-time or summer jobs at local radio or television stations. You may not be able to plan the programming at a local station, but you will see how a station works and be able to make contacts with those in the field. If you can’t find a job at a local station, at least arrange for a visit and ask to talk to the personnel. You may be able to “shadow” a program director for a day—that is, follow that director for the workday and see what his or her job entails.

Program director jobs are not entry-level positions. A degree and extensive experience in the field is required. Most program directors have technical and on-air experience in either radio or television. While you are in college you should investigate the availability of internships, since internships are almost essential for prospective job candidates.

Beginners should be willing to relocate, as they are unlikely to find employment in large cities. They usually start at small stations with fewer employees, allowing them a chance to learn a variety of skills.

Most beginners start in entry-level jobs and work several years before they have enough experience to become program directors. Experienced program directors usually advance by moving from small stations to larger stations and networks or by becoming station managers.
   
Employment Opportunities
   
Competition for radio and television program director jobs is strong. There are more opportunities for beginners in radio than there are in television. Most radio and television stations in large cities hire only experienced workers.

New radio and television stations and new cable television systems are expected to create additional openings for program directors, but some radio stations are eliminating program director positions by installing automatic programming equipment or combining those responsibilities with other positions.

  

An assistant director helps manage the day-to-day operations of a TV or film set. They ensure all aspects of the production run smoothly by working with directors, producers, cast and crew. An assistant director typically handles the logistics of a film or TV set throughout a production. Their role involves liaising between director and film or TV crew, managing the schedule and coordinating with various people on set. Their understanding of filmmaking, including camera operation, lighting design, editing and sound recording, helps them manage various teams effectively. Assistant directors benefit from strong skills in communication, leadership and management.

The core of the Assistant Directing Department is made up of the 1st, 2nd, 3rd ADs and an army of runners also known as set PAs/production assistant and floor runners depending on the type of production you are working on. The AD Department is primarily concerned with the movement of the crew, the schedule of the work and the logistics of filmmaking. The larger the production, the larger the crew and cast, the larger the AD Department. The 1st AD will be running the set actioning any decisions made by the director and other HoDs (Heads of Department). This leaves the director free to work with the actors and concentrate on the creative decisions of the day. When filming the 2nd AD will be responding to the needs of the 1st, navigating cast around wardrobe and makeup, while generating the callsheet for the next day, logging and reporting key information of the days work for the production office. The 3rd will be working alongside the 1st onset, positioning the background actors, looking after the cast (while on set), implementing any lock-offs and running the team of floor runners. They are also responsible for logging and distributing radio’s to both the AD team and the whole crew.

ADs bridge the gap between the production office and set, the crew and the cast. They liaise and coordinate with each department, and are the lynch pin of the operation during production.

(Source: PremiumBeat)

ANZSCO ID: 212312
   
Alternative names: 1AD, 1st AD, First, First AD, Assistant director, AD
   
Specialisations:

• Second assistant director (2nd AD): The second is the main off-set contact with some of the other departments such as production, locations and facilities. On each day of filming the second must prepare and draw up the next day's call sheet. Once filming begins, seconds ensure that all actors are ready for filming when they are required, entailing transport co-ordinating and make-up and wardrobe timetables. Seconds may be responsible for finding extras and coordinating their transport and activities on set.

• Third assistant director (3rd AD): Thirds are the 1st AD’s right-hand man on set. They are responsible for coordinating extras, preparing and cueing them as well as sometimes directing them in any required background action. They may have to keep members of the public out of shot or off the set and location and will liaise with the location manager with regard to the security and tidying up of studios and locations after filming.

• Crowd assistant directors (2nd crowd AD, 3rd crowd AD, Crowd PA): Crowd ADs coordinate larger crowds of extras for the background of scenes, helping to organise the transport and logistics of shooting with a crowd. They may also direct members of the public or keep them off-set.

(Source: PremiumBeat)

Knowledge, skills and attributes

• Visualising the script: read the script and know what this means in terms of cameras, locations and cast, understand the director’s vision
    
• Planning: analyse what is needed for a shoot, and co-ordinate the schedules of various departments including camera, make-up, hair, costume, design and visual effects, think ahead
    
• Multi-tasking: pay close attention to what is happening in one shot while getting ready for the next one
   
• Innovation: think of creative solutions under pressure when the unexpected happens
    
• Communication: able to let a wide range of people know exactly what is required of them and get them to work together, ability to listen to the director

 

(Source: PremiumBeat)

Duties and Tasks

The first assistant director (AD) is the director’s right hand. First ADs plan the filming schedule, working with the director, director of photography and other heads of department to ensure an efficient shoot.

In pre-production, they break down the script, analysing it for what will be needed in terms of cast, locations, equipment and crew. They lead recces, going off to locations to assess their suitability for filming.

Then they input the scripts into Movie Magic software, which helps them work out what to film and when, depending on the availability of cast and locations. They write the shooting schedule and work out how long each scene will take to film.

During filming first ADs manage the set, which leaves the directors free to focus on the actors and framing the shots.

• Analysing scripts: Assistant directors usually analyse scripts to break down each scene in the production. This involves tagging various elements in the scene to establish shooting requirements. Assistant directors typically perform this task before production begins, as it can help determine the budget, shooting requirements and shooting schedule for each scene. For example, a script breakdown may assess elements such as costumes, props, set dressing, extras, makeup, music, special equipment, stunts or vehicles necessary for each scene.
    
• Creating shot lists and storyboards: After completing a script breakdown, an assistant director may create shot lists or storyboards. A shot list is a road map that helps communicate plans with the crew before filming. It incorporates the information generated from the script breakdown. Shot lists can include details such as how long each shot is likely to take and any special equipment a scene requires, so everything is ready before filming. A shot list is useful as a checklist to help teams prepare for the day's shooting.
    
• Preparing the call sheet: Much of the information on the call sheet comes from the assistant director, who plans the shooting schedule. They produce the call sheet and circulate it to cast and crew so they understand the requirements for the following day's shoot. Typical information includes the shooting schedule, location information, weather details, parking regulations or any other information related to access or timing for the shoot. A call sheet aims to ensure everyone knows where to be and when to ensure the success of the day's filming schedule.
    
• Managing day-to-day operations: Assistant directors manage daily operations on a film set. Because their role is to help make the director's job more manageable, they monitor daily progress against the film schedule. This can help the director focus on achieving the best outcome for the production. For example, if a scene requires a reshoot, it's the assistant director's job to calculate whether they can make up the time elsewhere in the schedule. They may then assess what the overall impact is likely to be on the production. They also ensure actors, extras and other crew members have what's necessary to perform their job effectively.
    
• Organising props and costumes: Assistant directors typically ensure the set has the necessary props to shoot scenes. They communicate with production managers to ensure all elements are ready for each scene. For example, they work closely with the costume department to make sure all costumes are ready for the day's shooting.
    
• Coordinating locations: An assistant director ensures there are adequate locations for the film or TV shoot. This can involve scouting for settings and determining the number of days shooting on location compared to days in the studio. They may also plan scheduled off-camera days, such as those necessary for rehearsals, to help manage the production effectively.
    
• Tracking budgets: Assistant directors set production budgets according to allocated funding. This can include monitoring budgets daily or weekly to ensure they align with the expected totals. It may involve providing reports to the director, producer or studio executives, depending on the size and scale of the project.
    
• Handling unforeseen tasks: An assistant director supports the director in various capacities, including managing unexpected tasks as necessary. This may involve arranging meals for crew members during long shoots, supervising scripts, organising timelines or fulfilling other logistical requirements. They also help other crew members, such as producers and actors, manage production challenges.
    
• Arranging permits and approvals: An assistant director may arrange permits or gain permission from local authorities to film at locations. This can involve completing paperwork to gain approval ahead of filming. It may entail contacting local authorities to determine what action is necessary. This is pertinent if shooting requirements involve additional support, such as closing roads or gaining access to specific areas that require arranging police support or rerouting public transport.
    
• Overseeing set production: Because an assistant director ensures everything is ready for filming, they may also be accountable for overseeing set production. This can include working with production crews to ensure they build sets on time. It can also involve working with safety teams to ensure sets comply with the latest regulations and completing necessary paperwork.

(Source: PremiumBeat)

Working conditions

Film, stage and television assistant directors work in film and television studios, theatres and other performance spaces, and on film or television sets in actual locations. When working outside they generally require specific, usually clement weather conditions. They work long hours, often until late, and may be required to work on weekends or public holidays. They may be required to travel locally, across Australia or overseas to shoot on location.

Tools and technologies

Film, stage and television assistant directors use office equipment, as well as using laptop computers and mobile phones to stay in contact with key people in the entertainment industry. They also need to be familiar with many of the technical aspects of the filmmaking process, but not necessarily require any practical experience with the equipment involved. Usually they need to know how to operate Movie Magic Scheduling.

  
Education and training/entrance requirements

To become a film, television, radio or stage assistant director you usually need to complete a VET qualification or degree in screen, film, media or a related area. Relevant courses are widely available at TAFE Colleges and universities throughout Australia.

This is a senior role that requires many years of experience. Most first assistant directors start out as trainees or floor runners and work their way up. Training courses in Movie Magic Scheduling is important.

There are various areas of speciality to choose from, including screen and media, film, TV, theatre or creative arts. You may choose to study for your degree or diploma at a university or specialist film school. It's also possible to undertake traineeship opportunities in media that offer practical experience.


Employment Opportunities

Employers may seek candidates with experience in the entertainment industry. Directors are likely to hire an assistant with hands-on experience of working and managing the daily operations of a film or TV set. Candidates with experience working as a production assistant, cinematographer, editor or similar often show practical knowledge that can be valuable when working as an assistant director.

Some job growth in the motion picture and video industry is expected to stem from strong demand from the public for more movies and television shows. In addition, production companies are experimenting with new content delivery methods, such as mobile and online TV, which will lead to more work opportunities for directors and assistant in the future. Streaming services have had a huge impact on the industry as a whole.

The action of SPECTRE
https://youtu.be/ej9kDTw6RgA

 

  

The floor runner is part of the AD (assistant directors) team and works on the “floor”, i.e. the set, under the first and third assistant directors. The production runner is part of the production office and works under the production coordinator and any assistant coordinators in the team (and by extension, the unit production manager and/or line producer and/or production supervisor).
  
Runners are now frequently referred to as P.A.’s, e.g.. set P.A. and production P.A. but the production assistant’s position was originally one step up from the runner’s position and it involved general duties in the production office, but excluded tasks carried out by the runners such as meal runs, mail collection, photocopying, tea and coffee runs etc.

The ADs rely on their team of floor runners to facilitate the smooth running of the shoot, a small four man team on an indie to an eighteen man team on a studio production. The runners who are brought in to assist ADs in their work need to prove their worth quickly, hard working capable runners will not be short of job offers. The role of floor runner is the most sought after entry level position.

ANZSCO ID: N/A

Alternative names: Set PA, Production Assistant,
    
Specialisations: Many of the following positions will only be found on big budget production (studio and indie), on the low to micro-budget productions there will be a team of floor runners rather than designated types of PA.

• Key Floor Runner/PA who is the ‘go to’ PA for the 3rd AD. They often step in to cover the 3rd if they need to leave set, and primarily look after the cast and their movements and requirements while on set.
     
• Cast Floor Runner/PA. Attached to the principle cast. They are responsible for getting cast members to set, lunch and will perform any tasks that need attending to. This is not the same as the actor’s assistant; the cast PA is more of a logistical and communications role attached to the AD Department.
    
• Crowd Floor Runner/PA. Will work closely with the background actors making sure they are getting through hair, makeup and wardrobe. Moving them on and off set quickly and quietly, and making sure they are looked after. They will often support the 3rd by keeping notes about the continuity of the background in the scene.
    
• Walkie Floor Runner/ PA. Normally the responsibility of the 3rd AD, but often a member of the running team takes on this role if working with a large crew. Walkie-talkies are the lifeblood of the film set and are heavily embedded in the ADs world. Without someone being responsible for charging batteries and logging them in and out, batteries can get lost, or an antenna can remain damaged.

(Source: Studio Binder)

Knowledge, skills and attributes

• Communication: give clear and concise communication over the radio, know the faces and names of all the crew, be personable, be able to coordinate large groups of extras in pressurised situations
    
• Multi-tasking: stay calm, cope and prioritise when the first assistant director is asking you to do something over the radio at the same time that a unit car driver needs attention on WhatsApp
    
• Watching film and TV drama: have a passion for the genre and a love of the industry
   
• Learning by watching and asking: take instruction, observe the first, second and third ADs at work, know when to ask about things
   
• Taking initiative: have common sense, see what needs to be done in a situation
    
• Reliability: get to set on time

What makes a good floor runner?
https://youtu.be/l5sUAzGw-ag

Duties and Tasks

Runners report to the first assistant director and are usually supervised by the third assistant directors. But they take messages to everyone in the production, so they need to be able to approach them confidently. They also work closely with the supporting artists. This tends to be the most junior role on any production.

Floor runners do anything required to aid the shoot's progress. They run errands, convey messages, look after cast and crew, make drinks and provide food, drive and deliver kit.

Floor runners are often responsible for transport to and from unit base to set. They help with getting the cast to the unit cars and crew into the minibuses.

And they deal with small and large crowds of supporting artists, supervising them, with the help of the key third or with a crowd third. They might have to supervise them or set a few into the background.

Even small details may cause delays, so floor runners are quick on their feet and responsive to specific requests from the producer, director, or assistant directors.
  
Working conditions

If you’re working with a team of 18 runners or working with a smaller team of 4 or 5 on an independent production, you will be on your feet just as much, working just as hard, dealing with many of the same issues.

On a low budget feature you might encounter:

Longer hours. Finances will dictate that the shooting schedule needs to be complete before anyone can go home. When going into overtime the 1st AD will ask if people mind staying on, don’t be surprised if some members of the crew walk off set. You always have the choice so do what’s right for you.

Less cash means fewer people. The larger departments such as Art Department can be more moderate on a production of a lesser budget.

Your pay can be very low on a low budget feature, make sure to find out what they're paying before accepting any position. It’s not unheard of for runners to assume they're being paid when in fact they're working for expenses. No one likes talking money, but negotiating your rate will be a feature of your career - so be bold and ask the questions.

You’ll be pitching in more (although always observe good set etiquette and remember never touch equipment without asking), carrying the gear, and if there is no location team co-ordinating light traffic control.

Decisions are made quickly on indie productions; this is because - 1. Time is money, and the 1st will not tolerate procrastination, and 2. the director will not have to cross check with members of the studio over little details of costume, lighting, action.
    
Due to the collaborative overlap, working on a commercial can mean long hours as signing off on a shot requires more than one tick. There is more pressure on the crew to get the shot with less time available, so runners can be lifting, carrying and cabling with everyone else. On smaller budget commercials there may also be less crew, and the product or pack shot can be left to the runners to set up, it takes many hands to move 100 boxes of washing powder.

(Source: My First Job in Film)

Tools and technologies

Be prepared on your first day on set. This is the kit that can be useful.

• A pen with four colours. Used for note-taking on callsheets
• A highlighter
• Notepad
• In-ear convert; so you don’t have to wear one that has been used by someone else
• Walking boots or other waterproof footwear
• Waterproof trousers and coat
• Thermal and extra layers of clothing
• Set bag (backpack) to put them in
• Reusable water bottle and snacks
• Leatherman or multi tool (not essential but helpful)

 

Education and training/entrance requirements

ADs will be looking for candidates with some practical experience and a can-do attitude over academic qualifications. They're going to want to know from your CV you are prepared to listen, work hard, be proactive and have a real drive to work in the film industry.

Floor runners are always in demand, especially good ones. This is, however, one of the more competitive entry level positions, some people intend to stay in the department, others wish to use the experience to move into other areas of production.

Employment Opportunities

Most likely at the beginning of your career, you'll be working on small independent films that are shot in three weeks rather than three months.

The network you build while working on indies, alongside your developing CV, will enable you to branch out to find work in commercials, TV drama, high-end corporate videos and music videos. This greatly increases your chances of finding regular work, and if you are aiming to work on the bigger budget productions and studio features, you will need all the experience you can get.

If you're unsure which department you would like to work in, starting out as a runner can allow you the time to explore your options. However, it’s advisable to make decisions early on in your career as all roles in the industry require an element of apprenticeship, so you will end up starting at the bottom of the ladder if you decide to switch roles.

The entry level runner positions on big budget productions are daily runners (bought in for ad hoc day work), lock-off runners (more hands needed to be positioned around an area if working in a busy location) and crowd runners (helping the 3rd AD).

Runners/PAs are found in almost every department such as camera, costume, locations etc. if the budget will allow.

Additional/daily PAs are brought in on a daily basis as and when required. Usually, if there is a second unit or the production has a large number of cast or extras that day. These are roles to look out for if you have experience on some low budget features or drama on your CV and want to work on higher budget features.

While working on low budget productions you will be meeting a host of other professionals from all departments, make sure to throw inhibition to one side and introduce yourself to as many people as possible in those first few days. With a few years under your belt, you'll find roles in the AD Department change depending on the type of production you are working on. For example, you can be working as a key PA on a studio film, 3rd AD on a TV drama, 2nd on a commercial, 1st AD on a short film. Experience is the key when working in the AD Department in span lang="en-gb">Australia, competence and professionalism are vital when moving up the ladder.

Knowing where you're going is vital to your success in the industry. While you're engaged in the less than glamorous tasks - such as furniture removals, litter picking and becoming a part-time barista - keep your eyes on the prize and your hard work should eventually pay off.

Did You Know?  WHAT IS GOOD WALKIE ETIQUETTE? Knowing how to use your walkie will be a vital component to your job. Always use your name to identify yourself and identify who you are trying to contact, wait for their response before asking the question. Remember, there is always someone listening so keep it concise and please don’t mess about. Here are some key phrases and information you should know for when you're handed your first walkie-talkie: Lock-off the... You will hear this all day long. If working in a studio, someone will ‘sussh’ those hanging around outside the studio door and flick on the red light and ring the bell. If working on location, you can be placed in a road halting pedestrians so they do not enter the shot. This is the most important call to listen for on your walkie; if you miss it the background could receive a few extra talent and you a P45. Walkie channels. Channel 1 on the walkie is usually for production, while channel 2 is for private conversations. The rest of the channels will be assigned by department. Make sure you get a list of the assigned channels on your first day, keep it safe. Rolling/turning or turning over. Wherever you've been placed when the 1st calls for the camera to turn over, you will be required to ‘echo’ the 1st AD when they announce it. This makes other crew members aware of what is going on, even if you are far away from set. Copy! Make sure you announce that you have heard and understood instruction. What’s your 20? usually means ‘where are you’, and if they're asking you’re probably in the wrong place. 10-1 mmeans someone has taken a bathroom break, and they will be back when they’re back. Walkie Talkie Lingo Everyone on Set Should Know https://youtu.be/45eue23b_iE

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Materials sourced from
Jobs & Skills WA [Film Television Radio Stage Director; ]
CareerHQ [Director Film TV Radio or Stage; ]
Career Research [Program Director - TV or Radio; ]
ScreenSkills [Assistant Director; Floor Runner; ]
Indeed [Assistant Director; ]
Quora [Floor Runner; ]
My First Job in Film [Assistant Director & Floor Runner; ]
Your Career [Director (Film, Television, Radio or Stage); Program Director (TV or Radio); ]