You’ve chosen a career in film and are now wondering what awaits you as you move forward. Where do you belong on a film set? How do you climb the ladder through different departments? What might it take to have a long and fulfilling career in the entertainment industry? Importantly, what can you expect to be paid? Use this breakdown of film industry jobs, duties, and salaries to determine the best job for you!

Producer

Scrolling through the producing credits of a film can sometimes be perplexing: “What do all these people do…?” 

In short, a producer is in charge of the practical and financial aspects of bringing a film project to life. They set the budget, secure the financing, and hire the director and crew. They ensure the production stays on schedule and budget. 

When their film or TV show is in production, producers generally work long, irregular hours under a lot of pressure. They are often present at the beginning and can remain on a project throughout the life of the film.

There are numerous levels of producers on any given project – associate, co-producer, producer, and executive producer are just some of these positions, to name a few. Generally, a producer is in charge of the filmmaking “nuts & bolts,” and an executive producer is involved in the financing. Other producing credits are typically more supportive.

The salary for a producer on a film can vary wildly – from a nominal fee on a low-budget indie, to millions on a studio film. The average mean salary is roughly $76,000. 

This is a highly competitive field expected to grow 10% over the next 8 years. Producers with a strong background in business/finance will have an advantage. The job of producer also requires stamina, along with organizational and sales skills.

Many producers get their start by assisting other producers (often taking an entry-level “Associate Producer” credit) and from there, gain an understanding of the filmmaking process. Others get the ball rolling themselves by optioning a script or developing their material. 

Oftentimes, directors on indie projects have no choice but to become their own producers. 

Director

The director is the person responsible for the creative side of bringing a story to screen. Directors need strong technical knowledge, a clear understanding of each person’s role on a film, and the ability to communicate and collaborate well with producers, writers, talent, and crew so the film production runs smoothly. They are responsible for the “vision” of the project.

As with producers, directors work under a lot of stress when their film is in production. Stamina and a clear focus are essential to helming a film and having a successful shoot.

The salary for a director is dependent on the overall budget of the film. Pay on indie films can be nominal, and on bigger-budget or studio films, it can be substantial. 

But it’s important to remember directing a feature film can often be a yearlong process (sometimes even multiple years). Having the ambition to “make it” as a director would be better fueled by a passion for the craft than overall monetary compensation. 

The reported median salary is about the same as for producers, but other factors come into play here, such as years of experience in the business, union vs. non-union, etc. 

As with producing, directing jobs are expected to grow 10% through 2029, and the competition for these jobs remains fierce. 

On-set experience and a body of quality, award-winning work – created either independently or in conjunction with a film school – will give you an edge here. 

Art Department

This department is key to the overall visual look of a film/TV show. It is headed by the production designer who hires and oversees the other positions within the department, such as art director, set designers, costume designers, set dressers, on-set dressers, and assistants. 

If hired onto bigger-budget films, the median salary for an art director is around $97,000, and for set designers, it’s around $50k. However, in the indie film world, these positions are freelance, and compensation varies depending on the budget. 

A decline of about 2% through 2029 is expected for these positions, making the field even more competitive.

Art department crew members often have a background or degree in Fine Arts and work their way up the ladder within the art department – gathering experience and technical skills along the climb – often beginning as production assistants.

Within this department is the position of prop master, who ensures all of the film’s props are available for use on set, work as they should, and fulfill the director’s (or cinematographer’s) vision. The prop master is sometimes entrusted to oversee continuity during shooting, advising the DP whenever a prop has moved out of sequence.

Some prop masters choose the academic route and acquire a design, art, or related degree, while others work their way up with on-the-job training (often gaining the position while performing other roles on set, such as set design).

Camera Department

The director of photography leads the camera department, overseeing the film crew – for example, the camera operators, ACs, Steadicam operators, and the DIT (Digital Imaging Technicians) – and the equipment.

They work closely with the director to bring the latter’s vision to the screen by making decisions about camera choice, lighting, blocking, framing, and lenses. They are responsible for creating a film’s visual language by using the tools of their trade to help tell the story and influence an audience’s understanding of the plot, characters, and emotions of the film.

In addition to the creative elements of the position, the DP must also have a firm understanding of the logistics of filmmaking – how to fulfill a director’s creative vision – taking into account scheduling, location demands, weather, safety, time, and money.

Most DP’s work their way up from roles like camera operator or 1st AC, which often begin as internships on lower-budget projects. Another way to get your foot in the door is by filming instructional videos, music videos, or commercials. 

An undergraduate or graduate degree in cinematography, combined with a strong portfolio, could also lead to a career in this field.

The DP’s work on a film begins at the prep stage and continues through production and post-production. There is 18% growth expected in this highly competitive field.

Editing Department

During production, the editing team begins assembling usable footage as it comes in. Once production has wrapped, they work closely with the director to take the film from assembly to rough cut, into the final cut, and then onto the delivery.

Editing positions call for specific qualifications, often earned from a film school or a related teaching institution, and editors often boost their credentials by earning certifications in editing software. 

But the most important qualification for being hired onto a film’s editing team is experience, which is gained either by working as an assistant to an editor or by working on non-paying (or nominally paying) projects.

Although editors often work solo (or with an assistant) for long periods, they need to communicate effectively with directors and producers. Experience, along with the ability to collaborate, is key to establishing a prolonged career in this field.

Tucked deep inside the editing department and sometimes overlooked is the role of the post-production supervisor, who manages the post-processes, completes the film, and shepherds it through delivery.

Filmmakers often spend most of their budget during production, which can create logistical and workflow issues once they reach post-production. They’ve gotten the film “in the can” but don’t have a clear path to finishing it. It’s not the editor’s job to solve these issues or deliver the film.

Assuming an organizational and managerial role, the post-production supervisor can be critical to the successful distribution of a film. They work diligently to ensure all post-production and delivery deadlines are met – paying very close attention to detail with an eye on the budget. During the post-process, they are the main liaison between the film director, producer, editor, sound team, special effects house, and other post-facilities. 

The job of a post-production supervisor can be difficult and stressful, but it is an essential one. Filmmakers with technical knowledge and strong organization skills might consider it. 

In truth, the best editors understand cinematography, the best cinematographers understand production design, the best art directors understand budgeting, the best directors understand props, and so on. Gain experience in different areas, explore. Put yourself in someone else’s shoes – either in school or on set – and you will become a better filmmaker.

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