Passion, creativity and excellence

Placements and internships

Our students can also opt to do all their internships and placements abroad, giving a further boost to their career prospects. If they choose a destination in Europe, they can apply for a student exchange grant under the Erasmus+ program.

Luiza: My Erasmus Internship Experience in Lisbon

The second year of the BA Film & TV program (taught in English) is structured around different types of audio-visual production and the skills they require. Students learn editorial, technical and organizational skills, through classes, workshops and practical exercises. To build off of these newly aquired skills, second year students do a two-month internship during the second semester.

Let’s hear from Luiza Lima Krüger, an international student from Brazil, about her ERASMUS internship experience in Portugal this year:

“Being an international student, I’ve always been very interested in cultural exchange, moving and meeting new places. That is why when I had the opportunity to apply for an internship I decided to try through Erasmus. I had heard a lots of good things about Erasmus study exchanges from friends I’ve meet across Europe, but I wasn’t nearly as familiar with their internships.”

How I carried out my search for an internship abroad

“Around three months before the begining of the internship, I started searching. Through the website erasmusintern.org I was able to find a range of internships in the audiovisual area. Although they were not cinema related, a couple of them seemed very interesting to me. I ended up applying to the two options I liked the most.

During the following weeks, I received responses and scheduled interviews with both of the companies I was interested in working with. However, I discovered on the first interview for one of them that our dates weren’t fully compatible. Luckily, everything went well with the other company. After the interview, we proceeded to the next step of the selection process which was producing a short (1 minute) video based on a prompt that they had sent me with a 1 week deadline. Sometime after sending in the video I received an answer with an official offer from the company.

After I had secured my internship, I decided to inform myself on the possibility of getting an Erasmus+ grant, since Erasmus internships are usually not paid and commonly with NPOs. To apply for the grant I had to go through 3iS’ International Office since Erasmus only works through institutions and not individual people. With the help of the office and some paperwork, I was all set to head to Portugal and start interning.”

My role in the company as intern videographer

“The company that I worked for was Invisible City, a non-profit organization with the mission of helping artists perform more and get paid fairly. They organize private online concerts and the audience pays their tickets in form of donations. They also organize comissioned private concerts for companies or individuals who are interested.

My role in the company was intern videographer. My main role was preparing short informative videos about the process of the online concerts. For example, a video that I made during my time there was an instructive video about steps the audience can take for a self-soundcheck to better their experience at the online concerts. Moreover, I eventually also created promotional images for events”.

A rich learning experience with a variety of tasks

“Besides that, IC’s internships work in a sort of mini-university system. Through a series of reference material IC has prepared, we are able to study the IC learnings and prepare to execute different functions inside the company. Besides creating videos, I was also tasked with doing interviews, a staple inside the company. IC does at least one new interview every week. Working with the Costumer Job Theory we interview audience members, artists or even friends and family in order to get feedback about our services and new ideas. In addition, I was always assisting in the soundcheck process. IC goes through extensive soundchecks with all of their artists before the concerts. In general, the whole team tends to participate in the soundchecks since the more feedback the better.

In a normal day at IC, the whole team would meet (virtually) in the mornings to report about our work from the previous day, receive feedback and possibly distribute new tasks. Every Monday, we would give feedback about Sunday night’s concert and every Thursday we would assign someone to present learnings related to Customer Job Theory and possibly learnings based on a recent interview. After the morning meetings I would work remotely. I would create videos remotely and edit on my own time, working around interviews, soundchecks and online concerts.

Working at Invisible City was a great experience to learn how to organize myself to work remotely and how to properly communicate and report back to a team. Besides that, it was the first time I had to produce videos fully on my own and it was surely good practice having to come up with prompts, ideas, short scripts…”

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DIRECTOR OF PHOTOGRAPHY

The director of photography is responsible for the lighting and photography in filmmaking. They contribute to shaping the esthetic aspects of a film and the image rendition, showcasing the topic and actors to best effect. They design the visuals based on the script and in discussion with the director. During shooting, their work focuses on lighting the shots to be filmed. At the end of shooting, the director of photography oversees color correction and may be involved in the finishing process.

BOOM OPERATOR

Production sound mixer’s assistant and is in charge of the microphone placement.

SOUND DIRECTOR

The sound director installs, regulates and maintains sound equipment for live use. He or she manages a team of technicians who help install and make changes to the set. As team leader, the sound director writes a technical file (technical data sheet, planning and budget) and is responsible for mixing in real time.

SOUND MIXER

The Sound Mixer is responsible for recording all sound recording on set during the filmmaking or television production using professional audio equipment.

MASTER CONTROL OPERATOR

Master control or playout is the department responsible for broadcasting programs on one or more television channels. Its mission is to ensure program continuity and quality while adhering to the planned schedules.

PHOTOJOURNALIST

A photojournalist is a reporter who specializes in news photography and filming. They are skilled in gathering, assessing and using audiovisual footage. They need the technical ability to take pictures, along with the initiative and judgment of a journalist. They work in the field solo or with a crew.

EDITOR

In the post-production phase, editing consists in making artistic choices in compiling, selecting and assembling the frames and sounds to make sequences, then synchronizing the image sequences with the soundtrack.

ASSISTANT DIRECTOR

The assistant director is the director’s closest collaborator, responsible for planning film or TV program shoots and ensuring they run smoothly at every stage. During the preparation phase, the assistant director breaks down the production plan or script, writing the technical sheets and drawing up a shooting schedule alongside the production manager. During shooting, they adjust scheduling, organize the staging, draw up the call sheet, and oversee the hiring of extras where necessary.

SOUND EDITOR

The Sound Editor selects and assembles sound recordings in preparation for the final sound mixing or mastering of a television program, motion picture, video game, or any production involving recorded or synthetic sound).

CAMERA OPERATOR

The camera operator is responsible for framing the shots and coordinating the camera’s movements, taking instruction from the director on the artistic side and from the director of photography on the technical side. They ensure that images are sharp, well composed and stable. There are also various camera operator roles in the production of one-off TV broadcasts, which are not covered here

HEAD CAMERA OPERATOR

Works solo or with a crew, and/or under a director’s leadership to ensure perfect framing and image quality, and to capture and record sequences of images on video or other digital media.
script supervisor

SCRIPT SUPERVISOR

Working alongside the director, the script supervisor oversees the continuity of the motion picture during all stages of filming and production. They seek to maintain coherence between the scenes and ensure that what’s being filmed matches the written script. They are also responsible for keeping track of the film production unit’s daily progress.

MOVIE/TV/VIDEO/CORPORATE
FILM DIRECTOR

The director gives a film or audiovisual program its shape. They are involved in setting up the project, direct the filming, and steer editing and mixing choices in post-production.

SCRIPTWRITER

Cinema, series, clip or advertisement, the scriptwriter creates stories to arouse viewers’ curiosity. Whether creating or adapting a story, the scriptwriter is a fully-fledged author who draws on multiple references, either literary or from everyday life. Working alone or as part of a team, the scriptwriter starts by drafting a synopsis (summary of the story) which develops into an increasingly detailed plot. The dialog continuity is therefore a very precise document indicating the plans for a scene, their duration, the positioning of the camera, and so on. In order to set the pace, the scriptwriter cuts the narrative into sequences that often correspond to a change of scenery, time or action. The scriptwriter may also write the dialogs for a film and is sometimes its director.

Assistant-director

ASSISTANT DIRECTOR

The first assistant director (AD) is the director’s right hand. They handle the logistics of running the set during production and are the liaison between the director and the rest of the crew. They create and manage the shooting schedule and shot lists, coordinating with all department heads.

POST-PRODUCTION TECHNICIAN

The post-production technician coordinates and liaises between the production team, the director and the technical team responsible for post-production. They plan and monitor the various stages of post-production. On completion, they draw up the accounts, invoicing the client and paying personnel. Depending on how the company is organized, the post-production manager may be responsible for drawing up estimates. They may also perform catalog management tasks for rights holders who have entrusted this to a third-party company. They may work on movies, standalone or serial TV dramas, documentaries, and even throwaway programs such as magazine shows and news reports.
sound operator

SOUND OPERATOR

The Sound operator assembles, operates and maintains the technical equipment used to record, amplify, enhance, mix or reproduce sound. Identify the sound requirements for a given task or situation and perform the appropriate actions to produce this sound.

CHIEF SOUND ENGINEER

The Chief Sound Engineer assembles, operates and maintains the technical equipment used to record, amplify, enhance, mix or reproduce sound).
sound operator

CHIEF SOUND OPERATOR

The assistant producer is the producer’s most important colleague. He or she is responsible for all aspects of planning the film shoot or audio-visual program and ensures that all stages of the project run smoothly. During the preparation phase, the production assistant analyzes the production project or script, writes the technical data sheets and draws up a work plan for the shoot in collaboration with the production manager. During filming, the assistant producer adjusts the work plan, organizes the direction, writes the call sheet and organizes and supervises the recruitment of extras where necessary.
Gaffer

GAFFER

assistant producer

ASSISTANT PRODUCER

The assistant producer is the producer’s most important colleague. He or she is responsible for all aspects of planning the film shoot or audio-visual program and ensures that all stages of the project run smoothly. During the preparation phase, the production assistant analyzes the production project or script, writes the technical data sheets and draws up a work plan for the shoot in collaboration with the production manager. During filming, the assistant producer adjusts the work plan, organizes the direction, writes the call sheet and organizes and supervises the recruitment of extras where necessary.
boomer

BOOMER

The boomer is also known as the sound assistant and works with the chief sound operator during filming. He or she is responsible for placing the main microphone and works in all types of structure: studios, auditoriums, mobile units, sound trucks, film sets, concert halls, radio, television, etc.

Production assistant

PRODUCTION ASSISTANT

There are a wide variety of sections of the entertainment industry that a Production Assistant may decide to work in. Film Production Assistants may serve on the set of a motion picture, running errands for Directors and Producers and informing Actors and Crew Members of their call times. They are integral to a shoot whether it’s for a film, TV show, music video, or commercial.

special-effect-supervisor

SPECIAL EFFECTS SUPERVISOR

EDITOR

The editor plays a vital role in creating a documentary, a work of cinematic fiction or a report, guaranteeing the narrative coherence of the film while respecting its production style. The editor’s aim is to hold the spectator’s attention by selecting the best images from the film rushes. He or she organizes the elements, both images and sounds, which will create meaning and provides them with a dramatic narrative and construction. The editor works closely with the producer after filming. Editors increasingly use virtual audio-visual editing software such as AVID Media Composer and Premiere Pro.

sound recordist

SOUND RECORDIST

Grip

GRIP

camera operator

CAMERA OPERATOR

The camera operator plays a vital role in cinema direction and is responsible for shot composition and camera movement. Also referred to as the cameraman or camerawoman, this image professional must have a rigorous sense of composition, attention to detail (actor movement, depth of field, lighting, etc.) as well as a thorough knowledge of the equipment and the ability to work with the stagehand. The camera operator is supported by assistants who prepare the camera and accessories required for filming the shots in addition to focusing the image.

CHIEF EDITOR

The chief editor directs the post-production team (assistant, editor, calibrator). They guarantee the film’s narrative consistency and ensures its style and final pace, in close collaboration with the director. The editor selects the best images from the shooting rushes in order to keep spectators in suspense. They organize the elements that give the film its meaning: images and sounds, by ensuring drama in the writing and structure.

CHIEF CAMERA OPERATOR

The chief camera operator is the director’s second-in-command and is responsible for the artistic quality of the image (framing, lighting). From the start of preparations for the film, they check the consistency of the director’s wishes with the audio-visual means available. During filming, the chief camera operator directs the image team (assistant operator, camera operator) in collaboration with the chief stage-hand for lighting, framing and image composition.

PRODUCTION DIRECTOR

The production director organizes and monitors the project, from preparation to delivery. They recruit a team, negotiate with each member and set up contracts. The production director collaborates directly with the executive producer and is assisted in this by the general studio manager, the production administrator and the first assistant director.

DIRECTOR

The director is often the originator of a film project and orchestrates its shooting and creation. They cast an artistic eye over it at all stages, providing direction for the actors, the chief camera operator and the chief sound operator, and coordinating their work with the help of one or more assistants. In auteur cinema, the director generally writes the screenplay and is sometimes involved in production. On a television set, they manage a technical team and decide on the positioning of cameras filming simultaneously. In the control room, the director sets the pace and selects the images to be used (live or recorded).

SCREENWRITER

Cinema, series, clip or advertisement, the scriptwriter creates stories to arouse viewers’ curiosity. Whether creating or adapting a story, the scriptwriter is a fully-fledged author who draws on multiple references, either literary or from everyday life. Working alone or as part of a team, the scriptwriter starts by drafting a synopsis (summary of the story) which develops into an increasingly detailed plot. The dialog continuity is therefore a very precise document indicating the plans for a scene, their duration, the positioning of the camera, and so on. In order to set the pace, the scriptwriter cuts the narrative into sequences that often correspond to a change of scenery, time or action. The scriptwriter may also write the dialogs for a film and is sometimes its director.

SOUND DESIGNER

The sound designer is a combination of composer, acoustician and sound engineer and produces background noise, sound effects and music on demand according to precise specifications.

VIDEO OPERATIONS TECHNICIAN

The video operations technician may work in a variety of environments: on set, in a natural outdoor setting, or in a television studio control room. The video operations technician installs the shooting equipment, adjusts the projectors and spotlights, and ensures that a live TV program is appearing on screen. They also videorecord sequences, manage equipment maintenance and take part in technical installation and investment projects.

STUDIO TECHNICIAN

In the studio, the sound technician is the engineer’s assistant. Their role involves preparing for the session: setting up instruments, greeting the artistes, installing the microphone kit, cabling and testing. In the booth, they configure the console and recording software.