ERMP Job Descriptions

ERMP is involved with a wide spectrum of activities much like our counterparts in the for-profit media industry. From the technical disciplines in television, film, audio, and publishing to the tasks which are an integral part of every organization. We have developed these job descriptions to better organize ourselves, set expectations, and help our generous volunteers find their "best fit" within the ERMP family.

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Accounting Supervisor

Responsible for completion and maintenance of general ledgers and financial reports. Familiar with a variety of the field′s concepts, practices, and procedures. Relies on experienceand judgment to plan and accomplish goals. Performs a variety of complicated tasks. May lead and direct the work of others. May report to an executive or a manager. A wide degree of creativity and latitude is expected. Responsible for supervision of tax professionals. Oversees the tax reporting, tax planning, and compliance function. Has authority for personnel actions and oversees most day to day operations of group. Familiar with a variety of the field′s concepts, practices, and procedures. Relies on extensive experience and judgment to plan and accomplish goals. Performs a variety of tasks. A wide degree of creativity and latitude is expected. Typically reports to a manager or head of a unit/department.

Accounts Payable Manager

Responsible for all activities in the accounts payable function. Ensures timely payments of vendor invoices and expense vouchers and maintains accurate records and control reports. Relies on experience and judgment to plan and accomplish goals. Manages a staff of administrators/clerks and typically reports to the controller.

Accounts Receivable manager

Responsible for all activities in the accounts receivable function. Manages collection activities such as sending follow-up inquiries, negotiating with past due accounts, and referring accounts to collection agencies. Maintains accurate records. Relies on experience and judgment to plan and accomplish goals. Manages a staff of administrators/clerks and typically reports to the controller.

Assistant Director (Technical Director)

Helps the director coordinate the talent, props, locations, special objects, etc; may direct a segment or a scene, giving the director time to work on another scene or problem.

Audio Engineer

Selects the proper mikes and places them on the set as instructed by the director, sets the voice level for each person speaking with the audio mixer; during the program one monitors the audio level to maintain the proper audio balance and levels between all of the talent.

• Sound check each mike separately
• Playback tape to check sound
• Check mike on/off switch before and after each use
• Turn off mikes when done
• Hide mike cords on talent and guests
• Position lapel mikes to get voice during interview with mike under chin pointed upward
• Capture audio on all cameras at all times
• If using DV camera, it is main camera for sound capture
• Attach lapel mikes to collars
• Mike as many participants as possible
• Review entire tape when done for sound quality check

Camera Operator - TV and Movies

Operates videotape machines, disk-based file servers, camera control units, studio cameras, video switchers, audio mixers and other equipment used in the broadcast of live and taped television programming. Responsible for framing and composing the camera shot during production; the director should describe and possibly demonstrate to the camera operator the shots that will be required during the production; a shot sheet is a list of camera shots and their sequence, following the action, with previous instructions from the director. May be expected to maintain a variety of program/transmitter logs. Familiar with standard concepts, practices, and procedures within a particular field. Relies on limited experience and judgment to plan and accomplish goals. Performs a variety of tasks. Works under general supervision. A certain degree of creativity and latitude is required.

Camera Operations

• Rewind tape after shoot - Director will watch entire taping and check for sight and sound quality
• Use only TDK and Sony tapes
• Always use a new SVHS tape on any production shoot
• Use Blake Hollon′s XL-1 camera on any Blue Screen shoot
• ERMP will not use Fugi DV tapes
• Get B-Roll always
• Use 3 point light system when ever possible
• When done with shoot, rewind tape and review for quality video check
• Use shot log on all cameras
• Use DV camera, when available, for main camera at all times
• If main shot is 2 people, main camera is on guest
• Get wide shot and individual shots if possible
• Always capture sound on cameras
• If using multiple camera start all at once
• No shoot is to last longer than 55 minutes continuously
• Turn off cameras all at the same time
• Check for dark pools over eyes on talent and guests before shooting
• Have light source to your back highlighting target when shooting tape
• Instruct talent and guests to ignore cameras - focus on each other
• Always get an establishing shot
• For artist interviews, get 15 seconds of tripod mounted DV shots of pictures as B-Roll. Use good lighting.
• At the end of each shoot, Director or Camera Staff is to explain on tape how he shot the shoot, and his vision for the shoot for editor to refer to later.
• Get the following list of shots when available:
• Outside building shot
• Room shot
• Shot of hands
• Close up head shot
• Over the shoulder shot
• Walking in shot of guest
• Walking away shot of guest
• If many people, feet walking, working shot
• Tools of interviewee (ie: artists paint brush)
• Tree scape
• Building scape
• Neighborhood
• Architect of building
• Steps, or columns
• Guest behind or through equipment
• Talent is not to cut off guest in interview
• Use tripod on all interviews
• Use tripod on all segments
• Use tripods when gathering B-Roll
• If using multiple cameras, follow list:
• 1 for total angle
• 1 for shoulder shot of guest
• 1 for waist high shot for talent
• On close up shots of guest, place camera physically close to guest
• Be aware of background behind talent and guest
• Arrange for colorful background behind subjects
• With camera close-ups, use a medium long shot which then moves to a medium close-up.
• Do not cut from one shot of a person to an identically positioned but closer in shot without using a cutaway.
• If you are cutting between two different characters you should use the same distance shot for each, unless for example you are trying to give the impression that one is a very long way away.
• Eyelines to camera and between people talking together are important considerations.
• If you have a long shot and your character is looking left or right, don′t put him slap bang in the middle of the shot unless they are turning to look left then right.
• If character is facing left, put the character on the right hand third of the shot. This also applies for shots of vehicles moving, if car is moving left then begin shot with the car in the right hand third of the shot allowing walking.
• Movement is important to scene composition.
• If you are shooting a single subject, they should be positioned either one-third of the way or two- thirds of the way across the screen, never dead center.
• The camera movement should never be too fast unless this is an intended effect, otherwise you will make your audience feel seasick.
• The basic rule to remember is move the camera as little as possible.
• Movement of camera should mainly be provided by movement within the shot, and by cutting between shots.
• Never cut a shot in the middle of a zoom; wait until the zoom has finished.
• Never pan (change the direction the camera is heading) and zoom at the same time.
• With zooming as with camera movement, remember to only use when necessary.
• Unless you are aiming for a special effect, you should keep the camera the eye level of an average person; about 70 inches above ground level.
• Ordinary people are shown in profile or in a way that they do not make direct eye contact with the viewers, but rather with the interviewer in the studio or location. This implies that their statements must pass through the interviewer in order to be mediated. The mediator maintains control of the event. An exception to this rule is comedians who, by the nature of their material, are able to address the camera directly.
• Subjects are shot from eye level, rather than from high or low angles, which would slant the image.
• Important figures are shot in a medium close up (from the waist up) or a close up (head and shoulders). The camera keeps a respectable distance from important people, whereas ordinary people, particularly in a state of emotion, may be shot much closer.
• The interviewer is positioned between proponents of two conflicting views to reinforce the broadcaster′s neutral position. This contrasts with talk shows in which interviewees sit together as guests.

Directors - Stage, TV, Movies

Interprets plays and scripts for production. Auditions and identifies performers for roles in specific productions and conducts rehearsals. Familiar with standard concepts, practices, and procedures within a particular field. Implements the producer′s idea by assigning tasks to other members of the production team; plans and explains to the appropriate staff members the set design, shooting locations, camera angles, staging, lighting, audio and video requirements. Relies on experience and judgment to plan and accomplish goals. Performs a variety of complicated tasks. A wide degree of creativity and latitude is expected.

Overall Responsibilities

• Director coordinates the shoot on location
• Director introduces staff to Guest
• Director insures all permissions have been received prior to hauling equipment onto location
• Director receives and places in production packet appropriate Releases
• Rewind tape after shoot - Director will watch entire taping and check for sight and sound quality
• No shoot is to last longer than 55 minutes continuously
• At the end of each shoot, Director or Camera Staff is to explain on tape how he shot the shoot, and his vision for the shoot for editor to refer to later.
• Director insures that shoot location is policed of trash prior to leaving.

Floor Manager

"The eyes and ears of the director on the studio floor"; oversees the production of a program on the floor by giving time cues; cueing the talent, preparing the stage area and working with the prop person to be sure the set fits the director′s plans.

Information Services Consultant

Works with end user groups to evaluate and solve technical problems. Analyzes, designs, and implements system changes. Familiar with a variety of the field′s concepts, practices, and procedures. Relies on experience and judgment to plan and accomplish goals. Performs a variety of complicated tasks. May lead and direct the work of others. A wide degree of creativity and latitude is expected. May report to an executive or a manager.

Media Industry Consultant

Plans and directs all aspects of technical activities within specific production. Ensures all projects, initiatives, and processes are in conformance with organization′s established policies and objectives. Typically reports to top management.

Office Manager

Supervises office activities to achieve maximum expense control and productivity. Develops procedures and policies for office activities, such as filing, dictating, records maintenance, typing, word processing, faxing and mail distribution. May also be responsible for the maintenance of office equipment and supplies. Relies on experience and judgment to plan and accomplish goals. Typically reports to a senior manager.

Producer

Selects plays and scripts for production. Hires and coordinates production staff. Familiar with standard concepts, practices, and procedures within a particular field. Relies on experience and judgment to plan and accomplish goals. Responsible for the success or failure of a program; he or she may originate the idea, or may start the wheels turning when someone else suggests a production, and it is not uncommon for the producer to even write the script. It is the producer′s responsibility to produce the program within the established budget. Performs a variety of complicated tasks. A wide degree of creativity and latitude is expected.

Overall Responsibilities

• Producer arranges the interview and coordinates camera, guest and talent
• Producer is ultimately responsible for all Talent and Location Releases for shoots

  Management Responsibilities

• Ensures all projects, initiatives, and processes are in conformance with organization′s established policies and objectives.
• Assesses needs and ensures that program objectives are met.
• Provides direction and supervision to staff.
• Respond to emails promptly
• Attend Senior Staff meetings and Board meetings
• Approve expenses for Production staff
• Fill out ERMP time for self
• Meet with marketing and sales
• Help develop marketing material

  Production Responsibilities

• Develops and implements an organization′s programs.
• Determine equipment needs and standards

Security Guard, Senior

Inspects, monitors, controls, and patrols work sites, an assigned location, property, and/or people. May be expected to collect and complete paperwork. Requires a high school diploma or its equivalent. May have to complete an apprenticeship and/or formal training in area of specialty with 3-5 years of experience in the field or in a related area. Familiar with a variety of the field′s concepts, practices, and procedures. Relies on experience and judgment to plan and accomplish goals. Performs a variety of complicated tasks. A certain degree of creativity and latitude is required. Typically reports to a manager.

Talent/Correspondent

The studio performer or any guests which may be present before the cameras. Investigates and writes a variety of news stories. Familiar with standard concepts, practices, and procedures within a particular field. Relies on limited experience and judgment to plan and accomplish goals. Performs a variety of tasks. A certain degree of creativity and latitude is required.

Talent Director

• Talent introduces guest - not themselves
• Ask background questions for each interview
• Talent needs to wear tie inside - polo if shoot is outside
• Do phone interview, go to web page, with guest prior to actual shooting. Interviewer to do research. Guests may have to bring pictures to accompany shoot as B-Roll (I.E.: growing up pics, family pics, school pics etc.)
• Talent needs to wear tie inside - polo if shoot is outside
• Dress appropriately for shoot - consider surroundings, opt toward semi formal.
• Discuss what to wear with guest

Webmaster

Develops and maintains the company′s portal. Performs backups and ensure user accessibility to the site. Monitors site traffic and helps scale site capacity to meet traffic demands performance. Improves the company's efficiency and designs the look and feel for the site. Must have a working knowledge of HTML, JavaScript, and SQL. Relies on experience and judgment to plan and accomplish goals. Performs a variety of tasks. Works under general supervision; typically reports to manager. A certain degree of creativity and latitude is required.