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Career ladder

From first job to head of department

Producers sit above the line producer. Accounts is its own ladder, not the top rung of the office.

Production office

  1. Entry grade Runner Errands, deliveries, phones, printing, the office kitchen.Watch and read
  2. Step 2 Production assistantAlso: PA; often shares the runner's line on the card Paperwork, phones and distribution in the office.Watch and read
  3. Step 3 Production secretary Scripts, schedules, crew lists and the office diary out on time.
  4. Step 4 Assistant production coordinatorAlso: APOC Travel, hotels, kit orders, the back page of the call sheet.
  5. Step 5 Production coordinator Runs the office: crew, suppliers, movement, distribution.Watch and read
  6. Step 6 Production supervisor The production manager's deputy on larger shows.
  7. Step 7 Production manager The schedule, the budget, crew deals and safety on the unit.Watch and read
  8. Top of the ladder Line producer Delivers the production on budget and to schedule.Watch and read

Specialists branch off the ladder at the grade shown; they aren't steps on it

  • Travel coordinatorbeside Assistant production coordinatorMoves cast and crew: flights, hotels, visas.
  • Producer's or director's assistantbeside Production secretaryDiary, calls and paperwork for one person.

Production accounts

Parallel ladder
  1. Entry grade Accounts trainee Filing, data entry, petty cash floats and receipts.
  2. Step 2 Assistant accountant Purchase orders, invoices, petty cash and supplier payments.
  3. Step 3 First assistant accountant Runs the ledgers and the weekly cost report for the accountant.
  4. Step 4 Production accountant Runs the accounts team, the cost report and payroll.Watch and read
  5. Top of the ladder Financial controller Oversees the money across a large show or a slate (common practice).
Grade by grade: what you need before moving up
Production office
GradeWhat you doBefore moving up
RunnerErrands, deliveries, phones, printing, the office kitchen.Reliability, a clean driving licence, a credit or two.
Production assistantAlso: PA; often shares the runner's line on the cardPaperwork, phones and distribution in the office.Knowing every department's paperwork.
Production secretaryScripts, schedules, crew lists and the office diary out on time.Fast, accurate paperwork and knowing every department.
Assistant production coordinatorAlso: APOCTravel, hotels, kit orders, the back page of the call sheet.Running whole areas without being checked.
Production coordinatorRuns the office: crew, suppliers, movement, distribution.Several credits as APOC; budgets and cost reports start to make sense.
Production supervisorThe production manager's deputy on larger shows.Hiring, deals and the cost of each decision.
Production managerThe schedule, the budget, crew deals and safety on the unit.Credits as coordinator or supervisor; command of the budget.
Line producerDelivers the production on budget and to schedule.Production management credits at the scale of the show.
Production accounts
GradeWhat you do
Accounts traineeFiling, data entry, petty cash floats and receipts.
Assistant accountantPurchase orders, invoices, petty cash and supplier payments.
First assistant accountantRuns the ledgers and the weekly cost report for the accountant.
Production accountantRuns the accounts team, the cost report and payroll.
Financial controllerOversees the money across a large show or a slate (common practice).

Bectu scripted production card, 2026–27 · Every department's ladder: Careers A–Z · Getting work · Working freelance

Safety first

The producer's duty, hours and the office

In law the producer is the employer, so safety starts in the production office: the risk assessment, competent advice, insurance, hours and welfare. Office crew carry a lot of it.

Take the safety check

Watch first

The hazards

7

What hurts people in this department on UK sets, and what keeps them safe.

  1. The risk assessmentThe producer must assess the risks of the shoot and act on them. In practice the production manager pulls it together with a health and safety adviser and each HoD. It's a live document: when the schedule or a location changes, so does the assessment.
  2. Competent peopleHazardous work (stunts, SFX, armoury, water, aerial, animals, rigging) is done only by people competent to do it. The office books and checks them: the register, the licence, the insurance, the ticket.
  3. Hours and fatigueLong days and short turnarounds cause mistakes on set and crashes on the drive home. The office plans the schedule, tracks overtime and books rooms or drivers when a day overruns.
  4. WelfareToilets, water, shelter, hot food and somewhere warm are the production's job, on every location. Plan them before the recce report is signed off.
  5. Children and vulnerable peopleChild performers need a local authority licence and a licensed chaperone. Anyone working with children may need a DBS check. The office tracks licences and hours.
  6. Bullying and harassmentThe production sets the tone: a clear policy, a named person to go to and a route to report outside the production (CIISA). A complaint gets dealt with, not moved on.
  7. Accidents and RIDDOREvery accident goes in the accident book. The production reports serious injuries and dangerous occurrences to the HSE under RIDDOR. The office makes sure it happens.

Who is responsible

  • The producer, as employer, owns the risk assessment and must use competent advice.
  • The production manager makes it work: bookings, checks, schedule, welfare.
  • Coordinators and secretaries keep the paperwork live: licences, call sheets, the accident book.
  • Every HoD assesses their own department's work and tells the office when it changes.

As a trainee, never

  • Never book a stunt, SFX, armoury or specialist crew member without checking their register, licence or ticket.
  • Never push a call sheet out with a hazard missing because the paperwork isn't finished.
  • Never sit on a bullying or safety complaint. Pass it up the same day.

Anyone can say stop. If something feels wrong, say so to your head of department or the 1st AD.

Where this comes from

Checked 13 November 2026. This is awareness, not a safety qualification: follow your production's risk assessment and your head of department.

Check yourself

4 situations. Get them all right.

Pass the safety check before the rest of the path. One wrong safety answer means try again. It's practice, and your answers stay on this device.

Question 1: The director adds a car chase to day 12. The schedule is locked and the risk assessment was signed off last week. What happens?

Question 2: You're booking a stunt performer the director knows from another job. What do you check?

Question 3: Day 4 overruns by two hours. Half the unit lives an hour's drive away and starts at 06:00. What does the office do?

Question 4: A trainee tells the coordinator a HoD keeps shouting at them. What do you do?

AI in film and TV

How AI fits this department

Producers use AI for breakdowns, scheduling drafts, pitch material and localisation. UK commissioners expect AI use to be disclosed, and faces and voices need written consent.

Learning path: AI for producers The AI channel Consent and credit

Production, in detail

What production does

The production office is the unit's back office and switchboard. It opens in prep, usually weeks before the shoot, and closes after wrap once the last invoice is paid.

  • Crew and contracts. Start paperwork, deal memos, timesheets and right-to-work checks.
  • Kit and suppliers. Purchase orders, hire agreements, deliveries and returns.
  • Movement. Travel, hotels, unit transport and the movement order.
  • Paperwork. Scripts and their revisions, the cast list, the crew list and the daily progress report.
  • Money. The accounts team pays crew and suppliers and reports the cost against the budget each week.

The floor answers to the 1st AD. The office answers to the production manager, who answers to the line producer and the producers.

Who production works with

Everyone. The production manager works closely with the 1st AD on the schedule, with locations on permissions and unit base, with transport on movement, and with every head of department on their crew and their budget line.

Kit and vocabulary

  • Call sheet: the next day's plan, produced by the 2nd AD and signed off by the production manager.
  • Movement order: directions, maps and parking for each location.
  • Daily progress report (DPR): what was shot, when, by whom, and what went wrong.
  • Purchase order (PO): the approval to spend before the invoice arrives.
  • Cost report: the weekly picture of spend against budget, from accounts.
  • Prep, shoot, wrap: the three phases of a production, each with its own office rhythm.
  • Crew list: names, grades, phone numbers. Keep it private.

How to get in

Most people start as a runner or production assistant on a feature or HETV office. Some come from an office or events job, which is good preparation. Accounts entrants often come from bookkeeping or an accountancy course. The Production Guild runs step-up training for production and accounts grades.

Pay: Bectu scripted production card, 2026–27, which covers the office and accounts grades.

Where Futures in Film helps

Our production office course (dates soon: register interest) works through a call sheet, a movement order, a DPR, a stripboard breakdown and a petty cash reconciliation. On a production simulation week you hold an office grade through prep, shoot and wrap. If you have never been on a set, start with Your first day on set.

Where we come in

The paperwork, marked by a production manager.

ApplyTrain in Production

Events for production

19

Shows, festivals and careers days where production crew go to learn and meet people. Dates checked on each organiser's site.

All events and expos, with a month-by-month calendar

Last reviewed 9 November 2026