Articles
From moving pictures to streaming — the history of film and TV productionHistory · 9 minFilm and TV production is a craft that has constantly changed technique, but held fast to the same task: to tell a story in moving pictures and sound. Follow the way from the first cameras and darkrooms through the TV studio and video tape to today's digital recording, editing and streaming — and see why the old craft still carries the new.A production day — from script to finished editWeekday · 8 minWork in film and television is teamwork under time pressure where preparation is half the result. Here you get an insight into the three phases — pre-production, filming and post-production — and why planning, communication and discipline on set are just as important as the technical craftsmanship.Camera, light, sound and editing — the equipment in film and TVTools and equipment · 9 minIn film and TV the choice of camera, lighting, microphone and editing setup is just as important as the idea. Here we go through the basic equipment types, concepts such as resolution, frame rate and lighting, and why organisation and backup are part of the craft.Safety, rights and quality on setSafety and rules · 8 minIn film and TV, safety is both physical and legal: heavy equipment, electricity, cables and heights must be handled responsibly, and at the same time rights to music, images and people must be in order. Here we go through safety on set, copyright and personal data, and what quality assurance means in practice.Roles, specializations and career in film and televisionCareer · 8 minFilm and TV production is a team trade with many specialties, and it gives you the opportunity to find your own direction. Here we look at some of the central roles — camera, lighting, sound, editing and production — and what it takes to build a lasting career in a trade that lives by collaboration and change.How you are organised into groups, and why it mattersEducation · 9Film and TV production education is a vocational education that alternates between school and training in a company. Here you get an overview of the basic course, level 1 as a film and TV assistant, the specialty as a production technician, how long it takes and what requirements you must meet.Student wages and employment conditions in film and TV production education.PLACEHOLDER_33 · 7As an apprentice on film and TV production training you receive wages while you study. We explain the principles behind apprentice wages why they increase through the course what the collective agreement between FAF and ASAV means and what conditions apply as an adult apprentice and when fully trained.Rules, certificates and rights in film and TVRules and certificates · 8Film and TV production is not an authorized trade, but it is filled with rules you need to know: copyright and rights clearance, personal data and consent, safety courses and the rules about filming in public places. Here you get an overview.Work environment safety and ergonomics on a film setWork environment · 8A film set or TV studio is a workplace with real hazards: heavy equipment, electricity and bright lights, cables on the floor, work at height and long filming days. Here we cover the main hazards and the habits that keep you and your colleagues safe.The industry today: where does someone with film and TV education work?The industry · 8Film and TV production has long since become much more than classical television. We look at the many types of workplaces — TV stations, production companies, advertising agencies, streaming, events and companies with their own media departments — and what drives demand.After the journeyman certificate: your opportunities for further educationFurther education · 8The journeyman's certificate is not an end point but a springboard. We look at what you can build on a film and television education: short courses and further training, academy and diploma programs, professional bachelor and advanced media education — and specialist paths within the discipline of the profession.Drone footage in film and TV — rules and certificatesTechnique · 8 minDrones have made it cheap to get establishing shots and aerial footage, which previously required a crane or helicopter. But a drone on a film crew doesn't just fly up — it flies within the EU's risk categories, with a valid drone pilot certificate and knowledge of where it is permitted. The article covers certificates, categories and the practical planning a production needs to have in place.Music and sound rights — Koda, Gramex and cue sheetsRules and rights · 7 minMusic is rarely free to use, even when it is freely available online. This article explains the difference between the composer's rights and the recording's rights, how music is cleared through Koda, NCB and Gramex, and why a music reporting form (cue sheet) is a standard part of any professional delivery.Children and young people on camera — rules and responsibilities on setSafety and rules · 8 minIf a child is to participate in a film or tv production special rules apply regarding work permit working hours and supervision. Since January 1 2025 it is the Working Environment Authority that processes permits for the youngest participants. This article covers the rules and the industry's common guidelines so you know what must be in place before filming with a child begins.Sound in practice — microphone selection, boom and synchronisationTechnique · 8 minViewers forgive an image that isn't perfect much more easily than they forgive poor sound. This article covers the three most common microphone types on set the technique behind boom recording why sound and image must be deliberately synchronised and why room acoustics deserve their own attention.Color correction and color grading — from raw recording to finished look.Technique · 8 minColor correction and color grading sound the same but are two different phases in post-production: one fixes errors, the other creates a look. The article covers log recording and LUTs, why waveform and vectorscope are better guides than eye alone, and how color spaces like Rec. 709 connect to where the production will be shown.Delivery to broadcast and streaming — loudness, formats and specificationsTechnique · 8 minBoth DR and TV2 set concrete technical requirements for how a program should be delivered — not least for audio level, which follows the European EBU R128 recommendation. This article explains why loudness is measured in LUFS instead of regular decibels, what specific numbers broadcasters work with and why delivery is the final, formal quality control.File handling and backup on set — the DIT role and the 3-2-1 ruleTechnique · 7 minOn larger productions, there is an entire role dedicated to copying and securing the filmed material while filming — the DIT. The article covers the DIT role, the recognized 3-2-1 backup rule, why checksums are necessary, and how a fixed folder structure saves a production when material from multiple days and cards needs to be assembled.