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Post Production Runner

If your career plan involves working as an editor, sound designer or colourist working as a runner at a post production facility is a rite of passage.

My First Job in Film: How to become a post-production runner

Stage 1

Define where in the post production process you see yourself headed editing, sound, colourist. Try your hand on short films to see what happens in production. Create a portfolio and website.

Stage 2

Research the companies you want to work for and tailor your CV to them specifically, look to MFJF for opportunities, see our CV advice and CV builder, look to collaborate on short films.

Stage 3

Expect to be a runner for anywhere between 6 months to 2 years before promotion. Continue to create relevant experience outside of work. Use the company facilities to work on your own projects.


Post-production companies are endlessly evolving to fit the needs of their clients. Gone are the days of dark airless rooms with hard drives the size of breeze blocks heating up the cramped space like a sauna. Current post facilities are often spacious and comfortable, letting in natural light where possible and providing sofas, refreshments and a team of running staff to cater to clients needs. Post facilities can vary in their remit; small companies who focus on one area of the post process (offline editing, post-sound, online and grading) all the way to larger companies who facilitate the whole package, expanding over the past few years to incorporate VFX into their operations. Every business will be adept at dealing with a range of requirements from production, with an in-house production team taking responsibility for the workflow and care of clients.

Members of the post-production team (including post producers, editors, sound designers, colourist and the VFX supervisor) are engaged to some extent in pre-production. The budget, schedule, crew, edit suite, dubbing theatres and equipment have already been booked and agreed on before the camera starts to roll, if editorial is working in tandem to the shoot, they will have been involved in pre-production meetings. Post-production supervisors work in close collaboration with the film's producers, production/line manager and VFX supervisor if that is a component, they take the reins from the production office a few weeks after wrap. 

Despite the change in recent years concerning digital formats, the basic elements remain the same when looking at the post-production schedule. If shooting on film, the rushes are taken to the lab where they are processed and put through the telecine, when digitised and graded a copy is sent back to the production for the director and DoP to watch the dailies (the days rushes). In some instances stills are processed from the rushes and forwarded to the DoP and director, the digital files are sent via fibre optic link to the edit suite. 

If shooting in a digital format, the files will be transcoded (files are formatted to a less intensive resolution enabling the edit suite to cope with the vast amount of data) and handed over to the assistant editor(s) who bring the footage into the editing software. The metadata, which is the shot/take number, size of the shot, will be checked. Production sound is synced, script supervisors notes recorded using software such as Continuity.  Assistant editors need to be precise and methodical when working with the amount of data generated from a feature film, the file systems and rigorous backing up requires close attention to detail.   

Once the editor has the footage they produce the first assembly, or rough cut, of the film. This may include guide tracks or music to assist in the flow and rhythm of the edit. The editor makes notes of any missing shots or extra footage needed to support the structure of the edit. If the edit is running in tandem with production this information can be acted upon relatively quickly. Replicating a scene the day after it was shot is significantly easier than going back two months later.  On completion of the director’s cut, a process called spotting and timing takes place. Areas of the film are ‘spotted’ for music, notes on when the music comes in and out are applied and used to collate the ‘cue list’. The list is forwarded to the film’s composer, and once the film is locked the Sound Department become involved. 

Sound editors work through the film methodically, making notes on any lines that need re-recording. They can take dialogue from another take which has cleaner sound or add words to make a line clearer. Any lines that are unsalvageable need to be re-recorded in the ADR (audio dialogue replacement). ADR is a process that involves the actor repeating their dialogue in a controlled environment, matching their speech pattern to the picture using specialised software such as Voice Q or Soundmaster ION. 

Sound editors can then sync up the foley, ADR and sound effects to the picture, also known as the audio conform to picture, creating tracks to be used in the pre-dub. As the original score is laid down by the composer, the sound mixer will start work on the pre-dubs. The mixer will be responsible for evening out the dynamic range, making sure there is a consistent quality of sound for theatrical and home entertainment release. By combining the tracks, it brings them tonally closer together, making it easier for the final mix of three tracks: dialogue, music and effects which accompany the finished film. At the end of the process, the film is taken to the colourist who will work with the DoP and director to fully grade the film (having rectified any major problems earlier on in the process).


A few short years ago film processing companies started to close their doors. The popular consensus was that film was dead and it was only a matter of time until digital was the format of choice for feature film production. It turns out it’s not as simple as all that, there is something about the quality and texture of the image and the process of working on film that filmmakers return to, and in many cases have never left.

If working on film the loader or trainee will take the rushes to the production office with the camera report sheets. From here the rushes are dispatched to the lab for overnight processing, in the UK this is most probably CineLabs in Slough who handle the majority, if not all, film processing. After processing the film goes through a telecine machine, which transfers the footage into digital files. As the telecine or ‘one light print’ is simply a light shining through the celluloid it’s no surprise it produces quite a flat image. The lab (depending on its remit) can perform a grade to the rushes; this involves extensive conversations with the DoP about the tone, texture and feel of the film. Stills from each scene are emailed to the DoP and director, and the graded rushes are sent via fibre optic or satellite link to the editorial team either on location or at one of the post production facilities. As the rushes are stored on servers, they can be accessed by studio execs and producers anywhere in the world. Although prints of the finished film are no longer necessary, as almost all cinemas use digital projectors, prints are made for archive reasons. Film does not degrade given the correct environment. Despite the relative ease of backing up files on a hard drive, the file system can be obsolete in a matter of years rendering the whole process useless. Film, on the other hand, can always be revisited.


Editor and edit assistants.

Editing a film is a technically and creatively demanding process. The director and editor work in close collaboration over weeks and sometimes months to pull the story together. The editor will set the films pace, suspense and comic timing depending on the genre of the film. If your goal is to become an editor, then keep editing your films while working as a runner. You can learn a great deal from observing experienced editors, but cutting your projects will give you a greater understanding of what works and what simply doesn't.

Essential skills for working as an editor would be:

  • Being able to work on your own and transition to working in a room full of creative voices.

  • Being technically minded while possessing artistic flair.

  • A strong sense of narrative and character.

  • Check any ego at the door to help the director achieve their vision for the film. However, you may have to express an opinion and defend it if you think it will benefit the production.

  • Diplomacy and tact.

  • Remaining calm and confident when dealing with high pressured situations such as changes in schedule, changes of mind and differences of opinion.

Depending on the type of production the editing team (which will consist of the editor, 1st, 2nd assistants and a junior member of the team if working with a big budget) will work in close cooperation with the DIT, VFX team, post-production supervisor, director and producer(s).

The grade and role of the colourist.

The colourists complete the all-important grade, also known as the colour correction process. The films negative (or the digital files) have primary colour correction and colour matching applied to the rushes or first cut of the film. A colourist is also responsible for ensuring the film is broadcast legal as there are strict requirements from broadcasters about luminance levels (brightness) and chroma (colour).

The colourist can greatly enhance the work of the cinematographer and the visual style of the film, their advice can be sought during pre-production. When the project first enters the post-production facility, rough corrections are taken care of in the offline edit, but the work of the colourist mainly takes place in the online using high-end software such as Baselight or Davinci Studio. High-grade monitors, external vectorscopes and waveform monitors are used to achieve the most accurate outcome. The colourist will work in close collaboration with the editor, director and cinematographer.

Essential skills for a colourist would include:

  • Sharp eyes to detect the smallest variation in shots such as colour, exposure or tone.

  • Being able to capture a feel or tone the DoP wishes to create while keeping the image in legal levels.

  • Technical competency is critical when working as a colourist. Keeping up with any advancements in technology and remaining in contact with the software companies such as Film Light (who make Baselight) is essential. Colourists should be sure they are working with the best possible tools for the job.  

  • Work well under pressure of deadlines. The colourist work comes at the tail end of production where schedules are usually squeezed.

  • Be able to collaborate.

  • Tact and diplomacy will be required.

Sound designer and the Sound Department.

Post-production sound encompasses a multitude of different process to bring texture, atmosphere and life to the film.   Their work can be complicated due to decisions that are taken in production, with the fatal words ‘we’ll sort it out in post’ being uttered on set. The sound team are brought in at the end of the post-production process, so schedules are squeezed, and money can be tight, or in some cases already spent! On a big budget feature, a large team will work on sound design and editing, for low budgets more of the work can be taken on by one person. The post-production Sound Department will be involved with:

  • ADR/Looping. This is where dialogue can be replaced if there is an issue with clarity, delivery or external sound that was not picked up while filming, equally, directors may elect to sort out a known audio issue in post to save time on the shoot.

  • Sound effects. Constructing sounds that compliment one another and blend smoothly into the mix. They can be anything from doors opening, clothes rustling to a jacket dropping onto a chair or keys jangling. SFX (sound effects) will work in conjunction with VFX to accentuate any of the creations, explosions or animation they produce, bringing it to life on the screen.

  • Foley. The footfall and cup clinking the sound assistant and trainee worked so hard to prevent during production are replaced in post under controlled conditions, so that dialogue can remain clean.

  • Orchestral or electronic musical score laydown. The original score for the film is recorded in a studio ready for the sound mix.

  • Sound mix. Where all the above elements are combined and laid down into single tracks to be mixed together in the final dub.

  • Music & effects track (M & E). An M & E track is used when sending out a film print for foreign distribution. It can be overdubbed at a later date.

Essential skills for working in post production sound would be:

  • Knowing how to deal with actors when working on ADR. A complicated process as actors are called upon to replicate dialogue shot many weeks or months ago. Working in ADR will require a lightness of touch, ADR operators can request multiple takes if the dialogue isn’t syncing and some actors dislike the process.  

  • Being able to closely listen to all aspects of the soundtrack. Not just clarity of dialogue but any popping, crunching or sound that simply shouldn’t be there.

  • Working in post sound can be quite solitary, in recent years technology has made it possible to run a dubbing suite with just one person. Being able to work on your own is a must.

  • Being calm, patient and able to converse with clients. Dubbing mixers will often be locked in a room with stressed directors, producers and executives.  Pressure is going to be exerted to fulfil deadlines, so being able to deal with all the creative forces in one room effectively is challenging. Mixers also have to deal with a mix of departments, VFX will need additional sound effects to bring their work to life, editors can have set a tone for the film with a guide soundtrack and cut the pace of the film to it. Being able to collaborate is a must.


Post-production runners can be found in independent and studio post-production facilities, working across films, TV, commercial, promos, corporate and digital content. Some companies will specialise in features and commercials, while others may favour factual and light entertainment. The position of a runner and their duties will be similar to editing, sound editing and VFX companies. Some, however, may give greater access to equipment to progress your career independently.

Pinewood Studios house impressive post-production facilities. The studios have an apprenticeship system which last two years, with a majority of the trainees coming from the NFTS.  They have a database of CVs, so it’s worth calling up the HR Department and sending in an up to date CV. The main post-production companies that deal with feature films, commercials and TV drama are located in London, more specifically in Soho, the hub of post-production in the UK.


These are the most likely positions to be found in post-production, the larger the budget, the more people will be employed on a particular project or company. Many of these posts will be freelance; they are brought into the facility by the production company. Some of the larger post-production companies will employ in-house staff.

  • Production Management
  • Post-production: Editing
  • Post-production: Sound
  • Executive in charge of post-production
  • Editor
  • Sound design supervisor
  • Post-production supervisor
  • Colourist  
  • Sound editor/re-recording mixer
  • Post-production producer
  • Assistant editors (1st and 2nd)
  • Music supervisor
  • VFX producer
  • Edit support operator
  • Music editor
  • Junior post-production producer
  • MCR operator
  • Music coordinator
  • Post-production bookings coordinator
  • Foley artist
  • VFX coordinator
  • ADR/looping operator
  • Post-production assistant
  • Assistant dialogue editor

What is the career path if I want to work in Post production?


Option one is to work within the post-production company and move your way to the production side. This path will require you to liaising with clients and looking after the logistics and workflow of a particular project; it also means managing multiple edit suites. If you are interested in production your path could look like this:

  • Post-production bookings coordinator

  • Junior post-production producer

  • Post-production producer/manager

  • Senior post-production producer/manager


If you have designs on becoming an editor you can expect to be working for two years plus as a runner to gain enough technical edit support experience to secure an edit assistant or MCR operator position. While being employed by the company you should use your spare time seeking out other editing opportunities, such as cutting short or student films.

Make sure to involve yourself in the technical process as much as possible, troubleshooting, ingesting and EDL creation should give you some hands-on time with the equipment. Spend time in the MCR (Master Control Room) to become familiar with the codecs and workflows of the various formats currently available.

  • Edit support operator/MCR operator

  • 2nd edit assistant

  • 1st edit assistant

  • Editor

Sound Design:

Post-production sound has become a difficult field to break into due to the decreasing number of people needed to run a dubbing suite. Pro Tools has become the industry standard (owned by Avid so the edit and sound software works seamlessly together), making sound desks smaller and fewer hands required. Training opportunities are scarce, working as a runner can be your best chance to make your way into this area of the business.  Ask if you can sit in the dubbing suite with the editors when you’re on a break or have finished your shift, watch how they work and ask questions about the technical and creative process involved.


Post-production companies are always looking for keen new entrants to take on the role of runner. If you look at the larger companies, the turnover of staff can be very high, not because people drop out but because progression can be quick for the right candidate. However, you should know if your dream job is working in production then working in post production isn’t for you. Companies will hire runners who have experience in post, or wish to progress their career in this field. The hours will be long, and the list of task unrelenting, you need to wish to work in some aspect of post to get the most out of the junior roles. 

If you have customer services experience, waited tables or worked behind a bar make sure to add it to your CV, runners need to possess all the skills associated with these jobs.  It can be confusing at the beginning of your career to know what to include in your first CV; this is where work experience and internships can help. If applying for work experience with a company make sure you plan dates in advance. Look at the opportunities listed on MFJF, or get in touch with the facility as early as possible - placements are in huge demand and get booked up quickly. So if you think emailing the week before the summer holidays will cut it think again, be proactive and plan.

Think about highlighting other activities you have been involved with in your CV, such as part-time, temporary or voluntary work. Focus on the skills you have acquired and think about how they transfer into the skills employers are looking for. If you're coming into the film industry as a career change then you should know your initial experiences are not going to be well paid as a runner, you will need to present a good case in your covering letter why you are changing career also.


Cutting films or mixing tracks and soundscapes in your spare time - while getting a foot in the door - is one of the best ways to progress your career. In these first few years, you'll need to immerse yourself in post-production and soak up information like a sponge. Finding work to cut should not be a problem. You can look on the collaborations board here on MFJF, and check the resources section for other opportunities. Although we do recommend collaborations if you're working with someone you don’t know, be sure best industry practices are being observed; check out the producer's back catalogue of work and if working without payment make sure to have your expenses covered. Short film credits as an editor or sound designer can help a CV that is lacking in post-production experience, although you will not be hired for these roles yet it demonstrates how committed you are to working in post. 


When working on your CV check it through (or ask someone else to) to see it reads well and is correctly formatted. Correct spelling and grammar are crucial; you have to stand out from the hundreds of other people applying for the role so silly errors will mean your CV automatically gets disregarded. You can use the CV advice to create a CV and covering letter, and you can check your CV against our example CVs to make sure you have included all the relevant information. Although you should take every opportunity that comes your way, don’t forget to do your research on the company and tailor your CV; if you want to work as a sound designer submitting a CV to a company that only offers offline editing facilities will be of no value.

Keep your CV short and to the point, as many employers will be ‘scanning’ rather than reading, cut out the chaff and try and keep it down to one page, two max! If you can, follow up a week after to check they received your CV. If you sent it without there being a job advertised you will be told they will keep your CV for future reference, however, you could get lucky and they might be recruiting that week or be offering work experience. Even though work experience is unpaid take the opportunity, it's an excellent opportunity to meet people and add weight to the CV. 

Finding work and sending out CVs can be a full-time job in itself. Send your CV to post companies listed in The Knowledge or UK Screen Association website. Some people will get lucky, finding work almost instantaneously after graduation. Some may have put in the hours (work experience/internships) while they are studying, some people might just be in the right place at the right time. In whatever situation you find yourself, the resounding advice from professionals working in the film industry is be persistent; persistent and relentless in the pursuit of your chosen career. Keep applying for positions, sending emails, going to post-production companies and calling in to see if they have any vacancies.


While researching job opportunities, you're going to need to further your knowledge of editing or sound design. If you're asked in for an interview, you need to be able to demonstrate your eagerness to learn on top of your passion for the work. Part of your progression in post-production is going to mean learning new software as you climb the career ladder, so display your willingness to further your knowledge in your time. There are a host of online resources and information available to you for free such as:



If you wish to invest in some literature or have a library close to you, hit the books. There are some insightful and well-written books out there that demystify the post-production process for sound and editing such as:

Editors and sound designers have established an engaged community online, sharing their experiences using (and sometimes trialling) the software you are most likely to find in a post-production facilities. Spend time becoming familiar with the software that is most used. You don’t have to spend a small fortune on them, look out for free resources such as:

Website and Portfolio

When applying for jobs create a website that you can upload your best work and make a feature of the link in your CV. Be sure your site is fast and loads quickly, employers are often put off if they need to wait around for images to load. Although most companies will be looking at your suitability for working as a runner rather than an editor, you need to be able to check the box that says ‘this person wants to work in post-production. When listing your software skills, don’t list titles you have briefly used, be specific and demonstrate how well you know them. State the project you used the software on, how many times you used it, what were the outcomes of those experiences. Be specific.

Personality and Attitude

Despite the expansion of post-production facilities in the UK competition is still going to be fierce, so be aware that looking for work can be tough. You're going to need a firm resolve to keep sending out those CVs and making those calls. One of the first things to think about is practicalities. Post-production companies are based in the major cities in the UK, all of which can be expensive to live in. If you don't have any external funding in these early years, earning a wage while looking for work is going to be essential, especially if you're already living in a big city.  Work that offers flexibility like bar work, waiting tables or temping can tide you over while you are applying for jobs.

During this period keep editing/designing other people's projects, gaining more experience on short films will strengthen your CV, and remind you why you're trying to break into post-production in the first place. At points it can feel frustrating when you’re not getting the roles you want, keep in mind the advice on being relentless and go back to your CV, think about what you can do to make it better, what experience could you gain in another capacity to start ticking boxes for potential employers. Reflect on the possible reason your CV is not being chosen for roles; it could be a lack of experience, the way your CV is presented or if you’re sending in generic CVs and covering letters - you should give yourself the best possible chance by tailoring each one to each job role or production.

Although the industry is incredibly flexible when it comes to changing career, if you’re applying for positions in another area of the industry you will need to be clear why you want to make the change, and give examples of what you have been doing to facilitate the move.




Looking for some advice or have a question on careers in this area? Then please get in touch, we are here to help!


Contact Us


What are the responsibilities of a Post production Runner?

The work of the runner in the post production environment may sometimes feel insignificant, but runners are fundamental to the smooth running of the business. Runners are the face of the company and the first port of call for clients needing information. Some of the duties you can undertake as a runner can be:

Keeping edit suites/theatres clean and tidy.

One of the first jobs of the day can be making sure the edit suites or theatres are stocked with refreshments. Don’t tidy any paperwork that has been left by the occupants, just make sure the environment is clean and refreshed for the day to come.

Arranging meals.

If you're working at an independent production facility, editors, sound mixers and all the key personnel can work through the day, not wanting to travel too far for meals. Runners can often be found preparing and presenting meals in the kitchen, so keep your fingers crossed for a dishwasher. Make sure you know where all the best places locally are and keep some menus in the kitchen, or if they are a deli write down what they have to offer for future reference. 

Front of house.

When working on reception, you need to have a clear and professional telephone manner. The company should provide full receptionist training, but if they're a small business without the infrastructure in place ask how the internal phone system works when you take the position. Make sure to repeat back to the caller their name and number just to check you have the correct information and forward it on straight away. 

Runners are the first to enter the building and the last to leave.

You will need to be on standby if a client is working late into the night. You will be responsible for locking up in the evening and opening up, bright and early next morning. 

Client liaison.

Actors who are scheduled in the ADR suites, directors, producers and executive producers will all need catering for, which can be one of the most difficult elements of the job. Try not to take anything personally if the atmosphere is tense, and proactively assess what their needs might be. Equally gauge how often is too often to check if refreshments are required, knowing when to ask is a skill in itself. 

Building maintenance.

This aspect of the job will never leave you short of anything to do, from light bulbs to making sure the restrooms have enough hand towels.

Running errands.

Running errands is the foundation on which the position exists. You can find yourself collecting rushes from the lab, escorting rushes from location or accompanying paperwork/hard drives to another department. When going on runs make sure to let someone know when you leave the building and take a phone with map facility/app on it. Always make sure you have planned a route and are organised in advance, take petty cash just in case. Planning enables you to be quick and direct with your runs, something the rest of the team will appreciate. Where possible, avoid the Tube as you’re uncontactable (in case the delivery gets cancelled or the destination changes).

Ingesting footage.

Taking responsibility for imputing the clients rushes into the company servers. Depending on the company you are working for you may be working on TV and film post-production.

Dealing with petty cash.

Make sure you are meticulous at your receipt handling, use a clear pencil case so you don’t scrunch up the receipts in your back pocket. Always remember to take petty cash if you are out on a ‘run’; of course, the company will reimburse you for any expenditure, but this can take time, and if it was a big spend it might need to go through accounts first. Most companies have a system in place for logging client expenses such as taxi's, lunches, etc, Make sure you are meticulous when logging these, and they end up in the right job.


In most places there will be a handbook or check list of all your duties. If there isn't, ask if you can make one.


A runner needs to prioritise and reader of situations, as well as a mind reader - instinctively knowing when the kitchen is down to its last pint of semi skimmed. The key attributes needed to be a runner are:

  • Being proactive: If a job clearly needs doing then get it done. Acting on your initiative shows confidence and resourcefulness. This is all in context, do get some flowers and make sure the fridges are stocked if you have an important client coming into the office. Don’t go and tidy away the editor's notes and alphabetise them for the next day. There is always something to do in a post production facility, be it offering clients other refreshments, looking after staff or cleaning. Standing around chatting or being on your phone does not look good from an employer’s perspective.

  • Being able to prioritise: You are going to be asked (told) to do a lot of things when you’re a runner by many different people who think you exist to fulfil their tasks alone. Try not to tell people you can’t do something - or are too busy, use your skills of diplomacy and let them know their request has been put ‘on the list’ and you will get to it. Unless someone looks you dead in the eyes and tells you the whole company hinges on this one email being sent, work through the jobs methodically.  

  • Enthusiasm: Remember, you’re going to be on a three to six month probation period, your employers are going to want to know you want to be there. Editors and sound designers who have been working for thirty years still bring an enthusiastic approach to their jobs; it’s one of the signs that people enjoy their work.

  • Confidence: Especially when talking to colleagues or anyone who comes in to use the facilities. Don’t be overly confident; no one likes a show off just be yourself. When and if you are introduced to clients or freelancers make sure your handshake is firm, and you make eye contact when you say hello, please don’t look at your shoes.  

  • Adaptability: Situations can change at a moment's notice, something may come up that needs all hands to the pump, or you may find yourself dashing across town with a hard drive and a handful of petty cash.

  • Professionalism. The key to life in the industry, and the watchword for your career - ‘professionalism’. Ultimately being professional means doing the job to the best of your ability, putting a brave face on when things aren't going that well and getting on with the tasks at hand. Never hold a grudge, harsh words can be spoken, and a professional will weather that storm and wish them a pleasant evening as they leave. Take pride in what you are doing and do it well.  

What is Post production like to work in?

Working in a post production company is a 24/7 operation. In some of the larger facilities you can be running between a feature and light entertainment programme, the larger the space, the greater the capacity to house a variety of productions working to different time scales. As your career progresses, you can be tasked with more technical responsibility, such as ingesting footage or working in the master control room.

If you look at the responsibilities bestowed upon the runner, it’s obvious that working in post is going to be hard work. You're going to be on your feet all day - ‘running’. The long hours and lack of rest can affect your judgement and make you question if this is the right career for you. Fortunately, you will not be alone as you will form some long-lasting friendships with the other runners who are on the treadmill with you. Although you will feel the pressure of having ‘ten things to do at once’, it’s nothing compared to the pressure of pulling the goods out of the bag with the client standing over your shoulder in the edit suite or dubbing room. So enjoy your time as a runner, you only get to do it once (theoretically).   

Do I need any qualifications to work in Post production?

There are no academic qualifications needed to work in post-production. Although a degree will demonstrate you have sound reasoning and analytical skills, a degree is not a requirement for working as a runner in post-production. Suitable candidates should be able to display a focus in their CV for editing or post-production sound. Ultimately with all aspects of the filmmaking, passion and hard work are the most vital tools to get you where you want to go. Here are some courses you can look at to gain an all round knowledge of the post-production process:

National Film and Television School
Production Guild Training: Runner
Production Guild Training: Preparing for film and TV 


Each post facility will be working with different software, research which companies are using what before you apply. The most commonly found software and equipment would be:

  • Avid Media Composer. The majority of features films are edited using Avid.

  • Premiere Pro. A great platform for lower budget productions or independent films.

  • Final Cut Pro. The emergence of Final Cut X has left many editors in a quandary and sparked industry-wide debate. Final Cut is still a preferred editing software when working on low-budget independent films.

  • Pro Tools. Manufactured by Avid, Pro tools is the industry's favourite post production sound software.  

  • Local and external Drives, servers and networks. It sounds basic but if you want to work in post you need to demonstrate you can navigate and understand an operating system, work with shortcuts that have been set up by editors and the production team, move files safely, and know how to delete files from the system.

  • DaVinci Studio. Grading/Colour correction software.

  • Baselight. Made by Filmlight for high performance colour grading.

  • Pablo. Grading and finishing for HD, 2K, 4K and Stereo 3D.


Always arrive early.

The golden rule of the industry and post-production is no exception.

Carry out every task with good humour.

From making the tea to answering the phones. Some of the jobs may feel low-grade, especially if you have just left higher education and did not expect to have to start your working life as a runner. Everyone has to start somewhere. 

Take pride in your job.

Just because it’s lunch and not an edit, it shouldn’t mean shoddy workmanship. Good runners who have the right attitude progress significantly quicker than those who regard certain jobs beneath them. So take some time to present the lunch, clean bathroom mirrors or sweep the floors.

Don't take anything personally.

Don’t lose sight of why you are doing the job. If the main creative forces behind a feature film are wedged into a room for days at a time, frustrations and tempers may fray at points. Don’t be too downhearted if your simple question “Can I get anyone anything?” is dismissed with a scowl and a wave of the hand, or worse.

Make connections.

Making contacts within the industry at all levels is a worthy endeavour. Building a network doesn’t have to be as mercenary as it sounds. From your fellow runners to producers and production managers, making friends and professional contacts requires the same set of skills. Making connections with fellow entrants can have long standing benefits, who knows where you will be in 15 years.

Learn about the equipment.

If your employers are open to it, use the edit and dubbing facilities to work on your projects as often as you can (always make sure you ask a senior member of staff beforehand). The information you gather as a runner is valuable, but learning on your films can be far more valuable. It can also be a way of starting a conversation with the editors, sound editors, or VFX guys who are using the facilities during the day. If you do ask for advice, make sure you get your timing right. Bringing in the tea and toast in the morning can be a good time.

Keep editors, VFX and sound guys caffeinated.

Three or four asks a day should be enough; you don’t want to badger them too much. Also liaise with your colleagues about who has been asked and who hasn’t, this can go a long way to preventing tip No.4.

Remember everyones name.

Yes, some people may forget yours it’s true, but try your best to remember everyone else’s. Most people find a way of achieving this, whether repeating it three times in conversation on meeting them, or finding words that rhyme with their name. Find out what works best for you and use it.

Learn how to become a team player.

Post production companies need their staff to work together to support the production companies who hire the suites. Use your time as a runner to implement that same protocol; it will make you a better runner and a better editor, VFX artist or sound designer in the future.

You will sometime be required to work late.

As much as that might play havoc with your life (social and otherwise) try not to complain. There are many people desperate to have the job you have, work hard, keep smiling and you will move up the ladder quickly.


  • Codec. A way of converting an analogue signal or stream to digital, each make of camera uses its own codec.

  • Native file. The original file system that was used in production.

  • Transcoded files. Footage that is configured into a lesser demanding codec for offline editing, useful when the editing equipment is not going to be able to handle a large volume of footage.

  • Proxy files. A downgraded file from the native file if the editing system when it's plagued by drop frames or sluggish performance.

  • 2K, 4K, 6K are the resolutions that the camera is shooting.

  • DI process. Digital intermediary, a term used when the project is in its digital state.  

  • Green screen. Chroma green is a colour that does not exist in the natural world making it an ideal colour to work with for keying in a background.

  • DI Suite. A theatre with a cinema sized screen to sync and dub the film.

  • Online and Offline editing. Most editing systems are capable of working with the native footage, so this phrase has changed in meaning. Offline editing was born from the need to preserve original video footage, as tape stock can downgrade very quickly when replayed. A copy of the footage was used and an EDL (edit decision list) made from the edit. With the EDL a cut could be made using the original higher quality footage before the grade, or if working on film, the negative could be cut as per the digital EDL. If working with a system that will not handle the digital files, and editor will be working offline with the transcoded files, moving into the online where the original footage can be used.

  • Raw. A file format that is uncompressed and unmodified usually used in relation to stills. 

  • EDL. Edit Decision List. Created from the offline so a cut of the film can be pulled from the original (best quality and data intensive) footage.  

  • LUT’s. Look up tables. Each LUT comprises of different elements, some mimic different film stocks, some colour wash the image. LUT’s are applied in the grade; they can also be used by the DIT before the rushes are handed over. 


What hours will I be working?

This is largely dependent on each company and the hours they choose to keep. Runners can work on a shift patterns, which change from week to week. This can involve a night shift as well as two separate shifts during the day. Your pattern can be rotated each week, which can be slightly disconcerting for many new entrants to the industry, be warned your social life outside of work may suffer.

How much do post production runners get paid?

A runner can earn anywhere between £14,000 and £17,000 depending on the company if promoted to head runner slightly more. Please make sure you are making enough to cover all your costs for your first three-six months probation period, especially if you are moving to a big city for the job. Please make sure you know what the minimum wage is, and accept no less.

What are the industry bodies for post production?

The Cine Guilds and associations for the UK film industry offer courses and provide valuable information to new entrants and experienced professionals alike. Please be aware of the work they carry out and the services they offer. 

How long should I expect to work as a post production runner?

Post-production is one area of the industry where you can be a runner for months or years. Promoting yourself while still doing your job to the best of your ability can make a huge difference. You may also be at the mercy of luck! ‘Being in the right place at the right time’ is never truer than in the world of filmmaking. Sometimes you have to be brave in this industry, if an opportunity comes up to work as an assistant editor on a low budget feature as a freelancer, it's going to be up to you to decide if the permanent wage is worth giving up for the opportunity.

How long should an internship be and what can I expect?

Gaining a position as an intern does not guarantee a job at the end. Indeed some people may go through two or three internships before finding full-time employment. What you can gain as an intern are contacts, you will be there in a learning capacity and meet a variety of people.

thank you's ...

My First Job in Film would like to thank Claudia Nijhuis and Alan Sallabank for sharing their experience and giving up time to offer advice for this career guide. 

Career guide image curtesy of Molinare. 

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