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Fees

Stunt people usually are freelance artists. You issue an invoice to the service recipient in film, television, photo, advertising and music production. The amount of the fee depends on the number of days of shooting and the position; weekly or monthly fees are also negotiable. The prices stated in this fee guideline do not include VAT, adjustments and other ancillary costs.

 

    

 

  

Recommended daily fee

Stuntwoman
Stuntman

    

plays the role of actors in risky scenes as a double

  

900,- to 1000,-€

Stunt Player

 

 

Plays its own role. The role is important for the plot, the stunt player big in the picture and is not easily exchangeable for another person

 

900,- to 1000,-€

Stunt Coordinator

 

 

 

Realizes stunt scenes in consultation with the director. In the exercise of his artistic activity, he has the task of creatively dissolving the scene (s) and suggesting appropriate film and camera technology perspectives and possibilities, assessing the danger situation, eliminating risks and implementing the action safely.

 

900,- to 1100,-€

Stunt Rigger/ Stunt Techniker

 

The Stunt Rigger builds and guides rope-supported dynamic or static devices to secure, hold or artistically move people or material. Builds, changes and / or operates technical devices, machines or vehicles that are necessary to carry out a stunt. Secures stunts as "safety".

 

650,- to 900,- €

Head (Stunt) Rigger

 

 

 

Conceives and coordinates the construction of rope-supported dynamic or static devices for securing, holding or moving people or material. Advises the stunt coordinator on the feasibility of scenic ideas and advises them on possible dangers. If there are only rigging elements in a project, it is possible that the head rigger (if suitable) also takes on the tasks of a coordinator.

 

750,- to 1100,- €

Stunt Rider/ Stunt Coachman
 

 

Specialist in stunts with horses, masters different riding styles, tricks and transfers. Can do this even with unknown trained horses in different situations. The stunt coachman specialist for stunts with carriages.

 

800,- to 1000,- €

Horse Master

 

 

 

Used as soon as horses are involved. He advises the stunt coordinator whether and how a task can be solved by the animal (s), or to what extent the stunt riders, actors or guides available to him are sufficient to control an animal in a scene. If there are only riding scenes in a project, it is possible that the Horse Master (if suitable) takes on the tasks of a coordinator.

 

800,- to 1000,-€

Fight Choreographer

 

 

Conceives, choreographs and coordinates fight sequences. Advises the stunt coordinator on the feasibility of scenic ideas and advises them on possible dangers. If there are only fight elements in a project, the fight choreographer (if qualified) may also take on the tasks of a coordinator.

 

900,- to 1100,- €

Precision Driver /
Stunt Driver

 

Specialist in stunts with vehicles. The term Precision Driver is used for driving in front of the camera line. Stunt drivers are used in accidents.

 

900,- to 1000,- €

Stunt Diver

 

As a `Rescue Diver` the Stunt Diver secures actors and stunt people who perform a stunt that takes place above, on or under the water.

 

700,- to 1000,- €

 

How do I become Stuntman?

There is no indispensable predetermined training path for any of the professions. The basic requirement is a completed vocational training, preferably in the technical or craft area. This has proven to be useful in practice.

Such as:

  • an athletic education
  • an apprenticeship in a trade, such as a car mechanic
  • training in a technical profession, such as toolmaker or electrician
  • Horse wrangler or commercial diver

but also

  • a degree in economics or the humanities
  • an apprenticeship or degree in the performing arts

As a basic requirement you should have a high level of physical fitness and

  • reliability
  • discipline
  • a good grasp of things
  • quick responsiveness/li>
  • acting talent and creativity,
  • foreign languages also help.

The actual training can be completed as a junior member in a stunt group / stunt company in the form of "learning by doing". In these companies not only the stunts themselves are carried out, but also artistic, sporting and technical training.
All member companies of the association train if they are suitably qualified and stand for professional work, know-how and high safety requirements. There are also stunt schools with training courses, such as acrobatics, gymnastics, acting lessons, fall exercises, climbing, belaying, knotting, fencing and show fighting ... Stunt schools have different admission requirements, the costs can be between 1500 and 2000 € per training year

Job Profiles of the German Stunt Association

The job profiles created by the German Stunt Association are not protected. They should be used internally and externally as a point of reference and as an overview that contributes to a better understanding of the individual professions.
The different areas of activities and the associated job profiles contain a number of different artistic and technical skills that form a homogeneous unit.

The German Stunt Association subdivides various areas of stunt work into:

Activity

The stunt coordinator is responsible for the planning and organization of stunts within a film, television, advertising or theater production. He / She is the H.O.D (Head of Department) for the stunt dept. He / she is also responsible for the safety of the people involved in the stunt and must initiate the necessary safety measures in the event of a hazard (assessment of sources of danger, medical emergency precautions, instructions on accident prevention, preparation of a risk assessment).

The work as a stunt coordinator essentially comprises the following areas:

  • Communication with the director, the picture designer, the set designer and the production manager about the stunt sequences and their intended overall effect of the project.
  • design and create the action of the individual scene in collaboration with the director.
  • Site visits (location recces)
  • Independent concept development of the stunts, calculation of costs and timing of production processes. The decisive component here is the feasibility of what is artistically desired with the available financial means.
  • Selection of stunt performers taking into account the requirements of the planned scenes.
  • Instruction of all those involved in prep and rehearsals, according to the requirements of the respective stunt. This includes the mental and physical preparation of performers for a stunt, as well as taking into account possible sources of danger and taking appropriate safety measures.
  • During the shoot, the stunt coordinator leads the planned stunt scenes either alone or in close cooperation with the director. In addition to the artistic and technical implementation, the stunt coordinator is also responsible for the safe implementation of the stunt scene.
  • In the case of theatre productions, he / she works out and rehearses the stunt scenes during the rehearsal period; at the end of the dress rehearsal his / her performance is usually provided.

The stunt coordinator is also responsible for the artistic execution of the stunts by the stunt performer, stunt player or actor. The finished film / stunt scenes are the result of an artistic and technical creative process that begins with the preparation of the individual scenes and ends with their completion. The technical and artistic elements are combined and coordinated in such a way that the result is not a technical but an artistic work. The stunt coordinator is not an interpreter of an existing work, but the designer of an original creation.

Training

There is no indispensable predetermined training path for the profession of stunt coordinator. The prerequisite for working as a stunt coordinator is the combination of various skills that make it possible to combine representational, dramaturgical and technical elements and bring them together to form an artistic sequence.
This also includes the ability to guide and motivate all employees involved in a stunt and to coordinate their contributions. Many years of experience as a stunt performer are essential, skills in the field of directing are advantageous. Business knowledge (calculation, personnel) is also required.
Knowledge of production conditions and processes in film, television and/or theater are a prerequisite.

Earnings / Income

Fees are freely negotiable. The income depends on the number of engagements. In theater productions you earn your fee for the artistic work during the rehearsal period. Travel and accommodation costs are usually reimbursed or made available.
In the case of film, television and advertising productions, the day of shooting, the days of rehearsals and the days of arrival and departure are usually paid for. Accommodation options are usually provided and organized by the production companies.
Payment is usually billed as a daily rate or weekly fee.
In some cases, stunt coordinators receive a work contract for the duration of a feature film production, including preparation.

Perspectives

Working as a stunt coordinator involves constant learning and further training. This happens on one hand during work, or on the other hand through self-organized training, such as participation in workshops, special courses or studying. The possible content is as comprehensive and varied as the profession itself (art, technology, film editing, directing, etc.).
The next development stage or opportunity for advancement is the qualification or appointment as 2nd Unit Director / Action Unit Director.

Activity

The 2nd Unit Director / Action Unit Director is responsible for the artistic, cinematic implementation of one or more action scenes and is a decisive creative force for this.
The activity as 2nd Unit Director / Action Unit Director essentially comprises the following areas:

  • Communication with the director, the picture designer, the set designer and the production manager about the intended overall effect of the project.
  • Dramaturgical and artistic processing of the material template of the individual scene in collaboration with the director.
  • Site visits (location recces)

During the shoot, the 2nd Unit Director / Action Unit Director alone directs the planned action scenes.
The finished film / stunt scenes are the result of an artistic and technical creative process that begins with the preparation of the individual scenes and ends with their completion. The technical and artistic elements are combined and coordinated in such a way that the result is not a technical but an artistic work. The 2nd Unit Director / Action Unit Director is not an interpreter of an existing work, but the designer of an original creation.

Training

For the profession of 2nd Unit Director / Action Unit Director there is no indispensable predetermined training path. The prerequisite for working as a 2nd Unit Director / Action Unit Director is the combination of various skills that make it possible to combine representational, dramaturgical and technical elements and bring them together to form an artistic work. This also includes the ability to guide and motivate the artistic and technical staff involved in a stunt and to direct their artistic contributions.
Experience as a stunt performer, stunt coordinator are beneficial. Competence in the field of directing is essential.

Earnings / Income

Fees are freely negotiable. The income depends on the number of engagements. In the case of film and television productions, the day of shooting, the days of rehearsals and the days of arrival and departure are usually paid for. Accommodation options are usually provided and organized by the production companies.
Payment is usually based on a daily rate or weekly fee.
2nd Unit Director / Action Unit Director receive a work contract for the duration of a feature film production, including preparation.

Activity

The assistant stunt coordinator plans and organizes the stunts within a film, television, advertising or theater production together with the stunt coordinator.
His / her work can be similar to that of the Stunt Coordinator, but refers back to the Stunt Coordinator to guide the route.
He / she takes on individual parts of stunt coordination during rehearsals or on the set.

Training

For the profession of assistant stunt coordinator there is no indispensable predetermined training path. The prerequisite for working as an Assistant Stunt Coordinator is experience as a stunt performer and knowledge of production conditions and processes in film, television, and theater.

Earnings / Income

Fees are freely negotiable. The income depends on the number of engagements. Travel and accommodation costs are usually reimbursed or made available.
In the case of film and television productions, the day of shooting, the days of rehearsals and the days of arrival and departure are usually paid for. Accommodation options are usually provided and organized by the production companies.
Payment is usually billed as a daily rate or weekly fee.

Perspectives

The next stage of development or opportunity for advancement is the qualification or appointment as a stunt coordinator.

Activity

The fight choreographer is responsible for the choreography of the fights within a film, television, advertising or theater production. He / She trains and instructs the stunt performers and actors involved.
The work as a fight choreographer essentially comprises the following areas:

  • Communication with the director and the stunt coordinator about the intended overall effect of the project.
  • Dramaturgical and artistic processing of the template of the individual scene in cooperation with the director and the stunt coordinator.
  • site visits (location recces)
  • During the shoot, the fight choreographer directs the planned fight scenes in close cooperation and under the supervision of the stunt coordinator.
  • In the case of theater productions, he works out and rehearses the stunt scenes during the rehearsal period; at the end of the dress rehearsal his performance is usually provided.

The fight choreographer is also responsible for the artistic execution of the fights by the stunt performer, stunt player or actor. The finished film / stunt scenes are the result of an artistic and technical creative process. That begins with the preparation of the individual scenes and ends with their completion. The technical and artistic elements are combined and coordinated in such a way that the result is not a technical but an artistic work. The fight choreographer is not an interpreter of an existing work, but a designer of an original creation.

Training

There is no indispensable predetermined training path for the profession of fight choreographer. The prerequisite for working as a fight choreographer is the ability to combine representational and dramaturgical elements and bring them together to form an artistic work. This also includes the ability to guide and motivate the employees involved in a fight and to coordinate their contributions. Experience as a stunt performer and skills in the field of stunt coordination are advantageous. Knowledge of production conditions and processes in film, television and theater are a prerequisite.

Earnings / Income

Fees are freely negotiable. The income depends on the number of engagements. In theater productions you earn your fee for the artistic work during the rehearsal period. Travel and accommodation costs are usually reimbursed or made available.
In the case of film, television and advertising productions, the day of shooting, the days of rehearsals and the days of arrival and departure are usually paid for. Accommodation options are usually provided and organized by the production companies.
Payment is usually billed as a daily rate or weekly fee.

Specializations

There is a specialization for a certain area, but it is not absolutely necessary and not a standard in Germany. Specialization usually takes place out of a particular talent or inclination for certain types of combat. A specialization for a particular area of ​​work such as theater or film depends on the personal preferences of the individual.

Activity

The Head Stunt Rigger is responsible for planning and organizing stunt rigging sequences within a film, television, advertising or theater production. As soon as several stunt riggers, complex rigs, stunt performers or actors on wires are involved in a shoot, a head stunt rigger must be present. He / She mediates and instructs the stunt riggers, stunt performers in close cooperation with the stunt coordinator. He is also responsible for designing the safety protocols of the people involved in stunt rigging and must initiate the necessary safety measures to mitigate the hazards (assessment of sources of danger, medical emergency precautions, instructions on accident prevention, preparation of a risk assessment).

The work as a head rigger essentially comprises the following areas:

  • Communication with the stunt coordinator, the director, the picture designer, the set designer and the production manager about the intended overall effect of the project.
  • Dramaturgical and technical processing of the material template of the individual scene in cooperation with the director and the stunt coordinator.
  • location recces
  • Independent concept development of the stunt rigs, calculation of costs and timing of production processes. A crucial component here is the feasibility of what is artistically desired with the financial and time available.
  • Instruction of all those involved in the preparation about possible sources of danger, precautions and of appropriate safety measures.
  • During the shoot, the head rigger leads the planned stunt scenes in close cooperation and under the supervision of the stunt coordinator.

Training

There is no indispensable predetermined training path for the profession of head rigger. A prerequisite for working as a head rigger is extensive material and technical knowledge.
Many years of experience as a stunt rigger are essential. Experience as an event rigger, circus rigging, stunt performance, aerial rigging or industrial climber are advantageous. Knowledge of production conditions and processes in film, television and theater are a prerequisite.

Earnings / Income

Fees are freely negotiable. The income depends on the number of engagements. In theater productions, you earn your fee for work during the rehearsal period. Travel and accommodation costs are usually reimbursed or made available.
In the case of film, television and advertising productions, the day of shooting, the set-up, rehearsal and test days and the days of arrival and departure are usually paid for. Accommodation options are usually provided and organized by the production companies.
Payment is usually billed as a daily rate or weekly fee.

Perspectives

Working as a head rigger is associated with constant learning and further training. This happens during work and / or through self-organized training as well as participation in workshops and courses.

The horse master is responsible for the implementation and execution of the horse stunts. As soon as several stunt riders, coachmen or actors are involved in a shoot with horses, a horse master must be present. The horse master is the decisive creative force in the (cinematic) implementation of the stunt scenes with horses, riders and carriages. He works closely with and under the supervision of the stunt coordinator and the director.
The prerequisite for the activity as Horse Master is the combination of different skills, which make it possible to combine acting, dramaturgical and technical elements.

Requirements are:

  • Knowledge of production conditions and processes in film, television and theatre
  • Artistic staging of pictures and scenes with riders, carriages and horses
  • Coordination of stunt riders, extras riders, carriages and horses and possibly other participants, stunt people, vehicles, etc.
  • Business knowledge (calculation, personnel)
  • Selection of suitable horses
  • Knowledge of horse keeping and care, horse health
  • Expertise in the anatomy / nature / psychology of horses
  • basic veterinary knowledge / first aid
  • Knowledge of horse transport
  • Horse proficiency test according to §11 TierSchG
  • Knowledge of training of stunt horses
  • Knowledge of the training of stunt riders and horseback actors.

Earnings / Income

Fees are freely negotiable. The income depends on the number of engagements. In theater productions, you earn your fee for work during the rehearsal period. Travel and accommodation costs are usually reimbursed or made available.
In the case of film, television and advertising productions, the days of shooting, the days of rehearsals and the days of arrival and departure are paid for. Accommodation options are usually provided and organized by the production companies.
Payment is usually billed as a daily rate or weekly fee.

Activity

Stunt performers / stunt doubles / stunt women / stunt men are people who perform a stunt in the fields of film, television, advertising and theater. 
Stunt doubles represent role characters, they take on the character of the actor and play the role to be represented under the special conditions of a stunt. Stunt performers are also used as stunt players, where they take on the role to be performed alone, i.e. they do not share it with an actor.

A stunt double or stunt player deals with the content of a role in relation to the plot given by the author. He / she interprets the scenic character in coordination with the director.
He / she also assesses the stunt in close cooperation with the stunt coordinator in terms of his / her own abilities and the local conditions. At the end of the day, the stunt performer decides for himself whether he / she performs the stunt or not.
Stunt performers are often actively involved by stunt coordinators in the planning and organization of stunts and action scenes in order to synchronize the stunts to be performed with their skills and specifications.
In preparation, he / she can work on the production and construction of stunt technology or take part in the creative process of creating the stunt.
It is also possible to work in the security area for colleagues and the film team.

The work of stunt men and stunt women is not to be equated with that of acrobats or artists in the circus or at shows. Even if individual, selectively highlighted techniques and contents are comparable. A stunt, a trick or an acrobatic performance presented as a show only serves to create a sensation and focuses on it. Its shape can be repeated as required and therefore cannot be compared to a stunt in a film or television production. This always has a dramaturgical background and thus makes an artistic statement.

The delimitation of the activities is based on the causal relationships and not on the name. If a person appears in the circus and flies through the air with a cannonball, he / she may be announced as a stunt man / stunt woman, but in this case he / she works as an artist. If the whole thing is a scene from a feature film and a stuntman plays "Baron Münchhausen", he is a performing artist.
Just as news anchors are not actors (artists) either, although they can also “speak” and be actors (artists) by profession.

A stunt includes the entire artistic performance in the creative process of a film, television or theater production.
The stunt performer can be the performing artist as a recreating interpreter of a pre-existing work and, as the designer of an original creation, participate in the creation of the work.

Training

There is no indispensable predetermined training path for the profession of stuntwoman / stuntman.
Entry into the stunt area takes place either through autonomous self-recruitment or through private courses. The further development of artistic, physical and technical skills can be acquired through learning-by-doing, qualifications related to the stunt area or in special workshops. A completed vocational training or a degree e.g. The arts, sports, humanities or technical sciences have proven to be useful in practice. Work experience e.g. as a professional diver, professional climber, etc. can make it easier to get started.
Extensive experience and high qualifications in various sports, such as Gymnastics, martial arts, parcouring, riding, motor sports, etc. are often indispensable requirements.

Further eligibility requirements for stunt performers are:

  • Artistic talent
  • Discipline
  • Good physical condition
  • Good grasp
  • Quick responsiveness
  • Visual implementation of an idea
  • Adaptability / ability to improvise
  • Craftsmanship
  • Ability to work in a team
  • Creative imagination
  • communication skills

Work Items / Work Equipment

Stunt people usually have personal protective clothing with which they can protect their own body. Either with equipment specially made for stunt people or with protectors offered by the industry for sports and leisure. Often, own, individually made equipment is used.
Anyone who specializes in a certain thing (e.g. riding, motorcycling, diving or climbing) usually has the associated equipment. On the film set, stunt performers use the props provided by the production. Often these props, such as weapons or pieces of furniture, are custom-made items. So-called "Break-aways" or "dummies" that offer the stunt performer a certain level of security.

Earnings / Income

Fees are freely negotiable. The income depends on the number of engagements.
In the case of theater productions, the fee can be made up of a trial fee and the performance fee. Travel and accommodation costs are usually reimbursed or made available. One is firmly booked for the duration of the production and has to play the contractually agreed performances.
In the case of film, television and advertising productions, the days of shooting, the days of rehearsals and the days of arrival and departure are paid for. Accommodation options are usually provided and organized by the production companies.
Payment is usually billed as a daily rate or weekly fee.

Access to the activity

Access to the activity can take place in the most varied of ways. Anyone who chooses this profession begins autodidactically with the development of certain skills. He / she deals theoretically and practically with the profession and tries to contact a stunt coordinator to introduce himself / herself. Another possibility is that you are discovered and recommended by a stunt coordinator or stuntman based on a certain individual ability.

Specializations

There are a specializations for certain areas, but it is not absolutely necessary and not a standard in Germany. Specialization usually takes place out of a particular talent or inclination for certain types of stunts. A specialization for a particular area of ​​work such as theater or film depends on the personal preferences of the individual.

Perspectives

Working as a stunt man / stunt woman is associated with constant learning and further training. Further education can be participation in workshops, special courses or studying. The possible contents are as comprehensive as the profession: (e.g. acting lessons, industrial climbing, stage fencing, precision driving, film editing, etc.).
Working as a stunt performer is the link for a number of other activities. Aptitude, knowledge, experience and ability are decisive for this. Possible alternatives are e.g. work as:
Assistant Stunt Coordinator, Fight Choreographer, Stunt Rigger, etc.

Qualification and Advancement

With increasing experience, the area of ​​activity and thus the application options increase. The possible career according to the German Stunt Association is as follows:

Junior (entry into the job)

  • Work under the supervision of an experienced stunt coordinator
  • Qualification as a stunt performer through collaboration in professional productions
  • Sponsorship and recommendation by a stunt coordinator

Stuntman / stuntwoman

  • Work as a stunt performer in professional productions
  • Possibly specialization as a fight choreographer, stunt rigger, etc.

Stunt coordinator

2nd Unit Director

Activity

Precision drivers are people who move vehicles of all kinds in front of the camera in film, television and advertising film productions.
Precision Driver not only describes a person who can drive precisely, but is also a job title that describes professional work with vehicles on a film set. A professional racing driver, for example, is not necessarily a Precision Driver at the same time, although he certainly fulfills a few requirements, since the professional requirements are similar in some areas, but the working methods and requirements are completely different.
Unlike a racing driver, for example, the Precision Driver never drives against, but always with other drivers and is not out to set the best times, to be involved in the technical development of vehicles or to win races. Rather, it is about working with vehicles in front of the camera and thus for the camera. Often you have to drive at slow speeds or very atypical lines (not “Raceline”). The work also always includes prior agreements on the maneuvers with the stunt coordinator, a camera vehicle and / or other precision drivers that may be involved.
He / she must also be able to drive exotic, over- or underpowered, or incomplete vehicles. In addition, he / she must be able to control vehicles that offer poor or only limited visibility due to camera assemblies or for dramaturgical reasons. A precision driver is also characterized by the fact that he / she can move a vehicle precisely and evenly and has good timing. He / she must think “figuratively”, be able to drive repeatable maneuvers in synchronization with a camera vehicle and / or other participating vehicles and be able to communicate with a camera vehicle (tracking vehicle, arm car). In a best-case scenario, an advanced Precision Driver should also be proficient in performance driving, hence is also familiar with high speed and drifts and can perform them safely.
The same applies, of course, to the stunt driver. But unlike the Precision Driver, a stunt driver also drives a stunt, e.g. performs a crash, jump, near miss or rollover - mostly in a specially prepared vehicle.

Requirements for working as a Precision Driver / Stunt Driver are:

  • Extensive driving practice, regular driving training, theoretical Knowledge of driving dynamics.
  • Basic knowledge of automotive technology, mechatronics and tire science
  • Knowledge of production conditions and processes in film, television and Advertising production.

Training

For the profession of Precision Driver / Stunt Driver there is no indispensable predetermined training path.
Entry takes place either through autonomous self-recruitment or through private courses. The acquisition of driving and technical skills can be acquired in special workshops. Training, qualifications and licenses as a racing driver can make it easier to get started.
Extensive experience and a certain level in "High Performance Driving" are advantageous requirements.

Earnings / income

Fees are freely negotiable. The income depends on the number of engagements.
In the case of film, television and advertising productions, the days of shooting, the days of rehearsals and the days of arrival and departure are paid for. Accommodation options are usually provided and organized by the production companies.
Payment is usually billed as a daily rate or weekly fee.

Activity

The stunt rigger is responsible for stunt rigging within a film, television, advertising or theater production. He / She works closely with the head rigger and partially realizes the given technical tasks independently. A stunt rigger doesn't necessarily only work with ropes. A stunt rigger is also a person who technically prepares a stunt and is involved in setting up a stunt.

Training

There is no indispensable predetermined training path for the profession of stunt rigger. A prerequisite for working as a stunt rigger is extensive material and technical knowledge.
Many years of experience as a stunt performer, an event rigger or industrial climber are advantageous. Knowledge of production conditions and processes in film, television and theater are a prerequisite.

Earnings / Income

Fees are freely negotiable. The income depends on the number of engagements. In theater productions, you earn your fee for work during the rehearsal period. Travel and accommodation costs are usually reimbursed or made available.
In the case of film, television and advertising productions, the day of shooting, the set-up, rehearsal and test days and the days of arrival and departure are usually paid for. Accommodation options are usually provided and organized by the production companies.
Payment is usually billed as a daily rate or weekly fee.

Perspectives

Working as a stunt rigger is associated with constant learning and further training. This happens either during work, or through self-organized training, such as participation in workshops and special courses.
The next stage of development or opportunity for advancement is the qualification or appointment to head stunt rigger.

Activity

A stunt rescue diver is responsible for the safety of personnel in and under water within a film, television, advertising or theater production. He / she works closely with the stunt coordinator.

Training

There is no indispensable predetermined training path for the profession of stunt rescue diver. The prerequisite for working as a stunt rescue diver is a completed diving training, extensive material knowledge and technical knowledge.
Many years of experience as a stunt performer and / or professional diver are advantageous. Knowledge of production conditions and processes in film, television and theater are a prerequisite.

Activity

A stunt technician is responsible for the construction and assembly and dismantling of stunt technique and works closely with the stunt coordinator.

Training

For the profession of stunt technician here is no indispensable predetermined training path. The prerequisite for working as a stunt technician is completed vocational training, extensive material science and technical knowledge.
Knowledge of production conditions and processes in film, television and theater are a prerequisite.