Film crew
Film crew and equipment on a location shoot.
A film crew is a group of people hired by a film company for the purpose of producing a
film or motion picture. Crew are distinguished from cast, the actors who appear in front
of the camera or provide voices for characters in the film. Crew are also separate from
producers, those who own a portion of either the film company or the film's intellectual
property rights. A film crew is divided into different departments, each of which
specializes in a specific aspect of the production.
Production
“Production” is generally not considered a department as such, but rather as a series of
functional groups. These include the "front office" staff such as the Production Manager,
the Production Coordinator, and their assistants; the accounting staff; the various
Assistant Directors; and sometimes the Locations Manager and his or her assistants. The
Director is considered to be a separate entity, not within the departmental structure.
Producer
A film producer creates the conditions for making movies. The producer
initiates, coordinates, supervises and controls matters such as raising funding,
hiring key personnel, and arranging for distributors. The producer is involved
throughout all phases of the filmmaking process from development to completion
of a project.
Production Manager
The production manager supervises the physical aspects of the production (not
the creative aspects) including personnel, technology, budget, and scheduling. It is
the production manager's responsibility to make sure the filming stays on
schedule and within its budget. The PM also helps manage the day-to-day budget
by managing operating costs such as salaries, production costs, and everyday
equipment rental costs. The PM often works under the supervision of a line
producer and directly supervises the Production Coordinator.
Unit Manager
The unit manager fulfills the same role as the production manager but for
secondary "unit" shooting. In some functional structures, the unit manager
subsumes the role of the Transport Coordinator.
Production Coordinator
The Production Coordinator is the information nexus of the production,
responsible for organizing all the logistics from hiring crew, renting equipment,
and booking talent. The PC is an integral part of film production.
Post-production supervisor
Director
The director is responsible for overseeing the creative aspects of a film, including
controlling the content and flow of the film's plot, directing the performances of
actors, organizing and selecting the locations in which the film will be shot, and
managing technical details such as the positioning of cameras, the use of lighting,
and the timing and content of the film's soundtrack. Though the director wields a
great deal of power, he or she is ultimately subordinate to the film's producer or
producers. Some directors, especially more established ones, take on many of the
roles of a producer, and the distinction between the two roles is sometimes
blurred.
First Assistant Director
The first assistant director (1st AD) assists the production manager and director.
The ultimate aim of any 1st AD is to ensure the film comes in on schedule while
maintaining a working environment in which the director, principal artists (actors)
and crew can be focussed on their work. He or she is in charge of overseeing the
day-to-day management of the cast and crew scheduling, equipment, script, and
set. A 1st AD may also be responsible for directing background action for major
shots or the entirety of relatively minor shots, at the director's discretion.
Second Assistant Director
The second assistant director (2nd AD) is the chief assistant of the 1st AD and
helps carry out those tasks delegated to the 1st AD. The 2nd AD may also direct
background action and extras in addition to helping the 1st AD with scheduling,
booking, script supervision, etc. In Canadian and British functional structures
there are 3rd ADs and even Trainee ADs; in the American system there are 2nd
2nd ADs.
Production Assistant
A production assistant assists the first assistant director with set operations.
Production assistants, almost always referred to as PAs, also assist in the
production office with general tasks.
Script Supervisor
Also known as the "continuity person", the script supervisor keeps track of what
parts of the script have been filmed and makes notes of any deviations between
what was actually filmed and what appeared in the script, thereby ensuring that
consistency is maintained from shot to shot. The script supervisor works very
closely with the director on set.
Production Accountant
The production accountant assists the production manager and line producer in
keeping track of the film's budget. The production accountant, together with his or
her various assistants, are often considered to be a separate department.
Location Manager
The location manager researches, locates, secures and coordinates the filming
locations. He/she creates a location breakdown, identifying the precise locations
needed and works hand-in-hand with the director and the production designer
It has become increasingly more common for productions to approach film commissions
before employing a location manager to help source film locations.
Publicist
The publicist handles the publicity of a film. He promotes the film by issuing
press releases and overseeing advertisements.
Casting Director
Art Department
The Art Department in a major feature film can often number hundreds of people.
Usually it is considered to include several sub-departments: the art department proper,
with its art director, set designers and draughtsmen; sets, under the set decorator; props,
under the propsmaster; construction, headed by the construction coordinator; scenic,
headed by the key scenic artist; and special effects.
Production Designer
A production designer is responsible for creating the physical, visual appearance
of the film - settings, costumes, properties, character makeup, all taken as a unit.
The production designer works closely with the director and the cinematographer
to achieve the 'look' of the film.
Art
Within the overall Art Department is a sub-department, called the Art Department, which
can be confusing. This consists of the people who design the sets and create the graphic
art.
Art Director
The art director reports to the production designer, and more directly oversees
artists and craftspeople, such as the set designer and set decorator, who carry out
the production design.
Set Designer
The set designer is the draftsman, often an architect, who realizes the structures
or interior spaces called for by the production designer.
Assistant art director
The first, second and third assistant art directors carry out the instructions of the
art director. Their work often involves measuring locations, creating graphics and
paper props, collecting information for the production designer and drawing sets.
Sometimes a set designer is also the first assistant art director; in this capacity, he
or she manages the work flow and acts as the 'foreman' of the drawing office.
Sets
Set Decorator
The set decorator is in charge of the decorating of a film set, which includes the
furnishings and all the other objects that will be seen in the film. He works closely
with the production designer and coordinates with the art director. In recognition
of the set decorator's importance, the Academy Award for Art Direction is given
jointly to both the production designer and the set decorator.
Buyer
The buyer is the number two person in the set department below the set
decorator. The buyer locates, and then purchases or rents the set dressing.
Lead Man
The lead man is the foreman of the sets crew, often referred to as the “swing
gang.”
Set Dresser
The set dressers apply and remove the "dressing," i.e., furniture, drapery,
carpets—everything one would find in a location, even doorknobs and wall
sockets. Most of the swing gang's work occurs before and after the shooting crew
arrives but one set dresser remains with the shooting crew and is known as the on-
set dresser.
Props
Propsmaster
The property master, more commonly known as the propsmaster, is in charge of
finding and managing all the props that appear in the film. The propsmaster
usually has several assistants.
Props builder
The props builder, as the name implies, builds the props that are used for the
film. Props builders are often technicians skilled in construction, plastics casting,
machining, and electronics.
Armourer
The armourer is a specialized props technician who deals with firearms. In most
jurisdictions this requires specials training and licenses.
Construction
Construction Coordinator
The construction coordinator oversees the construction of all the sets. The
coordinator orders materials, schedules the work, and supervises the often
sizeable construction crew of carpenters, painters and labourers. In some
jurisdictions the construction coordinator is called the construction manager.
Head Carpenter
The head carpenter is the foreman of a "gang" of carpenters and laborers.
Scenic
Key Scenic
The key scenic artist is responsible for the surface treatments of the sets. This
includes special paint treatments such as aging and gilding, as well as simulating
the appearance of wood, stone, brick, metal, stained glass--anything called for by
the production designer. The key scenic artist supervises the crew of painters, and
is often a master craftsperson.
Greens
Greensman
The greensman is a specialised set dresser dealing with the artistic arrangement
of plant material, sometimes real and sometimes artificial. Depending on the
scope of the greens work in a film, the greensman may report to the set decorator
or may report directly to the production designer.
Hair and make-up
Make-up Artist
Make-up artists are beauticians that apply makeup to anyone appearing on screen.
They concentrate on the area above the chest, the face, the top of the head, the
fingers, hands, arms, and elbows. Their role is to manipulate an actors on screen
appearance whether it makes them look more youthful, larger, older, or in some
cases monstrous. There are also body makeup artist who concentrate their abilities
on the body rather than the head.
Hairdresser
The hair stylist is responsible for maintaining and styling the hair of anyone
appearing on screen. He works in conjunction with the makeup artist.
Wardrobe
Costume Designer
The costume designer is responsible for all the clothing and costumes worn by
all the actors that appear on screen. He is also responsible for designing, planning,
and organizing the construction of the garments down to the fabric, colors, and
sizes. The costume designer works closely with the director to understand and
interpret "character," and counsels with the production designer to achieve an
overall tone of the film.
Costume Supervisor
The Costume Supervisor works closely with the designer. In addition to helping
with the design of the costumes, the he manages the wardrobe workspace. He is
responsible for supervising the construction or sourcing of garments, the hiring
and firing of support staff, the budget, paperwork, and department logistics.
Costume Standby
The Costume Standby is present on set at all times. It is his responsibility to
monitor the quality and continuity of the actors and actresses costumes before and
during takes. He will also assist the actors and actresses with dressing.
Art Finisher
An Art Finisher may be employed during the pre-production stage to "break
down" garments. This specialised job includes making new clothing appear dirty,
faded and worn.
Buyer
On large productions a Buyer may be employed to source and purchase fabrics
and garments.
Camera
Director of Photography
The director of photography is the chief of the camera and lighting crew of the
film. The DoP makes decisions on lighting and framing of scenes in conjunction
with the film's director. Typically, the director tells the DoP how he wants the
film to look, and the DoP then chooses the correct aperature, filter, and lighting to
achieve the desired effect.
Cinematographer
The term cinematographer has been a point of contention for some time now. It
is usually synonymous with "director of photography," though some professionals
insist that it only applies when the director of photography and camera operator
are the same person.
Camera Operator
The camera operator uses the camera at the direction of the cinematographer,
director of photography, or the film director to capture the scenes on film.
Generally, a cinematographer or director of photography does not operate the
camera, but sometimes these jobs may be combined.
First Assistant Camera Operator (Focus Puller)
The first assistant camera operator (1AC) is responsible for keeping the camera in
focus as it is shooting.
Second Assistant Camera Operator (Clapper Loader)
The second assistant camera operator (2AC) operates the clapperboard at the
beginning of each take and loads the raw film stock into the camera magazines
between takes, if there is no additional specifically desiginated film loader. The
2AC is also in charge of overseeing the meticulously kept notebooks that records
when the film stock is received, used, and sent to the lab for processing.
Additionally, the 2nd AC oversees organization of camera equipment and
transport of the equipment from one shooting location to another.
Loader
The loader is the desiginated film loader. He transfers motion picture film from
the manufacturer's light-tight canisters to the camera magazines for attachment to
the camera by the 1st AC. After exposure during filming, the loader then removes
the film from the magazines and places it back into the light-tight cans for
transport to the laboratory. It is the responsibility of the loader to manage the
inventory of film and communicate with the 1st AC on the film usage and
remaining stock throughout the day. On small production crews, this job is often
combined with the 2nd AC. With the prevalence of digital photography, this
position is often eliminated.
Camera Production Assistant (camera intern)
Usually a volunteer or trainee in the camera department, the camera PA assists the
crew with menial details while learning the trade of the camera assistant, operator
or cinematographer.
Digital Imaging Technician ("DIT")
On digital photography productions the digital imaging technician is responsible
for the coordination of the internal workings of the digital camera. Under the
direction of the cinematographer or director of photography, the DIT will make
adjustments to the multitude of variables available in most professional digital
cameras to creatively or technically manipulate the resulting image.
Steadicam operator
A Steadicam operator is someone who is skilled at operating a Steadicam rig (the
genericized trademark for a camera stabilization rig).
Motion Control Technician/Operator
This technician operates a motion control rig, which is essentially a 'camera robot'
that is able to consistently repeat camera moves for special effects use[1]. Motion
control rigs are typically rented with an experienced operator.
Production Sound
Production Sound Mixer
The production sound mixer is head of the sound department on set, responsible
for recording all sound during filming. This involves the choice and deployment
of microphones, operation of a sound recording device, and sometimes the mixing
of audio signals in real time.
Boom Operator
The boom operator is an assistant to the production sound mixer, responsible for
microphone placement and movement during filming. The boom operator uses a
boom pole, a long, special piece of equipment made from light aluminum or
carbon fiber, that allows precise positioning of the microphone above or below
the actors, just out of the camera's frame. In France, the boom operator is known
as the perchman.
Utility Sound Technician
The utility sound technician has a dynamic role in the sound department, most
typically pulling cables, but often acting as an additional boom operator or mixer
when required by complex filming circumstances. Not all films employ a utility
sound technician, but the increasing complexities of location sound recording in
modern film have made the job more prevalent. This role is sometimes credited as
"cable man" or "python wrangler."
Grip
Grips are trained lighting and rigging technicians. The main responsibilities of a grip are
to work closely with the electrical department to put in the lighting set-ups necessary for
a shot. On the sound stage, they are responsible for moving and adjusting major set
pieces when something needs to be moved to get a camera into position. They may
belong to the International Alliance of Theatrical Stage Employees.
Key grip
The key grip is the chief grip on a set, and is the head of the set operations
department. The key grip works with the director of photography to help set up
the set and to achieve the correct lighting and blocking.
Best boy (Grip)
The best boy grip is the chief assistant to the key grip.
Dolly grip
The grip in charge of operating the camera dolly is called the dolly grip. He/she
places, levels, and moves the dolly track, then pushes and pulls the dolly and
usually a camera operator and camera assistant as riders.
Electrical
Gaffer
The gaffer is the head of the electrical department, responsible for the design and
execution of the lighting plan for a production. Sometimes the gaffer is credited as
"Chief Lighting Technician".
Best boy (Electrical)
The best boy electric is the chief assistant to the gaffer.
Lighting Technician
Lighting technicians are involved with setting up and controlling lighting
equipment.
Editorial
Film Editor
The film editor is the person who assembles the various shots into a coherent film,
with the help of the director. Film editors may belong to the American Cinema
Editors (A.C.E.)
Chyron Operator
The Chyron operator creates titles and/or text graphics (Chryon is a brand name
for a character generator).
Colorist
With a photochemical process, the color timer adjusts the color of the film via
printer lights for greater consistency in the film's colors. With a digital
intermediate process, the colorist can use digital tools in manipulating the image
and has greater creative freedom in changing the aesthetic of a film.
Negative Cutter
The negative cutter cuts and splices the negatives as directed by the film editor,
and then provide the assembled negative reels to the lab in order for prints
(positives for projection) to be made.
Visual Effects
Visual Effects Supervisor
The visual effects supervisor is in charge of the visual effects department. Visual
effects refer to post-production alterations to the film's images. They are not to be
confused with special effects, which are done during production (on set).
Compositor
A compositor is a visual effects artist responsible for compositing images from
different sources such as video, film, computer generated 3-D imagery, 2-D
animations, matte paintings, photographs, and text.
Inferno, Flame
These artists operate an Inferno or Flame visual effects system. These systems are
manufactured by Discreet (now a division of Autodesk).
Roto, paint
These artists may rotoscope the footage, manually creating mattes for use in
compositing. They may also paint visual information into or out of a scene, such
removing wires and rigs, logos, dust busting, scratch removal, etc.[2]
Matte Painter
These artists draw/paint entire sets or extend portions of an existing set.
Sound/Music
Sound Designer
The sound designer, or "supervising sound editor", is in charge of the post-
production sound of a movie. Sometimes this may involve great creative license,
and other times it may simply mean working with the director and editor to
balance the sound to their liking.
Dialogue Editor
Responsible for assembling and editing all the dialog in the soundtrack.
Sound Editor
Responsible for assembling and editing all the sound effects in the soundtrack.
Re-recording Mixer
Balances all of the sounds prepared by the dialogue, music and effects editors,
and finalizes the films audio track.
Music Supervisor
The music supervisor, or "music director", works with composer, mixers and
editors to create and integrate the film's music. In Hollywood, a music
supervisor's primary responsibility is to act as liaison between the film production
and the recording industry, negotiating the use rights for all source music used in
a film.
Composer
The composer is responsible for writing the musical score for a film.
Foley Artist
The Foley artist is the person who creates and records many of the sound effects
for a film.
