FILM PRODUCTION ROLES
(compilation by Stephen DaVega 2009)
PRODUCERS
Executive Producer - is usually an investor in the project or just a
credit that the filmmaker gave to someone who paid for the credit. You can
have as many executive producers as you want but generally keep it to a
minimum.
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.
Associate Producer - Shares responsibility for creative and business
issues.
FRONT OFFICE
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.
Production Secretary - Secretary to the Production Manager
Location Manager - A person who manages various aspects of filming on
location, such as arranging with authorities for permission to shoot in
specific places.
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.
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.
Line Producer - A line producer is a key member of the production
team for a motion picture. Typically, a line producer manages the budget
of a motion picture. Alternatively, or in addition, they may manage the day
to day physical aspects of the film production, serving a role similar to the
unit production manager. Line producers usually do not act as part of the
creative team for a picture. Because line producers work on location, they
don't work on more than one film at a time (unlike other producer roles). A
line producer may also hire key members of the crew, negotiate deals with
vendors, and is considered the head of production on the set.
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.
Accountant – the guy who accounts for and distributes the money
earned by a large project to corporate entities which, though legally
distinct from the one responsible for the project itself, are actually owned
by the same people. This substantially reduces the profit of the project
proper, sometimes eliminating it altogether. The effect of this practice is to
reduce the amount which the corporation must pay in royalties or other
profit-sharing agreements.
Assistant Directors (see below)
Location Manager/Scout is responsible for the finding and securing
locations to be used and coordinating the logistics involved for the
production to successfully complete its necessary work. They are also the
face of the production to the community and responsible for addressing
the issues that may arise due to the production's impact on the
community. The Location Department is an often forgotten yet integral
department in the creation of a motion picture. Like the Production
Coordinator, it is only when things go wrong that the Location Manager
gets any recognition. In Hollywood, they are represented by the
International Brotherhood of Teamsters Local 399 and in New York and
Chicago they are represented by the Directors Guild of America (DGA).
Additionally, nationwide, they have the Location Managers Guild of
America, a non-profit corporation dedicated to the promotion and interests
of their members and their relations with the general public, communities
and industry partners. They are commonly associated with production as
being part of the management of a show and as such, are generally paid a
weekly salary as opposed to an hourly wage.
DIRECTION
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, etc.
The 2nd AD is responsible for creating Call Sheets that let the crew know
the schedule and important details about the shooting day. In Canadian
and British functional structures there are 3rd ADs and even Trainee ADs;
in the American system there are 2nd 2nd ADs.
The Second Second Assistant Director - (Second Second or
22AD) deals with the increased workload of a large or complicated
production. For example, a production with a large number of cast may
require the division of the aspects of backstage manager and the call
sheet production work to two separate people.
The Third Assistant Director - (Third or 3rd AD) works on set with
the "First" and may liaise with the "Second" to move actors from base
camp (the area containing the production, cast, and hair and makeup
trailers), organize crowd scenes, and supervise one or more production
assistants (PA). There is sometimes no clear distinction between a 2AD
and a 3AD. Although some industry bodies (American DGA) have defined
the roles in an objective way, others believe it to be a subjective
distinction.
The Additional Assistant Director - (AAD or Additional) or Fourth
Assistant Director (4AD or "Fourth") or "Key Production Assistant" (Key
PA) may have a number of duties. Most commonly, the AAD has two
broad job functions. One is the contraction of the duties of an AD where
the AD acts as both 2nd AD and 3rd AD simultaneously. For example, a
production with a large number of cast may pass the 2AD call sheet
production work to that of the AAD, especially when the 2AD is already
performing the additional work of a 3rd AD. The other main use of an AAD
is as an adjunct to the 3AD and 1AD for logistically large scenes where
more ADs are needed to control large numbers of extras. The "Additional"
may also serve where the complexity of the scene or specialized elements
within it (stunts, period work) require or are best served by a dedicated AD
in most respects equal to a 1st AD - directing and controlling a number of
other ADs to direct action to the satisfaction of the 1AD and the director.
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. He or she makes notes on every shot, also keeping
track of props, blocking, and other details to ensure that continuity is
maintained from shot to shot, and from scene to scene. The Script
Supervisor's notes are given to the Editor to expedite the editing process.
The script supervisor works very closely with the director on set.
CAMERA
DP - The director of photography is the chief of the camera and lighting
crew of the film. The DP makes decisions on lighting and framing of
scenes in conjunction with the film's director. Typically, the director tells
the DP how he or she wants a shot to look, and the DP then chooses the
correct aperture, 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 (Focus Puller) - The first assistant
camera (1st AC) is responsible for keeping the camera in focus as it is
shooting.
Second Assistant Camera (Clapper Loader) - The second
assistant camera (2nd AC) 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 designated film loader.
The 2nd AC 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 designated film loader. They transfer motion
picture film from the manufacturer's light-tight canisters to the camera
magazines for attachment to the camera by the 2nd 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 trademark]] for a camera stabilization rig). Movies
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.
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.
Grip
Grips are trained lighting and rigging technicians. The main responsibility
of a grip is 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. He or she is also responsible for organizing the grip truck throughout
the day.
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.
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. As well as the Placement of Radio Mics and other
Microphones 'Hidden' on set. 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" or “thirdman”.
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; set decoration, under the set decorator; props, under the
propmaster; 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 designers,
graphic artists, and illustrators who give form to the production design as it
develops. The art director works closely with the construction coordinator
to oversee the aesthetic and textural details of sets as they are realized.
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.
Set Director - The art director's assistant in designing and constructing
sets.
Set Designer - The set designer is the draftsman, often an architect,
who realizes the structures or interior spaces called for by the production
designer.
Illustrator - The illustrator illustrates visual representations of the
designs to communicate the ideas imagined by the production designer.
Sets
Lead Man - The lead man is the foreman of the sets crew, often referred
to as the “swing gang”.
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 or she 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.
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. In some countries,
such as Great Britain and the Republic of Ireland, the set dressing
department is referred to as dressing props department.
Props
Props Master - The property master, more commonly known as the
props master, is in charge of finding and managing all the props that
appear in the film. The propsmaster usually has several assistants.
Property Assistant - Responsible for the placement and maintenance
of props on a set.
Props builder - The props builder, or more frequently propmaker, 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 special 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.
Hair and make-up
Make-up Artist -Make-up artists work with makeup, hair and special effects
to create the characters look for anyone appearing on screen. 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 artists 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 or she 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 or
she 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
or she manages the wardrobe workspace. He or she is responsible for
supervising the construction or sourcing of garments, the hiring and firing
of support staff, the budget, paperwork, and department logistics.
Key Costumer - The Key Costumer is employed on larger productions
to manage the set costumers, and to handle the Star's wardrobe needs.
Costume Standby -The Costume Standby is present on set at all
times. It is his/her responsibility to monitor the quality and continuity of the
actors and actresses costumes before and during takes. (S)he will also
assist the actors and actresses with dressing. This person is also known
as a 'set costumer'.
Art Finisher - An Art Finisher may be employed during the pre-
production in a period drama to "break down" garments. This specialized
job includes making new clothing appear dirty, faded and worn. They are
also known as breakdown artists.
Buyer - On large productions a Buyer may be employed to source and
purchase fabrics and garments. A buyer might also be referred to as a
shopper. This distinction is often made when the lead actor in a production
has control over their wardrobe, and they may personally hire this person.
Horror make up comedy make up drama make up.
Cutter/Fitter - A costume technician who fits or tailors costumes,
usually on-set. They can also be called cutters, seamstresses or tailors.
Some celebrity actors have favorite cutters, and larger productions may
hire several and have them on set at the same time, particularly in period
film projects that might have complicated or extremely expensive extras
wardrobe. Horror make up drama make up comedy make up drama
comedy horror and erotica.
OTHER ROLES
Still Photographer - A person who photographs the action (often
alongside the camera) to be used in publicizing the movie.
Greensman - The greensman is a specialised set dresser dealing with
the artistic arrangement or landscape design of plant material, sometimes
real and sometimes artificial, and usually a combination of both.
Depending on the scope of the greens work in a film, the greensman may
report to the art director or may report directly to the production designer.
If a significant amount of greens work is required in a film, then the Greens
may be an identifiable sub-department, with its own team - often of a size
numbering double figures - and hierarchy (eg. Greensmaster, Greens
Supervisor, Foreperson, Leading Hand, Laborers). Specialists from other
areas of the Art Dept. (eg. Fabricators, Sculptors, Painters/Scenics) may
also be drafted to work exclusively on Greens.
Screenwriter - Writes the scripts
Production Assistants - People responsible for various odd jobs,
such as stopping traffic, acting as couriers, fetching items from craft
service, etc. PA's are often attached to individual actors or filmmakers.
Stunt Coordinator Where the film requires a stunt, and involves the
use of stunt performers, the stunt coordinator will arrange the casting and
performance of the stunt, working closely with the director.
Craft Services - In film, television or video production, crafts service or
crafty refers to the department that is available to service the other
departments, or “crafts” (camera, sound, electricians, grips, props, art
director, set decorator, hair and makeup, background). In addition to
policing the set they set down layout boards and protect the set area as
well as provide buffet style snacks and drinks.
There is a difference between crafts service and catering. Catering
handles the regular hot sit down meals that occur every six hours and
usually last between thirty minutes and an hour. Catering is brought in
from an outside company hired by the production, but crafts service is a
crew position and crafts service people are sometimes represented by the
union, IATSE. In Los Angeles crafts service workers are represented by
IATSE Local 80 but, in New York, crafts service is a non-union position
and is not recognized in the Local 52 charter.
Occasionally there are two craft service stations, with one being for cast
and crew and another for non-union background actors. The food provided
can vary widely with pilots often offering very limited food, while big budget
shows often offer generous food and drinks.