Assistant Co-ordinator

The Assistant Co-ordinator, or APOC, assists in managing the day-to-day organisation of the film shoot. They may have specific responsibility for elements such as travel and accommodation (finding short term lets for artists), crew contracts or set clearances.

Production Secretary

The Production Secretary is normally responsible for creating key lists for the Production e.g. Cast, Crew and Suppliers lists. Depending on what is required, they will also assist the Production Office in all manner of tasks to help successfully manage the film.

Production Assistant

The Production Assistant is the hands-on help in the Production Office, potentially doing Runner activities as required. They will help run the office, ordering stationery, photocopying and distributing paperwork.

Production Runner

The Production Runner will usually be responsible for purchasing/collecting various items for the production including shopping for breakfast and break items, collecting materials and delivering packages - using their own car, a rental or a Production owned vehicle. The Production Runner will also work within the Production Office, performing administration duties and managing theirfloats.

Travel, Shipping and other Departmental Co-ordinators

A standard production would, typically, have Departmental Co-ordinators for art, construction and special effects and, larger studio pictures may also have co-ordinators for costume, make-up, action vehicles etc. Bigger budget films, with overseas locations, will usually have Travel Co-ordinators and Shipping Co-ordinators.

Accounts

Financial Controller

The Financial Controller works closely with the Line Producer and Production Manager to oversee the finances of the production. They will forecast costs for the budget, oversee the Accounts Department, ensure financial records are maintained and people/companies are paidin a timely manner.

1st Assistant Accountant

The 1st Assistant Accountant supports the Financial Controller in running the Accounts Department. They assist in creating the Cost Report, showing actual costs of items and forecasted spends.

Accounts Payable

Accounts Payable pay all invoices from companies, paying for hired or purchased items.

Payroll Accountant

In film production crew are paid WEEKLY not monthly and the Payroll Accountant overseas paying the crew and cast. They collate Start Formfor staff, including a copy of their Passport, P45, P60 or Certificate of Incorporation - used to calculate tax.

Assistant Directors

1st Assistant Director

The 1st Assistant Director (1st AD) runs the set – it is in fact them that shouts ‘action’ – not the Director. The 1st AD schedules the movie, taking into account script requirements, the locations and the cast availability, crafting a working schedule and ensuring the daily tasks are completed on time.

2nd Assistant Director

The 2nd Assistant Director (2nd AD) co-ordinates the cast, informing them of their schedule and call times, liaising with transport for pick-uptimes. The 2nd AD liaises with all departments to write the daily Call Sheet, which is then signed off by the 1st AD, the Line Producer and PM.

3rd Assistant Director

The 3rd Assistant Director (3rd AD) directs the background on a shoot. They give the background extras directions and ensure appropriate payment for their work. The 3rd AD works closely with the 1st and 2nd AD, ensuring general cast logistics including distribution and return of radios on-set.

Floor Runner

The Floor Runner is based on-set and is responsible for ensuring the smooth running of the set. The Floor Runner collects cast from their dressing rooms, provides their lunch and generally looks after them. They also look after the crew, providing refreshments, lunch and snacks as required.

Base Runner

The Base Runner is located at the Unit Base with the 2nd AD. They are responsible for the cast whilst they are arriving and getting ready for set - supporting them through costume and make-up, checking that they have all they need.

Camera/DIT/Video

Director of Photography/Cinematographer

The Director of Photography (DOP) is responsible for the cinematic lookof the film. They decide what lighting, filters, lenses, filming speed, crane shots, framing and medium (digital or film) are required, to best tell the story the way the Director wants it to be told.

Camera Operator

The Camera Operator operates the camera under the guidance and direction of the DOP. They may also be trained as a Steadicam Operator.

1st Assistant Camera/Focus Puller

The 1st Assistant Camera (1st AC) is responsible for ensuring that a shot is in focus, using their technical skills to ‘pull focus’.

2nd Assistant Camera/Clapper Loader

If a shoot is using film, the 2nd Assistant Camera (2nd AC) would be responsible for loading the film into the camera, dark room and/or sealed bag and keeping the camera clean of any dirt and grime. The Loader has significant responsibility as incorrectly loading could make the shots unusable, but you wouldn’t know until the negative is developed. Camera loading is happening less and less, as camera cards and digital cameras take precedence.

Script Supervisor

The Script or Continuity Supervisor has several responsibilities, timing the script (enabling the Producer to make cuts if it is overlong), tracking scenes (marking-up the script for the Editors with the Directors preferred shots) and ensuring set continuity (e.g. ensuring the same hand picks up a coffee cup, or that the injury always remains on the same side of their face).

Camera Trainee

The Camera Trainee (previously Camera Assistant) helps carry equipment, prepare the camera for shoot and check levels of camera consumables e.g. tape and batteries. They will also be responsible for ensuring refreshments and lunch is provided for the rest of the CameraDepartment.

Digital Imaging Technician

The Digital Imaging Technician (DIT) is only used on digital productions.Under the instruction of the DOP they will make technical adjustments to the digital camera, manipulate the image, detect faults and monitor the working of the camera.

Data Wrangler

A Data Wrangler is responsible for the download and back-up of the digital material from the raw cards used in the cameras. They provide copies for the edit, verify the copy of the data and ensure there is a back-up before the raw camera cards are wiped.

Video Assist or Video Playback Operator

The Video Assist will create the ‘video village’, providing a plethora of monitors around the set, giving the exact on-set image to a variety of departments including, most importantly, the Director, Producers, DOP,Costume and Make-up.

Locations Department

Location Manager

The Location Manager is the Head of Department for Locations and they are ultimately responsible for all the locations of a film production.They oversee the initial research and scout locations, ensure availability, manage logistics and monitor cost and restrictions, confirming viability of the location for the Director.

Assistant Location Manager

There will likely be several Assistant Location Managers on a job, supporting the Location Manager. Their responsibilities include: finding Unit Bases, working out the logistics for the location, making licence applications to the authorities and negotiating appropriate parking. They will liaise with the facilities and transport departments, oversee location prep and create movement orders.

Unit Manager

The Unit Manager is responsible for the Unit Base, when out on location. They will most likely ‘see the Unit in’, when it moves location for the next day of shoot. They plan the best formation for all the trailers, ensuring they fit in the Unit Base and oversee its general running.

Location Assistant

The Location Assistant may help the Assistant Location Manager and Unit Manager with some of the above. They may be in charge of the rubbish at a location, help assemble the ‘video village’ or maintain the dry area for hair and make-up.

Location Marshall

Location Marshalls are generally stationed at a point or ‘lock off’ to give entry information to the crew or public. They may wear a high-visibility jacket and direct cars for parking when the Unit arrives in the

morning.

Security

The Locations Department will work out how much security is needed for a particular location in advance. An exterior company will usually be employed to prevent public access and ensure valuables items to do not get lost/stolen.

Sound Department

Production Sound Mixer/Sound Recordist

The Production Sound Mixer is Head of Department for Sound and is responsible for all on-set sound. They are responsible for choosing the recording equipment and mixing audio signals.

Boom Operator

The Boom Operator is responsible for placing the boom near the artist (but out of shot!), ensuring the best sound is recorded.

Cable Guy

The Cable Guy or Sound Maintenance Engineer attend to the cast, placing the radio mics if they’re being used - radio mics are used in wide shots or where a boom would be too intrusive to the frame. The Cable Guy will also operate a second boom, if required.

Grip Department

Key Grip

The Key Grip is head of the Grip Department and works closely with DOP to help achieve the required shots. Moving shots are achieved via a Dolly (a camera rig on a track) and the Grips moves the Dolly at the required speed. Grips will also oversee the use of camera cranes, action vehicles rigging and tracking, jib arms, rickshaws etc.

Crane Grip

A Crane Grip is hired specifically to assemble and help operator a camera crane.

Dolly Grip

A Dolly Grip is used to assemble the Dolly and push and pull the camera rig on the track.

Head Technicians

Head Technicians specifically control the ‘head’ on a crane or rig, so that it can rotate and move to certain angles smoothly, 20-50ft in the air.

Electrical Department

Gaffer

The Gaffer is in charge of the Electrical Department. They work closely with the DOP to get the exact lighting required for the shot whether on a lighting rig in a studio, in a location or on an exterior night shoot.

Rigging Gaffer

The Rigging Gaffer is in charge of the lights on location, working to the Gaffers requirements. The Rigging Gaffer may also work in advance to set up difficult and complex rigs in studios and on location.

Best Boy

The Best Boy is the chief assistant to the Gaffer on-set, ordering the kitand consumables, and ensuring all the work the Gaffer requires is undertaken.

Electricians

The Electricians (or Sparks) set up the lighting required for a shoot. They load and offload the equipment, test it, change the bulbs and ensure cable power to the Unit.

Gennie Operator

The Gennie Operator maintains the Generator, used to powers the lights/Unit for the set. They maintains the smooth running of the generator, adding diesel and driving it from location to location.

Art Department / Set Decoration / Props / Construction

Production Designer

The Production Designer is in charge of the Art Department and is responsible for the overall look of the physical film, in terms of the set, locations, props and dressings.

Art Director

The Art Director oversees the Art Department in a ‘nuts and bolts’ way.They likely budget the department, hire the crew and oversee any on-set builds.

Standby Art Director

Based on-set, the Standby Art Director will oversee the general look of the set, as per the Designers requirements. They will also ensure continuity of props on-set.

Draughtsperson

The Draughtsperson will schematically draw the builds and sets

required, providing detailed and precise measurements, enabling the construction team to create the set directly from their plans.

Graphic Designer

The Graphic Designer designs all of the mocked-up art on-set. They work closely with the Clearances person to create fake banners, branding, posters, shop signs, name tags etc.

Scenic Painters

The Scenic Painters paint the backdrop that wraps around the stage, ensuring it look as lifelike and as realistic as the location itself.

Set Decorator

The Set Decorator is in charge of the physical dressing and props on-set. They work closely with the Designer and Prop Buyer to identify the style of each set and the items that best portray the characters.

Buyer

The Buyer will work closely with the Designer and the Set Decorator to purchase/rent items which will be used to dress the set.

Petty Cash Buyer

The Petty Cash Buyer usually buys the ‘smalls’- small items required on-set and purchased with cash from shops or second hand stores.

Props Master

The Props Master is head of the Props Department, overseeing the management of all props. They work closely with the Buyer and Petty Cash Buyer, ensuring they have the right props, for the right scene, on the right day.

Storeman

The Storeman will work within the Props store to carefully organise the many props used on a film, ensuring everything is available for a particular days filming. They will help load the required items for transport to set.

Standby Props

Based on-set, Standby Props oversee the use of the props during the filming of a scene, making sure there are repeats if they are needed. They will also help the Standby Art Director to place items on-set as required.

Greens Team

The Greens Team will usually be a separate company hired by the Props department to place the ‘greens’ required on a set. They may add a variety of plants/trees to the exterior of a house to make it look real, create a fantasy waterfall or rock pool with wonderful colourful

flowers.

Armoury

If required, the Armoury will be employed by the Props Department to safely provide firearms or swords/daggers to a production. If shots are to be fired/heard, they will consult with Health and Safety and sometimes the local Police Department.

Action Vehicles

Booked by the Art Department they provide any vehicle requirements for the set. They may provide period cars or stunt cars and are responsible for checking the running of the car.

Construction

The Construction Manager will lead the Construction Team, building anything required for the film. These could be massive builds (e.g. on the 007 Stage at Pinewood Studios or recreating a Roman battle scene in the woods). The Construction Manager will oversee a team of welders, plasterers, painters and builders to create amazing sets – onlyfor them to be generally ripped out and binned once the shoot has finished!

Hair & Make-Up Department

Hair & Make-up Designer

As the Head of Department, the Hair & Make-up Designer will oversee the general looks of the characters - after conversations with the Director and lots of research. They will decide which characters may need wigs, which need haircuts and which will use their existing hair. They generally will do the hair and make-up for the key cast.

Hair & Make-up Artist

Hair & Make-up Artists are responsible for looking after a range of artists on-set, either key cast members, day players or background cast. If there are special effects make-up or prosthetics used, these willusually be applied by a specialised prosthetics make-up artist.

Costume Department

Costume Designer

The Costume Designer is responsible for all the clothing and costumes worn by the cast. They design and plan construction of the garments down to the fabrics, colours and sizes required.

Costume Supervisor

The Costume Supervisor works closely with the Designer to supervise

the creation or sourcing of garments, hiring of support staff, budget, paperwork, and department logistics.

Costume Standby

The Costume Standby is present on-set at all times to monitor the quality and continuity of the casts costumes before and during takes. They will also assist the cast with dressing.

Buyer

On large productions a Buyer may be employed to source and purchase fabrics and garments.

Cutter/Fitter/Costume Technician

The Costume Technician (also called Seamstresses or Tailors) fits or tailors costumes on-set.

Post-Production

Film Editor

The Film Editor creates the story by assembly the shots given. They work closely with the Director, arranging shots in the final film.

Assistant Editor

The Assistant Editor supports the Editors by collecting and organising all the elements needed for the edit.

Post-Production Supervisor

The Post-Production Supervisor overseas and co-ordinates Post-Production. They hire key staff, book edit suites and equipment, help schedule the Post-Production period, and assist with any additional photography required on the movie.

Colourist

The Colourist adjusts the colour of the film to ensure greater consistency throughout the final film.

Post-Production: Sound/Music

Sound Designer

The Sound Designer is in overall charge of the Post-Production sound ofa movie.

Dialogue Editor

The Dialogue Editor is responsible for assembling and editing all dialogue in the soundtrack.

Sound Editor

The Sound Editor is responsible for assembling and editing all sound effects in the soundtrack.

Re-recording Mixer

The Re-recording Mixer balances the sounds and levels prepared by thedialogue, music and effects editors.

Music Supervisor

The Music Supervisor works with the composer, mixers and editors to create and integrate the film’s music. They negotiate licensing of the necessary rights for all source music used in a film.

Visual Effects (VFX)

Visual Effects Supervisor

The Visual Effects Supervisor is in charge of the Visual Effects Department.

Compositor

A Compositor is responsible for compositing images from different sources such as video, film, computer generated 3-D imagery, 2-D animations, matte paintings and text.

Roto/Paint Artist

A Roto/Paint Artist manually creates mattes for use in compositing, they may also ‘paint’ visual information out of a scene, such removing wires and rigs, logos and scratches.

Matte Painter

Matte Painters draw/paint entire sets or extend portions of an existing set.

Other Crew

Casting Director

The Casting Director works closely with the Director and Producer to understand requirements. They suggest artists for each role and conducting interviews and auditions.

Storyboard Artist

The Storyboard Artist visualises stories using sketches. Quick pencil drawings and marker renderings are two of the most common traditional techniques, although nowadays Flash, Photoshop and specialist storyboard software applications are being used more often.

Unit Nurse

The Unit Nurse provides first aid cover and primary healthcare to the cast and crew on a film production. They will deal with any illness or accidents on-set. A production may additionally hire paramedics or ambulances or even air ambulances if the risk of stunt or shot is deemed significant enough.

Caterers

Catering is provided by specialist companies, who drive catering truckspacked with food and equipment to each Unit Base for filming. They may also provide ‘Craft Catering’ which is basically a snack haven for the crew offering coffee’s, smoothies, chocolate and light snacks!

Unit Publicist

The Unit Publicist is responsible for Unit press and the publicity budget set by Producers. They usually work on a freelance basis, and are hiredonly for the duration of each shoot. They will manage any journalists who come to interview the cast and oversee the Electronic Press Kit (EPK) team - who do the B-roll shots, shooting the crew and cast interviews for DVD extra’s etc.

Stills Photographer

A Stills Photographers usually work on-set and will take stills for the Publicity department, promotional purposes and film posters.

Clearances

A clearance expert is hired to work solely on the copyright clearance and checking of the script, the movie, the visual content and other brands. Depending on the individual policy on clearances, any brand featured should have a release form giving permission for the brand to be used. Clearances may also deal with product placement.

Health & Safety

On bigger movies there may be a full time Health & Safety Advisor whooversees all the risky elements of the movie. They will be given the script and schedule and attend the technical recce’s. They will create Risk Assessments for each day or each location of shoot outlining whatthe risks are, advising when there may be a need for additional safety measures such as fire cover, an ambulance or water safety cover.