FILM PRODUCTION JOBS AND DESCRIPTIONS

PRODUCERS

EXECUTIVE PRODUCER

Supervises the entire production on behalf of the studio, financier or distributor. Often the financiers receive this credit.

PRODUCER

Producers are responsible for all aspects of a film’s production, putting together a creative and talented cast and crew, and turning story ideas into profitable films.

PRODUCER’S ASSISTANT

Producer’s Assistants carry out key tasks for the Producer, working on films through all stages of the production process.

STORY AND SCRIPT

WRITER

The Writer is the author of the script that the production is producing. They may also be responsible for any re-writes or “polishes” of the script to incorporate any dialogue changes, adapting a role to fit a particular actor or adapting the story to fit the actual locations that will be used. They are normally to be available for any script changes necessary for day to day changes that may be necessary while filming.

WRITER’S ASSISTANTS

Assists the Writer for any tasks. Often delivers any re-writes or changes to the production office to be distributed to the crew. Any changes to a script are then printed on different color pages so the crew can then see if they have received all of the latest changes. Example; goldenrod(1st rewrite), green(2nd rewrite), blue pages(3rd rewrite) inserted into the originally distributed white page script.

DIRECTOR

DIRECTOR

Directors are the driving creative force in a film’s production – visualizing and defining the style and structure of the film, then bringing it to life. Besides the direct interaction with the actors and their performance and the blocking of how a scene will unfold, the Director is the ultimate decision maker over every detail of the film no matter how miniscule. For example, what kind of cigarette the lead actor smokes to how big an explosion should be after the actor drops the cigarette into a puddle of gas. Every detail from every department on the film, the Director chooses or makes the decision, and they are decisions, more often than not, made weeks before they start filming, that the Director will then have to live with on the day of filming which may be weeks away and not in the order of the story. A film is never shot in sequence due to location availability, actor availability and any number of reasons, thus making every decision the Director makes one day, have an effect days or weeks later when it’s going to be shot.

2nd UNIT DIRECTOR

The 2nd Unit is a scaled down version of the Main Unit. In most cases, the crew is a fraction of the size of the Main Unit. The 2nd Unit Director functions as the 1st Unit Director but is usually tasked with filming the big, time consuming action sequences, aerial shots, establishing shots and often will shoot any “insert shots” that the 1st Unit or Editor has requested so as to edit a scene or sequence together. Example; the 2nd Unit Director will Direct a car chase from start to finish along with any crashes, special effects explosions or bullet hits (squibs), etc. afterwards and often days or weeks later, the sequence is recreated so the 1st Unit will only need to film the close-ups of the actors “driving” and reacting or any dialogue. Because the 2nd Unit is normally much smaller, crew wise, than the 1st Unit, it saves the production huge amounts of money for the 2nd Unit to film things that take a great deal of time to prepare or set up. The footage the 2nd Unit Director shoots must match the style of the 1st unit so it will seamlessly inter-cut with their footage.

PRODUCTION OFFICE

UNIT PRODUCTION MANAGER

Their job is to oversee the day to day production costs, to make sure that every department is on schedule and not over budget. They are often referred to as the “hatchet man” that will tell the Director no. Example; that a camera crane the Director decided he wants to use that was not requested or budgeted during preproduction for that particular day’s shooting or that a particular picture car is too expensive to buy or rent and a different one must be chosen, etc.

PRODUCTION COORDINATOR

Production Coordinators run the daily operation of the production office. This person is exposed to absolutely every aspect and department utilized in filmmaking because everything goes through the Production Office.

ASSISTANT PRODUCTION COORDINATOR

Assists the Production Coordinator in the daily operation of the production office.

PRODUCTION ASSISTANTS (P.A’s)

There may be as many as a dozen to two dozen Production Assistants at any one time on a film. From being a “gopher” to standing of set to stop people from walking into the shot to making a coffee run for the production office. A long hours, low paying entry level job on a film set but a P.A. Is exposed to and learns all aspects of what goes into making a movie from concept through Post-Production.

SET PRODUCTION 1st & 2nd UNIT

1st ASSISTANT DIRECTOR

First Assistant Directors are the Director’s right-hand person on the set that basically runs the ship. He prepares the call-sheet that describes the next day’s shooting down to the last detail from what wardrobe is needed to special effects, everything that the Director will need on the day to fulfil his vision for that day’s filming even deciding when the actors must be picked up to be ready for their time to begin the day’s work. He sometimes gives the Director a “nudge” to say that they need to move on to the next scene because they’re running behind schedule and also is the eyes and ears for any safety concerns on the set. It takes many years for a person to work their way through the ranks from P.A to 2nd Assistant Director to 2nd A.D before they become a 1st A.D.

2nd ASSISTANT DIRECTOR

Second ADs are the First AD’s right-hand person that is often responsible for staging and setting all of the background actors (Extras), standing of-camera next to a vehicle to cue the driver when to move, to being the person to physically write the next day’s call-sheet that must be then edited or approved by the 1st A.D.

2nd 2nd ASSISTANT DIRECTOR

Second, second A.D’s are assistants to the 2nd A.D. They often are needed for filming large crowd sequences or just keeping bystanders that are watching the filming a safe distance away from the set or knocking on the Actor’s dressing room door to notify them to come to the set.

MARINE COORDINATOR

If there are boats involved with the filming or if any actors or stunt people are in the water there is always a Marine Coordinator that provides the boats, drivers and any safety divers.

FIRE SAFETY

Every day of filming, especially whenever there is any fire or explosions on set or a helicopter is being used either on camera or as a camera platform a Fire Safety Monitor must be present. Normally it is always an off-duty or Ex-Fireman that the production hires to be on set during such filming.

ACCOUNTING

PRODUCTION ACCOUNTANT

Production Accountants calculate finances, works out the cost of a production, communicates with the Unit Production Manager and controls the cash flow, or spending. When the Production Accountant issues a check it always has to be signed by either the Producer or the UPM.

ASSISTANT ACCOUNTANTS

Assists the Production Accountant. Normally there are 1-2 Assistant Accountants on a medium budget film.

PAYROLL ACCOUNTANT

In charge of approving and submitting to the Payroll Company all salaried and hourly employees timecards.

ART DEPARTMENT

ART DEPARTMENT COORDINATOR

The Art Department Coordinator is a position on the production crew that is responsible for overseeing the entire Art Department. They are concerned with implementing and executing all of the visual artistry of on set.

PRODUCTION DESIGNER

Works directly with the director and producer to select the settings and style to visually tell the story. Begins work in pre-production working with the director, producer and director of photography to establish the visual feel and aesthetic needs of the project. Works with the costume designer, hair and make-up stylists, special effects coordinator and location manager to establish a unified visual appearance to the film.

ART DIRECTOR

Works directly for the Production Designer and overseas artists and craftspeople such as set designers, graphic artists and illustrators who assist in the development of the production design.

ASSISTANT ART DIRECTOR

Assists the Art Director. They fulfill both the role of a trainee, working to improve their drawing and model making skills, and of a Runner, providing support to the Art Department.

ART DEPT. P.A.

Production Assistant assigned to the Art Department.

SET DESIGNER

In charge of decorating the film set including furnishings and all other objects that will be seen in the film. They work closely with the production designer and coordinates with the art director.

1st UNIT ON SET DRESSER

Set dressers arrange objects on a film set before shooting. They work under the direction of a Lead-man and the Set Decorator. Set dressers place furniture, hang pictures, and put out decorative items.

2nd UNIT ON SET DRESSER

Performs the same function as the 1st Unit Set Dresser for any 2nd Unit filming.

CAMERA

DIRECTOR OF PHOTOGRAPHY

Also known as a cinematographer or director of photography (sometimes shortened to DP or DOP) is the chief over the camera and lighting crews working on a film production and is responsible for making artistic and technical decisions related to capturing the image.

“A” CAMERA OPERATOR

“A” Camera is noted as the only camera being used or the main camera being used on a film set. The Operator is the person who physically operates the camera to capture the material that is being photographed.

1st ASSISTANT, “A” CAMERA

The role of the First Assistant Camera (1st AC) is one of the most skilled jobs on a film crew. 1st AC’s are responsible for focusing and refocusing the camera lens as Actors move within the frame of each shot.

2nd A.C.

A clapper loader or second assistant camera (2nd AC) is part of a film crew whose main functions are that of loading the raw film stock or video tape into camera magazines or the camera when shooting video, operating the clapperboard (slate) at the beginning of each take, placing a mark on the floor for the actors as necessary, and maintaining all records and paperwork for what that camera shot and was used for each day.

“B” CAMERA OPERATOR

Same job as the “A” camera operator. Anytime when more than 1 camera is utilized they are referred to by Letters but require the same crew as “A” camera.

1st ASSISTANT, “B” CAMERA

Same job as the “A” Camera 1st A.C.

2nd A.C.

Same job function as the “A” Camera 2nd A.C.

1st ASSISTANT, AERIAL UNIT

Same job function as the “A” Camera 1st A.C. Except they’re dealing with the camera(s) that are mounted on or in a helicopter camera platform.

LOADER

When shooting on 35mm film, the loader loads the raw film stock into the magazines and then is in charge of documenting and storing the exposed film stock for delivery to the processor.

AERIAL COORDINATOR/PILOT

Arranges, coordinates and often film either the camera ship or the principal helicopter when a helicopter appears on camera. They become the chief in charge of the safety of the film crew when there are any aerial elements.

AERIAL CAMERA OPERATOR

The camera operator of the camera being used in a helicopter. The Operator is the person who physically operates the camera to capture the material that is being photographed.

STEADYCAM OPERATOR

A Steadycam Operator is a Camera Operator on a film set who physically handles a Steadicam — a special type of camera often used in filmmaking because it maximizes freedom of movement while minimizing camera shakiness.

ASSISTANT STEADYCAM

In charge of pulling focus from the camera to the subject being shot via a remote system as the Steadycam Operator moves the camera.

CASTING

CASTING DIRECTOR

Casting Directors organize and facilitate the casting of actors for all the roles in a film. This involves working closely with the director and producer to understand their requirements, i.e. budgeted amount for each role and to suggest ideal artists for each role, as well as arranging and conducting interviews and auditions.

CASTING ASSISTANT

Casting Assistants perform general duties around the casting office, and assist with specific casting related jobs. They are employed as freelancers on a film by film basis by casting directors. Casting agencies vary in size but are usually quite small, comprising of the casting director and casting associate.

CATERING/CRAFT SERVICE

CATERER 1st UNIT

Catering is the business of providing food service at a remote site or film location to feed the entire 1st Unit cast, crew and extras, usually breakfast and lunch. If the production, due to unforeseen circumstances, goes longer than 12hrs, then a 3rd meal will be ordered and provided by the Caterer. If the 2nd unit is shooting in close proximity to the main unit, both units might share the caterer although the caterer, in this situation, will usually offset the feeding time for each unit.

CATERER 2nd UNIT

Usually a complete, separate truck from the 1st Unit Caterer that will feed the entire cast, crew and extras associated with the 2nd Unit.

CRAFT SERVICE 1st UNIT

In film, craft service refers to the department which provides food service and beverages that is always available and located very near the working film set so any crew member or cast member may grab a quick drink or snack in between shots or setups. In addition, the Craft Service polices the set for any litter.

CRAFT SERVICE 2nd UNIT

Same as the 1st Unit but dedicated to serving only the 2nd Unit cast, crew and extras.

CONSTRUCTION

CONSTRUCTION COORDINATOR (Gang Boss)

The construction coordinator begins work early in the pre-production process and answers to the Production Designer. In initial creative meetings, he or she will meet with members of the art department to review set designs and collect supporting materials like scale models or photographs. With the script breakdown in mind, this person may wish to tour production locations in order to account for the specific logistical concerns of the soundstage or outdoor environment. According to the designs presented, the construction coordinator will hire appropriate crew and consult with the Construction Buyer to determine the equipment and materials necessary to complete the build. In coordination with the Line Producer and the UPM, the construction coordinator will develop a department budget and allocate funds suitably. The budget and construction timeline shall determine the work schedule and help in the delegation of assignments to the crew.

PAINT FOREMAN

The paint foreman is responsible for supervising the crew of painters and scenic artists and will delegate assignments to the crew as instructed by the Construction Coordinator.

PAINTER

Entry-level Painter positions are available within this department for those who can provide a portfolio or that displays artistic talent and competency of technique.

SIGN PAINTER

Painting signs for a film production can be quite a challenge. First part is the high volume of signs that you are given, then the time frame that they have to be done in. Depending on what era the film is based upon, etc. It is the recreation of any signage that will be photographed either in the foreground or background, that is intricate to the story.

LABOR FOREMAN

In charge of the hiring and scheduling of any and all of the general Laborers involved with the Construction Department.

LABORER

General Construction Laborers must be able to work wherever they are needed within the construction crew. From performing manual labor tasks such as digging or cleaning up a set to setting up scaffolding for the construction or painting of large sets.

CARPENTER

The craftspeople that actually build the sets. Everything from facades to entire houses, etc. constructed solely for the purpose of being used and filmed.

PLASTERER

Carrying out traditional, solid plastering, such as applying plaster and cement mixtures to walls as well as doing fibrous plasterwork, e.g., making complex mounds and model casts from solid plaster or fiberglass.

ELECTRIC 1st and 2nd UNITS

GAFFER

A gaffer in the motion picture industry is the head electrician, responsible for the execution (and sometimes the design) of the lighting plan for a production. The term gaffer originally related to the moving of overhead equipment to control lighting levels using a gaff.

BEST BOY ELECTRIC and GRIP

In a film crew there are two kinds of best boy: best boy electric and best boy grip. They are assistants to their department heads, the gaffer (in charge of electricians) and the key grip (lighting and rigging), respectively. In short, the best boy acts as the foreman for their department.

ELECTRICIAN

Works under the Best Boy Electric as the person that literally carries the lights from the truck to the set and then sets them up per the instructions of the Best Boy or Gaffer. Also will make dummy electrical outlets “hot” so they actually work when on camera or will bring power to anywhere required for any props or light fixtures that work on camera as well as providing any power required by Video Assist or Sound.

GENERATOR OPERATOR

The Generator Operator, also known as a Genny Operator, is a specialist role within the Lighting Department. The Genny Operator’s main responsibility is to load the generator and drive it to the required location. They make sure that it is set up and working properly, and that it meets all of the electrical needs of the production.

EXTRAS CASTING

EXTRAS CASTING DIRECTOR

The Extras Casting Director is in charge of the procurement and casting of all of the background actors, crowds and stand-ins (who stand in for the actors while the set is being staged and lit) for the production portion of a film. The extras are always chosen and hired as a “local hire” wherever a movie is filming.

ASSISTANTS

Assists the Extras Casting Director with all aspects associated with the extras used during filming.

FIRST AID

PARAMEDIC 1st UNIT

A Paramedic or “Set Medic” is required on all film sets. Their job is to standby for any on-set medical needs of the cast and crew. The medic will see to it that there is an ambulance on set during the filming of major stunt sequences or any potentially hazardous filming locations or when there is aerial photography involved.

PARAMEDIC 2nd UNIT

Same responsibilities as the 1st Unit Medic except he or she will have actual Paramedic or Registered Nurse certifications along with being “Underwater Certified Paramedic” licenses and will carry more medical equipment due to the usual 2nd unit practice of filming the dangerous stunt and special effect laden sequences.

GRIP 1st and 2nd UNIT

KEY GRIP

They constitute their own department on a film set and are directed by a Key Grip who is in charge. Grips have two main functions. The first is to work closely with the camera department to provide camera support, especially if the camera is mounted to a dolly, crane, or in an unusual position, such as the top of a ladder or on a car. Electric grips deal with the setting and mounting the lights on set. Both grip departments will have a number of “Grips” working under them in their respective departments depending on the size and budget of the film.

INSERT CAR DRIVER

An Insert Car or “Camera Car” is a specialized vehicle manufactured as a camera platform used when a vehicle is being towed to film the actor’s coverage while they are “driving.” An Insert Car will either directly tow a car for the actors or the car will be secured to a “Process” trailer that the Insert Car is towing for the same purposes. The Insert Car Driver is hired by the outside companies that own this specialized equipment and assigned to a film. The Driver will bring all of the equipment and set up the “speed rail” that cameras and lights will be mounted to and prepare the picture car for either towing or trailering. The Driver is in charge of all safety measures required and how many crew members will be allowed on the Insert Car while moving/shooting and any safety harnesses necessary for the crew on the Insert Car.

HAIR AND MAKEUP 1st & 2nd UNITS

KEY HAIR STYLIST

The job duties of the Key hairstylist is to take care of the hair of actors and actresses in film by washing, drying, cutting, and otherwise styling. However simple this may seem, there are many intricacies that make the job slightly more involved than merely combing and brushing. Hairstylists work closely with the Director, as well as with makeup and costume departments, to help create a seamless image for characters through all their physical characteristics. They prepare the scalp and skin of actors and actresses, work with wigs, hairpieces, and extensions when needed, and often turn to chemicals and scalp treatments to achieve the desired hair effects. Another important part of the job is maintaining hair continuity throughout the shoot, which includes a great deal of touching and retouching during the shoot itself.

2nd HAIR STYLIST

Works under the Key Hair Stylist and takes direction from the Key. As the cast number grows, more hair stylists are needed so all of the actors are ready to work at a given time.

KEY MAKEUP ARTIST

Answering to the Director and Production Designer, the key makeup artist is a department head that is responsible for planning the makeup designs for all leading and supporting cast, to include cosmetic makeup and facial/body hair applications. When a Special Effects makeup artist has been hired on to the production, the key makeup artist will consult with this person on the execution of all prosthetics and SFXmakeup. In production, the key artist will perform most of the daily makeup applications, while delegating additional responsibilities to subordinate crew.

2nd MAKEUP

Additional Makeup artists that work under the Key Makeup Artist. Primarily responsible for the makeup of additional cast members both prior to working and touchups on the set as well as removing any wigs, etc. worn at the end of the day.

LOCATIONS

LOCATION MANAGER

The Location Manager is a member of the film crew responsible for finding and securing locations to be used, obtaining all fire, police and other governmental permits, and coordinating the logistics for the production to complete its work.

ASSISTANT LOCATION MGR.

Provides support to the Location Manager including posting “No Parking” signs on streets days prior to the production company’s armada of trucks arrival to a location where street parking will be utilized. The Asst. will also be charged with going door to door to residences or businesses that may be impacted by the location shoot in order to gain permission and or negotiate payment for any imposition.

ASSISTANT LOCATION MGR. 2nd UNIT

Assigned to the 2nd Unit exclusively, the Asst. Location Mgr. will secure all necessary locations and permissions as well as permits for the 2nd Unit work.

POST-PRODUCTION

POST-PRODUCTION SUPERVISOR

Post Production Supervisors are responsible for the post production process, during which they maintain clarity of information and good channels of communication between the producer, editor, supervising sound editor, the facilities companies (such as film labs, CGI studios and negative cutters) and the production accountant. Although this is not a creative role, it is pivotal in ensuring that the film’s post production budget is manageable and achievable, and that all deadlines are met.

MUSIC SUPERVISOR

Typically, a music supervisor proposes previously recorded songs to the director or producer of a film. A music supervisor will usually act as a liaison between the creative and business ends of the process negotiating and securing the rights or license fees to use the music.

EDITOR

The film editor works with the raw footage, selecting shots and combining them into sequences to create a finished motion picture. On its most fundamental level, film editing is the art, technique, and practice of assembling shots into a coherent sequence. The job of an editor is not simply to mechanically put pieces of a film together, cut of film slates, or edit dialogue scenes. A film editor must creatively work with the layers of images, story, dialogue, music, pacing, as well as the actors’ performances to effectively “re-imagine” and even rewrite the film to craft a cohesive whole. Editors play a dynamic role in the making of a film.

ASST. EDITOR

Assistant editors literally do everything except cut the film. The editor is most productive when another set of hands is available to prep the editing system each morning and minimize distractions like constant phone calls from the associate producer. Arriving at the post-production studio at least two hours before the editor, the assistant must confirm receipt of new dailies and digitize the footage if shot on 35mm film stock; this takes at least one-quarter real time. Even if dailies are digitized at a post-production house, this person must still copy the images to the editing system. It is also necessary to verify the scenes against the script supervisor’s notes, and check for discrepancies in time code or sound synchronization.

PROPS

PROP MASTER

The prop master is an artistic and organizational employee in a film who is responsible for purchasing, acquiring, manufacturing, properly placing, and/or overseeing any props needed for a production and works closely with the Set Decorator. The Prop master provides elements that are handled by the actor. For example: a library is decorated with set dressing such as the furniture, books, desk lamp, blotter, framed photos, personal effects, letter trays, letter opener, papers, paper files which is all provided by the Set Decorator. The Prop master provides the props – the letter the actor is opening and reading, the pen he writes with, and the ink into which he dips his pen.

PROP ASSISTANTS

The Assistants in the Prop Department assist the prop master in procurement of all props needed for a film as well as assisting in the managing of all props required for each scene especially so they look the same for each take i.e. a lit cigar in an actor’s hand, that it remains the same length during the filming of a scene. As it burns down, they constantly replace it to match the original cigar in the scene even though it may take a day or days to shoot the scene.

SCRIPT SUPERVISOR

Script Supervisors in film and television work as part of the camera department to make sure that the production has continuous verbal and visual integrity. They must ensure that when different takes and scenes are finally edited the production does not contain distracting continuity errors. It is one of the most difficult and under-rated as far as importance on a film. Every word the actor says, on which word they set a drink down or light a cigarette, when exactly they move to a different mark, at what point in the dialogue the actor touches the actresses’ face, etc. He or she always sits in close proximity to the Director in order to alert him of any inconsistencies between takes or answer any questions he may have regarding what the actor said or where they moved. These extensive notes are then forwarded to the editor.

SET DECORATING

SET DECORATOR

The Set Decorator is the head of the Set Decoration department in the film industry, responsible for selecting, designing, fabricating, and sourcing the set dressing elements of each set on a feature film in support of the story and characters of the script. Whether a spaceship or a castle, the Set Decorator is responsible for each décor element inside the sets, from practical lighting, technology, art, furniture, drapery, for coverings, books, collectibles, to exterior furnishings such as satellite dishes, Old West water troughs, streetlamps, traffic lights, garden furniture and sculptures.

LEAD

The main assistant to the Set Decorator. In most cases, the Lead will have a number of people working below them and ahead of the production arriving so the set is ready to film upon arrival.

BUYER

In charge of purchasing or renting any dressing required for every set in a film.

SWING

The crew of people responsible for the “striking” or removal of everything provided on a set after the production is finished with the particular set or location.

SOUND

SOUND MIXER

A Motion Picture Production Sound Mixer is responsible for recording film production dialogue and effects. He commands a crew consisting of one or more boom persons, a cable person and sometimes an Equipment Technician. The Sound Mixer will determine what mikes are used for every scene (or assign that responsibility to his boom person), he will operate the sound recorder, maintain the Sound Report, notify the director (or AD) of any sound problems, keep sound levels consistent, avoid distortion because of too high levels, watch for boom shadows, determine sound perspective after discussion with the director, record “room tone”, and of course most importantly, provide a sound track with clean, intelligible, first-rate audio quality.

BOOM OPERATOR

Boom Operators assist the production sound mixer on film sets, and operate the boom microphone, which is either hand held on a long arm or dolly mounted on a moving platform.

SPECIAL EFFECTS

SFX COORDINATOR

Special effects are anything that gets blown up, smashed, crashed, destroyed, or otherwise demolished. They will prep all of the vehicles that will be used or crashed by the Stuntmen and works closely with the Stunt Coordinator. SFX also covers artificial weather, water, fog, smoke, and other atmospheric effects, as well mechanical and electrical effects. At the head of the crew is the special effects coordinator. This person is responsible for supervising the planning and manufacturing of all SFX elements during pre-production, and will manage their safe and proper operation on set during principal photography. Additional responsibilities include preparing the department budget and scheduling crew. During pre-production planning, the special effects supervisor works closely with the Stunt Coordinator and the Directors of the 1st and the 2nd Units to establish the concept for each SFX shot and creates a breakdown of the script to identify location and relevant information related to the construction of special effects rigs.

SHOP FOREMAN

In charge of the Special effects shop where a great deal of their work takes place prior and during production to build any rigs or prep any vehicles or explosions and bullet hits to be used.

WELDER

Works in the SFX shop and occasionally on set welding. Must be familiar with all types of welding, gas, arc, tag, etc.

SFX ASSISTANTS

Journeyman special effects men and women that do all of the prep work such as placing and wiring and concealing all of the bullet hits (squibs) both on props and the squibs on the actors and stunt people as well as wiring explosions and building the bombs to be used. They will often work for days preparing a set or vehicles with bullet hits and explosions that may be for 10 seconds of screen time.

STILLS

STILL PHOTOGRAPHER

The still photographer, is a person who creates the photographic images specifically intended for use in the marketing and publicity of feature films in the motion picture industry. Besides creating photographs for the promotion of a film, the still photographer contributes daily to the filming process by creating set stills. With these, the photographer is careful to record all details of cast wardrobe, set appearance and background. The Script Supervisor and assistants review these images frequently for continuity and the matching of all stage aspects.

TRANSPORTATION

TRANSPORTATION COORDINATOR

The Transport Coordinator oversees the entire transportation requirements for the film. From all of the vehicles needed for camera, grip and electric to the makeup/hair trailers, wardrobe trailers, dressing rooms and the picture vehicles. This armada of vehicles arrives well before the crew arrives to work and will have everything in place and ready for the crew to begin work. They are the first to arrive and the last to leave a location and then repeat the entire operation for the next day’s shoot. It is often the largest contingent of crew people on a film due to the amount of vehicles necessary for a production to work on location. Many of the vehicles will be able to be eliminated if the film is working at the studio and not a practical location.

TRANSPORTATION CAPTAIN

Transport Captains are responsible for the daily transportation schedule of the cast and key crew during a film shoot.

DRIVERS

The men and women that are assigned to drive each vehicle. Driving key actors, the Director, Producers and often the Director of Photography to and from work as well as every truck, van and car utilized by the production.

VIDEO ASSIST

VTR

The video assist person operates the VTR (Video Tape Recorder) during production. Although a great percentage of movies are now shot in High Definition Video, there are still movies shot on 35mm film stock. 35 mm film cameras include a video tape that allows the VTR to record and instantly playback what was just filmed. Since you can’t review 35mm film without it getting processed in the laboratory first, this can be an especially useful tool on set. Video assist is the term used to describe this record and playback process regardless of whether HD video or 35mm film is being used. Reviewing the footage instantly allows the director to confirm performances, camera focus, framing, choreography and other elements for accuracy.

VIDEO P.A.

A production assistant assigned to Video Assist to help move the “video village” and all of the related equipment as well as handling all the cables to camera and sound they require in order to capture and record everything shot.

WARDROBE

COSTUME DESIGNER

Costume designers create the look of each character by designing clothes and accessories the actors will wear in their performance. Depending on the style and complexity of the story and whether the film is a “period piece,” a “contemporary” story or takes place in the future or in space, costumes may be made, bought, revamped out of existing stock or rented. They work closely with the Production Designer to make sure the costumes fit in with their overall vision and work with the chosen lighting and camera angles. They also collaborate with the hair and make-up team to make sure a cohesive look is created.

CONSTUME SUPERVISOR

During the shoot, Costume Supervisors are responsible for the day-to-day running of the production. Supervisors ensure that all clothes have been laid out for dressing and that accurate lists are kept of costume accessories, such as jewelry. They oversee the maintenance and cleaning of costumes and costume accessories during breaks, and between shoot days. Once filming is completed, Costume Supervisors manage the return of hired outfits, and the sale or disposal of any remaining costumes. Often there are 2 Supervisors, one for the principal actors and one for the extras.

SET COSTUMER

He or she must maintain continuity between scenes and see that all wardrobe is camera ready before the take begins. This person supervises the staff of assistants that dress the actors and attend to emergency repairs between scenes. He or she is also tasked with ordering expendables and equipment necessary to the on-set crew, like sewing machines, repair materials, and distressing tools.

SEAMSTRESS

A Seamstress works in the sewing room with the Cutter during the construction of the costumes. The Seamstress will assist during fittings to help with pinning and alterations and repair any damaged or emergency alterations as needed.