Film crew

For the comedic team, see The Film Crew.

Television crew positions are derived from those of lm
A lm crew is a group of people hired by a production crew.

1 Director
The director is considered to be a separate entity, not
within the lm crews departmental structure.
Director
The director is responsible for overseeing the
creative aspects of a lm, including controlling
the content and ow of the lms plot, directing the performances of actors, organizing and
selecting the locations in which the lm will
be shot, and managing technical details such as
the positioning of cameras, the use of lighting,
and the timing and content of the lms soundtrack. Though directors wield a great deal of
power, they are ultimately subordinate to the
lms 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.

Film crew and equipment on a location shoot

company for the purpose of producing a lm or motion

picture. The crew is distinguished from the cast as the
cast are understood to be the actors who appear in front
of the camera or provide voices for characters in the lm.
The crew is also separate from the producers as the producers are the ones who own a portion of either the lm
company or the lms intellectual property rights. A lm
crew is divided into dierent departments, each of which
specializes in a specic aspect of the production. Film
crew positions have evolved over the years, spurred by
technological change, but many traditional jobs date from
the early 20th century and are common across jurisdictions and lm-making cultures.

Second unit director

The second unit director is responsible for
overseeing the photography assigned to the
second unit, which can range from minor insert
shots to large stunt sequences. The second unit
director position is frequently lled by a member of the production, most often the editor or
stunt coordinator.

Motion picture projects have three discrete stages: development, production and distribution. Within the production stage there are also three clearly-dened sequential phases pre-production, principal photography and
post-production and many lm crew positions are associated with only one or two of the phases. Distinctions
are also made between above-the-line personnel (such as
the director, the screenwriter and the producers) who begin their involvement during the projects development
stage, and the below-the-line technical crew involved
only with the production stage.

Music director
In India-based movie productions, many of
which are musicals, the term 'music director'
is commonly used for the composer and music producer of the songs and score used in the
lm. The role involves supervising the arrangement, recording and mastering of lm music
along with with conducting and orchestration.

A study of the 100 top-grossing lms of each year between 1994 and 2013 found that there were an average
of 588 crew credits per lm,[1] however, protable independent lms have been made with crews of less than a
dozen.[2]
1

Production

PRODUCTION

Production assistant

Production assistants, referred to as PAs, assist

Production is generally not considered a department as
in the production oce or in various departsuch, but rather as a series of functional groups. These inments with general tasks, such as assisting the
clude the lms producers and executive producers such
rst assistant director with set operations.
as the production manager, the production coordinator,
and their assistants; the various assistant directors; the accounting sta; and sometimes the locations manager and
2.1.1 Production management
their assistants.
Producer
A lm producer creates the conditions for lmmaking. 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 lm making process from development to completion of a
project. There may be several producers on a
lm who may take a role in a number of areas,
such as development, nancing or production.
Producers must be able to identify commercial,
marketable projects. They need a keen business sense, and an intimate knowledge of all
aspects of lm production, nancing, marketing and distribution. Producers are responsible
for the overall quality control of productions.
Executive producer
An executive producer (EP) is a producer who
was not involved in the technical aspects of the
lm-making process in the original denition,
but has played a nancial or creative role in ensuring that the project goes into production.[1]
Today, however, the title has become ambiguous,[2] particularly in feature lms. Since
the 1980s, it has become increasingly common for the line producer to be given the title of executive producer, while the initiating
producer takes the produced by credit. On
other projects, the reverse happens, with the
line producer taking the produced by credit.
So the two credits have become eectively interchangeable, with no precise denition.

2.1

Production oce

Line producer
The line producer is the liaison between the
studio or producer and the production manager, responsible for managing the production
budget. The title is associated with the idea that
he or she is the person who is on the line on a
day-to-day basis, and responsible for lining up
the resources needed.

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 managers responsibility to make sure the
lming stays on schedule and within its budget. The PM also helps manage the day-today 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.
Assistant production manager
The assistant production manager is the chief
assistant to the production manager (PM) and
carries out various jobs for the PM. Normally
only big budget Hollywood feature lms have
an assistant PM.
Unit manager
The unit manager fulls 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 lm production.
2.1.2 Assistant directors
First assistant director
The rst assistant director (1st AD) assists the
production manager and director. The ultimate
aim of any 1st AD is to ensure the lm comes in

2.2

Locations
on schedule while maintaining a working environment in which the director, principal artists
( actors) and crew can be focused on their work.
They oversee 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 directors 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.
Other assistant directors
Sometimes other assistant directors are needed
such as in Canadian and British functional
structures the 3rd assistant director (3rd AD)
and even trainee assistant directors (trainee
AD). In the American system there are 2nd 2nd
assistant director (2nd 2nd AD). Normally in
the american system 2nd 2nd ADs control big
crowd extras and make sure if shooting on location none of the public get into shots.
2.1.3

Accounting

Production accountant
Production accountants manage the money
and ensure the production comes in on budget and everyone gets paid. The industry
is notorious for unusual accounting methods
which are collectively labelled Hollywood accounting. Production accountants are often
assisted by assistant accountants, sometimes
called clerks, responsible accounts receivable,
accounts payable and payroll.

2.2

Locations

Location manager
Oversees the locations department and its sta,
typically reporting directly to the production
manager and/or assistant director (or even director and/or executive producer). Location

3
manager is responsible for nal clearing (or
guaranteeing permission to use) a location for
lming and must often assist production and nance departments in maintaining budget management regarding actual location/permit fees
as well as labor costs to production for himself
and the locations department at large.
Assistant location manager
Works with the location manager and the various departments in arranging technical scouts
for the essential sta (grips, electric, camera,
etc.) to see options which the location manager
has selected for lming. The assistant location
manager will be onset during the lming process to oversee the operation, whereas the location manager continues pre-production from
elsewhere (generally an oce) on the upcoming locations. (Note: On most location-based
television shows, there will be two assistant location managers that alternate episodes, allowing one to prep an upcoming episode while the
other is on-set with the current one.)
Location scout
Does much of the actual research, footwork
and photography to document location possibilities. Often the location manager will do
some scouting himself, as well as the assistant
location manager.
Location assistant
Hired by the location manager to be on-set
before, during, and after the lming process.
General responsibilities include arriving rst at
the location to allow the set dressers into the
set for preparation; maintaining the cleanliness
of the location areas during lming; elding
complaints from neighbours; and ultimately, at
the end of the lming, making sure it seems as
though the lm crew was never there. There is
generally one to three assistants on a shoot at
any given time.
Location production assistant
This position exists generally on larger budget
productions. The locations PA is the assistant
who is almost never on-set, but instead is always propping a location or wrapping a location. That is, when a location requires several
days of set up and breakdown prior and following the day(s) of lming. A location production
assistant is what a set production assistant is in
Canada.

2.3

Additional production credits

CAMERA & LIGHTING

3 Camera & lighting

Since the turn of the 21st century, several additional professionals are now routinely listed in the production credits on most major motion pictures.
Unit publicist
The publicist liaises between the lm production and the media. They create press releases,
in collaboration with the producers, and work
with the stills photographer.
Legal counsel
Entertainment lawyers negotiate contracts,
clear licensing rights for any intellectual property used in the lm, obtain tax credits from local governments, and take care of immigration
paperwork when cast and/or crew cross international borders to shoot on location.

A Camera operator lming a scene from the 1950 Hollywood

lm Julius Caesar starring Charlton Heston

System administrator
A system administrator or sysadmin, is a person employed to maintain and operate a computer system or network. This role is increasingly important for digital monitors on set, digital intermediate editing and post production,
digital eects, digital sound, and sometimes for
full digital production.

2.4

Continuity

Script supervisor
Also known as the continuity person, the script
supervisor keeps track of what parts of the
script have been lmed and makes notes of any
deviations between what was actually lmed
and what appeared in the script. They make
notes on every shot, and keep track of props,
blocking, and other details to ensure continuity from shot to shot and scene to scene. The
script supervisors notes are given to the editor to expedite the editing process. The script
supervisor works very closely with the director
on set.

2.5

Casting

Casting director
The casting director chooses the actors for the
characters of the lm. This usually involves
inviting potential actors to read an excerpt from
the script for an audition.

The production was for the TV movie Sherlock Holmes and the
Case of the Silk Stocking at Somerset House in London.

Director of photography
The director of photography, DoP or DP, is
the chief of the camera and lighting crew of
the lm. The DoP makes decisions on lighting
and framing of shots in conjunction with the
lms director. Typically, the director tells the
DoP how he or she wants a shot to look, and
the DoP chooses the correct lens, lter, lighting and composition to achieve the desired aesthetic eect. The DoP is the senior creative
crew member after the director.
The term Cinematographer is usually synonymous with director of photography, though
some professionals insist this only applies when
the director of photography and camera operator are the same person.

3.1 Camera
Camera operator

3.2

Lighting
The camera operator uses the camera at the
direction of the cinematographer, director of
photography, or the lm director to capture
the scenes on lm or video. Generally, a cinematographer or director of photography does
not operate the camera, but sometimes these
jobs may be combined.

First assistant camera

The rst assistant camera, 1st AC or focus
puller, is responsible for keeping the camera
in focus as it is shooting, as well as building the
camera at the beginning of the day and taking
it apart at the end. They also thread the lm
when a new magazine is loaded.
Second assistant camera
The second assistant camera, 2nd AC or
Clapper loader, operates the clapperboard at
the beginning of each take and loads the raw
lm stock or blank videocassette into the camera magazines between takes, if there is no
additional specically designated lm loader.
The 2nd AC is also in charge of overseeing the
meticulously kept notebooks that record when
the lm 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.
Film loader
The loader transfers motion picture lm from
the manufacturers light-tight canisters to the
camera magazines for attachment to the camera by the 2nd AC. After exposure during lming, the loader then removes the lm 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 lm and communicate with the 1st AC
on the lm 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 role
is taken on by the digital imaging technician.
Camera production assistant
The camera PA, camera intern or camera trainee, assists the crew while learning the
trade of the camera assistant, operator or cinematographer.

5
Digital imaging technician
On digital photography productions the digital
imaging technician, or DIT, 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. It may also be the
responsibility of the DIT to archive and manage the digital data, create compressed dailies
from raw footage and prepare all digital images
for post-production.
Steadicam operator
A steadicam operator is someone who is skilled
at operating a Steadicam (trademark for a camera stabilization rig). This person is usually one
of the camera operators on the production.
Motion control technician/Operator
This technician operates a motion control rig,
which essentially is a 'camera robot' able to
consistently repeat camera moves for special
eects uses. Motion control rigs are typically
rented with an experienced operator.

3.2 Lighting
Gaer
The gaer is the head of the lighting department, responsible for the design of the lighting
plan for a production. Sometimes the gaer is
credited as chief lighting technician.
Best boy (lighting)
The best boy is the chief assistant to the gaer.
He or she is not usually on set, but dealing with
the electric truck, rentals, manpower, and other
logistics.
Lighting technician
Lighting technicians are involved with setting
up and controlling lighting equipment.

3.3 Electrical
Electricians

4
Electricians assist the lighting crew but are not
part of the lighting crew. They are responsible
for the execution of the electrical distribution
around the set from lights to the directors coffee maker.

3.4

Grip

Grips are trained lighting and rigging technicians. Their

main responsibility is to work closely with the electrical
department to put in the non-electrical components of
lighting set-ups required for a shot, such as ags, overheads, and bounces. On the sound stage, they move
and adjust major set pieces when something needs to
be moved to get a camera into position. In the US and
Canada 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 correct
lighting and blocking.
Best boy (grip)
The best boy is chief assistant to the key grip.
They are also responsible for organizing the
grip truck throughout the day.
Dolly grip
The grip in charge of operating the camera dollies and camera cranes is called the dolly grip.
They place, level, and move the dolly track,
then push and pull the dolly, and usually a camera operator and camera assistant as riders.
Grips
Grips report to the key grip and are responsible for lifting heavy things and setting rigging
points for lights.

ART DEPARTMENT

Production designer
The production designer is responsible for creating the visual appearance of the lm - settings, costumes, character makeup, all taken as
a unit. The production designer works closely
with the director and the director of photography to achieve the look of the lm.

4.1 Art
Within the overall art department is a sub-department,
also called the art departmentwhich 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 and key scenic artist to oversee the aesthetic and textural details of sets as they are realized. Typically, the art director oversees the
budget and schedule of the overall art department. On large-budget productions with numerous sets and several art directors, one might
be credited as supervising art director or senior art director.
Standby art director
In the organizational system used in the UK
and Ireland, the standby art director monitors the art departments work on set during
lming on behalf of the production designer.
They work closely with the standby painters
and standby carpenters, and co-ordinate any
changes to the set during lming. In the North
American system, this work is shared between
the props master and the on-set dresser.
Assistant art director

Art department

The art department in a major feature lm 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 draftsmen;
set decoration, under the set decorator; props, under the
props master; construction, headed by the construction
coordinator; scenic, headed by the key scenic artist; and
special eects.

The rst, second and third assistant art directors carry out the instructions of the art director. Their work often involves measuring locations, collecting information for the production
designer. Sometimes a set designer is also the
rst assistant art director. In this capacity, they
manage the work ow and act as the foreman
of the drawing oce.
Set designer

4.3

Construction
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 draws or paints visual representations of the designs to communicate the ideas
imagined by the production designer. Illustrators are sometimes credited as concept artists.
Graphic artist
The graphic artist is responsible for the design
and creation of all graphic elements, including:
signs, billboards, posters, logos, nameplates,
and automotive-wrapping that are created
specically for the lm. They will often create
several versions of a design, the preferred of
which then being chosen by the production designer. On certain productions, they may also
be employed, under the direction of the props
master, in the creation of small, printed items,
such as iers, receipts, bills of sale, etc.

4.2

Sets

Set decorator
The set decorator is in charge of the decorating of a lm set, which includes the furnishings and all the other objects that will be seen
in the lm. They work closely with the production designer and coordinate with the art director. In recognition of the set decorators importance, the Academy Award for art direction
is given jointly to both the production designer
and the set decorator.
Buyer
The buyer works with, and reports to, the set
decorator. The buyer locates, and then purchases or rents the set dressing.
Lead man
The lead man (or leadsman) is the foreman of
the set dressing crew, often referred to as the
swing gang. He or she also assists the set decorator.
Set dresser

7
The set dressers apply and remove the dressing"; i.e., furniture, drapery, carpets, wall
signs, vinyl decalseverything one would nd
in a location, (even doorknobs and wall sockets, when such items do not fall under the
purview of construction.) Most of the swing
gangs work occurs before and after the shooting crew arrives, but one set dresser remains
with the shooting crew and is known as the onset dresser. In some countries, such as Ireland
or the United Kingdom, the set dressing department is referred to as dressing props department. Informally, in the U.S., the department is often referred to simply as set dec.
Greensman
The greensman is a specialised set dresser dealing with the artistic arrangement or landscape
design of plant material, sometimes real and
sometimes articial, and usually a combination of both. Depending on the scope of the
greens work in a lm, the greensman may report to the art director or may report directly
to the production designer. If a signicant
amount of greens work is required in a lm,
then the greens greens may be an identiable
sub-department, with its own team - often of
a size numbering double gures - and hierarchy (e.g., Greensmaster, greens supervisor,
foreperson, leading hand, laborers). Specialists from other areas of the art dept. (e.g., Fabricators, sculptors, painters/Scenics) may also
be drafted to work exclusively on greens.

4.3 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.
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,

5 COSTUME DEPARTMENT
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. In the UK,
the above responsibilities would normally be
those of the head painter, and the scenic
artist is responsible for producing artist painted
backings.[3]

4.4

The costume supervisor works closely with the

designer. In addition to helping with the design
of the costumes, they manage the wardrobe
workspace. They supervise construction or
sourcing of garments, hiring and ring of support sta, budget, paperwork, and department
logistics. Also called the wardrobe supervisor, although this term is used less and less.

Property

Props master
The property master is in charge of nding and
managing all the props that appear in the lm.
These include any item handled by an actor that
is not part of the scenery or costumes, and all
consumable food items that appear on screen.
In period works, it is the property masters job
to ensure that all the props provided are accurate to the time period. The props master usually has several assistants.
Prop-maker
The prop-maker, as the name implies, builds
the props that are used for the lm. Props
builders are often technicians skilled in construction, plastics casting, machining, and electronics.
Weapons master
The weapons master, or armorer, is a specialized prop technician who deals with rearms.
In most jurisdictions this requires special training and licenses.

Costume supervisor

Costume department
Costume designer
The costume designer is responsible for all the
clothing and costumes worn by all the actors
that appear on screen. They are 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 lm. In large productions, the costume
designer will usually have one or more assistant
costume designers.

Key costumer
The key costumer is employed on larger productions to manage the set costumers, and to
handle the stars 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.
Breakdown artist
A breakdown artist may be employed during
the pre-production period to break down garments. This specialized job includes making
new clothing appear dirty, faded and worn.
Costume 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.
Cutter
A costume technician who ts or tailors costumes, usually on-set. They might also be
called tter, seamstress or tailor. Some
celebrity actors have favorite cutters, and larger
productions may hire several and have them on
set at the same time, particularly in period lm
projects that might have complicated or expensive extras wardrobe.

Hair and make-up

Some actors or actresses have personal makeup artists or

hair stylists.
Key make-up artist
The key makeup artist is the department head
that answers directly to the director and production designer. They are responsible for
planning makeup designs for all leading and
supporting cast. Their department includes all
cosmetic makeup, body makeup and if special
eects are involved, the key make-up artist will
consult with a special eects makeup team to
create all prosthetics and SFX makeup in a production. It is common that the key makeup
artist performs makeup applications on lead
cast, with assistance, and allows other crew
members to work with supporting and minor
roles. The key makeup artist will normally
execute especially complicated or important
makeup processes that are to be featured on
camera.
Special make-up eects Artist (SFX makeup)
A special eects make-up artist works with
live models or structures in the entertainment
industry, applying make-up eects and/or
prosthetics. May be own department that answers directly to the director and production
designer or report to Key make-up artist.
Make-up supervisor
The make-up supervisor is a supporting position that normally reports to the key makeup
artist to assist in running the makeup department. Make-up supervisors typically handle production matters and generally serve the
needs of senior artists. Makeup supervisors
rarely do makeup themselves. Their duties can
include keeping a record of makeup continuity,
handing the scheduling of makeup teams and
providing for the general needs of the makeup
department. They are expected to be a connection between the makeup department and
the rest of the production departments, making
sure that makeup supplies, production assistants or electricians are on hand when needed.

Key hair
The key hair is the department head that answers directly to the director and production
designer. The key hair will normally design and
style the hair of lead actors.
Hair stylist
The hair stylist, is responsible for maintaining and styling the hair, including wigs and extensions, of anyone appearing on screen. They
assist and report to the key hair.

7 Special eects
This department oversees the mechanical eectsalso
called practical or physical eectsthat create optical illusions during live-action shooting. It is not to be confused with the Visual eects department, which adds
photographic eects during lming to be altered later
during video editing in the post-production process.
Special eects supervisor
The special eects supervisor instructs the
Special eects crew on how to design moving
set elements and props that will safely break,
explode, burn, collapse and implode without
destroying the lm set. S/he is also responsible
for reproducing weather conditions and other
on-camera magic.
Special eects assistant
The SFX assistants carry out the instructions
of the special eects supervisor, building set
pieces like breakaway furniture and cities in
miniature, lighting pyrotechnics, and setting up
rigging equipment for stunts.

8 Stunts
Stunt coordinator

Make-up artist
Make-up artists work with makeup, hair and
special eects to create the characters look for
anyone appearing on screen. They assist and
report to the key make-up artist.

Where the lm 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
and the 1st AD.

10

10 POST-PRODUCTION

Production sound
Production sound mixer
The production sound mixer is head of the
sound department on set, responsible for
recording all sound during lming. This involves the choice and deployment of microphones, operation of a sound recording device,
and 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 lming. The boom operator uses a boom pole, a
long pole made of light aluminum or carbon
ber that allows precise positioning of the microphone above or below the actors, just out of
the cameras frame. The boom operator may
also place radio microphones and hidden set
microphones. In France, the boom operator is
called 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
lming circumstances. Not all lms employ
a utility sound technician, but the increasing
complexities of location sound recording in
modern lm have made the job more prevalent. This role is sometimes credited as cable
puller or python wrangler.

10

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 lm labs, CGI studios and
negative cutters) and the production accountant. Although this is not a creative role,
it is pivotal in ensuring that the lms postproduction budget is manageable and achievable, and that all deadlines are met. Because
large amounts of money are involved, and most
of a lms budget is spent during production,
the post-production period can often be dicult and challenging.

10.1 Editorial
Film editor
The lm editor is the person who assembles the
various shots into a coherent lm, with the help
of the director. There are usually several assistant editors.
Negative cutter
The negative cutter cuts and splices the negatives as directed by the lm editor, and then
provides the assembled negative reels to the lab
in order for prints (positives for projection) to
be made.
Colorist
With a photochemical process, the color timer
adjusts the color of the lm via printer lights for
greater consistency in the lms 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 lm.
Telecine colorist
A Telecine colorist is responsible for a grade that is a look that has been created with a grading system, which adjusts brightness, contrast
and color.

10.2 Visual eects

Visual eects commonly refers to post-production alterations of the lms images. The on set VFX crew works
to prepare shots and plates for future visual eects. This
may include adding tracking markers, taking and asking
for reference plates and helping the Director understand
the limitations and ease of certain shots that will eect
the future post production. A VFX crew can also work
alongside the Special eects department for any on-set
optical eects that need physical representation during
lming (on camera.)
Visual eects producer
The visual eects producer works with the visual eects supervisor to break down the script
into storyboards, and advises the director as to
how s/he should approach the scenes. Together
they determine which sequences are to be shot
as live action elements, which would work well
in miniature, and which (if any) should be computer generated.

11
Visual eects creative director
VFX creative directors are very much like production designers, except they direct and supervise the creative side of the lms visual effects. The position is particularly in demand
for lms with massive amounts of computer
generated imagery and scenes.
Visual eects supervisor
The visual eects supervisor is in charge of the
VFX crew, working with production and the
lms director to achieve the desired in-camera
optical eects of the lm.
Visual eects editor
The visual eects editor incorporates visual effects into the current cuts of live action sequences, producing multiple versions of each
shot. Altered scenes are then evaluated by the
visual eects supervisor and creative director
for aesthetic and technical direction, and by the
producers for review and nal editing.
Compositor
A compositor is a visual eects artist responsible for compositing images from dierent
sources such as video, lm, computer generated 3-D imagery, 2-D animations, matte
paintings, photographs, and text.
Rotoscope artists/ paint artists
Rotoscope & painters 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.[4]
Matte painter
Matte painters draw/paint entire sets or extend
portions of an existing set.

10.3

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
The dialogue editor is responsible for assembling and editing all the dialog in the soundtrack.
Sound editor
The sound editor is responsible for assembling
and editing all the sound eects in the soundtrack.
Re-recording mixer
The re-recording mixer balances all of the
sounds prepared by the dialogue, music and effects editors, and nalizes the lms audio track.
Music supervisor
The music supervisor works with the composer, mixers and editors to create and integrate the lms music. In Hollywood a music supervisors primary responsibility is to act
as liaison between the lm production and the
recording industry, negotiating the use rights
for all source music used in a lm.
Composer
The composer is responsible for writing the
musical score for a lm.
Foley artist
The foley artist is the person who creates the
post-sync sound eects for a lm. These sound
eects are recorded in sync to picture and are
mostly body movements, footsteps or object
manipulations. The most common reason for
recording these eects live to picture is the
fact that such sounds are lost when the dialogue
is removed to be replaced by a foreign language version. Unsatisfactorily recorded sync
sound eects can also be replaced with foley
eects. Foley artists are also known as foley
walkers. Foley is named after its rst known
practitioner, an early hollywood sound editor
named Jack Foley.

11 Animation
Animation lm crews have many of the same roles and
departments as live-action lms (including directing, production, editing, camera, sound, and so on), but nearly all

12

14

on-set departments (lighting, electrical, grip, sets, props,

costume, hair, makeup, special eects, and stunts) were
traditionally replaced with a single animation department
made up of various types of animators (character, effects, in-betweeners, cleanup, and so on). In traditional
animation, the nature of the medium meant that everything was literally attened into the drawn lines and solid
colors that became the characters, making nearly all liveaction positions irrelevant. Because animation has traditionally been so labor-intensive and thus expensive, animation lms normally have a separate story department
in which storyboard artists painstakingly develop scenes
to make sure they make sense before they are actually animated.
However, since the turn of the 21st century, modern 3D
computer graphics and computer animation have made
possible a level of rich detail never seen before. Many animated lms now have specialized artists and animators
who act as the virtual equivalent of lighting technicians,
grips, costume designers, props masters, set decorators,
set dressers, and cinematographers. They make artistic decisions strongly similar to those of their live-action
counterparts, but implement them in a virtual space that
exists only in software than on a physical set. There have
been major breakthroughs in the simulation of hair since
2005, meaning that hairstylists have been called in since
then to consult on a few animation projects.

12

See also

List of motion picture-related topics

Outline of lm
Production team
Television crew

13
13.1

References
Notes

[1] How many people work on a Hollywood lm?". Retrieved 19 March 2014.
[2] [Link]
[3] Menage, Grahame. Scenic Artist. Retrieved 2010-0919.
[4] Silverman, Matt (2004-06-15). Art of Roto (compositing and paint)". fxguide. Retrieved 2010-09-19.

13.2

Further reading

Katz, Ephraim (2005). The Film Encyclopedia

(5ed). Collins. ISBN 0-06-074214-3.

EXTERNAL LINKS

Knox, Dave (2005). Strike the Baby and Kill the

Blonde: An Insiders Guide to Film Slang. Three
Rivers Press. ISBN 1-4000-9759-2.
Levy, Frederick (2000). Hollywood 101: The Film
Industry. Renaissance Books. ISBN 1-58063-1231.

14 External links
The Knowledge UK Film Crew & Company Directory A directory of UK lm and TV crew
Film Crew Pro A global jobs and networking resource for Film and Television Professionals
Media Match Jobs The premier online networking
community and jobs board for the TV and Film Production Industry
D-Mak Productions 10 Tips for working with Outside Production Crews

13

15
15.1

Text and image sources, contributors, and licenses

Text

Film crew Source: [Link] Contributors: Brion VIBBER, The Anome, Eclecticology, David spector, Olivier, Patrick, Michael Hardy, Skysmith, Iluvcapra, CesarB, Lancevortex, Nv8200p, RedWolf, Gragfox, Michael
Snow, Sounddude, Nat Krause, J heisenberg, Guanaco, Mboverload, Solipsist, Girolamo Savonarola, PRiis, N328KF, Solitude, Rich Farmbrough, Guanabot, Dmr2, Jwalling, Lankiveil, Coolcaesar, Fir0002, Alansohn, Ianblair23, Woohookitty, Fbv65edel, OldCommentator,
MechBrowman, Magister Mathematicae, Ketiltrout, Vegaswikian, Bostonian71, Harmil, Who, Lady Aleena, Gurch, Parallel or Together?,
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Reeceiscool, Spuds31, TwoTwoHello, Lugia2453, I am One of Many, [Link] Grin, Leemoochin, Jackmccann2, Apsullivan, JoeHebda,
Haramisalabakchod and Anonymous: 218

15.2

Images

File:Charlton_Heston_as_Antony_in_Julius_Caesar,_B&W_image_by_Chalmers_Butterfield.jpg Source:
[Link]
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[Link] License: CC BY 2.5 Contributors: Transferred from [Link]; transferred to Commons by User:Oxyman using
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File:[Link] Source: [Link] License: CC BY-SA 2.0 Contributors:
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File:Film_Crew.jpg Source: [Link] License: Public domain Contributors:
Grant Crabtree Photographic Collection Original artist: Grant Crabtree
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Created from scratch in Adobe Illustrator. Based on Image:Question [Link] created by User:Equazcion Original artist:
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15.3

Content license

Creative Commons Attribution-Share Alike 3.0